Master Blender 3D with Wild West Environments

1. Class Introduction: Hey, there, and welcome to the Master Blender Fred with Wild West Environments Course. If you've ever wanted to create a full freed environment from scratch, one with personality, story, and a classic Western charm, this is the course for you. Over the next several hours, we're going to go step by step through building this entire scene. That includes everything you see here. Even the terrain itself, we're going to go through the setup. In the best part, you don't even need to be an expert to follow along. We start at the beginning. I'll show you how to gather and organize your references using PUF, something that's often overlooked, but it is incredibly important for creating believable environment. From there, we'll dive into the grey boxing process, laying out the scene with basic shapes to nail the scale and composition early on. This is how professional environment artists work, and it sets the foundation for everything else we'll be doing. Then we start modeling, and we keep things modular. You learn how to create reusable props like crates, planks and barrels, all with clean topology and designed to work well together. These assets will form the building blocks of the scene. One of the key props we create is the water tower. It's got stylized charm, simple geometry, and it gives us a great opportunity to talk about things like scale, material definition, and silhouette. We'll also model more complex structures like saloon front and back, including the classic swing indoors and even a bar setup with bottles and stools. Throughout the course, I'll show you the techniques that are both fast and clean, making it easy to tweak, reuse and build variation into your work. We also cover UV mapping and texturing in detail. You learn how to mark seams, wrap models, and apply stylized textures that bring out the wood grain and dusty charm of the Western world. We explore shade of creation, too, especially how to use Edgeware and procedural detail to add realism. On top of that, we sculpt organic props like the cactus you see and a cow skull for the sign. These small details help elevate the scene and give it character, and we keep the sculpting workflow lightweight and optimize. Perfect for stylized game assets or render ready artwork. If you've never used Jome genots before, don't worry. We introduce them in an approachable way. You'll use them to generate wooden planks procedurally, build stylus terrain, and scatter props such as rocks and plants. It's powerful. And once you learn the basics, it'll massively speed up your workflow. As we near the end of the course, we'll cover lighting and rendering. You'll set up the full render scene complete with camera angles, color correction, using blender compositor and a turntable animation. By the time you finish, you'll not only have created a beautifully wild west scene, you'll have learned a complete work plow that you can apply to other projects. So if you're ready to sharpen your blended skills, build your portfolio and have fun creating something truly unique, join now, and let's dive onto our pretty world together. 2. Referencing Basics: Hello, and welcome everyone to Master Blender Free D with Wild West Environment. Before we get started, we're going to dive into resource pack. And for that, we're going to go over the basics of the PureRef software. If you are already familiar with the software, you may skip this lesson and go onto the next one, and we're going to cover the resource pack within there. Thank you so much for watching, and I will be seeing you in a bit. Welcome, everyone to our in depth referencing guide, and it's very important that we actually use references in pretty much any kind of modeling or environments that we're actually going to be work on. So before we actually do anything, before we put any cubes down or anything like that, it's really important that we have some really, really decent references to actually work with. So the first thing I want to recommend is that you can use something to actually put all your references on like Photoshop or even word. But what I'm going to recommend is that you use something called pure ref. So if you go to the site, that's called purev.com, you will actually open this, and from there, you can actually click Get Pure Rv, and that then will take you to this download screen. And you will see at the moment, you've got 157 or custom amount. You can actually put this on zero and actually get this for free. So it's completely free, and you can come back and make a donation if you like. And then all you need to do is click Download. So the only things we're going to talk about pretty much for reference in here, are going to be free except our mid journey part. But there are other alternatives like Dolly and a load of others out there that you can use instead of mid journey. Once you open up pura, then, this is what you will be greeted by this screen. And if you want to right click, you can actually drag this around to any of your screens or you can actually make it smaller like so. And it's a really, really good program this really, really handy, highly recommend getting this. So now let's actually think about getting our references. And there are a few sources that we use to actually grab references from. But generally, what you want to do is you want to build up a kind of reference pack if you're going to be a hobbyist or a professional in three D modeling or environments where you're going to see things perhaps on Pinterest or sketch up, and actually, you want to save them in a file. So I know people with thousands and thousands of images that they've saved over the years. And whenever they're coming to a project, they'll then dive in and actually find all of the images that they've got that particular thing, this could be a Samurai warrior or a Chinese bell. Also, a lot of people I know as well, who are working professionally at this will go around museums. They will take their own actual images, and then they'll also upload those to the file as well. So the first point of call if you're not actually got your own database yet is probably going to be actually Google. So let's open up Google, and you can see here that at the moment, I'm looking for a Victorian delivery truck. I'm going to do is I'm just going to go through these and get some nice references like this one, for instance, and then I'm simply going to right click and I'm going to copy image. Then what I'm going to do is I'm going to go over to PUR RVs. I'm just going to open it back up, press Control V, and you'll see now that I've got my nice image in here. What we're also able to do with PUREvs we're able to also pull it out and make it bigger if needed, which is really, really handy when we're putting in lots and lots of actual images. Now, the next thing I recommend you do once you've actually got an image in there, is what you can do is you can left click and drag it over somewhere. And then what you can do is you can press Control N, and you can actually make a note. So let's call this Victorian. Trucks. Let's put it Trucks. Now, within my scene, I might actually want a Victorian lamppost as well as part of the scene or something like that. So let's actually look at the next one. So the next point of call is actually going to be Pinterest, and let's actually put in Victorian lamppost. So let's try that. Like, so let's see what we get, and we can see we've got many, many styles, especially this one. This one's actually really nice. This one's also really nice. So what I'm going to do is I'm going to actually take this one, I'm going to right click Copy Image, go back to my PUEv and then drop the images in there, like so, and maybe make this one a little bit bigger. What I tend to do is I gather a load of images for each of these things. When we're actually building a scene or even just the model, you want to grab as many images as possible. I'm talking hundreds of images here. And especially if you're doing a scene, you want all of the little parts. You want everything down to the lighting, the environment, the trees. You want to grab references for absolutely everything because it will make your scenes just really, really look so much better if you've got some really good references. So now let me show you this is one that I'm actually working on at the moment, so if I come over and load Reason, and I'm just going to load this one here, and you'll see at the moment, I have all of my props. I have all of my main buildings that I'm going to be looking at to use as references. I have a ton of doors. I even have a load of foliage. I have all my windows. I have my lights over here, and I also have, more importantly, all of the lighting. In other words, it's a scene. So what time of day is it going to be? Is it going to be, you know, early in the morning, or is it going to be at dusk? Is it going to be a night scene, or is it going to be midday with that sun beating down on my scene? Just make sure that it actually matches the scene. There's no point having a scene like this, for instance, so this one here. If you've got a log cabin out in the snow, you really want it to match your actual scene. Now before moving on, there are a couple of other places that we do go to use for referencing, especially something like sketch up, which is really, really great because you can actually come into an actual scene. And then what you can do is you can actually rotate around it and really, really check out how a model is put together, like something like this, which is one of our actual own. But you can see here how easy it is then to get a good idea of what actually incorporated in this scene. And what you can actually do from there, then, is we can actually come down and we can actually get some screenshots of this or even right click and copy image. Also, let's say, if we wanted to do a Victorian truck, for instance, to keep the same theme as what we've been doing, you can see that there's no end of actual Victorian or vintage type vehicles on here. Not as many as what there is on ArtStation, but still a very, very good place to start looking for reference in. That leads me on to my next one, which of course is ArtStation. This simply is one of the biggest resources for referencing or for looking up artists in the world. So let's put in a reference of Victorian, for instance, and let's see what we actually get. Let's search artwork. So we're going to search artwork and let's see what it actually comes up with. Should be lots and lots of things to work with here, especially good, if you're looking for actual lighting. So you're looking for lighting effects like this one here. And again, we can take these actual um use them for references. And the best thing is about ArtStation is we can also come down and look at things that may be our concept art, so two D or actual three D, and we can also come down as well and look at what subject matter it is. So it could be automotives, so Victorian automotives, or it could be architecture or something like that. So the possibilities with ArtStation are pretty much endless, and you're able to grab tons and tons of really, really high quality references. There are, of course, hundreds and hundreds of other places you could probably go to grab references, but I'm showing you these because as far as references go, these are some of the best places to go. Let's move on then to one of the things that we really use a lot of now, which you wouldn't have thought actually would come into it as far as referencing goes, but it actually is really, really handy. So let me introduce to you now Chat GPT. So here is Chat GPT. You can see that we have Chat GPT four, but we also have 3.5. 3.5 is actually free, and it is actually good enough to do whatever you want. You really don't need to pay for this. It's also free. So what I'm going to do is I'm going to go to message, and I'm going to type in, give me ten different buildings for a Victorian town scene. Something like that. Let's click Enter and let's see what it gives me. So you can see now it's given me a lot of things to actually work with here. And the best thing about this is you can also say, give me ten more. And it will just then go ahead and give you ten more. Now, these things are really handy to use because then I can simply take these ideas and it'll also bounce other ideas to me, and I can then go into Pinterest. Or Google search and actually look them up or try and find something like this. And I can kind of get ideas and design my scene around there using all of those things and especially Pure Rv. We can also take them in to our actual Mid journey. Now, again, our mid journey is paid for. I think the lowest amount is $20 or something like that, but there are many, many free things out there, but it will still show you what we actually do with our AI based image generator. So you can see at the moment, this is the image that we've actually generated. I know we've called it it's Victorian era delivery van, and this is what we actually get. If we go to my images, you will see that we've generated a ton of images about all of the things. Especially, we use this as well to generate textures. It's not just there to actually generate images and ideas and things like that. You can actually use it to generate transfers that are going to go on Windows or adverts or actual textures. And we do use this, especially for things like curtains, because it's really, really easy to get that look that you're actually looking for. You can see here, we've got a lot of ideas for living rooms, we've got a lot of ideas for bedrooms and things like that. What we can also do in mid journeys, we can also go and explore. And what you could do is you could look up with a search prom Victorian. Let's put in carriage. And then we can also get ideas from this. So if I put in Victorian carriage, you can see this as what comes up. Now, if we come over to here, we can also see if we click on here, this is the actual prompt that somebody put in, so you can actually take that prompt, maybe change it around a bit, and then get your own images rather than just simply copying other people's images. It's a great place to start to actually gather your own images. The other thing is about mid journeys, I can come in for instance, let's just go back. And then what I can do is I can hold the shift but down. I can grab all of these, for instance, and then what I can do is click the Download button and download all of those images. And the best thing is about PUREv is you can bring in multiple images at the same time, so you can just drag, drop them, and then they'll all appear actually next to each other. So really, really handy things to. So, lastly, then, to sum up, don't do what I did a few years ago, where I just dive straight into blender and not even think about references and just find references if I had to while I'm actually building something. Don't do it that way. It leads directly into building a beautiful gray box, as well, all this, because first of all, you grab all of your references, you make sure everything's set out. You can go and find some more references if you need to. You know, if you suddenly have a spark of inspiration, you want to make something on the fly, then grab some more references for but to start with, grab all of your references, have them really, really nicely laid out, and spend, you know, even half a day to a day grabbing all those references. You can then save the pura out as well into individual files, and then you'll have all the other references around that particular build in there, ready to use maybe on another project in the future. Or everyone, so I hope you found this useful, and I'll hope you'll take my advice going forward. Thanks everyone. See you on the next one. Cheers. 3. Resource Pack And Its Overview: Hello. Hello. Welcome back, everyone to Master Blinder free D with Wild West Environment. Within a resource pack, you're going to find yourself a couple of pure ref items, Scene scale reference and saloon reference. Let's go over them real quick. Within a saloon reference, you're going to find the generated images that will help you with some referencing in terms of the mood and just overall style. It's really good for just basic type of just visualization and figuring out what works within a Western scene. Although these images are well generated with AI, they are really helpful for getting the base reference out in terms of what works well within Western scene. So I do recommend you go over that. The base starting point of every free D environment should be always starting off with the mood board, sting with the references and figuring out where to go from there. And this is a great, well, first piece. Afterwards, we're going to have one on the right that we picked for, like, main more of lighting, which is giving us a nice contrast setup, as well as just a real nice diama type of a setup, which we're going to base our environment with. And down here, we have the type of texturing, the type of coloring that we're going for, it's going to be more of a lighter, more lightly saturated type of colors, texturing and whatnot. So that's what we're going with. You're going to be able to explore all of that within the Puref of the resource back. Afterwards, within the scene scale reference, we have this file over here, which is going to help you reference all of the tiny parts and items within the scene. For Sarus, we have the front back and side top, the bar, wagon, all those close up shots. Really good for just visualizing and seeing how it looks like within the scene in terms of the models themselves. Afterwards, we have well detextured pieces over here, that's just from different angles. Also have a final piece, final image that's rendered and set up to use it as a basis for a render compositor. And we have some various different angles from within a turntable that just showcases the scene, the setup. Again, again, you may use this for referencing. Speaking of compositor, speaking of rendering, we also have a file. You're going to find a Blend Craft compositor preset JSON file. So this is going to be the preset file for an add on that's going to be also included of a Blend Craft compositor. We're going to go over the setup within the lessons, and you're going to be able to just if you want to skip a part that well, showcases the compositor setup, you may do so. You may just apply this, and it's just going to set your scene up with that exact same lighting and setup. And we also have a Western background, so this can be used for the background that's going to be used with the compositor, and you may use your own custom image if you'd like. But again, this is just going to give you the scene over like this with a nice Western type of a look. Now then, within the resource pack blender items file, we're going to find all of these textures, materials, decals, as well as the geometry nodes. So let's go over them real quick. All of these are going to be used within the scene for the materials over here at the bottom. Then we have labels. So these labels are going to be for the bottles, and we have a human reference which we're going to make use out of within our grey box, making sure that the scaling of items is proper for the freed environment. Then we have Alpha. Alphas are going to be used within, well, sins, within barrels, crates, and whatnot, as well as the sign for, well, the saloon. Finally, we have the geometry notes. These geometry notes will help us to speed up our workflow by helping us generate certain three D detail, essentially. So this is for chain. This is for planks, which we're going to be using a lot throughout the scene for walls and other pieces as well. And finally, to help us populate our terrain to make sure that saloon doesn't look basic and too plain, we're going to make use out of this to generate a bunch of detail for Western scene, such as, you know, cactuses, rocks, plants, and whatnot. All of these you're able to make use out of within your personal projects, although you're not going to have a commercial license, so you cannot use them to reselect and whatnot. But for a course for educational purposes, it's a really good pack, which, again, we're going to make use out of. So yeah, that pretty much covers the resource pack. In the next lesson, we're going to start off with a brand new project file, and we're going to go over the basics of blender itself. Which will help you out with, well, starting off with the movement and whatnot, navigation of blender software. So you don't have to worry about anything. We're going to go through every single step to make sure that no matter your skill level, you're still going to be able to pick this up quite easily. That's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 4. Blender Navigation Basics: Okay. Hello and welcome back everyone to Master Blender free D with Wild West Environment. In the last lesson, we went over the resource pack. Now we're going to start off with a brand new project file. Notice that I am using a version 4.3 0.0. If you're not seeing this, you can go on to edit preferences. And within the interface, you're going to be able to go onto Status Bar within here. I do recommend you enabling every single one of them. It will give you all of this information on the bottom right hand corner, one of which is going to be the version. So at the very bottom right hand corner, you see 4.3 0.0. That's the version we are using for the Blender file. Again, this also allows us to see the amount of objects within the scene, as well as the current memory usage for the program. All of which is a really good information to have. Now, once we have the blender file opened up, we're going to be introduced with the basics camera, cube, and the lighting source. We're going to go over the basics of viewport navigation first, and then we're going to start working within the scene. So that's going to be it for me. Thank you so much for watching next lesson, we're going to start working with the gray box. Welcome, everyone to the basics of blender navigation. Now before we begin, it's important to understand how the axises work within blender. So we can see at the moment, we've got a green line going this way and a red line going this way. This is called the Y axis, and this one is called the X axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with blender viewport as default. But if you want to actually set it on, you just come up to the top right hand side, where these two interlocking balls are and just click the Z axis, and now we can actually see. So how do we actually move around the blended viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if are over here, it's the zoom in and Zoom out. I can actually left click and move these up and down then to zoom in and Zoom out, or I can use the actual mouse to actually zoom in and zoom out using the actual scroll wheel. There's also another thing you can do with Zoom, which is holding control shift and pressing the middle mouse, and you'll see you have a lot more control over zooming in and zooming out. Now, the next thing we want to discuss is actually rotating around an object. So how to do First of all, we'll bring in a cube with Shift A, bring in a cube. Now, if I press the middle mouse button and move my mouse left or right, you can see we can actually rotate around. Unfortunately, though, we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. So to do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. If I scroll my mouse wheel out, you will see now if I hold the middle mouse button and turn left and right, we're actually rotating then around the cube. And this is important because if I actually bring in another cube, so if I duplicate this cube with Shift D, move it over, so bring in my move Gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So to fix that, press the dog butt again, Zoom out, and now I can actually rotate around this cube, as well. Now let's look at something called panning, which means that we're actually going to move left and right. And we do this by holding the shift button, holding the middle mouse, and then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do how to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons here. So again, remember we're looking at the Y axis, the X axis, and the Z axis. If we come to our Y axis and click that on, you will see now that you've got a front view of the Y axis. If you click the X axis, then we can change it to that red X axis, and finally, the Z axis, as well. Now, there are other ways as well that we can actually look around the view port, and these involve using the actual number. So if I press one on the number pad, it's going to te me into that white axis or front view. If I press two, it's going to actually rotate that slightly. And if I press two again, it's going to rotate it slightly more. Now, if I press the eight, it will rotate it the other way, as well. Now, to go into the side view or the X axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top, as well. Now, what about if we actually want to go to the opposite? So instead of going from the bird's eye view, we want to come to the underside of our model. Well, that's actually quite easy, as well. All you need to do is press Control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the x axis and YXs. So, for instance, if I press one, I'm going to be going into Yaxis. If I press Control one, I'm going to be going into the opposite side on the actual Y axis. Can also find these options just in case you forget the top left hand side here under view. So if I go down to view and go across the viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five, a number five button in blender toggles between perspective and orthographic views. Perspective view offers a more natural realistic viewpoint with objects appearing smaller as they get further away, mimicking human vision. Orthographic view removes perspective distortion, making all objects appear at their true size, regardless of distance, useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment, I am able to actually zoom into the cube. However, if I press number five, I will not be able to actually zoom into this cube no matter how far I zoom in. I'll still be able to move around it by pressing the little dot button, like so. But if I actually want to actually work on the inside of an object, I can quickly press number five, and then I can actually go in and work around the inside as well. Now, if you're working on a laptop or something like that or a tablet and it doesn't actually have a number pad, you can also use, if I press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before. So we can click the right view, we can actually click the back and we can click the left view, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squiggle line, and then we can actually view whichever side we need to. Now, we're nearly at the end of this short introduction, there are a couple more things that you can actually do. If you come over to the right hand side and you see here where we've actually got the name of the actual parts within our scene, we can also grab them from here and then press the little dot B to zoom in. So I can grab this one, press the little dot B, and that then will zoom us in. The other great thing about this is we can also come in, shift select them press a little dot button, and then we're able to actually rotate around both of these cubes. Alright, everyone. So I hope you enjoyed the short introduction to the navigation within Blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks, o, everyone. Cheers. 5. Greybox: Hello and welcome everyone to Master Blender Free D with Wild West Environment. And we're going to go ahead and start right off by getting ourselves a human reference. So we could start with the gray boxing. Let's go ahead and go on to the resource back of the blender file. On the upper left hand side, we're going to see a human reference like so. We can go ahead and select it and we can click a dot on our numpad to focus on it if we want to. But all we have to do is basically we can select it, click Control C to copy it, and then within the new project that we created, we're going to go ahead and click Control B and paste the reference in. And within the project, we should have it up on the side. Going to keep the same location as it did for the reference as it had for the reference, so we might want to move it back to the centerpiece. So we can click GY and GX to move it up to the front leg zone. All right, so now we have ourselves a nice little reference to work with. I might as well just move it a little bit downwards as well. If we click one, we can see the reference of a human scale in comparison to the in comparison to the cube. And what you'll notice with the human reference is that it's almost two large squares in regards to the grid. This is an average human scale. So an average human is 1.8 meters and square of this is going to be one unit or 1 meter. So it's almost 2 meters basically. And that's going to help us out. If we grab ourselves the pure reference for sin scale reference, we can see all of our human reference over here. We can see the front, the back, side, and the top in regards to how this environment looks like. And we can see that, for example, this entire building is going to be a free humans stall or 6 meters in comparison. So we're going to start off with the gray boxing. And if you want, you can compare it to the gray box blender file as well. I do recommend you working using the images. The reason being is it helps with developing how basically to get from two D on the free D space type of a mindset. All right, so we're going to start off by getting the entire building set up. We're going to have a larger part in the back and a smaller piece at the front. And with the gray boxing, the way it works, essentially need to be as simple as possible. And my personal rule for working with it is going to be just mainly to use primitive shapes with a couple of exceptions, which I'm going to cover in a bit. And let's go ahead and start off by deleting the cube. We're going to hit Shift and A and grab ourselves a new cube. There is a reason for that, though, in this particular case, if we go to add cube section over here, we can move this Z value by one, and that's going to move it at the very top. Then afterwards, with the free cursor being in the center, if you have the default project, it should still be there. If not, we can click Shift and S and select cursor to world origin. This will make the cursor to the bottom of the cube, basically, this outliner at the bottom. We can then right click and set origin. Two free cursor. This will make it so the origin of this object is going to be at the bottom. The reason we're doing this is basically now when we're scaling it, for example, I click S, Z, it's going to be scaling it from the bottom. And that just makes some work some workflow a little bit easier for us. It's not going to be scaling from the centerpiece, it's going to be scaling from that exact bottom part. Going back to the reference, the front piece is going to be, as I said, 6 meters. So let's go ahead and scale up the the cube over here to 6 meters. You can do so by just going to clicking one to the front view, clicking a Z, and scaling it up to run that amount. So in regards to the web length, if you go to the top down view, we're going to see that this is the type of a section that we're going to have. It's going to be, I'd say, 3 meters around if you compare it to the grid over on the side around 3 meters. Let's go ahead and fix that up. So right now it's 2 meters and I can scale and Y axis, it doesn't have to be perfect, but we can just do it something like that, and we can see that it's now 3 meters. And in regards to the scale for this, let's see. So I'm just checking the upper grid over here. So one, two, three, four, five, six. It's going to be in 6 meters length. That's fair enough. Let's go ahead and fix that up. So we also know that this is going to be 2 meters, so we can upscale this Y in free amount. Oh, sorry, S X, free. So that's going to be three times the amount, which because it was two, it's going to give us exactly 6 meters. So that's the base cube that we're going to have, and we can compare it to the human and the nice little start that we're going to have like so. Alright, so the next piece is going to be part in the side. We example, the water tower. We can go ahead and create ourselves a new cube. In this particular case, I don't really care about the origin point. I can click S Z and just scale it down. The reason being is that it's going to be a small platform. So I'm not really concerned about this setup too much. In regards to the position of this, let's have a look. It's going to be just slightly lower than the main structure. So let's go ahead and just have it like so, and I want to know almost going to be the same size but not quite. I'm going to go ahead and upscale it around this amount, maybe reposition it just a little bit. We don't need to worry about the accuracy in these points. We just want to have a blow with creativity. We want to make sure everything is nicely fitting in regards to composition, and we can always tweak it and adjust it afterwards. That's why working with gray boxes is all about making sure that the base shapes are in order. Something like that is going to be quite well. Now in regards to the support, we can probably grab this cube over here. I'm going to hit Shift D, GX, move it off to the side. Then I'm going to click Alton S, which is going to reset the scale. It's a real nice tool to make use out of if you haven't applied the scale for transformation. Can click and using Z, we could move it upwards. Or alternatively, we can lock the z values to kind of shrink only X and Y axis. So using Shift Z by tapping it once we are in a scale mode, we can just shrink it down like and get this type of a setup. So basically, again, when in scale mode, we're going to hit Shift Z, and that's going to Z axis only giving us the scalability in Y and X. Real nice functionality when we want to kind of shrink it quickly, certain objects. And I'm going to go ahead and just move this to the top, like so give it a certain width and whatnot with in regards to the setup. I think that's quite right. Something like that. Again, I'm not too worried about the overall positioning too much. I'm just trying to get the overall shape. So I think something like that is going to be quite right. The other thing that we need to consider is going to be, if we look at it, the angle of the water tower. This is not as important in this particular case, but if we do want to do that, we could potentially rotate it, let's say, like this. Maybe that would be quite right. But again, I think we can keep it for later setup and move on to the other parts of the grey box. So in regards to, let's say, the part in the back, I really like to get this piece out of the way first because it's a nice, small structure at the back. It's for a toilet, let's say, and you can go up the stairs. There's a nice vertical type of structure over here, which we're going to set up. So if you notice that it doesn't reach the upper limit of the building, it just helps us to break down the overall shape, so that's what we're going to make use out of, basically. I'm going to duplicate this object over here. Going to click Alton S, move it off to the side, and I think I actually moved it a little bit. Yeah, there you go. Just going to fix it. I moved it up downwards. That is, I just fix the verticality. Yeah, throughout the entire setup, you'll see me going through Numpad, just switching between the view ports and whatnot. And this really helps to visualize how it looks like from multiple angles. I recommend you getting used to that. And going back to this structure is a little bit, I think, too wide. I'm going to go into scale mode, clicking S, Shift Z scaling this downwards a little bit, and see how this looks like once we put it closer. Is that going to be the right size? I think at this point, we should grab ourselves to human reference. So this with its hands stretched seems to be I'd say a human length, a little bit wider than that. Let's see if it works out with our human reference over here. So this is almost, this is a little bit still too wide. I'm going to go back onto scale. So shift E to scale it downwards. Just like that. All right. So I think yeah, this will work much better. Okay. Afterwards, because we have the origin at the bottom, we can click S Z and Whoa, I'm going to click escape, going to change my position of a camera because I had it too close to the origin point. I was going way too crazy. As you notice, whenever we're scaling, the reference of the scaling goes from the origin point. So whenever we're getting closer, it's going to get closer to zero. Whenever we're getting further, it's going to be scaling it outwards, basically. And if we have the mouse too close to that origin point, it's going to give us an insane amount of sensitivity. We don't want that. Make sure you have the mouse a little bit further from that origin point. So something like that, we'll do the trick. I think that's quite right. And yeah, let's continue on with the blocking real quick. The reason being is that we still have a long way to go, and we're going to continue on afterwards with the roofing. I'll explain you when we start using a bit of an extra setup of a then primitive shapes. But all of that is going to be further down the lessons. So we are running out of time with this one, so I'll be seeing you in the next one. 6. Edit Mode: Hello and welcome back, everyone to Master Blender Free D with Wild West environment. In the last lesson, we left ourselves off with a basic type of a start for gray boxing. We got ourselves a human reference over on the side, and we're going to continue on just by simply looking at the images, referencing it. Continue on with the gray boxing. So we could get right nice proportions out of the way. And let's go ahead and start off with this water tower on the side. It's going to be super simple, super easy. Let's go ahead and click Shift and A, get ourselves a mesh that this time is going to be a cylinder. Let's go ahead and do that. And we're going to move it, where is it location Z up by one. So it would be at the base of the cursor over here, just like we did previously, Origin to free the cursor, and this way, we can just scale it up and down whenever we feel like it. Now, let's go ahead and move this up onto the side, just like that. All right. I'm going to scale it up again in accordance to the preference that we have. So this water tower is going to be quite tall up. I would say it's 3 meters, almost actually 4 meters. We're now including the top section. I'm going to show you how to set that up in a bit. And yeah, let's go with 3.5 meters wide. So I'm going to click one on our blender file. This way is going to give us that same exact graph and I'm going to get ourselves that lengthy type of a setup, something like that. I'm also going to click seven to go to the top down view and position the structure just like that. Alright, so I think this is looking quite nice proportion wise. Of course, we don't have the entire structure, so it's really hard to measure up whether or not it's going to look good composition wise. Especially when creating a new piece, it's really hard, again, to get the overall feeling and aesthetic of the proportions when working with stylized especially with the stylized pieces, that is. But once we start working on them, we can come back and just, you know, scale it up down however we feel like it. Okay, so going back to the setup, most of the time, 90% of the time when working with gray boxes, you'll only want to use primitive shaves. However, the 10% that we want is going to be with cases where it's slanted sides. So, for example, over here on the water tower or on this part of here, or even if you look at the front or actually side view better, it's going to have a front roof also slanted. We can't really get that with just basic primitive shapes unless we example rotate it. But we don't really want to do that. We want to make sure it's actually properly slanted just to kind of give us a better preview of the wall composition. I think that's the only case where I would go and edit in the parts for gray boxing. So in this particular case, over here, what we can do is we can just duplicate this part, like so. Then we can scale this down a little so, so for such slanted roofs and whatnot, we will need to make use out of the edit mode. To better understand what it is, we're going to go over the basics, over the main controls of it, and then we'll be able to navigate through this entire environment a little bit easier. So I recommend you take it in a pen of paper and take some notes down, and then afterwards, when we come back to this piece, we'll be able to make use out of the information and get ourselves some nice slanted base roofs for the grey box. So, yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. Welcome everyone to the basics of modeling in blender. And this is a short introduction just to get you started on a few of the basics in modeling. So the first thing I want to do is bring in a primitive. So the way that we're going to bring into primitive is press Shift and A, and then what we're going to do is open up a menu, and you can see that we've got all of these things along this actual primitives menu. But the one we want to focus on is the actual mesh. And from here, you can see we can bring in many, many things like cylinders, cubes, planes, and the one we want to bring in just for now is going to be our cube. That we brought our cube in the next thing I want to discuss is object and edit mode. And you can see at the moment over than the left hand side, we're actually in something called object mode, and this means basically we can manipulate this whole object. So if I press G, I can actually move it around my viewport like so. If I press S to scale, I can actually scale the whole of the object in. But the thing is, we don't really want to work in object mode necessarily, and a lot of the time, we're actually going to be working in edit mode. So we can come up to the top left hand side and put this in edit mode, or we can actually press the tab button and jump into Edit mode that way. You will notice once we've actually gone into Eddy mode, we have a lot more options to use, and more importantly, we have a lot of the topology now to play around with. So the first thing you'll notice the difference being is that we have now these three options up at the top and side. And if you have over them, it will say vertex, edges, and faces. Now, vertex is going to be these little points here. The edges is going to be these edges of my cubes or any of the edges. And finally, we've got the faces, which is actually the whole polygon face. Now, you can also instead of clicking on these, press one on the keyboard, and that then will jump you into vertex select. If you press two, you can go into edges, and three is going to take you into faces. From here, we can actually manipulate any of these parts. So you will notice at the moment, I've got gizmo here. Now, if you don't have the Gizmo available, coming over to the left hand side, and you'll have this little button here that says move or you can press Shift spacebar and bring in your move tool like so. So now because I'm on faces, I can actually pull out this face like so, if I go to edges, I can actually grab one of the edges and pull this out like so. And if we're on vertexes, I can grab this vertex or grab the second vertex with Shift Select and then pull this out like so. Really, really easy to actually manipulate things once you know how to select each of these parts. Before we go too much in the weeds with actually modeling in this actual Edit mode, let's just jump back into Object mode for now. What I want to show you is how we can actually move this actual cube around. So as well as moving it with the actual gizmo here, we can also press G and actually fremve this object around or we can press G and Y, too. Let's put it along the Y axis, move it around or the X axis, for instance, and move it this way, or even the z axis and move it up and down. To drop it back where we started, let's just right click like so. So that's actually moving the location of it's not a cube anymore, but let's just say it's a cube. We can also scale this in as well with the Sb so we can scale it in or scale it out like so. Now we can also press the S button, hold the shift button, and then we have a lot more finesse on actual scaling. We can also scale this up by, let's say, a factor of two. So S two, enter, and there we go. And of course, we can scale it down pretty small as well. Now the next thing I want to discuss is rotating, because if we rotate it with R and just rotate it around, we haven't got a lot of control over how this rotates. So what I want to do instead is, I always want to press R, then attach it to an axis, which might be the Y, so the green one, and then rotate it either by free hand. Or by actually inputting the value under our number pad. So if I want to rotate it, let's say, by 90 degrees, press the ends button, and I've rotated this round by 90 degrees. Now, if I want to rotate it back, I can press O Y, the little minus button on the number pad, 90, and then we can rotate it back. There is something else that you need to know. We also want to reset our transformations, and this is one of the most important things within Blender, because if you don't reset your transformations, Blender still considers this a cube, even though it's not really a cube anymore. So what we want to do to reset our transformations is press control. A, all transforms. Then you'll notice that the orientation has moved over here because it will always move to the center of the world. From there, then we want to actually reset our orientation as well. So we want to right click, set origin to geometry, and then it's going to put the origin right back in the center of this object. Now, it's also important to know resetting the transformations will also impact things like UV mapping, things like modifiers. Basically, if you ever have a problem in blender, always make sure that you reset your transformations, and then most of those problems will definitely go away. Alright, the next thing about resetting our transformations, it makes it really easy then to get something back to how we had it before. In other words, if I press S and scale this down, and then let's press R and Z and rotate it round this way, because before this, I actually reset my rotations. What I can now do is press lns and put it back to the scale that it was before I did anything and then alternR and actually reset that rotation as well. So really, really handy, once you've actually reset your transformations in what you can actually. Moving on, we're actually going to be looking now at duplication. So if I come round here, I'm able to actually duplicate this. If I press Shift D and then press the Enterborn, it's now a duplication, and I can move this over to the right hand side. So now we have actually two objects. Now, what if you want these two objects actually combined, and you didn't mean to actually duplicate it in object mode, for instance? Well, that's easy. We can just shift, select the other one and press Control J, and now they're both actually join together, as you can see. So if I press tab now, we're able to come in and actually work on them both at the same time. What happens if we want to actually split them up, so we don't want the objects to actually be together. That's also easy. Just make sure that you select one of them first, and then all you're going to do is press L just to select everything. So all of these faces, then you're going to press P. Come down to say selection, and now if I press tab, they're both actually split off. Now, of course, using the same command, if I press tab, I can actually come in, grab a face, for instance, press Shift D. I can actually also duplicate things with inside Edit mode as well. So we might want to duplicate all three of these. Shift D. I can actually come in then and actually duplicate them like. It also means, though, is that these, when you duplicate them in edit mode will be part of the same object, of course, because in edit mode, they're not actually classed as an object, they're clustered as the same actual part. Now, for the next part, I'm going to bring in a brand new cube, and I'm just going to show you some of the basic modeling techniques within blender and go through a few of the options. So here we have a brand new cube, and the first one I'm going to show you is, if we come into Edit mode, we'll always be working in edit mode to show you these things, make sure you're in edit mode. I'm going to grab the top face. And what I'm going to do is press E, and that then is going to extrude this out. Now, sometimes you will need to extrude something out and it will need to be along A axis, for instance. So all I'm going to do is go to Edge ect, grab this edge, and then what I'm going to do is press E, and you can see, because it's not tied to an axis, it's floating around everywhere. However, if I press the Xpon, you can see now it extrudes out, following along that actual axis, which then makes it really, really easy to manipulate it where I actually need it to. One we're going to look at is something called beveling. And then all I need to do is come in, and I'm going to grab my edge, so I'm going to press two on the keyboard, grab an edge like so, and then I'm just going to press Control B like so. And you'll notice now it's actually bevelled off that side. You'll also notice down on the left hand side here, we have something called an operator panel. It will be closed. Just open it up, and from here then with the actual bevel, we're able then to turn the bevels down, for instance, turn them up, move how the shape of the actual bevel is going to be and all that other good stuff. Pretty much anything you do in blender is going to give you an operator panel like this. We're not going to go too much into this, but basically, the moment that you press Tab button to come out of Edit mode, this is going to disappear, and then you're locked in with the actual shape that you've chosen or the insert or the extrusion. So just bear that in mind. So the moment I press tab, that actually disappears. Now, what about if we want to bevel vertices and not edges. So for instance, if I come to a vertice like this and vertice like this, press Control B, you'll see that it bevels off like this. But if I come to one that are the opposites of each other, press Control B, you'll see nothing actually happens. However, if I press Control Shift and B, then we're actually able to bevel off the actual verts like so. So that's another handy tip for actually bevel. Now the next modeling technique we want to discuss is actually edge loops. So how do we get more geometry onto this? So, for instance, I want to bring some edges on here. I can press Control, and that then will bring me one edge in here. If I left click then, you can see that I can put this either this side or this side. But let's say I want it right in the center. I'm just going to right click on the mouse, and that then is going to put it right in the center. Now, the other thing I can do with the operator panel again is then come in and turn all of these up to give me more actual edge loops, and I can even move them to the on the right. Now, I can also, if I press Control ed, come in, press control law. I can actually scroll up on the mouse wheel to give me as many edge loops as I actually want. Or if I want a little bit more fins, I can actually type it out on the actual number pad, so I can type out 120, for instance, and have 120 edge loops. To cancel it at any time, just press the escape board, and then that will cancel it out. Now the next modeling technique I want to show you requires two actual blocks or two cubes like this. And all I'm going to do is I'm going to come in and I'm going to select opposing faces like so. And then I want to actually join these together, for instance. So all I'm going to do, I've selected them both. I'm going to right click and come down to it says bridge faces. And now you can see I can actually join those together. Now, if I Press Control's dead and just go back a minute, you can also do this by coming in and let's say grabbing this and this edge. And what I'm going to do instead is, I'm going to press the F bone like so, and come down to the bottom, as well, and then grab both of these and press the FBne like so. Sometimes bridge will not work because bridge has to work with two edges and nothing in between. In other words, nothing selected there. If I come into this one now and try right click and come down to where it says, bridge edge loops, you will see select at least two edge loops. So we can't actually join up from there, and that is when it's a good idea to use the FBne instead. Now the final modeling technique that I actually want to show you is something called insert. What I'm going to do is I'm going to grab this face here. I'm going to press the ebonne and then you can see you can actually insert this as in, and from there, you can actually extrude it out if you want to. You can also then press Control B and bevel it off if you want to. And you can see now it's really easy to use all of those techniques that I've actually showed. Now, lastly, the last thing I want to show you is the insert again. But this time we're going to grab this base and this base, and if I press I, it's true you can actually insert them both at the same time. Now, the best thing though about insert is, if I press the I and then press I again, we can actually insert them separately from each other like so. Now, I see a lot of renders on Facebook and other social media that kind of look really, really blocky. For instance, if I press tab now and go into object mode, you will see this actually looks pretty blocky. But there's a real easy fix for this, so it doesn't actually have to look like that. All you need to do is once you've actually finished, right click, come up and where it says, shade auto smooth, and that then will shade it off based on the actual angle. So really, really easy to either shade flat, shade completely smooth like so, or shade auto smooth like so. If you actually are struggling and you actually want it to shady a little bit smoother than what it is, you can come over to the right hand side where this little triangle is, go down and open up the normal, and from there, you can actually increase this and shade it even more smooth based on a higher angle. The default is always set to 30, just make sure you set it to 30 in case you actually overdo. The last thing I want to show you in this introduction is the actual cursor because I think it's very, very important to actually modeling. So what I'm going to do at the mono is I'm going to make another cube with Shift D, and then I want this cube on top of this cube, for instance. Now, if I move my cursor over here, so shift right click. And then what I can do is I can press Shift Desk, and I'm going to go selection to cursor, keep offset. And that then is going to move the exact center of this cube, all the orientation to my actual cursor. Now, how would I get this then on top of this cube? I would literally grab this cube. I would, first of all, right click and set the origin to geometry just to make sure that origin is right in the center light. So I would then press Shift Desk cursor to selected, and that then is going to put my cursor right in the center. And then I would grab this cube, and from there, I'm able to go Shift Desk selection cursor, keep offset. And now that cube is right next to this actual cube here. From here then, I can actually bring this up, and let's actually just have a quick play aound of everything that we've learned. So you can see now if I pull this going to join them both together then with Control J. And then the first thing I'm going to do is come in, grab this face and this face, and we're going to right click then, and we're going to come down to bridge faces. And then I'm going to bring in some edge loops. So let's bring in two or three edge loops. Left click, right, click. And then what I'm going to do is I'm going to press Alt Shift and click just to select all of this edge going around here and press the S but and pull it out like so. From there, then, what I'm going to do is I'm going to bevel off both of these tops, so I'm going to grab this top, shift select this top. I'm going to press Control B and actually bevel them off like so. From there, then I'm going to bring in an insert, so I'm going to grab the front off here. I'm going to insert this with the eye button like so. And then from there, I'm actually going to extrude out. So I'm going to extrude this out like so. Now, let's say I want a bigger piece on the next bit, I'm going to press Shift D. Pull it out. So this is a duplicate of this face. I'm going to press the S but to make it a little bit bigger, and then I'm going to press E and pull that out along the axis. Finally, then what I'm going to do is grab this one and this one and going to right click Ben and bridge faces like so. And you can see just how easy this really is now to actually start building out some really, really complex models with everything that you've just learned. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one Cheers. 7. Backside Greyboxing: All we have to do is go on to Edit mode by hitting Tab, then clicking two, which is going to give us the selection for edge selection mode. And then afterwards, we can select this piece over here. Click G Z, move this downwards. And just like that, we create ourselves a very basic type of a slanted roof. And right away, you can see that it's a little bit too slanted, for example. I'd say, yeah, too slanted. I'm going to go ahead and just fix that up. Going to even go onto face selection mode, clicking free, selecting the top GSD, and just making sure that is not too wide. And afterwards, yeah, let's go ahead and just scale this down. This is too high up in comparison to the roof that we have over here. So let's go ahead and just nicely scale this down. So I think this is going to be much, much better. And at this point, we can start working with a little bit of better shapes. And to see those shapes, we're going to go ahead and go onto this upper right hand section onto the arrow. We're going to enable ourselves the cavity. Cavity will highlight any of the edges like that, and it will give us a better understanding of those shapes that we're combining and just kind of highlight the overall setup. Because when we're texturing, we're going to add edgeware and whatnot. So we're going to highlight any of the pieces, and essentially having this cavity on will help us to give us a nice preview of the overall composition. And yeah, let's go ahead and move on with the setup. If we look at the staircase over here, we can set it up with a nice basic type of a setup. And I would say that's exactly what we're going to do. Just do not stress ourselves over it too much. I'm going to check how many stairs there is. So let's say 12 stairs, it's going to be a good number. Let's go ahead and sort that out. And if we look at it over here as well, even though this section over here is in a way, you can see that the staircase ends around let's say closer, where is it? There we go. Closer to the entrance basically of this section. So we can go ahead and just sort that out. Let's go ahead and grab ourselves, in this case, we're just going to grab ourselves a simple cube. Origin point doesn't really matter for us because we're just going to work with a fin panel. So sometimes I prefer to duplicate it from already existing one just to get that origin point nicely set up. But in this case, it really doesn't matter. So for this particular case, might consider how to set ourselves up with, for example, modifiers, a Ramesh would be really good for giving us that nice type of a setup over here. But I would say that it doesn't really matter for this particular case. The reason being is that we really want to just get ourselves keeping ourselves as simple as possible with the gray boxing and just keeping the overall workflow nice and creative. So I'm going to click Control O to go to the back view. Just the opposite off the front view. And then afterwards, I'm going to go ahead and just click Shift D, move this upwards, shift D, move the upwards. And I think something like that will be pretty good. I'm going to go ahead and check real quick if the gaps are okay. So for example, maybe they're not okay. I'm going to go ahead and just offset them out a little bit. Something like this. We just need essentially just four steps. After which we can make a duplicate out of that. So now we have eight, and if we duplicate it again, we'll have 12 steps, just like that. Now we can go ahead and just reposition our camera to make a nice box selection like so. If you're not able to make a box selection just like that, just make sure you are in box mode over here, and then afterwards, you can click G to move it around. If you want to get the Gizmo back, you can just click on the move tool over here, and that's going to give us this setup. Over here, I'm just going to move it to this point like so and I think this is not good enough. The reason being is that this is going to be higher up. And another thing I made a mistake is, if we click Control one, is this is too close to the base. I'm going to move this upwards a little bit. It's still not enough. I'm going to click, as I said, I'm not too worried about the thickness or anything at this point, just overall pattern. So something like this, I'm happy about. We can go ahead and keep this as is and in regards to the structure over here, this is something for a bit of an extra just to make sure kind of flows nicely overall in the building. But I would say, again, we can just use primitive shapes, going clicking cube. Actually, sorry, I'm going to delete that going to duplicate this piece just to get myself a nice origin point. Like, so I'm going to click seven, going to click scale down actually, like this. And what is it that we'd like to do? Well, we'd like to make sure this is not too fix, so let's go ahead and click SY, this, as I said, this, something like this type of piece is going to be quite right. Again, I'm not too worried about the overall pattern too much. Just interested in this nice type of structure of a stu. And here is going to be also a beam, a support beam on the side. I'm going to make sure we have that. I'm actually just going to reuse this piece over here as Y, make it thicker, R Y, and just scale it. And in regards to scaling, we need to, we need to scale it in, I think, Z axis, but not in the global Z axis. By default, by default, the way the scaling works is going to be in regards to the world positioning. So if I click S Z is going to scale it upwards, even if this is diagonal, so that's not going to give us the right option. We need to go and change this from global to local. You'll notice that the move, if we have this enabled, that the move has been changed. Now it's pointing towards the same part as an object. And we can click S Z and see that it's now even scaling it outwards to the same rotation of an object. So that's pretty neat way of just kind of quickly dealing with this issue over here. I'm not too worried about the overall setup too much. All I'm really looking for is going to be just an overall thickness, let's say. So I think this is I think it needs to be a little bit thicker. So as Y, just picking it up a little bit. So as I said, touching the other section. Maybe something like this. Or maybe I'm just going to lower it down a little bit. I'm just looking at mainly the positioning and rotation. So yeah, I was worried a little bit that this part of the back was a little bit too high up. That's why I moved it. That's the main reason for it. And I think that's going to be good enough. We can just duplicate this, actually. I'm going to go ahead and go back to global transformation. Click Shift D, GS move this upwards just to get a nice piece of railing and I am going to go back to local in this particular case because I want to click S X and just squish it down a little bit as to why maybe bringing this outwards. Maybe something like this. No, I'm going to keep it right above this upper piece and just move this to the side just like that. Again, not worried about anything other than just overall structure, which I think in this particular case is going to be quite right. I'm worried about worried about a pattern overall. Maybe this is not enough. But again, keeping it simple, keeping it fast pace and whatnot in regards to gray boxing is key here. And yeah, again, don't worry about it too much. In regards to the setup. All we need to do is just consider how the overall structure looks like. I'm going to now work on this piece over here at the back if we have a look at the back over. When we look at the back, it's not really easy to see. Maybe it's a little bit better from the side. We do have a structure above it. So this above structure is going to be this part over here. And if I were to highlight it, so this part over here is mainly there to help us break out this empty wall. Otherwise, this entire area would have been too empty. At the base, we would have, like, some small props, you know, barrels, et cetera. At the upper section, we need to help us break up this flat wall. So that's exactly what we're going to do with this type of an extension. We're going to go ahead and get a cell set up a cube, sorry. I'm going to duplicate this piece. To click GY, just to move it up to the side, Alton S to bring back a nice little cube and move it up to the side just like that. Now, let's look about how it's being supported. I'm not sure it's visible over here too much, but it does have these large beams going downwards. The reason being is that extension by itself would be a little bit too much for the weight supported. We would even need to get ourselves this kind of structure support to make sure it's supported. Or because we, in this case, want to have a sign over here, we're going to get the beam going downwards all the way. The sign could have been, for example, in front of that beam like this, you know, and the beam would have been behind it. But all in all, I think it's a little bit better, especially considering that there is a long structure right next to it. So it's just easier to consider this kind of support, I would say, when we have it going downwards. Also, another thing is going to be that we are going to have a real nice type of support for the staircase, as well. So that's going to help us break down this nice linear type of a staircase. I'm going to grab the supports from the back, I'm going to click Shift D GX, move it up to the side, just like. GY. Just like that as said and something like this. I'm also going to make it quite a bit smaller actually, in this particular case. Or actually, I want to know if this is not too much. So this is too much of a cube. I'm going to go ahead and, for example, check the upper section. It's more of a rectangular shape just to keep up with the overall appearance of, well, rectangular pieces. We got to make sure it's being kept the same. And in regards to just overall pattern of this piece, I'm going to click S and Y, just kind of squish it down, I think. Like, so the question is, if this is going to be now enough, or the support. So I want ideally the support to be starting over here and then ending it maybe somewhere around here, bigness quite enough. So we want to reposition this a little bit. And actually, this entire support can I think, yeah, they can actually be quite a bit smaller. So in this particular case, we can select both of them like so, and there is a nice little function to help us scale it down. So if we click on Transform pubodPoint, we can change it to be individual origins. This will mean that whenever we're scaling, we're going to scale it based on each individual points of an object because we're scaling, we want to scale two pieces at once. It's going to be quite helpful. We can click S and then shift Z and then kind of make it a little bit thinner, but not too thin, something like this, maybe just a little bit bigger. Just like so. That's better. I'm going to go back onto median point. This is the default I prefer and actually going to go back to transform orientations Global because otherwise, we might forget and that might mess us up in the future. And for this piece, I'm going to bring it up like this, maybe scale this down just a little bit. Something like this. I don't like scaling it down at wrap or just move this a little bit more to the side. Something like this, that's going to be perfect. Like, so this piece at the top needs to be a slanted roof. Let's go ahead and do that real quick. I'm going to scale this down just to this point, make a duplicate out of the piece, and I am going to scale it down again, go to edit mode, and put it, so I've pink this is a little bit too much. Going to bring it upwards, select the piece at the top, and something like that. Let's see. Yeah, it's nicely. I was actually touching the upper section over here, and it's going to have a frame, so we need to not forget to set that up. I think that's going to be quite alright, we do have a nice support part on the side. Like here. So we're going to be working on that, and it's actually, yeah, this should be closer to the top, I would say. Or actually, you know what we're going to continue on with this in the next lesson. We can tweak small parts, reposition a little bit, change up, you know, the overall scales of individual pieces. But all in all, I think it's shaping up to be pretty nice. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. I never heard of. 8. Working With Greybox Slopes And Wate: Hello and welcome back, everyone to Master blend the PD with Wild West Environment. And last lesson, we got ourselves slanted roofs, and now we're going to continue on moving with the gray box, making sure it's nicely set up, and we get ourselves an overall nice feel for the backside. One of the backside areas, even though it's the front, but the backside will also be visible with it is going to be this part at the top over here. Look at it, we're going to have a roof over here. So even though this is only a gray box, it is good to have those slanted surfaces just like with the roofs we had here. And it's actually quite simple to do. All we got to do is just make sure we duplicate this, like so. Then, well, let's scale it down first to a reasonable amount. Let's say this seems to be quite right. Afterwards, we can go into Edit mode, select the top, just scale it down, like so. And that's all we need to do and scale it up a little bit just so we could have a bit of an angle coming out from the side. And actually, let me just go ahead and check real quick. I think I made it too big for this. So this was 3.5, and we had an extra almost an entire meter for the top. So closer to a half, actually. So yeah, let's go ahead and see that. So yeah, 3.5. Just like that and almost a meter. So this one will be something closer to this. We can even compare it, actually. If we put it one next to each other, just like that, we can totally just compare it. And that seems to be alright. Okay, we don't need to touch it anymore other than that. For now, it is. The next thing that I like to talk about is in regards what slanting other than roofs, like these ones over here. We're also going to have support. So if we have a look at the support over here, it's not exactly straight. It is going in an angle. So let's go ahead and work with that. And actually, if you'll notice this part over here is quite an interesting one because I'm not sure if it's visible. It's basically going to have only one side of support to the side. Let me just explain to you what I mean by that. If we want to go ahead and make all of these go outwards, we can totally do so. We can go ahead and just select all of them at once. And then with all of them selected, we can go onto Edit mode by hitting Tab. Then let's go ahead and click free to make sure we are within the face election. And we're going to go ahead and actually double click A, which will unselect everything. So clicking A once we select everything, double tapping it will deselect everything. And I'm just going to go ahead and select all of these pieces at the bottom, just like that. Now, when we click S, we should be scaling it outwards. So this is a good base for a gray box. I think that's a good foundation. And as you can see, the outwards parts are looking pretty good. These supports over here on the side are not looking so good. So what is happening with? Well, if I was to click Control Z, the reason being is that because they're going outwards, and if we want to keep the same style, we got to consider how they're going to be looking when it's connected to the building. So what I'd like to do instead of just scaling it upwards, so I'm going to make a quick duplicate out of this. So GY, just put it off to the side. The reason I'm doing this is because we can select these like we did previously, scale them outwards just to get them angle properly. Because we're using median point and we have all four of them selected, it's going to be scaling outwards from the center piece and giving us that nice angle going outwards like that. Afterwards, we can go ahead and select these two, just delete it. And the reason we had the duplicate over here is because we have now nice perfect type of a setup for going upwards, just like that. We might even make this quite a bit bulkier as well. Let's go ahead and click S, then Shift Z, just make it a little bit bulkier, like so. And just like that, we're going to get ourselves a nice setup. Afterwards, we're going to try to connect this to extra supports and whatnot, which we can work our way down line. Uh, but for now, though, let's go ahead and consider this overall structure. So I think it can be, going a little bit inwards. Like, so it doesn't need to go outwards too much. That's going to be quite alright. And I'm going to duplicate this to the outside as well, just like that. To make sure we are consistent with the setup. I think that's quite okay. And at this point, we can start thinking about the upper section of the roof. We do want to have this, let me hold on a second. This part of the top. So the frame that goes around it, if we look at it from the side view, it helps us cover this section from the side of the frame that is. So I think that's going to help us out just break up the overall squarish shape that we have so far. What is the easiest way to do that? The easiest way and I think the least time consuming way at the moment, photo gray box would be to just simply duplicate this, bring this outwards, click R Y, oh, sorry, R Y, which will allow us to rotate it in Y axis. And then instead of rotating it with my mouse, I'm going to type in 990, like so, and that's going to give me the nice setup. And in this particular case, I'm just going to go ahead and just tweak this setup, maybe make this a little bit larger as well. I'll probably do that. So I'm going to click. In this case, X is going to be the axis. By the way, I'm looking at the top right hand corner, so this one's over here. So I can see that it's going to the left side is the X axis, which we don't want to scale up or in this case, we do want to scale it up a little bit, but we don't want to scale it up in regards to it. Inflating the object. Basically, we want to make sure it's scaled up to make it thicker. We're going to click Shift X, and just do what we did with the Z value with the z axis, upscale it a little bit. So I think that's quite right. Maybe a Z a little bit as well to make sure we get nice type of A. Support. I think that's looking qua right, actually. I'm going to go ahead and just duplicate it to the upside, so keeping it simple, keeping it basic. All in all, I think it's going to be quarter just like that. I'm going to go ahead and just click Shift D Z 90. That's going to just rotate it completely to that angle, going to click S Y and scale it downwards, like so, and then just reposition them each individually, just like that. Alright, so we're getting somewhere. I'm going to maybe just lower them just a little bit so we can have a separation between those two, between the vertical and horizontal logs going on the top. And yeah, that's looking pretty good so far. Okay, so in regards to the supports, we talked a little bit in regards to these supports because we want to make sure we support the tower over here. It's going to help us support the overall water tank at the top. But we can also use this as a framework for the house for the tavern that is. So we can just I'm just going to make this go inwards just a little bit. Like, so make sure we don't have the sticking out. We're going to basically get these out onto the other side as well. Let's go ahead and do that. I'm just going to duplicate it, move the outwards, like so, and I think that's going to look quite nice overall. Bring them inwards, if more, there we go. So that's looking pretty good. I think I'll just make sure that this sticks out a little bit more. Like, so Alright, all in all, nice stuff. We got some overall nice structure coming up for the upper section. So that is looking pretty good. I do want to set up now the quick supports for this overall water tower. And the reason being is that it just allows me to see how much of the visual way of breaking, let's say, what this overall silhouette we can do. And what I mean by that? Well, let's go ahead and just do it right away. I'm going to duplicate this corner over here just so we could have a nice small plank. Going to click R Y 90, just to rotate it to the side. X and just get it downwards because we're using global position, we're only looking at the world X axis. Before we were using I believe local, local, we were using local for these parts, for example, over here to scale them outwards. But because we're using the world position, we can use the X in this case. All right. So what I'm going to do here? I think the thickness, I'm going to keep it the same. So it would look like it's made out of the same log, for example, or something of that sort. And now we can just figure out what exactly we're going to do with these parts. So I think we can just go ahead and do that. That's already looking pretty good. And I'm just going to go ahead and click G move it downwards a little bit, so this one maybe needs to go a little bit inwards. But in this case, you can see that this part over here doesn't really want to go stick onto the wall because this is diagonal type of a beam. We need to figure out how we're going to be setting these up to be supported by the wall. I'm going to go ahead and delete this and figure out with the first one and then move from. So for SAS, we definitely want this to be sticking in the centerpiece over here. For this part, however, we want to decide if let's go ahead. I want to grab the face on the back side. The easiest way to do that is going to be by clicking isolation mode. So isolation is going to be the question mark next to the right shift on the keyboard. If we were to click that the diagonal dash, we're going to go into isolation mode based on the selection. Allows us to just go into edit mode, click on the face at the back, and now we can go out of the isolation mode with that same button. And now we have the selection and we can move it around. If we're not sure about that, we can also click Old Z, which gives us a what's called ghost mode, I believe, it's actually just enabling X ray. There we go. At the top right handside, you can see that button. So this is what we're enabling it, and we're just using Shorca for that. So we can also do selection with that, but I prefer to go with the isolation mode. Y, let's go ahead and decide how we're going to set this up. I think I'm just going to move this to the right to the left. I'm going to get two fds into the setup. I think that's going to look quite nice with the overall beam. And now, if I duplicate it, move this downwards, think free beams is going to be quite all right. Let me just have a look previams is right. I do want them to be up higher, so they wouldn't get in the way of if we add some bags and whatnot, they wouldn't get in the way. Thepersection requires more structural support anyways. Afterwards, we can go ahead and go into Edit mode with all of them selected. And I will actually this time just use the Xray mode, select each one of them individually and just click GY, move them up a little bit and see how they look like with that kind of setup. And think this looks quite nice. The beams, however, need to be slightly adjusted. Sorry. I need to make sure they're somewhat consistent with the setup. So there we go. I think that's quite nice. The upper end also needs, of course, the beams on this side. So the easiest way to duplicate it without any modifiers or anything of the sort is if we were to select it, click Shift D, GY, move off to the side. We're going to duplicate it in regards to its pattern. But as you can see, it's not going to work in the same way because it's going this beam over here is going the upper so to mirror that, I can click S Y, and we can scale it basically in that direction. And if we were to type minus one, so negative one, it's going to basically scale it in the opposite direction. So that's a pretty neat way of sorting that out in regards to the angles. We might need to adjust them individual though a little bit. Don't want to spend too much time again because we can always come back and adjust it afterwards when we're setting it up in more detail. I'm going to just maybe move them a little bit outwards. So again, not too worried about it too much. The reason being it is because we're going to come back to this. Now that we have this setup, I am a little bit concerned about this upper piece. I don't want to have too much support. If you look at a reference point, for example, I think it's also the case over here, although it's not quite as visible from this perspective. In essence, we have free beams over like so. But if we rotate this, it's only going to have one beam on the top section over here. As the support overall is going to be supported from the up side for the building. We just want to make sure that it doesn't imagine if the wind is pretty harsh and whatnot, the wind wouldn't let it wobble this way. But in that way, the building is already going to have the full support on its back. So we just want an extra beam on its side. I'm going to make sure I duplicate the beam, click RY 90. Oh, sorry, RY 90. Yep. And then R z 90 to have a nice rotation, put it up to the side, just like that. And finally, scale it a little bit inwards, just like that. Like so. I think that's going to be looking pretty good, actually. Maybe even lower down so it wouldn't be on the same exact height as these ones. Maybe this one needs to be going a little bit inwards. All in all, that's looking pretty good so far. Okay, so in the next lesson, we're going to continue on with the setup. Thanks so much for watching and I will be seeing you in a bit. Okay 9. Greybox Preview Setup: Hello, and welcome back, everyone to Master Blend Free D with Wild West Environment. In the last lesson, we got to sell some nice supports for the water tower. We ended off on that, and we're going to continue on with the setup. But before doing that, before getting any further, ideally, I'd like us to get a nice preview of what the overall setup looks like outside of just free D viewport. Of a modeling section. So I want to make sure we get ourselves a nice just overall preview of a render, how it's going to look like with the lighting and whatnot. All right, so for us to do that, we're going to go on to shading at the very top, like so. And once we click on it, we're going to see ourselves a bit of a different view in regards to the viewpoard, how it's set up, we're going to see a new window at the bottom called well, shader graph. Right now for this, it's set up by default as object. We're going to change this to be set to world. This will allow us to change the shaded parameters for the world itself. And once you have this set, you're going to be able to see this type of setup. If you're not seeing it, you should be able to click the little dot on your numpad like so, and it will zoom onto it because by default, it should be selected. Alright. So once we have this, we're going to go ahead and change what this looks like. You can see we have a different visuals in comparison to what we had before because we have a preview studio lighting, but we want to make sure we have a custom setup for the sky texture. And there is a very nice note for that. We're going to hit shift in A and search for sky. There we go. Sky texture to actually search on it, make sure you have your mouse hovered over the graph. Otherwise, if you were to press it on the viewport itself, you're going to have a complete different menu. That's for the viewport and not the graph. So just make sure to hit Shift and A on the graph itself. And then search. Automatically, you can type in search search for sky basically. Sky texture to get this type of a node. This node can be right away just connected to the surface of the world output, just like that. And then afterwards, we're going to be able to see a bit of a difference. In this default view, it's not going to be visible, but if we were to go on to Viewboard shading, you will see quite a bit of a difference, like so and right away. With the sky texture node, we can go ahead and rotate the lighting source, for example, over here, like so. And we can also change the sun intensity. So right now, it's a little bit too bright. Let's go ahead and change this to a value of 0.5, and that's going to lower it down a little bit. And finally, the air is going to allow us to give us that western type of a feel towards the environment. If we were to increase it, you can see it giving us that orange type of a gloom, we can change the s value of 2.5, and it's going to give us a nice bit of orange setup that's more closer to the environment of a Western scene. So I think just by doing this, we're going to give ourselves a nice type of lighting. And in regards to lighting, if we were to go and change it from within the render tab, there is a render engine we can change this from EV to cycles. And then right away, I'm going to go ahead and change the device to GPU to make sure it goes runs faster. If you're not seeing this option, make sure you go to edit preferences, and within the system, there is going to be cycles, random devices. Make sure instead of none, you have it set to EVA one of these. I'm using KURA that seems to work best for me. OptiX is pretty good as well. And yeah, once you're done with that, you can change the mac samples for a preview, I'm going to use 20, and for the noiser I'm going to also take this on to make sure we're getting ourselves a nicer type of a preview without that noisy look that you'd get from cycles. Alright, so so far so good, right now, the overall material is a little too white. We can go ahead and fix that because this material doesn't have anything. It's just going to give us that plain look that we have over here. So we're going to go ahead and get ourselves a new material, set ourselves up with this gray box, and then it will give us a much nicer preview of what we have so far. We're going to go and select Eva one of the object pieces. We're going to click New and that's going to create ourselves new material. We can now double click on this material. We can call this gray box mat, so in order to edit this material, we're going to make use out of the Shader tab over here. Instead of the world, we're going to change it to an object. By default, it is set to complete white. We're going to lower this down by a little bit. To a more reasonable amount, let's say something like this will do. Since it is a gray box, we might as well get ourselves more of a gray value. Afterwards, we also want to have a bit of an extra setup, and that extra setup is going to be using ambient occlusion. So for us to do that, we're going to click Shift and A, search for ambient occlusion. Little node will allow us to get a more definition between object pieces. It'll define how the form looks like a little bit better. If I was to connect it right away, we can see what it does. And I'm not sure it's quite as visible, but in corners over here, for example, we can see that it's giving us a darker bit of edge. And also control it with something called color ramp. So I'm going to click Shift and A, search for Color Ramp. This one over here. Let's go ahead and connect it. And now, if I was to drag the dark piece over here, we can see that this is getting darker up. And just like that, we're able to get ourselves a much nicer definition on the form. It's only for this piece for now, we're going to fix that in a bit, but that's more than enough for now. It is set to be white. We lost that control for the base color. If I was to hold control, we can take it off. We still have that gray. So what I'm going to do just to make my life a little easier is I'm going to select back onto this color, going to go ahead and where would it be in the hex value over here, I can select it, can just tap on this, click Control C to copy it, and then go ahead and reuse that color. I'm going to go ahead and click Shift and A, going to then search for color mix. Sorry, mixed color. There we go. Mixed color will allow us to combine colors. So the ambient occlusion is going to be applied on top of the color we want, so it's going to be set as B. We're also going to change it from a mix. We're going to change it to multiply. This will turn every part that's darker than the original value of A into an even darker value. But whenever it's a lighter type of a result, it's not going to give us any other change. And I'm going to go to A and just paste in this value by clicking Control B, just like that. That's pretty good. Let's go ahead and connect it. And now we're seeing that we have ourselves a nice bit for the side. To apply this for all of the setup, we can do that. We can click A, select all of the pieces. Then we can click Control L and link materials. This should link all of the material that we set up with the rest of the pieces, just like that. Maybe looking at it now, it's a little bit too dark, I'm going to increase the value just by a little bit like so, and I'm going to slide the whiteness a little bit. Closer to the dark, so it wouldn't be as smooth of transition. We're arhing that up. Just like that, a thing that's going to work out quite nicely for us. Alright, so we got something going here. That is looking good so far. Now, let's go back on to modeling mode and continue on with the setup. So now, whenever we want to preview the setup, we can go on to the render mode. I'm going to double check it's still on compute and 20 samples, and we're going to get ourselves a real nice preview. As a bit of an extra, I noticed that this piece over here is not smooth shade. Smooth shade is basically allowing us to average out to vert six. We'll talk a bit about that later in the future, a little more in depth. All we need to know now is that we can right click and we can click on Shade Auto smooth. On the bottom left and corner, you'll see that the menu pops up with the angle by default set as pretty. We're going to get a smoother shading. So before you can see each individual topology, but with this enabled, we can just smooth everything out. And for now, that's more than enough of what we need to know. All right, so that's going to be it from this lesson. Thank you so much for watching, and we'll be seeing you in a bit. Okay. Oh 10. Working On Back Attachment And Base: Hello and welcome back, everyone to Master Blender Fred with Wild West Environment. In the last lesson, we left ourselves off with a nice render setup preview so we can actually visualize what it looks like. One thing I did forget to mention is if in shading, if you want to increase darkness, you can do so through the factor over here. So maybe just a little bit, we can go ahead and increase it. It's not going to matter too much. I think just keeping it on light shade is more than enough with the overall setup. Let's go back on the modeling setup and start with thinking about the backside in regards to additional tiny objects and items. So for example, this part over here, we have a nice extension, a nice setup overall. I will extend this roof, for example, just a little bit so it could have a bit of an overhang. Tiny bit, so not too much. We're going to worry about that later in the end. The ofring well, let's go ahead and extend it just a little bit more to the sides. Like so. Okay. The other thing that we need to consider is, again, how this is going to be behaving in the environment. What's the purpose of it? And, well, this is an extension. After all, we want to make sure we set it up as a nice piece. So what I mean by that is we can add a window over here. That will make it seem a bit more pleasant to the eye. I'll make it seem like from the inside, you can just sit on this overhang or whatnot and just enjoy a book or something, you know? We can even compare it to the human scale just in case, I'm going to click Control O, see how it looks like in comparison to a human. So yeah, just sit on this ledge or something or have some items over here. It's quite nice for additional setup. I think that's quite right. It's not a separate room, it's just a bit of an extension. And, for that reason, let's go ahead and add a small window piece. I think I'm just going to make a duplicate out of this part over here and just move it off to the side, scale it downwards, scale it in regards to Y axis, get it closer, just so we could see what is going to happen over here. I think a window like that is going to be quite right. Now we need to consider the scale of the window, so maybe a little bit higher up, something like that, right in the middle in regards to left and right side and a little bit higher up in compared to the overall set. I think that's going to be quite okay. I'm going to rotate this human RZ 180 just to make sure it's facing us when we're working with the backside. Okay, so yeah, we have ourselves a nice setup over here. We're also going to consider what's underneath because if we look at the perspective, let's go ahead and find it real quick, this part over here. Are we going to want to have something hanging, and this part's going to be a sign indicating that this sign is indicating that the toilet is over here, we're going to have a nice moon shape. All of that is going to be bought out in the future. But for now, we just need to think on how we're breaking up this overall shape. The alternative way for this would have been maybe, again, supports sideways like this. But because we already have the supports going downwards, too much of it would have been a little excessive. So just having this sign over here helps us to break down this overall square shape, otherwise, it would have just been 90 degrees type of an entrance, just like that. I would have been quite rigid looking. Let's put it this way. Go ahead and just add a quick sign. We can just duplicate this part. I'm going to go click seven, move this to the front. Sorry, R Z 90 to make sure it's rotated properly and just put it in somewhat around this area. In regards to scale of a sign, this is such a small prop. We don't really need to consider ourselves a part overall setup. All we need to think about is just how low it's going to go in regards to the style. I'm going to go ahead and move this a little bit to the front, so this way, we can click Control one to go to the back of you and just see if a person going up here is going to bang his head, maybe they need to lower their heads a little bit. Maybe every once in a while, a taller person would end up just smacking their heads a little bit, but that's quite right. Going to go ahead and select both of them. Control one and C. This first stair is over here. And see how it looks like. Honestly, this height is quite alright. I'm quite happy with this. Let's go ahead and keep this as a template for our future sign. And now let's go and start thinking about this well, these parts over here they're going to be placed with smaller props and whatnot. I'm not too concerned about that, but on the other hand, I am concerned about the wagon on this end over here. So this wagon over here is going to help us break down this overall scene with the view. I think that's going to look quite nice. We just need to consider its size and space. Before doing that, though, I think it's time to finally get ourselves a nice surface to work with. And what I mean by that is right now, we're just working on an empty void. The character is not able to stand or anything. This house is just floating in space. Let's go ahead and fix that. We're going to go ahead and set ourselves up with a nice base. I'm going to hit Shift D, get ourselves a plane, and then upscale it to anything that I want. Well, not anything. Let's go ahead and see the top perspective. It's going to be somewhat of a square, but not quite. It's actually has a bit of rounded edges. So for a gray box, we can just round off the edges, and I think it's going to be more than enough for an overall setup. In regards to the wb, both sides seem to be having a little bit of that extra space. From each larger asset. So we can leave that out a little bit. The front space is kept a little bit empty for an entrance, obviously, so we have to consider that, but the backside is also kept around the similar distance and whatnot. So yeah, we can work on that. We can set ourselves up with. We don't have the front yet, but that's going to be quite all right. Let's go ahead and just figure out how it's going to look like from the top u. So the top is going to be, let's say, around this amount. That seems to be quite all right. Then a front is going to be here and then extra space of an empty setup over here with, of course, the nice wagon on the side. So that's good. That's good. We have ourselves the base. I do want to round it off, as I said previously, we can go onto Edit mode and we can use beveling option. There are two bevel options in Blender. Uh, if you click Control B, you're going to bevel of edges. Even if you are in vertex selection, you are going to be beveling of edges. But if you click Control Shift and B, you're going to be beveling of vertices. Once we click that with a selection of all four vertices, we can move our mouse and increase the edge, sorry, the vertex bevels. We can also use our mouse scrolling up or down to increase the resolution. I'm going to add an extra bit of resolution like so to get this type of shape. Once we're done with operation, we can use left mouse button to apply the transformation or sern bebel. And then we're going to get ourselves the extra menu on the left hand side. So this is going to give us the additional tweak tweaking that we can do using it, and we can see the values that we're using. So all we need to know is width and segment, and that's pretty much it. We don't need to overcomplicate ourselves for this particular purpose, since we're just sorting out the gray box, let's keep it simple. All right, so we got ourselves a nice piece with a back sort. Let's go ahead and see how it looks like because we had the amid occlusion, we're going to have the bottom piece added with the ambient. And I think because we added this, I do want to go back real quick and adjust just a little bit. Back within the shading and just tweak it just a little bit more. There we go. Something like that reas this darkness. Much better. All right. So the reason I'm doing it is because the bottom piece was now adding the extra shading, so I just want to make sure I count for that. And honestly, this can also use the same material. We can go into material properties. We can add gray box material through the button over here, and that's just going to use the same type of a material. Alright, so we are sorted with the back, I reckon that's going to be quite right. We have some small props and whatnot, which you can think about in the end. But overall scalability in regards to the proportions of an asset is looking pretty good so far. We now need to consider the overall setup in regards to the front side. So let's go ahead and move on with that and the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 11. Greyboxing Smaller Props To Break Up: Hello and welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we left ourselves off by getting last back pieces, finalized a bit of smaller items and whatnot for windows and the sign placement. But now we're going to continue on with setup of additional props. I do want to leave the front out a little bit for the end. So we're going to continue on with some smaller props, which, again, because this is a gray box, we're going to keep them down to more of a primitive shape. Let's go ahead and start off with a cylinder. Like so going to click G Z mode upwards. And just to make sure it's the origin point, this orange dot is downwards so we can have a nice scalability. I'm going to go ahead and make my life easier by going on to Edit mode, going to click free, select this bottom piece, then hit shift in S, and then cursor to active. Now using this cursor, we can do the same setup as origin to geometry. Sorry, Origin to free the cursor. There we go. And we're going to get ourselves the same result as we did previously in the past by just moving the primitive upwards and then setting up the origin point underneath. All right, so we're going to think about the scalability for these crates and whatnot, for the barrels. I'm going to move this person off to the side. So turn this around even. At this point, it can be facing forwards. And now we can click one and see how it looks like in regards to the person. So something like this, it's going to be quite right. If we look at the examples over here, best example would be probably here, we can see that it's getting to its hip section. So that's around the area that we want to go in regards to this setup. Maybe we want to also make them a little bit thicker so we know where they're touching and whatnot. These barrels do look quite thick. They are expanding and whatnot in the middle, which we're going to be working, but it's best when working with gray box to have a bit of a larger box instead of a smaller otherwise, you'd be forced to shrink them down, for example, so they wouldn't be touching and whatnot or colliding with one another. So it's easier to, it's easier to work with larger grey box items rather than smaller and then, overcomplicating yourself with things not fitting in that area. For that reason, I'm going to hit scale, ship z, and just upscale it by A little bit too much. Something like this. Perfect. All right, so let's go ahead and think about how it's going to fit in the backside. I'm going to go ahead and just move it up. Move this over here, maybe. Yeah. So we're going to fill these with barrels. So if we look at the reference, it has a couple extra barrels. It's more than okay to just heave leave this is for now. And then because we're going to be working with maybe smaller type of barrels with smaller hit box, it's going to be easier to fit the additional barrel in afterwards. Afterwards, let's go ahead and just add one more barrel over here. That's going to be a looking quarter. I'm going to select this and do real quick Shane Otis move just so we wouldn't have those topology, ugly topology of the faces. And this is looking good so far. I don't think we need to add anything extra for the side, Let's go ahead and check the perspective real quick. Everywhere else it's going to be crates. Yeah, that's going to be it for the barrels. It's going to be more than enough. For the section, we do have a small barrel over here at the front, which we're going to work on later down line. But for now, though, let's think about what other props we're going to be placing. In regards to props, we have a square type of crate. We have also elegated type of crate that has a longer length. And finally, we also have, if we look at which perspective would that be this part over here. Underneath the water tower, we'd have these kind of bags over here. So it would be ever grain and whatnot. They're going to be just additional items, small props for the scene. So all in all, we can just place them around. I'm going to go ahead and create ourselves a new cube, going to make a similar size around a similar size like this. It's going to be quite alright. Maybe maybe smaller even. Crates can be smaller a little bit. Like so. Going to compare it with the size. So, honestly, yeah, it's quite small crate, that's right. And we're going to just place them down. I'm going to make a duplicate version of this, going to click SX, make a larger version. These do seem too big. Going to shrink them down. Going to grab going to grab the human reference, bring it closer to the top, so I would know what the hell I'm doing with the scaling. I would make them too small. Like, so there we go. I think that's quite right. Up to your knee, quite a nice type of crate. And with this, we can just grab ourselves a nice placement. So notice how every single crate over here is slightly at an angle, slightly scattered and whatnot. That's exactly what we want with our own type of crates. We want them to be just slightly tilted. This will give us a nice, more organic type of a look when we're building them. Again, this is just a gray box. So we don't really need to worry about the angle too much, but it will help us if we have it more at a reasonable setup. And I'm just wondering, in comparison to this, we don't have enough space over here to work with. If we look at space over here versus the space of what we have over here, these parts are at a little too fake. So let's go ahead and fix them. The easiest way to fix that would be to just probably select select both sides like so and click AY and just scale them downwards like this to a reasonable amount and select these parts over here, go to edit mode and select these bases like so, click SX and scale them down a little bit, like so. The reason I'm doing it like this instead of just selecting all of them at once is because we want to make sure they don't scale in another weird angle. If I was to have them all selected like this and try to scale them, you can see how it starts behaving weirdly. That's not what we want. So let's make sure this doesn't happen, and that's why I did it in a nicer manner. Let's see what is happening over here. Oh, I see. We need to move this a little bit to the side and just fill in the gap like this. All right, so we're going to have ourselves a much nicer type, a setup. I'm going to double check visually if this is not too high, so it's a smaller space, I think in comparison. We're actually this might be quite alright. We might need to adjust it whilst we're working with more detail, but for grade works, I think that's more than enough of a setup. Alright, so going back to the crates, let's go ahead and work with this. And we're going to have two duplicates of It's a little bit hard to see from that angle, although it would make it easier for me, but let's go ahead and just have two duplicates of the crates. Like so have them a little bit rotated. Like this. And another thing I should probably mention is how we should be working whilst rotating and whatnot. At this point, we should be starting to think in regards to the main camera angle, how it's going to look like. Before we were working on the backside, so it's not as important, although when doing a turn table and whatnot, it is still quite interesting to see all the angles and whatnot, all the composition shots. So it is still important to break down the overall surfaces and whatnot with, like, extensions of a house and whatnot, make it more interesting. But from now on, we're going to start thinking about the main shot about how it's going to be presented as a main render image. So in this case, we start thinking about these crates, for example, over here, if we have them too much and whatnot, for this particular case, for example, so it's going to give us a nice way of breaking up the silhouette of the top of the building. Let's finish this up real quick. I'm going to move this character off to the side. Going to add a bit of additional crates over here, rotate them a little bit. So to get this type of result, and then you can just move this like this. So each crate would be originally rotated. Now, when we're thinking about the angle of a camera, we're not setting that up yet, but whilst we're looking at it, we got to consider how it's going to look with the overall silhouette. So right now before, it would have been just basically a square, it would have been flat on the top, but now we're able to just break it up a little bit with these additional boxes coming out from the side. And just to make sure it's not just, you know, permits being built because they're just having that triangular shape, we are going to add an additional box at the front real quickly. So just to kind of help us break down this shape pattern, just like that. I think they still need to be a little bit smaller. But again, we can scale them down once we have the proper assets that we're able to work with. The fing is going to be a slide hatchet over here on the side. If you look at it, that's what this part is. So we can have a quick box. Yeah, perhaps like a box duplicate, going to move it off to the side and just make this smaller shrinking and down like so. And that's pretty much it in regards to the setup for the top, that's more than enough. We can keep it as it is. Maybe we can balance it out a little bit more in the center, just like that. In the next lesson, we're going to start off with a quick wagon setup on the side, and then we're going to start working with the front as well. So thank you so much for watching, and I will be seeing you in a bit. 12. Using Transorm Data To Keep Wagon: Okay. Hello and welcome back, everyone to Master Blender Free D with Wild West Environments. And in the last lesson, we ended up getting ourselves to top section sorted. Now we're going to continue on with this section at the bottom. And I reckon we can just do a little bit of the setup for the wagon. So since this is still a gray box part, we're going to keep it simple. We're going to keep it basic. I'd firstly like to go ahead and fix up this person over here floating. We can click Alton G, which is going to reset the transformations. This only works if you haven't applied the transformations. And by that, some of you might know that control and A has apply setup. So if we end up applying location, we're going to have ourselves the transformation of the character, which can be seen if we press N, we're going to be able to basically hide and hide. And if we have the person selected, we can see the location is going to be offset. And this is the location that tells where the character is essentially. And if we reset these to zero or click OG, which is going to move this to B at the value of zero. That's all it's doing the setup. The reason I want to do it is just to have it on the ground. This, what I mentioned is going to come in handy for the wagon itself. Before doing that, I'd like to move the sun a little bit, so I'm going to go onto the shader and I'm going to go onto the world setup, rotation for the sun. I'm just going to move it so we could have a little bit more of lighting coming to this section over here. Now, let's go ahead and start setting ourselves up. With the S wagon, if we have a look at the reference, we'll notice that the wagon itself is in a corner over here, and it's just a little bit higher than a human being. So imagine the character climbing in, being able to sit inside and whatnot, and it's just going to be quite nicely set up. W is human reference height. So another thing is going to be its shape. It's as you can see, is more of a squarish type of a shape. We can start with that and work ourselves from there. Alright. To start off, what I'm going to do is I'm going to create a cube, like so going to actually, I'm going to reset it. I'm going to delete this cube, and I'm going to reset the fred cursor. So shift an S cursor to world origin. So it's going to put it at the very base like so. Then I'm going to create a mesh cube, like so, and I'm just going to move it upwards just to see in regards to the height and move it to the side. I think this height might be quite right. Just going to check from the top. I am going to make this a little bit bigger in regards to its length. So S and Y and just extend it a little bit, L so. And as a starting point, all we're going to do is we're going to make sure it's nice shape and it's recognizable as a gray box. So this is floating. The reason being is that we do want to have some wheels if we have a look at a reference. The one to the side over here, you'll notice that we do have the wheels, but the one on the front is going to be held up by a rock. Either way, we do need to have that main box shape to be slightly above ground, meaning that we do need to just have the base of it slightly just floating in the air. So let's go ahead and do that. I'm just wondering if this is not too big, I think overall it is too big because we elevated this. We're going to make this smaller just scaling it down a little bit. I'm going to click seven just to see how it looks like from the top, compare it to our reference, and let's have a look. I think all in all, this is a reasonable size, maybe needs to be a little bit elegated. So the width is a little bit going to be wider. And in terms of the setup, it should be quite a bit lower actually, like this. I think that's quite right. I'm going to grab the top a little bit and just pull it upwards just a little bit, like so. All right, so now we have the nice base of a cube. Now I'm going to have a final look in regards to the shape and maybe make it just a little bit small in this area. So probably something like this. And if I want to apply the scale, we can still see the menu by clicking N that the scale over here is now different. If I was to make it the same, it's going to just give us the normal cube. But because we were scaling this in object mode, we are going to have transformation scale and rotation being applied on top of the primitive cube. The reason this is important to know is because if I was to edit this cube in edit mode by just moving these pass around, so, you'll notice that if I was to go back onto object mode, these scale dimensions are going to be exactly the same. Now, the main thing why this is important is because if we want to use modifiers, if we want to use something like Bevel, for example, as well, it's going to change the way they interact with the object because the transformations of mesh gets applied after the fact that they're being used. And what I mean by that is if, let's say we want to have a curve at the top of this object, we're going to go on to Edit mode. We're going to click two to go onto edge selection, select upper section like so, click Control B, and we'll notice that this is looking quite fine. So if I was to select all four faces and try to upscale it just like that, we'll notice that it's giving us a bevel that's going to be closer, more pushed at the front. The reason being is that well, the scale is not proportional to the cube. We can probably see it a little bit better if we had a cube more like this, and if I was to do it, we can now see that it's giving us more of a roof type. We don't want this in this particular case. What we do want is we want to make sure that we have always more of a consistent type of a modifier. So in this case, we want to simply fix the scaling issue over here. We're going to click Control A and apply only the scale. The reason we're only applying the scale is when we click on this, it's going to reset it to one, one, one. The reason we only want to apply the scale is because when we're done with the setup, so right now, for example, we have the basic cube. We can click R Y, maybe have it a little bit rotated towards this side because the wheel is missing. R z rotated a little bit towards this side, like so. So we're going to have a nice position of the set we're done with the gray box, we can re use this as a base setup by resetting the entire rotations and whatnot. We can click Alt R and Alt G, which is going to by clicking Alt r, we're going to apply or not apply. We're going to reset the rotation transform, and by clicking Alt G, we're going to apply the location, transform. And why that is important is because this is going to give us back onto the default setup of the world as we had it originally, except for a scale that is because we applied it and we've not reset it. If we do want to apply the scale, we can click Alton S. It's not good to do anything because we did have it applied already beforehand. Anyways, the reason we want to make sure we're setting it up like this and not any other way is because we have it set up nicely and in the right position. What we can do is if we want to, we can make a duplicate out of this. We can reset the motion, the location and rotation. Then we can do symmetrical type of work. So, for example, we can add wheels in this particular case. I always has to move it upwards a little bit. At this point, it doesn't really matter because we are in the right spot of the world. We can go ahead and add cylinder, like so, put it off to the side. Just like that. Move it a little bit higher and reposition it like that. Of course, a little bigger, so it would be touching the ground. Maybe something like this is quite nice. Let's fiin it out. This is only for a gray box, but it's nicer to see the overall shape setup. Maybe I'll just put it off a little bit to the front. If we want, of course, we can just work just on this piece. I'm going to select both of these, the main cube and holding Shift, the wheel. And then I'm going to click the question mark or the slash that we have next to the shift on the right side of the keyboard, which is going to isolate our view. By clicking, again, we can go out of the isolation mode, and this is really nice when we want to just work on simple objects to make sure we don't get confused with the items in the scene. Anyways, afterwards, we can go ahead and just simply duplicate this wheel, like so. And right now, what I'm going to do is just to keep it simple. I'm going to select both of them, shift D, GX, mood off to the side, and that's how easy it is to just get a basic shape. This cube over here, although this is still a great box, it's still nice to have a nicer base setup. So I'm going to get the shape that we have at the top, a little bit that extra curve that we see over here. We're going to select both sides just like that. We're going to hit Control B to bevel, whilst we're beveling, we're going to use our mouse wheel to increase the topology. And this is going to give us the setup. Of course, at the bottom left hand corner, we can change this tab over here, so increase the segments, for example, to six, we're going to get ourselves a nicer base to work with. I think for now, that's going to be more than enough for a setup. Yeah, you know what? I will I think I will change this up a little bit to make sure that we have some hollow section on the inside. So what I'm going to do is I'm going to click on a edge loop, so control R. But that's not going to give us an edge loop that we want. The reason being is that we have an endgon topology. This right here on the front means that we have more than four faces. If it has more than four faces, you can see the yellow line doesn't go over it, and that's exactly why. So we're going to fix that real quick. We're going to click one. We're going to select one of the vertices at the very bottom. Going to hold Shift, select up one on the upside, click J. That's going to join them together. This way, when we click Control R, we'll see that the line now goes across. Of course, we'll do the same at the back as well just to make sure we have a nice consistency. And again, the reason we're doing this is simply now that we have our setup like this, we can create ourselves an edge loop just like that. I'm going to select all of these pass so click sorry and ones at the top as well. So something like this, click I, and that's going to In set. Oh, sorry, I'm going to double click I. There we go. And that's going to inset the setup like this, very basic, very simple type of a shape. By double clicking I, it just means that we have the individual piece ticked on over here, and afterwards, we're going to just delete the faces so we get something like this, a basic shape of the setup. I'm also going to delete the wheel at the front so we know what the hell is going on with our setup. Then I'm going to hit Shift an A, create ourselves a cube, and put a little bit of a base so we would know what is going on with the setup. This, again, is just real quick, real sketchy and messy way of doing it. So we would know what we're working on with the setup. I'm not going to focus on the proportions of how big how thick the frame is at the moment, nothing like that. I just want to make sure that we have a very basic shape a silhouette that's going to help us identify what this piece is. And yeah, this should be right. Then afterwards, I'm going to select one of them going to hit ship D R, Z 90, and then aX, scale it down, lower it down a little bit. And this way, we know where our wheel goes. So something like this. I think that's quite right. Yeah, that's quite right. Just going to make it bigger like this, so the axis is visible. Going to make the wheels move out a little bit, like so. Just have them stick like this, not worried about them being in center or anything of the sort, making sure that we have something to work with. After we're done with it, you'll notice that all of these items are separate pieces. So what I'm going to do is I'm going to select everything with an object mode whilst this piece is isolated. So again, just selecting everything for this piece. Then I'm going to hold Shift and select the base item. So that's the main cube that we have. The reason being is that we want to make sure that the transformation that we're going to be applying is going to be applied onto that same origin point of the cube otherwise it's not going to work. In the way I'm going to show you basically. So once we hold Shift and select this last piece, we'll notice that it glows orange instead of that darker orange highlight. We're then going to right click Set origin to oh, sorry. We're going to we're then going to click Control and J, like so, and there we go. It's one single piece. Now we can click the dash icon to go out of isolation mode. I'm going to select this we're going to select the cube, and then whilst holding Shift, we're going to click on the wagon that we created, and then we're going to click Control L and L link Object data. So that way, as you can see, we're going to get ourselves a setup that's placed directly in a location that we want. And I think that's pretty good. So now we can just delete that duplicate over here and we're going to have ourselves this setup, which by the way, we can still work on. We can come back whenever we want by clicking Alt G, Alt R, and that's just going to again, reposition it to be completely centered and nicely set up for symmetry work. So that's the reason why we're doing it like this. Perhaps the scale is a little bit too big now that I'll look at it. Maybe I'll just scale it down, like so and click Control A, apply scale, only the scale. We still have these transformations, and I think that's quite all right. I think I'll just maybe slightly readjust this. So the wheels are actually touching like so, and let's see where the position is within the setup. So what we want is we want this to kind of break off the side wall over here. So I'm going to go ahead and do just that somewhere around here. I think that's quite right. Maybe a little bit off to the side, just like that. Let's ignore the human collision, and we're going to quickly create a rock just to make sure that it's not just floating, and we remember that there is, in fact, something that needs to be placed over here. I think that's quite alright to do. I don't really care about this rock positioning. We're going to be setting it up afterwards. Anyways. Let's just make sure we place something and we have ourselves this type of a setup. I think that's quite right. Just to make it nicer, since we have some nice pebbles on the side, we can just right click shade Auto Smooth and we don't need to worry about it. I just didn't like those flat faces that we'd otherwise see over here, you see, over here. So that's why we're doing it like this. Alright, I think that's it for this lesson. Thank you so much for watching, and I'll be seeing you in a bit. 13. Modeling Front Section Of The Greybox: Hello and welcome back everyone to Master Blender Fred with Wild West Environment. In the last lesson, we learned a little bit about the setup of this wagon and how to make use out of the transform to keep the symmetry of an object. Now we're going to continue on with the setup, and we're going to, well, work with the front section. So to start off, I reckon we can just get ourselves a nice platform, and we simply need to make ourselves a cube that's small enough for this type of height. I'm just going to casually place it at the base of this building. Now we need to decide the height of this platform. That's the main thing I think that really needs to be done. If we have a look at our references, maybe this one would be better. We'll notice that the platform itself goes just above the knee level. And so we get ourselves a couple of steps walking up where would the steps be? There we go a couple of steps, walking up. And that way, we'd be able to break up a little bit of that frontal section, whilst at the same time not raising it too high up. We don't want this to be affecting the second floor. After all, the roof ends over here, so we'd be able to get ourselves some extra windows just to break down the walls at the top. So let's go ahead and do that. So think honestly, I just managed to get just above the knee level. If we do want to slightly adjust it, we can go on to Edit mode, click free, base selection, just slightly scale it up, like so and that is more than enough. Now, in regards to the setup over here, we want to make sure that the base is going to be close to the support whilst the up side is going to end with a little bit of an extra space left, so we're going to go on to Edit mode, select the edge, the face of an edge. Click GX, move it like so, and I think we can leave it just a little bit like so to have a small piece of a platform. Now that I look at it, I think it's a little bit too high. Et me just go ahead and just lower it slightly. There we go. Perfect. All right. So now we can think about how it's going to be set up in regards to the staircase. The easiest way for us to do that would be to just make a duplicate out of this. Like, so position it slightly. To the right amount, a nice little cube, GY, there we go, a nice little cube. And this way, we can work with the setup over here. Yeah, we basically want this to be either two or three steps. Let's figure out which weight would work best. But before doing that, I'd really like this to be going inwards, a little bit, like something like that would work quite well. The only thing though, is that we now will have an issue with this platform going from the side. So what I'm going to do is I'm going to, I'm going to fix that. I'm going to go onto Edit mode. I'm going to click Control R and move this line whilst holding a left mouse button to this position, and now I'm going to do the same over here. So it's going to be touching or cube just like that. Then I'm going to go into isolation mode and just going to take these parts off, so delete faces. Now I'm just going to fill out these parts like this using F. And if we have a look, we're now going to be able to nicely fit this piece in. So that way, we can now select this edge and click Control B and start working with the setup. What we want over here is we want to make use out of the profile type. Within the profile type, there is a very nice hidden feature. Let's go ahead and have a look. If you click Custom, we can select presets. Preset that we're looking for is going to be called steps. So we select it, it's going to give us this type of a setup. Now, this setup is going to be based on the segments that we have. So if we decide to lower it by a couple and then use this arrow of here to reset curve, it's going to give us this setup. I am a little bit worried, though. That they are a little too wide. Why is that happening? Well, because we haven't applied the setup. Yeah, I'm going to click Control Z real quick. I'm going to go on to object mode. Now I'm going to click Control A and just apply all transformations. Like, so it doesn't matter about origin point because we need to just simply have mainly the scale, to be honest, we don't need to worry about location or rotation. We just need that. Now we can go ahead and use that again, and we're going to get ourselves much more spread out type of a setup. So whether we should have three or two, that is a great question, and I think we should get ourselves a human reference closer. So that way, we could see the height of those steps. So now I can click Control B and see how it looks like. And ideally, we want these steps yeah, we want these steps to be around this amount. I think that's quite okay. I think we can also adjust it upwards as well. So S is, scale it down. So this way, the platform itself is going to be a little bit higher. And something like this is going to be quite right. I'm just going to select the bottom real quick and move it downwards, so the base step is not going to be so thin. As a gray box, I think that's more than enough. Alright, so I think the height for this is quite nice. Now the next step I reckon is going to be setting up off the roof. That way we know the boundaries of what we're working with in this small section. I think that's the best thing we can do. Or actually, I think the platform itself is a little too small. So I'm going to go ahead and select both the stairs and a platform, and I'm going to just check the reference. Where is the reference. So you can see the part on the back is this height, whilst this is going to be, I'd say, 20% wider or lengthier. And because of that, I'm going to go ahead and just position it. Oh, actually, I'm going to click Guy and just move it outwards like so let's see. It looks like I'm going to hide the base real quick. That way, I can see the difference. So let's see. From here to here and from here to maybe a little bit more yeah, that looks perfect. All right, I'm just going to grab the platform at the back, push it all the way to the back to the back. Like so. And we have ourselves a nice platform to work with. This looks much better in comparison. Now we'll have plenty of control to work with this section over here. All right. The next thing I wanted to do was roof. The roof itself is going to be quite simple, if we have a look over here. Where is the sideway view. So that's just going to be pretty much a triangle. We just need to mainly decide on the height and the angle. And the best thing we can do in this particular case is going to be I reckon I'm just going to duplicate this bottom piece. This way, I can actually have something to work with. I'm going to go into Edit mode, select this these two pass, click Shift D, escape, so it would cancel out the duplicate. And now we can move it easily to the top. G, you said, move it upwards like so, and there we go. We got ourselves the base. Click P, separate by selection. So that way, this would be in object mode, a separate object, essentially. And we are going to, let's see, go on to Edit mode. Click E. Oh, sorry, click A to select it. Click E and extrude it. Like so now we can go ahead and just have some thickness. We can go and select the front, click seven, GY, and extend it just a little bit outside. If we have look at the reference, the roof extends just this tiny bit. So that's exactly what we want to do. Go to double check real quick. So this is the normal extension, and this is going to be that extra extension. I think where the step ends is going to be a perfect spot for it. Right. And now we need to decide again on the angle. So the angle itself is going to be well, we need to make a selection for the edge. I think the easiest selection for me to do personally when I'm working with the setup and I can't see what's inside over here, we could make a selection like that actually on edge selection. But in most of the cases, in some cases, it's not going to be viable. What I like to do is click Alt Z, and that's going to go on to Xray mode. We can then select these edges because they're going to be seen through the wall then click Old Z to go out of that X ray mode. Then sorry, GZ, and just raise it up like so. And I think we raised it to a reasonable amount, just a little bit more. Yeah, I like the amount, but let's remember that we do need to have some space for the windows. And those windows are going to be around. Well, from head to the knees section, I think that's a reasonable amount. So I'm going to go ahead and just position my character like so and put this roof a little bit lower just like that. Let's have a look. In this particular case, we can then decide on the boundaries itself on the setup. And if we have a look in comparison to the setup, we have a box, essentially, of this proportion for the front. So just a little bit wider in comparison to this building part in the back. So let's decide if that's actually going to be viable for us. I'm going to click three to move this. I'm going to click H as well to hide the wagon and see that right away, this right now is way too elegated in comparison to the setup, we definitely are overly extending. I'm going to go ahead and select all of those pieces. I'm going to hit tab and well, make sure we don't have the mannequin selected. All these pieces at the front, click free to go onto the right orthographic view. Click tab and then I'm going to make use out of that ghost, sorry, the X ray view, Z. This way, whenever we make a selection, it's going to select past all the parts. You see, all those edges are selected. If we didn't have that and I tried to make selection, the parts in the back are not going to be selected. That's why I'm using ldZet for that. Anyways, clicking free, going to click one now to go into vertex selection, selecting these parts at the front, clicking GY, and moving it accordingly to let's see. In comparison, ie balling it and all, something like this perhaps, let's see where those windows are. These windows, I think has a little bit too much space. I'm going to raise this up a little bit. So that way, we do have some space for the character. So if we put it over here, it seems like you should just getting through, but keep in mind that this roof is going to be where would it be seen best? It's going to be hollow on the inside, more or less or actually, sorry, we're going to have boards over here. So we do need to heighten this up a little bit. To a more reasonable amount. I think that's I think that's alright. I think that's right. I do want to have a bit of an extra space over here. So I'm going to do the same thing and just kind of move all of this part over here to the side to readjust it. So we'd have space for this wonderful coffin over here. I think this is looking quite nice. I'm going to select this piece at the top real quick, select these parts olds to make sure we're not in the X ray. GZ, just slightly moving downwards. There we go. I think that's more than enough space for what we're trying to do with this upper section. Yeah, that's going to be more than enough space. Absolutely. And yeah, we can move on now with the upper parts. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bin. Okay. So 14. Working With Bar Proportions: Hello, and welcome back everyone to Master blend of Free D with Wild West Environment. In last lesson, we left ourselves the section to be left with a nice proportion to work with. We're going to continue on with the setup, and now we're going to think about the upper section of the roof. So this part over here. And I'd like to ideally start off by getting these windows. Out of the way first, so we know exactly where we need to position them. And for that, I think the best option for us would be to grab the block in the back. This one is going to go to be a very good initial point to know a reference, let's say, for the scale of a window. It doesn't have to be exact, but I'm going to just duplicate it, click GY, move it off to the side, and there we go. We got ourselves first window. But of course, well, it needs to be changed up, and we can think about the scaling and whatnot. So how much space are we working with here? I think we can definitely, well, for sides, make it smaller. I'm going to just click Sx and make it quite a bit smaller. Click S Z increase the scale. Is that good enough? Well, let's check with this human over here. We assume there is a second floor and it's just going to be standing and watching over, for example. And I think for now, that's going to be quiet enough for the setup, maybe a little bit wider, but that's pretty much it. The roof itself will have some space, I reckon to move upwards. But, yeah, that's that's good. Okay, so we're going to now move one duplicate to another side. So we know there is going to be a window over here. And this part, we want to be going on this section of the roof. So essentially, we're going to make a partial symmetry for this section, so imagine there is going to be a properly set up roof over here. We want an extension within the middle part of this roof and we're going to have two windows on both sides. Of course, there's going to be a massive gap over here, but we're going to just fill this in with additional support, have a bit of extra prop over on the side and all of that good stuff. But all in all, that's essentially the setup that we're going to go with. All right, so let's have a look about this setup. We're just going to grab a cube, extend it, and leave it as is. I would say, it would go like 50% inwards in regards to the main roof shape. I think that's a reasonable setup. So let's go ahead and make a You know what? Let's make a new cube. So we just have a fresh cube like so, and we can just position it like this over here. Now the question is, if it's going to be big enough or not. It's hard to see from the top view, but I'm just going to go ahead and turn on rendo view just to see the shadow a little bit. And I think that's a little bit. Is it a little bit too big? I wouldn't say so. I would yeah, I would lower this down a little bit. And yeah, you know what? I'll just make it a little bit smaller, push it inward as well. And so it would have a bit of an extra gap on the top, and then we can work our way with that. There is going to be a sign at the front, which we're going to be working on and whatnot, but general proportions, I think, are quite important. Especially when it comes to the smaller parts once we start setting them up, we definitely need to think about all of that. This roof is, it is a little bit too small now that I see that we have additional space for these windows. We can move them upwards a little bit. We can move this entire piece just a little bit higher. And there we go. I think that's much nicer. All right. So just to make sure we remember how it's going to look like, we are going to go ahead and add, we're definitely going to add some supports to make sure we know what we're doing with them afterwards. I'm just going to go ahead and move them off onto the side, make them reasonably scale like this, then scale them upwards. And I'd want to origin point to be at the bottom probably. And I'll just go ahead and do that. Probably, I'll go on the Edit mode, click on the snapping tool to the face GED. So would snap to the top section, actually, that's going to be easier for us. And now we can just select the bottom piece. Go and snap it to the bottom, and there we go. We got ourselves a nice setup. It's just using snapping mode, which allows us to control it based on whichever snapping criteria we want. In this case, we're snapping to the faces of this um, staircase and the rooftop. Well, whilst doing that, keep in mind that if you are moving it, it's going to be based on your curse. So let's say I want this to be touching the side or the bottom piece of the window. If I click, GZ, I can move it. Nothing's going to happen here. But once I start moving my Oh, sorry, let me just turn on the snapping mode, there we go. Once I start moving it, my cursor towards this section over here, you see, it starts snapping or over here. It basically snaps to wherever the cursor is. So whilst moving, just make sure you position the cursor properly. All right, so this part over here, I reckon can be a little bit inwards. Something like this. Oh, let me turn off the snapping mode. Something like this, I think it is going to be quite okay. Yeah, something like this. I'll reposition some parts if needed afterwards. Then, of course, we're going to duplicate this GX, move it off to the other side. And there we go. We now know how much space we got to work with the set. Alright. We can now think about the inside parts of these front sections, and we can start off. Honestly, I want to start off with the table, probably the largest part that's going to be positioned inside in the middle of the room, and then we can build around the overall setup. And for that, I'm just going to go ahead and create a cube. Like, so click as Z, make it thinner. Probably even thinner like that. At this point, it doesn't matter too much because, again, we're blocking it out. I'm going to move it up next to, like, where the belly button would be of a person next to its waist, maybe a little bit lower like this. S Y, lower down, maybe make it thinner, even, something like this, not worry too much about the setup at the moment, making sure the scale is nicely set up. I do want to have a pillar right in the middle of these two. The easiest way I can think of doing that would be if I grab a, if I make the freed cursor to be centered between those two. So what we can do is we can grab holding two of the pillars and then click Shift and S and get the cursor to select it. This way it's going to be between those two origin points. We can then click Shift D and make a duplicate out of this. And afterwards, we can click, Shift S again and selection to cursor. There we go. This way, this is going to be right in the center between those two pillars. Now we know what we are working with. All right. So in terms of the setup, I'm wondering whether or not, we have enough space for the chairs, the stools. So if we have a look over here, we have some stools over on the side. And we have stools over here basically in front of the bar. So for that, we need to determine how big the stools are if we need to move everything a little bit to the back or not, or if this is more than enough of a space for us to work with. Or maybe alternatively, we can just extend this part as well. That would be also an option. So I'm thinking whether or not we should do that. Well, let's create a base setup base shape for a stool. I'm going to create a cylinder, going to click S Z, make a flatter surface, scale it down. Let's see what we have so far. All right, I'm just going to make another cylinder, actually. Just have these two. So I'm going to use the isolation mode, the dash, that is, then just simply set something up like this. And from there, we can start working on the scale. I'm not too worried about the setup or what kind of stool I'm using at the moment. Main thing I want to do is just get the base shape out of the way, make sure that the scaling and whatnot is fitting for the setup. And let's see how close to the bar would they be? Well, we don't want them to be overlapping. We want to have some space for a person to sit, basically. So if we have a look at this, where the leg thickness is, something like this, they'll be sitting and hanging their feet over here. I think that's quite enough. This is overlapping with the section, so I don't really want this. I'm going to grab these pillars and the table a little bit, like so, GY, move them a little bit to the back or actually in the chair as well. GY, move it everything just a tiny bit to the back, like so, and even further, there we go enough space in the back. Just a little more. There we go. This way, if we have a look at it, we do have yeah, we do have a lot of space to work with here. Okay, I'm quite happy with this result. I'm going to just move them off to the side. Or you know what? I will create the base over here for the table. So we'd know what is going on with this. The easiest way is to go on to Edit mode, select this base, click I for Inset, and then extrude downwards. And there we go. We now know just these shape of the setup. There is going to be a wall over here. I'm not doing that just yet because we're able to get additional bit of detail in these parts. Now we need to decide whether or not we want a shelf over here, which, of course, we do looking at the reference. We want the bottles to be placed, and we want the mirror over here. We want some bottles to be placed over here. I think we can continue on with all of that in the next lesson, though. So yeah, this is a good place to end the lesson. Thank you so much for watching, and I will be seeing you in a bit. 15. Adjusting Proportions Of Bar Table: Hello, and welcome back everyon to Master Blender RD with Wild West Environment. In the last lesson, we left ourselves off with some base table and chairs, stools to make use out of. Now we can go ahead and check the bar. If we have a look at one of the images. It's going to have this sort of a setup just above the waist line. It's going to be over here, and we need to have enough space to place all of these bottles like so and whilst at the same time, leaving enough space for a person or someone to walk in and actually do a bartender job. So let's go ahead and start off by just creating a simple cube, getting some nice dimensions out of the way. Let's think about the scale of this. If we have a look at it, it's not actually too much wider in comparison. It might be a bit harder to see, but in comparison to the human it's just a little bit extra wider. In comparison to its HIPs. So let's go ahead and just compare it real quick. See how that would look like and see what we can do with it. So I think let's see. I think that's too much. Let's go ahead and make this smaller and maybe a bit bigger. There's plenty of space to walk past. Well, all is good. This seems right. Are the bottles? The question is, are the bottles going to be going past all right? Maybe a bit thicker. There we go. Plenty of space. Everything is good. We can leave this as is and then work with the shelf later, making the mirror and whatnot, adding bottles and all of that good stuff. But now we know that we do have enough space. In case you don't have enough space, the easiest way to fix that would be well, it would be a bit of a cheeky way, if you'd like. You could select all of these objects, then go on to Edit mode. Select click one, click Old Z to go into iframe mode, select all of these parts, and then you can click G Y and then kind of extend it as much as you want. The downside of this is that origin points are going to be moved off, but we're not really worried about them because it's simply as a gray box. We're just going for quick, cheeky way of just moving everything around, making sure that all the proportions, all the items and all of the sizing just makes sense in the environment. That's where the brain starts picking up all of that stuff in regards to that. I want to really quick check in the front section. So we have an entrance. You can see like this is the staircase, and the entrance is a little bit off whilst giving us some space between the shelves. So we got to decide on the width of the shelf, because right now, I think it's a little No, you know what? That's actually alright. It's perfect. I'm going to make sure I duplicate this to figure out where the door would go. And if we look, again, back onto the reference, compared to the human scale, it's going to be well, slightly wider. Let's say, where the hands end. That's a good place for it to be. So I'm going to just go ahead and think about the whip. There you go, something like that. Perfect. And yeah, we're going to leave that extra bit of space in between this maybe make this a little bit, smaller, going to turn off the X ray vision so we don't see through the parts. And I think something like this is perfect. I want to leave that same amount of space between left side and right side. I think that's quite reasonable, just to have that additional bit of small symmetry in the setup. Yeah, that looks quite nice. Alright. I'm going to go ahead and make a quick duplicate out of this cube, as well, just a quick reminder that we do have something in here and that something is going to be if we shape it a little bit. Oh, as X, there we go. And I'm going to select the top. E extrude, E extrude again, as X, there we go. Coffin shape. We got ourselves and I set up, going to rotate it a little bit, just like in a reference, so not worried about the scale or anything of the sort. Although I do worry about the scale, I'm going to shrink it down a little bit, then rotate it. Oh, R Y. There we go. And yeah, that's quite okay. But a setup. Of course, there's going to be an additional beam going up on the side, maybe quite a bit smaller. But all in all, is going to just help to stabilize this piece, just like that. We can think about the positioning. It's not too important because no other parts are going to go next to this piece. I think that's quite right. We now need to think about how the interaction of the front is a little bit more. So we have these two stools. We also are going to have a place for the horse to drink. So if you look at it from toe down view, we have this piece over here. Which we can create it super easily. Let's go ahead and do that. We're going to grab a cylinder, GY, and then R Y. Yeah, there we go. Scale it down, so extended as X, like this, then duplicate, escape R Y 90, GX, scale it outwards a little bit to make it thicker as Z, something like this as a base is more than enough. Like this to consider where we're going to put it. I'm going to select all of these pieces, click Control J to join everything up, and now we can think about the scaling and the overall setup. So this is going to be around here, maybe a little bit smaller and actually quite a bit tightr. But we can work on with that. Yeah, let's see from the top down view. We want to be going inwards a little bit, quite a bit. I think that's, you know what? That's okay. I'm quite happy with this. We can move it down a little bit and then think about all of it later, but we need to leigate it. We need to extend it a little bit. We can't just simply extend it like this because it's just going to ruin the cylinders. I'm going to go on to Edit mode, click one, Olds select these parts, GX and to a reasonable amount. Then we're going to have something for the base. I'm going to create a new cylinder, move it down. Like, so to make sure we know that this is a place for horses to drink. I'm going to extend this. You know what? I'm just going to extend this part like this. So we know exactly what's going on with this part. And maybe the bottom piece needs to be a little bit thinner. So just the base is going to be more than enough. And you know what? I will just extrude in words. There we go. Something like this and shade to smooth, so we could have yeah, we could have a bit of a nicer part. Please, we're not shade moving. We can do that as well, all in one go. Shade Osmo. It doesn't really matter. At this point. I just like it for the preview. I'm going to go on to Rene view and see how this looks like. Perhaps at this point, we can start playing around with lighting a little more, seeing how it is designed and whatnot. But all in all, I am quite happy with this result. We just need to think about additional parts. These parts would be rocks, cactuses, as well as well, the wagon is if we click Alt and H, we can bring everything back. The wagon is going to be on this part. But all of these that we see outside, they can be easily set up and they're not really dependent. Their scale, their shape, they're not really dependent on what's going on with the main building itself. We had to mainly set up with the logistics of the overall proportions. The building, which I think we did, so we can continue on with the modeling process. So thank you so much for watching, and I will be seeing you in a bit. 16. Modeling Water Tower, Add Collection Management: Hello, and welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we left ourselves off with the base setup for the grey box. We now have ourselves a reasonable proportional setup of the overall scene. Of course, we don't have any foliage or anything of the sort just yet. We're going to be working with that later down the line. But for now, we have the basis of all the major items set up, which we can now essentially start modeling, doing the one part, the stuff that really makes it pop instead of just modeling with primitive shapes. So for starters, let's go ahead and start working with this tower over here. A very nice and simple tower, and yet it's going to make the overall scene look quite nice. The reason being is that this overall setup, it's going to well, add the overall silhouette to be looking more interesting. Otherwise, without the Water tower, it would just look too flat at a top. Let's go ahead and start working with this. We already had a nice base cylinder, and I think we can start working from this I was worried a little bit that we might not have enough topology. And you know what? We can actually check the top. I'm going to hide the upper section. We can check the top if it's okay. I'm looking mainly at these points over here, whether or not it's going to be enough. And you know what, just in case we are going to bring ourselves new cylinder, just so we could start adding additional detail, and you'll see that we'll add rings around the water tower, and that'll just make the overall setup look well, a little more interesting, but at the same time, all of the topology is going to be a little bit more visible that you can see at the top. So for that, let's go ahead and select the cylinder. We're going to hit Shift and S, cursor to active. Then we're going to hit Shift and A, make a new cylinder, so we're going to change this to be 64, so double the scale, double the density. That way we have plenty to work with just like that. And I'm going to go on to Edit mode, select upper section, go into X ray, select this middle dot over here, should give us the nice election. Click GZ and move this upwards. And just to make it nice and simple, I'm going to go out of the X ray, select the snapping tool with the face election, G Z, and just snap it right onto the setup. This way, we can see that we have two cylinders. Go to turn off the snapping, going to just make sure that one that we have selected is the higher poly. Going to click going to select the lower poly. So with this one over here. Go to select it going to click Delete, Alton There we go. We got ourselves a nicer base to work with. All right. So the next step is going to be deciding on the rings, the ones that we see over here, basically. Let's go ahead and start working with them. We're going to start off by just adding additional topology. Let's go into Edit mode, click Control R, and we're going to add two rings, actually, like this. So by using our mouse wheel, we can just do that. Left click, right click, and there we go. Number of cuts, two. And the setup for these is quite right, although maybe I want to move them a little bit closer. Yeah. So before doing anything before adding rings, we're going to click S, Z and then bring them just a little bit closer. Like that. That's looking great. We can now before creating those rings, work on the shape itself. If we have a look at it, it's not directly straight. It does have a little bit of that extra curve going inwards. So it would support the overall weight. Those rings are kind of giving that additional density, kind of bringing everything cylinder, this metal sheet together. So yeah, we're going to go ahead and click S. And we're going to use shift and z which is going to scale everything within Y X axis except for Z axis. You can see it bringing it inwards like. So that's quite nice because it keeps the same position in regards to the height of the setup. And I think that's a little too much. I'm going to click Control Z and do it again. So shift and Z Oh, sorry. Open Z. S, shifting z, there we go. And just by this amount, 0.95 or close to that value, just a little bit to get a nice shape, which is quite nice. Now we can go ahead and well, go out of Xray mode, click Control B, and there we go. We're going to get ourselves extra rings, going to just click Lp Mouse button. We had from the steps we had the previous setup, let's go ahead and just change the preset to default. And let's go ahead and take off the segments just to be one. So this way we just have a nice ring going around it. Uh, I'm going to also adjust the whip a little bit. Let's see from a distance, how it looks like just a little bit holding shift. Something like this that's quite nice. Going to then, click E, Enter. That's going to give us extrusion. So if we click G, we can see that we made an extrusion. But we don't want this to be just extrusion on its own. We want to be inflating. So Alt S gives us a nice inflation, as you can see over here for the thickness of the rings. So let's think about the thickness. Think something like this is going to look quite nice, actually. I'm quite happy with this result. Now, in terms of this upper section, let's think a little bit about that. I am worried that, again, it might be too low in topology. So I will make use out of the base of this water tower. I'm going to go into isolation mode, going to select top section, like so and then click E, Enter. Then we're going to click S to scale it outwards, and we're going to get ourselves this kind of a mushroom setup. We can then click E again or actually scale it down a little bit. It's a little too much. We go, something like that. Let's click E again, scale it outwards, like so. Let's go out of isolation mode so we can see where this upper section is. I'm going to take on the snapping tool, GSN and just drag it to the centerpiece. So this way I know it's exactly where it needs to be, and we can just readjust it a little bit, this setup. Maybe make this a little bit larger at the bottom. So right now, what I did was I simply grabbed the entire edge loop. So whilst holding Alt, I tapped left Mouse button and selected this bottom piece, which gives the entire edge selection going across, and we can just readjust the setup. I think that's a little bit too much. We're not going to go upwards. We're just going to match the overall radius. I think that's quite all right. Before doing anything, I'm going to go ahead and move this mannequin out of the way. I'm going to select everything. And if we have light sources and whatnot selected, we can hold control and then drag it across to only have this gray box mesh selected. Then we can organize it a little bit. We can click. We can create a new selection, new collection, that is, and we can call this gray box. So let's go ahead and click Create. Then I'm going to minimize this and select back onto collection. So whenever now I create a new object, it's going to be created within a collection and not a gray box. You can actually click H to hide out of the way the older parts. And yeah, this is looking like a really nice start. Alright, so one thing we should talk about is going to be how this setup is. It's now going to be straight to begin with. Even if it's diagonal, we still need to add a bit of an extra depth. So what we're going to do is we're going to click Control R. We're going to make a single edge loop closer to the top, not the middle, a little bit higher up. There we go. I think it's a little too high up. So we can click G twice and then move it downwards, so to slide it across all of the edges. Then we can click S to scale it outwards, just a little bit, like so. Now we can click Control B and create a bevel with additional segments. I'm scrolling upwards my mouse to get this nice, simple type of shape. So even though it's very small type of a change, we can still see that we are getting a bit of an extra curve, which I think is going to look really, really nice. The other thing to consider is going to be this base over here. This is way too sharp. So while folding Alt, I'm going to select this entire circle, this entire edge loop, click Control B, and we can play around with the setup with the shape. I think this is too much. We're going to lower down the segments down to one. We don't really need too much width. We can hold shift and just get this. There we go, something like so not too much, but still quite nice. We can select this entire piece, use shade Otis move, just so we can see what's going on. I think this is a very, very nice base. The only thing now that we need to do is really, realistically upper section, we need to make sure it's just not flat. The way we can do that is just select this section inset, another piece, very small one, and just kind of upscale this outwards. So this way just smooths everything out. And of course, I'm going to move it outwards, upwards, that is, so GZ just a little bit. So that shades move is going to be able to sort it out. Ah, right. So the final pieces are going to be for these rings over here. So these rings, you can imagine them being too they can be separate material in comparison to the main cylinder piece for the water tank. So these will be just added on top of it. Why we don't really need to bevel this edge, but we do need to bevel out these parts over here. And the reason being is that we do want those rings to be smoothed out a little bit, so I'm going to select holding Alt and shift all of those edge rings outside of, well, the rings itself. I'm going to click Control B and then make a small bevel just like that. I think yeah, I think I'm quite happy with this result. All right. So we got ourselves a really nice base setup for the water tank. Now, if we look at it from the texture perspective, we don't really have much. We'll need to work on that, so we can continue on with the setup in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 17. Modeling Metal Bolts: Hello and welcome back everyone to Master Blended Free D with Wild West Environment. In the last lesson, we went ahead and added some extra detail onto our Watertower. We're going to continue on setting this up. And the next thing that we're going to do is going to be needing to add certain bolts onto these water tower pieces. Going all the way around each one of those rings. The easiest way for us to do that. The best way is to make use out of the modifier. But before doing that, we need to actually get ourselves a shape, a bolt to make use out of. So let's go ahead and do that. We're going to go ahead and create ourselves a simple circle. So let's go ahead and go on to mesh, create a circle, like, so the vertice amount, the vertice amount is going to be rabbit low. The reason being is that we don't exactly need a lot of detail for these bolts. We can make use out of eight that's going to give us a nice spherical base as a shape. Now let's see where that has been added and it's been added onto the freed cursor. Whenever we create something new, it adds on the free D cursor. Let's go ahead and click GZ and just move it upwards like this so we can see what exactly created. Then we can go and hit tab to go into Edit mode. Click F, and that's going to give us a nice foundation base for us to work with. And then after all of that, all we need to do is just click I to make an inset. Let's make it up to well, let's make it quite small. If we want to, we can then use S to scale it down and get something like this. Maybe that's a little bit too much. Something like this, doesn't really matter because it's such a small detail and it's going to be smoothed out. It's not even going to be visible. Afterwards, we need to click G, Z, and just move it up like so. Then we just need to create ourselves, maybe too high, something like this. Then we just need to click Control R to get initial edge loop. Left click, left mouse click, right mouse click, that's going to give us an edge loop right in the center with just a single number of cut. We just need to scale this outwards using S and just scale it out like this, maybe click G Z, move it upwards a little bit, something of this shape, and we can adjust the rest of the shape using Control B and positioning or setup like this. Change the segments down to three or, let's increase it to three. Width should be something like this. Mirror shape is going to allow us to doesn't seem to want to work. Okay. Instead, we're going to make use out of the super eclipse. There we go. That's the reason why if we enable super eclipse type, that's going to allow us to change the shape. So by using this, we can go inwards or outwards. In this case, we just want to go outwards. And that is a very nice base. Maybe we can go back, click free to go on to face Mode, select the upper section, click GZ, move this downwards a little bit, and there we go. We got a very nice base. Let's just make sure that we don't have anything for the bottom piece. Over here, we want to be empty. The reason being is it saves up the UV space as well as just no need for extra faces when rendering just a good practice to have. So no faces underneath for this piece. We're going to right click shade A Smoove, and there we go. Got results a nice setup. All right. So the next thing that we want to do is just scale this down by quite a bit. We can use Control A, apply rotation and scale. So it's going to give us this as a default size, which I think is going to be quite alright. I'm going to just move this GX, move this to the side a little bit, and we're going to start by setting ourselves up with a Curve, we're going to need a curve to be applied on the side of the rings. So let's go ahead and do that. We're going to click Shift and A and curve circle. Before doing that, just make sure you have this centered out, this free decursor. If you don't have it, you should be able to just select the water tower, click Shift and S selection to sorry, cursor to active, and that's just going to give it centered. Doesn't matter about the height, we just need to this free Dcursor to be in the middle. Afterwards, we can click Shift and A circle and it's just going to give us a circle which we can then scale it up and down just like that. Right now we just wanted to position it something like this. So we could see and click back whenever we need to. Don't have it too close. Otherwise, it might be hard to select it. Alright, that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 18. Using Modifiers Array And Curve Deformer In Blender 3D: Hello and welcome back, everyone to Master Blend three D with Wild West Environment. In the last lesson, we left ourselves off with some bolts, and now we're going to go ahead and attach them onto our curve. The reason this curve is needed is because we're going to be setting this bolt up with an array mesh. And for us to do that, we're going to go on to the Modifier Stab located at the bottom right hand corner over here. We're going to start off by clicking at Modifier and searching for array. So when we click on the modifier, we can just search for it right away, select array. And to start off, we're going to just increase the count. And afterwards, we're going to need to then deform it for this curve. So for us to do that, we're going to click on Add modifier again. We're going to search for curve, deform curve. That's added in. And then we'll notice that there is another modifier right underneath the array. We're going to click on curve Object Pipette over this symbol over here, and we're going to select the Bezier curve that we created just like that. So you can see this is what we're going to get. It's going to start moving around this section, but you'll notice that it's not exactly aligned. The reason being is that we need to make sure that this is set up nicely to where the setup of the Bezier curve is. In other words, the origin point that we see at the center when we click on the curve, this orange dot over here. This has to be aligned with our setup over here with this origin point that we have all the way on the left hand side. We can see that it is centered to the bolt that we have, like so. And if you're wondering, by the way, how I disable this curve, we can use these icons over here. These icons are very nice whenever we want to disable or enable them from whether it's render view or viewport or even Edit mode. So for example, right now, this button is turned off. But if I go to Edit mode, you'll see that it goes back. The reason being is that in Edit it just goes to a different view, essentially, and the array itself will not have that ticked off, but the curve will have it ticked off, and that's why we're not able to see it. We can turn this on, for example, if we want to and see them back on. But again, it's probably for the best to keep this as it is. Alright, so the next thing is going to be going back. We need to put this origin point to be aligned with the bolts that we have over here. So for us to do that, we're going to firstly, just in case, we're going to go ahead and reset the curve setup with the free decursor that is, we're going to select on the curve, we're going to click Shift and S. We're going to cursor to active. There we go. And then we're going to select the bolt. We're going to click Shift and S, and we're going to do selection to cursor. Actually what this will do is, if I was to disable both of the modifiers, this is just going to move this origin point to where the free to cursor is, which I just moved by accident. Sorry about that. So the way we're going to do it is we're going to click ShiftinS selection cursor, and now it's going to be position right in the center. If we enable both of them on like this, we'll see that now it follows perfectly with the curve setup. So that's really nice and useful because both of these, the bolt and this curve are perfectly aligned. We can also offset it if we want to click GSD and moving it up and down and whatnot. So that's quite nice. But the next thing that we need to do is, well, probably we need to rotate them around a little bit because they're facing upwards vertically. We can click RX 90, and that's just going to flip them, or, sorry, we're going to do -90. So RX -90, we can also put minus symbol at the end whenever we write that in, and that's just going to give us this nice setup. And if you notice, all we do is simply just rotate around. So instead of facing upwards, it's now facing sideways, which is exactly what we want. Next thing that we want to do is make sure that it follows the curve accordingly with the whole length. One way we could do it is we could use just relative offset over here and just offset it manually, but that would be a little tedious, especially if we want to change the count type. Another way we can do it is to use fit type to change it to fit curve. And we're going to select this curve over here. Now, it's going to be perfectly spread out across this entire curve, and I believe, yeah, if we start making it larger or smaller, and if we use the relative offset with that on, we're going to be able to just have the right amount of offset. We just need to make sure that we see the original one where it is because if we get it too close, we're going to see that it's the pattern is going to be a little off. So whilst holding shift, I'm just going to readjust that, and I'm just going to make it around 3 meters like this. I can see that the one that was getting closer disappeared. Now that way we have ourselves a reasonable offset. I'm going to just select the curve now and reposition this a little bit to get closer to the setup. There we go. And let me think we should probably make these quite a bit smaller as well. Actually, after this setup, I'm going to just hold Shift again and reposition this a little bit. So all right. Afterwards, we should probably make this smaller. So I'm going to go onto Edit Mode. I'm going to click A to select the entire setup. I'm going to just click Asad, so we can see what's going on. This is in the center, and then I'm going to just click to scale it down. And to see what's going on, actually, I'm going to enable this in edit mode as well, the curve deformer. So this way, we know how big it's going to be. And actually, yeah, This looks pretty good. I like this. I'm just going to readjust the offset again. There we go. And I think this looks, this looks pretty good. All right. The other thing that we need to is probably going to be just duplicating it upwards. So I'm going to click Shift the GZ, move this upwards. I'm not worried about the gizmo over here because it only starts acting up whenever we offset it from the center point. But right now in regards to z value, it's going to be still kept to that nice deformer going all the way around. That's quite nice for us. I'm quite happy with this. We only need to think about this last piece going upwards. So I'm going to again select this, click Shift D. Gs, move this upwards, like so, going to now, click seven and GY move this outwards. So right now, we were talking about not moving the origin point, and now we're actually going to make use out of the origin point by offsetting it. Even though this is still using that save curve, the same bezier that we had over here, if I was to just going to go to Wireframe mode. So this Bezier curve over here, we're going to make use out of it. But by just simply offsetting it, so GY, we can move this off to the side and reposition it the way we want it. So we want to be close to the edge like this, GY so even though we're expanding right now the radius by just moving the outwards, these are not changing in scale, and that's exactly what we want. We want consistency with the bolts. The only thing, though, is that now we need to readjust the way this is set up. So I'm going to go onto Edit mode, going to click old Z so we can see what's going on inside. And I'm going to click RX and just move this, so you can see the inside this mesh over here, RX just slightly changing direction. And that's exactly what we want. And I think that's quite nice. I think the origin point was a little offset, but that's okay because we're able to just reposition it. Normally like so, maybe a little bit like this. And I'm going to click Go back on the Object mode. Click GY. Sorry, select them back. Go click GY, and then move them outwards a little bit. Is that better? I think they're a bit too close to edge. So GY. Going inwards. G Z like this. Yeah, I think that's quite nice. Alright, so we're pretty much done with the bolts. Now we're going to continue on with the setup in regards to texturing. Thank you so much for watching, and I will be seeing you in a bin. 19. Seams And Sharps Basics In Blender 3D: Hello and welcome back everyone to Master blend the Free D with Wild West environment. In the last lesson, we left ourselves off by setting these nice type of volts going all the way around on our water tower. The one thing that I didn't forget was adding a little bit of an extra touch at the very base at the bottom. If we have a look at the setup, we do have this last piece, so let's go ahead real quick and add that in. Go to select the tower, click onto Edit mode, Control R, and holding Left Mase button, which is going to lower down. To a reasonable amount, something like this. I'm going to add another type of a edge loop, click Control R, left mouse, right mouse. That way we can have something in the middle. We're going to then click free to go into face mode, hold Alt left mouse button on the side of the faces like this to get an entire edge loop selected. We're going to then click Alt and S to scale it outwards. And I think something like this is going to look quite nice. I do want to add a bit of a bevel, so holding Alt, selecting the edge, control B. Lower down the amount, something more reasonable. So, there we go. That is looking really good. All right. So the next thing is going to be start to setting it up for a UV processing. And for that, we're going to need to learn a little bit about SMs and sharps. I'm going to now play Sims and Sharps basics Introductionary video, which I do recommend you going over to get a better understanding of how they work. And afterwards, we're going to do in the next lesson, we're going to start setting up this with UV unwrapped parts. For some of those textures. So thank you so much for watching, and I will be seeing you in a bin. Welcome, everyone to the short introduction to marking seams and Sharps part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seems you can think of like seams on a piece of clothing, like a shirt or pair of trousers. The main job of Seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are more like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on or measures. This makes them look realistic. It is also important we do this not only for rendering and blender, but also sharps carry on through to other software or games engines anyone to use like substance painter or unreal engine as an example. So with all that said, let's get started. So here we are in blender with our starting Queue. Now, if I click on my cube and go to my UV Editing, you'll see that the cube is basically unwrapped in this actual way. So basically, it unwraps like a present. Now, if I come across and I grab this circub and I press Shift D, and then we press Shift Spacebar to bring in our Gizmo, and we move it across. And now let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the tab button, and I'm going to go into Face Select, click the top face Shift Spacebar to bring in the move tool. Bring it up so. Now, let's say I want to unwrap this. Now, if I grab this with L just to grab everything and I press the U button for unwrap, you'll see that it unwraps exactly the same way. Even if I reset the transformations of this, it will still unwrap exactly the same way. Now, let's mark some seams and see how that has an actual effect on our actual unwrap. So let's grab the top, and we'll come down to the bottom. And what we're going to do is we're going to press Control. Then come down to where it says, Mcms. Now, it's important to remember that it's Controlle to mark seams in facelect. But if, for instance, we're in Edge Slick. So if we come to this edge, if we press Controlle, you will get this option up as well, MokeMs. But you can also right click in Edge Select, and you can also see we can mark a seam this way as well. So for now though I'm not going to actually mark this scene, what I'm going to do is I'm going to grab the whole thing with L, like so, and now I'm going to press Unwrap, and you can see it unwraps completely different. Now, let's bring in some textures so you can see what exactly I'm talking about. So if I press S tab, I'll come up to my materials panel up here and I'm going to give this material. So I'm going to come across to the right hand side, click on my material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down, and you can see I've got one here called wood, and let's click that. Now you can see what's happened. We've actually applied our material to this object, but you can see, it's pretty much a mess. The top of it looks fine, but the bit going around the side is all bent and skewed. So if I zoom out and I press Tab now, you can see that the reason is that it's not actually UVnwrapped correctly. So how do we fix that? If we come up to Edge set, I'm going to grab this edge, and now I'm going to do is I'm going to right click, come down to mark Seams, and now grab the whole thing again. I'm going to press you, unwrap, and now you'll see it unwraps absolutely fine. You can see that woods looking really, really nice actually on this mesh now. So what this does, the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is basically an infinite loop. So if I come around and I look at this face and this face, you can see that they're going round. If we have no seam, when I talk about infinite loops, it's basically going around and around and Blender doesn't actually understand how to unwrap it. So you'll end up with that mess we had before. Now, the other thing to take into account is, if I turn this board around, for instance, Swan going to do, I'm going to come over to the left hand side, the viewpoint of my UV editing, press A to grab everything, 90, spin it round. Now, the other thing I want to show you is that where we join these actual seams up is also really important because you'll never ever get it perfect on here where there's an actual seam. So let me exaggerate this a little bit. So what I'm going to do is I'm going to press tab. I'm going to make this a lot smaller and I'm going to move it into the center of my UV map and then I'm going to press tab. Now you can see that these edges don't line up whatsoever against this other side. So this texture here doesn't line up with this texture. And the reason is because we've got a seam down there, and that is the actual break in the texture. Yet, if we come round to this side, and I spin this round. So if I grab it or Z 90 and now go to this one where we can see, you can see that these line up perfectly. And the reason is because obviously, there's no seam there. The seam is here. So you need to take that into account on your own measures and objects that when you're applying textures and materials, try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now, you'll notice that this cylinder has all these little edges around there, and let's say you want to make a cup or something, the last thing that you want is all these hard edged faces in there. Now, there are things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift Base bar, bring in my gizmo, move it out of the way. Shift A, bring in another cylinder. And this time, we're going to come down to where it says, add cylinder and turn up the vertices to 100. And now you'll notice that we do have a round edge. But the problem is that we've brought in 100 vertices to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good looking mesh. So how do we achieve that? Well, there are a number of things we can. First of all, we can come across to this right hand side, what we can do now is come to where it says normals and click on Auto smooth. Then we can right click on the viewport and click Shade Moo. Now you'll notice it's actually been smoothed off. But the problem with this is, if I turn up my Autosmooth, you can see if I turn it up all the way, it goes really, really funky, that is because at 107 degrees, Blender decides that these edges along here needs moving. So it doesn't give us a lot of control. If we do this on the other one, so if I grab this one, right click, Sheets move, Atos move on, you can see again, even with lower amounts of polygons, we're still able to smooth it off. But if we turn this up, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now, press the tab button, come to the top, grab the top, shifts like the bottom. Press controle because we are in face leg, and we'll come in and mark a shot. And now you'll notice if I press tab that now it's got hard edges on there. This gives us control. So this is why we actually use shops. No matter what I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we mark. We can also mark shops around the edges as well, Server grab this one and this one. And now because we're in Edge select, we can right click. Come down, mark a shop, press the tab button, and now you'll see you've got hard edges on there. So it's very important that you mark shops where you're going to actually want hard edges. It's also important that you get into the habit of marking shops when you're actually marking seams. And then what happens is, when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some measures like this. Okay, every one. So I hope you enjoyed that introduction to marking scenes and shops and as they say, on with the show. 20. Creating Seams For Water Tower In Blender 3D: Hello, and welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we left ourselves off by adding this extra piece at the very bottom and going over the basics of SMS and sharps. Seems mainly the ones that we're going to make use out of to learn a little bit about the setup. In the basics video, you saw a bit of an older version. The change up the interface a little bit, but the essence of the setup is still the same. Let's go over that real quick. Before that, though, I'd like to get this entire setup all of its pieces in one setting. What I mean by that is, let's go ahead and select it. I'm going to click G to make sure it's in the right place. And then I'm going to go on to object. Going to select it all, convert everything to mesh. And now we should have a whole setup nicely done. We can click Control J. There we go. All right. So now on to the next step. If you're not saying the same shader, just in case you can click Shade Smooth, and the angle, I think by default is 30 degrees. That's more than enough. I do like to change this up to 40 degrees just so we could get a nicer smoothing effect, especially for the top. Make sure the top is nicely set up over here. The next step is going to be getting rid of the if we go to wireframe, this little part over here. That's going to be the line that we had, the edge curve. We need to just delete it, and we're going to have ourselves a clean topology. It's not just going to be empty vertices. Okay, onto the setup with the seams. I really like this part because it's just starting of the texturing, getting the colors right and whatnot. I like this a lot. Let's go on to UV editing and start the process. So what I like to do is I like just isolate the view by clicking the isolation button, like so we're going to get this individual piece. We can then hit tab and we can see what we're working on. So, by default, we're going to have on left hand side an empty square. And even though we're not going to be using that just yet, it's nice to know that it's UV. It just shows UVs, the textures, the two D textures that we have applied basically onto our free object. But again, for now, let's just focus on the seams. Oh, what you notice is by default, we're going to have seams sharp. Those are indicated by blue edges. So everywhere we have black edges, but on certain edges, we will have them blue. The reason being is that they are shown as a seem sharp. When we clicked Shades Otosmooth, it gets automatically applied with the modifier and applies that sharp sharp edges, basically. So by default, we don't really need to worry about that. The seams, though, on the other hand, they're going to be interesting because we're going to use that to unwrap our really the object. It basically tells where the textures go, sorry where the UVs go, where they need to be split up. And for that, we'll start off by just optimizing it a little bit. The base. We don't really need that. We can get rid of it. We let it. It's going to be hidden by a platform. So we need to just make sure we don't have anything if we go inside. We don't have any unnecessary pass, and you can see it's somewhat of a clean topology. I do say somewhat because there's always ways you can improve it. You can really, for example, these bolts over here, they are sticking out inwards a little bit. And when I started off working with free de modeling and texturing, I always was worried like, if it's, like, you know, not a perfect mesh and whatnot. But at this point, when even baking parts and whatnot, they don't really affect that much, anything of that sort. And I am looking at these bolts, if we're talking about them, they do have a setup that's a little bit too sharp. We need to increase the angle or reckon. There we go to hide them out of the way. So angle of 43 seems to do. Okay. So going back to the seams, all we need to do is we need to consider how this object is going to be set up in a two D space. So let's start from the very top. We're going to ignore the bolts, and I will explain you when we are actually unwrapping, but we're going to ignore them and just focus on this massive cylinder, which is, if we click L, notice that it is just one object. So we're going to start off by getting the top piece off. We can imagine this just being a top, just a simple circle shape. So for that, we need to just simply hold Alt and select the edge on the side, meaning that this bottom piece will be separate from the top, and we're just going to flatten them out onto tutti space, making them like pancake shape, basically. And we can then right click Mark Sam and there we go. We're going to get ourselves a red edge. Afterwards, we can go ahead and do the same part for this over here, Mark Sam and that's going to separate, I do it right? Mark, there we go. We're going to separate now this bottom piece from this entire cylinder. Which goes up to here, we can separate ring, these rings with the cylinder itself. I'm going to do it for the upper and the bottom part because they're going to be as separate objects, separate material that is, and it's just going to avoid unnecessary UV deformities. So, Mark, I always think about when doing this, how many pieces is going to be as well. So, for example, write this, this entire cylinder could technically be just one massive piece. But at the same time, splitting them off onto five different parts is still not a big deal, especially when using seamless textures. Still totally okay and fine. Make use out of that. Since with stimulus textures, we can just not really care about zero to one UV space. If it was being baked into the textures and whatnot, as a different workflow, then maybe we'd need to consider it a little bit more. But again, this particular part is still five piece, it's not a big deal. When it comes to more complex meshes, when it comes to hundreds of different types of pipes, for example, of that same setup, then maybe we need to start considering, like, maybe we should keep this as one piece. But again, this particular part is totally okay to just be separate especially because these are going to be different material. All right, so this part, this bottom part, I don't think we need to separate it. This can be just one mesh material. I think it's going to be more than enough, more than fine. Or actually. Now that I think about it, even though this is going to be the same material, it's best to split this off. And the reason being is that we want this to look like it's a separate piece. It comes from a chunk, so we want to differentiate some of that noise from the texture, and for that reason, I am going to add a seam over here. Just so it could make it look like it's a different piece. Even though when we look at it mesh, we can see that this sharp type of line going across is somewhat indicative that it is a separate piece. But when we start applying material and mesh, just mixing up with the shaders, then it just might not look like it's a separate piece. So yeah, again, for that reason, we are adding a seam over here. Um, and that's pretty much it. All we going to do now is just consider how it's going to be set with the two D space. Again, we just split up these parts into multiple cylindrical pieces, but we don't really tell how it's going to be unwrap onto the free D space. So for that reason, we're going to go ahead and select one of these edges over here. We're going to hold control, select the bottom piece. In this case, I will go out of isolation mode to see where this is selected. And we want this to be in the least conspicuous place. So maybe in the back, we can do it like this. Oh. Yeah, we're going to do it in the back. So select one line, hold control, select the bottom line, and this is not the right line. There we go. So we're going to just select that. We're only going to select lines going across here, through the cylindrical parts, the cylinder itself, the rings, and not touch this part at the top. The reason being is that they're going to be flattened regardless. They're going to just be circular objects. This, if we think about vertical parts when they switch to this edge over here, well, let's get back to that in a bit. I want to firstly just right click Mark Seam so we get this out of the way. Okay, so this part, you might be considering, why are we not splitting this up in between these parts like this? So we'd have a part going across like this and maybe some platin parts going across like this. The reason being is that these parts are going to be folded in a hud space, giving us just a nice line, a nice edge going across. As long as we have a way to break down this surface, which is what we did with this line over here, it's just going to give us straight line, which we'll see in a bit once we start working with wrapping. All in all though, that's pretty much it. In regards to bolts. They are just let me show you. They are just simple parts like this. They can be flattened out into just two D space, if you imagine this just being two D like this. That's what's going to look like, except the parts on the end is just going to be extended a little bit to give us more density for the sides. But honestly, we don't really need to touch them. They're going to be fine, just as it is. Oh, yeah, not a big deal. Pretty pretty good setup. We got ourselves some seams. Oh, I'm going to click Olden Age just to make sure I go out of that preview mode. We got ourselves the entire setup. So thank you so much for watching, and I will be seeing you in a bit. 21. UV Basics And Importing Resource Pack: Okay. Hello, and welcome back everyone to Master Blender free D with Wild Wise Environment. In the last lesson, we left ourselves off with some nice seams going across the setup. We're going to learn how to make use out of them, and now we're going to go ahead and get ourselves to materials needed for the setup. So firstly, I'm going to scroll my mouse wheel to see in the top bar over here. As you can see I'm scrolling through it to see that we need to enable people hading materials. That way we can actually see what materials we are applying. We're going to now go open ourselves up onto the resource pact we and realistically, we only need stylized dark on and stylized dark. So I think stylized. So these two, essentially, I'm just going to double check the material name. So yeah, stylized on and stylized dark, yeah. The thing, though, is that we can just grab these two and move them across using Control C, Control V from one project to another. Or alternatively, we could just grab this entire section and just move it so we won't have to waste our time going back and forth. The future. I think that's exactly what we're going to do with this particular case. We're going to go ahead and just grab this entire piece, going to hit Control C, make a copy. It says, 121 items copied, and I'm going to go onto this piece over here. Go to hit Control B, paste it in, wait a little bit because it is going to take some time. And I'm going to move all of them off to the side. So I'm going to click going to do GX 50. There we go. We move them all quite a bit to the side, so it gets out of our way. Now, I do not recommend you doing this perhaps if you have a slower computer, you can just select these two and do them one by one whilst we're working. But my personal preference is just to grab everything that we have and just move it onto the scene. That way, we're able to work with them all at once. So next step is going to be just applying the material. We're going to go onto the material tab. We're going to hit new, and we're going to find ourselves the iron that we were talking about. Stylized iron. There we go. We're going to apply it right away. We're going to see that, Hey, this is looking quite bad at this point. What is going on. Well, for SRRS, we're going to need to UV and wrap. Going to go ahead and click Control S because I haven't done that, and I'm going to make sure that external, I will go ahead and enable external data. This doesn't really matter unless you want to move a project from one computer to another, but it's just a personal preference that I do. Okay, so let's talk a little bit about the UVs. So we're going to hit tab, and the easiest thing that we can do is just click A. So the entire section is selected. You can see that if we don't have the items selected, nothing is going to be shown. If we want to, we can use UV sync selection. So this is going to be when enabled. It's going to show everything within our UVs that is within the edit mode. And for me personally, that's pretty useful because that way I can just, for example, select parts of the mesh, and I can see where exactly on the selection it is. So honestly, 80% of the time, I will be working with UV sin selection personally. That's just honestly just a personal preference. Then the next thing is going to be just starting the unwrap process. And because we already placed all of the seams, the easiest thing for us to do is just click A, click U and unwrap. We have multiple options. There's projection based at bottom, like middle and bottom. But the ones that we're looking for is going to be the free at the top. Angle based, conformal and minimum stretch. Conformal is the usual UV unwrap that we see before. Personally, though, minimum stretch is a new algorithm, and I really like this one because it just gives so much better results in terms of the way it stretches out the angles and whatnot. It's mainly for organic organic looking meshes, though. And angle based is if we want to how should I put it? If we want to base the wrapping based on more of angles, if we have more extreme angle values on certain parts, we might want to use that. But honestly, again, minimum stretch is the way I usually go for, and once we click on it with everything selected, we're going to see this setup. So what is going on right here? For Sus, we have the top, the bottom because it's been separated by the SMs. We also have all of these parts separate as well. I can make use out of selection, clicking L. We'll give me select based on Linked. If we click on this graph, sorry, not graph tab over here, we can select use Select Linked based on SMs. That is what I'm using right now. So these red lines again, are called SMS, and we are limiting selection based on that. So there we go. We click L, for example, over here, we see that the entire selection is still being selected, even though there is a line over here because it goes all the way around. And the only limiter is these horizontal edge lines over here at the top and bottom. So yeah, because of that, we're able to see how the islands are, and we have multiple selections for that. So all of it is pretty good. The thing I mentioned before is these parts over here, the bolts. So they get projected basically from the front and unwrapped. And the parts on the edge are going to be just flattened out to give you the best density possible out of these, which for the shape in particular is totally okay to have it like this. So now that we have this setup, we're going to go ahead and talk a little bit about how seamless sections work. Right now, we have the seamless sections like this, and you might be wondering if it's okay if it's not to have this amount of density and honestly, because of the way this texture is set up, it is a seamless texture, meaning that, wherever this texture ends, which in terms of texturing, it is zero to one space. This square over here is just zero to one space. Whenever it ends, it's going to seamlessly loop that texture. So if I was to put the V over here, you wouldn't be able to see the difference in this seam over here. The reason being again, because it loops seamlessly. So that's quite nice. And Huh. Yeah, I was worried for a second that like, Hey, there is a line over here. Is that a seam? No, that's not actually a seam Seam is going to be over here, which is not going to be visible. This over here is just part of a texture. So it's just a scratch a words, part of the texture. So, that scared me for a second. All right. Everything is okay. The other thing I'd like to talk about is other than seamless textures, meaning that we could technically just grab this entire thing and just scale it up to control the density. Before doing that, I'd like to talk a little bit about the way these are stretched out, for example. We do have them being weirdly confronted. They are not perfectly straight. You might be worried about them not being straight, but that's totally okay, especially for this particular case where the noise of a texture is consistent, going up and down. There is no direction or anything like in the wood grain, so we don't need to worry about that. In the future lessons, I will show you how to approach that, especially with wagon wheels and whatnot. But again, this particular case, it does not matter. It's totally okay to leave it as it is. The other thing I'd like to talk about, though, to make our lives easier is going to be the setup of averaging out UV density. So in this case, if we make this, for example, much smaller, you could see a big difference between those two materials between those two parts. And the way to fix it is to just grab everything, go to UVs and average island scale. This will just average everything out in terms of the size, which is going to make the texture more consistent throughout the setup. Afterwards, we can worry about well, the placement. We can put them back in between the zero to one UV space, which we can make use out of something called pack islands. PAC islands, if you'll notice, automatically does scale and rotate. Scaling is relevant to the already existing UV. So for example, if one part is much larger in terms of density, it's going to scale everything but leave that larger part to have more extra UV space. So that's why it's important to average out the island scale and maybe do a little bit of extra adjustment before doing PAC islands because as an example, you see that this part now is much larger. So again, average out island scale is done first and PAC islands is done after. The next thing is going to be within PAC islands. What is it? How does it work? Well, PAC Islands just again, puts it into zero to one space, and we have a couple of shape methods. I use usually just a normal one, as is, scale rotate. I keep them on because the scaling is going to well, it's going to be needed to be done to fit everything into zero to one space. Rotation, we have control over how we're going to rotate. Rotation method. I personally prefer to just keep it as axis aligned vertical. It means that every single one in terms of length is going to be position vertically, so it's going to rotate us according to that. And for something like this metal, it might not be quite as visible, but for other materials, it's definitely needed. So in general, I just tend to keep this as the default. Scale margin method, we can just leave it as is. But the margin itself is going to be affecting how close to UVs is one to another. If you keep a zero, it's going to be just touching the edges. That's not something that we want because the reason being is when you think about texture density, you might think that the pixels, for example, might bleed out onto one another. But the main reason is that, for example, in game engines, they use texture optimization. They got bitmaps and whatnot that essentially work as LODs if you know what LODs are with mesh. So they lower the resolution of the texture based on how close or how far you are from an object. So if you're further away, it's going to look like it has less resolution. And then it starts to real bleed out issues. So always, always try to make use out of the margin when you can. A good default value is 0.03. And if we click PAC, we'll notice that even though it's not as visible, once you start zooming in, we see that there is exactly that gap that we were talking about. So it's tiny gap. It's not going to lose a lot of density over it. It's really, really useful to have that margin spacing. Otherwise, again, it's going to bleed out meshes with one another. If you're doing something like Sci Fi, where it has emission, texture, and whatnot onto the same mesh, then it's especially going to be visible. So really, really, really try to have that margin spacing in between the UV. Okay, so we got ourselves the EV setups. Now what? Well, we're going to continue on with splitting up materials into multiple pieces. Yeah, again, we have multiple pieces in here, so we need to figure out how we're going to do that. But for that, we're going to do it all in the next lesson. Thank you so much for watching, and we'll be seeing you in a bit. 22. Shading Basics In Blender 3D: Hello and welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we left off with some nice textured water tower. I'd like to now play a quick video explaining how the shaders work, and we're going to be using a little bit from now on in regards to that, especially if you want to make some additional customizations. Welcome everyone to the blender shading and texturing introduction. And you can see here within my scene, I've actually brought in a few shaders just to kind of explain how they actually work. So first of all, what is an actual shader? A blender shader is a type of material that can be applied to three D models within blender. Shaders define the way surface of objects appear under various lighting conditions, simulating a wide range of materials and effects such as metals, glass, plastics, wood, and more. Essentially, shaders tell blender how to render the surface of an object based on its properties like color, transparency, shyness, texture, and reflection. So within blender, we use actually a node based system for creating and customizing shaders, particularly within its powerful rendering engines like cycles and the newer EV render engine. Now, it's important to note that the actual shaders within blender react differently to each of those shaders. So at the moment, you can see that I've actually got this on IV. But the moment I put this to cycles, these actual shaders, some of them, at least, will react differently. Now you can see that our emission here that we had that was glowing doesn't glow anymore, and that's what happens typically in blender cycles. Also, the glass now, we can actually see through the glass and see this is actually a glass shader. So it's important to know straight off the get go that some shaders will work in EV and some in cycles. Now next of all, we need to look at the different types of shaders within blender. So some are created entirely in blender through node systems, which we're going to look at in just 1 minute, and the others are created through textures. Generally, these will be PBR text. Now, a PBR texture is a physically based rendered texture, and it's a texture map designed to mimic the way light interacts with surfaces in the real world, based on physically accurate models. These textures ensure that materials react to lighting conditions in a realistic manner, making them essential for creating lifelike three D models and environments within blender. So now, enough of all the backstory on textures, let's actually go up then, and first of all, we want to bring in an add on. Now, this add on is in built within Blender. In other words, it comes with blender. I wish they would actually turn this on as standard, but so far, you have to actually enable it, but trust me, when I say, it's one of the best add ons that blender ever produced. So let's go up to Edit, and what we're going to do is come to preferences. We're going to go over to add ons, and the add on we want is called the node wrangler. So type in node, make sure the node wrangler is turned on, and then all you need to do is just close this down. Next of all, we're going to go over to our shading panel, which is this one over here. And then what we're going to do, we're going to click on this cube, which at the moment, doesn't actually have a shader on it or any material. We know that because if you come over to the right hand side, where our material panel is here, you can see this is completely empty. Also, in the shaded panel, you can also see if I zoom out, this is also completely empty. If you do happen to have a shader in here, and then there's nothing in here, just zoom out as far as you can, and then you'll find all of the nodes. Now, what I'm going to do, first of all, is add in a new shader, and what we'll do is we'll double click it and we'll call it wood. Like so. And now you can see how it's actually set something up within blender, just a basic principle BSDF. Now, this basically is the super node. It's where all of the texture maps will plug into. This is the main node that you will be using. Alright, so now what I want to do is I just want to click on this node. And what I'm going to do is I'm going to press Control, Shift, and T. And what then that will enable me to do is open up my actual computer file, and from there, I just want to find my textures. So here are my textures that I'm going to use as an example. You can see here we've got wood grain, and you can also check out what these actually look like by coming over to the right hand side here and clicking this on. And now you have a good idea of what these are actually going to look like. We can also make them larger as well if we need to. So you can see here at the moment, the size is 128, and we can just bring that up to actually make them bigger and see exactly what textures they are. Now to bring them in, all I need to do is select the first one, shift, set the last one, so we've got them all selected and click principle texture. And what blender is going to do from there is is actually going to bring them all in and set them up for us like so. So you can see now because of the node wrangler, everything is set up for us. Now, within our actual shading panel, you will see over the left hand side, we actually have a UV map here, and it's not actually showing anything at the moment. If we come on over and we select one of these actual textures like so, you will see if I zoom out, we've actually selected this actual metallic shader. I can also come down and select the roughness, for instance, I can select normal, or I can select the actual image texture like so. Just remember if it's on the wrong one, it's probably because you've got one of the textures or the wrong texture actually selected, and I generally want to have it on the base color. Now, with blender four comes a new principled BSDF, and now a lot of the options are actually hidden behind these little tabs here. So omission, for instance, is now hidden behind here, so I can turn this up, as you can see, bring it down, and change the color of it if I saw one. So just remember that some of them might actually be hid. Because this is a basics video, we're just going to go through a few of the actual options that we normally get within our actual textures. So a PBR setup normally consists of a base color, known as the albedo or cut just a color map, a metallic map, a roughness map, and a normal map. They're all more maps, but they take a little bit of work to actually set them up within blender, and this is the basics video, so we won't be going into those, but we will be going into those later on in the course. The first one, which is the Albedo map, it just defines the basic color of the material without any lighting or shading effects. It represents how the material looks under natural lighting. If we go to the next one, we've got metallic, and this map defines which parts of the texture are metallic and which are not influencing how the material reflects light. Metals have a high reflectivity and distinct coloration in their reflections. Now, you will notice if I click on this one, it's completely black. Because this wood has absolutely no metallic. If this was completely white, all of this wood would be completely metallic. And if it has kind of graze in there, that then is defined the roughness of the actual metallic. In other words, those little spots that you see when you shine light on something. The next one is roughness, and this isn't to be confused with metallic because roughness is how shiny something is, and metallic is obviously how metallic something is. Generally, as well, with metallic, either something's metallic or it isn't don't really get in the real world half and half. The roughness map controls how rough or smooth the surface of the material appears, affecting how sharp or blurred the reflections are. A lower value results in a smoother surface with sharp reflections. Why a higher value leads to rough surface with diffused reflections. Now, when I'm talking about values, I'm talking about these values here. So the more sharp this is or the more blurred this is or the more darker these little spots are, that will give you the result that you're actually looking for. And finally, we're going to go now to the normal map, perhaps one of the most important maps. And the normal map simulates small surface details and textures without actually changing the geometry of the three D model. It affects the way light bounces off the surface, creating the illusion of depth and detail. And this is used a lot in games to actually look as though there's more geometry than what there is. Now, let me show you how that works, then. So if I come down to this strength at the moment, you can see that we've got our wood here, and it's kind of defined. So if we look from here, it kind of looks like it's, you know, three D, and these little grooves are going in. But if we turn this all the way up now, you can see that's the effect we actually get. So you can see now it looks as though it's much more ripply along the edges. We can see big grooves going down there, and this is what the normal map actually does. Now at the moment, with our actual QPR, you can see we've only got one actual material on there. And what about if you want to put multiple materials onto an actual object? I'm going to do is, I'm just going to click the plus button. I'm going to click the down arrow, and I'm just going to choose one like Blass. I want to click the plus button again. Click the down arrow, and this time, I'll choose one that says stone. Now, if I go into my cube and press the tab button in actual Edit mode, come over, select one of these faces. It only works on faces. By the way, you can't select an edge and apply a material on there. You have to select a face or multiple faces. So what I'm going to do then is come down to glass. And finally, then I'll click a sign like soap. Then I'll come round to the other side. I'll click this face and this face. And what I'll do is I'll come down, click the stone and click a sign. And there we go. Now we've actually got stone, we've got wood, and we've got glass. And if we put this on our rendered view now, you can see exactly how that's going to look, and you can see how the light is interacting with all of these surface. If I come over just to the right hand side quickly and turn around my sun rotation, we can get a clearer view of what we're talking about. If I come even further around and bring it to the front like, so you can actually see that glass then is actually starting to be seen through, and you can also see that actual normal map working on the inside of this cube. Now, let's quickly go back to our wood. So to do that, what I'm going to do at the moment, you can see that we're probably on the stone in this one in this shade of view here. It says actually stone here. Actually come down and click on my wood, for instance, and then it will take me and put the wood on there as well. So that's another way to actually apply them. Instead of the stone, it's actually just put on wood instead, as you can see. Now, what I do want to do is I want to come in to my actual wood. So that's the one that we actually brought in, this one here and just show you, for instance, we can actually interact with all of these texture maps. Now, there's thousands of nodes available in blender, and the way that you put them all together, it can become extremely complex with huge hundred node maps and shaders. So I'm just going to show you something of the basics just to get you started, and that will be an RGB curve. So an RGB curve, as those of you may know, who use Photoshop changes basically how the actual image is actually lit, darker spots, lighter spots, things like this. So if I come in and press Shift A, search RGB, and you can see, I've got an RGB curve here. Now, just before we do that, if you do press shift day, you can come down. You can just see get a flavor of how many nodes there are actually within blender, and you can see also how many shaders there are within blender. Let's discuss that after, but first of all, we're going to go with RGB curves, bring that in and drop that down like so. And from here now, you can see that I can actually affect the color of this actual wood on the fly in real time, like so. We can also put this onto the metallic, onto the roughness and even onto the normal to get different effects and different ways that the metallic or roughness actually work. Now the next thing is we want to discuss is just shaders. So as I said, this is the main shader within blender. This is like the one ring of shaders, and basically this will be the main one that you actually use. But of course, there's plenty of shaders. So depending on what you want to do. If you come down, you can see, we've got diffuse, we've got emission shaders, we've got glass glossy and a whole range of other shaders that you can actually try out and use. Now that we've discussed that, let's actually come over two are actual shaders that I've got set up here. Now, you can see with this glass one, it's just a very simple shader of glass and got some roughness on, and, of course, an IOR value. Next of all, then we've got an emission shader, and you can see now this is using texture maps, and it's slightly more complex, and you can see how all of these things plug in. In other words, what I'm showing you is shaders can be very, very simple or get to be very complex. So the next one is the metal, and you can see this gets even more complex. The next 1 stone, and you can see, again, this is slightly more complex, and the final one is wood, and you can see things like this. So we can see that we've actually got some edgeware on this wood, and all of this is actually done within blender, again, with quite a big setup for the nodes. But it's unbelievable really what you can actually do with these shaders once you've actually got your head around how to set up the node system. Really are just scratching the surface in this blend of shaders and texturing introduction. And even on the right hand side here, you can see you've got all of these options as well to play around with, as well as the fact that you can actually put these into your asset manager as well. But this is just a basic introduction just to get you started. Alright, everyone, so I hope you learned a lot from that, and I'll see you on the next one. Thanks a lot. Cheers. 23. Assigning Material Variety To In Blender 3D: Hello, and welcome back around to Master Blender Free D with Wild West environment. In the last lesson, we talked a lot about how UVs interact and how we can pack them up and whatnot. Now we're going to finalize our setup and think about, firstly, the density of this water tower. So since this is a seamless texture, we can scale it up and down. We have the consistency of average out UVs, and we don't really need to have it into zero to one space. I am just worried that this is yeah, this is a little too large of the density. Not too large of a density, too large of the scale. So I'm going to increase it to make this quite a bit smaller like this. And I'm quite happy with this result. Let's go on to endo view just to check how this looks and yeah, it's looking quite nice. The only thing is that I don't like this being at the very front. So I'm going to go ahead and just move this entire part just to make sure it's not in the center because this part is going to have a text for the water tower, but we don't really need to worry about that. What we do need to do is we need to apply another material. So this entire bar, these two metal rings need to have a different material. And I think yeah, the roof as well will have a different material. So for that, we're going to go ahead and select these parts. The easiest way to do is to just simply let me think. The easiest way to do it would be to, well, make use out of the seams. Since we already have the seams set up, we can go ahead and click free to go onto Face Selection. We can click L to select the upper section, the bottom section of the roof. Then we can click L on both of the rings and there we go. We have entire selection. We're going to click Plus symbol over here to add a new material slot, and we're going to use already existing material, so black metal just like that. And once we have this assign, we need to assign it onto our selection. So that is where this assigned button is going to be useful because with this, we can assign the material slot onto the setup. And right away, we're going to get ourselves this result. So if we have a look at the render view, we're going to see how it looks like. And you'll notice that it has rust it has all sorts of extra detail that we've not seen in a material. The reason being is that these are not simple material setups. They are made for blender, a specific shader that makes use out of the edge masking within the renderer, as well as ambit occlusion to give additional depth and extra grunge inside of the well material. We don't really need to worry about that, but I'd like to just emphasize that this is already been set up and adjusted. All of these can be controlled. It is nicely set up for you to make use out of. For example, if we want, we can totally make use out of the flatware, and that's just going to give us additional UC controls like we don't really need to touch it, though. Everything has been set up for you, so we can just focus on the moraling part of this blended journey. And, again, the same can go for these two materials. If we want to change between the materials, just go onto a different selection, and you can adjust them to your liking. Going back to the setup, though, I believe that's pretty much it for the UVs for the materials of the tower. We honestly don't really need to do anything else. So we can think a little bit about the density, for example, of the setup. Previously, we changed up the density for the tower mainly whilst looking at the gray parts. But what if, let's say, the dark parts are quite a bit different. It does use a different material after all. So what do we do? How do we adjust that? Well, if you go onto selection, I am going to go back onto material mode, so we have more performance whilst recording, that is, we can go on to tab and to make a selection, I am going to double click A to deselect everything firstly. To make a selection based on a specific part of a material. What we can do is firstly, we can make sure that we are on the face mode by clicking free. Then we can select the material that we want to make use out of. We can click Select, and it's going to select all of the parts that are using this specific material, which is quite nice because now we can hover over with our mouse onto these parts. Within the U V section on the left hand side and we can just click S and scale it up or down depending on the choice. Maybe I'll just want to scale it up a little bit. At this point, it doesn't really matter if they overlap with one another. Again, the reason being is that this is a completely different material and it's not going to affect us in any way, so it is going to be totally okay. I'm going to go ahead and check just in case ran the view. I, I think I'm quite happy with the setup. So that's going to be it for me. We're going to end it short. Thank you so much for watching and I will be seeing you in a bit. Good. 24. Create Cube Shaped Create, Modeling Frame In Blender 3D: Hello and welcome back, everyone to Master Blender F D with Wild West Environment. In the last lesson, we left ourselves off with a nice setup for the water tower. So already it's looking pretty good with the setup. Of course, we need a little bit of a sign, but we'll get to that in a bit. Now, though we should focus on working with additional objects, additional items, in this case, it's going to be a barrel, not a barrel, sorry, a cry Barrels and crates are usually the foundation of environments when it comes to helping you break down some of the parts, making it look more organic or just adding that extra detail to well, any environment, honestly, every environment, whether it's Sci Fi, medieval, or in this case, Western, will use some storage containers. So barrels and crates are a way to go. Usually, so without further ado, let's go start doing the modeling process for it. We're going to go ahead and well, this is just a cube. We can just create our own cube in the center of the world and start working from there. I reckon that's going to be the best way to do it. Let's go ahead and click Shift an as cursor to world origin, create a new cube, going to just extend it. So right now it's just in the center of the world. I just prefer that because it makes my life more organized. I reckon, anyways, go into the cube. Wow, what do we do? How do we set it up? Well, let's go ahead and figure out what kind of barrels we need. We're just going to have some edges going across sideways, some support, basically frames, and then we're going to have some wooden detail that's going to go for the grain of the wood, basically, for the planks of the wood. And yeah, it's not much overly complicated, as long as you stick to a certain workflow, and we're going to try and attempt to have that certain workflow ourselves. So by workflow, I mean, it's going to be way easier if we just start working on one piece on one side and then carry on that process onto all the other sides, basically duplicating it. Let's start by creating ourselves the frame that we're looking for. What's the best way to do it? Well, the best way, the easiest way will probably be to just create ourselves new pieces from it. I'm going to click Shift and S cursor to active, so we'd have it right in the center of this cube. Then we're going to go ahead and create anomer cube, G, Y, move this outwards, make the smaller, and start thinking about how to apply this onto the side of our barrel. So how big should this be? Well, honestly, I think this by default is quite nice. We got to consider that all the asides will have this setup, so we need to have a reasonable amount. It is a stylized setup. Oh, I'm going to click Control Z. So the length already is quite nice, but I don't like the width of it. I do want this to be a little bit thicker. I'm going to use S and then shift in z and then thicken it like this. I think that's quite nice. Yeah, that's quite nice. We're going to make a duplicate onto the upside. So ship DGX. If you're worried about mired and whether or not this should be mirred, I'm doing it manually. The reason for it is that it does add that extra bit of natural aesthetic to it. That's why I'm just moving it manually, eyeballing it. Basically, we don't need to be accurate, but it does help to have some bit of symmetry when there we are when we're setting it up. But again, I'm not using mirror or anything like that. I do want to be looking more organic. So that's going to work out quite nicely. All right, so we have this part, we're going to just select both of them, going to hit hip D, escape. And now because we have medium point, meaning that between those two objects, we're going to have an invisible origin point, essentially, we can click R z, and you can see that it rotates based on that invisible point, we can click R Y and then 90, and that's going to rotate it exactly in the center, exactly giving us this setup. So now the question is whether or not it's good enough? Well, I think, we have it nicely set up. We can click S and X to extend a little bit outwards. And I'm going to click G Y to move it out like this as well. So yeah, this is looking quite nice. And I'm going to manually probably adjust it yeah, I don't like the way these are interacting over here. So I will go ahead and select them. And yeah, what I will do here is I'm going to add thickness to each one of them individually. So I'm going to actually click GY to reposition them as I had before. I'm going to make use out of the transform pivot point individual origin. So now when we click S, we can see that they are individually scaling on their own origin points. We can now use S and shift in X, and that's going to do Z and Y values scaling. So we can make them thicker just a little bit, like so, and that's going to remove that overlapping issue that we had previously. And already, it's looking quite nice. We can actually even make these side ones smaller. So as a shorten them down a little bit, like so reposition them, making sure that they'll look nice and snug together. I'm going to go ahead and select them all, click Control J at this point. You know what? No, I will do that separately. I'm going to click Control J on the horizontal ones as well as the vertical ones because they're different. They have different variation. And the reason why it matters is when we're beveling them, we're going to fix them up. One thing I did forget is you can see that beveling is the edges on vertical and horizontal lines look completely different. We need to go ahead and just select everything, click Control A, apply rotation and scale, and now it's going to give us consistent bevels. I'm going to just readjust them holding shift. To make it a little bit more organic. There we go. I am going to click As Z, and although we did just apply scaling, because we're doing such minimal adjustments, we don't really need to worry about it. So that's going to be okay. I am going to do additional bevel over here as well. And something like this. So we can have little bit variation beveling for those two, as well as it's going to be important because let me think. Yeah, it's going to be important because we need to now move this around and whatnot. Before doing that, I do want some variation. I really do, like, some variation for myself. So what I'm going to do is to make it a little bit more stylized, I'm going to go ahead and just select both the vertical or horizontal, and I'm going to add some edge loops in the middle like this. And then I'm going to just select all of them, so click scale. And because we have it based on individual origins, we can just scale it down a little bit, like so having that bit of an extra detail for a touch of yeah, just more of a stylized. Look, let's put it this way. So this is looking quite nice. Let's go ahead now and apply all of this to all of the edges. How can we do that? Well, the easiest way would be if we change the transform pivot point to free decursor. If you remember we had the preecursor right in the center of this cube, which you can reset by selecting the cube cursor to active. So now we can grab this duplicate it, Shift D escape, so we wouldn't go on to duplicate options, and then we can use R z and 180. This way, we're duplicating this to the other side. Now, we don't need these horizontal parts on the top. We just need to make use out of what we have over here, these parts, basically. So we can use Shift D, RX 90, and then just duplicate it to the other side. So shift D, so now it's going to be in Y direction, so this way, just flipping it around. So R Y 180. And there we go. Now let's go ahead and just see if it's looking good. Something is not looking good. What is happening over here? Gee, why? Somehow. This is not properly adjusted. So it's probably because these are not perfectly aligned, but that's okay. We can just slightly adjust them ourselves. Like, so we get ourselves a real nice. A bit of a design. There we go. So I'm scaling it. So S Y, GY, just slightly putting it in the center. We do want to have that bit of bevel going to be visible a little bit basically, maybe a little more. Okay, perfect. Already, we can see that we are getting a real nice design for this crane. Now What can we do about the inside parts? Well, the inside parts, there are two ways of doing it, but I will tell you about one way of doing it in the next lesson. So thank you so much for watching and I will be seeing you in a bin. I 25. Modeling A Single Wood Panel With In Blender 3D: Hello and welcome back everyone to Master Blended F D with Wild West Environments. In the last lesson, we left ourselves off with nice frame to work with. Now, at the very end, I did mention there's two ways, essentially, how we can approach the wood panels. And the first one would be more for I reckon game design. The reason being is that it's less in terms of topology. So let me show you right away, actually. The way we could do it is firstly, we could grab ourselves a phase. I'm going to make a duplicate out of one phase. So I just selected the cube, went into the phase selection, hit, ship D, escape, and I'm going to click P, separate by selection. There we go. We got ourselves a simple base of a shape to start working with. I'm also going to click scale to scale it down like this, G Y, bring it out towards, like, and I think that's a good starting point. Yeah. I think that's quite nice. Maybe reposition it a little bit. So now, what can we do? Well, within Edit mode, we can start by clicking Control R, and that's going to give us the edge loops. I'm going to increase it to the amount that I want. In this case, I think three or four is going to be enough. That really depends up to you. But yeah, I'm going to make it into into three reckon into four, sorry. Yeah, that's going to be aqui. Alright, so next step is going to be setting up the gaps in between. So we can ever make each one of those phases as separate individual mesh piece, which would allow us to get more gaps in between, for example, or have a certain additional control. Or alternatively, we can keep this entire section as one plane and get those gaps to look like their individual pieces. So I think it's better if we do it this way. We're going to go ahead and select this entire piece. We're going to slightly scale this down a little bit, as Z a little bit as well. So it would fit right at the edges of where we want. I'm also going to go on to object mode, right click Set origin to geometry, and I'm going to rotation and scale, apply that. So when we're doing inset, which is what we're going to do right now, it's not going to affect us too much. So I'm going to click I and then click I again, and going to make a little bit of an inset. Oh. Again, there we go. Going to make that little bit of an inset, not too much, just a tiny bit, like so. So we have a small short bit of a gap. I'm then going to click E and Extrude, and right away, we can see that we are getting ourselves the setup. Now, what's interesting about this, if I click GY to just show it from the side, we are still having this as one plane. So that's quite nice for us. But it allows us to do all sorts of stuff and treat this as individual piece. We do have some parts on the sides like this, but I usually just keep it as is. It gives me a nice control. I do want to make it look more organic, this. This is just too straight as a plank of wood. But before that, we can just add that bit of an extra softer touch using modifiers Bevel tool like this to emphasize where those parts are in between. And now we're going to go back onto Edit mode, click Control R, add additional edge loops, let's say, or left click, right click. So the reason we're doing this is because we can now offset this a little bit. So if we were to go to vertex selection, then click A to select Cl. And we can go on to mesh, transform, randomize. So this will allow us to randomize this entire section and give us a nice variation. Holding Shift, I'm going to lower this down by quite a bit. So just a tiny bit, so 0.005 seems right. And just by doing that, we can get ourselves nice variation. We can also select one of the planks. For example, we can go to proportion editing and click GZ, slightly offset it maybe like this. Maybe it's a little bit too much. So just a little bit. Not too much. Just a tiny bit. So it looks like they're more organic, basically. I'm going to also use R Y as well, but not too much. Just a tiny bit. If we want to have more control over the rotation, just extend your mouse from the centerpiece, and we can have a slight different variation. Again, not too much, just a little bit, but even this is too much. I'm going to undo it. R Y yes, a little bit, like so. And that's it. That's pretty much it. We're going to get ourselves some nice gaps in between. If we want to have variation between those gaps, we can do that. We'd have to the best way would be. The easiest way would be to just grab one of the edges like so, and now using the proportional editing, with combination of random Randomness will allow us to grab all the other vertices based on random selection and random proportions, basically. So if I, for example, click GSD and increase this, you can see that it offsets it just like that with completely random setup. So it's quite nice, especially for the parts in between. Maybe I want them to be some areas wider, some areas smaller and whatnot, can just have a bit of control and make a little bit of extra setup, just like that. I think that's quite nice. So by moving it up and down, we're going to get ourselves nice bit of variation. Is that enough or is that too much? I think the end part is not needed, and I think this is a little bit too much as well in regards to the straightness of this plank. It's a little bit too much. There we go. Okay, so just a little bit of tweaking, just a little bit of messing around. It might not look much, but if we go into maybe range view, maybe that would be a bit more obvious, we can see that extra bit is going to look really nice once it's applied onto the grate. I am worried, though, that this maybe needs to be adjusted manually. I'm going to turn off the proportional editing and just slightly tweak this to straighten it out, so it wouldn't look too off just like that. Because we have the beveling setup, the smoothness of it is going to be consistent. Let me let me check something real quick, though. So right. What is happening right now is the clamping of bevel is not working in our favor because some parts might potentially be overlapping with one another. Otherwise. So what it's doing is it's giving us the highest potential that we can get out of this clamping. But it's probably the issue would be probably within, like, closer parts of a here which are not going to be visible. So what we can do is we can go onto geometry, we can turn off the clamp overlap, and that's going to give us a full control over bevel. So we're going to make this just a little bit like so and now we have ourselves proper smoothed out parts, which is looking quite nice. Okay, so this is looking quite nice. And maybe we want some parts to be a little bit extra or too much, but it doesn't mean that we have to have the same thickness that is. So we change it up a little bit. We can now put it back on to the crate and see how it looks like. Something like this will be quite nice. And because of the way we set it up, we can see that there's no gaps in between, so it's going to be really well done. I am going to right away, apply beveling, and I'm going to go on to wrapping UV and wrapping, going to click a selected UV and wrapping. And in this case, I am going to use SMRTUVPject. Smart UV project will allow us to do quick UV and wrapping work. It's really nice and handy, especially for these kind of parts where we have a lot of elegated parts that will give us the same direction of the setup. To go on to UV Editing real quick to show you what I mean. I am going to just select this entire piece. Going to find the part over here and open it up. So UV unwrapping what it did, basically, is it gave us these parts of here you see separate, but it also gave us the parts in the middle and it will help us to work with the wood texture. And yeah, that's more than enough. You might be worried about the gaps left in between, so this is just an entire panel in the back. But for this particular case, because, again, we're using seamless textures or all of the materials, we don't really need to worry about the scaling or overlapping as much, so that's going to be a little more forgiving for the setup. Okay, so we can now find ourselves the wood for that. And yeah, the reason why we did this kind of wrapping is because sometimes it's better to have duplicates of the UVN wrap already preset. I was worried that maybe this part would be too complex. It doesn't always work with automatic UV and wrap, and we might have potentially needed to do seams and sharps. But yeah, this turned out quite nice. If you're worried about these parts like here, they might not look the best, but that's okay. Well, we can see that they're actually hidden or are very tiny and you're barely able to see. They are done because of the bevel, because we apply the bevel with a modified tie with a modified tab that is. Oh, yeah, all in all, it's a good setup. We can now go ahead and just duplicate this to go across all the upper spots. I'm going to go ahead and use what's it called precursor, transform pivot? Go to hit Shift D, escape RX 90, Shift D, escape RX 90, shift D, escape RX 90. Essentially, going through all these parts like so. Then I'm going to go ahead and select top bottom, Shift D, escape, R Y, 90, just like that. And we got this part, kind of thing. That's pretty much it. Yeah. All right, good stuff. So now we can go ahead and work with maybe making some additional adjustments. So for example, this can be rotated different way. So it would go the same way as these parts, maybe that would be aesthetically more pleasing. So RX 90, I just personally prefer when the horizontal part goes all in the same direction and then top att is really going to match at some point. So it is what it is. Then we can maybe think about additional adjustments, but honestly, because of the way the texture is going to be set up, we don't really need to worry about anything else. But we can if we want to, we can, for example, squish it down a little bit, this part, so selecting it all a Z, squish it down a little bit, so maybe extend all just like that to have some nice variation. But now, I think, honestly, all of it is perfect. We're pretty much done with setup. We now need to just do some texturing work. So for that, we're going to continue on with the next lesson. Thank you so much for watching, and I will be seeing you in a bin. 26. Creating Material Duplicates And Adjusting UVs: Hello, Lo and welcome back everyone to Master blended F D with Wild West environments. In the last lesson, we left ourselves off with a setup or crate. Now we're going to continue on the setup and well, add texture. For that, I reckon I'm going to check real quick. Yeah, these ones have bevel. I'm going to grab every fin like this. Going to go object, convert, mesh, just make sure everything is taken off, taking care of for that. I'm going to select all of the framework like this. And I'm just thinking about the fastest way of working with this. I'm going to connect the frame, so it would be just the frame itself, so there is a cube which I want to going to hide this, delete the cube. So this one not needed anymore. Let's go and delete it. Go to click Alt don't hide it. There we go. Again, hide and hide is going to just hide the setup. It's not going to use that isolation. So the slash button is the one that's like a different height type of feature. So it's not going to be affected by Alt H and H for hiding stuff. Okay, so material stuff, let's go ahead and do that. We are going to go ahead and select this entire setup, going to use SmartTV project, and it's going to give us nice base or well textures. Let's go ahead and find the wood that we're looking for. And I need to remember which wood it was. So I don't think it's this wood. And I think I think it was this one, actually. Yeah. All right. So the only thing, though, is that maybe, you know, the grain is a little bit too much, it looks like timber. It looks too grainy. So we need to fix that. We can do that. We can totally do so. I'm going to go ahead into selection mode, and I'm going to upscale it for starters. So that's going to because it's a sealess section that's going to go like this. You might notice that in the image, it goes horizontally. The reason being is that within the shaded tab, if you go onto it, then check the wood because it's the first time working with the wood at this point, we're going to find this setup. And you'll notice we do have controls for changing the rotation over here. We can change the rotation over here and it would go back to normal, but I prefer to have the wood going vertically. I always do that because when using packing, which we talked about previously, we have the packing set to vertical, and everything just goes in my workflow vertically, basically. And that's the default setup even if visually, it's not going to correspond to that. So over here, it's going horizontally, but personally, I like it when it goes vertically. So anyways, let's go back to talking about this. We can increase it to get a finer type of grain, maybe too much like this. But maybe the grain itself is too wonk. It still looks like timber. What do we do about it? Well, because everything is going vertically, we can simply click to scale and X and just squish it down, like, so because we're squishing it out, I'm not sure if it's visible. Sorry, not squashing it down. We are going to well, stretch it out. And once we start stretching it out, it's going to, like, add a lot more grain. It's going to make it look like it's straighter. This is, well, way too much. Let's go ahead and make it a little bit less, something like so. And because of we're going to have, well, in a way, customized type of a material. So even if it looked like timber, now it's going to look like wood, let's go on to the material itself to see how it looks like. And there we go. A nice type of timber or or this. Yeah, it looks quite nice. I'm quite happy with this result. We just need now to get some wood for this setup. I'm going to select all of these pieces just like that. Join them up. And now I'm going to I'm going to go ahead and select it all. I'm going to Oh, we already have the UVs. They are overlapping with one another. That's right. Because now we can just go on to new material and apply wood. So I believe it's going to be wood 001. No, that's not it. Sorry about that. You know what? Yeah, instead of just messing around and setting up a wood, I will show you how to make really quick and easy adjustments for the color. So let's say we do want to make use out of the same wood as is, it's really nice to reuse it. All we got to do is let's go ahead and grab ourselves original wood, make a duplicate out of it. So wood 002 or 001. And now we can go on to shading. The reason we make a duplicate first of the material is because we're now able to adjust this, and it's not going to affect the frame that we had previously. But right now we need to set up the color. So this is, well, quite finicky over here. You can see that we do have a lot of controls over here, but all we need to know is that whenever we are working with the base color, we can just apply additional RGB curves that will allow you to, well, adjust the brightness over here. I am, for example, increasing the brightness over here, and that's going to increase it to quite a huge amount. I alternatively, if you have just a PBR material, you can simply grab an RGB curve and just put it right before base color. If you're using something like note wrangler, this base color would be connected to the base color over here without any additional settings. But when we want to make adjustments like this, we can totally just increase the scale of this and get ourselves nice set up. So what is happening over here? Um, I think my gray box was left. Gray box over here was ticked on. I'm just going to take it off. There we go. Alright, so what is this looking like? Let's see. And yeah, this is looking quite nice, maybe a little bit too much. Going to lower this down just a little bit nice bit of a change. I think that's okay. And you might think that this is a little too bright for a scene. So what I will do is I will go on to render Options, color management, and there is within color management exposure. I'm going to lower this down. The reason I'm doing this and not using post processing or anything of the sort is because it just helps me to lower the overall exposure of the scene without changing anything. And generally want to have the brightness of the sun as realistic as possible. If you think about the environment itself, the sun is quite bright, but your eye readjust to the lighting. So if you go from, like, super dark place to a bright area, it's going to be looking really bright. So exposure kind of helps to alleviate that and get back the colors that we want. And here, it's looking quite nice. I'm just worried about this. So we have an issue for the frame, I reckon. The issue with the frame is that as too much color variation. And what I'm going to do is I'm going to also make a material duplicate. So material duplicate for this. I can call this. Actually, we can even rename it. Yeah, we're going to do that. We're going to rename this to be frame. So, so wood dot create frame. And for this, it's just going to be wood, dot, rate base. Like so. And the reason we're doing this is, again, because we want this original wood to be used elsewhere. But for this particular case, we have random per island, and you can see this is way too much. So if we have a look at it, if we start looking at how the shader interacts with the base color is it uses ten to mix up this information. And the way it mixes up is it has factor. Factor will allow you to go between A and B. So this is how it looks like for the color information that goes completely from this part. And you can see it gives us that nice variation. If we start going closer to a value of zero, which is value of the base color, it's not going to give us any information at all. But if we start increasing this a little bit, so we get a bit of variation, but not overly too much. I think it gives us that consistency of the crate. For this, we can lower it down, honestly. It doesn't really matter too much. Actually, we can keep it at the same value because it's only a plane. When we're going to be working with another crate, we're going to have a bit of a different variation. But for here, it's going to look like this, and it's going to look quite nice. All right. So let's have a look. Yeah, this is looking quite nice. We can now go ahead and just select it all. Click Control J to join, and there we go. We got ourselves a nice barrel. Oh, it seems like I missed the space part. So let me go ahead and fix that up real quick. I'm going to click Control J. Sorry about that. To go out of there we go, to go out of joining it. And what happened here? Seems like Okay, it seems like this part was just simply not long enough. So what I can do is I can click one, go on to edge right side selection. Click A Z to see through it. Click one for vertices, select all of this base. Click G Z, move everything downwards just in case. And I'm going to double check. There's more missing. I'm not sure why that happened. I'm going to go ahead and fix that as well, just in case. So this, make an entire selection. These parts are fine, so it's just over here that needs fix going to go ahead and just move it, like so. I'm only selecting this upper section. Basically, we can do a selection like this as well, and there we go. All right. So I don't want any gaps, basically, and they were quite visible. And right now, all of it is fine. Maybe this one as well. Seems like I missed it. Yeah, I did. I'm going to go ahead and select it across, like so GZ Oh, sorry, G Y? No, G sed. There we go. Everything downwards. There we go. Nice. Set up. Okay, so we got ourselves a crate. We're now going to work on a different variation of a crate and carry on with the process. So thank you so much for watching, and I will be seeing you in a bit. 27. Creating Crate Individual Planks Of Wood In Blender 3D: Hello, and welcome back everyone to Master blender Fred with Wild West Environment. In the last lesson, we left ourselves off with a nice crate setup and ready to be used. Of course, we're going to go ahead and just combine everything together. We're going to click Control J, and there we go. And since we had the fred cursor right in the center, we can also just set origin to fredcursor just to make it centered. So if we are rotating, it's going to be centered. It doesn't really matter. We can also do something similar with origin to geometry. But again, all of that is not really relevant as it just is there to help us well, rotate it if want to on a more convenient way. But yeah, we're going to move this a little to the side, and we're going to work with a new crate. So this one is going to be more lengthier. Let's go ahead and start working with that. Alright, so to do that, we're going to go onto Edit mode. We're going to click S and X and scale it outwards like so, something like this. Or you know what, to make it easier for you to make sure the right proportions are there, we can do ax two or actually SX 2.5, there we go, just a little bit of an extra. I think that's a great scale for a crate. Okay, so the way we've done before with the pattern for this, let's talk a little bit about that. We went ahead and created a single plane and then used inset. For this case, we're going to go in another way. We're going to create ourselves panels, multiple panels in fact, and then we're going to use them as boards. So let's go ahead and do that. We're going to firstly need multiple edge loops. So let's go ahead and get a for each on each side. I think that's quite all right. And the same thing for the top like, so this way, we have everything broken up. Now we just need to actually break this entire section up. We're going to hold Z and make sure we are not in sea free mode. And now we're going to grab each and every single piece of those and break those panels up. And yeah, the way we're going to do it is we're going to just make sure we break them up into separate panels so we can use letter Y on our keyboard. If we now click G and move it, we can see that they're now separate pieces. So that's what we're going to do for each one of those parts. Like, so Y, and then G. There we go. Nice and separate. The only thing perhaps that we need to do is, yeah, you know, what we're going to do is we're going to make it more efficient. We're going to streamline our process. We're going to do only top, this side and this side, and then we're going to flip the entire part. So now what I'm doing is I'm selecting every upper piece, going to click G, moving this, you can see that it's separate. And we're going to do this as well, our way around. So now, all of these parts should technically be separate. If we go ahead and select it all, click P, select separate by loose parts, we should have each one of those as separate pieces. So I did that just to make sure we have it nice separate. This part, the upside, essentially, is not really needed. We can go ahead and delete it like so. We're going to be left with all of these parts. So I'm just double checking that each one of them are separated in object mode, so, then what we can do is we can make use out of one of them. Work with one of them and create sparsaa solidify, like so. Solidify will allow us to there we go, extended outwards, just like that. Even as a nice plank, I'm going to hold shift to make small adjustments. Then I'm going to use bevel. Bevel is going to be over here, hold shift to make sure it's nice, set up, like so. So this is looking quite nice. And we can apply the same parameters onto the rest of the parts. So how can we do that? Well, these are ways just to select it all, so hold Shift tap this as the last piece, so it has that orange highlight, meaning it's the main selection. Then we can click Control L, copy, modifies. There we go. And there we go. All of them turned into nice chunks of planks. And those planks are going to be real nice and useful to make use of, especially for controlling the width and variation in between them. The alternative way for how we can set them up is by just joining all of them up. So we can actually join all of them up now that we have all of these parameters over here, modifiers, click Control J, and you'll see that all of them will have that same parameter value. The other way I wanted to show you real quick if I undo these parts, like so. So instead of just linking and copying modifiers, if we have this entire selection and this is the last piece, we can click Control J, and you'll notice that now everything has that same modifier because that last active part had all of those modifiers, it just applied it onto the rest of the mesh. So yeah, that's pretty much it. Afterwards, we can play around with the way it's set up. We can go on to mesh, transform and randomize. Oh, let's go ahead and make sure we click A to select everything, mesh, transform, randomize. And I'm going to hold Shift and just undo it just a little bit. You can see, by just adding that a little bit, you can see those extra planks going sideways and whatnot and giving us a real nice result overall. And that's pretty much it. So now we can go ahead and duplicate it to the upside. The way we can do it is we can click Shift D, Escape, then RX 90 and R Z 90. Oh, sorry, not that. What am I missing here? Oh, sorry about that. Go to click Control Z. So we have second piece. We're going to do a z minus one. So it's just going to be flipping mirroring, essentially, and then a Y minus one and a X minus one. So we're basically minusing all of the scaling, and that's going to give us that perfect mirror effect. So that's quite nice. All right, now we can go ahead and just combine these two. Let me just make sure I select them all combined, so. And I think oh, I made a bit of mistake. The reason being is that because this is scaled inwards, it's going to have normals flipped. And what I mean by that is if I was to turn solidify real quick and show you face oritation, it's not going to be shown over here, but if I was to join with this, which resets the what's it called? W resets the scaling, it's going to then flip this around, which is going to mess up or solidify. So how do we fix that? And the reason we need to fixing it, by the way, is because where is it? Because the planks are going inwards, they're based on normals. The solidify is working based on normals. So we have two separate pieces now, two separate object pieces. We're going to go ahead and simply click Control A, apply rotation and scale, and then we're going to go select it all, shift and N, and recalculate normal, to make sure that they are going in the right way. But I'm still not seeing the right setup. So what is going on over here? Let me just click Control Z and do that. And let me try to think on the best option for us right now to keep that nice setup. I think the way I'll do it is I'll just go ahead and select both of them, control J, join them in, then go on to Edit mode and click Shift and N, and that hopefully will sort it out. Some of the planks are still not properly behaving because they're separate pieces. I think I'll have to just manually go into them, select all of them, the ones that are going inwards like this, and then click Shift and N, recalculate normals with insight. This basically flips them around to the right setup like so. So we have these planks before adding a bit of frame and whatnot. Before adding detail, I want to talk about the difference between this setup for plank panels and this setup. This type of setup is really nice when we want more control. So, for example, we want to maybe add a bit of a gap or something. We can totally do so if I was to make an edge loop over here. Or over here, it's fine. I can scale this down a little bit, like so. And if we turn back solidify, we can have those nice plank gaps whenever we want, and it just is going to be really nice an extra bit of detail. The downside of this, though, actually, you know what? I will add that bit of an extra detail over here. When we go into edit mode, I'll just take this off. There we go. And yeah, it's quite nice. I think I quite like it. So the downside of this, though, is that it does have that backside of the face. It will have those backside faces. We could potentially remove them. And before talking about them, let me just go ahead and go onto object mode, convert mesh. So this way, we would have solid mesh piece over here. So on the inside, we could manually just go through them and, you know, delete those faces, like so but the thing is, if we do have gaps like over here, if we do have gaps like that, we would be able to see through the entire mesh. In game engines, for example, it wouldn't be quite as viable because you would be seeing through planes. You only have one sided renders to optimize real time rendering. So that means that if we have a plane, like so, let me just move this to the center real quick. If we have a plane and talk about face orientations, which we touched a little bit in regards to the modifier over here, based on the normal, it's going to show us the results. So everything that's blue is going to be visible. Everything that's red is going to be invisible because it's only going to show you one sided render. With a blender, that's not an issue usually because you're going to be able to see a mesh evil way. Because by default, it's two sided renders or the setup of blender. And yeah, but if it's in the game engine, you wouldn't have that and everything you would have deleted inside, you'd have, for example, some environment shining through and whatnot from inside of the box. So you ideally don't want this to happen. That's why for something like game engines, maybe the option would be best to just keep it as something like this. The good thing about this is, again, you have so much control over the setup. You also have some nice freedom over the setup over here where you want to keep those edges as wooden. So in this case, maybe I don't want the frame to be on the side. Maybe I want the frame to be closer to the center. And we can totally have that. We can totally just keep it as it is. I do want to select those faces over here real quick on both sides. And I'm just going to click S Y and just scale it inwards, there wouldn't be as high of gaps. I think that's a bit better looking, to be honest. Maybe same I'll do on the top as well and the bottom. So GZ sorry, S Z. There we go. Yeah, I'm quite happy with this result. Okay. So the only thing that we need realistically is going to be setting up material and some frame to just enhance the look of this box. So we're going to continue on with it in the next lesson. Thank you so much for watching and I will be seeing you in a bin. 28. Modifying Crate To Have Variation From In Blender 3D: Hello, and welcome back everyone to Master Blender three D with Wild West Environment. In the last lesson, we left ourselves off with some nice planks going all the way around or crate. We're going to continue on the setup, and we're going to add some additional support for this. So the easiest way for us to do that would be just to add a nice additional cube, move this off to the side so we can see what we're doing, make it smaller. And I just realized we need to turn this off. So transform Pivot point. Let's go ahead and go back onto median point. That's the default one. So this way we could just scale this part properly. And I am going to move this to the side, just like that. All right. Now let's think about the actual setup. Ideally, I want to have basically couple of these supports going on each side of this crate. So let's go ahead and do that. I will make this a little bit thinner, like so, and I think that's looking quite nice. All right. Let's go ahead and just make a duplicate or this other side. We don't have to make it perfect, just a general area because it's going to look a little more organic if you don't just mirror that stuff. And I'm going to put it onto the other side as well. Now I'm thinking whether or not these are a little bit too high up, which I think they probably are, so I'm just going to select them all. Click GSEed, move them downwards, and now they're looking quite nice. And yeah, I want them to be also on these sides as well. Let me just go ahead and select one of them, clicking seven to go top down view. Shift D, hard set, 90, and positioning them like that should be quite right. Yeah, it seems quite alright. Okay. Shift D GX, move the off to the side. Like so. And yeah, I'm quite liking this design. Go to go ahead now and combine all of them. This way, we can just add a bevel. Oh, sorry about that. Let's do Control A, rotation and scale applied. Now we're going to search for bevel in the modifier tab, and we're going to get ourselves in nice bit of bevel going just like that. I, I think, honestly, that looks quite right. Okay. So is this enough? Is this going to be good looking or do we need to do anything else? Personally, if I have planks like this, I would sometimes like to select them. So, for example, click SX and just kind of extend them just a little bit outwards. Like, so since we have this extra geometry, we might as well make use out of it and get additional displacement on the very end of the planks. Alternatively, we can also for the top section, for example, to make it look a little bit more I should I put it a little bit more unique. We can switch them up a little bit. So the bottom can stay the same whiles the top can just be a little bit smaller and we pushed downwards. I'm going to click Sx as well. Increases so. So this is going to look like it's a different type of a surface and compared to what we see underneath. And because of that, we'll be able to essentially rotate this around. So if I was to do it like this, sorry, as an example. Oh. RX RX 180, there we go. It would look like a completely different type of a setup. So I'm quite happy with the way it turned out. Alright, now we just need to set up the texturing. And I realized that there are some areas that have some weight lines so that can be fixed with Shade Otis move. There we go. Nice and simple type of setup. Very nice. Okay, so let's go ahead and start texturing process. We are going to go on to editing mode. We're not going to be seeing the crate because we need to go out of the isolation mode. And Alright, we are now going to go ahead and just y, select these two crates going to go back into isolation mode within the UV editing. And now we're going to just select it all. Click U Smart UV project UV and wrap. That's going to be quite right. Oh, I just realized I just realized one thing and that these parts are separate. I'm going to check that yeah, this one needs to have the bevels applied. I'm going to apply it right now since I want it to be one object, going to go ahead and join them up, then afterwards, shade out a smooth. So it would be the same as before. Now we can go back onto Edit Mode, select it all on Wrap, SmartVPject. There we go. We're getting something nice. I am going to go ahead and just simply reuse the same materials we had over here. So create frame, create base. Let's go ahead and use that new create base, so going to match this to be the same as this density visually. So I'm just going to increase this to a reasonable, more reasonable amount. Then click SX and just expand it a little bit. Like so not too much, but it's just going to straighten up all of those wood grains. Then for the darker one, we can use the frame wood. Let's go ahead and do that. I'm going to go ahead and select every single one of those end pieces. Like, so, which, honestly, I don't think about it, we could have just joined them after we texture them all, but that's okay. And that's good. Alright. Now let's go ahead and just create a new material, select the frame, assign and let's see. Does that look good? Do we need to do anything extra? I think we can extend it a little bit as X, extend it even more. There we go. That's looking quite nice. I'm quite happy with this result. Let's go into renove to see how this looks like. Now that we have both crates. I'm thinking whether or not from a distance is going to be quite alright with the setup. I don't like how this is too light. So I think let's go on to shading again, quickly adjust the wood. So both of these crates would look nice together because otherwise, I think it's just a little too light. I don't like the way the base is looking. Let me just go ahead and fix that. I think I can just lower this down. No, not this one. Sorry. This one down a little bit. Like so. There we go. More like this. Yeah, I'm quite happy with this result. I'll do a little bit extra writer. A little tweets like that is always nice to have. But honestly, I'm quite happy with this result. Okay, so next up, it's going to be the setup for decals. We're going to continue on with it, though in the next lesson. Thank you so much for watching, and I will be seeing you in a bin. 29. Crates And Decals, Learning Multiple Ways In Blender 3D: Hello, and welcome back everyone to Master blended F D with Wild West environment. In our last lesson, we left ourselves off by creating a couple of crates, which are looking pretty nice, but we do need to add additional detail to them. And what I mean by that is if we go out of the isolation mode, we can see that the materials we have over here include Alphas. So these alphas, you're free to make use out of them in any shape, way or form in regards to this project. And you can set some nice combinations with them, for example. For the Audo, we're going to set ourselves up with the T and T trading. I think that one is quite nice. And finally, we can get the whiskey. I think these three are quite nice. And I will show you how to actually readjust them and fix them, but I do want to see how they're going to look like on the crates myself. So what we're going to do is we're going to grab them, ship the move them off to the side, just so we could kind of have it next to our crates, like so and start it off with the first one. So how we're going to do it is we're going to well, click seven, move this off to create RX 90, and there we go. We're going to get ourselves a nice create setting. So the only thing, though, is if we have a look means that we need to get it onto the barrel itself. So I'm going to move it even closer than this until we start having those letters disappear just like that. Then we need to do some adjusting and optimization in regards to the setup. So firstly, maybe just move it downwards a little bit, reposition this to be more centered. Like, so and we're going to cut off the top and the bottom, even if they're not visible, they still tend to give additional rendering issues. So what I'm going to do now is I'm going to add some edge loops over here, going to select these parts, delete it. So then as for this part, what we're going to do is we're going to adjust it to the shape of this part going inwards. So the way we're going to do it is we're going to make an edge loop over here. We're going to click Control B. Bevel it out a little bit, like so, and we can probably just delete it. Let me just go ahead and check it how it looks like. Like, so I think that looks quite right. If we need to adjust it once we delete it, we can select one of these parts like so and then double click G, like so, and then that allows us to bring it even further down the setup. But honestly, I am quite happy with this result. So yeah, the reason we're making this kind of a gap is because this plank did have these two planks basically had a gap in between, and by doing it, we're able to give that additional plank type of grain, basically. It lets the decal to flow with its side. So afterwards, we can just put this on the other side as well. I'm going to click ship D R Z 180, GY, put up in the side, so this is the most basic way of setting up the decals after we're done with this barrel, we can just go ahead and add it onto the crate itself. So let's go ahead and just join them all up together. And now it's going to look, it's going to look quite nice. So as for this crate over here, let me show you a little bit of a different way of doing it. We can simply go ahead and well, attach one of them I'm going to rotate it, rotate it, so GI, move this in and reposition this entire square. We are then going to go ahead and find ourselves the modifier stamp, something called shrink wrap. So shrink wrap will allow you to get a more of a nicer attachment to the barrel. Thing we need to do is just make sure that it's hovering over and not in interlapping with the mesh itself. So we're going to make it even smaller this. We're making sure that now part of the mesh of these vertices are actually going inside of the crate. The next thing that we need to do is to set it up. It's going to be adding additional topology. We need to go onto Edit mode, subdivide, and we're going to increase it to something like 20. So I think that's quite enough. That should be quite okay. And afterwards, once we have the setup, we're going to click on Target, select the object cube, and we're going to get this as a base. It might look a little wid, and the reason being is that we just need to offset it a little bit once we start offsetting it, we're going to get the right setup. So the reason why this might be more beneficial is for starters, actually, let me just have a look. I might need to increase a little bit more. There we go. The reason why this might be a little more beneficial is because it will firstly completely projected onto multiple planks. So it's going to definitely be there attached properly onto the crate. The other thing is that when we have this plane attached, we can make we can have more control over the setup. When we were simply attaching the whiskey sign, we tried to just keep in mind with only what this sign is going to look like, how we can just cut this part over here so it wouldn't just lose a lot of detail. But with this one, we can slightly experiment it a little bit more. I just moved it a little bit out of the way. And what I mean by that is we can go on to materials, and we can change this alpha to any alpha that we want realistically so we can even grab the whisky and whatnot. We can grab other ones as well, and that really is up to us. So what I like to do personally with certain crates, with certain objects is I like to have multiple variation of them in regards to the setup and in one crate that is so for example, we have one of the setup over here and if I click G sorry, shift D, G Y, move it to the side. Going to just make sure it's close enough, but not messing around completely, going to set up our 180, like so and turn the shrink prep back on. Maybe needs a little bit of adjusting. There we go. And yeah, the up side can be complete different one, and that's going to give us some real quick and fast control over the crate. These are not right ones. Let me check which material is that. So 29. Let me just go ahead and make use out of that. 29 is going to be this one over here. All right. Now that we're done with it, the only thing is that we can either attach the shrink wrap directly onto the object. So we can just simply apply these. Or alternatively, we could attach the planes onto the crate itself, so it wouldn't affect whenever we're just moving it around. It's not going to be stationary. So I'll show you the second way real quick if you do want to keep the modifier on. Sometimes it's necessary, sometimes it's good, especially when you want to maybe make adjustments for the crate. So let's say I want to make well, this, for example, go inwards. We can do so or go outwards a little bit. We can totally do so, and that would totally work. So the way we do it is you will just grab both of these, grab the crate as last piece, and use Control and P. Object to parent, set parent, keep transform. And that way, when you select the crate, it's now going to be completely attached. So that is one way of doing it. The other way would be to just simply grab both these pieces, go to object, convert mesh, so they would be normally attached, and then just combine it onto the crate. And there we go. Alright, so now that we have this setup, I'm going to also mention how you can do it for the water tower. So the final way would be to just grab a piece of mesh and make use of it to set yourself up with the well, with the Alpha. And for that, I'm going to check real quick. Which one would that be? So that will be water tower, Alpha 30. Perfect. So we're going to do that over here at the front, which I think I'm going to turn on the gray box back on, so I can see where exactly is the front. Click H on these two to hide them out of the way. Okay, so let's go ahead and simply select a part, the chunk of a mesh, maybe something like this. We don't want it to be completely in the middle. I prefer to have some parts at an angle. So I think, something like this is quite nice. I'm going to hit Shift D, Escape, P, separated by selection. We already done those parts. The next thing I'm going to do, I'm going to go back onto Edit mode, and then I'm going to hit Alt and S, which is inflate shrink. This allows us to do that. We're going to go up to so we'll be pushing outwards. We get ourselves the menu for offset. So for offset, we're going to use 0.001, and that's just going to offset it just a little bit, so it would always prioritize this mesh piece instead of the one behind it. So it's not going to be flickering and glitching out basically whenever mesh is exactly on the same location. The next thing that we need to do for this part is just going to be simply grabbing Alpha ferti. So Alpha ferti so and then we're going to go ahead and use unwrapping. So hit tab, select it all, unwrap minimum stretch. We need to go onto UV editing for this one, unfortunately, going to go onto the water tower, rotate this by 90 degrees, rotate this again, by 180 degrees. So we'll have it properly set up, and there we go. Just going to position this to be nicely set up, so it would not overlap or anything of the sort. But yeah, just like that, we're getting ourselves a water tower setup. A quick thing, if you do want to change the color of the Alpha, all you got to do is just go onto the shading tab, select the Alpha, like so and then you can use the base color to change it to any color. So if we want it to be green, red, or just black, we can do so just like that. All we need to do now is just place the crates over on the top, work on a barrel as well at the back, and we're going to continue with all of that in the next lessons. Thank you very much for watching, and I will be seeing you in a bit. 30. Modeling Barrel, Using Circular Planks And In Blender 3D: Hello and welcome back, everyone to Master Blender Free D with Wild West Environment. In the last lesson, we got ourselves some nice crates which we're going to be able to make use out of for the top section. But I would also like to get ourselves some barrels for the environment, as well to put it in the back. So let's go ahead and right away, start modeling. Okay, so we're going to go ahead and just create ourselves a cylinder as a base. This time, 32 vertices, I believe, is going to be better or actually, sorry about that. We need to consider the planks, the way they're going to be going. So for that, we need to decide how many vertical planks we're going to have. I'd say 12 is a little bit not enough. If we get closer, we'll notice that it's just going to be too thick of each plank individually. 16 might be a little bit better. But just to be safe, I think we're going to go with, no, you know what? 16 looks perfect. Let's go ahead and isolate the entire view. We're now going to go ahead and start working with this entire setup. So how are we going to do it? Well, pally, it might be best if we were just to take off the material view. And we're going to elongate this a little bit like so. We're also going to make sure that there is a nice type of whip in the middle. We're going to create ourselves an edge loop. So Control R, left click, right click, scale this outwards like so a little bit extreme to that point, then we can use Control B and get ourselves a real nice base shape just like that. All right, this is looking more like a proper barrel. There we go. Okay. So the next thing that we need to do is just separate the pieces. And that's going to be probably the best start would be with just separating each one of those planks individually. I'd say also split this off as well. I'm going to select the top and bottom, click P, separate by selection. That way we have these two separate. For the barrel, we're going to just do every single one of them. So the top one, we're going to hold Shift left mouse button, click on it, then hold Control and select the bottom. So it will pick the shortest path basically. And doing that, we can just go all the way around until we get to this point and then we're just going to get ourselves this nice setup. We can click Y and then separate it. And this, hopefully, Yeah, there we go. Separates it properly. We're going to then use solidify modifier to increase this. Oh, what's happening over here. I think it's going the wrong way. So let's see. There we go. Now it's going the right way. We're then going to go ahead and add also well, beble as always. It's nice to see that. There we go. That's looking a lot better. Let's see if this is actually looking good for us. I'm going to turn off the bevel because I think I noticed a bit of an issue. So when doing this, we need to consider the solidifier in regards to thickness, whether or not we want it to be going outwards or inwards. So right now, when going outwards, we can see that the backsides are barely touching one another just with their vertices. That means that whenever we have a bevel, it's going to create as well, the bevel itself is a little too extreme if we lower this down a little bit, can see that it creates the gaps because those vertices now those corners end up being beveled off. So for that reason, we need to go back onto the solidify and use the offset. So the offset will allow us to kind of bring this back in just like that. I'm going to do it just a little more so they will overlap a little bit. We wouldn't have to see anything on the inside. And with that said, we can also offset and randomize those parts a little bit as well. I'm going to apply now the solidify, so we could have those geometry pieces to work with. We need to be an object mode for that. So solidify. Now we're going to just apply there we go. All right. So after we apply it, we now have proper full solid pieces to work with. And with that, we can select the mole. We can go to mesh transform or randomize, and just by a little bit, we're going to randomize it, so it would look a lot more organic and natural. The thing is that we need to do is just slightly offset some of those parts. So this, for example, can be going upwards. This can go upwards. And whatnot. Or I think I'm going to make use out of the proportional editing with random selected, so this way, we can just go upwards, downwards, whichever way we want just to kind of slightly offset it. And I think that's going to be quite okay. We don't need to do it too much, just a little bit. So someplace a little more, someplace a little less. There we go. Something like this. All right. So now we have ourselves the barrel base. The thing that we're missing now is going to be rings, and I somewhat forgot to add rings. It's best to have that base of a mesh before breaking this down, have this cylinder basically before creating planks out of them as a duplicate. But it's okay. Not a brick problem. We can create rings from this section over here, I reckon. And I'm going to just duplicate this, going to go and delete one of them going to go ahead and let me think. What would be the best way of doing it? The best way would probably be to delete the dissolve phase. Nope, that's not it. So I want to delete the phase, but not the vertices. And I wonder if I can do that only phase. There we go. That's what I was looking for. Then I'm going to go ahead and just Oh, extrude this selection, which is not letting me. Why is it not letting me? Let's see. Oh, because it was in the phase election. Now it should let me. There we go. Oh, right. I had proportional editing. That's not good. So let me just go ahead and undo that. Turn off the proportional editing this time. Click E whilst in vertice mode. There we go. G s. And yeah. So just to kind of cover what I did over the Spinky motion, I turned off the proportional editing, went to vertices because we only had vertices and edges to work with of wise it wouldn't extrude. I extruded, clicked escape, and then click Gs to move it upwards. That's basically it. All right, let me just put this down. So I'm going to move this downwards, like so going to right click Set origin to geometry, so it would be more centered and how we can upscale this outwards. Like so. And I'm going to manually take the position of it. So this, I think I want it to be a little bit higher up. Like, so, and I think that's going to be quite okay. I'm going to make it a little bit thinner, and I'm going to slightly readjust this to be covering the base. Now we can add solidify or actually, we're going to do it manually. The reason being is I want some additional detail for this. So I'm going to go ahead and select it all going to click E, Enter. Now we can use Altns and that's going to inflate it in a similar way that we did with solidify. I want this to be inflated to this amount. I think this amount is good. Other thing I want to do is I want to get a bit of additional type of detail. And what I mean by that is I want this. This is too fake. I'm going to lower it down. I want this to have a certain pattern, let's say, so it would look like there was a metal sheet that was made into a ring, so it's overlapping. And the way we're going to do it is we're going to select these two. Actually not needs two because we need to create additional detail. We're going to use Knife tool. So knife tool is very nice, especially when wanting to create additional detail. We can either use this button over here or we can click K on and when we have a selected face, we can start drawing. We're not going to be able to do any drawing. Oh, it seems to allow us to do drawing now. Why that is the case, I probably is because by default, there we go. By default, now this is ticked off. So yeah, we are going to go on to the knife tool over here just to double check the settings. The custom sorry, the shortcut for that would be K to start using the knife tool, but we can just use it for here. Only selected will allow us to make knife make use out of knife tool only on selection. So I think that's exactly what we're going to do. And then I'm just going to start using it. I'm going to make this sort of a pattern. There we go. So now I just want to make sure I guessed it as much. I didn't quite touch the edge of this vertice. So you can see it separate. The bottom piece is just one vertice, but the top one, I want to connect it. So what I'm going to do is I'm going to select these two vertices. I'm going to click M and at last because the first vertice was selected that was offset, last one is where it was supposed to. Now we got ourselves nice set up. The next thing I'm going to do is I'm going to select these two parts. I'm going to click E, Enter, Alterns extrude it just a little bit, like so. In this part, I'm going to reattach it back to here. So merge. No, I got to do it by each vertice. Merge by last, merge by last. There we go. The reason I'm doing it it's going to look like it's just getting pushed out like this, and we're hiding, basically, that's not just one piece. The other thing that we need to do is going to be adding some nice bubbles, of course. Or here, I'm just going to manually select this part over here, like s and that's going to be good enough. Let's see. Let's click B. Control B that is. I'm going to lower down the amount, like sew segments and yeah, I'm quite happy with this result. We can now make use out of this for the bottom piece as well. I think it's a good opportunity to do that. I'm going to go ahead and just click Control D, G Z, move this downwards. I'm also going to do S minus Z, sorry, S Z minus one. No, S Z minus one. There we go. The reason being is that this was shaped to be going inwards or at the top. So we're going to make use out of this to our advantage and just lower it down to where we want it to be. If we want to readjust it, we can totally do so if I want this to be more for the centerpiece. So let's say shift D, G Z move this upwards. I can scale it up a little bit. Oh, no, we need to scale it. Click S, and then Shift Z, there we go. We're going to be scaling it in X and Y direction only. I'm going to position it like. Then the next thing that I need to do that we need to do is move all of this outwards a little bit. Yeah, that's exactly what we're going to do. So we're going to grab the bottom faces. Let's go click one to go onto side view, Old Z to go into Seafru view. I'm going to select these parts over here. I'm also going to use proportional editing with smooth turned on. The reason being is that we have these parts that need to be slightly adjusted as well. Or you know what? We can do that manually ourselves. So I am going to take this off. Then afterwards, we're going to use a simple S shift Z, readjust it a little bit. If we do it too much, it's going to start increasing the thickness amato because we're only tweaking it just a little bit, we're going to get ourselves nice result. Let's see. Yeah, that is nice. This part, however, needs to be just slightly adjusted. So I'm going to use Alt and S. No, that doesn't work. I need to manually use a gizmo, which is a move tool and just manually move that out of the way. Like, so oh, there we go. So I'm just using this blue square, which will allow us to use X and Y, but not z values. By manually doing it, I think we can get ourselves up to a nice little setup. Yeah, I'm quite happy with this. Alright, I think I'm going to do shade Oto smooth though. With this lower down, down to 30, the usual amount. Yeah, this looks nice. Go to do it for all of them, actually, just to check if it looks alright. The only thing I'd like to also add is going to be additional bevels on these parts over here. Let me just have a look real quick. We can just select all of them, so Like it doesn't want to. There we go. Like so Control B and just moving it off. I'm going to copy this value for the width, so Control C, 0.02, basically, it'll be fine. I'm just going to reuse that everywhere in these parts as well. So 0.02. Yeah, it seems right. Quite happy with the result over here as well. I wasn't sure if we should add more segments, maybe. But I think looking at it, I'm quite happy with the result. Okay, so now that we're done with this, we're still left with the top bottom piece, and of course, we're left with the texturing part, which all of it, we're going to continue on in the next lesson. Thank you very much for watching, and I will be seeing you in a bin. Okay 31. Modeling Barrel Top And Starting UV: Hello, and welcome back everyone to Master Blender Fred with Wild West Environment. In the last lesson, we left ourselves off with a nice little barrel base, the sides that is. We're now going to continue on with the setup, making sure that we have the top to work with, as well. To start off, I'm going to select the top, go select, separate by loose parts. Reckon we can just work with the upper section, and that's going to be more than enough for us. Now going to make use out of these vertices. I am going to just drag this out so we can fix that positioning later. So we could actually see what we're working with at this point. Going to go on to tab mode vertices, and we're going to make use out of these vertices to create ourselves some pattern, essentially. So the way we're going to do it is we're going to select these two vertices. We're going to click J to join, and that's going to give us this part over here. So this part, let me think if that's actually correct. No, no, that should not be like that. Sorry about that. This part, like so. So like this, there we go. A bit one closer. So now if we click J, we're going to have this part over here, so just four points and its own separate piece. Right now, we're going to continue on with the setup to get all of these setup like this. Oh, so we select one, we hold Shift, we select O J that joins the vertices, giving us a nice line. And as you can see, now we have a pattern to work with. And for this particular case, I think we can get away with setting ourselves up with just a bit of an inset. And yeah, that's going to be more than enough. I'm going to go ahead and select it all, click I and make a small little inset like that. Then click E extrude, giving us a nice little thing that's at the top. Bevel, let's go ahead and test out the Bevel if it's going to look good or not. I think that's quite all right. I am going to select this and just, you know, click GZ, move them outwards a little bit, move them outwards, some of them inwards. Like, so maybe even rotate it. We don't really have to worry about too much of destruction. Since we're not applying Bevel right away, we have smaller amount of vertices to work with and in turn and get ourselves some more interesting shapes in certain cases. Yeah, I think that's quite nice. Let's go ahead and apply the bubble now. Going to place this downwards like this, maybe scale it down a little bit, maybe scale it down a little bit too much. There we go. Nice little part at the base. I do want to perhaps, I do want to increase the thickness for this, and I'm going to check real quick the setup. So yeah, the way we can do it is we can go on Edit mode. I'm actually going to just take off the lid so we can see what we're doing. We can go into Edit mode for this. I'm going to select every single part like this at the top. Like so. Going to go all the way like this. And the next thing that we can do is select go onto selection, select similar normal, I believe. Y, and we can just increase it. This should. No. Linked flat faces, and then we can change the angle. And there we go. By increasing this, we're able to basically say that like, Hey, whenever the angle is not too sharp, you're going to be able to make selection, and that's just going to give us this entire selection inwards. I then we can then click Alternats and just bring this thickness a little more inwards. There we go. Even more, actually, shouldn't be afraid of overlapping them too much. There we go. I think that's quite right. I'm just trying to match this upper thickness with the base. And now I think it's quite nice quite a nice little barrel. Yeah. Okay, let's go ahead and do the same for the base except we don't really need to do the same for the base. We can just select the top, hit Shift D, escape RX 180, and because well, we were kind of close. I was hoping that because the origin point is in the middle, I was going to say that, it does exactly the same setup, but unfortunately it did not, which is okay. And, yeah, that's all. That's it. Good job, everyone. Let's go ahead and add some good looking barrel, in my opinion. We just need to fix a couple of parts. For example, we need to smooth it out edges. We can all do that when we grab everything together, go to Object Convert mesh, just to make sure that we apply all of those modifiers. Then click Control J and Shade Auto Smoove. I'm just going to double check if everything is right with that. Angle of 40 seems to be right. And yeah, let's go ahead now and start the texturing process. The texturing process itself shouldn't be too much of a nuisance. We can go on to the editing. I'm going to isolate this barrel again, go on to just texturing mode. I'm going to take off this Wild West sign over here, and let's go ahead and start off by just unwrapping Smart GV project. Let's see what this gives us. Half of it is okay, so it speeds up our process, but not entirely. Let's see what we can do with this setup. Alright. So firstly, these are probably going to belong to the rings. Again, if you're not able to select like that, just make sure the upper left hand corner, this UV sync selection is ticked on, and then we're able to have a proper go at this. Okay, so I just noticed that it's not an entire barrel. What is going on here? Let me go out of the isolation mode. I think we are missing a couple of rings. We are definitely missing a couple of rings. Yep. Let's see. But these we or I have not added them to the group, but now I have. I'm just hoping that I didn't mess up selection. No, I didn't let's go back and even wrap it again. So we could have a nice base to work with. So for the rings, let's see what we can do with them. I'll personally just go ahead and select them, so click AltngO sorry, shift and H. There we go. Remove the inside parts. They're not going to be visible. They're not going to be seen even with the gaps in between. So for that reason, they can go out like that. The reason we're doing this is now we can just simply create a quick little loop somewhere in the back, like so create a mark seam if we have a look at it, let's see how it looks like. We do have an interesting shape over here, but I think this should still conform nicely. So we're going to use minimum stretch, and there we go. Let's see what this became. So it slightly warps the parts over here. But because it's such a thin piece, I reckon we can allow ourselves to stay with that piece. The other way of doing it would be the other way of doing it would be actually to just break the UVs in those parts. And I think we might as well do that. Yeah, we might as well do that. Okay. This is what I'm going to be doing completely unnecessary, in my opinion, but if we want to keep certain standards, we can just go ahead and clear Seam, then go back onto this and instead just set up nice part going all the way across like this. So whilst holding Alt and Shift, I'm just selecting these parts. It nicely selects it for me. And should give you the same result as well. The reason we are doing it like this instead is because these parts will now have the way to stretch out outwards whilst not boering the face in the middle. So this face will not be bowed by it. And I think I just made a mistake. Seems like I need to mark Seam. There we go. Not a sharp. I'm not sure why that was the case. All right, so let's go ahead and mark, sorry, unwrap minimum stretch. There we go. Now they have plenty of space to grow outwards whilst this is not going to be distorted as much. I'm much happier with this result. And we can go ahead and just select these parts, move them off to the side. The reason being is that we can click Alt and H, and we know that these have been properly sorted by us. The other parts, we can continue on working, but since we are running out of time, I reckon we can continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bin. 32. Uv Unwrapping Techniques For Barrel Using In Blender 3D: Hello. Welcome back, everyone to blend the Master P D with Wild West Environment. In the last lesson, we left ourselves off with some basic setup for the UVs. We're going to continue on with this process and get ourselves just a little bit of an extra touch in regards to this overall setup. So we have a setup that would work in giving us the nice sort of UVs. But not UVs detectures, but we could make it better, honestly, we can definitely make it better, especially in production setup. If we want to make sure that everything is nicely set up and optimized for specifically, like, professional use, you would definitely not want to keep those kind of setup like this where it's just a lot of extra UV chunks. So let's go ahead and fix that. The easiest way to fix that is firstly, figuring out whether or not the edge loops that we're going to get are going to be in the right setup. So what I mean by that is I want to make sure that what we're working on over here is going to be giving us a nice loop. And it seems that, yes, it is giving us a nice loop whilst folding lt and clicking on this. So I'm just wondering what the best way for this would be. And honestly, yeah, I will show you my usual way of approaching this. I'm going to click one, and that's going to give us the side view, going to click free, which is going to go on to the base selection. So this one over here, hold Z for se fru, and we can select all of the parts at the top just like that. So we're going to be left with just this selection. Go to do the same thing with the bottom piece as well. So holding Shift this time, so we can have a selection for the base as well. This is only for the planks on the outside and nothing else. So let's just double check that no upper selection is made. And I think that's quite all right. And then afterwards, we can go on to selection, select loops, select Loop boundary. Oh, sorry about that. We need to firstly goo edge selection. So selection, select loops, boundary loops, and now we'll see that everything that was selected, it will have an edge line going all the way around, so that's going to give us nice upper and bottom pieces to work with. Then we can go ahead and right click, Mark C and there we go. We're going to have ourselves a nice setup. Now, what do we do about the vertical way of breaking up this wood? Well, we can start off by making it a little bit easier for us to see what we're doing over here. I'm going to click free on the selection mode, and I'm going to click one. I'll Z, make it SFR, select upper section like so. I'm going to click Control plus, which is select More. Control plus allows us to click in it multiple times, allows us to select the entire piece, like so, which afterwards, we can click Shift and He. That's going to hide everything else except for these, and that's going to make it a lot easier for us to work with. And afterwards, we're going to go onto the inside piece. I think that's the best. Yeah, that's going to be the best way. I'm going to go ahead and click free, select this on inside, select the bottom using Control. Hold Shift, select this, hold Control, select this. And by doing that, we're going to go all the way around. And the reason we're doing this is that we want to select inside pieces. And there are multiple ways of which we can set ourselves up with the seams. In this particular way, I want to make sure that the seams do actually go on the right and left hand side. And the reason being is that we're not going to be seeing those seams regardless. And even if there's going to be a little extra more chunks, it's still going to be clean topology. You can do that. So holding shift, select first, holding control, select last. And just like that, we can go one, two, one, two, and for all of them like that, maybe if it was less boards, it would have been a bit faster, but honestly, it's quite fast as is. All right. Afterwards, click two edge selection, and let's use the same boundary loops. There we go. And you'll notice that the upper section is at the bottom section as well, do have already that same edge loop that we had or Markem. So when we click Markem, it's just going to just do additional ones for the vertical lines on the inside. So that's quite nice. We're going click Old H when we are in edit mode to make sure that we get all of the up mesh back, double click to go out of the selection mode. And let's see what else we got. We got this part on the top and the bottom. I'm going to click L, L, and shift There we go. Now, how do we approach this? Well, honestly, the best way would be if we decide whether or not we want to keep the outer edge previously on the not the barrels, the Boxes, you notice that we left these outer skirts, which is totally viable. Honestly, it doesn't take up too much space, but I'd like to show you an alternative way. Or actually, you know what? I will show you one way for the top and another way for the bottom. I think that's more than enough for viability. So we can select upper section like that off the faces. Of the faces, just the upper section. Click Control plus a couple of times, and there we go. We're going to get ourselves this type of selection, which does not include those parts in the middle. Afterwards, we can click Control I to Invert Selection. I'm going to click ld Z and hold Control and just deselect the bottom piece, like so, and we can just simply delete this part over here, which is going to give us those separate planks that we always like. And the thing about this, though, now is going to be if I click sorry, ld Z. Yeah, there we go to go out of the transparency mode. We can see that those gaps are going to be perhaps a little visible when seen from the top. Whatnot. We can avoid that by clicking one, going into the side view, clicking our 01, which is above our letters. We're going to go ahead and select this section over here, and I just made a mistake. Sorry about that. Going to click Old Z and select this part over here, so. With that selection, we can simply see the middle part and use Shift and S, sorry, Alt and S to expand it to the point where it's going to be overlapping with one another. That's just going to increase the bottom pieces a little bit to the point where we're not going to be able to see that. See past them that is. All right. So after that, all we need to do is just figure out how we can, well, break up this shape in terms of the UVs. My easiest way would be to just go onto the top down view. You know what? I will hide the bottom part out of the way first, so we can talk a little bit about that. So once we go into the top down view, we'll notice that these are diagonally placed. We can click four to kind of rotate this entire selection to make it easier for ourselves. This way, we can have it more straightened up. And afterwards, we can click free and using Alt and Z transparency, which you can see the.in the middle because it's activated. Or if you want to reposition it a little bit at the top section, we can go ahead and just drag it across like So holding shift drag across like this. And what we're doing here is selecting upper parts, bottom parts, and the middle parts. So essentially, we're going to have a selection where these parts I'm going to zoom in a little bit. These parts are going to be selected for each plank except for the outside parts. And this will allow us to nicely break apart the section. When we think about UVs and seams, it's always hard to imagine certain parts and whatnot, especially when it comes to parts that are going to be more visible in your face and whatnot, where the seams would be more obvious. In this particular case, we need to just worry about the way the grain is going. So because it's going sideways, that is in length in its length, it's just not really going to bother us when we have a seam over here. You'll notice that my view is a little different in orthographic view because when I clicked seven and clicked four and then moved my camera around, it just kept that orthographic view. So the easiest way to fix that would be to just click any of the top down view, for example, and then move it out of the way from that. That's just going to change from orthographic to perspective. You can see on the top left hand side of the viewport. With this selection. Anyways, let's go back to the setup with this selection. What we can do right now is we can click two and do the same thing of select boundary loops. There we go, going to give us a nice selection. We can then right click Mark SM, and there we go. And for the parts that are top and bottom, what we can do just to make it a little bit easier for ourselves, we can go to the top down view old Oh, click free ds. There we go. We can make use out of another selection. So instead of using box select, which we usually do by default, we can make use out of Select Lasso. Select Lasso will allow us to just do this kind of selection, like so sort of a sideway smiley face and holding Shift, we can do the other side as well. Like so, and there we go. That way, we're going to get these upper and bottom pieces off the plank. And again, using that same method, we're going to be able to select boundary and get ourselves a nice edge loop. I am worried a bit. Yeah, I am quite worried about that these edges are intersecting like that, and I'm not quite happy about it. So what I'm going to do is I'm going to Click Control Z, and I'm going to instead of clicking Control plus, I'm going to click Control minus this time. And you'll notice that it shrinks the entire selection, giving us a very nice just square over here. And that's all we need. Basically, we can click to, and we don't even need to worry about the boundary. For some reason, this was not selected, I'm going to select it just in case. And this was not selected either. I'm not sure why. Just double checking the selection, making sure that we have a reasonable selection top and bottom, just like so, and I'm quite happy with. Go ahead and right click Mark Sim, and now we can go ahead and select these parts. Click U Brab minimum stretch, and there we go. Look at how nice this looks like. So we can move this off to the side. We don't need to worry about that and start on the bottom piece. The bottom piece over here, we can work in a little bit of a different way, but we are running out of time, so I'm going to show that in the next lesson. Thank you so much for watching, and I will be seeing you in a bin. 33. Alternative Way To Unwrap Uvs In Blender 3D: Hello and welcome back a run to Master Blender Free D with Wild West Environment. It'll last lesson we finished up the top section for the UV and wrapping. We got to sell some nice setup over here. Now we're going to continue on with the setup for the bottom piece, of course. And let's go into Edit mode. Click Old H to get the nice setup. And I'm going to click Shift so we have ourselves the base to work with. So the thing is before we deleted those lower parts over here, now what I'd like to do is try to save them. So the easiest way to do that is if we go from the top view, we can just select parts over here right in the middle. And you'll notice that if I click Delete to refocus my selection with the camera, we'll see that once we select the middle part, it's going to be going right across the top, throughout the sole mesh. So that's what I like to do ideally. Just make sure it's selected with just right in the middle. So if you're not able to get that close and whatnot, just make sure to click Delete on the first selection. No delete, sorry, the dot on your numpad, which will give us that refocus of the camera, and that will allow us to nicely zoom in and out. So doing that, if we make a click, we can just again redo it. Once we are happy with that, which I am now, we can go ahead and right click Mark SEM and there we go. All right. The next thing is going to be top and bottom selection like we did previously, similar to that. We can go ahead and click Free Old Z, and use that same, what's it called select Lasso? Just make sure you select the entire part just like that. Old shift, and just do it from the other side as well. Going to double check if the selection is nice. Which I believe it is. Okay, I'm happy with the result. Liking old Z number two for the edge selection, select loops and boundary loops, and there we go. So with that, we can go ahead and right click Mark SM, and that should be all, honestly. Let's go ahead and test it out. Let's go ahead and select it all UV and wrap, minimum stretch, and let's see. The only parts that I'm worried a little bit, well, not only parts, but the parts that I'm worried about the most are going to be these parts over here. So how did they look like? I am happy with the sideway because I know my wood grain will go vertically. And these parts over here are also going to go sideways, which I'm honestly happy about. So yeah, these are the exact chunks that we're looking for. That's great. When UV and wrapping, mainly, you need to consider how the material is going to be set up, whether or not the mesh in that area is going to be visible, and how much time you want to waste, honestly, with that kind of stuff. So we're trying to do it in the most efficient way whilst not lowering the quality or setup. And all in all, I think that's good. We can go ahead and select it with in the UVs, move it off to the side. Doesn't matter if they're overlapping or not. It's not really a problem at this point. So I think that's pretty much it. Let's have a look. Oh, we have some left. What are those? These are Oh, I see. Okay, so these are the wood that we had, but we already made the seed. We already made the seams. All we need to do is just select all of those wood pieces like so. And I just realized by mistake, we need to make sure that select link is set to normal. So when we select, we are going to select all of these planks, including the back side, the front side, and a upper and bottom pieces. So let's go ahead and go all the way around. So this one is just going to make sure that everything is selected. Honestly, we could have dragged across zero to one space like through here would have done the same result, but I wasn't entirely sure if whether or not we left extra pieces on the UV. So this just double checks that. Okay, let's click U. Let's click Minimum stretch and there we go. We got ourselves nice UV setup. For these to be slightly short shot, I think it's reasonable, honestly. I'm not sure why it's stretching it out like that. We'll try a different result. The best way to do it would be with UV squares, but I'd like to avoid it at this point. Oh, conformal works quite well, actually. Let's go ahead and keep it with this. I'm quite happy with this result. I'm just double checking if these are separate, which they are. And yeah, that looks perfect. That looks great for us. Let's go ahead and move it off to the side, and yeah, everything else is as is. Let's go ahead now and select it all. Let's go and average out the island size and start packing up the process. So let's check that the settings are correct. Scaling, yes. Rotation, yes. Rotation method. We want to be vertically aligned. Scaling margin method, we want to scale it by 0.003. Good default setting. And let's go ahead and pack it. So this would be a perfect setup for texturing process. Lucky for us, we do have also the shaders to work with, which applying them will not be an issue. We can go ahead and just do that right away. So let's go ahead and do that. I'm going to let's see the best way to do that would be yeah, I'm going to go ahead and just add a new material first. Going to search for crate. So crate frame. That's a good base to start with, and there we go. We got ourselves nice base. We then can just adjust it, change this up. So the upper sections. Let's go ahead to do that. Upper, lower section. So this one is just one piece. We can go ahead and select it, add a new material. This material is also crate. This one is a base though, a sign. So it's just lighter variation. I would like to see how it looks like in a rendezvous. Let me just go ahead and open that up. And yeah, I think it looks alright. The only thing that we need to do is just change up this to a metal. So let's go ahead and change these rings up. Yeah. Let's go ahead and create new material. Search for dark metal, iron dark. I think that's going to be looking good. As sign. And I'm just going to double check, click A to deselect everything, select, create base, select, and yeah, it is selected. So I just wanted to make sure that we attach the material. So we are done with the setup. Usually, when using some other texturing software, you would scale these textures if you're using just one material and you're texturing everything onto one object. You would scale these down in the settings itself, so within the material fill or whatever you're using. But for this case, because we are re using the same materials of the crate in order to preserve that scale and not affect that setup that we have within the shading settings, which if we open up the shading settings, we could technically change up this scale over here, but that would also change the scale of the material for the crates. We don't want that. We want to make sure that this is nicely set up. So for this reason, we're going to go ahead and select well, select the frame material. It's going to select, and we're going to increase the scale until we are satisfied. So I'm not going to stretch it outwards because I'm quite happy with the way the barrel is being affected with this rough looking wood. I'm really happy with that, but I just want to upscale it a little bit. So from a distance, it's going to look quite right. Going to go on to endo view just to double check. And yeah, it looks quite nice. Then we can go ahead and double click A, select Create base. Go click Select, and we can go ahead and just upscale this as well. Let's see. Yeah, I'm happy with this result. As for the medal, though, we can also double click A, iron, select, select, and just upscale it upwards until we're happy with the amount of detail. So this type of stuff is honestly your preference. The only thing I would say is that whenever you're working with just details in general, don't be afraid to just zoom out and look at it from a distance, maybe, you know, go out of isolation mode. So if you go back to modeling mode and just go out of isolation mode with the materials, on, we can see the overall consistency in the material scaling with the crates and the barrels. And yeah, there we go. They're looking quite nice. So the key point when working in environments, just make sure that consistency is there with certain parts and certain pieces, but not to worry about it too much because again, with this crate, we want to make sure that the the wood is a little bit more coarse looking, a little more how should I put it? Not as like, you know, straight up, not as straight as the planks. So that way we can see that it's a little bit more gives us that more aged type of a barrel look. And the final thing that we need to do is going to be add decal onto the barrel, and then we can start placing those barrels and crates into our scene. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bin. A 34. Adding Decal Onto Barrel, Using Cut In Blender 3D: Hello and welcome back everyone to Master Blender free D with Wild West Environment. In the last lesson, we left ourselves off with a nice barrel to be used and set ourselves up with an environment. Of course, one thing is missing, and that's going to be certain decal. We can go ahead and add that up quite easily. The best way for this particular one would probably be just doing something similar to what we did with the water tower, since we can just copy a section of a geometry and conform it to well, to this curve. So what we now need to do is simply set ourselves up with decals. And the easiest way for us to do that is going to be if we select a couple of planks, like so we now need to consider how the decals are going to be set, and it needs just to be a simple square. So you can imagine that this being between the rings is going to be quite nice. We're going to make the same selection on the upper side as well. And now what I'd like to do ideally is cut the bottom parts off. But of course, we need to make sure that the decals are placed nicely. We're going to use ship D, escape, then AlpenS to inflate 0.001, and we can use P separate by selection. There we go. We can now use these parts as a separate piece. The thing that we want to do is firstly, we want to remove these bottom parts because they're not needed. We're going to go onto Edit mode, select it all, and we thin the knife tool. We're going to use it slightly differently. So only selected doesn't need to be, in this case, a clue geometry, we're going to take it off as well. The reason being is that we want to cut it across the entire piece. So we're going to do it for the bottom part like this. So we can left mouse button on one side, right then left mouse button on another, click Enter and do it for the top piece just a little bit. Not too much, something like this, so it wouldn't be touching that rim. I'm not quite happy about that. So there we go. We're going to get this sort of ae we can click back onto the Gizmo mode, click free hold Z, and we can select upper section, hold Shift, select the bottom section, delete faces, and we're going to get those nice faces basically going like this. The thing that we now need to do is just position or camera like so. I'm going to select these four pieces, going to use U project from view, bounds, and it's going to give us this type of a setup. This is just going to project from is going to use our camera perspective and project the UV information onto the setup. Now we need to do that for each part individually for the back and front. Otherwise, it's just going to distort it based on the perspective. Going to set up a similar angle, use project from view bounds. The difference between project from view and project from view bounds is that it's the bounded one is going to be done in zero to one space within the square. And if it's not within bounds, it's just going to give us whatever based on your perspective, honestly. So now we get this. What can we do with it? Well, we can go out onto the object mode, delete these materials for this particular part, and replace it with an Alpha. What Alpha you want to use really depends up to you. We have a bunch of setups that you can definitely make use out of. I like the cargo logo. I really do. And I don't think this frontier fried co is also quite nice. I think I might keep it with that one on. Afterwards, we can just select these pieces, click Control J to join them up, and there we go. And if you do want to change Alpha, we can just select on Alpha over here and just switch it over to whichever one we want. So we have ourselves a barrel with the decal, and of course, we can place it within the scene. So for us to do that, we're going to go out of isolation mode, and we're going to get ourselves the gray box back. Where would it be at the very top? We need to go to the collection. There we go and make it visible. Then we can play around with these and place it within our scene. I'm going to make sure I save my project at this point, let's not forget about that. With this entire setup, you can Eber turn this into assets using asset manager. Or place them around manually. Really is up to you. We're going to learn how to make your setup asset manager first though. But before doing that, we need to clean up this a little bit, because I noticed that performance is chug in whenever we are changing from the material, everything is being loaded, including this part on the back. So let's go ahead and work on cleaning this entire piece up with collections, with renaming and whatnot. We can do all of that in the next lesson, though because I firstly like to go over the entire setup of the collection. So thank you so much for watching and I will be seeing you in a bin. 35. Collection Basics: Hello and welcome back everyone to Master Blender Fred with Wild West Environments. In the last lesson, we left ourselves with a nice barrel setup, we got free crates. But before making use out of them, I'd like to ideally fix up on all of this setup. So for that, we're going to go over the basics of the collection and it's setup and then we're going to make use of it within or seen itself. So that's going to be it from this one. Thank you so much for watching, and I will be seeing you in the next Welcome everyone to our collections guide. And you'll notice over the right hand side in Blender, you will have something that's called them collections over here, and this is basally how the old blender used to actually handle layering. So with different layers, you would have different scenes or different objects in place. It's changed a little bit now, and in the new blender 2.8 onwards, we're now dealing with scenes and collections. First thing you'll notice is over here that we've got one that says collection. Let's call this collection plane. And then what we'll do is we'll actually put our plane into that collection. Now, at the moment, you can see within this collection, our plane is actually here, and we don't actually want the other three. We want them basically into a different collection. So what I'm going to do is I'm going to right click. I'm going to go and click New collection. And then what I can do is I can call this cube. Like so. And then what I can do is I can left click and drag and drop my cue into the new collection. And then what you can actually do is you can actually close these up and you can see how neat that is. Now, what we're going to do is I'm going to show you the other way of doing this now. So if we come to our actual sphere, what I'm going to do is I'm going to press the button. I'm going to then click New collection, and I'm going to click Sphere. Like so, press Enter or hit the Okay button, and there we go. Now we've actually got a new collection with our sphere in there. The other thing is, you can also come, you can press the end button, and then what you can do from there is you can actually click on one of these. So let's say we wanted this cylinder in the cube, and it will automatically put this cylinder in the cube. Now, if you don't want that, you can press the end button again. New collection. And let's put cylinder like so, and then click Okay. And then we go. Now we've actually got a really nice collection sorted out really fast. Now, what about the objects in there, then? Well, what you can do as well is, let's say we want to change the name of this cube. We come on over to it. And instead of actually going in here and renaming it, what we can actually do then is press F two, and there you go, the object name comes up. And if we change this to cube 33, press en you will see now if we go to the right hand side, this cube is called 33. Now, it's important in large scenes to actually put things into collections because that way you can actually increase the performance of blender or you can hide certain things out of the way because what you can also do is you can grab multiple objects, press the M button again, drop them in a new scene. So if a press, new collection, and let's call this one objects like so, and there we go. We have our new one with all of the objects actually in there. Now, you can see, as well that because nothing is left in there, we've not got this little arrow there, so all of these are now empty, but it's quickly and easily able to just press M and put them in their own collections once more. The other reason why this is actually important is because many of the displacements or particle systems and lots of other things within blender or even geometry nodes, you can actually use collections to do certain things to a certain bunch of collections. Okay, so the next thing we're going to look at is over on the right hand side, we're also able then to hide any of the collections. So if we click the little on here, that will mean that this collection has been hidden away from the viewport view. Now, it's important to distinguish between viewport and Cam review. So the Cam review basically means that if I click this off, when I actually am to render this scene, everything within this collection will be hidden out of the way. It won't cast any shadows or anything like that. I will all be hidden out of the way. Now, the other one we've got is this little Tik boon. If I select this, you will see that it just turns both of them off, so it won't be visible in the viewpot nor in the render. Now, the other thing to look at is if we click this little down arrow, we also have a few interesting ones here. So we have one that says indirect only. We have one that says hold out. But the ones we're most interested in is actually this one here. So if I click this little arrow you can see now we get a new option, and if I come and click it on here, you will see now that if I come across, these will still be rendered in the viewpot, still rendered in the render, but I'm not able to actually click on them, which makes this really handy if you're trying to grab a load of actual assets or objects that you won't actually be actually selecting this collection on top of that. The other thing is, if I turn this on, I can also do a search here for let's say cube, so if I type in cube. So I'm able now to quickly and easily find it within my actual scene. The other thing is over on the right hand side as well, the double tap, the A button to deselect everything also actually works. So let's turn this off now. So now let's have a quick look at this in actual action in a real scene. So you can see here we have a scene here with many, many, many parts which aren't named we need to basically put these into their own collection because you can imagine a scene like this with thousands of parts all in the same collection is obviously having an impact on the blender performance. So what I'm going to do is I'm just going to hide the floor, hide this part of the floor, hide maybe this car, and then what I'm going to do is I'm going to go over the top. And all I want to do now is just make sure that I'm not going to select anything else apart from this actual building here. And then all I'm going to do is I'm just going to press B and just try and select everything on that actual building like so. Make sure I've not got my camera selected or anything like that. And then what I'm going to do is I'm going to press the N bourne new collection, and let's call it butchers shop, and then press Enter and click Okay. And now what I'm able to do is I'm able to now come all the way to the top of here, so if I go all the way to the top and then let's start closing up these collections like so. So we've got square building there. We've got bookshop and butchers, and now we've got the butcher shop, which is the one that we've just made. And now you can see just how quickly I can actually clean all that. I have come along and I double tap the A, so I've not got anything selected, I bring back my floor like so, I double tap the A again. And then what I'm going to do is just close hide the butcher shop out of the way. And you can see this is the parts that I've actually missed. And then all I can do is I can select these three parts or four parts like so, press M, and let's drop them into our butchers shop. And then they'll be hidden out of the way, leaving the other parts that are left, which I actually missed. So butcher shop again, and there we go. So now we're able to hide the butcher's shop or we're able to bring it back into the scene. So from there, going a little bit more advanced now, what we're also able to do is hide all of our collections in one go. We just need our mouse in the viewport, and then all you need to press is number one, and what that'll do is hide all of these collections. From there, what you can actually do is you can press number two, and what that'll do is actually bring in the grey box or the second collection on there. Number three then brings in the third actual collection and so on and so on and so on. As you can see, up to a maximum, I think, of either nine or zero. So you can see very, very easy once you've put them in collection um, to rename them to actually increase the performance within blender, to hide them in the actual viewport or hide them in the render. And then also once you've done that, to select them. I'd have to be a very, very big scene to have more than ten collections. Within the collections as well, you can also add inner collections. So if I put new here, and you'll see if I open that now, we've actually got a new butcher shop one. So within the collections, you can also have collections within themselves, and you can build a really, really large hierarchy from there. Alright, everyone, so I hope you enjoyed that. I hope you found it useful. Thanks, every one. Cheers. 36. Collection Setup And Asset Manager Basics In Blender 3D: Hello and welcome back everyone to Master Blender Free D with Wild West Environments. In the last lesson, we went over the basics of the collection setup. Now we're going to just make use of it and get ourselves the nice setup for this part. Before doing that, though, I would like to note that we should check these collections that we already have. These collections over here if you'll have a look, are setup for us. And the reason being is that some of the geometry note does make use out of collections. So, for example, this terrain over here is going to make use out of the collections over here, and we don't really want to change them. We don't want to mess with them because it's already set up for us. So for that reason, all of the ones that we copy that we've taken into our scene, we're going to just hide them all away, like so. And once we hide them, we are basically just left with the rest of the items that we can move around. So let's go ahead and do that. We're going to go ahead and just grab the rest of the items. We're going to hit M, new collection, and that's just call it resource. Pack, just like that, create we can hide it out of the way. The next thing that I'd like to do is going to be simple. It's going to be what happens when we overlay already existing setup with the gray box. Basically, the gray box items which we already have with the items that we create afterwards. If we click Alt and H, we'll see that, for example, this tower is being overlaid with the tower underneath. And we don't want this to happen. We want to make sure that whenever we create something, we don't really need to delete out of the gray box. We can keep the gray box, but at the same time, it's just not going to be in our way whenever we are checking for other objects. So grey box right now is not going to do that. And for that reason, what I like to do every once in a while is just select the parts that I already completed, then click M and create a gray box complete. There we go. Once we create it, so we can then work with the parts that we have not created, and we don't need to worry about anything else. So, for example, right now, we have these barrels over here. Let's go ahead and set them up to be used for the scene. And before doing that, though, we do need to work on the asset referencing. So we're going to go over the basics video of how we can set up asset referencing, and then afterwards, we're going to create ourselves our own one and put these objects in so we can just populate the parts that we need to. So that's going to be it for this video. Thank you so much for watching, and we'll be seeing you in a bit. Welcome, everyone to the Blender Asset Manager guide. And basically, what we're going to do in this one is just go through the asset manager, show you how it works. It does seem fairly complex when you first start this, but actually it's quite simple once you get your head around it. So here you can see, I've got a standard scene here and I've actually brought in some actual assets, and they're named. This is important, actually, that just make sure you name the assets before you actually put them into the asset manager. Now you will notice when you first come into Blender, whether that be Blender three or Blender four, at the top here, it doesn't actually say asset manager. So that's the first thing we want to do. So to do that, all we need to do is come to the little plus but. We're going to come across to where it says, general, and then we're going to go down to where it says asset manager. And once you click that on, you'll actually be taken into the asset manager, and this is the easiest way to actually work with this. And the thing is now you'll see at the moment, we have our asset manager down here with all other files on the left hand side. And in this, we'll be populating all of our assets. Let's actually just pick this up a little bit, then. And then what we're going to do is you can see at the moment, we have current file and we have essentials and under essentials is basically all of the assets that Blender has decided to put into the asset manager as default. What we want to do is we want it to be on current file. So now I'm going to do is I'm going to come to my first asset, which is going to be my tree. And now what we're going to do is we're going to add this into our current file asset manager. With this selected, if you come over to the right hand side, you can see here it says tree. If a right click, you'll see here, it says one that says mark as our asset. The moment we actually marks asset, you will see now that actually appears in this space down here. You will also see that if we put this onto material mode, and now if I come in and actually drag this out, you will see that it actually comes out with materials actually attached, which is really, really handy. Now let's delete this out away. And what I'm going to show you is now, if we focus on our actual car, let's press shift in Spacebar just to move it over here. And then what I'm going to do is I'm going to come over, right click and markets asset, and you'll see now our car appears there. Now, if I come up and right click and put clear asset and then spin this round Z -90, like so, right click Mark as asset, you'll see it appears exactly the same way. So to actually change the rotation in the asset manager itself, what you need to do is you need to now reset all of the transforms. So what I'm going to do is, I'm just going to clear the asset. And then when I put Control A, all transformed, right click, set origin to geometry, and then right click and when I come down, mark as asset. And now you'll see it's actually rotated that round for you. You'll also see, as well, now, if I pull this out, it comes in with all the material. We can actually do some other things as well. We can actually also save out materials. So what I'm going to do, first of all, though, is I'm going to come down and click the little plus button. And what I'm going to do is I'm going to call this Assets. Like, so I'm going to call the next one materials. Like so. Now I'm going to do is I'm just going to save out my work, and then I'm going to go to unassigned. And you'll see at the moment we have these two assets that we put in there. We can simply shift select them both or shift select them all, if you've got a lot and drop them then into our actual assets, and now they're going to appear in our assets. Now let's move on. And if we click on this bench, what we'll do is we'll come over to our material. And we can see we've got two materials in here. So let's right click this one, Mark as asset, the same thing. And then what we'll also do is come to this one, and we'll right click and Mark as asset. Now, you will see when you've marked them as asset that we've got this little book here, the same as we've got up here. And now you'll see we haven't got any assets in there at the moment, so these two materials didn't go in there, and that is because they will be in unassigned. Now, let's grab both of these materials. Now, drop them into our materials, and there we go, we've got materials, and we've got assets. Now, the best thing about asset manager, what you can also do is you can also use this for things like geometry notes. The only thing that you can't use it for at the moment is animations. But pretty much everything else you can use it with the asset manager. Now the next thing we want to look at is actually doing that then with an actual geometry node. So I'm going to do is press Control V, and here is a geometry node that I've actually created. You can see here that if I pull this up over on the right hand side, you can see it's actually a geometry node, and at the moment, if I press tab, you'll see it has actually no mesh or any kind of topology because it's obviously a geometry node. Now what I want to do is, I want to come up, right click Markers asset, and now you'll see that I've got something that says unassigned. So let's make one more now on what we'll call this is geometry or geode. Like so, and then I'm going to come to it on a sign and put it into my geometry node there. So you will see now if I bring this in, it actually comes in as a geometry node, which is really, really handy if you've got loads of geometry nodes and you want to bring them and drop them in your scene. Now, let's first of all, come up to file and save because this is all great in that, but actually, how do we use this in other files. So the way that we can do that is we can come up to a new blend file. So let's open up a new blendfle so here is our new Blend file. And what I want to do, first of all, I want to come up and add in my asset manager. So plus asset manager. And at the moment, you'll see there's nothing in there. And what I want to do now is, I want to go up to edit. I want to come to preferences. And within preferences, you will have one that says file path, and this is basically going to tell Blender where it needs to go to look for asset manager. So let's actually come in, and what we'll do is we'll click the plus, and then all I'm going to do now is find where I've actually saved out that previous file and I saved it in something called Blender Asset Manager, which is here. This is the one that I'm going to add it to. You'll see here that it doesn't show any blend files or anything like that, and then all you need to do is add asset library like so, and then we can actually close that down. Now what I can do is I can come down and you'll see that I've got one that says Blender asset manager, and here are all of those actual files that I actually put in there, as well as where it says assets, geodes and materials. So now I can simply come in, drag and drop my actual truck in there. I can actually turn on the materials. And now you can see, once again, it actually comes in with all the material. The best thing is, if I actually bring in a cube now and just drop that there, shift space bar just to move it, and then what I can also do is I can come to where my materials are, drag and drop straight on to my actual cube, let the actual shader compile and load up, and there we go. Now we can actually drag and drop materials as well. Let's come to our geometry node then, and I'll show you that that also works. So now we can see we've got a geometry node that we can actually use, which is really, really handy. And now you can see just how useful the actual asset manager really is. Now, the other thing, if we go up to edit and go to preferences, you will see that we are able as to add many, many asset libraries. Just make sure that you save your blend file. So if I bring this over here just to show you, just make sure you make a file, and then within there, you're going to actually save your asset manager. Because the most important thing actually is, when you're actually saving it in here, you will see that what else comes in is an actual text file. This text file gives Blender all of the data that it needs to actually set up these groups. So very important if you're moving your asset manager to a different file, make sure you move this text file as well. All right, everyone. So let's close that down. And lastly, before I finish, what I will show you is, if you come to current File where we don't have anything, you can also select all of the things in your scene. Right click, go down and mark as asset. And then you'll see that the get put into the asset manager. Alright, every one, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot, Cheers. 37. Placement Of Asset Browser Props Onto In Blender 3D: Hello, and welcome back, everyone to Master Blending Fred with Wild West Environment. In the last lesson, we went over the basics of asset manager. Now we're going to go ahead and create ourselves the setup. I'd like to start ideally with the where is it layout? Because I don't have it by default, the setup. I think I'm using I don't see the asset manager setup over here. So if we click on Layout, we get ourselves the nice setup, and for the layout itself, we just need to change this bottom piece. We can drag this out by the way in and out. We can change this piece to be asset browser. There we go. That's what we're looking for. Afterwards, we can start placing items in and get ourselves the setup that we're looking for. So for these particular parts I also want to start renaming them as well. So, for example, this one is going to be create. This one is going to be create square, create, square, and this one barrel. There we go. And after we're done with the naming, we can go ahead and right click within the scene collection on the right hand side. If you're not seeing this, by the way, you can use the dot on our Numpad to refocus. So that same dot that allows us to refocus the camera will work when hovering over with a mouse on outliner over here. So that's quite handy. Then right click Marks asset and Walla within unassigned setups, we're going to have ourselves the asset over here. Just in case I do recommend you to all straightaway setup asset library to be current file because we don't really need the other ones, and when we are creating categories, in which case, we do need to create a category. When we're creating a new category, it will allow us to create a catalog. If we don't have this selected as a current file, it won't allow us to do that. So let's call this Western props. I think that's quite right, and just have this create, move it to the Western props. Just like that, we're going to do it for the other items as well. So barrel, right click, mark acid, unassigned, move it to Western props, and create as well, mark acid, move it to the props. I'm not going to do this after every single one that we're creating, but for this particular one, we do want to start populating the scene with these items, and it's so much nicer and easier to do. The other thing is that I do want to actually make them smaller before doing that. Right now they're quite big in comparison. Let's go ahead and just look at the scale on what we are dealing with. So proportion wise, they're nice. So all we need to do is just think about the scale itself, and something like this will be quite right. We make it smaller, just looking at the grey box items. And yeah, this size is going to be quite right. I think that's something we can keep. Barrel itself might be a little bit small, which I'm going to make it larger, something like this. Perfect. All right. So now, once we have it like this, we can go ahead and select all three of them and apply scale. Then we should have the same scale over here. The reason being is that this icon shows that, Hey, this is linked with the asset manager. Even though we delete it, if we apply the scale, it's going to be applying it onto the data of the transformation within asset manager because it's saved within that same pile. So that is why we now have the size that we want. Another thing to consider is that because these are linked as an asset item, if I was to make adjustments for these original ones, so let's say I make it like this, I take the crate out, it's going to be adjusted. On the other hand, if we drag out this crate, with object mode, if we drag it out, we can see that this one does not have that same asset library icon. Meaning that if now I make an adjustment for an original one, the duplicate one, it's going to well, keep the original one as it is. So that's something worth considering maybe the original ones. You might want to keep it elsewhere, and for that reason, we're going to go ahead and create ourselves a new collection called asset browser items. Like, so this way, we get ourselves a new collection. We can move it off to the side. I'll move it to the left side because on the right hand side, we have the resource pack. And if we do want to update it, let's say, within a new project, we'd have to drag out the asset, then we can right click and if it sees that it's the same name, it would override the setup. Anyways, once we're done with this, we can now hide the asset browser items and think about what we're going to do with these well, objects. Before thinking about that, we should definitely rename this layout 001 because this one is going to be asset browser. And then we can go back on the modeling part. And I'm just going to double check where we have the setup. So a couple of barrels at the bottom over here. Couple no at the top, the barrels at the top. All right. Let's go ahead and just repopulate the scene. So barrel over here. And I'm just going to use the gizmo nicely set up, move this off onto grey box complete, duplicate this, and then escape, move this couple over here barrels. I think I have them positioned our way around. So in order to fix that, to make sure we don't always bring in the same barrel other way around, I'm going to real quick, go ahead and find the asset item or a crate. Going to just select this, click Control A and reset a rotation. So this way, it should bring them on proper sided. There we go. So in this case, it doesn't really matter. We can just flip them manually. But in the future, it might be best to have it as is. These ones, we can move them out onto grey box complete. I'm going to rotate them each individually. Real quick, like so. There we go. All right. So now that these are duplicates and not the original ones, we can actually do something a little bit about it in regards to customizing it, the decals in particular. So since we already know that it's not going to affect the original one, we can just go into each one of them and maybe change them up to whichever type of different logo we want, have them nicely packed up. Maybe I'll just put it, something like this sideways. It's going to look quite nice. This one, I forgot to actually flip it around. Sorry about that. There we go. And let's see where the logo is. I do want the logo to be visible, but I don't want it to be the same as this one, perhaps. 25? No, that's the toilet logo. Saloon and whiskey. We can't have a barrel of whiskey. Why not? Of course, we can. So yeah, that's pretty much it with the setup. We can now set up the crates at the top. I'm going to grab one crate like this, one crate like this, and then start working with the setup. Go to click seven so we can have a look on what we're working on, what we are working on. I'm going to just position one like this, one like this, and one like this. There we go. All right. This one can go over here. I'm not worried right now on anything other than just the placement replacing the ones that we have since we were happy with the grey box. We can adjust and tweak how the overall setup is in a bit. But for now, though, let's go ahead and have everything nicely set up. So you notice that I went out of the view, changed up the height back onto the top down view. And just everything. The logos, I probably don't want them to be facing upwards. But again, we can change all of that in a short bit. Now that we're happy with the setup, let's go ahead and move all of those crates and whatnot onto, I think I clicked on the wrong one outside of the setup. So I think I have not selected all of them. There's one underneath. And for that, you know what? I'm just going to move them gray box complete, hide this out of the way, move this gray box complete, ldn age, and there we go. And this one was hiding, as well. Gray box complete, and there we go. Alright, so for now, let's go ahead and reset this origin to geometry, so it will be centered Rx 90, so it would be in a front and maybe a little bit position like this. Doing the same for this one, as well, except I cannot do the same thing for this because our X 90 will give us this result. The reason being is that we're using a world Gizmo, which is always going to be facing this way. For us to be rotating it based on an object, we need to change the transform orientations to local. Notice how the Gizmo has changed. Now, if we rotate it around the X axis, it's just going to be like this, which is exactly what we want. X 90, there we go. This one probably as well so our X 90 and we can play around with the Alphas. I'm thinking whether or not it's best to grab different alphas and whatnot. Because we have some variation front to the back, we can just rotate it around. Honestly. Oh, no, that's not it. I'm going to click RY. Yep. So RY 180, and there we go. We have some nice, quick variation for that one. We can do it in the same way as well. So a nice quick technique. So TNT, some part over here, and I will rotate this, so Yeah, I think that's quite nice. One barrel for that, couple for TNT. This one, we can change it around to be a reasonable one that's going to maybe fit the whiskey a little better. Oh, I like this one. And for the back, we can change it to we already have TNT maybe something lower, not a water tower, that's for sure. We can also have a whiskey, but it's going to have a different name. I think that's quite nice. Now that we have it, so we can see that maybe we need to readjust the positioning. I'm going to change it back to the global and move it a little bit to the back so it wouldn't be overstepping in. Then I can check how it looks like with the positioning. We can see that there are some overlapping parts, so this one moves a little bit to the side. Going to hide this side of the way to see. Yep, we need to move this a little bit. There we go. So now I'm doing small movements, so it would actually make sense the way the props interact with one another. And this is going to sit on the top. Okay, I'm liking this so far. A little bit maybe higher up. There we go. Perfect. This seems a little rotated. I'm not sure why. I'm going to click Alt and R just to check. And yeah, it seems like it is rotated. So what is going on with that? I'm going to go on to N rotation and see that, A, Y is for some reason rotated. So let me just reset that. The other ones are going to be fine. Is is. So quick little fix. This one might be as well. Yeah, somehow I managed to Oh, no, that's location. Why for this is okay, and these ones are fine as well. All of them are fine. Seems good enough. Okay. So what I want to say is that we are actually running out of time. We can just double check how the placement is if everything is on the ground, if nothing is overlapping with one another. And once we're happy with the setup, we can check it in a random view, of course. So front, back with the barrels. Everything looking pretty good so far. But that's going to be it for me. Thank you so much for watching, and I'll be seeing you in a bit. Okay. 38. Modeling A Front Platform Using Plan In Blender 3D: Hello and welcome back everyone to Master Blender Fred with Wild West Environment. In the last lesson, we left ourselves off with a nice setup for the crates going around the place. We're going to continue on with the setup. This time, we're going to work on the structure itself a little bit, and we're going to do the front section, since it's the main part of just looking at the front, and essentially, we want to make sure that it looks all nice and set up for the scene. So for that, we're going to start off by working on the platform on the base, then we're going to be able to figure out how we can place the items around it. So for that, we're going to make use of the geometry node provided. The one that if we enable the resource pack back on, we're going to see it over here, plank geometry node. There are two ways for doing it. One, we could just add a simple primitive mesh and select at modifier geometry node, then select the I believe that's planks geometry node. 1 second. Let me just check, planks geometry node. If we were to do that, we're going to get ourselves to default setting like this. But alternatively, another way for doing it would be to make a copy out of the already existing one. So this one over here, we could just copy it, so I'm going to put it off to the side. And at the same time, what we need to know is that when we duplicate it, it's going to place it in the same resource pack. So we want to move it out of this resource pack. I'm going to click going to put it onto just the collection, like so, and then afterwards, we can work from there. So, what can we do about the setting? Let's go ahead and just simply start by Yeah, let's go ahead and start by making a duplicate out of this. The reason being is that we can just simply reuse it afterwards when we need to shift DGX, make a duplicate like so. Then we need to decide on which way the wood will be flowing. Which way would be better? Would it be better this way or would it be better going diagonally? I think in this particular case, I'm going to do it diagonally. The reason being is that it's going to just look much nicer. In combination with the table itself and the flow of the stairs, the shape that is. So what we want to do is we want to decide on how the shape is going to be. I'm going to make this as a starting point much smaller and then we can work from there. So we can click S, make it smaller to this amount. Say that's quite right. A little bit, push it outwards, like so. And then we can decide on what we're going to do with this shape because as you can see, the shape over here is not exactly just a square, although we do just have a square over here. And before doing anything, we can assume that this entire piece is a square and then we can just shrink some of those planks backwards. So for that, we're just going to bring all the planks to the back to the amount that we want, like so, and I'm thinking whether or not that's enough, which I think it might be, but I do want to lower down the length, sorry, the width of these planks. If we have a look at the bottom right hand corner, when we are adjusting this modifier, we have a lot of options to work with. A lot of them are useful when we want to generate anything in terms of wood plank. But we're going to stick to the most basic ones for now, as it's just quite helpful to get around with them. The width will allow us to control how close, how far away the shape of the wood is, whilst with randomness, for example, would allow us to control the difference between those width of individual planks. So what we want right now is we want to decide on the plank width, just overall, something like this. Then we want to increase or decrease the width randomness, depending on whether or not we want to shrink them or expand them based on random, as you can see over here. So I think I'm just going to lower this down to negative, like so, and something like this is going to be pretty good, something small, but it's still going to give us a nice result. Afterwards, once we're done with the with, we can go up and increase the gaps. Let's see how well the gaps will do. We can leave it to a very minimal amount, 0.001. The reason being is that we're going to apply bevels. So with that said, it's just going to extend those gaps. But let's go ahead and fix the overall situation with this entire area. We want to increase the length, so it would match this overall section. Let's go ahead and do that. Like so. A little bit extending outwards is going to be great for us. We're also going to increase the length randomness whilst holding shift. And if we do that, we can see that we do increase and adjust the randomness of those planks. But because some of them are going inwards, I'm going to increase the length a little bit, so it will go past that initial point, like so. Maybe adjusted over here, so I'm just going to increase it just a little bit, just like that. The thickness of these can be lowered by quite a bit, just like that for normal planks. Thickness randomness is going to give us those offsets of the planks over here, and that's exactly what we want, but not too much, though, the value of 0.028. I think that's going to be great. And let's go ahead and increase the count. Now we have the whole setup, we can get it all the way to the back. Let's not forget that there is also going to be a door at the back as well. So I'm just going to add couple just in case. So we'd have plenty of space to work with. And once we're happy with this result, we can make it seem a little more organic perhaps using displacement. So displacement scale will allow us to, well, offset this entire piece, so if we do it to a very minimum amount, it's just going to help us get those uneven edges looking from the side, which is going to be very nice for us. So afterwards, we can simply apply the geometry node. We can add bevel, like so, and we can see that this is looking quite nice already. Afterwards, we can go ahead and add a bevel, and this is going to smoothing off those edges. And already, we can see the massive result that we're getting with this setup. The thing, however, is that we'd like to get some additional yeah, we definitely would like to get some additional difference in scale. Now that we look at it with the bevel. So I'm going to go back onto the width randomness and just lower this down a little bit more to value of 0.05. I think that's going to much better. Okay, so now that we're done with that, I'm going to go ahead and make sure that the bevel is properly set up, which it seems to be the case. I'm going to go ahead and then duplicate this and move this off to the side. So we'd have some saved out parameters that we are using for this floor, and perhaps we can reuse it for edges on the side as well. Although, I will make sure I apply this geometry node. The reason being is that this way we have ourselves to work with this particular set of mesh, which we need to adjust. We're going to click free, select all of those planks over here. The ones that go touch the staircase. And the next thing that we need to do is going to be making use out of the proportional editing. The reason being is that if I was to click Gx and move it, it's not going to move past those edge lines that we already have. We need to enable this, and within it, there is an interesting option called connected only. This will make sure that other planks are not affected, only the ones that I'm selecting. So we can then click Gx and move this backwards. If you're not seeing that we're getting the right result, we can always increase this brush over here, and that's just going to move everything to the back just like that. Like so, we just need to basically push these parts over here off the edge loops, a little bit more to the back, maybe a little more even. Like, so I'm just checking if I didn't push the very back that they're still in the same area, which they seem to be. That is good for us. And the next thing is going to be I'm going to or we are going to set ourselves up with the wall on the sides for the platform. So we already have this. I'm going to make use out of it, but it's just not going to look quite as well because the ground plank should be a little bit different in variety. I'm going to click RX 19 move this onto the side, and we can just go on to geometry nodes, change the width quite a bit, like so, and that's just going to shrink everything down, making it seem like a completely unique and different type of a wall thickness or the planks for that matter, that different planks are being used. And also, we're going to shorten down the length holding shift. We can just do that. Like so I think that's quite right. Of course, the count has to be much, much lower. Something interesting happens when we love at the count. And I think it's because the bevel just doesn't want to be adjusted. So I'm going to readjust his bevels, so we get this sort of a result. Afterwards, we can just slightly tweak it, maybe even scale it up a little bit. So S Z scale it outwards onto the platform, just like that where we touching the base. And we can leave this bit as is. Click Shift D R z 90, move this off to the side, and we got ourselves a very nice corner, just like that. The platform itself is getting a little in the way so I'm going to go ahead and select the platform, click H, and see how this looks like. I see that some of the parts are a little bit too much bevelled over here. So I am going to go and change the bevel on the part for the floor as well. So holding shift, just manually selecting. Like, so there is this plank that is very, very thin. Every upper plank is fine, except for this one. So I think I will or, you know what? Instead of doing anything like that, we can just this a little bit, like so, and that's going to be pretty good. We can push this inside as well, so it wouldn't stand out. And yeah, that is quite nice result. Let's go ahead and click Shift D X and then move this onto our side. If we want some variation within these planks, we can do so we can go ahead and simply use seed at the very top, which is going to give us completely different randomization on the seed. So maybe we need to lower down the count for this one if you so choose to, and that is going to give us a very nice organic result. Length is a little bit too much over here. Let's go ahead and lower it. And just like that, we got ourselves some nice piece of wood on the side. For this staircase, we can hide this out of the way, and we can just duplicate this. So I'm going to go ahead and move this on 90 degrees like this. Put this in the back as well. Maybe change the seed once more. Every time it seems like it's increasing in scale for some reason. Way, let's go ahead and shift rotate it again, and there we go. We don't really need to be worried about a mesh going inwards because it's not visible. It's not going to be seen. But we do want the planks to be looking quite nice over here. So, for example, this one is coming out a little bit too much. I'm going to click as said and just shrink it down just a little bit, like so, and there we go. This, however, needs to be a different one. So we're just slightly scaled up. Like so. And I think it's quite a nice base for a platform. All right. So of course, we're left with additional parts such as staircase, but we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bin. 39. Modeling Front Roof: Hello and welcome back everyone to Master blender Fred with Wild West environment. In the last lesson, we ended up working with the platform. We're going to continue on with this process. And this time we're going to look a little bit into the thickness of the planks itself because we can make use out of it to create these staircases. So for Sutters, let's go ahead and talk a little bit about the thickness. So, for example, these planks over here, we might make them a little thicker. The reason being is that the side is visible. We want the space to look a little sturdier. So for that reason, are going to go ahead and just increase it by quite a bit. And with this same method, we can just make these staircases over here. So let's go ahead and just do that. I'm going to hit Shift D G Y and just move this off to the side, RX 90, just put them flat and with the thickness in mind and lower down lnkness because it's a little bit too long for us. Let's go ahead and lower down this lngness so we can put it in the section for where the staircase would go. Then the next thing would be to just increase the thickness, and there we go. We're going to get ourselves the staircase like this. The thing you'll need to know is that it's going to be going from the base from the middle section, sorry, and it's going to increase upwards and downwards. So it's going to lower this part at the bottom part as well. It doesn't it doesn't really matter for us, but we could technically adjust it afterwards, after we're done with the fickness like this. Honestly, though, the fastest way to do this would be if we have the centerpiece of the origin to be where the ground level is. So you see right on the ground. So that way, we can increase, decrease the setup in any shape or form that we want. The next thing is going to be deciding how many planks we want this to be. In this case, we can lower the count down to three. That's going to be more than enough for this type of a setup, and we can place it down. So, the other thing that I'd like us to do is going to be setting ourselves up with a little bit more of deformation. So let's go ahead and firstly change up the length. So we'd have a proper setup over here. Like so. Then the formation over here, the displacement scale. We're going to play around with that even more. So while solding shift, we're just going to increase it just a little bit, so we are already getting this kind of setup. We're going to right click Shade Smooth, give us smooth angle, modify at the very bottom, allowing us to control welded smoothness of the setup. So this will have some sharpness. Let's go ahead and ignore sharpness, and this will allow us to get those smooth base foundation that we're looking for because we're increasing the displacement. The faces are going to be quite a lot more visible. So let's go ahead and make sure we don't see that. Afterwards, we can hit Shift D GY, move this onto the upside. If we want to, we can change the seed up a little bit to get a more unique variation. And of course, the thickness, we're going to increase it, so we could see these steps over here. Like so maybe the width is a little bit too much. Let's go ahead and decrease it. But like that, we're able to get ourselves some unique shapes out of this. Length randomness. I think it's way too much. Let's go ahead and increase it to something smaller. So we get more conform type of staircases, like so, and we're going to duplicate it again once more for this part as well. So shift the GY. Let's go ahead and change up the seed as well. Change the thick like, so I'm only increasing it, worried about the top section, the bottom. I'm not really worried that much. We can also just change this to be a simple mesh and afterwards, readjust the bottom pieces. Right now, though, let's go ahead and worry about this setup over here. So is this going to be enough, or is this going to be too much? Let's go ahead and increase the amount of wood planks that we have over here. So count. So and I'm going to increase the width a little bit just so we could fill out this entire section, just like that. Then I'm going to hide the staircase just to see how this looks like. And yeah, I think this looks pretty good. All we need to do is perhaps readjust this a little bit more to the right. I'm not too keen on that because I don't want this to be sticking out. We have this platform, this pillar right in a place where we want, although it's too thick at the moment, we're going to be fixing that. So what we're going to do instead, in this case is I'm going to select both of these or actually, I'm just going to select this and I'm going to increase the length a little bit. Like, so move this off to the side. And yeah, perfect. All right. This part over here, I think it is quite okay to keep it. This might need to be You know what? I will change the length for this as well. Going to make sure it's somewhat the same. I don't like the planks now sticking into this over here, so I'm going to change the length. And by tweaking this a little bit, we get the right result. Just going to look at our side if it's not too bad. No. All seems to be well. So we got ourselves the base foundation. Let's go ahead and click Old Age. I'm going to select this platform over here, and I'm going to move this onto grey boox Complete. Same goes for the staircase, this part over here. Move this to grey box complete. And we got ourselves to base. The next step is going to be setting ourselves up setting ourselves up with these support sections over here. And before doing that, it might be better to create a rooftop so we would know exactly what we are working with. So I think that's the next big step for us to do. Let's go ahead and grab the original planks this time, not the ones that we had for the platform. We can adjust that from scratch. I'm going to just duplicate it, move this on to the side. And we do have deformation over here, which allows us to bend and whatnot, the setup. But the way that we want to bend it is going to be simply rotating this along the side. So we're going to make sure that what we have over here looks a little bit chunkier and not just enlarged type of planks. So firstly, we'll want to change the width of them to something more manageable. So the next step will be well, change even more. The next step will be change with randomness. We get a more reasonable amount and increase the count. Let's go ahead and increase it all the way. So I'm going to lower down the gap as well, but not too much. We want to have a little extra gap in comparison to the base over here. I think that's going to be much better. Then let's go ahead and add bevel. The bevel, of course, is too big by default, so let's go ahead and lower this down. Something more reasonable. Then we can simply reposition this entire setup, maybe increase the length a little bit. Would cover this entire rooftop, and there we go. We got ourselves a nice rooftop. Maybe the length randomness needs to be changed up. We do want to break down this surface at the front. So let's go ahead and change up this length randomness to something that looks quite nice. I think something like this is going to do quite well. The thickness also needs to be changed. Let's go ahead and change the thickness overall firstly. Something like this looks great, thickness randomness, of course, we're going to be changing that. And let's see. I don't like the way these thickness is going, so I'm going to go in a negative direction, and it doesn't seem to let me go. In case sometimes geometry node or any other parameter doesn't let you go in a certain way. You can always just click on it and use a custom value yourself. So if I type in minus one, it's going to now let us go into the negative value. And with that, then I can crank it down. To a more reasonable amount. So while it's holding shift afterwards to make sure I tweak it a little bit smaller, and I think, yeah, super small values. Like, so I think that looks pretty good. As an extra touch, I do recommend you increasing bending a little bit. So you see the way the bending works over here. I do want to bend it just a little bit. So while holding Shift, I'm going to just increase this just a tiny bit for both minimum and maximum, have a small value. So 0.07 and 0.09 between those two, that's going to give us a slight bit of curvature, which is going to overall make this overall setup look really nice, I think. The next thing is going to be figuring out how we're going to support this, how we're going to set this up to be supported by, well, the roof itself, those planks. And we're not going to over engineer this. We're just going to create ourselves simple cube. Place it on the side. Like so. Let's make sure we move this down, and we are going to get ourselves something of this setup. Alright, let's go into edit mode, and to make sure we have a nice control, we can go ahead and click free, select one phase, click GY or use just a Gizbod to be honest. That's also fine. Let's go ahead and move this without the proportional editing. Let's go ahead and move this off onto the side, like the up one, the upper part is also going to be moved to the up side. And let's think about the thickness. Is the thickness too much? Is the thickness just right? I think it can be a little bit less. So I'm going to click A to select it all, scale, and then use Alt Y. Sorry, Shift Y. There we go to just kind of shrink it in on itself. Shift Y again. Sorry, scale, Shift Y. There we go. And that looks quite nice. All right, so now we can get Bevel at Bevel. So if you're not getting this same setup or maybe scaled it up in the object mode, you can click click Control A, apply scale, and that's going to fix it to get a better setup. Of course, the amount now is, for some reason, changed up because it was still thinking that it's that scale. In regards to it being smaller. Now the cube originally was bigger, but we ended up scaling it down. So that's why it changed. But yeah, this is looking nice. Going to go ahead and just move this onto the upper side. We're actually just going to move this probably a little bit inwards as well. We want some of that piece to be going overhang. And now we can go onto the upper side with that as well. Doing a similar setup. Yeah, that looks quite nice. We can now take this and hide it out of the way to see how it looks like. So I'm going to move this onto the grey box complete, and this is what we're getting the base setup. The bottom piece is going to be supported by the columns, but we do need to have some of those parts covered up to make sure that there is no, side of the roof that just looks like it's missing. So yeah, we're going to go ahead and fix that. The easiest way for us to do that is if we were to just duplicate this cube over here, move this upwards, click go on to Edit mode, click as X to make it thinner. Like, so now we can select one of the edges, realign it to the way we want. I'm going to select it all, actually, move this downwards a little bit, like so and select the edge, increase this in height, and there we go. We're going to get ourselves a very nice simple setup. Yeah, I'm quite liking this one. Let's go ahead and move this. So shift D GX, move this to the outside. We want this position to be somewhat in the middle of this pillar over here. There we go. And let's make sure that there is no visibility on these parts coming sticking out of the plank. So something like that is going to be really good for us. So yeah, that's pretty much it for the roof. We're now going to continue on moving on with the supports themselves. So thank you so much for watching, and I will be seeing you in a bin. C 40. Modeling Front Supports In Blender 3D: And Hello and welcome back around to Master blender F D with Wild West environment. In the last lesson, we left ourselves off with a nice roof followed up with the platform. We're now going to continue on with the setup and make sure that we have some supporting beams nicely placed up. So for us to do that, we're going to firstly figure out how we're going to have this set. And ideally, we'd want the supports to be well vertical as these, but we also want to have additional supports in the way horizontally to make sure that this is more of a sound more structurally a stronger type of a structure. So that's what we're going to be doing the well, with the setup, we're going to go ahead and start off by figuring out how thick of the beams we want these to be. I'm going to make a duplicate out of this, going to add this onto just a collection, like so this way, it's not going to be part of the grey box, and we can make use out of them. The next thing is I'm going to just well, set ourselves up with more of a manageable size. I reckon that's a good start. Let's go ahead and click S and then use shift and Z and scale this inwards just a little bit. So I think that's going to be looking much better. And at this point, I think that's all we need to do for the setup of those beams. We're going to go ahead and use Bevel over here. We're going to use shift sorry, Control A to reset its scale, and we're going to lower this amount, so we could get something like this. A little bit more. There we go, something like this. Looking pretty good. Let's go out of it and we have ourselves a normal beam support. In terms of it going into the floor, it doesn't matter much at this particular point. And I think it's going to help us out because in case we are seeing through some of those planks, we're going to be able to see that, there is an additional support for them for the setup of this platform. So I'm quite liking this design. Let's just go ahead and paste them through the setup. But of course, we need to figure out how we're going to interact with the rest of the columns. So for this particular reason, well, firstly, I'm going to go ahead and move this to grey box complete so we could actually see what's going on. And the way we're going to interact with this is going to be quite simple. We're just going to make an arc going on the top. I'm going to duplicate this one over here, going to click RY 90 and move this a little bit closer to one another. Go to go onto Edit mode, as x, scale this down to a more manageable size. And it's too big overall. I'm going to scale it down to make it smaller, so to get something like this. Once we do get something like this, we can then start thinking about how we're going to just connect the setup of the structure. And for us to do that, we should get the support to be in the middle, as well. What I'm going to do is I'm going to select the support. I'm going to hit shifts cursor to active so select this hit Shift D, escape, and use Shift S to use selection to cursor. This way, it just places this right in the center exactly where we want us to be so we can hide the gray box part and have something like this. The other thing that I'd like us to do is going to be make this smaller in regards to the width because we ideally want this to look like a bit of a smaller support because for starters, it's within the interior piece, and secondly, it's just going to have a nicer variation overall. So I'm going to go on to Edit mode, use Shift Z. Oh, sorry, not Shift Z. Use scale, then Shift Z. There we go, and then make it a little bit smaller. Like to get this sort of result, making it seem that this is also too big. I'm going to lower this down. We want this ideally to be going inside of both of these setups. So I'm just going to scale it down even more, something like this. I think that looks quite nice. We can also just select to grab the bottom part and lower this down a little bit, so it's going to look like a thicker beam, but not as thick in regards to its width. So that's going to look quite nice for us. The next thing to do is going to be setting ourselves up with a beam archway going in between those two. So the way we're going to do it is going to be using shifty GZ, move this downwards, and I'm going to bring this in to make sure it's not as high for the base for the base. Then we're going to go ahead and make an edge loop right in the middle. So using Control R, left click, right click, and that's going to give us this. Afterwards, we're going to click G Z, move this upwards to something of this amount. Yes. Going to click Control B and increase this to quite a reasonable amount, something like so, and we're going to play around with the Well for Sardis, we should increase the segment amount, something to a value of 12 is going to do quite well. Then we can just simply manage it so have something like an arc like this, and it's already looking pretty good. I'm going to go ahead and select it all, click SY, kind of shrink it down a little bit. GZ, move this down, and let's see if this is looking quite nice. If we do want to, we can adjust it afterwards as well. We can select middle edge loop, so holding Alt, tapping it over here. We can then go onto our trustee proportional editing GSD and move this upwards and use our mouse wheel, of course, to change up the scaling for the setup. Something like this is going to look quite nice, I reckon. Looking at it from a distance, I'm quite happy with this result. Yeah, I'm quite happy with this result. All right. So the next part will be, well, setting ourselves up with some textures. The reason being is that we already have the main parts over here which we can reuse, and we just don't want to do repetitive work of re texturing since we know that this is going to be a duplicate on the up side over here. So for that reason, again, we're great to go ahead and sort ourselves out with the textures. So let's go ahead and see what type of UV texturing we need to do for this. We can go on to UV editing. And once everything loads, I am going to take off the resource pack over here on the side so it would load faster. Resource pack, there we go. Let's just stable that. There we go. And this is in a random view, not texturing. There we go. Okay, so I'm going to go ahead and just select it all, select all of them within the setup, use unwrap Smart TV project, like so, and just in case before actually, I'm going to go on to object mode, rotation and scale applied, so it's not going to be warped in any way, shape, or form. And that's going to give us this setup. You'll notice that this time, when compared it to crates, I didn't do what's it called the Bevel appliance? And the reason being is that it does give you UVs from the information that we already have. So although those edges are not visible in comparison to if we were to apply bevel. So if I was to apply Bevel to show set, you see how the edges here over here. These were not here if we didn't have the bevel applied. So they do give us the textures on top of it, but personally, I don't like using the bevel as is, especially for more complex shapes or something like curves over here, they might not give us the right type of way for the flow of UVs. So actually, I might be able to show you what I mean once we sort this out. So once we have this setup, of course, we need to straighten this part out, this entire section. The reason being is that if we do not do that, we're going to have a bit of an issue with the flow of the wood. We can apply the wood right away, and I will show you what I mean. I'm going to go ahead and use support wood. So we can click on Support Wood with this entire section selected. You'll notice that only this wood has the material applied. If we want to have multiple assets to have applied the same material all at once, whilst not combining all of these assets, we can use Control L, not copy link materials. There we go. We can use this button, and that's just going to sort everything out. This particular wood does seem to have the horizontal flow of the wood, which we can fix it for now, though, let's go ahead and rotate it. The reason being is that we don't need to worry about it at this point in time. So there we go. The flow of the wood is going nicely. And if we have a look at the bevels, they're not going to be visible. But this archway is going to give us width way of wood following through it. So we need to definitely fix that. The easiest way would be to select this entire section and use the square UV and BAB. So yeah, within GitHub, you're able to get yourself free add on UV squares. If we click N, we can see UV squares being here. So once you download it, all you need to do is just enable UV squares. And again, it's completely free. It's just widely used, and it's really good for straightening up those pieces like over here. So all we need to do is just use a grid by shape, or the shortcut for that would be Alt with this UV sync selection ticked off. So Alt E, there we go. That's what we're going to get. And I'm going to go ahead and go click L on this part. Make sure I am using the limit to UV, it's only this part selected, then select this entire section, Alt E, and there we go. We're going to get ourselves the grain following nicely through the side. All right, so what can we do next? Well, we can set ourselves up with some additional information. We need to now know whether or not this texturing is going to be good enough and whether or not we need to fix the base as well. As you can see, the foundation already has some nice texture for the wood, but we probably need to replace it to make it look a little bit more fitting for this environment. And that's, I think, what we're going to do. But since we are running out of time, we can continue on with it in a next lesson. Thank you so much for watching, and I will be seeing you in a bit. 41. Texturing And Shading Basics In Blender 3D: Hello and welcome back everyone to Master blend of F D with Wild West Environment. In the last lesson, we left ourselves off with this setup, and we're going to keep it here as it is for now because we'd like to firstly, well, set ourselves up with the rest of the parts. I'm going to go on to modeling mode so we could actually have an entire window to ourselves. Then we can just go ahead and duplicate the rest of the parts that are needed. So let's go ahead and just, um yeah, the way we're going to do it is a little bit is going to be a little more interesting reckon. If we just simply select this part, click Shift and as cursor to active, then we can go ahead and move this onto gray box complete, duplicate this part over here, and use shift as selection to cursor, and that's going to replace it in the right spot. We're going to do it again for this hour piece over here. Shift S, cursor to active and move this onto grey box complete, select this part of a duplicate, and there we go. We're going to have ourselves a nice setup. We got some part that is seen through. I'm just going to go ahead and select these parts over here, like so. All of them seem right, except for this one, I just want to lower it down a little bit. Get some texture for these parts as well. Yeah, these parts over here need some texturing as well. Let's go ahead and add some texturing. So I'm going to select both of them actually going to select the so UV and wrap, smart UV project, just like that. And let's apply the support wood material. Like so. So we're going to go on to Object mode, click Control L, Link materials Sava side as well, go to UVs, and real quick, let's just switch them around. So I'm going to click Alton H or go out of isolation mode. There we go. Select both of these parts and rotate them around just so it wouldn't get in our way. All right. This part over here on both ends as well, we can simply just UV and wrap them with automatic UV and wrap just like that. Select them both. Go on to support wood as well. Click Control L to link materials, go on to UVs, select them, rotate them around. There we go. Okay, so we got our selves to set up and this one over here. It is still part of a geometry node. We can simply go onto the material over here and change this to support, like so, and this will change it like so. As you can see, though, it is rotating this entire part around. So the easiest way to fix it would be either to make this a mesh, convert this to a mesh like we did before or alternatively, we can grab a material support over here and make a duplicate out of it, then reapply this duplicate onto the setup. So support 001. So go on the shading panel, and we are going to start working with the shader itself a little bit. So all of it is set up for us. But before we get into this entire setup, I'd like to play a quick introductiony video about the shaders, how they work and how they interact with your materials. So that's going to be it for me. Thank you so much for watching. And in the next lesson, we're going to work on the materials itself. Welcome everyone to the blender shading and texturing introduction. And you can see here within my scene, I've actually brought in a few shaders just to kind of explain how they actually work. So first of all, what is an actual shader? A blender shader is a type of material that can be applied to three D models within blender. Shaders define the way surface of objects appear under various lighting conditions, simulating a wide range of materials and effects such as metals, glass, plastics, wood, and more. Essentially, shaders tell blender how to render the surface of an object based on its properties like color, transparency, shininess, texture, and reflection. So within Blender, we use actually a node based system for creating and customizing shaders, particularly within its powerful rendering engines like cycles and the newer EV render engine. Now, it's important to note that the actual shaders within blender react differently to each of those shaders. So at the moment, you can see that I've actually got this on IV. But the moment I put this to cycles, these actual shaders, some of them, at least, will react differently. So now you can see that our emission here that we had that was glowing doesn't glow anymore, and that's what happens typically in blender cycles. Also, the glass now we can actually see through the glass and see this is actually a glass shader. So it's important to know straight off the get go that some shaders will work in EV and some in cycles. Now next of all, we need to look at the different types of shaders within blender. So some are created entirely in blender through node systems, which we're going to look at in just 1 minute, and the others are created through textures. Generally, these will be PBR textures. Now, a PBR texture is a physically based rendered texture it's a texture map designed to mimic the way light interacts with surfaces in the real world, based on physically accurate models. These textures ensure that materials rect to lighting conditions in a realistic manner, making them essential for creating lifelike three D models and environments within blender. So now, enough of all the backstory on textures, let's actually go up then, and first of all, we want to bring in an add on. Now, this add on is in build within blender. In other words, it comes with blender. I wish they would actually turn this on a standard. So far, you have to actually enable it, but trust me, when I say it's one of the best add ons that blender ever produced. So let's go up to Edit, and what we're going to do is come to preferences. We're going to go over to add ons, and the add on we want is called the node wrangler. So type in node, make sure the node wrangler is turned on, and then all you need to do is just close this down. Next of all, we're going to go over to our shading panel, which is this one over here. And then what we're going to do, we're going to click on this cube, which at the moment, doesn't actually have a shader on it or any material. We know that because if you come over to the right hand side, where our material panel is here, you can see this is completely empty. Also in the shader panel, you can also see if I zoom out, this is also completely empty. If you do happen to have a shader in here, and then there's nothing in here, just zoom out as far as you can, and then you'll find all of the nodes. Now, what I'm going to do, first of all, is add in a new shader, and what we'll do is we'll double click it and we'll call it wood. Like so. And now you can see how it's actually set something up within blender, just a basic principle BSDF. Now, this basically is the super node. It's where all of the texture maps will plug into. This is the main node that you will be using. Alright, so now what I want to do is I just want to click on this node. And what I'm going to do is I'm going to press Control, Shift and T. And what then that will enable me to do is open up my actual computer file, and from there, I just want to find my textures. So here are my textures that I'm going to use as an example. You can see here we've got wood grain, and you can also check out what these actually look like by coming over to the right hand side here and clicking this on. And now you have a good idea of what these are actually going to look like. We can also make them larger as well if we need to. So you can see here at the moment the size is 128, and we can just bring that up to actually make them bigger and see exactly what textures they are. Now to bring them in, all I need to do is select the first one, shift select the last one, so we've got them all selected and click principle texture. And what blenders going to do from there is, is actually going to bring them all in and set them up for us like so. So you can see now because of the node wrangler, everything is set up for us. Now, within our actual shade in panel, you will see over the left hand side, we actually have a UV map here, and it's not actually showing anything at the moment. We come on over and we select one of these actual textures like so, you will see if I zoom out, we've actually selected this actual metallic shader. I can also come down and select the roughness, for instance, I can select normal, or I can select the actual image texture like so. Just remember if it's on the wrong one, it's probably because you've got one of the textures or the wrong texture actually selected, and I generally want to have it on the base color. Now, with blender four comes a new principled BSDF, and now a lot of the options are actually hidden behind these little tabs here. So omission, for instance, is now hidden behind here, so I can turn this up, as you can see, bring it down, and change the color of it if I saw one. So just remember that some of them might actually be. Because this is a basics video, we're just going to go through a few of the actual options that we normally get within our actual textures. So a PBR setup normally consists of a base color, known as the albedo or cut just a color map, a metallic map, a roughness map, and a normal map. They're all more maps, but they take a little bit of work to actually set them up within blender, and this is the basics video, so we won't be going into those, but we will be going into those later on in the course. The first one, which is the Albedo map, it just defines the basic color of the material without any lighting or shading effects. It represents how the material looks under natural lighting. If we go to the next one, we've got metallic, and this map defines which parts of the texture are metallic and which are not influencing how the material reflects light. Metals have a high reflectivity and distinct coloration in their reflections. Now, you will notice if I click on this one, it's completely black. Because this wood has absolutely no metallic. If this was completely white, all of this wood would be completely metallic. And if it has kind of grazing there, that then is defined the roughness of the actual metallic. In other words, those little spots that you see when you shine light on something. The next one is roughness, and this isn't to be confused with metallic because roughness is how shiny something is, and metallic is obviously how metallic something is. Generally, as well, with metallic, either something's metallic or it isn't don't really get in the real world half and half. The roughness map controls how rough or smooth the surface of the material appears, affecting how sharp or blurred the reflections are. A lower value results in a smoother surface with sharp reflections. While a higher value leads to rough surface with diffused reflections. Now, when I'm talking about values, I'm talking about these values here. So the more sharp this is or the more blurred this is or the more darker these little spots are, that will give you the result that you're actually looking for. And finally, we're going to go now to the normal map, perhaps one of the most important maps. And the normal map simulates small surface details and textures without actually changing the geometry of the three D model. It affects the way light bounced off the surface, creating the illusion of depth and detail. And this is used a lot in games to actually look as though there's more geometry than what there is. Now, let me show you how that works, then. So if I come down to this strength at the moment, you can see that we've got our wood here, and it's kind of defined. So if we look from here, it kind of looks like it's, you know, three D, and these little grooves are going in. But if we turn this all the way up now, you can see that's the effect we actually get. So you can see now it looks as though it's much more ripply along the edges. We can see big grooves going down there, and this is what the normal map actually does. Now at the moment, with our actual CPA, you can see we've only got one actual material on there. And what about if you want to put multiple materials onto an actual object? I'm going to do is I'm just going to click the plus button. I'm going to click the down arrow, and I'm just going to choose one like glass. I want to click the plus button again. Click the down arrow, and this time, I'll choose one that says stone. Now, if I go into my cube and press the tab button in actual edit mode, come over, select one of these faces. It only works on faces. By the way, you can't select an edge and apply a material on there. You have to select a face or multiple faces. So what I'm going to do then is come down to glass. And finally, then I'll click a sign like soap. Then I'll come round to the other side. I'll click this face and this face. And what I'll do is I'll come down, click the stone and click a sign. And there we go. Now we've actually got stone, we've got wood, and we've got glass. And if we put this on our rendered view now, you can see exactly how that's going to look, and you can see how the light is interacting with all of these surface. If I come over just to the right side quickly and turn around my sun rotation, we can get a clearer view of what we're talking about. If I come even further around and bring it to the front like, so you can actually see that glass then is actually starting to be seen through, and you can also see that actual normal map working on the inside of this cube. Now, let's quickly go back to our wood. So to do that, what I'm going to do at the moment, you can see that we're probably on the stone in this one in this shade of view here. It says actually stone here. Actually come down and click on my wood, for instance, and then it will take me and put the wood on there as well. So that's another way to actually apply them. Instead of the stone, it's actually just put on wood instead, as you can see. Now, what I do want to do is I want to come in to my actual wood. So that's the one that we actually brought in, this one here and just show you, for instance, we can actually interact with all of these texture maps. Now, there's thousands of nodes available in blender, and the way that you put them all together, it can become extremely complex with huge hundred node maps and shaders. So I'm just going to show you something of the basics just to get you started, and that will be an RGB curve. So an RGB curve, as those of you may know, who use Photoshop changes basically how the actual image is actually lit, darker spots, lighter spots, things like this. So if I come in and press shift a search RGB, and you can see, I've got an RGB curve here. Now, just before we do that, if you do press shift day, you can come down. You can just see get a flavor of how many nodes there are actually within blender, and you can see also how many shaders there are within blender. Let's discuss that after, but first of all, we're going to go with RGB curves, bring that in and drop that down like so. And from here now, you can see that I can actually affect the color of this actual wood on the fly in real time, like so. We can also put this onto the metallic onto the roughness and even onto the normal to get different effects and different ways that the metallic or roughness actually work. Now the next thing is we want to discuss is just shaders. So as I said, this is the main shader within blender. This is like the one ring of shaders. And basically, this will be the main one that you actually use. But of course, there's plenty of shaders. So depending on what you want to do. If you come down, you can see, we've got diffuse, we've got emission shaders, we've got glass glossy, and a whole range of other shaders that you can actually try out and use. Now that we've discussed that, let's actually come over two are actual shaders that I've got set up here. Now, you can see with this glass one, it's just a very simple shader of glass and got some roughness on, and, of course, an IOR value. Next of all, then we've got an emission shader, and you can see now this is using texture maps, and it's slightly more complex, and you can see how all of these things plug in. In other words, what I'm showing you is shaders can be very, very simple or get to be very complex. So the next one is the metal, and you can see this gets even more complex. The next one's stone, and you can see, again, this is slightly more complex, and the final one is wood, and you can see things like this. So we can see that we've actually got some edgeware on this wood, and all of this is actually done within blender, again, with quite a big setup for the nodes. But it's unbelievable really what you can actually do with these shaders once you've actually got your head around how to set up the node system. Really are just scratching the surface in this blend of shaders and texturing introduction. And even on the right hand side here, you can see you've got all of these options as well to play around with, as well as the fact that you can actually put these into your asset manager as well. But this is just a basic introduction just to get you started. Alright, everyone, so I hope you learned a lot from that, and I'll see you on the next one. Thanks a lot. Cheers. 42. Applying Textures To Our Front And In Blender 3D: Hello and welcome back everyone to Master blender FD with Wild West Environments. In the last lesson, we left ourselves off with this nice setup, which goes sideways. We still want to keep this modifier planks to be going with that same material. We don't really want to change it to a mesh at this point. So we might as well just make a duplicate and play around with some of the settings. So for Saudus at the very bottom, we'll find within the wood controls, we'll find wood rotate. So this can just if we rotate it, we can see the rotation. And if we want, you can hold shift to see how it interacts with the planks. So I'm just rotating until I get the right result. Value of 10.26 seems to give me the right result. Afterwards, we can play around with additional setting. So for example, this is a wood support, and perhaps we want to add a bit of an extra touch. We can work with that. If there is a rainy scene or something of that sort, we could take this down and get ourselves more of a wetter surface. So if we put it down to zero or close to a value of zero, or even in the negative alley, we can see the wet surface that we're going to get. So that's sometimes quite useful. The other thing that we can do is change up the normal scale. So normal scale is going to be the intensity of the normals, essentially. If we start lowering, it's going to flatten it out. If we increase it, it's going to increase that as well. So that's quite nice. Wood scale might be quite good over here because we're not able to change the UVs from the geometry node, which we can actually do that. We can just change it over here, something like four, and that's just going to increase that UV scale. But the alternative version for that would be to just change it over here. And that's just going to increase the amount of wood we're using. So 2.5 for this particular case, I think it's going to be quite all right. I think it's looking quite nice. Grading control is an interesting one because it allows you to control some coloring based on the setup that we have over here. So if we see we are increasing this and the gaps in between the coloring are being affected. We want to see how it exactly looks and interacts, we can hold Control Shift and click on the node to see that this is how it looks like this is the mass that is getting applied on top, and that gives us a really nice variation for the top of the wood. So we can even, for example, lighten the overall settings. Let's go to a normal material control shift and click on the very end shader to see what it looks like. So something like this. And if we select this arrow over here, we can change up the brightness and darken it if we want to if we choose to. But honestly, all inol that's looking already really good. Occlusion will allow us to darken between objects, the way they interact and whatnot. We can even sharpen this mask so by getting it closer to the setup, and all inol as you can see, it just helps us to stylize a bit that weathering effect on the top of the roof. The final thing, flatware is just going to be what those edges, the way they are stroked. Setup. Those white lines over here, that's what's being controlled basically. And we can either do a flat edgeware or we can do an edgeware over here. So perhaps we want to have some scratches going across, so the edgeware itself is what the white lines are going to be, so we can just tweak them to increase them a little bit to make sure that the roof has a nice way of itself being broken up. And with that said and done, we are pretty much ready to continue with the texturing. So the bottom piece, I showed you how you can set yourself up with just changing the overall setting, so you wouldn't have to remove the planks. But for this particular case, we can just grab this entire platform, like, se all of its pieces, making sure that everything is selected, including these parts on inside as well. So everything for the platform is selected. I'm then going to go ahead and click Object, convert to mesh, like so, and now we can go ahead and just change up the material. So it already has a wood material. All we got to do is just use this button over here to search for side wood, so side wood, like so, and away, we should get ourselves a real nice result. The UVs are there for the setup, so we don't really need to worry about that, but we might want to increase the UVs just to make sure it's not overly exaggerated with the setup. Let me just go ahead and double check. We'll cook. Yeah, we definitely need to increase it, so the grain would be visible a little more. Let's go on to UVs for that. Let's select it all. I'm going to go back onto UV sink, and I'm going to just scale everything upwards, so let's see how this looks like now. And yeah, this looks quite nice already. The only thing, though, is that the stairs perhaps might need a different type of a setup, so I will go ahead and do that. And I just realized that there is only one wood that I was changing. So let me just go ahead and quickly grab everything else. Yeah, let me just go grab everything else. For the setup, I'm going to click Control Z actually real quick to grab back onto that selection that we had. There we go. So that's the selection that we had. I'm going to go ahead and click Control J, since we can just join everything up. There we go. Remove all the materials, except for the side wood. And I see. All right, so we need to go ahead and select it all. Click Control Click R, 90 degrees, and there we go. A nice bit of a setup. Now it's too small, so I'm just going to lower this back down. To a more viable setup, which I think now it is. The stairs, I want them to be a little different color. Let's go ahead and go onto the stairs. Click L, throw this entire setup. Oh, let's make sure that we have normal selected. That way, when we click L, we're going to select all of these mesh pieces. So for all of the stair pieces, we can go ahead and click on a plus symbol over here, select the side wood this time and a sign over, like so. Sorry, not a side wood would dry in this particular case. There we go. That's the one we're looking for. I'm going to go ahead and rotate this nine degrees with the proportional editing turned off. There we go. Let's see how it looks like. The grain is way too small, going to lower it down. Until we get something like this. So it looks chunky. It looks dried up. It looks like it's just been a clunk of logs stacked together for the base. That's exactly what we want. All right. Now let's go ahead and fix up this upper section over here. So we have this, which should probably go inside of the side over here. Good to hit Shift D, GY. Move this off to the side just to kind of help us break this down. I am going to select this over here and I'm going to place a wall so we could cover this all up. But before doing that, let's go ahead and select these two supports. Click Shift D, GX and put them off on the side, so Nice and symmetrical. I think it's going to be quite right. The wall over here can be done with these planks over here as well. I'm going to go ahead and do that. Going to make a duplicate RV, going to go onto the setup, change the wood to use side wood. Side w. So rotate the UVs. We can do that afterwards, actually. Let's go ahead and place this entire wall onto the side. We're going to rotate this by Z. We're going to rotate it by Y 90 degrees, 90 degrees. Put this out using gizmo. There we go. And these should definitely be a lot wider. Let's go ahead and increase the width. There we go, something to this amount. So five planks, even actually six planks should be visible. Let's go ahead and change it. Six are visible. There we go. Something like this. Perfect. We can lower down the count, of course, once we get to the right amount, there we go. And of course, the length should also be a lot shorter. Length randomness. We don't need that. But we get ourselves a nice wall over here. So this just helps us to break down what's inside, so it wouldn't be just constantly visible and so open, and the bar wouldn't be exposed to the web, of course, as well. The other thing that we need to do is consider ourselves if the bevel is alright, which I don't think it is. I'm going to lower this down by quite a bit until we get small bevels like, so much nicer, much sturdier of a wall. And just to help us out to break this entire setup, I am going to go ahead and add an additional support this time, the shorter one, going to click Shift D, GX, move off to the side RZ 90 because I believe we have a bit of a different width, just a slightly different width in between. And to make sure it's perfectly center, I'm going to grab both of these. Use cursor to active, select this. Use selection to cursor. Oh, sorry. That's the wrong selection. I need to do cursor to select it and then use selection to cursor. There we go. It's going to be perfectly aligned. Maybe drag this out just a little bit and right in the center. So I'm quite happy with the way this is set up. The only thing though is that we need to make sure that this does have some proper textures that aren't going sideways. Let's go ahead and apply the geometry node. Like, so I'm going to go on to UV Editing, selectl RZ 90, and this should be alright. Maybe make it a little bit smaller, so we could increase that grain over here. We can check how this looks like. Maybe the grain is a little bit too small now. And there we go. We got ourselves a nice room interior. So that is going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 43. Working With Walls And Front Extention In Blender 3D: Hello and welcome back around to Master Blender Fred with Wild West environments. In the last lesson, we left ourselves off with a nice foundation, the front section of our setup, and it's already looking quite nice. The shape there is getting there in regards to the environmental setup of our Wild West. Anyways, let's get started with the process. And I'd really like to get this front piece on the top out of the way, as well. There is within a reference, if you have a look at it, there is a skull and whatnot on the top. We are going to skip these parts. The skull and the sign over here are going to be left to be done last. But we can do the part where this would actually look like it's well, properly sound structure as just an extension of this building. So, for us to do that, we're going to need, of course, the trusty planks. At this point, I'd like to make some planks o variation. So I'm going to hit Shift D and just move it off to the side. I'd like to make these planks to be ano variation of the setup in a way that it would be fully for the walls, going for this extension, as well as the building parts over here. And for that, we'll need to set ourselves up with well, some customizations. Let's go ahead and have a look at them. For Saras, these planks need to be longer and thinner. So let's go ahead and do that. We are going to extend the length of them, like so, and make them quite a bit thinner. So the whip, not the with, sorry, the thickness is going to be like so. The width itself can be a little bit longer, so width randomness is going to be just a little bit increased, but not by too much. We want to have some sort of consistent looking planks. And I think the best way for us right now would be to place this entire part onto the side of the wall so we could actually have a look how it looks like. So R Y 90 -90, there we go. Place it on the side of the wall. Like so. And let's have a look. Is this going to be a reasonable setup or if we need to make a lot more adjustments? So these planks are way too large. We can just scale them down. So scaling down like this will scale the entire part of the transformation whilst keeping all of our settings still properly set up. So I think that's quite right. I'm just going to use that to our advantage to make this kind of a whip. Alright. Let's go ahead and increase the count to 12. 12 seems to cover this entire piece, and I am quite happy with this result. I'm quite happy with this thickness. I'm going to go into modeling mode so we could actually see what's going on. The thing that we need to do is at this point, lower maybe the length, so we could visualize it a little bit better, how it looks like. Then the ness, a little bit thickness randomness is going to be quite nice, not by too much, but just by a little bit, so we could have some variation. We also need to add bevel over here, and we're going to add a bevel just so we cover those edges like so. Then we're going to go back onto gaps and gaps, I think are quite right. I think they're quite nice. I'm going to extend it a little bit, actually, just to make sure that the upper section is covered up. But this now is a little bit too much. I'm going to lower this down like so and increase the length a little bit. So not the length, the leave its width. There we go. So you are extended or alternatively, we could add additional plank. But this, to me, seems like, Yeah, it's too thick. It's too much too much width. We're going to increase the count to one more. We're going to then change the length, and there we go. That's going to be perfect for us. That's looking already really good as a shape. I'm really liking what we have over here. Let's go ahead now and make a duplicate out onto the side. I'm going to hit Alt R to just put it like this to the side. And now we can work with this entire setup and place it alongside of our building. So this is going to use side wood, but I don't want to adjust I don't want to adjust the material whilst applying the modifier every single time. I'd like to make a duplicate out of a side wood, so I'm going to go ahead and just find myself the side wood so it could go on to shading. The material itself needs a duplicate, like so side wood 001, and we are going to well, make sure that modify is using that duplicated wood, side wood 001, then rotate us around until we get the right results. So something like, there we go. 10.29 seems to work because it's not using angles and using the values itself, it just converts it naturally, but we can visualize it easily whilst rotating it around. And this is going to give us a nice setup. We also should probably work on the wood scale. It's a little bit too much. We can change it to something like free. And that's going to give us quite a nice setup, actually, maybe 3.5 actually. I think that's looking quite okay. The only thing though is that this might be a little bit too grungy, normal, I'm looking for normal scale. I'm going to change this to one. Let's see. Two, there we go, perfect. As for the grunginess, I don't want this to be grungy, too grungy, but at the same time I do want to separate those planks, we'll go to ambit occlusion for that because if we use ambit occlusion, we're able to break this up a little bit. We just need to be very careful with tweaking. Value on a f. Yeah, I'm increasing the essentially, I'm increasing the contrast. The gradient can also be used for that if we want to we can get this much, much closer to one another, and it's going to give us some nice variation. All right. So that is looking good so far. Looking from a distance, everything is right. Let's go ahead and reuse all of that on route the building. I'm going to make just the most basic of the setup right now, and then we can tweak it afterwards. So right now, what we're doing is we're moving them around, and we're going to get ourselves the setup that we need in regards to the length, mainly. You'll notice that sometimes the length affects the UV, so just switch it over a little bit, and you're going to get yourself a nice result. And afterwards, we can even just scale it in the geometry itself using the S shortcut. And quick and easy modifications will give you real nice base to work with. Then afterwards, outside, we can just duplicate this part over here. Move to outside, like so just like that. And I think I'll do that same for the back and the front. So just duplicate it. If you do want variation, we can totally do so. We can just change the seat, for example, and just slightly change up the width if we choose to just to kind of get that nicer variation. So front and the back, I really want to change. These two sides aren't as important to me because I know I'm going to be adding a little bit of an extra detail over here. Help us break down this entire wall. Of course, we're going to do the same thing on this end as well. But again, we're not really too worried about that at this point yet. All in all though it is looking quite nice. And, of course, we're going to make use out of this wall for this front section. So we were building this entire setup to be used for this extension over here. We're definitely going to make use out of it. We're going to lower the amount of count. Like so we're going to lower the length by quite a bit, like so, and using ism to reposition it nicely onto the set maybe even lowering the width just a little bit, lowering the length, a little bit. Something like this. I'm going to upscale sideways, hit Shift D, GX, move this to the outside, so looking at the bottom, if it's going to cause issues, it might. But these parts over here are real nice a set up, so I'm not going to touch them actually. The thing that I want is, though, the front to have a nu plank of wood. I'm going to change the seed for this though because otherwise it's going to be too obvious if it's too similar. Let me just go ahead and change the seed, increase the width by a little bit, and we can scale the length, like so for some reason, the UVs weren't working quite well when I was upscaling. I don't really want to touch the UVs. I'm quite happy with the way they are. I just want to make sure that this is nicely set up. The upper part can be done with the similar setup that we have over here. I'm just going to go ahead and copy the one that we already had for the platform. Going to put it over like so and just slightly tweak some parameters, so we get a nice basic setup. So in the geometry node, we're going to change up to length, like so. I'm not worried about these edges or corners. I am going to change them around. The idea is that we're going to do something similar to what we have over here with this extension as well. So that is why let's not worry about something that's not going to be visible. And once we're done with that, this cube over here can just simply go onto the grey box, which is good for us. I'm looking at the final parts if we need to add additional stuff. But all in all, for now, we are good to go. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 44. Creating Backroofs: Hello and welcome back everyone to Master Blender F D with Wild West Environment. In the last lesson, we last ourselves off by creating this bit of an extension. We're now going to continue on with the setup, and before doing that, I'd like to change up the setup for the top. We're still using the same default wood. We're going to go ahead and firstly change this to be a dry wood with a dry. Here we go. It's going to look quite nice for the upper section. I believe it will. And we're going to start by setting ourselves up with a bit of a frame on the sides. So the frame itself is going to be quite simple. We just need to make a cube. I'm going to create a p decursor over here, cursor to active. So when we create a cube, it's going to be right in the middle where we want it to be. Then let's go ahead and just adjust it by clicking going to Edit mode, clicking SX and giving ourselves this sort of a setup. So when doing this, we got to make sure that we are simply having a nice thickness, but at the same time, we don't want to be overdone. We want to keep it reasonable in comparison to these up planks of wood, especially to their thickness. If we have a look at that thickness, this is the type of thickness we're working with. And so we want this similar thickness to be over here as well. That's exactly what I'm going to do. I think this is going to be quite nice, a little bit thicker than this, but it's a small plank of wood, which I think is going to be okay. All right. So now let's go ahead and just do the upper sides as well for this. We can go on to scaling this down a little bit and lowering it a little bit as well. Putting it inwards, like so, and there we go. We're going to get ourselves this type of a setup. So it's making sure that it's not going outwards like this or anything of the sort. We're just pushing it inwards into the front of the frame. Then afterwards, we can go ahead and simply combine them, click Control J to join, use bevel, slide bit of a bevel, like so, adjusted holding shift. And that is looking pretty good, I reckon. Yeah, it does. Okay. The other thing is that it's going to need, of course, UV projection. So we can just use this vertical alignment. That's okay. Let's go ahead and make use out of the setup. So that's going to be the material that's going to be support wood? I think 001, the duplicate that we did, that's going to look great for us. Yeah, I will, and we can do this upper part as well. For these, I'm going to go ahead and select all of them, hit Shift D, escape, and then move these onto the gray box complete. So then we can select the rest, Control J, join them up, bevel offset the bevel a little bit. Click Control A, rotation. Sorry, just scale is okay. So the bevel is going to be more consistent. And I think that looks quite right. I'm worried that, for example, some parts have a bit of an extra gap on the sides, which we can fix that actually. If we go into the side, we can select both of these edges just like that and just move them a little bit to the side, select them all with the Edit mode, SmartTV projection, and that's going to give us a nice setup for the supports. So support would Serio one, so already looking pretty good. Maybe too small as a grain. But honestly, yeah, I'm quite happy with this result. We got some bit of grain coming over and whatnot, which is pretty nice. And of course, for the upper section, we need to do a duplicate as well for the planks. We're going to place them over here. Of course, increase the count, so it would fill out this entire space just like that, increase the length. No length randomization. We don't need that. And just like that, we're able to cover up a lot of the service area with our setup. Of course, this is just plain blank type of setups. So far, we need to carry on with the overall setup, add additional detail and whatnot, which we're going to do once we sort these parts out. We need to make sure that these parts are also set as support. We're going to go ahead and select it click Control, sorry, click Shift D, Escape, move it to the grey box complete. And now we can go ahead and select a mole like this, and I'm going to click Control J just to join them all up. I think it's a fair thing to do for the vertical beams. Then add Bevel onto them, click Control A, apply scale, and now we can adjust it to look like this. Support is going to be the support wood zero as you want. There we go. Let's unwrap everything. Smart UV project, UV unwrap. And so far, is looking quite right. Yeah, I think it looks quite right. Okay. The only thing, though, is that this upper section, I'm worried that it's not using the right type of roof material, so I'm going to go ahead and check if I do have roof wood. There we go. Oh, that's a different one. We can continue carrying on with covering up the walls and whatnot, since we are already at it. I'd like the roof to be similar to this over here. So we can somewhat copy it, but ideally, I will probably use a different material for this. And the reason being is that just to break up this oversight over here. So for starters, we're going to copy this entire section over here off the roof. Like so, hit Shift D, move it off to the side, Z 180, like so, and now we can try and see if we can work this out from this setup. So firstly, we're going to need to have a lot smaller amount of tiles. Let's go ahead and do that. So let's go ahead and select this. Count is going to be a lot smaller. Like, so I also don't like the with randomization. I'm going to lower this down by quite a bit to get this result, maybe increase the with a little bit more lower count by a couple extra planks, and there we're going to get ourselves the base setup. These parts, I'm going to select both of them. I'm going to go on to edit mode. Click one to go to the selection set, and now we can select the front and readjust to the way the height is. And for that, we might need to move this a little bit to the back. So it would actually be attached to the roof, and we could see how high up and how the setup would need to look like. So something like this is going to be looking quite right. Let's go ahead and readjust it. And this height itself for the roof, we should probably fix up the angle as well a little bit. So I'm going to go ahead and lower this down. Like, so I think that's going to be much better. This length can be much lower so length, like so. And all we need to do is just simply place them up together, maybe adjust the angle. And right away, we're going to get ourselves a very nice setup. And I'm thinking we should probably get additional count, like so, so we can have a bit of a wider part on the top. And this outside can just be duplicated. Like so. This part should be going across as well for a support. So I'm going to right click Set origin geometry, shift D R z 90 and move this over to the side. So make it a little bit smaller, just like that, and then expand it like so. And once we're happy with the result, I'm going to select all of these base parts just like that. Click Control J, select it all on wrap, SmartUPject, and we should have a real nice basic setup. But this one is using support wood that goes sideways. Let's go ahead and just real quick in the UV map, turn them around. Let's see if the scale is going to be alright. And let's go into the render view. I think that is looking quite nice. We can just go ahead and delete these parts on the side that we had it from the previous roof. And of course, for the wood itself, we could probably use the original wood that we had or even wood dry that we use on the staircase. But honestly, this wood is a nice setup. I think it's quite nice as a whole. So what I'm going to do now is simply just duplicate this, shift D, and RZ 90, so sorry, R Z -90. You can just move it can rotate it around over here and reposition it for this kind of roof. So what does this roof need? Well, for Sarus it needs to be a little bit lengthier. Like so. And honestly, we should probably consider whether or not we need to change the angle. In this particular case, I don't think that we do. We just need to readjust this a little bit, and we're going to get ourselves a nicely slanted roof with a reasonable count for this. The only thing that we need to do is just consider how we're going to set up the back. So let's go ahead and just quickly add that in as well. We can go into Edit mode for that. I think that's exactly what we're going to do. We're going to select this front piece. Click L, Shift D, GX, sorry, Escape GX, and that's not going to select the entire piece. The reason being is when I click L, it needs to be set to normal. Shift D, Escape GX, and that's going to make a nice duplicate and allow us to move it around. Like, so I'm going to probably make a new part for the back. Let's go ahead and click Shift A. Use a cube, which should give us the setup over here. The cube is way in the back. The reason being is that we don't have a free decursor over here. Let's bring our free decursor to the active selection, which we can then use cube to scale it down, move it to a proper setup for this back wall. Like so. And just like that, we're able to get ourselves a nine setup. The question, the last question probably will be whether or not we want additional support going over here, and that really depends on whether or not this is going to look good. We need to UV unwrap it as well and rotate it by 90 degrees, make it smaller because I know that by default, wrap it if we wrap acid parts on its own, they're just going to cover the entire UV space, and that's a little bit too much. But over here, right now, I think that's going to work quite well. I think we do need to have an additional part for this edge roof. So I'm going to go ahead and select this, shift D, escape, RY 90, and reset some settings, make it a little bit smaller. We don't need it too big. But something that's going to work out quite nicely for us, bring this part inwards. It was just too much out. And once we're happy with this result, we can go ahead and UBN wrap it, SmartStretch, rotate around. And the last part is going to be this. We need to just make sure that there's no gap in between. So for something like this roof, I think it's going to look quite nice for the back just like that. All right, so we're pretty much done with the setup of these miniature roofs. Thank you so much for watching, and I will be seeing you in a bit. 45. Modeling Outdoor Toilet Extention Of A In Blender 3D: Hello, and welcome back everyone to Master Blender free D with Wild West in environment. In the last lesson, we left ourselves off with some nice back and rooftops. The front setup is already there in terms of the structure. It's only the smaller assets that needs to be set up over here. Well, the table and the door and whatnot could be considered a bit larger than small assets. But ever way, let's go ahead and just continue on with the backside a little bit. Since we added those roofs in, we might as well just add the rest of the items. For that, I reckon we can start off with the toilet over here. This structure is going to be a place for a toilet that is. So we have an entrance. We'll have a nice side, and of course, we have to add a bit of a door over here as well for it. All in all, it's going to be a nice setup. Of course, we do need to just simply set ourselves up with that. But we don't want to just do every single plank manually. We are going to make use out of the ones that we already have, and we are going to make use out of this to make use out of the planks going vertically. So instead of going horizontally like we have on the wall, we're going to rotate this in terms of it being vertically set up, so we're then going to determine how thick off those planks we want them to be, how wide that is. And I think by default, it's just going to give us if we lower down the count, it's just going to give us four in a little more. We want to fit in five or even six. That would be better within this length of a year. So while holding shift, I'm going to change the width, like so, and there we go. We're going to have ourselves nice set up. Let's just make sure that the length, which is going to control the height of this going to be quite long, like so. You might think that this right now is quite a bit too long, as a simple plan, and you would be totally right. This is too long, and we're going to be fixing that. But we will do that with just breaking up the edges using the frame setup, and I'll show you what I mean that in a bit. But for that, let's go ahead and fix the back side as well as the front side. Then we can go ahead and set the rest of the parts, essentially. Let's go ahead and just make this setup for the back, which is just rotation of this. We can change the seat if we choose to and maybe readjust this a little bit. Seems quite right. And then again, shift DGX. Let's move this off to the side, just like that. And this is going to be way lower off length. Because we want to have a door at the top, we're going to go ahead and make the bottom planks only separate, like so. Then we're going to make a duplicate out of this, push it upwards. And for this part, we are going to change the width by quite a bit. So holding shift, let's go ahead and change it to something like this. Length. Let's lower it down. And this will do quite well. The thing that we're going to do with this is going to be firstly, we'll set up the frame and then we'll add a bit of an extra touch to make it seem like it is truly the entrance for a toilet. Before all that, though, we do need to work on, again, the frame setup. Let's go ahead and do that. The easiest way for us to do it would probably be wonder if we can just copy one of those over here. Totally can. I'm going to make a duplicate from the front and just move it off to the side, just reusing parts is always recommended when doing this kind of setup. If you're able to speed up the process, you totally should do that. I'm going to make it a little bit smaller, like so, and I'm going to grab with an edit mode in the front like this, maybe the back as well. Old Z will allow me to select this part underneath, see if we mode, lower it down, and there we go. Going to have ourselves a nice setup for here. The question is whether or not we need another part over on the other side. And let's try it real quick. I don't think we do. The reason being is that we already have such a bulky setup for the frame over here. We really don't need to do that, but I do need to fix the top a little bit to make sure it's not seen the plank over here. So this is looking pretty good. Let's duplicate it to this side as well. Let's see how this would look like. I do want to bring it outwards a little bit, so it would be consistent with this frame coming outwards, like so, and I am going to put it onto the other side as well. So just like that, we're going to get ourselves a very nice base of a frame. So this is looking pretty good. The thing now that we can do is going to be just selecting this box over here. I'm going to move it to gray box complete. And the next thing that we want to do is we want to as we said, break down this part over here. Which, honestly, we can do it a little bit differently. Instead of just having planks going across, so we can if I was to find it, we can grab these parts over here, make a duplicate, and I'm going to put it over, like so. The reason we're doing it like this instead is because it's going to make it seem like there is a floor going behind it. So if we have something like so, perhaps a little bit too big, so I'm going to lower this down, like so, make it stick out a little bit. And the width, sorry, the length is going to be sticked out as well to give us a nice result over here. Length randomness. Let's go ahead and increase that a little bit, so we get a real nice variation in between the wood. Although for these parts, I reckon that's a little bit too much of a setup that definitely is a little too much. Yeah, it is. Alright. We're going to increase it over, like so and we will extend these a little bit outwards as well. This way, it's going to allow us to hide those parts behind. Maybe the length randomness is a little bit too much. Let's go ahead and lower this down till we get something like so. So we have a nice base going across, and all of it is looking quite nice. Now, in terms of texturing, this can be wood dry. So let me just go ahead and do that. Changes to dry wood. Like, so already looking really nice. The other wood over here, I think it could be kept the same just to break down the surface. So we definitely can make use out of default variation or alternatively, of course, we can just check which we're using, so side wood, we're going to apply this side wood over here. Side wood copy. And then what we're going to do is we're going to grab the sidewood over on this end. So this will allow us to go onto shading tab and make some further adjustments because I'd like to ideally make a duplicate out of the sidewood. So this time, it's going to be sidewood 00.002. We can go on to shading and we can darken it to be a similar version to what we had before, except it's going to have that edgeware nicely set up for us. So if we find ourselves the color so grad and control, we can darken this down by quite a bit. I just realized the mistake I did. I didn't change the side wood over here, actually. So we made a duplicate of the side wood, and we were using 0.001. We should be using 0.002. Now we're going to get ourselves the nice result that we're looking for. And once we're happy with the result, we can readjust the door a little bit. This time, I'm not even going to go into the modifier stab. I'm just going to tweak it a little bit. This is getting in a way for me. I am going to go ahead and select it so hold control, Deselect the rest of the parts. Click H, and now we can just work with this piece of eight door. Like so. So for Sarus, let's go ahead and just use Gizmo to use S Y, scale it down a little bit. A bit nicer of a variation. I am going to slightly bring this in, so this part is not going to be visible, although it is part of the gray box, we can fix it afterwards. The thing that we need to do is perhaps we need to work on the upper section, so we have some caps basically going in between. I'm going to lower down the length and increase the length randomness just like that. So this is going to be perfect for a door. What we need now, though, is a shape that's going to be going for this toilet door. We can do that, though in the next lesson. So thank you so much for watching, and I will be seeing you 46. Using Knift Tool To Cutout In Blender 3D: Hello and welcome back everyone to Master Blender Fred with Wild West Environment. In the last lesson, we left ourselves off with this type of a door. Of course, it doesn't look quite like the door just yet, so we're going to go ahead and work on it a little bit. So, for us to set it up nicely, we're going to make a nice shape of a moon of a crescent moon. Uh, for that, we're going to just select this. We're going to turn this into a mesh because we need at this point to have a certain mesh for us to work with. Then we're going to isolate the view, click one or three to get to this kind of view. We're then going to go on to Edit mode and make use out of Knife tool. So knife tool with a clue geometry turned off, only selected turned off. X ray doesn't really matter at this point. We can go ahead and make a shape going across this setup. So what I mean by that is we can start, for example, over here. So think about it of a middle where the middle would be, so it's somewhere in this part of here, we can then start cutting across the mesh like this and creating ourselves a crescent moon. Just like that. So we can be as tedious or as accurate as we want. We can zoom in whilst working and hold Shift and middle mouse button to move it around whilst not leaving this part out. And all in all, it's just making a general shape of the moon. We don't need to be accurate. We don't need to make it look too smooth or anything of the sort. But when we do create it, it's going to look maybe something like this. Afterwards, we can adjust the shape a little bit. Or, yeah, honestly, it looks I think it looks quite alright. We can keep it as fundamental as we can. The reason being is that it's going to make it seem more authentic as a cut out piece. Once we're done, we click Enter and we're going to get ourselves this shape. Then afterwards, we're going to go on to the edit mode again with the selection holding shift. Oh, sorry, let's go ahead and click Alst to make sure that these are visible and we're going to be able to make selection out of it. So I'm going to make general selection like so and then we can go ahead and deselect certain parts. So just doing it, so very, very just all over the place. That's right. And then afterwards, we can look at these dots over here and just make the selections based on those dots. So wherever there are dots outside of the mesh, or in certain cases it might be inside of these parts as well, then we need to just hold control and deselect it. The other side should have the identical setup, so that's why I'm not worried about it because the front and the back had those identical shapes and identical density of a mesh. And yeah, in this part, for example, I deselected this part over here because this was an end gone. This entire square was the same shape, essentially, and the center of that shape was over here. That's why I knew that that shape needed to be deselected. Yeah, but once we have all of those dots deselected from the part, we're going to get something like this. Afterwards, we can simply go ahead and just click let just go ahead and check this real quick. I think I missed a part out. There we go. Double checking always good to do. Afterwards, once we're happy, we can go ahead and delete the faces, and that's what we're going to get. And you might be wondering how we can fill all those spaces in. It should be rather simple if we go on to edge selection, go out of the ghost mode, select these parts, so we can do it like this. Or alternatively, what would work is mesh, clean, and fill holes. If we increase this to more sites, we might need to make a selection of the entire mesh, then mesh cleanup fill holes. We should get ourselves a reasonable result. In this case, it doesn't seem to want to work. That's okay. We can go ahead and magnetically fix it. So going back to the setup, we basically hold Alt, make some selections on both ends, so if you get an error like that, that's okay. We can just do it manually. And we are essentially redefining where the setup is. Once we get, let's say, every other piece, then that face fill will be much easier for you to do. And that's what I'm looking for. I'm just making sure that the angles where it would be more complicated in cases where there is actually an angle over here, it might struggle, so I'm just going to go ahead and fill those parts up. Handguns over here, it would also struggle. So that way, just a couple of fills afterwards, we can go ahead and select it mesh, clean up, fill holes, and let's go ahead and have a look. With the increased amount, this should work quite well. There we go. All right, so that seems quite okay. The UVs, the UVs themselves were quite okay for the main default setup. The shape on the other hand did not have that setup itself. If we make a selection based on an angle, that would be an interesting one because if I was to make a selection so across the planks, across the planks that we're having this crescent moon, what we can do is we can do a select similar, and we're going to go ahead and use select link, link flat faces. Sharpness is going to be increased by quite a bit. And because of that, if we don't reach that point where it selects the smaller parts, it should give us a good selection. So 45 above 45 degrees a little bit is going to give us that selection. That's exactly what we want. I'm also going to go ahead and select these two parts and do the same thing again. There we go. So what is happening right now is because all of these edges have bevels, we're able to make a selection just like that. And these parts where we cut out did not have the bevels, so we were able to make a selection like so, and now we can invert it and we can click L and do Diselect based on normal, L, the select based on normal and LDselect based on normal. So now we have a proper selection, which we can unwrap Smart TV project, all that good stuff. And I'm not even worried about the parts being way smaller because when we are having it, so it makes it seem like just a bit of that extra detail. Like, it's roughened up around these parts because it's been used like a chainsaw or something to cut it out. Like, so we might want to maybe readjust this entire piece a little bit, like, so just a little bit, not too much because as you can see, it is stretching the UVs, and I don't really want to touch them at this point, to be honest. So I am just slightly moving it whilst making sure that the UVs are not touching it. If we want to, we can just select the entire piece to be honest and use UV and wrap. That would be, I think, quite right as well. But again, this kind of a setup for a back room toilet is going to be really nicely set up. So let's go ahead and have a look. There we go, or crescent moon in this piece looking quite nicely, maybe a little bit extension of over here. Yeah, that looks really good. All right, so that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bin. 47. Creating Bolts As Asset Browser Item: Hello and welcome back everyone to Master blended free D with Wild West Environment. In the last lesson, we left ourselves off with the base setup for this toilet. And now we're going to continue on a little bit, adding that extra bit of detail onto the setup. First things first is we're going to want to add a little bit of the detail for the roof using the bolts. So what I mean by that is we're going to create ourselves a new mesh, simple UV sphere, like so, and that's going to be a very minimalistic one. So eight by six should be quite right, I reckon. Yeah, that's going to be perfect. Let's go ahead and bring this up. We're going to well, take off the bottom part. So like this, I'm just removing it using box selection, removing this entire bottom part, just like that, we're left with this, scaling it down a little bit to get somewhat of this kind of a shape. So we're having similar shape to what we had for water tower. Instead, this time, we're going to make use out of it for the bolts, basically. We're going to grab ourselves the iron that we use over here, so stylize iron. Stylized iron. There we go. And by default, this is too high in UV space. Let's go ahead and go onto sorry UV editing. There we go. Onto back onto that bolt. Like, so we're going to just lower this down so we could get ourselves something like this that's going to be way better. All right, so now let's go back on to modeling. We're now going to make use out of this bolt. We're going to change the name to bolt, and we are going to make this into an acid. The reason being that we're doing it like so and moving it to acid browser items is because we just want to drag them out and quickly create additional detail. So now within unassigned, we are going to have bolt. I'm not going to assign it anywhere because we just want to quickly add additional details. So right now, if I start adding it, so if we're adding on this surface, it's going to add this sort of a detail. If we're adding it somewhere on the ground, it's going to place it like. And that's really, really good for us. So we can work with that. But before doing that, I'm just looking at the scale. I'm going to go back onto the asset browser bolt over here and make it quite a bit smaller, I reckon, like so and we're going to market as asset again. So apply scale. They should fix it to a more reasonable size there we go, perfect. That's exactly what we want. We can now start doing some additional work that will add some nicer details. So over here, what I want to do ideally is add some bolts, maybe like this or like so. This would have to be a little bit extended, unfortunately, a little more something like this. And if we can, we're going to extend this a little bit as well. Just like that. Okay, is this going to work out? I think it's placed nicely. And yeah, it's going, I think, to look quite nice. Okay, so these bolts, we can just place them out around like this. So three different bolts, just to kind of break up the surface over here. And this one, I think I can place it in the middle, like, so let me have a look if this is a good size. Honestly, the size can be a little bit smaller. So I'm going to go ahead and go back to the bolt, like so and make it even smaller. So making it smaller, apply scale. Let's see if the scale is going to be better now. Yeah, that is definitely better. Let's go ahead and make use of it instead. So this size, will help us break down that surface that we're looking for, like, so. And the top section as well, we can do that, as well. We can just plunk down three bolts in the same line, making it seem like it's being placed for this area over here. I'm actually going to go ahead and select these three bolts if that's going to allow me to do that. Like, so there we go and use this green part over here to kind of reposition it a little bit. So it'd be right where this part of the roof ends. So that's going to be quite nice. I can even just make a duplicate and move this using the X and Z values. So the Y wouldn't change at all. A place like over here, and there we go. This way, we're able to break down the surface quite nicely, giving us that bit of extra detail on the surface. And it's already looking quite nice. The other thing that I want to do is realistically, I wanted to change up the way this outliner looks on the back. We can see inside it. We kind of want to change that with the smaller parts, it's going to be quite okay with this part over here being visible. But this I'm not quite happy about it. Let's go ahead and quickly create a basic plane, rotate this. Around until we get this result and plunk it behind it, hiding entire section like so. There we go. Now we just need to make sure that when we are creating a new material, we can call this black, and we can change this material color through the shade itself over here, black color to make sure it's black. But even if it's black, it's going to reflect a lot of lighting, even though it's a little bit hard to see here. So we're going to increase the roughness to almost one, but not quite one because it's going to absorb all the lighting completely. But if we do it like this, it's going to give us that bit of an extra look like it's just really dark inside. I think that's quite nice overall. These bolts, by the way, can be used everywhere throughout the setup, which I think we're going to do right away. So the easiest way to do it would be just to manly plunk them down so we'd get a reasonable setup for ourselves, like, so going all the way around just like that. Maybe this one a bit higher, something like this. So that's looking quite nice. Our side as well can be placed with bolts. And you know what we're going to do is we're going to select them like s we're going to duplicate it Z 90 and move them to this part instead. Like so. Oh, I think we need to do Rs at 180 because they were flipped completely on us. I'm just slightly pushing them outwards. So they would be positioned like so. I'm going to bring them upwards a little bit, as well. The reason being is that we'd want them slightly offset from one another. So even some parts like this can be slightly offset. And once we're done with it, we can just grab them, so I'm going to hide this barrel other way, so I could grab all of these just like that. And after grabbing them, we can make use out of these bolts onto all of our other supports. So let me just go ahead and do that. Once we're happy with the selection, we can go ahead and hit shift the RZ 180 or sorry, RZ 90 after we duplicate it, there we go. And move this to the side. Let's see. We just need to make sure we position it properly. Like so. And that is, that's looking quite right. The up part can be done like this again. I was considering whether or not we should grab the over bolts and just redo the part. But it's probably for the best to just do it manually like so. And again, shift Z R Z 90 and move it to this part over here. So the question is whether or not what we did is properly aligned with all the detail because it's such small detail, I'm not concerned about the placement. So for example, maybe these would want to be closer to the edge of the roof and whatnot, maybe not. But again, this is just sort of a support additional type of detail that doesn't ruin any of the proportions or anything of the sort. So as is, this type of detail is already looking really good. So now we can continue on with the rest of the setup on the back. Want some staircase set up, and we're going to be able to do that in the next lesson. So thank you so much for watching, and I will be seeing you in a bit. 48. Modeling Staircase In Blender 3D: Hello and welcome back everyone to Master Blending Free D with Wild West Environment. In the last lesson, we got to sell some additional type of decoration going across the entire environment. Now we're going to go on to creating those magnificent stairs that we have over here. Let's go ahead and start off by just grabbing all of these parts like so, and I reckon we can just make them into a piece for a gray box. So I'm grabbing all of them just like that. Going to make a duplicate, shift D, escape, then I'm going to Control J, and we have ourselves a duplicate of the gray box part, which we can then move it onto the gray box complete or just the gray box for now, actually. Let's go ahead and move it to the gray box. Like, so I'm going to hide it. The reason we have done that is because I do like the placement of these stairs that we have over here, even though they are placed somewhat randomly, we can make use out of it. So Psas, I think it would be best honestly, I'm quite happy with the way they are. And for that reason, I was thinking whether or not we need to replace them using an array mesh, which would give us the entire setup. But honestly, this piece of setup is going to work really, really well overall. So I'm going to go ahead and join these parts up. Going to add some bit of a bevel. Like so use apply scale before making use out of the bevel. And now we can just have this little piece. That's going to go across, like so. As for this beam, we need to decide whether or not the placement of it is good. And honestly, this beam as well is quite nice. I'm going to reset rotation in scale, use bevel on it, lower the amount. And the next thing that I'd like to do is going to be let's see. Let's take an edge on the side. So this edge over here, and I'm just going to real quick, move this downwards so it would be placed towards the ground. If we want this to be placed based on the normal map, we can do that. So that would be we can't actually do that. So what I'm doing right now is we have this edge selected, but the problem is that this edge, I'm trying to move it sort of wouldn't change the thickness of this beam over here. This kind of an issue could normally be fixed by if we were to select based on normal, which would allow us to, for example, let's select this. It will allow us to move it based on the base or edge way of positioning. But because this is an angle, we need to do is we need to figure out how we can make use out of it of the setup. So one way to do it would be if we were to use cursor to active, this would give us the cursor with that type of same oritation. Then we can select this edge over here and use cursor like so. And that's not going to give us that unfortunately. So I think we'll have to do it manually, unfortunately. Yeah. So I was hoping that the cursor will keep its orientation, but again, for some reason, it's not going to work. So let's just go back onto Global. I'm going to click one or instead, Control free. No control one. There we go. And we're going to with that selection on, we're going to just move this like so onto the base, just like that, and there we go. Well, at the back over here, we can do something similar. Or honestly, I think I'm going to keep this oversight, so let's go ahead and make a duplicate to the outside, so we'd have a nice base selection of the stairs where it would be supported, like so. So it's already looking quite nice. As for this beam going over here. Are going to be adjusting it a little bit. And the way we're going to do it is, well, firstly, we need to definitely fix this back over here. So within that mode, I'm going to go ahead and use normal, just kind of bring this back a little bit to the point where it's touching this angle over here. I think that's quite okay, something like that. And this I'm going to manually there we go, Control one, going to manually just move it back. So here is it seems like it's a proper setup for the normal, so I'm not sure why previously it wasn't working, but right now, the selection over here is going to allow us to move this backwards just a little bit, so we could have it touching it barely like so. Then I'm going to add Bevel, have this, make sure that this is properly scaled, and the amount is going to be, of course, lowered. The other thing that we can do with this is going to be if we have an additional edge loop over here, like so we can then extend this to be a little bit higher up, just like that. And then we can use Control B, like so with less segments perhaps. To have a nicer setup. So in regards to the shapes, we can then work with shapes itself. We can create our own custom shape, and by just moving this graph over here, we can see the type of variations that we're getting. This really depends up to you. I really do recommend you actually to play around with it. But essentially, the closer it is to this part, the way that the shape is going to be in the middle and as it goes further, from there, those are the endpoints over here. So from that, knowing that we can, for example, have some bit of a flatter looking upper section like so, and then maybe have it like this. So I made a mistake real quick. I'm going to reset it. I'm going to do the top section, like so, have it like this and probably more like this. If we have too many points, we can go ahead and select it. Click on Delete point over here, and that's going to reset it, like so. And having something like this, that's going to look quite nice. I'm quite happy with this result. Let's go ahead and keep it. There we go. A really nice and basic type of a setup, which we can make use out of. The upper parts are going to be over here, which I think I'm just going to go ahead and delete these ones over here and reset the placement using the array mesh. The reason being is that I do want to have some control over seeing how this interacts with one another. So I'm going to increase the count to something like eight. At this point, we want to make sure that we are seeing how thick or how wide these parts are. So maybe it's a little bit more to the side and like this over, like so. Alright, so there is a slight problem over here. This part of the beam in the middle is going to be in a way. So I'm just going to slightly offset this a little bit like so and see if that will help out. Maybe lower it by one and just offset it. There we go. This beam now is right in the middle. So seven was the right number for this. And once we are happy with this result, we can go ahead and maybe play around with the shape a little bit or add bevel, see how this looks like with the scale applied, lower it down. And let's see. We can ever add additional detail, but honestly, it's not really necessary on this part. What I'm going to do is I'm going to select this part over here, this edge over here, so going to go to global transformations and just move this upwards so it would be barely touching. That way, we're going to have that nice separation between the support of the vertical beams. And I think that's going to be quite nice overall. We just have to make sure that we are putting this inside of it, just to make sure that the parts are not floating. Like, so and all in all, this support is going to be, well, quite nice, except I noticed that these parts over here are quite a bit offset. Let's go ahead and fix that. We're going to go back to here, hold shift and just slightly tweak it, like so, and I think that's actually perfect. Very nice. Okay. So let's go ahead and apply the array. I'm going to go ahead and delete the one in the middle since it is sticking out like a so thumb. Let's go ahead and do that. There we go. We're going to get ourselves a very nice, basic type of setup with some staircase going along. I like these parts going out into the section on the side, but this part is not doing that. So we'll go ahead and real quick, just grab all of these parts on the side and just extend it just a little bit like so, grab the other part from our outside and bring it in a little bit, just like that. So it would have more or less the same type of a distance. We are going to go onto the edit mode, click P, separated by loose part. All of them are going to be its own independent objects, going to select one of the staircase as the main selection just in case. And then we're going to use radozed transform. When we're using it, an object mode is going to give us a lot more control. So for example, location, rotation, we're going to make use out of all of that. And I just realized that we might need rotation as well if we were to rotate it, so we'll notice that it's not going to give us nice setup because all of these stairs make use out of that one origin point. We want to right click Set origin point to geometry. Now each one of those staircase pieces will have its own origin points. And that's important because now we can use that transform over here random transform to offset this set of values like this. You can see that now each one of those staircase is randomly rotated, we're going to do it a very minimal amount, a value of 0.5, so just a little bit, but it's going to give us such a huge effect. L one is going to be the location, especially the z value. So it's going to be again, very minimal. But just by doing it a little bit, so you can see that just offsetting it, that uniform effect that look is not going to be there anymore. And all in all, this staircase is going to be looking much, much better. So now, we're just left with UV unwrapping them, texturing them, and setting it up to be well, part of the toilet, probably. Let's go ahead and do that in the next lesson, though. Thank you so much for watching, and I will be seeing you in a bin. 49. Texturing Staircase, Fixing Uv Double Data In Blender 3D: You know, Hello, and welcome back everyone to Master Blender F D with Wild West Environment. In the last lesson, we left ourselves off with this nice stylized staircase, which we're going to set ourselves up with some nice textures. To texture it, we are going to start off with the staircase over here. Let's go ahead and just grab every single one of those staircase parts and wondering if we can simplify it a little bit with the selection. Maybe if we were to make a selection like this, then hold control and deselect all the upper parts, that would speed up the process. There we go, having this staircase selected. I'm going to double check if we have anything extra other than the bevel. It doesn't seem to be the case. Let's go ahead and join it all up and now we can just make use out of a single material. So for this particular one, we can make use out of something similar to this staircase over here, which was wood dry. Let's go ahead and use that. I think it's going to be quite alright. So wood dry. Let's see if that's going to give us the right setup in terms of UVs. I'm going to double check real quick what sort of UVs these doesn't have the right UVs. We definitely need to fix that. Let's go ahead and use automatic UV project. So let's see if those UVs are now good or if they're too small. Maybe they are too small, actually, I'm going to lower this down so we could have some more texture out of this. There we go. In comparison to, for example, the wall or the barrel over here, we definitely have it just too much texture noise. So there we go. Now it's looking much, much better. We can also compare to this one over here. But honestly, it's looking already much better, and now we're going to go ahead and just fix these up as well over here, the side of the staircase. We can go ahead and select it all. And I believe we can go ahead and click Control J. No, we cannot do that because we need to apply Bevel beforehand. I'm going to go ahead and do that. Convert to mesh, so everything is getting applied, then Control J. So this way, Bevel doesn't get applied onto this staircase over here on the side. All right, let's go ahead and just simply use the usual SmartTV project. There we go. For this particular one, we can get away with using the same support type of wood. I will just go ahead and double check before that. Support wood zero, zero, one, the one that we used previously. Let's go ahead and see how this looks like. Yeah this is looking pretty good. Okay. These parts can be VN wrapped with the setup and for the type of wood, I'd like to make use out of the same wood over here, which is the default wood that we were using. I think that's going to be quite nicely set for this particular scene for this particular setup. So I'm going to go ahead and use that. Just a simple wood over, like so. And I believe even the grain itself is looking quite nice overall. So yeah, I'm quite happy with this result. Now that we have it like so, we can have a look around and see that we should probably get all of it in one setup and set ourselves up as a reference reference, sorry, acid browser. So let's go ahead and grab all of these parts over like so. I'm going to grab it from the top just like that. Hold control, deselect this bottom piece. Let's see if I grabbed it all. I think I did. So that's looking quite good except for this barrel, we don't want to have this barrel on side. And yeah, since we are happy with this selection, we can now go ahead on to object convert to mesh just in case, all of these modifiers would be applied. Then we can go ahead and Control J. So everything is joined up nicely together. And afterwards, we can find it in our setup over here. Double click, rename this as something like a toilet. We can just call it like that. That's right. Right click and market as an asset. So this way, when we look at our browser, we have the toilet set up, and if we want to add it onto any other types of pieces, we can simply do so. It's adding it slightly diagonally. The reason being is that probably we need to reset the rotation and scale for that. Now, once we add it, there we go, we're going to have a nice attachment to the side, which we can always do to add extra details. So it's just a reference like so, which is quite nice. The next step will be adding, I'm just going to check. Oh, it seems I missed this door over here. So let me just go ahead and add this door over to the side as well. Just making sure that everything is selected, including this black piece over here. There we go. Now everything's selected. We're going to hold Shift, select the main piece, click Control J, and now this should also be updated. There we go. It's going to have that toilet door just like that. A simple fix. All right? And I missed another part. Seems like, which can fix it, like, so now for sure, we are going to have all of these pieces that are needed. It seems like there is a bit of an issue with some of the texture. The reason being, is that right now it's using perhaps two UVs. Let's go ahead and check that. We can go onto the data, and yeah, we are using two UVs. So if you're seeing one or the other UV setup, just go onto the one that has most of the textures. So for example, right now, it seems the door is missing. And what I can do is just go onto the material, select the one that has that type of texture. So in this case, it would be just wood. Let's go ahead and click Select. It would select these parts, so then we can UV and wrap it and it would give us back the setup. I think these parts over here are also a bit messy. So I'm going to click L, Tap forroo these parts, grab all of the pieces for the door as well. I think that's all. And afterwards, I'm just going to just simply UV and wrap it with that UV selected, basically. So because we have the button over here icon, it's going to be used as a main UV. And all we need to know is that when we are UV and wrapping with the Smart projection, we're going to get those textures back. And if we need to, we can even go to UV editing to slightly scale them up and see how it looks like. And a little more. There we go, perfect. All right. Now that we're happy with the setup, let's go ahead and double check the acid browser, this toilet over here. I think it's looking pretty good. But I do see that there is an issue with these parts over here, actually. Totally forgot to add those tiny bolts over here. So let me just go ahead and position my camera or even hide some of those parts over here. Like so. So now I can position my camera properly. And select these rest of the parts, making sure that only this is selected, holding shift and tapping on the toilet, click and Control J. Now ld J, ltH sorry, and we should have ourselves this entire setup. We fold the little parts just like that. All right. So finally, we're able to move on with the next setup. So now that we have this toilet, we can just move it onto our Western props and move this to be as part of the asset browser items, actually. Like so. There seems to be that this part over here is also as part of the staircase. I'm just wondering if we have a duplicate of that. No, it's not that. So let's go ahead and move this part to grey box complete, which we can hide it out of the way, and it should give us a nice little outcome. All right. So now we're able to continue on with the setup. We can work on this extension over here or better yet, we're going to work on the windows, since this window is a little more complex, so we're going to get a little more practice in regards to that setup. And yeah, thank you so much for watching, and I will be seeing you in a bit. 50. Modeling Western Window Using Solidify Modifier: Okay. Hello, and welcome back everyone to Master Blender three D with Wild West Environment. In the last lesson, we left ourselves off with the nice backside of the toilet. Now we're going to continue on with the setup and get ourselves some windows for these front parts. So for us to start off, I reckon we can just simply grab this as a base. Let's go ahead and do Shift D, GX, move this off to the side, and I'm going to isolate everything except for this little part. Now, we're able to work with the setup. I'm also going to click A and move this to collection, just a normal collection over here. So it wouldn't be part of the grey box. All right. Now we can go ahead and think about how this window is going to look like. Firstly, I want to just grab only the plane and nothing else. I'm going to click Control I to invert the whole selection and only select this part over here. Then the next part is going to be figuring out how it's going to look like in terms of the setup for the frame. So what I mean by that is whether or not we want to have a frame more diagonal, which would be a super simple thing to do. If we click I, we'd be able to drag it inwards. Notice how these lines on the end are diagonal. That would help us with the setup of that frame. But in this case, I will show you a little bit different of a setup first. I think that's going to be much better. What I tend to do is when creating these kind of windows is just simply duplicating an upper part, Oh, duplicating another part and offsetting it a little bit. Then I'd like to scaling it down, basically. If we start scaling it down, we see that everything is generally nicely set up for the top and the bottom, but the sides are a little bit off, so I'm going to scale that inwards like so til we get somewhat of an even type of a setup, something like this. Afterwards, I select the top and the bottom, like so. Then we can scale it, extruding it first. Let's click E, Enter, as Z and scale it outwards a little bit. After which, we can go ahead and fix these up. So if I select one of those edges, we can make use out of the snapping tool, like so making use out of the snap to edge and then we can just simply drag this out onto these edges like so and you'll notice if we use the Z, it's just going to perfectly snap. So we're going to do that for the up sides as well. Holding Alt, we can select this entire edge, Shift Alt, the over edge, then click E, Enter, scale, X, and let's skate it outwards, so just a little bit, just like that. Going to hold control to select this upside and position it to the upper end, like so, hold Alt to select the uperside and position it to the very end just like that. The reason being that we're doing it is because we want those straight lines. Notice how if you turn off the snapping mode, notice how these faces now have horizontal lines that allow us to well set ourselves up with some nice frame in just a bit. But all in all, now that we have this kind of a setup, we can go ahead and work with it. And before doing that, I'd like us to grab this piece over here. We're going to now click E, sorry, Y to split it off. It's going to give us this entire piece just like that, and we're going to put it just a little bit to the back. So we're going to grab the bottom piece, so click Y, split it off, and same pot the top piece as well. Select it, click Y, which is split, check it, we can click G, move it around, and there we go. The reason we want to do that is because now that we have it so we can go ahead and make a really fast frame going around the window. I'm going to go ahead and select this base first and this part on the back as well, we can click P separated by selection. Only this part is left. Again, these parts are separate, so separate mesh, we can solidify this. Like so. And if you increase the thickness to the outside, we're going to get some thickness just like that for the window. The thickness itself doesn't have to be too much, but I do recommend you doing it just a little bit extra. The reason being is that we are going to be placing it outside of the walls, going into the walls themselves a little bit, so we want to be able to see the edges, like, hanging around floating windows or anything like that. And yeah, let's go ahead and just increase it just a little bit, like so. And you might be wondering why did we do that separation? Well, if we add bevel, we're going to see that, Hey, Presto, we're going to get these parts separated completely. I'm going to reset rotation and scale first and readjust the thickness because I forgot to do that beforehand. Something like so, then go on to bevel holding Shift, readjusting this part. And just by doing something simple like that, we're able to separate these pieces to make it seem like it's just another frame, basically, another part of the frame for the upper, for the bottom part, like so. Alright, so now that we have this part over here, what can we do about it? Well, firstly, let's go ahead and select the part in the middle. I'm going to just separate it by selection, so it wouldn't get in our way. Then we can go ahead and work a little bit with the way the windows are going to be set. So for starters, we want the windows to be certain window panels. We want to be separate into free by free panels, and that's going to look pretty good for us. We're going to go ahead and go on to Edit mode, create this kind of plane free by free. Like so now we have the split of these panels, so we can go ahead and select all of them just by going cross. Oh, we should be able to select them all, or maybe not. Let's go ahead and just make a selection like that. The alternative way for selection, by the way, a real nice trick would be using a letter C, and that allows us to use our left mouse button to select it all, utilize our middle mouse button to deselect it all. And just like that, we're able to get a really fast and quick selection the right mouse button to cancel that tool. And after we have something like this, we can click Control B, make a bevel something like this, will do quite well. Of course, we need to have some outer border as well just to make sure it looks a lot better. We're going to select the upper and the bottom part, do something similar to what we did before. Enter, scale Z, and I'm going to do it manually this time. Like, so to match the borders in between, basically. Do the same for this part, and then we're going to get ourselves this type of window. Because we made it a little bit thicker, we can make it smaller. I'm going to reset the origin point to the middle part, going to shrink it down a little bit, so this border would be over like so. And then the next part would be setting ourselves with these borders up. So we can start doing a similar process. We can grab the vertical parts to what we had outside. This time, however, I would like to have the middle parts to be completely well, not completely to be a little bit less thick. So we have that extra separation, which we can totally do. Once we have a selection like that, we can click Y, make a separation, and then we can even just separate it by selection, so it will be a separate object like so. Then the next part would be just to grab all of these horizontal pieces just like that. Like, so Y separation A is good. Oh, P, separate, actually. There we go. Much better, much easier. And afterwards, we can grab a simple setup, the same setup, actually, as the border. To make it easier for ourselves, we're going to select the frame completely, hold shift, select the out of frame, click Control L, copy modifiers, and there we go. We're going to get exactly the same modifier, except it's going to be a little bit too much. It's going to be a little too thick, and overall, it's not going to work quite as well because we need to reset rotation and scale. There we go. Now we're going to have something that's overly too much. Let's go ahead and fix that. For Taras, we can change the solutipi over here to make something quite simple for this part and thickness over here to be just going just a little bit outwards from this. And I would say the bevel at this point should also be smaller, just like that. It shouldn't be quite as soft looking of a frame. There we go. So now we just need to put the glass back in, like, so, maybe a little bit more to the back. No, that seems perfect. I'm going to select it all going to bring this entire piece to the back of the window, something like that. Again, when I talked before for keeping the frame thicker, we're also going to keep some bit of an extra gap over here in between the window, so it's not going to be pulled all the way back. That way we could push the window a little bit into the wall itself. And I'll show you why in a second. But essentially, because we have a free D type of a wall with the planks and those planks have a different offsets, it's better to just push that window into the wall to make sure it's not looking like it's floating. So once we have ourselves this type of a window, we can go ahead and start the texturing process, which we are going to do in the next lesson, actually. So thank you so much for watching, and I will be seeing you in a bit. 51. Texturing Window, Reusing Window Mesh To In Blender 3D: Hello, and welcome back ever to Master Blender RD with Wild West Environment. In the last lesson, we left ourselves off with a nice window frame. We're going to continue on with the setup and make sure that this time, we're going to texture it. So what I'm going to do is I'm going to grab this entire piece, going to click Control J to join everything up together. If we select one of the pieces as a main part, Control J, and it's going to mess everything up. The reason being is that we've not applied the modifier. So let's go ahead and do that. We're going to convert this to mesh, Control J, and now there we go. We got ourselves a setup. The next thing is going to be, of course, the UV editing. We can get away with honestly with just UV and rap, Smart UV project and for that reason, because we're able to get away. The reason being is that these parts, each is individually just a square going across. So the UVs that are going to be getting wrapped are going to follow that along quite nicely. That said, we're now going to go ahead and grab ourselves this setup. So we're going to start off from the material of dry wood over, so. As a nice bit of start for this base. The next one is going to be the parts in the middle, the frame inside. So let's go ahead and do that. We're going to go ahead and select all of these pieces just like that by clicking L, making sure that we have delimiter set to normal. It worked with the seam because we had no seams at that moment, so that's quite okay for us. But it's just better to keep it at normal by default, so we can select the entire mesh that's connected with one another. Okay, so now we have a selection like this, let's go ahead and click a plus symbol. Let's create ourselves. Sorry. Let's grab the material. Let's grab the dark wood dry dark, like sew and assign this to this particular part. Already, it's going to look quite nicely. Part is going to be over here. Let's go ahead and just select all of these planes like. So let's grab yet another material. This one is going to be window, stylized window over here, assign. And just like that, we're going to get ourselves nice setup. We've not talked about window at all, so let's go into the setup and see what we can do with it. By default, if I was to select this window over here and go on to the rendeVew, we can see the setup that this gives us and we have right now, the way it's set up is to be used for a variety of different uses of windows, and it looks quite a bit hefty. But we can back back engineer, basically reverse engineer this kind of setup. So for example, at the very end, we have mix shader. We can see that this mix shader is using something called factory factorio which is a value for metal decor scale. So this is not using the setup we don't need to worry about this part, for example, we can go downwards. It's mixing up two parts over here, so metal decor, and the rest, the other one would be the main glass shader. The main glass shader will be mixed up with a variety of other parts. So cavity masks, for example, which we shouldn't have cavity mask. The only thing that we did need to worry about is going to be center mask grudge. This one is the most important one for this specific window because we can control it. We can see how it affects the overlay of the window over here. And also, we have color. Color itself will be this litter part over here, base color over here. So this will allow you to make, for example, more of a green tint if you'd like to. You can go ahead and do that. And I really do recommend you playing around with these values as it can give you a really nice and unique type of result. Of course, by default, this is going to be already nicely set up for you, so you don't really need to worry about it too much as it's going to be just right for this particular scene. All right. So moving on, let's go ahead and go on to modeling and start setting this up for use of reference manager. Let's go ahead and just let's see the naming for it. Should Probably double click on the name, call it Window. The biggest question for me personally, whenever I do this kind of project is whether or not I can reuse already existing parts. In this case, let's go ahead and check if we can reuse that window. I am going to go ahead and drag this onto Western props, just to make sure it's over here and then drag it out onto this part, like so. So first things first, what do we want out of it? Well, we want to make sure that we scale it down a little bit in regards to the setup and we want to make it a little bit wider. One way we could do it we could start with would be if we were to rotate this 90 degrees on Y axis like this, but we're not going to do that. The reason being is that the frame, I like the frame, the way it's set up, where the upper and the bottom are the main parts of the frame. So we're going to do it a little bit differently. For Sus, what we need to do is now we need to think about overall scale, which is going to be around this amount, there we go. So we lower down the scale. The next thing that we need to do is figure out how we're going to stretch it out across. We can't simply scale it outwards because it's just going to stretch everything, all of the detail, including the frame itself. What we're going to do is we're going to I'm going to move it outwards like this so we can see the window. What we're going to do instead is we're going to go onto the edit mode. We're going to select these parts over here, and then we're going to manually select them, so let's not forget to click Old Z, by the way, to make sure we are in transparent mode. That way, we can just match this corner to that part, this corner to that part. And afterwards, these two can be matched as well. Something like that. The U Vs are going to be stretching, but we can fix that afterwards. We just now need to figure out whether or not this is going to be a good setup for us, which, to be honest, I'm quite like there's a result. The only thing that we need to worry about is if you click Control one to go to the back view, we need to worry about the frame, and I think the frame can be worked on a little bit. So for starters, I'm going to select this part and holding Shift, select these vertices over here. So we can now click a and just shrink it down a little bit, like, so it's not going to affect these parts too much if we don't do it to an extreme value. So not to worry about that, but it will give us a nicer border for the top and the bottom, which we can make use out of. Because it's such an interesting attachment, I do want to add a bit of additional detail to the frame itself. So for that reason, we're going to do is we're going to select these parts over here, and because it's bevelled, we're going to reuse these bevels as well to make sure we don't stretch it out. So we're going to click Control plus. We're going to select those out, and we're going to stretch it out just a little bit. Again, we're not too worried about the UVs themselves. We are just thinking about how we can get a nicer result. So this part, I want to be a little bit higher, a little bit going outwards a little more. So it would look like a window, what's it called? The one where you can just play stuff around on the window itself. And now the next thing is, I'd like to go back onto the setup, onto the vertex selection, select these parts over here, select both of them, actually, and just lower this down a little bit, like so this part as well. So this way is going to look like a very unique window because the top panels are going to be longer. The bottom panels are going to be shorter, and it just makes a lot of variation by just having it like so. Of course, we're not quite done with modifying this window. We need to make sure we get even more detail out of this with the textures that is. Let's go ahead and select it all, UBM rep, Smart TV project. Let's see if we can get away with that. And I believe we can. Honestly, the detail in the wood and whatnot is the same. So the scaling hasn't changed that much. We are getting ourselves a very nice window over here. And I think all in all, it turned out quite nicely. The only thing now that we need to do realistically is going to be setting ourselves up. Wait a second. Let's see, there is a part over here. Let's move this to gray box complete. The other thing that we need to do is, let's move this pack a little bit, so it wouldn't be flying as a window, like so. The other thing that we need to do over here is going to be adding some shutters for the window just to add that extra bit of detail in regards to the section. To help us break those vertical lines especially because right now, if we look at those lines, it's just going straight down. And if we are doing like a turntable or something, this line over here is definitely not going to help us out with the overall setup. It's just going to look way to too straight. It's just definitely not going to look organic. We definitely need to break this down. If we have something that helps us to, you know, break this place out a little bit, the shutters over here is definitely going to help us. We just making it look a little bit more unique and stylized in terms of this environment. So that's going to be it for me. Thank you so much for watching. And then in the next lesson, we're going to continue on with the role setup. 52. Window Shutters In Blender 3D: Hello, welcome back everyone to Master Blender three D with Wild West Environment. In the last lesson, we left ourselves up with a very nice setup for the window. Of course, we're going to continue on with it and create ourselves some nice shutters for it just to help us break down this very, very flat looking vertical angle over here. So for us to do that, we're going to go ahead and select this window to start. We're going to isolate the view, click Shift S, cursor to active. This way, we can create objects from within this angle, and then we're going to start by creating a cube. Next thing that we can do is just make it quite a bit smaller, and then we can start working with the overall setup of how exactly we want it to be. So for this particular moment, we're not going to worry about angle or anything of the sort. We're just going to focus on its dimensions. So what I mean by that is we're going to just make it smaller and we're going to make sure the top and bottom is well made quite nicely. So let's go ahead and do that. Let's go ahead and select this upper section. We can work with that, so bottom as well. So now we have the top and the bottom, so it's going to nicely be opening up and down. We can leave a little bit of a gap, to be honest. I think that's quite okay, so it wouldn't be just scraping every time it's just trying to close the window. The next thing is probably need to set ourselves up with a different length. So let's go ahead and do that. We need to consider how this window is going to be opened and closed. And the best way to consider that would be just to look at an angle over here and consider that there's going to be a hinge over on this side, like and so when we close it, it just needs to go somewhere in the middle. It doesn't need to be super perfect, but I do recommend you having somewhat of a nice dimension. So something like so will be great for us. This way, again, it'll look like like the shutters are closed on both ends, it's going to just give us a nice closed off window. We're not going to worry about the other side. We're just going to focus on this particular one, particular side. Uh, the next part is going to be, well, opening this part back on. So the easiest way for us to do that would be if we used an angle over here on the side. We can go ahead and select this entire piece by clicking A, hold shift, and just select this angle over like so. Then we can use active element, which will allow us to well, rotate items based on that angle, based on the selection that is of specific edge and whatnot. So if I had an edge selected over here, it's going to put the gizmo here. If I have an edge selected over here, it's going to put the gizmo here. Active one is the white one, by the way, not the orange ones. Although the other ones are also selected, the last selected one is called an active one. So let's go ahead and just rotate it by 90 degrees -90 degrees, and we're going to get ourselves this type of a result. So it's already looking quite nice. And I'm going to also move this a little bit further. Off to the side, so something like that, and there we go. We can finally start working with this setup. So 90 degrees, nine setup and just in case I'm going to set origin to geometry, Control A, apply rotation and scale this way, when we are applying ourselves with bevels, it's going to look quite alright. Okay, so the next thing is we can just grab a plane. We can delete the rest of the parts out of the way and just work with this. The reason we can do that is because, well, it's going to be a little bit too much with working with just an entire three dimensional object right off the bat. We already did a certain workflow with the frame. We're going to do something similar this time as well. However, what I'd like to do is I'd like to use an edge edge loop. So control R, and then I'm going to click and hold Left Muse button, bring it upwards to a reasonable amount, something like this, will do great. Do the same thing for the bottom piece as well. So. And the next thing that I'd like to do is going to be, well, that's going to be left a little bit later. This time we can just go ahead and select these two parts. Click Y, and then it's going to be split off. So that's quite okay. Then we can go ahead and click Control R on this selected piece Control and R, and it should allow us to it doesn't seem to want to let us select the part in the middle, just wondering why that is. It's probably because it's connected with these two parts. So just to make it easier, I am going to slightly offset it, so just a little bit, we can put it back if we want to later down the line. So now we can go ahead and just make nice setup of a frame on vertical pieces like so. Another thing I'd like to do is slightly offset this angle, these two angles from its edges, so as Y, and it needs to be based on a median point as Y. I go just a little bit. The reason being is that I do want these upper and lower parts to be extend just a little bit, like so, and I am going to bring this outwards again just so we could see what we're working with. Let's make sure we click Y first. Then move outwards like so. And now we can work with this in terms of how many planks we want, how much of a setup we want. So I reckon, let's say we want something like six or seven planks going vertically across. So what we're going to do for that setup is going to be clicking Control R, making sure that we have seven faces. So, six, seven, perfect, left click, right click, number of cuts six gives us seven unique faces. And afterwards, what we're going to do is we're going to select the edges, all of these edges in the middle. Don't need to select the outer edge, just these ones over here. The reason we're doing this is because we can now click Control B and make those kind of gaps. Now we can go ahead and go to phase selection, click Delete Delete phases, and there we go. Right away, we're going to get ourselves with this type of a setup. Afterwards, all we need to do is just realistically add a solidify, like so, and we are going to. We're going to increase it by a little bit, push it outwards, like so. I think that's quite okay. Then we can go ahead and add bevel. Bevel, again, is going to be just that's sold the pi sorry about that. I'm just going to go ahead and fix this up a little bit, with the bevel turned off. There we go. All right. So something like this doesn't need to be perfect for this particular point because we're going to adjust them individually. I just want to ideally have most basic of the shapes. And right now, if we were to lower this down for the bevel, we're going to get this type of result, which I think is looking pretty good. So what we're going to do now is we're going to split parts off. I want the upper section and the bottom section to be split. Then these vertical parts to be split as well, and this part can be stayed the same. The reason we're doing this is mainly because we're then able to have some additional control over the solidify. So now if we were to increase this, we can make this quite a bit thicker, quite a bit chunkier, like so. To a reasonable amount, then we can do something similar for this vertical pieces like so, and right away, you can see how easy it is to bring out this entire setup just like that. And I think all in all, it's already looking quite good actually. We can go ahead and add additional detail and what we're going to do with that is using the bolt that we previously created. If we just attach it to the side, wherever it went, I think it actually went outside of the isolation mode. I'm just going to go out of the isolation mode. There we go. That's the bolt we're looking for. We're going to continue on with the setup. So what I'd like to do ideally now is just make this quite a bit smaller, like sew and make some nice bolts going across this entire window. I think that's going to look quite fitting for this. So for us to do that, we can just make use out of the array. Array, like so, increase the count to something reasonable and offset it to make it fit a little bit more with the setup, something like that, top and bottom, of course. And I'd like to add it probably to this inside part over here, I think that's going to look quite nice. So I'm going to go ahead and click seven, go to the top down view, and position it to the outside. Click Rs 180. So the outer side over here, I don't really particularly want these bolts. I just want them to be going vertically. So for that reason, I'm going to just switch them up to be going this way over, like, so to go only on this part, just like that. I think it's a little bit too many. I'm going to go ahead and lower this, increase the amount, just like that, and we're going to get a bit of nice typo decor in this area. Yeah, I think, all in all, this kind of setup is quite okay. Let's go ahead and just mix everything up. So we can now go ahead and just select all of these parts and I'm just looking, making sure that the setup is okay. The thing that we need, though, is a hinge. Let's go ahead and do that one real quick. I'm going to make a simple hinge out of eight polygons. It's really basic, really simple. We just need to make sure it attaches to the side of our window. Like, so something like that. Just a very small type of a detail, but it's just going to make it seem like it's not just floating in air, this entire window. So I'm going to go ahead and just grab the upper bottom parts, click E, as said, and then scale it inwards, like so and just like that, we're going to get ourselves this nice little piece of chunk, which is going to work out quite nicely. I'm going to do one, actually, going to make it a little bit smaller. Now that I look at it from distance, it's definitely going to be a little bit two in a way of the entire setup. I think now it's quite okay. Let's go ahead and just do one for the top and the bottom, and that's quite okay. So. All right, let's go ahead and now grab all of these pieces. Let's go ahead and click Object Convert to mesh. And now we can start the texturing process. We can go ahead and select it all. Click UV and wrap SmartUVPject, like so, and all we need to do is add dry wood wood dry or all of it. Now, for some reason, this piece, I just realize I have not joined all of them together. Let's go ahead and join everything together. And there we go. We're going to get this setup. I'm going to go on to the UV setup, though, real quick and readjust this section. I'm going to probably make this quite a bit smaller, so this wood would look a lot chunkier as a whole. And yeah, that's looking quite nice. For here, I'm going to go ahead and join these two up going to add a metal. So the metal that we're going to use is iron. There we go. Stylized iron. I think that's quite okay to use the same as this one over here. And we don't really need to even change the UVs. Oh, we do definitely need to change the Vs. The best thing we can do for this probably is going to be just select roll. Click on wrap and this time, we're going to use A if I was to find it cube projection, sorry, not cube projection. That's not the one cylinder projection. There we go. So it's going to get some top a little bit different because it's just going to project all the way around it, and the top at the bottom is just going to be its own flat projection. But all in all, it's just going to give us the right type of a setup for this particular case, because this is vertically placed. These two hinges, we can do both of them at once. Usually, if two objects are separate, you would need to do them separately. But again, you can imagine just one cylinder in this area whilst we are projecting. So it would look something like this as a projection, if that makes sense. Be going all the way around, and then top and bottom would have its own projection with these particular small parts. Alright, now that we have this setup, we can go ahead and select it all. I'm going to select the hinge as the last part. Click Control J, and I just realized that these parts also need to be combined, like so. So now we have an entire window, which I'm going to click Control Z because these parts have not been properly set. We need to convert them to a mesh first. And afterwards, we can go ahead and select it, and now hopefully they're going to stay. There we go. The reason we selected the hinge last is because now we can just rotate it in and out like that, and it's going to work really great for us. I'm going to go ahead and make a duplicate to the outer side. So shift D, GX, move to the outside, and now I'm going to click X minus one, which will allow us to give that mirrored view. So these, for example, parts over here will be going on inside. So that's quite nice for us. And I think all in all, yeah, they definitely worked out quite nicely. Okay. So now that we're happy with the setup, we can just go ahead and slightly rotate it, play around with the shape. And even if we have this rotation over here, we can slightly rotate it, tilt it a little bit to make it seem like it's not perfect. We can do the same thing over here as well. You can imagine the weight of these parts to be, like, waiting down on the hinges, making the one at the top a little bit loose whilst the one at the bottom, like, crushes into the wood itself. So and honestly, just by having it like that, is going to give us a really nice and simple type of result for this window, as you can see, like so. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 53. Adding Wood Planks On The Back In Blender 3D: Hello and welcome back everyone to Master Blender Fred with Wild West Environments. In the last lesson, we left ourselves off with some nice shutters going on our window. We're now going to continue on with the setup and make sure that we have a whole extension properly set up. So what we're going to do is the easiest way to get a nice look would probably be to grab this wall over here. Let's duplicate it. Let's just turn this 90 degrees. And I am going to scale it down. The reason I'm scaling it down like this is because we want this to be a little bit different of a material in compared to this, just to kind of make sure we are able to separate it. So what we're going to use is we're going to use the same material as we had over here, which is going to be the default wood that comes with the geometry node, it is a really nice type of a wood to make use. Let's go ahead and do that. And now let's go ahead and just put this onto the side of the wall. We can go ahead and just make the length quite a bit smaller, as well as less of the count, like so. And I think just by doing that, we're able to get a real nice basic type of a look. But not it's going to be good. It depends on our placement. So for example, over here, the plank at the top is a little bit just halfway through. It's not going to look quite as nice. I am going to either lower the count or we can just scale it down as z and just scale it down, and I think that's going to work quite well for us. So a whole different type of a setup for wood, but we're still getting that nice overall aesthetic that we're looking for with the western environment. So we're going to just duplicate it, put it on our side as well. So and make another duplicate again, rotate 90 degrees, move it down to the front just like that. I am going to lower down the length by quite a bit. This time, we really want to make sure that it is placed nicely in this section over here, going to place it quite a bit smaller, like so to get this result and right away, we are going to have ourselves a very nice type of a look. Now, in terms of the base, we can make use out of this again over here. Just because it has a very nice thick type of a setup, I am going to make it quite a bit smaller, and I'm going to try to match somewhat with the thickness of the floor for this toilet on the side. And I think that's a little bit too much. Something like this, there we go. That's going to be great. And honestly, we don't even need to change much. We just need to place it like so, and it's already going to look quite nice overall. The question is whether or not we want this plank to be going inwards or outwards in a way that's going to be, right next to it or going to be going outwards, like so. And I think I believe this is going to look much better if we have it just like that. But we need to reconsider how the plank setup is going to be of this support over here. I'm not going to change much of that plank because these supports already are looking quite nice. So I'm not going to worry about that coming out too much, but even so I do want to have a little bit of a gap coming from this support. So for that reason, I'm going to just move these planks over here inwards. I'm going to already just move this to a gray box complete this part. And that way, we have plenty of space to work with over here. This is good. And this one, I believe will need an extra plank. Is definitely it. Let's go ahead and add that one in and then we can go ahead and use S and X because the origin point is from here, we're not going to move it, but we can move it over, so I'm moving it whilst looking at this specific support because I'm liking its position. So we're going to have something like this, whilst we're moving this back a little bit even more. And there we go. We got ourselves a very nice and simple type an extension for the support. This part, we can go ahead and just duplicate it, so move these to grey box complete and we can just apply a Boolean. I'm going to go ahead and join them up together, so we can just do it all at once. So sorry, not Boolean bevel. There we go. Go to click Control A, rotation and scale, and now we can just readjust it, to make sure it fits quite nicely. So that's going to look quite right. Worried about upper section being visible, like so. So I'm going to move this part to grey box complete. And yeah, we are going to be seeing a lot on the top. I'm going to just duplicate the base and just position it like so, and we're going to get ourselves a very nice type of underneath the roof, basically, just like that. Let's just make sure that every space, every gap is filled out. Like so just like that. And the front as well. We don't want this to be visible. So I'm going to move it just a little bit to the front. Something is in a way. And is that caused by the window? I believe it is, which is totally okay. All right, so we got ourselves this type of a setup. Let's go ahead and reuse the wood that we had over here, which was a support wood. I'm going to go ahead and use our Trusty SmartTV project like so then apply the support wood 001, just like that. And you can see that the grain over here is much larger in comparison to this, which might work quite well. The reason being is that this is a much smaller type of timber. So I'm wondering if it's going to work. We might need to make it larger, actually. Let's go ahead and do that. We're going to go onto the setup, select it all, and just upscale the UV, make them smaller. There we go. To something like this. Maybe it's a little bit too much. There we go. That's going to be perfect. Let's double check to render view. Yeah, it's working out quite nicely. I'm quite happy with this result. Let's go back to modeling and let's check what else we're required to do. So the only thing that's left is pretty much the sign, and that's going to be done for this extension, and we don't have enough time to make an entire sign in just half a lesson. So instead, we're going to make use out of our time and set ourselves up with some asset references. I reckon that's going to be quite all right. I'm going to go ahead and select all of these. I'm just going to click Control and J, and I'm wondering if we're going to make use out of this over here. Sometimes I prefer to keep certain assets in multiple parts personally because then we can just quickly make adjustments and whatnot. So for example, this window and this frame over here, if I'd want to, I could definitely make it as a separate piece, and I reckon we can even do that right now. Western props, I'm going to make a duplicate of these two. So the reason being is that this is going to be control R. There we go. It's just going to be positioned differently. We don't need any additional rotation, so we can even do 180. There we go. Just double checking if it's properly set. Afterwards, we can just go ahead and find it in our setup, mark as asset, mark as asset as well. I'm going to go ahead and rename it. It doesn't matter if we rename it before or after, so that's totally fine. Window shutter. So this one was Window white, white, like so and pink. Yeah, we got the setups. We should have that renamed over here as well. So Window white, Window shutter, that is all good. And then this one can be just copied to I completely separate setup as well. I'm going to make a duplicate, just so we could have it separate in a side, essentially. We're going to just double click or use F two, Window wide, 02. That's a good name for an asset and then all of these assets, we can move them to the Western prop. I'm not going to move this bolt, going to keep it unassigned. I'm not really going to treat it as a prop, as a matter of fact, but rather than just a quick way to place some items, which now that I'm looking at it, we are having issues. Why is that? And the reason being is that this bolt, wherever it was used, yeah, it had a ray. So that's why it's causing it, so hopefully, it didn't mess up any other setups over here. All the other parts seem to be quite alright. I was a little worried about that. But yeah, I'm definitely going to take off this setup. Just so it wouldn't get in our way later down the line. So for that, we can just go ahead and grab these parts, delete faces, there we go. We're now back to the usual self. With this bolt, I'm going to just move this to the place over here on the side. Same I will do for the windows. So Window wide, window shutters and a number window wide, move this off to here. And lastly, I'm going to select this bolt, going to move all of these two ascit browser items, and there we go just place it off onto the side. Alright, now we are ready to move on with this sign to work on this sign over here. So that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 54. Modelling A Sign Using Non Destructive: Hello, and welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we left ourselves off with this nice extension. Now we're going to work on the setup of this sign. This little block over here is going to be our sign. So the way we're going to do it is we're going to get ourselves the plank setup over here. You might be wondering that it's going to look a little bit too clunky, but we're going to work on it to make it look a little bit better for us. So let's go ahead and do that right away. We're going to go ahead and make a duplicate out of this basic setup. Then we're going to just simply rotate it, like so. And to start it off, we're just going to get ourselves three different planks out of this. Let's go ahead and do that. So, oh, not gaps. Although gaps can be set to zero for now, I'll show you the reason why we're going to grab three different planks, like so so you can see three different planks. And the thing that we can do is with the modifiers, not only can we have just simple setup of the geometry node, we can add additional setups. So right now, we can just forcats add this bevel over here. I'm going to reset rotation and scale just in case. Then I'm going to go ahead and rotate it again, like so, and then we can start working with this bevel. So holding Shift, let's go ahead and just lower it down something more reasonable, like so. Already is looking quite nice. We're going to place this in our little sign position, and then we're going to start working with its shape. So how are we going to do it in regards to its shape? Well, we can go ahead and start by if we just position it just a little bit better. Like so. I think at this point, we can actually move this out onto the grey box complete, like se and just work with this entire setup. Something like this. Well, the thing what we can do is we can also make use out of something called lettuce deform. Lettuce deformer is very useful when it comes to just a non destructive type of a well, deformation. That's what it is. That's what it does. And that's how we're going to make use out of. To make use out of lettuce, we need to create something called lettuce box. We're going to firstly get ourselves to cursor to active, then create ourselves the it is going to be over here, lettuce. Let's go ahead and add it, and it's going to give us this type of a box. As a starting point, let's go ahead and just quickly match the general setup of what we have over here. So just scaling it up down and its height, its width. More or less, it doesn't have to be perfect, but just a general shape of what we already have. So the next thing that we're going to do is within this setup, making sure that we have it. Alright, make it a little bit bigger. There we go. The next thing that we need to do is within this box. We're going to scroll down. We're going to have the data properties of the Lattice box. We're then going to increase this, and you can see what it does. It's going to give us more of these edge lines. So UVW, so it's just X Y Z, a different way of saying that if it makes it easier to navigate basically. So Z W that is going to give us in terms of vertical. The W that is. And we want just to have it free, the up one. B, we want to have a little more of that. This way, we'll have full control over this setup of the shape. And once we have this, we can then go back onto our well, board, we can then go onto the modifiers and select this object to be the box letters that we just created. And afterwards, once we set this up, it's already set the deformer, we can go back onto the box. And if we start editing, we'll notice that it is changing the shape, how it's interacting with the setup. And using that, we can just grab both of these corners. We can click GS move this a little bit downwards, grab these corners at the top, move them upwards, maybe a little bit, so these can just go inwards a little bit as well, just to give that wobbly type of effect. I'll grab this and push it inwards as well. And just like that, we're going to get ourselves a very nice shape. So as I mentioned previously, what's nice about it is that we have full control over this non destructive type of workflow. One of the things we can do is within the lettuce, we can change its strength. So by changing it, we can go between before and after and just seeing how it looks before and afterwards. We can also go back to the geometry node and increase if we want, like gaps, for example, in between now that we look at the shape, Oh, holding shift, I'm going to just increase it just a little bit, perhaps, to make it seem something like this. I don't want it to do it too much because we are going to have a sign. Over here placed with the text, and I want it to be a little more clear. So I'm going to have just tiny, tiny gaps like so. And then once we're happy, actually, we'll make it a little bit thicker. So holding shift will just increase the thickness, like so. Once we're happy with the setup, we can go ahead and just turn this to a mesh. And then remove this lettuce. It's not going to be needed anymore. And there we go. We got ourselves a nice little setup. The other thing that we're going to do is we're going to make use out of the chain. So the chain, if I look for chain, that's not going to find us a chain. It's going to be a resource pacto. Let's find ourselves the resource pack set up over in our collection. So resource pack over here. I'm going to take off this material mode, so it would load faster, a little nice little trick, and once we load it, we're going to find ourselves. This chain right here, going to duplicate it, move this to a just a collection, I suppose, that's right. Going to then hide back the resource pack and start working with this chain. Okay, so this chain is a very nice and simple, very basic type of a setup, but it's so powerful when it comes to just giving us a very nice way of well, just making something like hang something, in this case, a sign. And the starting point is that it is using curvature, meaning that if we go into Edit mode, we'll see this curvature over here. It's not a mesh. It is a curvature that allows us to make multiple points and control how they interact with one another. So we'll have a line sorry, a.in between those two points. And once we click on a dot, we'll see the way the Bezier curve essentially is interacting with the line. We don't really need to focus on the entire setup, but we can make it a little wobble and whatnot if you do want to. But because of the weight of this sign, I reckon the best way we can do what the setup is just going to be deleting this entire piece and creating ourselves a path PF is going to be completely straight, as you can see, and that's just going to give us just a straight line. So I'm going to delete the vertices at the top and just have these two vertices that go straight through the setup. Then I'm going to right clicks at origin to geometry RY 90, and then we got to decide whether or not this is going to be enough. Or a well, the chain. Let's see. I'm going to make this a little bit smaller, not too small, and then I'm going to just control this. So if we want to, we can make this sign quite a bit smaller. We have multiple ways. We can just squish it down. Or alternatively, if we want this well planks, these planks to look nice, for example, the one in the middle, I'm really liking the way it looks. But the top one could be quite a bit smaller. So what I'm going to do is I'm going to click free, going to go on to Edit mode, old Z, avert the selection, select upper ones, and just shrink this down. Maybe do same for the bottom as well. There we go. So we have some nice variation of this whilst giving us a little bit more of a working space. Or the chain. And next, we need to now consider how the chain is going to interact. So we can either just push it up and down like this. You can see this looking quite nice, actually. The other thing that we can do is we can then control the certain options of the chain. So the one that we're looking for is going to be chain thickness, holding ****. We can just increase it a little bit, and then we can slightly readjust it the way they interact with one another. So chain link distance, that's what it's going to control the way they interact. So I'm going to load this down, and there we go. Now it's nicely linked up as chains. The chain radius is going to control, well, the radius of these circles, which I think honestly, it looks quite nice. So the resolution, we don't need to worry about that. We could lower it if we want to optimize it. But having it as nine as a default is going to be quite right. I think that's quite okay. The thickness, I'm now going to just slightly scale it, there we go to make sure that from a distance, it's going to look quite nice and lower it actually because from a distance, it was a little too much. There we go. That looks very nice. All right, so now let's just go ahead and move it to the centerpiece of this sign, like so, and move it off to the other side, like so, and there we go. Let's go ahead and finalize these parts. Let's go and grab these meshes and well, firstly, let's go ahead and UPN wrap this. Smart project, let's see if we can get away with just the dry wood over here. So dry wood. W. So maybe drywood dark would be better. I'm just going to visually check it in case it does look quite nice. And yeah, I do want a darker sign. I think it's going to look much better over here just to emphasize what's going to be on a sign, which in order for us to do, we're going to go ahead and grab a couple of pieces from here. So I'm going to click free to go to the Face Selection. Then let's go ahead and double click A. Click C, and we're going to use this type of selection this time because I really want this to look quite nice for the selection. For the projection where Greg bring essentially all of these parts like so, right click, and then we're going to make a duplicate out of this. So let's go ahead and do that. Shift D, and then GX, move it off a little bit to the side, and we're going to make sure it's a very minuscule type of motion. So 0.001. There are parts that are going inwards, but that's okay because we can fix that. I'm going to go ahead and make a separate selection for now. Then we can go onto the edit mode, click the Z, and we can click seven. Just grab these ones over here. I know these ones are going to be the ones that go inwards, but quite a bit, we can go ahead and delete those, and then we can go ahead and position our camera so click A, wrap project from view bounds, and we're going to get ourselves a very nice type of a projection. So now we can go ahead and adjust it and tweak it and make sure it looks nice within our setup. We just need to make sure that we grab one of the pieces that we have for the Alphas. So that's going to be label. No, sorry, not label. It's going to be one of the Alphas. There you go. That's the right one. So Alpha 25 is going to work quite nicely. And you'll notice that it might look a little bit squished, in this case, actually, quite like this, but we can go ahead and fix it. We can go back onto the setup. And because we use the bounds, it gives us that result. So we're going to click S Set and just kind of sorry, S Y and squish it back to its original shape, something like that, and then maybe click GY to move it to a proper setup. Just like that, we're going to get ourselves a very nice and clear sign, and even though it does have those bebls, it's going to work really well for the setup. Let's go ahead and see how it looks like in the rendezvous, and there we go. It follows the grain and everything is just looking quite nice. Maybe readjust it a little bit. There we go. Making sure that the end of the crescent moon is not just ending with the edge. That's what I want to get out of the way, but maybe it's a little bit too much. Small tweaks like that. It's quite okay. There we go. Perfect. All right, so I really hope you enjoyed the video. Thank you so much for watching, and I will be seeing you in a bin. 55. Creating Water tower Supports: Hello, welcome back everyone to Master Blender FD with Wild West Environment. In the last lesson, we left ourselves off with this backside pretty much complete. We can now move on to another piece, and the next one I'd like to ideally do will be this part of the year. This is going to be a trap door and entrance essentially for the upper section of this building. So for us, realistically, we don't really need to overthink too much in regards to that. We can even reuse the window shutter to speed up the entire process. We're going to go ahead and just simply drag it onto the side like so, click RX 90, and we got ourselves the base to work with. Of course, this might be a little bit well, not enough in regards to the scale. We're going to go ahead and fix that. And honestly, we can start off by just scaling it outwards, like so and then seeing how it looks like for the entire setup. I think this base is going to look quite nice. Once we're finished. Let's go ahead and just drag this downwards or actually, we need to fix up this overall scale. So what we're going to do is we're going to go to the upper section. We're going to delete all of these hinge pieces over here. We don't really need them. We're going to fix that. So let's go ahead and make a selection. Fastest way for a selection would be to go to Isolation mode, go onto the side view, and just make a selection like oh, sorry, let's go ahead and click ls to go into the seafru mode. Make a selection of just a couple of pieces holding Shift. Make a selection like this. Do the same thing for the bottom piece as well. Like so this way we have Somat selection on each one of the bolts. We can click Control plus multiple times, and now we can go ahead and click Delete vertices, and there we go. All right. The next thing is going to be, of course, making this piece longer. So how can we do that? Well, can start off by just simply grabbing this entire part over here. I'm going to go ahead and go on to Face Selection, select this entire piece over here like so, and then with the old Z, with the X ray enabled, I'm going to hold Shift, make a selection like this, drag this outwards, and there we go. We now need to go ahead and just simply fix these parts up. I'm going to select all of these and put it in the middle. Click Y, extend them out in that way, it's going to look like a completely original piece whilst we didn't have to put too much work into it. Maybe the hinges themselves also need to move in regards to the setup. We don't even really need the hinges. You can imagine the hinges being on the inside, for example, whilst it's getting opened or something of the sort, or we can even move them downwards over here and just make them a little bit larger. That could also work quite well in our favor. Of course, we need to now go ahead and move this gray box piece to grey box complete. Click GZ, move this downwards, and there we go. We're going to get ourselves nice setup. Other than this piece being overlapped with the box. So I do want to just move this a little bit, trying to think which way would be the best. And I just realized that this now is quite hard to see. So luckily, we do have an alternative for this material. Let's go ahead and do that. Let's go ahead and select Wood dry, and there is wood dry dark. If we were to select it, it's going to give us just the right amount of variation for it. Uh, going to this setup, let's see if we can move this entire box. They are very close to this part. So I'm going to slightly move this back a little bit like this. So we have enough space to just move this forwards. And hopefully now it's not going to overlap a little bit to the side, like so there we go. Nice enough of gap. This is not overlapping this is, I think, just right. So all in all, we've done a great job. Now, the upper thing is going to be, of course, these gaps over here. They show wood. We ideally don't want this to happen. So we're going to fake it in the same way what we did with the toilet, having a black patch, essentially. And I believe we just have a material that we named black. We're going to go ahead and select this piece. We're going to right click origin to geometry, shift and S, cursor to active. Now we should be able to get ourselves a plane that's somewhat in the middle. Maybe we do need to adjust a little bit, and we're going to drag it to the point where it's just above the low itself. Maybe a little bit more. There we go, even more. So now we can go ahead and just make it black, and there we go. We're going to get ourselves a very, very nice type of setup. Let's go ahead and now click Control J, RClickO actually, let's find it in our setup. We can call this trapdoor. Like so we can now Right click and market as an asset, and we should have ourselves the trapdoor over here, which we can move it onto the Western props. Okay, so now that we're done with this, we can move on to more interesting pieces, specifically this entire section over here. It is quite a bit of an interesting looking one, I would say. It does have a lot of lengthier patterns, but we can make use out of this entire setup and get ourselves a really nice looking support for the tower. So let's go ahead and do that right away. First things first, what we need to do is think about this section over here. We can make use out of our wood that we had previously. This one over here, I reckon, we can make a use out of it to just get a nice platform coming down. And you know what I'm going to do to make my life a little easier? I am going to select all of these pieces like so. A controlled J just to make sure everything is in one nice orderly piece. That way we can just work our entire setup with just that one section instead of just selecting multiple pieces. Now let's go ahead and just slightly tweak these values and made it smaller, but we do need to make it a little bit of a different length, holding shift to just adjust that for the thickness also needs to be slightly adjusted. We can keep it quite a bit thick, and I don't want variation in this wood because I do want this to be relatively flat, like so. And I think I think that's quite all right. Actually I am quite happy with this. The only thing that we need to do is focus on these gaps over here. We ideally don't want any gaps. Like so it would be quite straight, but we do need to bevel it off a little bit. I'm going to click Control A, apply rotation and scale, then go on to the bevel section and holding Shift. Oh, it seems like I adjusted. When I applied scale, I adjusted the entire setup. So instead, I'm not going to apply the scale and just work with this bevel as is. It should give me a good result if I was just to low this down to a small amount, just like that, just a little bit, so it would break down these patterns of wood. If we go on to rendezvous, we can see it's being broken down quite nicely while still keeping this entire section flat, exactly what we want. Now, let's go ahead and change this wood to be dry. Wood dry, like se and let's work with this entire section. I think at this point, we can go ahead and work with it properly. So let's go ahead and make a duplicate out of this part, put it onto the gray box, and now we can butcher this entire mesh to our content. So things first, we'll want supports to be kept whilst we'll want to probably adjust these two vertical pieces. The reason being that these two vertical pieces were just quickly scaled up outwards, and the parts at the bottom are quite a bit thicker than I'd like them to be. So let's go ahead and fix that right away. So yeah, let's go ahead and fix that right away. We're going to create ourselves a new section, a new cube, that is, like, so position it to where the entrance of the leg is over here. And once we have the right position, we can then work our way from there. So it has to be a little bit thicker. The important part is to get the right base, the right setup. So once we have something like this, I'm going to select upper piece, clicking Old Z, as always, to make sure that we have that control over the X ray to see through. So we have that top selected. Now I'm just pulling it up and grabbing the upper piece, pushing it downwards like so. And now we finally have to decide how far apart these have to be. So, honestly, the angle that we have over here, I'm quite happy the way it is. But just to make sure that we have it nicely set up, I'm going to go ahead and just move it like so, and you notice that when I make a movement with this, it's going to say move X, move Y. It's going to give us certain coordinates. We want them to be the same amount, so it would go diagonally outwards in the proper direction and just completely diagonal, basically. So what we're going to do is we're just going to round up these values. So this one is going to be -0.33. Oh, I didn't write that minus point free free. There we go. And this one is going to be point free. One is negative, one is positive because it just goes in the direction minus Y, positive Y minus X, positive or Y. But in essence, it is going to give us that complete diagonal type of a setup, and right away, we can see that if we isolate it, it's going to give us a really nice solid, sturdy beam. That's going to be just straight up and nicely positioned to the tower. I wouldn't say straight up, it's more diagonal at this point, but hopefully that makes sense for the whole setup. The upper side will need the same type of B. So I'm going to go ahead and just duplicate it. And now we need to rotate this around, so we can probably rotate it, sorry, 90 degrees. Nope. R 90 degrees. There we go. And we can just position it like so in this way, we're going to get ourselves a very nice setup. Now, the upper parts, since this is a duplicate, the upper parts can probably be just taken off and quickly adjusted. So I think that's what we're going to do. So we wouldn't have to position those beams again, and we could just tweak them whilst we have them around. So what I'm going to do is, I'm just going to grab those beams, like so, and then we can tweak them afterwards. Those beams, we can just click Control I to invert everything else, delete vases, and we are left with just the beams. Again, we still have the gray box. If we look at the gray box complete, we still have that gray box over here. So since we made a duplicate, these parts will just be separate pieces. Go ahead and make a bevel operation. Et's go ahead and use apply rotation and scale first. Now we can just change up this amount, and then we can weak the way it interacts with this entire setup. Firstly, this part over here, this entire part actually can be a little bit lower down because I want this ideally to be properly positioned above these two horizontal beams. The reason being is that if we position this slightly above, it's going to make it look like it's placed partially in the jigsaw type of a combination with these 02. And we can even extend it out a little bit, like so over here. So it would go half into those beams just like that. I'm going to slightly tweak this part over here. There you go. That's a nice looking beam. And these outer ones, let's go ahead and have a look. These outer ones are looking quite nice except for their location. So let's go ahead and fix their location. So this one over here can move slightly inwards, like so into the middle. This upper part can also move into the middle, like so. Doesn't have to be perfect. Because we still want to make it seem like it's sort of a hand touched type of a building, a hand built that is. But once we correct it, so it should give us this type of a result. We're still nowhere near complete in regards to the setup for underneath detail of the water tower, but we're getting close. So we're running out of time. We're going to continue on with it in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 56. Working On Water Tower Supports And In Blender 3D: Hello and welcome back everyone to Master Blender three D with Wild West Environment. In the last lesson, we left ourselves off with the base of this water tower we're still not quite done with in regards to the setup, but we got the frontal section positioned nicely to be in the middle. You can see it over here, nicely placed, except for the bottom pieces, actually. Let's go ahead and fix that right away. I'm going to just actually grab both of these parts, like, so push them outwards a little bit, so it would actually go into these pieces and then let's reposition them so they would be quite in the middle over here. If you're struggling to go between the setups, we can go ahead and select these all go into isolation mode. And let's make sure we select upper beam as well. Go to isolation mode, and that way, we can properly visualize these setups. So just like that, got ourselves a nice piece overall. We can go out of the isolation mode and think about the rest of the setup. Now, the one thing I didn't say is that this part is looking quite empty. Luckily, we already have a window we can place, and I do want to have an additional beam or a pipe coming out of this water tower to make it seem like there is a certain pumping action coming across. Owis's just going to be looking like it's a separate tank with no way of getting water out of it. So we're going to be working on that yeah, the easiest way for us to start would be just to grab a window. I'm going to place it on the side because I know for sure that this beam over here is completely straight. If I was to try placing it over here, you might notice that maybe I get my window into those crevices and that's not going to give us the straight result. Iba Boy, if we do happen to get the window or any other object in an uncomfortable position, we can always click Alt R, and that's going to reset the rotation. So Alt R will just simply reset the rotation. We already talked a little bit about it when working with the gray box of this wagon. Which, of course, we're going to get in the near future. But for now, though, let's go ahead and just fix these parts up, like so. And let's leave some space for the upper section to have a bit of that setup. So it's going to be lower in comparison to the window over here, but I think that's quite right. Let's just make sure it's nicely positioned in a center. So like this, it's going to look quite nicely. We're going to go ahead and select both of these, going to join them up, going to apply rotation and scale, use bevel and adjust it a little bit. So we're going to get ourselves this type of a look. The thing now that we need to do is going to be attach another support over here at the bottom. So this way, we'd be able to break down the pieces in the floor, not the floor in the just horizontal yeah, it would be full, actually. So you can imagine that this is like two stores high type of a building, and we can just use it to break the entire section up. So for us to do that, we can, we can just make ourselves a new cube, like so GZ, move it downwards, scale it down, like so. And I am going to position this one with an edit mode. Let's go ahead and just expand it like so, maybe make it a little bit smaller. I'm going to position it so it would be going right at the top of this uper beam over here. In regards to these up parts over here, I do want to ideally have some pieces of them sticking out. That way, it looks like, you know, they are helping us support this beam over here. I'm just going to make it just a little bit smaller, something around the same height, to be honest as these ones over here. So something like that, expanded, and we are going to get something like this. So over here, this type of beam is going to be quite right. I'm going to go ahead and just use a bevel and apply that bit of an edge to soften it up a little bit, so it's going to be quite right. The upside will also need the same type of beam. In this case, however, we are going to just duplicate it, shift D, duplicate it and put it on the overside. And instead of just having a beam like this, I would like to ideally break it down so it would be one over here, and the other one, well, just a little bit lower so. And up one would be over here. So the reason for that would be you can imagine the staircase being in this area and whatnot. And this wall is just a little bit too much outwards, so I'm just going to bring it inwards. We can hide this box over here already, so gray box complete. We can move that outwards. And I'm just going to move this wall over, like, so just like that. The reason I'm working on both sides at once is because I do want to have certain consistency within the building whilst just making sure it's not to the same. So, for example, if I am working with symmetry, making sure that, like, there is a castle with two identical towers on both sides, I would be maybe, like, just completely making one and then duplicating it onto the other side, mirroring it. But in this case, I do want some detail to be consistent with in regards to the beams, for example, whilst at the same time, making it seem like it's unique and just each side has its own thing and piece attached to it, whilst not looking too weird and inconsistent with the overall aesthetics. So working over here a little bit, working over here, taking a beam from here and whatnot. And that way, I'm able to get a nice setup. So, for example, right now, I'm looking at the thickness, how much this is coming out of the wall, and I realize that, it needs just a little bit outwards, like so, and the wall, perhaps, we need to maybe go inwards a little bit, like so, and we're getting ourselves a nice result. Now, instead of a window, what we can do over here is simply attach a sign. We can totally do that. We got plenty of signs or decals, for that matter. Let's go ahead and just create one, and we're going to find ourselves an Alpha. I believe it's going to be It's a great question on which it's going to be. There we go. Alpha 27, that's what we're looking for. We are going to go ahead and attach this. So let's go ahead and just rotate it. Sew RY and rotate it, like so and put it over here. The other thing, what we can do with these alphas, by the way, is because I'm not going to let me just go ahead and just drag this inwards so the other thing that we can do with them is simply change the color for it. I've not talked much about it. And before doing that, I'd like to just quickly fix up this. Since I'm not planning to have any upper decal in this particular part, I can go ahead and just cut it up like this a little bit, so it wouldn't get in the way. It's a good practice to do to save up some of those phases because every single phase, whether it's transparent or not, is going to be rendered. So in terms of performance, it's a good practice to just cut up your decal like this. That's what you saw with the original whiskey boxes over here. So, yeah, it's a real nice and simple thing to do, but it really is a good practice just like that. Okay, so yes, in terms of color, what we can do is going to be within the shading panel. I'm going to go ahead and just find the piece over, so material mode. And I'm going to duplicate this material so we could just work with it without worrying about it being in the way of another decolor or whatnot. So right now, we have this set as an Alpha. This is just a simple image. If you'd like to have a look, we can simply take this on or actually a better way would be to just control shift and click on it, and you can see black and white image. That's all it is over here. And that means that the alpha, everything that is black is not going to be seen. Everything that is white is going to be seen. It's a simple type of a mask. And because of it, we are able to just attach the Alpha, like so and change the color over here. By clicking on the square, we're able to change it to any type of color that we want. In this case, we can just make it a little bit brown, and using this bar at the right hand side, we can change its brightness. So like that, we're able to make it quite a bit dark. Let's make sure not to go all the way to a value of zero because that's never a natural type of a result. So a value that's close to black but not quite is going to be looking quite nice. Let's go on to the modeling mode and see how it looks like, into the rendeview and there we go our saloon sign. We can even make it bigger if we want to. And we can slightly adjust these bars just a little bit, like so. So the wagon would not get in the way of this sign. Just like that. Quite a big sign. I want this to be a little bit higher up, to be honest in comparison to the middle section, just because I think it looks a little cooler when it's offset upwards like that. Okay, so now we can go ahead and just finalize these parts over, like, so over here, we had these I think this is good. This is good. We're just fixing up the last type of what are they called frames. I'm just going to slightly maybe move this a little bit to the side. This one over here, a little bit as well to the side. And wallah we got ourselves nice set up. We can now probably just select all of these like, so work on all of them at once. Let's go ahead and just convert to mesh so it would keep that bevel setup, those nice edges. We can then go ahead and add the wood support support wood 001, so nice wood that we have, of course, it's going to be only applied on one because this is the main selection. We can now click Control L to link materials, like so and to make sure that all of these are properly set, we are going to go ahead and go onto UVN wrapping, Smart TV project, and we can unwrap all of them in edit mode just like that. And honestly, we do need to fix them up real quick. I'm going to go ahead and just look at this section over here because I know that all of them will have the same scale for the grain because we unwrapped all of them at once. We just need to pick one of the spots and then just scale it upwards until we get something similar to what we see on this vertical beam on the right of us. And just a little bit. Not too much. I think that's going to be Yeah, I think that's going to be perfect. Alright, so that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bin. 57. Modeling A Water Pipe Using Bezier In Blender 3D: Hello and welcome back everyone to Master Blender FD with Wild West Environment. In the last lesson, we left ourselves off with these nice frames going around, and we got an overall nice setup. Now we're going to go ahead and enhance this piece a little bit more with some extra touch from well, coming from the water pipe. And the way we're going to set up this water pipe is going to be from the center of the water tower. We're going to make use out of the curve tool that we use for well, for this geometry node over here for the chains. So it's going to be very similar. But instead, we're just going to do it from scratch. Let's go ahead and start off by getting a centered piece coming from well, the center of the water tower, we're going to hit Shift and S cursor active, so it would be centered to the water tower. We're going to now create ourselves a curve, and we're going to make use out of bezier over here. So this way, we're going to get this type of a setup like so. Now, of course, this is going to be, well, not centered for SaaS. We're going to go ahead and fix that. And the easiest way for us to fix that would be to grab it and move one of the pieces by one, I believe. So GX one. There you go. It's going to now be positioned perfectly in the center. We can readjust this entire piece afterwards as well. The easiest way to just fix this to straighten this out would be if we select both of these bezier points, we can right click and there's going to be a set handle type to automatic. It's just going to straighten it up like this by default. So now we have a starting point. Where it's going to be the starting of this center of the water tower. And we want this to end at the end, well, at the end of this section over here. I'm going to lower this down until we get it to a reasonable section. Then we're going to select this piece at the end, click GX, move it into the wall, and now we can start I think it's a little bit too much in the wall actually, something like this. Let's go ahead and turn this into a free D mesh so we could work with it properly a little bit better. We can go into the curve data over here, and then there's a bunch of options for the geometry section, and that's well, there's two things we can do. One would be to just use a simple extrude, which would turn this into a flat plane. The other thing, what we can do is if we go lower, there is depth Depth, if we increase it, it turns it into a cylindrical object. So in this case, the cylindrical object is going to be better for us because it's going to create a nice look e. So in regards to the fitness, I think what we have over here is almost good, but we should definitely increase it by a little bit. 0.1 actually works quite well. So the next thing is going to be going back onto Edit mode, selecting this point over here, clicking GZ, and moving it upwards like so. Then we can adjust the curvature by selecting this piece from the point that comes out this bezier piece over here. We can click GZ and just move it downwards, and we should get ourselves a nice setup. There's going to be a bit of an issue with this one over here, intersecting with this piece, so I'm just going to make sure that we are moving it to a reasonable amount, something like this. I'm only moving it in X and Z values for this, mainly because we don't want this to be going in wide direction. So I'm just going to reposition this nicely until we get something like this, and we can now grab this, click GX, and move it until we get something like so. So already, it's going to give us a real nice type of a bend going across just like that. Okay, I think I'm quite happy with this result. I'm now going to go ahead and adjust it. So for us to do that, to add additional detail, we're going to go on to convert to mesh. Now we can see the type of topology that we're going to get. By default, this is what we're going to get, and it's going to be good. If we want to, of course, we can add more topology. I'll just show you real quick how to do that. This resolution preview, if we increase this, this is the amount of phases we're going to get. If we decrease this, we can see that the topology is going to be much, much lower. So we keep it at 12. 01 is going to be resolution over here. So this is going to be the radial amount. If we lower this resolution, we can see that it turns it into essentially a square. Again, for this particular reason, for this particular situation, by default, it's going to look quite well for us. We don't need to touch it, but it's useful to know in case you do want to make some adjustments. Go ahead and quickly convert this to a mesh, and let's start adjusting some pieces. So over here, I'm going to go ahead and select this edge loop, and I'm going to start this off by straighting this out, actually, going to click S is at zero. So just a little bit of straighten it up, so I'm going to go ahead and select this and actually, what we're going to do is we're going to select these two over here, like so, going to clear Control B, extended just like that. And now we can go on to the phase selection, holding Alt and Shift, select this part, select this part. And with this selection, we can make an extrusion. So E, enter Alt and S, and now we're going to have a very nice and consistent thickness going across. So we don't need to worry about it being too much or too little with the thickness route multiple of those pieces. So maybe we can just readjust it a little like, so looking from the top from a distance, if it looks nice, I think it looks quite nice. This piece is a little bit too thick for me, so I'm just going to go back into the setup. There we go, something like that. It's going to look quite nice for us. All right. So now that we're done with it, let's go ahead and attach some additional weight. I'm going to also right click, shade out of smooth so we get this, which doesn't look that good, actually. Let me just there we go, increase the angle. Now we're getting this set up, and that's going to look much better. Of course, we're going to use bevel as well with lowered amount. Just like this. A little bit is going to go a long way. Chos move again just to kind of change the angle to 55. We're still getting these parts over here, which I don't want. I'm not sure why we're getting this. I think yeah, we're getting because of the bevel, so we need to increase angle over here. There we go. Nother we increase it, we're going to get much better result. The other thing that we need to do, of course, is maybe get the weight to be supported, even if it's quite a heavy pipe, quite a sturdy pipe that is, it still might not be enough for this entire water weight to be kept on the pipe itself. So what we're going to do is we're going to quickly make actually, we're going to hit Shift ans cursor to active, so we can get it over here. We're going to quickly make a cube and just use it as an attachment over here. Just like that. So right away, we're just going to make a quick line going across, so nothing too fancy, but from a distance, it's going to look much better. Of course, we can't just have it as a line. We need to have some additional pieces. So we're going to put some edge loop top at the bottom. We're going to select these parts from the sides like so, and we can click E Enter Olds and just inflated this setup. So like that, we're going to get ourselves nice setup. For this upper section, I'd like to move this like so. For this bottom section, I'd like to move this if I select it properly, like so as well. And then, of course, bevel using a nice little bevel rotation scale applied to get ourselves a little bit of that softer touch. So I think something like this to be close to this piece over here will work quite nicely. Maybe a little bit more. There we go. Perfect. Okay, let's go ahead and apply the material real quick. The way we're going to do it is a little bit different compared to everything else. Well, for this piece, we can just use automatic B and wrap, project, there we go. Nothing too important. And we can just put black metal black metal over here, the full detail is okay. This part on the upper hand is a cylinder, so we need to unwrap it a little bit differently. But when we are unwrapping it, what we need to know is that cylinders can be unwrapped with seams to make it easier for us. So SMS will allow us to say where to split the UVs. In this case, we're just going to split it all the way across like so and we're going to click right click Mark Sam just like that, if I was to go on to UV editing, and I'd really like to show you what it looks like without a seam. So real quick, I can also use clear seam for that. Then I can go ahead and select this entire part, use unwrap. And if I use minimum stretch, it's going to give us this monstrosity. This is not okay. This is definitely a disaster. It's trying to unwrap everything as a whole object, and it just inverts itself. It's just not going to work ever in terms of any type of detail. If we want, we can check with an stylized iron over here to see how messy this entire thing is. We don't want this. So yeah, going back to the setup, we're going to mark a seam. Now, if we end up unwrapping it, we can see that because we're telling it, Hey, you can split over here, it's going to split it and going to give us much better setup. If we want, we could additionally add some parts over here, for example, to help us with the split and that would also be quite okay. But honestly, for this particular part, we don't really need it. It's quite just a metallic noise type of a setup. We can keep it totally as is, and that's going to be more than enough in terms of the setup. The only thing, though, I would say is that we definitely need to split up the detail a little bit. So what I mean by that is this is only just one material for a metal. We want to look a little bit better for our render. Even if it's something hidden, we want to make sure that this cylindrical shape form is a little bit enhanced. So we're going to go ahead and select those edge loops like so. We're going to click Control Plus, which will allow us to just grab all of those rings, including its sides. We're going to add a new material. This time, it's going to be, well, the one that we used before black metal, like so and assign. Just like that, we're going to get a real nice setup for this entire pipe of like so. Okay, now that we're done with it, just going to check if the scale is not too much, but I think it is. It needs to be smaller. I'm going to go ahead and select this entire pipe, make it quite a bit smaller until I'm happy with a small grungy type of detail. Now it's quite nice. I'm quite happy with this result. Let's go ahead and now select this entire pipe, join it all up, like so. And we can, of course, rename this pipe, double clicking on it. Pipe, right click Mark as asset. And actually, sorry, I'm going to duplicate it. Then mark this as an asset. And I'm going to keep this original one as is. So there we go. Mark as asset, move this into our asset browser items, just like that. And this one can stay as is. Final piece. Let's just go ahead and move this Western prop over, like so, and there we go. All right, so that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 58. Modeling A Door Frame, Using Boolean In Blender 3D: Hello and welcome back everyone to Master Blender three D with Wild West environments. In the last lesson, we also selves off with a nice support for the water tower. We're going to add a little bit of extra detail with the bolts. Since we have some bolts over here, it would be a shame to just leave these out as is. So let's go ahead and real quick, add that in. And we're not going to do the same amount. Going to do a bit of a different pattern. Firstly, we're just going to drag and drop one of the bolts over here. So where the beam crosses like so, we're going to upscale it a little bit, just like that, and we're going to change our transform orientations to local. This way, you'll notice that it's going to give us that nice angle that we see over here. We're going to just slightly bring this inwards since we have outscaled it. And now we're just going to make a duplicate, shift D, and escape, then we can just move it upwards a little bit to the side. Just like that, we're going to get ourselves another beam over here. Do the same again. So duplicate. Move it using local orientation, and there we go. Going to get ourselves quite a nice type of a setup. They're going to look like a bit different bolts, whilst at the same time, it's not going to make those beams look too empty. Going to go ahead and go back on to global transformations, make a selection over here, hit Shift D, and then we can go ahead and rotate it by 180 degrees, I believe. This should give us a nice angle on the other side. Maybe it wasn't 180 degrees, maybe it was just 90 that was needed. Let me just go ahead and have a look. Seems to be right. We just need to realign it maybe it would be best if we do it manually, like so, just to make sure that everything is aligned properly. They should be all going inwards, which they are. And I think that's all that we need to do over here. Alright. Now we can go ahead and move on to the front entrance type of setup. So we have this entire section over here to work with. I'm going to go ahead and make my life a little bit easier by just selecting these main parts that we're going to work with. We're then going to go ahead and isolate it, and there we go. That's what we're going to get. So what can we do about this? Well, the easiest way to make an entrance to make a hole over here would be to simply make use out of this already existing shape. I'm just going to go ahead and grab myself a human, actually, real quick first, select all of these, grab a human, double check the height if it's the right setup. And yes, it is correct. Okay, so next thing that we can do is just simply grab this cube and make use out of it. To do that, we're going to simply go select the wall over here, go on to modifiers, and we need to turn this now into an actual mesh. Let's go ahead and do that. Convert to mesh. Like so. Now let's go ahead and make use out of the boolean, generate boolean. This will allow us to make a hole, make a cut based on another object. In this case, we can make use out of this cube over here, so if we drag this inwards and to see what it's doing, we can even hide this out of the way, we're going to get ourselves a real nice type of a hole. The only thing that I would say is that we need to make sure that this bottom piece is hidden away. So I'm going to click Old Age, don't hide, move this downwards, click He, and there we go. So these are going to have white parts. But that's going to be okay because we're going to be hiding them with hinges, sorry, with the frame of a door. And yeah, that's looking good. Let's go ahead and make use out of this operation. We can just simply use this R over here, click Apply, and now we can move this onto gray box complete, just like that. Okay, so the next step would be to make a bit of a hallway, make a bit of a breathing room basically for a corridor, so it wouldn't look like it's just a flat surface. So for that, we're going to go ahead and make use out of the with geometry node, I'm going to go ahead and make this selection real quick, again. I like this human as well. I'm going to make a selection. That way, when we go out of isolation mode, we still have that same selection. We can grab the planks, which I believe are going to be this one over here. Yep. Let's go and go back into isolation mode, and I'm going to make duplicate now and start working with this. So this wood will have a material for side wood. I'm going to just apply that same onto the material over here, side wood. And I believe, sorry, I just missed, sidewood 001. So that's what we're going to use. We are playing directly onto the modifier, so it's going to give us the right material right off the bat, just like that. Let's go ahead and rotate this upwards -90, and we are going to position this a little bit, like so. So now the question comes whether or not we we want to make them smaller or larger or whatnot, whether we want to keep them in the right height. So you can see these planks are quite large in comparison. But honestly, I think they're just the right amount. We can make them a little bit smaller. I reckon on indoor inside, we can make them a little smaller. That would be quite right. So I'm going to go on to what would it be? It's not going to be the wif. Oh, it is the whiff. I'm going to hold Shift and just make it smaller just by a little bit, like so, not by too much, sort would still be consistent. Go to change the length to something a bit more reasonable, making sure that material is still being kept. And then the height, of course, we don't need that many counts. So let's go ahead and remove this amount, just like that. And then duplicate it to the outside. Put it at the top, just like that. We want a bit of a ceiling. Now, as for the floor, I think the floor should match a little bit more to the bottom base. So we can go ahead and fix that up, as well. Before that, I do want to have well, a way of blocking this down just like that. So we'd have just a closed off space. It might seem like there might be maybe like a gap or something that goes through, but at the end of the day, when looking from a distance, and at this point, I'm going to go ahead and select it. When looking from a distance over here, we'll notice that it's just going to be quite dark. It's going to be quite a bit of a shadow. We're going to create ourselves a door. It's not going to look like it's just a blocked off space. Anyways, with that selection still on, I'm going to go ahead and select this blank of wood this time going to isolate the view, and I left the human on the side, but that's okay. Going to make a duplicate out of this and just going to place it, so since this is made for the floor, we can just simply reuse it. I'm going to double check though if the material is set properly. So it is still side wood. That's right for us. And I'm just going to lower it a little bit, like so going to lower it to the point where it's going to go under this plank over here. The reason being is that I just think it's going to look much nicer when there is a seemingly a step going a little bit downwards, so. So now, all we need to do is just do a little bit of modeling for the frame. Let's go ahead and do that right away, actually. I'm going to reset my cursor real quick just so I could see where we are spawning this cube, then quickly place it over here. Bring it upwards. Let's decide on the frame scale. So in terms of the setup, we can always just go ahead and make a quick selection, go out of isolation mode. See how the out frame is set up. We can even just grab a couple of extra frames on the side. I'm just grabbing it for reference primarily, then go back into isolation mode, and there we go. We can then kind of determine how big or how thick we can make it. So, for example, if this would be too thick, this probably would be too short. And I do want to be just a little bit thinner in comparison to the beams over here, since these are meant for a support of a roof, after all, this frame over here is just to hold the wall of well, the door hole basically. So maybe just a little bit bigger, something like that. Perfect. All right, let's go ahead and move this upwards. Do something of a reasonable amount, make a duplicate to the outside. Just like that. I am going to turn off the rendering sion model in a render view. It just slows everything down by quite a bit. Let's go ahead and just move this upwards. Just like that. So quick and small tweaks, I'm going to move this a little bit to the right, and I am going to move this a little bit to the front as well, so we'd have that nice bit of edge. Then we can go ahead and select this face again. Since we had it selected, we can just quickly tweak it just like that. And that is almost good. I would like this ideally to be a little bit fiicker in comparison. So I'm going to go ahead and select this upper base upper middle section, drag it out just a little bit. So join both these or all three of these pieces. Rotation and scale applied. That way we can use our favored bevel option without much of a trouble just like that. And for a good measure well, let's see. Let's drag this down a little bit after the bevel. There was a bit of a gap. There we go. And for a good measure, I am going to go ahead and add a couple of bolts over on the side, going to make them. Of course, we're not going to see them. The reason being is that we need to go ahead and select it. Go out of isolation mode. Now this is selected, go back into isolation mode, and we can now work with this. All right, so this is too large of a bolt. We want to be something like this. We can make another duplicate and make four just like that. Quite easy, quite simple. I do want them to be a little bit closer, though to form more of a square, so I'm just going to realign it to be more centered, which I think they are now perfect. Let's go ahead and just make a duplicate to the outside just like that, and we can go ahead and select all of those little pieces, join them up, and there we go. We're going to get ourselves a very nice type of a frame. Of course, this one at the top is showing, so I'm going to go ahead and just raise this up and actually lower the hinge just a little bit, so this wouldn't be seen. There we go. Now it looks perfect. So now we're going to go ahead and start modeling a bit of those pushable doors that we all love with Western type of setup. That's going to be in the next lesson, though. Thank you so much for watching, and I will be seeing you in the bin. 59. Modeling Wildwest Door, Using Boolean Intersect: Hello, and welcome back everyone to Master Blended F D with Wild West Environment. In the last lesson, we left ourselves off with a nice bit of a frame for a door, and now we're going to model the entrance. So the best thing that we could probably do is just quickly grab some parts, like, so we could have some idea of what we're working with. I do want the wall to be present, as well, actually. There we go. Now we can actually visualize what's on the interior and now we're going to start with, well, just a simple cube. The way I like to do personally is just make this cube quite a bit smaller, like so. Instead of working with planes, I sometimes like to work with more of a three D shape to get more solid feeling of what the shape of an object is going to look like. So in this case, well, the cube is going to be an excellent starting point, and we can go ahead and just position this to be at the front like. So that way, we can just extend it, see how it looks like, and kind of get a better feel of the overall setup. So just like that. All right. So now, once we have this overall basic setup, we can go ahead and do some additional modeling. So the way we can do it is simply start off by going into Edit mode, adding a couple of edge loops like so, and now we can start doing some shape controlling. So over here, we can select the face at the front. We can raise this up a little bit, like so just a little bit, something like that, I think it is going to look quite nice. And then we can use e edge loop, holding old, dapping it, and making something like this, actually, I'm going to then bring this inwards a little bit, make it more manageable. And what we want to do out of this form, out of the shape is have a bit of a curvature and then straighten this out. So that's why we're kind of tweaking this a little bit until we get something like this shape. After we're happy with once we're happy with the very basic of the shapes, we can go ahead and just make some additional while adding additional details. For example, over here, I would like to ideally add Control B boolean, and I'm going to scroll up once, maybe twice just to get this nice bit of a shape. And since I'm here, I might as well just make a bit of additional tweaking. So for example, we can select this part over here and then use the proportional editing. And with selected, we can just move this a little bit, like so and that's going to start squishing everything in nicely. We just need to make sure we scroll up and down to kind of get a better shape. Until we are happy with the results. So something like that, honestly, it's quite nice. Maybe this one is a little bit too much. I'm going to bring it inwards and now see how it looks like. I'm going to actually select this entire thing, grab myself that human reference, and that way, we could see how it would look like when a person or a character is entering through this setup. So it is nicely positioned, maybe a little bit higher up would be a bit better. But yeah, it definitely needs to be a bit longer for the bottom as to reach somewhere underneath, like, the calves area over here, that would be a reasonable section. So we can use Old Z, select the base like so, and then move it downwards. Proportionality won't do much if it's too small, so it's fine even away. So something like this, I think will be quite all right. Now the upper section is actually too much, so I'm just going to lower this down. And yeah, I think that is going to work just like that. All right. Now that we're happy with the setup, we can go ahead and make additional changes. We can go ahead and, for example, select this part over here, go to the side, select this part over here, and we're going to click I Inset, and like that, we're going to make nice border around this section. Just like so. The thing that we need to do is we need to select offset even it's already selected for me, but make sure you have this selected Av wise. The shape itself is not going to be a nice border all the way around. And once we have something like that, we can simply with the face selected with the faces selected on both sides, we can simply right click bridge faces, and that should give us something like this. It's nice connection all the way through. I do want this up end to be a little bit thicker, just like that. I think that's quite nice. And actually, I am going to bring this inwards just like so so we could start seeing how it looks like. That is looking quite nice. So the reason I want this to be thicker because it's going to be attached to the wall that needs to hold its weight. The upside, though, is going to be also well mirrored with the upside of the door, so that's going to look naturally quite a bit thicker. Anyways, once we have something like this, we can now go ahead and add our favorite setup, which is going to be well, the boards, of course, let's go ahead and make use out of them. I do want to grab the default boards over here. So I'm going to make use out of them, making a duplicate, and then we can just work with them being rotated. Sorry, RX, RX 90, there we go. Let me just go ahead and position them a little bit better. Like, so we got to decide how often we want to see them in our setup. And I think right now, well, we need to take off the gaps first. We don't want any gaps in the store. It's too small of an object. Then the next thing, the width, we can turn that down, and I am going to add bevel right away, so we can see how it looks like. Something like so, there we go. That's going to look great. If you're wondering about the shape, we're going to fix that in a second. But now, though, what we need to do is add some bit of length, and probably width, we're going to lower that down even more. There we go, so we could see four planks, just like that. All right. Length wise, we can just elongate it to make sure we get something like this. So right now, this is, this is looking pretty good. Okay, we can take down the count probably. We position this a little bit better to make our lives Now the next step is going to be to make use out of the Boolean operation. So previously, we did a whole out of it. I want to show you another way. I'm going to go ahead and apply this real quick and all of this setup applied there we go. We're going to make use out of this form. So the best way to do that would be if we go back onto the form, so we can select this entire edge loop, click F. That's going to give us the face. Click P, separate, and now we have ourselves our own unique type of a form. We're going to go ahead and extend it like so. The other thing that I like to do is use Altns and just expand it just by a little bit. So 0.01, just like that. The reason being is that we don't want to be perfect. We want to go into the mesh just a tiny bit. Otherwise, the light might be bleeding through and there might be some artificial gaps or whatnot, sometimes when rendering. So ideally, you want to just slightly go inwards. That's going to solve most of your problems. Alright. Anyways, to go back onto the setup for in regards to the boolean, let's go ahead and select the planks on the back and use Boolean like so. And I'm going to go ahead and select this object over here. Now, the next thing that I want to do is just bring it into the planks over here. Use Solver fast because well, it's faster and usually it gives less artifacts, especially when working with simpler and low pology type of setups. Fast solver is just going to be much better. Right now we have the setup, so it's going to make us a whole. We don't want that. We want the intersect to be an option, and there we go. Now you can see the planks disappear. That means that they are gone somewhere. Well, they're not exactly gone. Everything that is within the shape if you click H is going to be, well, cut into. And now, once we have it so we can go ahead and select back the boolean, we can go ahead and apply it old H and let the shape, then reposition this a little bit better. And I think I can just bring this inwards. I do want this to be a little bit thinner, so I am going to go ahead and do that. Maybe make this a little bit thicker, so I'm going to select it tire edge look like, so quick adjustments, quick tweaks, and we're going to get ourselves the right type of door. Now, to make sure that it's properly set up with what's it called the center of this door, we're going to go ahead and make a small a quick little thing. Well, the easiest thing for us to do would be let me think the best way for us to make sure it's centered. I was thinking of using the frame over here, but we place this manually. We don't know if it's perfectly centered. We want to make sure it's quite right in its center. So the way we're going to do it is we're going to cheat a little bit. Actually, we're going to make a duplicate out of this wall, and I'm going to select one side on one end and another side on another end. And that is going to give us the median point right in the middle. Since we are using this we use the cube as a whole. Just having those two sides is going to give us that center. So we can use shifting S, cursor to selected, and that's going to give us the cursor right in the middle. Now we can go ahead and just delete this hole. We have this cursor over here. We can select these door pieces. We can click Control J. I'm just going to check that they don't have anything bizarre. They don't seem to have anything bizarre. Actually, let's go ahead and add Bevel right off the bat. I think that's a wise decision for this just to make Oh, not bullying, sorry, Bevel. So just going to add a small little bevel, like so, rotation and scale applied. There we go, something like this. And I'm going to increase the scale actually, so double pieces are not affected. All right, perfect. Let's apply, join this up. And now, so we have that predecursor. Let's go ahead and make use of it. We can right click and we can set the origin to fredcursor. Now you'll notice that the orange dot that we see on objects whenever we select them is going to be located on the free decursor. What does that mean? Well, with a certain modifiers, we make use out of the origin point as the basis of the way the object is well transformed or deformed or whatnot. This case, we're going to use a mirror over here, so to get this sort of a result. And right away, you'll notice that we're going to get ourselves, well, a door with a gap in the middle. But on both sides, they're going to be real nicely aligned. So a quick fix a quickest fix would probably be to just extend it to scale it up. So I'm going to go ahead and select it, and I am going to bring this out a little bit, select holding Shift, this piece, well, double click on it basically to get this wide selection. Now we can make use out of what's it called active element. It's going to put our transform over here, and we can click S and X and just slightly push this outwards until we get ourselves a very nice type of a gap. We don't need to close this down, but we can make it quite close to one another. And afterwards, we can bring this back like so, and it's going to be a very nicely set up type of a door. Unfortunately, we're still not quite done with the setup. I would like to ideally adjust some bits, add a hinges to the side, add some bolts as well, and of course, texture it. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 60. Finalising Door Detail And Starting Modeling In Blender 3D: Okay. Hello and welcome. Back every on to Master Blended freed with Wild West environment. In the last lesson, we left ourselves off with a very nice looking door. We're now going to go ahead and additionally add some extra pieces to it. So for that, we're going to go ahead and just create a hinge for Sautus. Let's go ahead and just create a cylinder. The cylinder itself can be relatively small. Eight is going to be more than enough, and we're just going to position it to be over here like so. Let's just make sure we position it like so. And we're going to make it a little bit longer, quite a bit smaller. It just has to break the surface down a little bit. It's a small detail, and yet these es usually are quite nice. So when opening it, you can imagine this being the main factor of opening it. I am going to now at this point, probably take off the mirror over here from the door just so we could have it as one mesh. Going to go ahead and make a selection like that, Control plus multiple times, and I'm going to select this with a hinge. Like, so, let me just go ahead and do that. Like so. And now we can see how it's going to interact. So the main point should be on active element. I'm going to click L on this or at the top, actually, better. Now we can just see, I think. Honestly, that looks quite nice. Alternatively, we could move the door a little bit off and left the gap, but I don't really want to leave the gap. I do prefer it this way. So I think that's going to be quite okay. The reason I don't want to leave the gap is simply because when looking at a render, it just well, it didn't look quite nice. I wanted to make it a little bit more closed off of an area. So going back to the setup, let's go ahead and just make one underneath as well, just a couple of small hinges. It's going to be more than okay. And now we can go ahead and just join them together. Going to write clicks at Origin preecursor. The Freecursor is still in the middle over here. If you don't have it, you can just make use out of a door over here, then cursor to active. I should still be quite in the middle. And then we can just use the mirror we had before. Although it's not really necessary, it's still quite nice to do so just like that. Going to UV andRap Smart UV Project, or we can just do it all at once. I'm going to go ahead and select it all, join it all up. And I'm going to check real quick. Yeah, the UV maps. You can see that we're using two UV maps. We can delete one of them. It doesn't really matter if we unwrap because it's going to apply the setting onto the main one that's being used, but I prefer to just delete it just to avoid any future trouble, especially when putting items into a video game, it's better to just have one UV map unless we're using light maps for some light baking and whatnot. Anyways, let's go ahead and use SmartTV Project as a base. Then let's see what we have with the material. And we should have a very nice foundation. I believe I'm going to go and delete the one that's at the top, the empty one. Like, so there we going to change this to side wood. 001, just like that. So there we go. We got ourselves a nice base. This should be broken up quite nicely. Yep, it is. The pieces over here are going to be changed to another material, of course, to make sure that we have a nice frame. So this one is going to be dark, dry. Let's go ahead and find ourselves dry, dark wood. Let's go ahead and assign this onto our selection. And we are going to have an issue. We are going to definitely have an issue over here. The reason being is that the wood frame is following a different pattern. So ideally I would want to fix that. Before doing that, though, I want to just quickly. Fix up these ones over here, the hinges. Just like that, select it. Make a new material, select for iron, stylized iron. Oh, that's the wrong one. Sorry. There we go. And a sign. There we go. It looks nice. Okay, so to fix these parts over here, what we can do is firstly, we can go ahead and just make a quick selection based on the material. I'm going to select both the inside and outside, so then click and now we're going to get ourselves a bit of a missing piece over here. I'm going to make sure that this part is selected. So now we can click and now we're only going to be working with the frame. The next part will be just to simply make a selection with a seafru type of a setup, deselect the middle part, and we're going to get upper and bottom pieces just like that. And made a quick mistake. I'm going to basically do an edge loop on the back just like that. This will allow us to mark Seam. Now we can go on to the face selection, see fru, make a selection like so actually, let's just make an entire selection hold control and drag a box across. There we go, upper, lower selection just like that. We can now go ahead and click Iron wrap minimum stretch, make it a little bit smaller, so it would match the wood pieces and there we go. We're going to get ourselves a nice grain following along the setup. Alright, so we got ourselves the door. I'm going to go ahead and just go out of isolation mode. Double check if everything is matching up, which it seems to be the case. And now we can move on to creating this casket over here. And I believe we still have that rotation, which is pretty good because we can make use out of this. I'm going to make a duplicate, move this off to the side, and I'm going to I think the scale is okay. Checking with the human reference on the back. I'm going to now, well, isolate this entire view, or I am going to select a human reference, isolate this entire view. The reason being is that it's always good to have a bit of a reference when working with something like that. Even though the casket is the right size, I'm going to click Alt and R to make sure that we get it properly positioned, so lz, no need for transparency. And now let's decide on how we're going to set this one up. So ideally, I would like this to have made two sets of plank layout on the side. So this one would go like this, and then the next one would be going inwards towards this. We don't need to have two small planks over here. And for that reason, we are going to go ahead and actually just delete this and realign it a little bit, and then we can adjust it afterwards. So yeah, let's go ahead and do that. I'm going to go ahead and dissolve these edges over here and then realign this aX, just maybe slightly tweaked it Perfect. I think that is great. So now we can make some edge loops. I'm going to make two edge loops. So these parts will be their own individual planks like that, and it's already looking pretty good. I'm going to go ahead and select it hold shift and the select the front at the back just like that. P for separation, and we're going to do our cheeky setup, which we did for the crates, which is going to be just using that same setup over here, going inside using Inset. So click I and click I again to make sure it has its own inset. And it seems like I am worried that we have scaling issue. I'm going to click Control Z real quick, going to select this, click Apply scale. Now we're going to go back and do the same setup, and there we go, it seems now to be more properly set up. Anyway, so we're going to go ahead and make a very small type of thickness so 0.0 001, like so, and we're going to click E, Enter, Alterns and this should give us something like so, just like that. So already, it's going to nicely break our shape. Of course, we're going to make use out of the bevel functionality, which should give us a nice setup. It's not giving us a nice setup. This time we need to go to geometry and use clamp overlap. The reason this is happening is because we do have some really small parts over here that are giving us the issue, which is causing us that clamp overlap issue. The thing that's a quick fix the clamp overlap for this setup. But we can actually easily fix this. We can do that. And I think I'm going to show you how actually to do that. It's a simple setup an alternative way instead of just ticking off clamp overlap. So let's say clamp overlap, we keep it. We want to make sure that the apulgys clean and those pieces in the middle that we made an inset from are not affecting us. So we can just have that selection of all the front faces, click Control plus, click Control I, delete these over here, like so. And we should have a very nice base. Just like that. I'm going to go ahead and select these parts over here. Just going to click SX and just slightly upscale this like so, and maybe select these parts over here. Do the same part. So I'm just manually just fixing up these gaps. Like, so they're overlapping with one another. But either way you saw that I was able to use now clamp overlap with the amount, and now we can just do it as much as we can to make it as soft or as thin as we want. And the bottom piece, we should probably do the same. I'm going to go ahead and select it Control plus, SX slightly increase it, maybe even more. We can even, you know, make the planks uneven in some areas. That's always nice. Like, so I'm going to go ahead and just make this one. Like so. And just like that. A little bit of uneven setup. All right. So now that we're done with the size, let's go ahead and start working on front section as well. This part, I'm going to do it a little bit differently in a way that's going to well, make a little more sense. I'm going to go ahead and select only the front, click Control I, so the back is selected. I'm going to go on to modeling mode because we don't need it at this point, the set So we would have more view of what we're working with. There we go. All right, so select the front, the control I to invert it. So the back is only selected. Delete the faces. For this part, I'm going to make this entire piece as just wood. It doesn't need to be planks. The reason being is that we are going to play some additional detail on top of it, and that's going to help us to kind of break down the surface, and it's not going to make it seem too obvious that there is, in fact, no planks in this area. Going to just move it a little bit inwards, like so. And I am going to click E extrude, just like that. Okay, so for this part, I'm going to go ahead and make a duplicate off the front, click Shift D, Escape. So GY, we have the separate pieces. Then the next part is I'm going to start separating this part. So we only have this piece, so now we're going to go ahead and select these two double tap I there we go. And inset, something like that. I think that's quite all right. Let's go ahead and click Control I, delete the faces. We're going to be left with this only, and now we're going to add let's say, just one edge line over here and let's add three edge lines over here. So it's going to be somewhat of the same or similar thickness, that is. Now let's go ahead and just grab these up, so and use inset. This time, we can just simply double tap I and inset something small and just grab those outwards. And for this particular case, it is going to work because we don't need to worry about those corners or anything of the sort. So I'm just going to make a very small motion and then GY, bring these outwards quite nicely. So of course, we will need a bevel, and now the bevel, I'm going to apply scale for this one. Now the bevel should work in our favor. The thing that we can the other thing that we can do is just slightly offset these parts, but not by too much. So that's another downside is that we cannot move them off too much because they are connected. It's going to destroy that illusion that they're not. Slightly moving them around. And that little bit of a shift is going to go a long way, to be honest, just like that. All right, let's bring them all back to the coffin that we have over here. Seems like I might have moved this part or some reason this doesn't. There we go. For some reason, the bevel was acting off of, I guess, because of the offset of the face, but it now seems to have been fixed. All right, once we're happy with it, let's go ahead and add additional detail. This detail is going to be, of course, the texturing and we're going to add some bit of bolts, but we're going to continue with that in the next lesson. Thank you so much for watching and I will be seeing you in a bit. Okay. Okay 61. Adding Additional Plank Detail And Bolts In Blender 3D: Hello and welcome back over on to Master Blender F D with Wild West Environment. In the last lesson, we left ourselves the front coffin to be open. We still have the backside to do, but we can just duplicate the front to the back. Before doing that, though, I'd really like some additional detail on this coffin. So let's go ahead and do that. We can go ahead and grab ourselves the acid browser. I'm going to make sure that the coffin and the human is selected as a browser, go into isolation mode. There we go. We can start working with the bolt section. So one thing we could do is make some triangular patterns over here to help us get just a nicer result. And I just realize that we need to go out of isolation mode, double tap on it, to get this bolt over here. Going to make it a little bit smaller, just like that. And we are manually placing this setup because, well, it makes it look way more natural, and it's definitely going to make it seem like, you know, just done by a handmade setup. So I'm going to go ahead and just make version top and the bottom. Like this notice how I duplicate this part since it was the same angle. We can go ahead and do that. Then we can just go ahead and select all of these, so make sure that the median point is on duplicated to the out side. Click SX minus one. Oh, sorry, SX minus one. There we go. You should put it to this over position. You can just slightly tweak it. So to get an overall bit of adjustment just like that. For the front, we can also use some simple bolt layout, but we'll get back to that in a bit. I want to get some bolts over here actually. Going to place one over here. And of course, we're not going to see it. It's getting a little frustrating, so I'm just going to go onto this view over here. Click Old Age, sorry, shift age. Now it's going to hide everything except for this. So instead of isolation mode, we're using a hiding, hidden mode. I believe it's called, so you can see every single eye on each of the top right section has been turned off. So that's the difference. But, in turn, we can now put these bolts, like so, and I'm not worried about scale. I'm just placing them around just like that. Get a general position because I will show you how to make use out of their setup. So let's just finish up with quick placement, so we can adjust that in a second. Once we're happy with the placements, we can go ahead and select it all, just like that. And we can go ahead and make use out of individual origins, scale it down. And right away, we're going to get ourselves. Well, quite nice placements for them. I reckon that's quite all right. Maybe some of them need to be adjusted. We can go to local transformation and then just tweak the placement just a little bit, like, so all is good, all is nice. Alright, so the upper pieces in the middle, let's go ahead and make some quick addition to that. Let's go ahead and make a cube quickly add it in over here. So this one is going to be quite small detail. We can just keep it as it is I'm going to rotate it by 45, sorry, R Y, 45 degrees. So it's going to be a nice, what's it called diamond type of shape, I suppose? Something like that. Let's go back on to transform orientations, make this quite a bit smaller. And I don't think I'm even putting bevels on this because it's such a small type of detail. Sometimes you don't really need to worry about that. I'm going to make a duplicate over here, over here, and going to go out of the material mode so we can see a little bit better. Something like this looks really nice. I reckon bit of that nice pattern. Like, so, yeah, that's definitely quite nice. Okay, so this one, this one, this one, this one, this one can be joined up together. I'm not even worried about the backface because it's such a small detail. It's so little amount of apology. You could just delete the backsides over here if you want to, but not really worth it. Okay, so material wise, let's go ahead and add a black material. Black metal. There we go. Can start working with this setup over here. These pieces have the material. These pieces can be a let's go ahead and check if they have modified. They do have modified, but it's only beble so I'm not too worried about that. These pieces can have a material for just a simple wood. Simple wood, so we're going to unwrap Smart project. So let's see if the scale is good. I think it's a little bit too small. Let's go into editing mode. Going to go ahead and select both edit mode. And actually, because we hidden everything up, doesn't really matter. Yeah, let's go ahead and just scale this down by quite a bit. Like, so in render mode, we should get, we should get a decent result. This piece in the back and the sides, even, I do want them to be the same material. I'm going to go ahead and just double check so this one has bevel. I am going to at this point, change the bevel, just so I could join these pieces up, like so. And now we can get ourselves the dry wood, dry wood. There we go. All right. It is maybe drywood dark would be better in here. Yeah, dry wood dark is quite nice. Of course, we need to unwrap it all. Let's see how it looks like. Make it quite a bit smaller, quite a large amount of smallness. And I think. You know what? It looks It looks quite alright, except this wood over here. Now I'm going to turn it into wood 001 instead. I'm not sure why it's giving such a I think it's because of the sun that is giving such a brightness. So real quick, I'm going to check how it looks like in comparison to the rest. But before doing that, I would really like this piece to be on the back as well. So I'm going to make a duplicate and move this to the back. Like, so just to close off this coffin. Just like that. All right. We can now go ahead and use Old Age or yeah, Alt Age. We can go out of isolation mode and see how it looks like. And I think I forgot about these bolts over here on the side. So what I'm going to do a quick and cheesy way of selection is just top down selection. Then we can hold control and deselect everything else. We can see that this is the only selection like so and I am going to, I think, join them all together. I'm just worried these bolts might have a different UV map, but let's see what it turns out. Going to click Control J. And now it seems to be all good. Yeah, because we only did modeling, we didn't use the boards. A is fine. I'm going to go ahead and place this coffin manually, going to click R, Y, rotate it, and just kind of do a quick placement like that, move this onto the grey box complete, and there we go. Real nice type of a coffin, leaning sideways onto the setup. I'm not too worried about it going inside of this terrain mesh because it is supposed to be dirt sand. It can be a little bit softer, if that makes sense. So having some parts going into it is totally acceptable. Alright. 62. Modeling A Western Table, Using Plank In Blender 3D: Hello, everyone, and welcome back to Master Blend Fred with Wild West Environment. In the last lesson, we left ourselves off with a nice base for the coffin. We can even turn this a little bit in X axis, as well, since it is a freed space. Anyways, let's go move on to the table over here. I really like to create some tables in freed space. So doing something like this is definitely going to be quite fun. First thing though is going to be the height is normal, but at the bottom, I do want this to be well fixed. Or alternatively, we can just select it all and go on to modeling mode, then go on to isolation mode to just start doing this entire process. So the way we're going to start is going to just be grabbing a cube, like so, we're going to start with a very foundation of this table. The reason being is that it's always nice to have a bit of extra foundation for something a sturdy as a bar table. So having something like this is going to be quite nice. The only thing though, I would say about the position and the layout is that we do want some bit of extra gap in the front coming out of it. We want this side to be quite a bit closer like so. So people maybe can of their feet or something over here, it's going to be quite all right. And the back side is going to be something similar. I'm going to go now on the Edit mode, move this a little bit to the back. So this part, however, we don't need to worry about it too much because it's not going to be seen. So something like that is going to be quite right. And, yeah, I think that is a good base setup. Let's go ahead now and just simply use Control A rotation scale. Use a bit of a bevel, small bit of bevel, something like this. And although this is just a massive block, you can imagine that in an actual setup, it would be made out of boards or something or sort because it's such a well hidden detail, it's not going to be quite as visible. So it's all right with this type of setup. Anyways going back to this, the next part is going to be setting up this high upper section over here. Let's go ahead and make ourselves this top. Just like that. I want to separate these pieces into multiple sections that way when we are working on a middle part, we're not going to be too concerned with the whole setup like that. In regards to when we're modeling bit of counter on the inside. And whatnot? I think, that's quite all right. Okay, now we can just go ahead and move this to grey box complete. That's going to be quite all right. Rotation and scale applied, bevel applied over here as well. This one I want to be a little bit more rounded off, so I am going to increase the segment's amount, like so and just scale upwards like this, and we're going to get a nice rounded edge shades move to help us out with that roundness, and there we go. All right. Now with this setup, going to make a selection, go out of isolation mode, grab the boards that we use over here. I think these ones are good preset. Go back into isolation mode, make a duplicate out of this RX 90, and we're going to use these where I believe the walls, but we're going to make use out of them over here as well. So right away, we can just make them smaller. Going to go on to mesh preview, what's it called? Not the material. And then we're going to set ourselves up with these pieces over here. So we have a general direction. We have a general setup. The thickness, let's go ahead and increase it though a little bit like this. With randomness, we can increase that just a little bit, as well, and then we can increase the count to fill up the table. And just like that, we're going to get ourselves nice set up. We can also just scale it up and down a little bit if we want to make some small twigs like that, but honestly, this is looking quite nice. The upside can also have these type of counters over like so. Of course, we're going to make rotation to this upside and of course, fill this gap up just like that. Lower the count and use SY to get a nicer scale, do the same to the upside, although it's not going to be quite as visible, still nice to have. Now, as for this piece, we can right away turn this into a convert this to mesh, and ideally, we want to just delete some of those parts in the middle. And realistically, all of it except for those two planks. So there we go. We're going to get ourselves something like that to make some nice counters on the inside. One way we could do it is we could quickly make ourselves a plane. Like, so position this plane just like that, scale it down if we need to to get the base set up just like so, and we are going to get some nice counters. I'm going to make a duplicate out of this. This way we have two planes. If I'm going to find it, there we go. We're going to get ourselves two planes. And yeah, we're going to use one plane to, well, make a counter, like so using Bevel and Control A rotation scale. Make this quite a bit smaller. And within an edit mode, I'm going to make some additional adjustments, something like this. Actually, you know what? Doing it like so is okay, making just a little bit shorter. There we go perfect. This up piece, what I like to do is I like to just make a Oh, not this. I'm going to make edge loops, but multiple ones, like so going to make multiple ones in here as well. And this way, we have ourselves a couple of cubes in the corner which we can select Control I, delete everything else. Now select all of them. Grab them to the very end, so maybe probably select these pieces at the bottom as well, just like that and make sure that they're nicely placed. And this way, we're able to get ourselves this type of a counter, which we can also make a duplicate and just like that, get ourselves a very nice setup. Maybe we can even make a copy to the middle part just like that. And have our selves a nice setup. Actually, this one, I'd like to have it a little bit more to the side, so it would have that addition look like it's part of support. But at the same time, having symmetry is not always the greatest of ideas, especially for corner tables. It's just nicer to have a bit more variation inside of it. And yeah, that's pretty much the setup. We can now go ahead and select this entire piece, deselect the base object. Oh, sorry about that. I think I forgot. I did forget the bevel setup over here, so I'm going to go ahead and add a bevel just a small tiny bubble, like, so nice little soft nut touch. Let's go ahead and select this entire table, everything the table, nothing else. Let's convert this to a mesh, join it all up, and there we go. We got ourselves a base to work with, which we can now texture ourselves in with a nice little texture. So yeah, let's go ahead and do that. I'm going to SmartTV project everything. We're going to get ourselves a nice base, go into material, and make sure we start with just the wood, like so and the next step is going to be, well, working with UVs. Let's go on UV editing. I'm going to turn on just a texture so we can see what the hell is going on. Now we can go ahead and I think I see the reason. I see the issue now and the scale is going to be offset, which is going to cause some very weird UBN wraps. We need to make sure we apply scale, then UBN wrap everything again, SmartTV project. There we go. That's a much nicer base. The up thing now we can do is, well, just split up the way the materials are set. This upper part, I got a real nice wood in a resource pack. It is going to be called red wood, like so, and I'm going to go ahead and assign it. And just like that, we are going to have a very nice base. I'm going to isolate this real quick, just so you can see what we're working with. Now I'm going to select the base and these inside parts just like that. Going to make a new material. This one is going to be dry. I believe it's dry or dry dark. Going to assign it. And yeah, it is just dry. These shelves can be another material, and it can be just the side. Wood that we probably use the most often in this environment. Eva, once we are done with this, we are going to get ourselves a very nice setup. I think this is quite a nice setup. I'm quite happy with this result. So now we can go out of isolation mode and continue on working with the rest of the back. I really want to get these parts of the interior. We're going to continue on with it in the next lesson. Thank you so much for watching and I will be seeing you in a bit. 63. Modeling A Shelf In Blender 3D: Hello, welcome back everyone to Master Blender Fred with Wild West Environment. In the last lesson, we left ourselves off with a very nice type of a table right on the front. Now we're going to continue on moving with the back end, as well. We got ourselves a bath back, so, of course, we need to make a bit of some shelves to put some bottles behind. So, for us to do that, Yeah, we're going to start by just making use out of this as a base for the support of our first shelf. So let's go ahead and well, actually, let's go ahead and make a cursor, then put a cube right in this area over here. This way, we'll be able to tell around where we want our bottles to be. I'm going to go ahead and just put the front to be in this kind of thickness. I think that is going to be quite okay. The back, we can move it behind ourselves. But now though, let's go ahead and just simply grab this entire shelf, and clicking, we can hide it out of the way. I also noticed that this side over here is going to be where perhaps we wanted to shelf the end, but we can also do some final tweaks because I do ideally want to have this shelf quite a bit smaller. So let's start off by getting this upper side over here to just be close enough to this place over here. And I'm going to lower it down a little bit, so we have ourselves a very first shelf. This shelf is going to go to the end over here. Now, in terms of a setup that I want out of this, it's going to be a little bit different. We're going to make a little bit more of a unique type of a pillar over here. That's going to look much nicer. So for that, we're going to just simply make a new cube. The reason being is that I just wanted to cover this up a little bit, like so. In that way, the backside is not going to be affected, so I still want this backside to be vertical. But this on up hand, we can just use another shape, and we can position like so, grab the upper section, put it right over here, just like that. Grab the bottom piece, like so, move it downwards just like that to the base, and now we can add ourselves an edge loop over here. Then another edge loop over here, select this base and move it like so. And this way, we're getting ourselves quick and easy type of additial shape out just like that. And the thing with this type of a furniture, the thing that I'd like to do ideally is going to be, if I move this a little bit to the back, so so we could check that, Hey, it doesn't actually match up yet because we need to slightly adjust this. So I'm going to go ahead and do that. I'm going to select an entire edge loop because I like to keep this a little bit more clean, like so. We're going to get this setup. Okay, so what I want to say is this is going to be a pillar on its own, but I don't want no pillar over here. I don't want a duplicate. I don't want symmetry in this particular corner. So we got to decide how we're going to set it up in regards to the weight. And what I mean by that is if we just keep it as it is, if we add bottles and then we're going to be adding a mirror on the side, none of that is going to be sustained by just the weight itself being kept on this one end. So the thing that we can do over here is going to be offsetting the weight by just making another pillar, but this pillar is going to be supported by the upper section. And I'll show you what I mean by that. So we can actually make a duplicate out of this. I'm going to go ahead and go on to going to go on to Edit mode, select all these bottom pieces, delete them, like so. And this piece is going to go a little bit higher up. So the way we're going to set it is we're going to create ourselves another support over here. We could make use out of this one just over like so, but because it's on the indoors of the roof, we can also just simply make an additional support. So we're going to go ahead and do that. I'm going to go ahead and select this on the side, click Shift D R z 90, like so. And just move it up like that. Place it at the top of this, like so. And the next thing is going to be hit tab, click Alt &S because I do want this to be just a bit bigger. So 0.016, quite a decent amount. Then we can move this all the way to the back, like so, and offset this our piece. This still has a bubble, but if it didn't, all we'd have to do is just click Control plus, and that would extend to the corners. But again, because it's a modifier, non destructive way so far, go ahead and just move it up like this and keep it as that. So this will give us an additional support from the top, just like that. If we move it like so, it's going to be really nice because we're going to be able to if I move this a little bit down, we're going to basically be able to have this be attached from the top down. And without the need of another support like this, giving us a very nice and unique type of a shape. Now, in regards to the whip over here, what I'm thinking is we need a human reference at this point because we now need to kind of visualize how a bottle would be placed. So maybe a little bit more to the right, so that's going to be quite okay. I'm just eyeballing this at this point, and I think that's more than okay. The other thing that I like to do is perhaps I want to add another beam over here or just move this a little bit to the side. I'm looking at this upside. So I do want this to be symmetrical. So what I'm going to do is I'm going to grab both of these beams, and I'm going to select them, click S and X, and making sure that we do have the median point. There we go, S and X, and just like that, a little bit of an offset. It's a little bit too much. Just a little bit, like so. This way, we are supporting this edge a little more over here. All right, so we got ourselves the basics out of the way. Now, let's go ahead and think about the thickness a little bit on this part. So the thickness may need to be a little bit thicker just to kind of have that nicer, chunkier look in comparison to the table, for example, that would be this would have been way too thin, and now it's going to be quite alright. I'm going to go ahead and duplicate it, make a duplicate, put it up like this. And I am going to just move this a little bit so it wouldn't be stuck on the side. And that is a very nice and simple base. Then the next one is going to be like over here. And this one is going to be an empty shelf. This is more of a cover. So we don't really need to be having it this big. We can just make it in half, and that's going to be quite okay. As for this piece, we're not going to be having it going all the way across this up side needs to have a mirror, which we're going to set up in a second. We'll firstly move the shelves around. And yeah, this one is quite a nice shelf. I'm going to make a duplicate and just put this over here as well. Going to lower this down. And in regards to this piece over here, just to make it more of stylized, I will keep this edge slightly longer, but this is going to be positioned in a middle of where the mirror is going to be. So we don't know exactly where that center is going to be, and for that reason, I'm going to keep it to something of this distance. Again, I'm just eyeballing for now because we need to set ourselves up with a mirror, so we can change and tweak the adjustment over here. This part, I do want to be a bit lower than this, just to have a different variation, and I am going to move this a little bit inwards like so. We can also make use out of the snapping tool over here. It would be very useful with the face. So GX, and I can just move this face. GX, there we go up to here. Can even do it for all the up ones, to be honest. Like so. But this one over here, we can go ahead and select it GX, like so, and now it's going to be perfectly fit on this part. These ones over here look like they're going to be right. I'm not too worried about that, let's go ahead and add ourselves a mirror. I'm going to go ahead and start by setting or geometry just so we could get myself a nice base or that mirror. We're going to go ahead and make a super simple basic type of a plane. Turning off the snapping tool at this point, no need for that. And let's go ahead and position ourselves with this square being, like, so now in regards to the scale, we now need to consider the frame of a mirror. So if I was to use something like a cube is look a square like this, the mirror should be more of a roundish type. The reason being is that it would need to well, conform to it frame. But I don't want this to happen. I do want this to be a little bit more, well, vertical. So I'm going to click, X and 0.8. That way, we're going to get ourselves 80% of that scale, and it's just going to be much better as a base. Then we're going to continue on with this. In the next lesson, we're going to start with an actual mirror shape, and of course, the texturing part is going to come next. So all of that is going to be with the next lessons. Thank you so much for watching, and I will be seeing you in a bin. 64. Using Subdivision To Model Mirror In Blender 3D: Hello and welcome back everyone to Master Blend RD with Wild West Environment. In the last lesson, we got ourselves to bakes off the shelf. It took a little bit longer than I expected, but it's always best to just take your time whenever you're forming the overall setup of, like, furniture and whatnot. So all of that is looking quite right. I do want this to be a little bit longer so we could just hide the beam out of the way. That's quite right. Or alternatively, we could grab this beam and just move it downwards, so both of the setups work. Okay, so moving back to the mirror, what I'd like us to do is going to be quite unique setup. And before doing that, I would like to go back to modeling. I don't want the stuff just to be kept as is going to go out of isolation mode. In the modeling mode. So grab ourselves this setup that we had previously, and I'm just going to hide everything out of the way except for these parts. Maybe, maybe, maybe, maybe I will like to get the roof as well and the base as well. There we go. Alright, so now we have the parts that we were working with. Going back to the setup, let's see what we can do with it. Right. To set up this mirror, we're going to go ahead and go into edit mode. We're going to grab this mirror piece. Before doing that, every time we should get ourselves used to applying rotation at scale. Always good first step. And before touching anything, I do want to be up and down to be in the same location. We are going to make use out of the snapping tool, all that. So up and down GZ and then snapping it to the surface. Okay, so the next thing. The reason we did that is because the next part is going to be quite important. We're going to click Shift D to duplicate, and then we're going to click G Y to move it out. He separated by selection, and we got ourselves this type of a plane. The next part is going to be quite simple. We're going to just select this entire piece. Click Control B and no, sorry, Control Shift B. And that's going to start bullying this entire piece just like that. And I think I'm going to go to vertex selection just so you could see the vertices. So Control Shift B, and we can use scroll up and down to make a very nice setup. And I think we're going to get ourselves something like this. We can make adjustments over here. So in terms of wi, we're going to make sure we clamp overlap so it doesn't go past this setup, and then afterwards, we can just play around with the shape. 0.5, I think, was quite right with the super eclipse profile type. And I don't think we need to do anything else for this matter. I think that is a nice little shape. We can go ahead and select it. We can click S and X just a little bit to kind of address this roundness, and then we can just scale it down on itself, and we got ourselves a nice base or a mirror. Now, let's go ahead and just place it right on this setup. I'm going to go back and use our Trustee snap tool GY, but it like so then it's going to start giving us where it affects because it's exactly overlapping with that pass. So it doesn't know what to do. Let's go ahead and just extrude it a little bit, like so just a little bit. We can then go ahead and click I to inset, and we do have an issue over here. You see this issue? The reason being is that there are two vertices over here, overlapping. So we're going to go ahead and fix that before making use out of the set, we're going to select it all. We can click or merge and merge by distance. And because they were completely overlapping, they're going to be in exactly the same spot. And at the bottom, you saw removed vertices. That means this worked. Even if it's a small margin, it should work for you. You can try increasing this a little bit if you want, if it's not working for you. But again, because we use clamp overlap, it will definitely be on top of one another in terms of vertice selection and should give us this result. Okay, so now we can go ahead and click I, and that's going to give us that fixed result. And we can make another inset over here just like that. Then afterwards, we can select this piece, extrude it a little bit, use AlternsO sorry, we're going to grab this edge over here, Alterns and just slightly push it inwards, both ends just like that. So we're going to get ourselves this type of a result. I do want it to be a little bit smalleer I'm going to go ahead and select these parts over here. Then I'm going to use scaling. This time, I'm going to use scale tool so we could make use out of the scale only in X and Z values, not Y, because we don't want to be squished like this. We only want us to be coming inwards and we can use this to get ourselves this border to be a little bit thicker. I think this is quite all right. Let's go ahead and use Shade Smooth. Let's see how it looks like. And as a base, that is looking very nice. The other thing that we can do for this is going to be using a modifier, something called subdivision surface. This just subdivise the entire surface, which is going to well, average out a lot of vertices. If we go ahead and make use out of the bevel tool to help us ease off those edges. I'm going to turn off subdivision real quick and just play around with the bevels going to apply scale. Rotation and scale up to you doesn't matter because we just looking for a scale. Then we can just go ahead and lower down the bevel and it's still not giving me the right result. I'm wondering why that is. Did I turn off the subdivision? I don't think I have. I'm going to take this off and no, it's still there. What is going on over here? This bevel is working. I'm going to shade Oto Smoove. Maybe that will help increase this to something like 50, and we're getting a little bit better results. The vertice amount is still acting up a little bit. I'm going to shade flat to see what's going on with the setup, there we go. We want 0.001, and now if we use shade Oto Smoove, we're going to get this sort of a result. And if we apply subdivision on top of it, are going to get ourselves in mass. And the reason being for this is because when we are applying subdivision, it is being applied on top of the sorry, it is going to be applied the first thing before bevel. So that's why the Bb itself is not doing anything. But if we drag this using this section top right of the modified downwards to be placed underneath the bevel, going to get ourselves this a result. I'm quite happy with this. I'm going to just simply select this in the middle, going to click GY, just move it back a little bit. The other thing that I like to do ideally is going to be use a small inset. By clicking I and just inseting a small piece of 0.001, and the reason we're doing it is now if we enable the real time again, we're going to see that this edge is going to be quite sharp in comparison, which is exactly what we want. So this way, we're able to make quite a soft looking touch for this mir. I think it is going to look perfect overall. So now we can go ahead and actually start applying some of those materials. And as for the bar itself, of course, we'll need to make some quick cleanup. I reckon we can do that right away. I'm going to select these entire parts, so, including the mirror, actually, including the back, like, so now, before we actually join everything up, we do have an issue, so let's go ahead and just grab everything except for the mirror like so, and we're going to make use out of the bevel. So I believe the bevel should be able to be applied on top of everything. I'm going to reset rotation and scale for everything. The amount can be lower down. Do something more reasonable. Like so, and this should be able to be applied control in L applied to copy modifiers. And I'm just checking if all of this is going to be quae right, which doesn't seem to be the case. The reason being is that I do want some pieces to have that more thickness. So everything actually everything else, I do want to have more thickness, except for the part at the back. So what I'm going to do is I'm going to control J to join everything up, except, well, the mirror and this part over here. Then we can just use or shift to kind of bevel everything off a little bit more. This piece is going to have a smaller bevel, but that's okay. And this piece was a combination of everything, and it's going to give us a bit more topology, but all in all, a softer touch. And I think all in all, that's going to be quite right. Now we can go ahead and select it all, making sure I'm selecting all. There we go. We can go ahead and convert it all to mesh, and, of course, apply Control Jade to join everything up together. Now we have ourselves a real nice looking shelf sitting on the side. So that's going to be it from this video. Thank you so much for watching. And then in the next one, we can finally do some texturing work for this. 65. Texturing Shelf And Managing Asset Browser In Blender 3D: Hello and welcome back everyone Toaster blended Fred with Wild West environment in the last lesson, we got ourselves a very nice type of a shelf to go at the back. We're now going to continue on with it and get ourselves some texture because right now it is still gray looking. Let's go ahead and sort that out. Before doing that, though, I'm just going to double check if this is okay. This piece of timber was a little bothering me because we did stretch out, and it ended up looking a little bit too, well, stretched out. Let's go ahead and just quickly smart project the entire setup. I'm going to go ahead and this one is going in a different way. I'm going to change the rotation method to horizontal, and this should give us, this should give us a quite nice setup. Okay, as for this, let's go ahead and sort it out. We're going to make ourselves, well, our life's a little easier by just going ahead and applying this entire piece with Smart Project. Like so the wood that we want to use is going to be red wood, the same as we did use for the top of the bar. And I think, yeah, we do need to unwrap it again, unfortunately, with a vertical setup. This should give us a nice look. Going to go on to the UVs. And for the UVs, of course, we need to, well, adjust the way the grain looks like. So I'm going to go ahead and increase it. Like or sorry, make the texture larger by making the UVs smaller, something like this. There we go. The one thing that I would like to add is going to be a bit of an extra touch on the top. I totally forgot to do that. I'm going to go ahead and just do it manually, like so. The thing, however, now, is that if we are adding it, we need to consider how the bevels are set up. So since we have all those bevels from the modifiers, it's going to be a little bit different off a process, but we can still do it. I'm going to make sure that everything on the top is selected like this. We can click E, Enter, and then, well, AltnX Alternate is not going to work, well, as you saw, so I'm just going to manually upscale it just like that. And thing would be to just slightly fix up this part over here. I'm going to select this part at the bottom, click S z zero, just like that. And I think yeah, that's quite good. We're just going to go ahead and readjust this entire piece. Now we can select it like so and lower this down just like that. Just to make sure we are having right proper UVs, I'm going to just unwrap this small piece, like so this should give us something like that, which of course is a little bit too big, so we can lower down so we can get something like that instead. Okay, so we have ourselves the wood texture. The mirror, however, is not properly set. Let's go ahead and fix that up. We're going to go ahead and select this piece, clicking L, selecting it like so, going and adding a new material. This material is going to be, well, let's start off with iron dark, like so a sign. So we got ourselves a nice base, which I am looking at the side overall material. Quite a bit too big. So I'm going to for that reason, increase the scale of TV. There we go, even more, actually, because we want to be, well, more fine tuned or finer looking metal. And by increasing the scale, we get ourselves this type of a look, which I think now looks perfect. Thing is going to be, of course, within the centerpiece. I'm going to use C, which gives us this tool for selecting circle. Then we can use Laufms button to select it all right click to cancel that tool. Then we can click Control plus to make a selection Control plus again to get an entire inside piece. Clicking plus adding a mirror, stylized mirror and assigning it like so and that way. We are going to get ourselves this type of a look. The question is whether or not we need to make it bigger or smaller or how this is going to look like? We definitely need to make it smaller, like so. And I'm going to adjust a little bit so we're not going to get that pattern in a middle, just like that. There we go. Let's see the rendezvous of this setup. All right. So yeah, that looks quite nice. I'm quite happy with this result. Let's go ahead and continue on with the setup. Since we finished up this bookshelf, we can go ahead and add a couple of items into Asset library. So for that, let's go on to Asset Library. Let's make sure we rename this to a shelf. Like, so we can now go ahead and I'm going to make a duplicate out of this. Right click Mark as asset and just put it in a West props. Like, so, put this off to the side. Click A Asset browser items. Just like that. If we ever want to reuse it, then this piece over here, I believe it's just one piece. We can go ahead and just use this or actually keep them separated. We're going to just call this frame, and this one, we can call it door or Western door. Like, so I'm going to make a duplicate out of them both, just like that. And we can right click Mark as asset, and they should be two separate pieces. And I just realized the mistake I did. I'm going to click Control Z and use Control A, rotation and scale first. Now we can right click Mark as asset and there we go. We're going to get ourselves nice frame pieces. All right. So the other things that we can do is going to be this coffin over here. I believe we still have it separated. I'm going to click Alt R just to check. Yes, we do have a nice rotation. So we can go ahead and move this off to the side, Alt R and apply rotation and scale. F two, call it coffin. Right click Marcus asset. And I believe those free assets need to move to asset browser items. So now we can move them onto the Western props just like that to increase our collection. Alright. The final piece could be this bar over here. I'm just going to check. It is a one piece, which is nice. Going to make a duplicate, put it off to the side, just like that. Check if the naming is proper, which is not. So let's call it table. And now let's go ahead and right click, Mark as asset, move this on to asset browser, and all of that is good stuff. All right. So now we're left with a couple of other items for the front. I'd like to start off with the chairs next. The reason being is that they are the biggest items, and small ones can also be just quickly filled in within the setup. So for the chairs, this by default is set with a single type of a leg. So it's just right in the middle. But that was done as a quick grey box setup. We can change that up if we want to, which we will, of course, because it's going to look so much better overall. And as for the top, we do want some wood type of a setup, similar to what we did with the boards. We want this to be on the top, as well. So we're going to continue on with it all in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 66. Modeling Stool Using Array Symmetry In Blender 3D: And and welcome back everyone to Massing Blender F D with Wild West Environment. In the last lesson, we left ourselves off with some nice little asset browser items all the way back over a year. Now we're going to continue on with setup this time. We're going to model ourselves a stool. So for a bar stool, let's go ahead and think on regards to the scale, how it's going to look like, and what can we do to make it look much better. So let's grab ourselves this human, this platform and the table in the back. So we got these pieces. Once we isolate, we're just going to be working with that. The reason we're grabbing these parts in the back are just simply for some reference on how it's going to look like. And I just noticed this bars tool has a bit of an issue. So this part over here for some reason, was seen through, which we can fix it, or we don't have to because it's not going to be visible, but it is getting in my way of just making me a little too frustrated when I focus on added spot, so I just fixed it. Anyways, going back to this stool, what we need now is going to be well, the planks over here. We can go ahead and grew up that and set ourselves up with the base rounded type of a setup. So the it is we're going to firstly decide how many of those planks we want within our setup and how we're going to make them into a rounded object. We already have the technique, the setup that we used for a door. We're going to pretty much use that same type of setup except for the planks. And the count is going to be a little bit larger. The length is going to be a little bit larger. And now it's a workable setup. The gaps is a little bit too much. We can go ahead and change it. The thickness, random less. We definitely want to change it a little bit to get this kind of a look. There we go. I think it's going to be looking quite nice, although it's a little bit too much. Okay, let's lower it down by this much. Perfect. So the next thing is going to be grabbing ourselves a cylinder. Cylinder can be, let's say, let's see, 16 16 should be right in terms of the setup. I'm going to make this quite a bit smaller and just think about how we're going to have the setup. So something like this will be quite right. Okay, so now once we have it set like this, we can go ahead and make a cut. So let's go on to this. We're going to now go ahead and convert this to a mesh. We don't really need to worry about it being a geometry node. So we're going to use Boolean intersect, and object this fast. So now we can go ahead and hide it to see how it looks like. And it looks quite right. So I'm happy with this result. Let's go ahead and use it. I'm going to go ahead and just, what's the shift enH? Nope, AltnH. There we go. That's one I was looking for. So yeah, let's go ahead now and just apply the boolean AltnH and let's delete the cylinder. Now the next thing is going to be we're not going to worry about the material for now. Let's go ahead and just make everything black and white or gray, for that matter, Solly just basic material. And let's put this over here. L so a nice little base. For the setup. All right. So the next thing that I'd like to do is going to be to think about the setup on this in the way that the legs are going to be forming out. For that, we're going to go ahead and grab this upper piece. I'm going to use cursor to active so we could have ourselves a very nice base for the origin point. Then we can go ahead and add ourselves a cylinder. We are going to make the legs cylindrical. I think that's quite okay. This time we can just use eight. We don't need them to be too much. Eight, I think is perfect for something so small. And we can just move this downwards. Then the next thing that I'd like us to do is once we have it like this, we can decide on what to do with, well, how many legs we want, how the setup is. And the best thing we can do in regards to that is to make use out of the array. So we can use mirror if we want to have two by two legs, like four legs in total. Or if we want to have variation and control how it's going to look like, we're going to use a bit of a different method. I'm going to select this, and at this point, honestly, we can go ahead and just move this to acid to grey box complete items, so, so we can focus on this a little bit more. We can now go ahead and grab ourselves a plane or any other shape. Sometimes I prefer to use an empty as well, but honestly, they can get in a bit in a way. Because it's hard to select them sometimes personally. So I'm going to make use out of one of the tools. Maybe a cube, good starting point. I'm going to make this smaller and then talk a bit about what is going to happen. Let's go ahead and just apply the scale. Going to make it even smaller, apply scale. The next thing is going to be well making use of that cube. So we're going to go ahead and bind our cube with the setup. I'm going to go ahead and just make it just a little bit smaller so it would intersect with one another. So well, preview what's going to happen. And we're going to go ahead and select the cylinder. We're going to select object that cube that we created, and we're going to get something like this. It's going to look a little bit weird. The reason being that this is happening is because when we select this, right now the scale is a little bit off. I'm going to select both of them, apply scale, like so, and now we're going to get ourselves more of an interesting setup. So what is happening right now? Well, the way it behaves the way the ray is behaving now is that it counts the origin point of both the cube and the cylinder and tries to offset based on that, how it's position, how it's rotated, and all of that good stuff. So the thing that we want to do first is always going to be applying rotation and scale. That way, now when we are, for example, rotating the cube, we'll notice that we are also rotating these cylinders in the middle. And if we are moving the cube off to the side, it's going to offset each one of those cylinders to that same amount. So that's essentially how it's going to work. And you might be wondering, well, how do we actually control this a little bit better? Well, we can just grab the cylinder. We can go on to edit mode. And because when we are moving an object out from that piece from the origin point, the origin point itself is still going to be kept in that same centered piece that we had over here. You can see that origin point, that orange type of a dot is still being kept the same. So what that means is that once we move this cylinder out onto the side, we can click Z and just move it like this. And you can see that just by doing that, we're able to get this type of setup. Well, we can just rotate the cube to kind of visualize it a little bit better, and just by rotating it, we're going to be able to do it like this. We're going to decide on the amount of legs we're going to have. So if we have free legs, we can just select the cube and just rotate it until we have a very nice position like so. Or in this case, if we want more legs, we can go ahead and add one more and then realign the position. Until let's go ahead and see. There we go. Until we get something that would give us some nice setup. We can also adjust which angle it starts off and whatnot. So, for example, if we want, we can go ahead and select the cylinder, we can click RZ now, and that's not going to work. We're going to go ahead and go on to Edit mode. We're then going to go and select predecursor to allow us to rotate it. Like, so I think I'm going to just rotate it in nine degrees. So it's going to rotate it on a free decursorO we could have used the I believe active element would work as well. But e a way, once we rotate it, we can see the setup and maybe rotate it 45 degrees instead. Like, so so that way, we have nice solid, stable setup. All right, so now we can go ahead and start finally to adjust these legs, like, so I'm going to grab them out and move it like this. And because we are set with the array, we can go ahead and just move this a little bit off to the side, just like that to get ourselves real nice type of a look. Just like that. And then we can work our way with the entire setup. So I'm adding some edge loops, some control edge loops so that way. When we make a selection over here, we can just simply tweak some values around, play with the shape, and get pretty much any type of form that we'd like. I'm going to right click, shade Auto smoove and maybe even make this a little bit smaller as well, there we go. Something like that is going to look excellent for us. Really glad to shape. The only thing that we need is a bit of a base foundation. So I'm going to make this a little bit thicker just like that. Although this is getting upper section to pick. So I'm going to go ahead and just select it, so drag this downwards, and there we go. We're going to get ourselves a night a stool. Going to right click Set OgintFredcursor, actually. And I'm going to just lower this down a little bit. So we can make a bit of adjustments, just like that. Make this even thicker, actually. There we go. Looking much, much better. Although I still don't like how big this is in comparison to the human itself, this tool has to be a little bit smaller, just like that. And now the legs are a little bit too off in regards to the setup. So what we can do is we can select this entire piece, select the upper section at the top as an active element, go to where is it? Active element rotation, and now we can just use the rotation over here to quickly make a nice adjustment. Just like that. There we go. Something like that will do quite nicely. I am seeing an issue over here. I'm not sure why that is happening. Let me just have a look. Maybe I just need to select them, shade or smooth, and increase. There we go. There we go. Now it's a nice fix. And the bottom piece, just quickly raising it above the floor. All right, so I'm happy with this. Let's go ahead and add a quick bit of some support at the bottom pieces. Like, so Nothing too fancy, but it's just going to add a bit of an extra touch to the visuals, just like that. You can go inside of the wood a little bit. I'm quite happy with this result. Let's go ahead and join this all up. We can bevel this a little bit as well, course, that's going to give us a real nice type of a setup. And I'm not seeing that this is working properly. So why is that happening? It's probably because we can just turn off the clam to get this to work. There we go. So now we can just have that bit of an extra edge just like that. And yeah, we're going to go ahead and continue on with the setup in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 67. Final Stool Touches, Using Array Mesh In Blender 3D: Hello and welcome back everyone to Master blend of F D with Wild West Environment. In the last lesson, we left sets up with a nice stool. We're now going to add a bit of extra detail with the bolts. And for us to do that, we can just simply drag ourselves and drop it like so, and we are going to make use out of the array that we already have. But for us to do that, let's make sure that this is linked off. The reason being is that we do want this to be, well, edited and adjusted in regards to its origin point. If I was to, for example, go to Edit mode and move this off to the side, now the origin point is on its side, as you can see over here. The next time if I was to drag the bolt, it would have that origin point also on the side. So for that reason, just make sure you have that item unlinked. That way, you can scale it up and down and set yourselves up with a nice bolt control. And speaking of controls, we're going to make use out of the origin point that is placed in this free decursor which is going to basically centered to the chair let's go ahead and do that. We can set origin to free decursor like so. The next thing is going to be I'm going to just create a cube, which is going to be quite too big. So I'm just going to make it smaller, so use apply rotation and scale, and then I'm going to right click and again, set origin to free Dcursor. Now both the origins are in the same position. Next up is going to be again, just like we do with the legs, we're going to make use array, so we can increase the count to something of a more reasonable amount, something like 32, and it can actually be even in regards to the setup of these planks. So if we were to use maths, for example, a little bit, we can see that the amount of planks that we have is six, nine. So nine planks in total, we want to be on top and the bottom. So nine times two, 18. And we also want to have two bolts on both sides. So it would average out those distances, basically, right in the middle. So in total, that would be 20. And that would theoretically, would give us the right amount of count. Let's see if we actually added everything up together. Properly. So I'm going to take off the relative offset, going to use object offset instead, select object as a cube. And when we turn this around, we should get ourselves there. We got a very nice and simple type of a setup. Although I will probably go on to Edit mode for this one, use the precursor as a base, and we can just change this. I don't really like the rotation gizmo. I don't really use that often since I kind of find that visually, it looks a little weird. I'm going to go ahead now and just rotate it a little bit, so it would be a little more on that piece of wood. Then we can go back to the cube and see if we can align everything together. And let's see. We are almost aligning everything together. Maybe we need to offset it a little bit. Like, so and it seems like it's okay. We just need to perhaps go into this setting. I'm going to go on to median point, and I'm just going to scale this down by quite a bit, so seeing if I can just adjust it just a little bit. So most of it is right. Some of the pieces are a little bit offset, and I'm just wondering if I can do anything about it. I can select both the bolts and the cube, use our Z to rotate them all at once. And I don't think I can get it better, unfortunately. I think I might need to adjust it manually myself. Which I think is acceptable. I think it is acceptable for this particular case. So let's go ahead and apply now the modifier. We can just use this button over here. We can now delete this cube and see if we can perhaps get a better match before we adjust the rest. So something like this is okay. I'm going to go to the top down view, hide this out of the way so we can see what's going on. Like, so and now, let's see. So this part is okay. The upper section is a little bit that worries me. Let's go ahead and fix that. Going to right away, just grab the ones on the side, delete those vertices, select this one, and just write a really quick reposition this part. Like, so if we want a quicker adjustment, a real nice way would be to make use out of the proportional editing. Once we have proportional editing, there is an option called connected Only. If we have this on, that means that we can just have one piece of that bolt selected, and we can just move it, and this should move the entire bolt because nothing else is connected to it, which is a real nice bit of functionality. So I'm just making sure that these are set on a plank, which I think now they're okay. Something like this will do great. Maybe this one a little bit as well on the side. There we go. Perfect. All right. So now that we're done with the setup, let's go ahead and just join it all up to the planks, or before doing that, it might be best to do some UV setup because right now we do have material applied. Onto those bolts, but the wood itself, everywhere else is quite off, so let's go ahead and fix that. So if we can just take off the wood completely and apply ourselves to dry wood over, like, so then go on to UBN wrapping and unwrap Smart UV project. There we go. Something like this will give us a nice result. Except for the parts that are positioned over here. And yeah, I would definitely want to fix them up a little bit. So this plank over here needs rotating. These going horizontally are quite nice. And this one over here, I think the rest are the rest should be okay. This one over here as well. And this one over here as well. All right. So these UV editor, we can just go ahead and use R 90. I'm just going to make sure that the proportional editing is turned off just in case it messes something up. And now we should have all the pieces or most of the pieces. I can still see that I miss these two out. Have I missed anything else. And this piece and this piece as well that needs to be rotated. The reason we're doing it like this, by the way, is to make sure that the grain of wood on the top is going in a different direction to the grain on the side. That way, when we having a look on this setup, we're going to see that it just has that bit of a separation differentiation, which I think makes the entire sat look a little bit better in regards to the way the wood grain goes, basically. The other thing is that we probably want to adjust a little bit this grain. So upgrade to go ahead and select it all and make it just a little bit smaller. Not too much, but something like that, I think is quite okay, maybe a little bit smaller. Even so, there we go. I think that's perfect. Okay, so now we can go ahead and well, make use out of the setup completely, and I am missing bolts. What happened to my bolts? Going to click Shift and H. No, alterng and I'm just going to take off the isolation mode. There we go. Now we see the bolts, going to go ahead and connect them all, and we can, of course, duplicate it onto the upper side like this. Once we do the duplication, we can even just rotate it a little bit, but all in all, it's going to be quite right. And just for the sake of it, I'm going to put it on an acid reference as well. So move this out and we can just call it share. Find it using the dot on numpad Markus asset, and we should have ourselves the unassigned share asset now that can be placed anywhere on the world. Of course, let's make sure not to place it on the planks, those crooked planks. They're just going to give us some weight angles. That's pretty much done with the setup. Now we can finally move on to some smaller pieces of this interior. I think we're going to end the lesson here. Thank you so much for watching and I will be seeing you in a bit. 68. Reusing Asset Parts To Create Table In Blender 3D: Hello and welcome back everyone to Master Blender Fred with Wild West environment. In the last lesson, we left ourselves off with a complete stool. Now we're going to move onto even smaller props. And I do really love making them. The main reason is because they need to be fast, so it wouldn't take up too much of our time in terms of production. But at the same time, they have to be thought out, how it's going to fill up certain space. For example, this over here, the surface is quite flat. We need to figure out how we're going to break up this silhouette for the table. How we can make use out of this entire setup. And if we have a look at the reference, we'll notice that we just have a couple of bottles and a barrel on the side. The barrel on the side being that it's taller and it's closer to the wall, so that way, we're able to just have some breakage over here and then some breakage over here on the table. And just by doing that, we'll be able to get ourselves a very nice and simple, well, additional detail on top of the stable. So the reason I like doing smaller props is because it makes us think, how can we speed up the process of modeling overall? And so, for example, with the barrel that you just saw, we can go ahead and try making it a bit faster in terms of the speed. So for example, right now, we have this well, planks already set for us. How can we make use out of them to kind of speed up the entire process? We can make use out of a curve deformer. I'm going to go ahead and use a cursor to active, then create a curve circle, rotate this 90 degrees. In terms of Y and in terms of z value there we go. So it's now going to try to follow this curve over here if we ask it to, which if we selected, it should start trying to follow this curve, which it doesn't want to. The reason being is that I'm going to go ahead and select apply rotation and scale, and there we go. We're going to get this result. And now we can just simply upscale the count, like so to get the most basic type of shape, to fill in this gap, I'm going to use shift and just upscale it the width, like so. And just like that, we got ourselves nice base setup. And I believe there is bending minimum and maximum, there we go, which, if we have a look on what it does, is just going to bend the shape in a quite unique way for the end pieces of this wood. And I'm going to set them both to try to one. It's a little bit too much. Let's go ahead and set it 2.5, and there we go. Perfect shape of a barrel. Now I do think that we do need to increase the count. Unfortunately, we can readjust that with account 42. I do think it was a little bit too wide of those gaps if we have a look at the reference. So for that reason, I'm just going to go ahead and fix up this, like so. There we go. We're going to get this nice little setup. And just like that, we got ourselves a cool looking base for the barrel. Now, let's go ahead and complete this by turning this into an object, converting it to a mesh. We can now rotate it 90 degrees in X, so we can just place it like so. I'm also going to use scale Z, just kind of squish it a little bit. You can delete this circle now. I'm going to select this part, going to duplicate, put it on the top. Like, so or even, you know what we can do? We can just quickly steal it a little bit from the part that we did it for the stool. We don't really need to worry about it being too similar or anything. We can just go ahead and grab it. It has a very nice cylindrical type of a setup. But the top and bottom, I'm just going to go ahead and copy it. So ing a duplicate, selecting the top pieces using L, inverting the selection, deleting everything else. And I'm going to just scale it down like this. This will flatten most of the surface, which is great for us. And just like that, we're going to get ourselves a way to close this top of the barrel. Just like so. And of course, for the bottom as well, just like so. All right. So the only things that are left to do is going to be to make some rings, to make a tab. And again, we can just reuse some parts from already existing ones. Or we can create our one. So for example, the base of this barrel does need some ways of it being placed on a stand. We can again, make use out of this stool over here. It's a nice little base. I'm going to drag it outwards, like so, upscale it and see what we can do with the legs just like that. And so I'm checking right now if the density is okay, which seems to be the case, I'm going to go ahead and go on to the X ray, select entire piece on the top, delete vertices. Oh, sorry, not vertices, delete basis, so that the vertices over here are going to be left for us to just move it downwards. Like, so I'm going to upscale it a little bit as well, and we're going to get ourselves very nice setup. Also, we can just select it all, use Olds, and just shrink it down if we Oh, that's a little bit too much. Let's go ahead and do that much. Just a little bit, like so, there we go. A nice little setup for this section. This part, I think, can be let me think This part can be a separate piece. I do want another platform. For this particular reason, I'm going to use curst active and create a cylinder, so it would be more of a consistent, flat surface. We're going to use 24 for the vertices because it's quite a small prop. It doesn't need to be much bigger, but I don't want the cylindrical parts to be visible, and we're going to just lace this a little bit, like, so adjusting all the pieces. Now we can adjust this as well, we'll be going inwards, just like so, and we're going to get ourselves nice setup. We select top bottom Control B and adjust it. Not going to work, of course, going to click Control Z, going to apply scale. Now I'm going to go ahead and try it again. There we go. That's we're looking for a nice little setup with a shade smooth. So a flat surface of wood platform. Very good, although I think can be scaled down just a little bit more. So it'll be just a little bit thicker. Than this piece, which seems to be off centered. I think it is off centered, actually. So I'm going to go ahead and fix that real quick. I'm going to select this piece. I'm going to use selection to cursor because the cursor should be right in the center, and it still doesn't seem to want to go in the center piece, so I'm just going to adjust it real quick. L so maybe upscale it if need to or maybe lower it down actually, there we go. Much better. All right. We can do it like this as well. The upper piece also is to slightly be adjusted. There we go. Okay, so almost done with the barrel. We now need to just make a couple of rings. We can do so by What's the best and easiest way? Well, we can do so by just creating ourselves a circle, like putting one over here, just like that, using extrusion and oh, extrusion and just moving upwards, then scaling it down to conform to the shape. Like so. Now selecting all the pieces and, of course, making some thickness to it. There we go. Now, let's go ahead and use Shift D and, of course, S Z minus one. G Z, move it down. We're going to get ourselves a very nice base here, O I see. Alright, so I might need to move it over, so just a little bit doesn't seem to be perfectly centered. But it's almost there. I'm going to lower this down just so we could there we go, have ourselves a nice set up and I think the only thing that's missing is the ring at the top, and that's going to be it. So ring at the top can be done in the same way, except I'm just going to go ahead and use cursor active for this ring over here. So that way, when we create ourselves a new ring, it's actually going to be already repositioned and adjusted. So there we go. So this ring can be just starting over here, so use extrusion and oh, what's happening over here. So extrusion. Oh, I see. We need to go on to edge or verte selection, use extrusion. Going to maybe realign it just a little bit, there we go. Extrusion, escape, GZ, there we go. And for this piece, I am going to want to have it something like this. We can have extrude and bring it outwards, just like that. Then we can go ahead and select these parts over here to make a quick bevel. We could use Modifier for that, but personally, I just wanted to see how it looks like, and I think yeah, the setup over here looks nice. But these parts, so I will use a bevel just to make my life a little easier, like sew, right click, Shade Smooth. All is good. And for this piece, I believe this should already have a mesh setup, which it does. We just need to replace the wood that we're using. So dry wood, like sew and the rest, we can well join all of it together after we convert it to a mesh. Control J to join all of it together. Now we can go ahead and select the pieces that didn't have UVs. So these ones over here use automatic UV project, and they are cylindrical, so I do want to fix some parts. I'm going to go ahead and just where is it? Unwrap this part at the bottom first. So UV unwrap Smart, UV project. You should give us a nice base, which it does. But over here, these parts for cylindrical setup, I do want them to be well, having some seams, so I'm just going to go ahead and select edge loops over, like so that seems to be right. Right click, Mark S. Then I'm going to select Edge loops over here. Right click Mark Sem and if we UV and wrap these parts, we should have ourselves perfect setup. There we go. Well, this needs to be iron, actually. I do happen to have already stylized iron on these, so let's go ahead and just assign it, and we're going to get ourselves a very nice and simple setup porta barrel. Unfortunately, we're still not quite done. I really wanted to finish this in one lesson, but we still do have a tab, and afterwards, we can then move on to the bottles and whatnot. So that's going to be it for this lesson. Thank you so much for watching, and I will be seeing you in a bit. 69. Adding Decor To Our Table Barrel, In Blender 3D: And welcome back everyone to Master blended freedi with Wild West environments. In the last lesson, we got this nice, really, really nice barrel, and we're now going to go ahead and just put this on the table. Let's see how it looks like. I'm going to go ahead and just slightly realign it to where we want this to be. Make this a bit smaller, something like this. Let's see how this looks like. The legs are a little bit too high up, so I do want to lower this down so we could get more to this height, I think that's going to be better. So I'm going to go ahead and use Al Z, my trusty thing that allows me to see through the mesh, and just like that. I think that's going to look quite okay. There we go. Maybe now it looks a little bit like the legs need a little bit of inflation, lt and S. There we go. Now, perfect. Quite like this setup. Okay, so in regards to the tab, what is the fastest way of setting it up? Well, I'll show you a way we can use Curso to active, create ourselves a mesh of a cube, going to make it quite a bit smaller, just like that. And the next thing is going to be creating a shape. We can go ahead and select all the pieces over here, just like that. Then we can use Control B. And once we have it, we can add a couple of segments. We can use custom shape, and we can create our own unique shape. So let me just reset the curve first so we can start working with it. I think I'm just going to go ahead and do something a little more interesting. So something like that. All right. That's going to be quite okay. I think that's okay. All right. So the next step is going to be well setting up the tab. I really don't like the shape, actually, there we go. I think I'll just keep it more standardized shape. There we go. Something like this, much better. The next thing will be just to select the edge or the base of the last piece over here. We can click one, and then we can well draw our own tab. We can hold control and use Oh, if I was to hold control and use a right mouse button, there we go. We can essentially draw ourselves a tab. Of course, in order to create the shape, it's going to basically select the last phase, which is over here. And if we do too steep of a turn, it's going to just bend everything, and that's not going to look quite as nice. So I do recommend you to add a couple of edges. So example, this part over here can be lower down like so, and that's going to give us this nice little bit of a tab. And if we want to, we can even just use Alton S to expand it if we are using it with proportional editing. That's going to give us a very nice result for what's selected over here. Also for a shape. You have a voice, you can see how easy and simple it is to create this type of a tab. Do you want to be nicely set up. There we go, something like that. And afterwards, we can just, you know, make an extension. To this piece, like so, and that's going to be quite right. Then we can go ahead and make another cube real quick, which I'm going to make it quite a bit smaller until we get it onto this area over here and make a simple looking tap. Nothing too complicated, a little bit of an extra shape, like so. Just like and we can extend this part and get ourselves something like this. Oh. So real quick adjustments to the shape, we're able to get ourselves a nice setup, which we can then use subdivision surface to I'll get a bit of an extra detail out of it. I want to, for example, add a bit of an edge loop over here and at the bottom as well, and that's going to keep us that kind of shape, which I think for the step is going to look quite right. Okay. So now we can go ahead and just turn this into a mesh, C Control J, and this end piece, I do want it to be having a little bit of an extra detail. So I'm going to go ahead and do that. So. And yeah, that's nice. I'm quite happy with the set. Okay, so once we have something like this, we can go ahead and finally add some texture. So I'm going to use iron again. Stylized iron. Let's go ahead and check out looks like first. For a I think it's going to look quite right. Let's go ahead and UV and wrap it. So for these parts, we can go ahead and well, we need to go on to UV editing. I'm going to isolate this entire tab. Like so. Select this piece, select this piece, UVNRapmrtPject, put it off to the side, and then the rest can be just done through here using Mark Sam this one at the top doesn't matter too much. I'm going to use Smart projection, like so. And here, since we already have a mark seam, we can do it, like so. The reason I don't really care about this upper section over here, even if it has some additional seams, again, such a small detail, and this metal has a lot of noise and whatnot. So it's really hard to see those seams. So that's why I'm just making use the best use out of my time and just putting it in the setup. I'm just packing it just for the sake of it. Doesn't really need to have that. But still, I think it's quite a nice extra bit of detail. Alright. So back to modeling. Let's go ahead and join these two parts. So we can go ahead and call this up a barrel. We just apply a rotation and scale. We call this table, barrel, like so, going to make a duplicate onto the side. And of course, we are going to right click Marcus asset and with an assigned, drag and drop it into the Western prop. Okay. So the next thing is going to be, well, the bottles. Let's go ahead and just make ourselves a vari base of a bottle shape, which then in the next lesson I'm going to show you how we can reuse that essentially to our benefit. So cylinder. Let's decide on starting 0.12 is going to be more than enough for a small bottle like that. And I'm just going to position it like so isolate this view, and we can start working within. So in edit mode, let's go ahead and just lower this piece. Let's go ahead and clip one. And now we're going to work with it as if it's just a simple two D view. So start it off. We're going to extend this bottle, so it has a bit of a bevel. We're then going to go ahead and extrude this part, like so extrude it again. Low this. So that's going to be the part that goes to the base to not the base sorry to the neck or the bottle cap top. The bottle. Then extrude it again. This time, it's going to be even further, like so extrude it just like that, and extrude it again. And we're going to get ourselves well, the top of the bottle. The top of the bottle can have additional extrusion over here. We're just going to look something like this. And now we can use inset a little bit to make another extrusion. The reason being is that we do want this to have well, some part that looks like it's clogged up, and for that reason, I just add the small version of this. And afterwards, we can go ahead and just use some bevels kind of smoothing out some of the shape. So bevel over here, super eclipse to make it simple. Select this. I'm going to double click G to move it a little bit. Then click Control B. And that's going to be a little bit too much for the segments. Let me lower this down. Select this part. Use the segments again as one, and that's pretty much it. Nice base for the bottle. If we want, for example, to be extended a little bit, maybe this bottle cap is a little bit too small, we can go ahead and just do that. And by just moving it in and out, scaling it outwards, then lowering it down, we can just make small adjustment type of tweaks and get ourselves a very nice result. This part, I don't like it being this sharp. So I'm going to go ahead and just use a bit of a bubble like so. And we're going to have ourselves a very nice base of a bottle. Alright, so we're now going to learn how to make use out of this base shape to create variations of a bottle. So for that, we're going to do it in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 70. Modeling Bottle And Its Variations, Reusing In Blender 3D: Okay. Hello and welcome back. A on toaster blend of three D with Wild West Environment. In a last lesson, we left ourselves off with this nice base of a bottle. We're now going to go ahead and make use out of it to set it up with the materials needed. So we do have some nice glass bottle shaders. We're going to make use out of one first, like so. And let me just double check. Yeah, we only have three of them. And for us to make use out of it, as you can see, right now, it's not going to look quite as great. We need to definitely unwrap it. We're going to go ahead and do that. We're going to go to OUV editing. Isolate this bottle and now we can go ahead and just select the base, so make a seam. Then we can hold Alt and create ourselves an entire edge going across holding Shift, di selecting the base. Just like that, we're going to get ourselves a very nice type of a setup. I'm going to Markem over here, mark them over here, like so. This part is going to be a little bit stretched, but that's totally okay. The reason being is that the glass material that's set for here, if we unwrap it, as you can see over here, the glass material is just not really required for the setup of a very accurate or specific type, it's okay to warp certain parts. That's why when we're looking at it, it's going to give us this kind of result. Now, we need to decide whether or not we make it smaller or bigger in regards to the setup. And I think what we have over here, I think it's quite okay as it is. Let's go ahead and then simply work on the next piece, which is going to be adding a label. So, I believe, yeah, we have six different labels which we can make use out of. These ones will be if we go ahead and have a quick look. These ones will be within the resource pack. If you want to check them, I'm going to move the bottle out so I can easily make a selection afterwards. So resource pack, let's go ahead and enable it and you can have a quick glance at those resources, just like that. And if we go ahead and select the label, we can see that these are the type of labels that we have. We are free to make use out of them in regards to this project in whichever way we want. But I will show you just my thought process on where to use what. Before doing that, though, I do want to show you a texture so there you go, each one of them will have its own unique texture just like that. And they're set up quite nicely as its own material, basically as its own shader. So it's nice and simple to make use out of. Okay, so going back to the bottle, let's go ahead and unwrap a middle part. I'm going to go ahead and add an edge loop over here. Going to just isolate this entire view, actually. Now let's go ahead and select this part of here, hit Shift D, enter, and now we can just use Altons inflate by a value of 0.001, like so. And now, of course, we can go ahead and simply unwrap minimum stretch, or this is not going to give us the straight result. So let's try conformal, and there we go. Nice setup which we can rotate and once we grab ourselves that label, so label one, two, three, up to you, we can start with just the basic one and apply. And now we can simply stretch it out to the way that we'd like. So we can stretch it out like so, or we can use S Y to kind of upscale it, so, which is going to stretch it out. But if we do it minimalistically, it's going to be quite okay. I'm going to go ahead and rotate this R z 180 and just upscale it just a little more until we get this type of a result. I think that's looking quite nice. Once we're happy with the UVNRp which I am not, actually. I'm going to go ahead and quickly do it a little more, just like that. I think now it's perfect. Okay, once we're happy with the setup, we can just go scroll through the different labels and see how they're going to look like with our bottle. And afterwards, we can make, of course, the promised variations. So let's go ahead and do that. I'm going to go ahead and just position my camelc make a duplicate out of this bottle. And without looking at the texture, we're going to work with well the setup that we have over here. Firstly, we're going to make one that's quite a bit longer. We need to make sure that we go to UV, sorry, the verte selection, to select the label as well. And that way, we can just extend this to quite a bit lengthier of a result. I also don't want this what's it called? This end piece to be quite as thick. So I'm going to select all of them, like so, use TNS, and that's just going to shrink it down by quite a bit. Use a z afterwards to get this sort of a result. We can even perhaps lower this down a little bit. Like so. Maybe neck itself needs to be a little bit fixed. We can go ahead and do that. To have a longer, and just like that, we're able to have a variation. The only thing though is we need to check how the texture looks like. The glass in the back is going to be quite okay. This on our upper hand might need a little bit of adjustment. Let's go ahead and fix that. So the way I'm going to do it is just simply grab this edge loop and well, lower this entire part down like that. We can put it over here perhaps. And if we select the right edge loop, there we go, we're able to make a setup like that. So this bottle, I personally wanted to be looking a little bit more premium in terms of the setup, and for that reason, I'm going to, well, adjust the label for it to make it look a little more premium. So the darker one over, so might work quite well. The alternative, this one, bourbon is definitely going to be looking quite nice. As for the glass, we can either keep it or we can make use out of a lighter variation. But I think keeping it is okay. This on the other hand, I do want to be a little bit lighter in the setup. I'm just going to make a duplicate. Like, so so if we don't change the original, the shape itself, I'm quite happy with. But, yeah, we do want to maybe make it a little bit lighter overall. So for Saas, we can use the No, this one, which one would it be? There we go. This one rattlesnake. That's quite a nice setup for a drink. Let's go ahead and just change the glass to be quite a bit lighter, since it is a lighter label. That's why I prefer to just have a lighter shade of glass as well. The overall theme of this bottle will be quite matching. So we have more of a premium looking, more of a cheap looking type of a drink. We can go ahead and make a liquor, for example. I'm going to make a duplicate out of this again, just so we would mess it up with this one. So I'm going to go out of the material mode. And for this, I'd like to ideally select these parts over here using the proportional editing. So now we can just use GZ and drag everything downwards, like so. Until we get a nice shape, we can even select the base just like that, and I'm going to expand it using proportional editing to kind of get more of a unique type of a shape over here. Just worried whether or not you had the label disappeared, so I'm going to go ahead and grab this part. If I make a proper selection, If we're struggling with selection, we can click H, and then we can grab the one Nth now, we can just expand this like AltnH that's going to bring it back. So the bottom is okay. The top section needs fixing. Going to go ahead and quickly deform this, and there we go. This part can be more, this definitely going to be a bit darker. The label itself can be gunslinger label. That's quite nice. And to make it extra fancy, we're going to work with the upper section as well a little bit. I'm going to bring this part down, so going to extend it just like that, going to lower the neck upper section, and then the next part is going to be have additional rings going around it. So what I mean by that is if we add a couple of rings like one over here, we can make use out of this, actually, we can select both of them, extrude it like this, and then go to phase selection. We can now add another material. There is a decor, bottle decor, which is going to work really nice. The reason being is that if we assign it, it's going to give us those red stripes going across. Those red stripes would also work quite well on this, more of a premium looking drink as well. So I do want to add a quick stripe over here, I reckon, like so decor, just like that aside very nice little detail. So detail like that, I think is really nice overall. It works really quite well. Okay, so this part over here can be just simply extended. With a seafru Yep. Just extended similar to this bottle on the second bottle that we did. We're going to work with something in that same regard. I'm just going to extend this a little bit, shrink this down a little bit, make a variation. And yeah, this definitely can go lower. Like so. And this higher, just like that. Already looking quite nice. I'm going to go ahead and select this entire part, including this going to use scale, shift, and just scale it down using the proportional editing. Scale, Shift Z, and we can get a little bit of that unique shape. Like so the bottle necto is a little bit too thin. I reckon I can select this and extend it a little bit. Just like that, we're able to create some really unique variations of bottles, and I'm going to scale this down using no proportional. There we go. All right. So once we're happy with this, which I'm not. I'm not sure what's happening over here. I'm just going to extend this 0.001. There we go. Much better. All right. Once we're happy with the setup, we can finalize it by just changing a label to something a little bit more fancy looking, and we can make use out of it in our bar, so we're going to continue on with it in the next lesson. Thank you so much for watching and I will be seeing you in a bit. Okay. 71. Bottle Placement At The Bar, Small In Blender 3D: You Hello and welcome back everyone to Master Blender F D with Wild West Environments. In the last lesson, we got ourselves some nice bottles ready to be used basically within R scene. So let's go ahead and click Alton H or go out of isolation mode to get back onto the scene. I'm going to go ahead and firstly, move these bottles onto the side so we could have it in our Asit browser. And actually, before doing that, I will move it to the character like so, so we could have a reasonable size. This time we can have a look at human reference next to the bar and just make sure we have it at a good size. So right now, this looks, there we go. This looks quite reasonable. It is a stylized scene, but we don't want this to be overly scaled or too small. We can see that these bottles will look quite nicely in the setup maybe just a little bit bigger. Like, so there we go. I think that's perfect. Right. Now we can go ahead and move this off onto the side, so we can go ahead and use Control A to apply rotation and scale. Now we can simply locate these bottles, rename each and every single one of them, and we can just select the first one, call it bottle a one. I'm going to copy the name using Control C and then go through each one of those bottles and just changed from a one, from two of three, and so four. And we can also just do it from within the Vpoort actually. That might be a little bit easier. Way works. But you can see that once we rename all of the bottles, we have all four of the bottles, like so, we can then right click Mark as asset. All of them are going to be nicely marked, and of course, we can click to move it onto the assid browser items, like so. Now within our acid browser tab, we're going to have these bottles over here, which, of course, we can move it onto the Western props and now place it onto our table. So within regards to placement, let's go ahead and grab all four of the bottles onto the table like so and then we can talk actually about the placement itself. So when I am setting up placement of smaller props, I do consider the overall shape of the setup. For example, when we're looking at from this angle, so, we can see that let me have a better angle. Camera is going to be from around this section, so when we are looking at from this angle, we can see that it's going to give us a nice angle of a more of a triangle that's higher up on its edge. So it's already going to look more interesting instead of just having, for example, a bottle right in the middle over here. That's the biggest one in the center. We're trying to kind of offset it and see how it looks like in the section for the overall environment. So for example, on the right side, because we have a taller bowl ideally, I want to have this kind of an arc shape, inverted arc shape in comparison to the upper section over here that basically has small bottle over here, maybe somewhat of a larger bottle to the side. So this one would be a bit better. Like, so and this can just be in front because it's not going to block out any of the other bottles. And at the same time, it's going to keep that overall silhouette that I'm looking for. And I think that's looking already quite nice. Placement is good. The only thing though, is that the labels the labels are all placed sideways. So let's make sure we rotate using our Z, the setup, and we want to be somewhat randomly looking scattered. So this labels going to face more to the left. This may be a little bit more to the front. This one can be a bit more to the right, and this one, I don't think we want to be completely open, but there we go. Maybe the other way actually. So all of them need to be facing the camera, basically. But something like that is going to look quite nicely. Alright, so we have also parts in the back. We can grab a couple of bottles over here. I'm going to duplicate three bottles and just move it over to the backside, like so and see how can we fit them in? Ideally, I want these bottles over here to fit nicely into the shelf. So let's see if we can make them a little nicer. Now, here is the part where we definitely need to consider the overall scaling. We can either, A, grab all of these bottles and use local transformation. Sorry, not local transformation. We could use individual origins and just scale all of these bottles together. So as a quick example, I could just grab it like so, select all of the bottles and grab individual origins, then we can scale it down a little bit, and you can see that all of them are being scaled down, like so the alternative version would be to fix up the shelf. So for example, right now, these bottles don't really fit unless perhaps we want this tallest bottle to be, well, replaced with another shorter bottle. That's also an option. But in this case, I really do want this one to be a little bit higher up. So we can go ahead and at this point, go onto the shelf itself, select this upper shelf, and just slightly lower it down if we so choose to. So let's think if we want this to happen. And in this particular case, I will say yes. I do want this bottle to be over here. And I am going to go ahead and place it like, so maybe have the smaller one in the middle. I like this kind of a setup a little better, and there we go. Something like that is going to be looking quite nice. This is still overlapping. So just as a quick get away from making sure that it's not overlapping, I'm going to make it smaller, but just by a little bit. We don't want this to be too much of a difference from the original bottle that's at the front. So we're just making a small difference. Also, we're going to rotate the labels a little bit so it wouldn't look the same. And there we go. All right. So the bottom piece can have the smaller bulls, the shorter balls over here. I can have just a couple, and I think that's going to be more than enough. This one and this one are not fitting. So in this case, what we can do is We can also make these bottles a little bit smaller. Again, just by a little bit, not by too much. And if it's still not enough, then I reckon we can also use S Z and squish it down a little bit. So it's going to look a little bit different in comparison to this. We can even change the label. Let's not forget that we can do that. We can totally do so. So I'm going to go ahead and select this and just change it to another label. Maybe not this one, this looks too posh. There we go. That way, it's going to look like a different bottle altogether. So a quick, nice adjustment and change and already, it's going to look quite nice. All right. I'm going to look at the reference a little bit more. I'm going to make this bigger and this smaller instead, just kind of fit the reference a little better. And I'm going to change the label over here again to make it look like it's a different type of drink altogether. So I think I like this much better. Alright, so we are good to go with the bar. We set ourselves up nicely with the overall section. And now I think it's about time we start doing some sculpting. So I'm going to leave it here. Thank you so much for watching, and I will be seeing you in a bit. Okay 72. Sculpting Fabric Bag And Going Over In Blender 3D: And Hello and welcome back everyone to Master Blender F D with Wild West environments. In the last lesson, we left ourselves off with a couple of bottles in a bar, nicely placed on the top of the shelf and whatnot. Now we're going to continue on with a sculpting part. So I'm going to go ahead and just probably select everything, click H to hide everything out of the way and start with just a basic cube, so nothing would get in our way. And actually, I will make sure that it is placed in a world origin, just to make it easier for us to visualize. Then we can go on, well, we could use sculpting option over here. It's already set up for us, but I'd rather show you how to set everything up by default. So as a starting point, I will go on to Edit mode, quickly, scale this, and we're going to model ourselves a nice fabric bag as a simple prop, a good starting point, honestly. So let's go ahead and talk about the sculpting mode. Sculpting mode can be found on the upper left hand corner. We can go ahead and select it, and there is a lot of new options, a lot of different tools to go through. But I will go only through the most useful ones that I think are the most noteworthy to know when doing any type of sculpting work. And for that, first things first, how do we start sculpting? Well, sculpting requires the use of the topology. Right now, if we go onto wireframe, this is just a cube. It's not going to give us anything. If we try sculpting, it's going to try to offset, but nothing is really going to happen. So we need topology. For us, there's two ways realistically for a topology. And the first way is to manually decimate the mesh, which is made quite simple. In a sculpting mode, we can click R, that's going to give us this grid on a mesh, and we can go up and down or sort left and right to change this density. And based on this grid, if we click our left Mouse button, we can then use Control and R, and now you can see the cube looks a little different. Well, if we look at the wireframe now, we can see that this cube now has a lot more topology. And now, if we start sculpting, we're going to be able to get ourselves some nice detail. The other way, the alternative way would be to use dynamic topology. This button over here, top right hand corner, if we were to click on it and click Okay, we can then try sculpting it, and you'll see that it is adding some additional topology. It is changing topology even. I was to get closer, we can see that it is adding even more topology. And if I was to go onto wireframe, we can see that it is getting denser the closer we are to the screen. So because it is based on the viewport closeness, we can also change that up by the way in the detail size, so the smaller will go, the more dense of a mesh it's going to be. The less is not better, though, so it's going to cost performance. It's also going to be harder to sculpt with smaller detail if we started also, if we now go over that same spot, you'll see that it'll decimate everything. So take care one using dynamic topology. It's really good for a starting point, which I will show you with cactuses in the future. But for now, just know that this option is here. I'm going to now go ahead and click Control Z real quick to undo all of this mess, like so and talk a little bit about, well, the scaling of the brush and strength, the other two things that are really important. Top left hand corner, we can see radius and strength. We can use these bars over here. That's going to increase the radius of the brush, the size of the brush, and how much effect it's going to give on the setup. This really depends on the density of the mesh and which brush exactly we're using. But right now by default, it was 0.3, it's going to look like this. If we were to increase it, it's going to give us a much more intense type of well brush. And you'll notice next to it, there is size pressure. If you have a pen pressure tablet or just well, a sculpting tablet, you'll be able to use this to draw onto the mesh. And because for example, right now, it has strength pressure. If we're using a tablet, we'd be able to control the strength, well using the tablet, how hard we press it using the pen and whatnot, we'd be able to make full advantage of the setup. Okay, so the other thing that I'd like to talk about is going to be this button over here, automsking. Automsking has a bunch of options. The main one that you need to know is going to be the normal based. There are two options. It really is up to you which one you use. Sometimes it gives a different result, but let's see what it does without it. So without the option Dicton, if I was to make, well, much larger brush and start sculpting, you'll notice that, hey, ho, the entire mesh is moving, even the underneath. And that is really important because sometimes, if I was to go on that mode, sometimes the mesh can be a little thin. And if we were to use just a reasonable brush, it'll start affecting what's underneath the mesh, and it's really, really bad idea to have that. So using view normal will allow you to just if I was to use it, it will allow you to just offset it what you're seeing in front of the camera. So anything underneath all the planes underneath will not be affected by this. It's really, really nice type of a setup to make use out of. There's also an option for occlusion, so that's the one that's well, mostly are often used in sculpting or de texturing, which will basically whenever mesh is being included, the face is being occluded, the underneath is being ecluded, then it's not going to allow you to sculpt that piece that's underneath, basically. But again, usually by default, it's really good to just use just a basic view normal option. All right. I'm going to go ahead and just quickly click Control Z to go back to our usual box and talk a little bit more about well, the option on the top right hand corner. What we see on the top right hand corner is going to be the XY Z symmetry. This symmetry is if we click on X, we can see that well, it enables us the symmetry. And if I'm not mistaken, if I move this off onto the side with the symmetry of like, so it will not, it will not work because it is based on this origin point. So whenever you're struggling to have that symmetry on, just make sure to go onto object mode, right click and use set origin to geometry, and this should put the geometry to the center piece. Alright. So the main thing now is the sculpting brushes. With the newer version of Blender, we do have a lot of options with the way it's laid out. So you can see at the bottom corner, all of these brushes, they're being placed over here. In the past, all of them were clustered up on the left hand corner and it was quite messy to make use out of. Now we can make use out of this at the bottom, or we can use this draw the stab over here, which will give us the full tab that we see at the bottom. Ev way works, whichever we want to select. If you don't see the name, we can just make use out of them out of this to see the full name of each of the brushes. The ones that we're going to use mainly are going to be the draw, crease, inflate, and clay or clay strips. And the final one is grab. So these ones are the key brushes. So you don't need to overwhelm yourself with any of the brushes. Draw is going to allow you to give us the base sculpting, but the clay strips is the one that you really want to use to build up your own mesh. So for sample, we can do it like sew, and we can build ourselves up with a nice foundation. And that is pretty much it when it comes to the overall setup. It just requires a bit of practice. And the only thing that I'd like to mention is going to be the use of shift button. Shift button will allow you if you hold it and then click and hold, it will allow you to smooth it off the mesh. And that's really, really important because using that technique, we can just simply, well, soften all the corners like sew and get ourselves a real nice and simple type of a setup for the fabric ba. I'm just all I'm doing right now is just manually softening it. We don't really even need this symmetry. We can just do it manually, like so, and I'm just even maybe sometimes using smaller brush. You can see that if we clicking and holding, we can have a variation in the mesh just like that. And yeah, I'd recommend you to playing around with this because smoothing tool is really good for erasing detail, erasing edges and sharpen parts. And it's really good to just softening up a mesh so W that set in mind, we can just go ahead and do a little bit, couple of extra touches over here, and I think that's quite right. If we want to bring this piece back over here, we can use the Trustee Grab tool. And if I was to click out, it's going to be based on viewports. For example, if I'm dragging it while having my camera face diagonally, it's going to drag it this way diagonally, as well. But if I was to click and hold Control, with control, I can drag it outwards. And now you'll notice that no matter where my camera is, it's going to be based on the normals of the mesh. That's really important with the grab tool. Holding control will allow you to do that. Holding control with other items such as draw, for example, will do the opposite of what the tool is. So for example, if I was to click and hold, it will start adding shape. But if I was to click and hold control, it's going to start removing the shape. So these are the main shortcuts of the sculpting. And with that said, we got ourselves a basic bag. So while talking, whilst able to just smoothing everything off, we got ourselves a bag that we can now texture, and then in the next lesson, we can continue on working with the sculpting and whatnot. So, yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 73. Remeshing Bag To Keep Clean Topology: Hello, and welcome back everyone to Mass Plunder Free D with Wild West Environment. In the last lesson, we left ourselves off with this back over here. We're going to need to apply material. We're going to need to apply UVs. So for us to do that, we're going to work on the setup. And if we have a look at the mesh, it might be a little too dense. The thing that we need to think about when working with sculpting is how dense of a topology we want. Sometimes it's acceptable. Sometimes we can adjust it. And I'll show you how to do that right away. We just need to go on to data. Find ourselves the geometry, not the geometry data, remash and we can use quad. Quad is very good for when we want a quick and simple type of remash that will still keep us somewhat of a clean topology. Let's say, if I were to click remash with the default settings, we can see that it will remash with that amount of topology. Maybe it's a little bit too much. Let's go ahead and just drop it down to 800. I think that's going to be more than enough. Something so simple. So as you can see, this is where we get now. We can go ahead and use Shade Smooth, and just like that, we're going to get ourselves a nice setup. You'll notice that some of the detail might be a little lost, but that's okay for such a bag. Now, let's go ahead and apply a fabric. So let's search for fabric, apply that. And we're going to, of course, need UVs. So for the UVs, we can just go ahead and grab an edge loop, not going to go in the right way. So the other way I'm going to do is I'm going to just select the part at the top, actually, just like that. We to click Control plus a couple of times, maybe use Control to deselect part, and that's going to be okay. Like so we can now go ahead and click two, go on to Edge selection Loop, select boundary loop, like so, Mark, SM and even when such edges are over here, set up like most of it is going to be quie all right, and we can hide those edges out of the way regardless. Let's go ahead now and wrap the setup with a minimum stretch, and we're going to get something like this. If we want to, we can go on to UV settings and whatnot and adjust the overall setup. But if we have a look at our render, we'll notice that it's by default, looking quite all right for a bag. So even the parts over here are not quite as visible as you might expect for those seams, since it is quite a messy or quite a noisy type of a texture. All right, now that we have ourselves a bag, let's go ahead and unhide or seen. I'm going to go ahead and go on to just out of the material mode, then click Old N H, and I believe I hit my bag over on the side, there we go. Going to place it off onto the side. Of course, we need to firstly grab ourselves a reference for a human size and a barrel, so I can see how big this has to be and I think. Something like this is going to be quite right. Just looking at the bag, size, maybe a little bit smaller, like, so there we go, perfect. Okay, so now we can go ahead and just move this off onto the side. We can use move to collection as a browser collection, Control A, rotation scale, and now we're going to go ahead and rename it. So fabric. Bag. I think that's quite right. And right click right click on the fabric bag, Mark as asset. Now we can go on to as the browser and place a couple of bags at the bottom of our water tower. So let's go ahead and find the bag, move it to the western props, and place these bags over so. So I'm going to place it like this, place one on the top, and slightly offset their position, grab all of them, move their back, and there we go. Maybe a little bit more, making sure that this is not floating. Something like this is going to look quite nicely. Maybe I'll just move this a little bit to the back. There we go. Perfect. All right. So now the next part is going to be setting up this, the sculpting of the logs, which is going to be quite right, and setting up of the water for the horses. As a starting point, think what I'll do is I'll just isolate this. I'm going to select it. Use the isolation button, make an object. So cursor to active, make an object in this location. And now we got to make ourselves a cylinder. Let's go ahead and start thinking about the shape a little bit. In more detail. So let's create ourselves a cylinder and consider how many vertices this needs to be. I still want this to be in a centerpiece. And actually, 32 is going to be perfect because we have the vertices properly mirred on both sides for the top and bottom. That's exactly what we want. And you know what? Yeah, we're going to just make use out of this. Let's go ahead and make this quite a bit smaller up to the same size, basically. And now we can go ahead and start making the same well whip. And we're going to go on to Edit mode. We're going to click one Old Z, and now we're going to select everything up to this point. Then we can click E GX sorry, click Escape after you click E GX, and you should be able to make something like this. If it looks messy, don't worry about the top and bottom for now. We're just making sure that the vertices are nicely set up over, like so. So we have ourselves a nice whiff. Now we can probably go ahead and just select the well, the gray box part and just click, move to gray box complete. I think that's going to be quite right. Okay, so now we can work ahead with this shape. So first things first, what I'm going to do is I'm going to go ahead and go onto the side view, going to click Old Z and just select the bottom faces. So going to go ahead and let the faces, do the same for the top since A is is going to be a little messy, and there we go. We got ourselves a nice base clean foundation. I'm going to click Old Z to go out of the transparency. Then we are going to select using Alt to grab the entire edge loop, click F, and we're going to get ourselves nice set up. Oh, base, let's go ahead and now just make it a little bit smaller, like so. That's going to look quite nice. I'm then going to go ahead and add a bit of an edge loop right in the middle, like so, and I'm going to extend it just a little bit, like so, a little bit more even. Click GZ, move it towards down. So we're going to get more interesting shape. Click Control B and extend it like so with additional edge loops in between, and there we go. Nice little shape that we have over here. Right. For the front, we can go ahead and add well, an inset, let's go ahead and use I to create an inset like so. I think that's quite okay. Yeah, that looks quite okay. I'm then going to click E to make an extrusion, and I'm just going to make this much smaller so it wouldn't go into the side of the outer walls. And this as a base is quite right. We got more detail on the outside. We got less detail on the inside. And if we shade smooth in an object mode, we'll notice that so far is looking great. Now we can go ahead and add extra detail. So for example, right in the middle over here, we can get ourselves an additional edge loop, like so. And this way, we can create ourselves a nice Ringo and around over here. So I can click E, Enter Altns and make a nice edge loop. We're going to make a edge loop on the top, as well. I don't want to change the height. So what I'm going to do is as a quick, cheeky way, I'm going to go ahead and grab an edge loop for the top, create a new one for the top, basically. Do the same for the outer wall. We can control the height I want it to be a little bit thicker on the outside on the outside to make it look like the metal is bending, basically. And once we have these kind of edge loops, we can go ahead and select the faces at the top, just like that. Control plus E enter Altns and there we go. So I think that's a little bit too much for the top. So I'm going to go ahead and select the top. I'm going to lower this down and get something like this. Yeah, that looks quite nice. Now, all that's left is quick setup with the textures, making sure that we have bubbles properly set up, and, of course, adding water. All of that we're going to continue on with in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 74. Uv Unwrapping And Texturing Water Holder, In Blender 3D: Hello and welcome back everyone to Master blender Free D with Wild West Environments. In the last lesson Rigorosells this nice little piece of a setup. We're now going to go ahead and start adding some bebs. So for us to do that, we're going to go ahead and see how it looks like, and all we need to do realistically is just add it onto those outer rings. So I'm going to go ahead and just select this piece over here. These pieces over here, like so and just like that. I'm going to click Control B to double check, we are having a proper bevel, which seems to be the case, alright? Let's go ahead and lower amount, holding Shift lower the whip. Until we are satisfied with the result, which I think this looks pretty good. All right. So now let's go ahead and you know what? Yeah, let's start with the texturing phase. So, let's go ahead and grab an edge loop going all the way around, and I'm going to go ahead and mark it as asm. And I think I'll do the same on the other end as well, just to make my life a little easier. Mark it as a seam. This way, we're avoiding any warping issues, which can be caused by the entire loop to be unwrapped and to make sure that it is a proper, just nice ring, we can go ahead and select top and bottom, so mark seam and yeah, that seems right. Okay. Once we're happy with the setup, we could go onto UV editing. Let's just make sure we see where the setup is, where is it? I'm going to go ahead and find it in outliner, selected, and I'm going to maybe click an isolation mode twice. This should load us up onto the setup. There we go. The reason it took so long was because I was in a material mode. That's okay. So with the shape selected, we can go ahead and run wrap it, minimum stretch, and we should get ourselves this kind of setup, which is going to work great for our metal. So the metal that we're going to use is going to be iron. Stylized iron, like so nice little piece. I'm going to go ahead and just increase amount a little bit. Like so double check it with the rendeview and I will want to change the rings to have a different material. For that, though, this should look quite okay. I'm quite happy with this setup. Et me just go ahead and do the ring. I'm going to do them individually because it's easier selecting this entire face edge loop, click Control plus a couple of times, and we're going to click on the plus symbol to get ourselves dark. Stylize dark. There we go. Assign. There we go. That's the main piece. Then let's go ahead and select upper section. Click Control plus a couple of times. I'm just checking if everything is selected. No, it's not. There we go. Now another extension fixes this, and I'm going to assign it as well just like Alright, so now in regards to the water, we do have a nice water shader already set up. All we need to do is just grab it from the resource pack. If you have the entire resource pack imported, all we need to do is just simply duplicate this part, and we can use this as a base for water. So I'm going to find the water. So this water uses a nice little setup with volumetric. Let me just go ahead and assign it. And you see this kind of a glow when we're moving it around. This is because it's set up with a volumetric shading, basically, if we were to go and have a look, so it uses nice basic principle PSF then combination of a volume, which is nicely set up, and of course, we have some bit of a displacement, which will help us in the long run for this. I'm going to go back on to UV editing, like so. And this particular case, we need to extend it a little bit to go into the mesh, like so I think the height is okay. So we're going to get this result. If you go into render, we'll see that this glow disappears and it gets a nice bit of depth. So it helps us with that stylized look of a water. I think all in all, it's going to look really good for this environment, this type of a water setup. So it's not looking too clean, not looking too dirty. It's just the right amount. Okay, now that we have this, we can go ahead and well, move this onto our acid library, actually. I'm going to go ahead and click F two, call it water drinker, I suppose, for the horses, up to you, how you call it. I think that's okay. Now let's go ahead and just simply mark it as an asset. Like so. And you know what I'll do? I will go ahead and go out of this real quick. I'll go ahead and move this off to the side, like so make it move to the asset setup. Then we can just re drag it, reorientate it. Onto our location. I'll put it on the ground. And I think it was, it's going to be in the same position as the free decursor. I'm going to just do selection the cursor, and it should be in the same location, maybe a little bit higher up, just so it would be placed nicely on the ground. All right. Again, don't worry about the glow. This is only when the material view in the render view, it's going to look great. Now we can go ahead and start working with this piece. This piece is going to be well for holding the horses and whatnot. We are going to make use out of our Trusty sculpting tool to well, add a bit of an extra detail. So let's go ahead and do that. I am going to start by making a duplicate, so making a duplicate, then moving it to the grey box complete. So we have just this. And I'm going to go ahead and select these pieces like so. And actually, I'll just select the base and the foundation and isolate it. So we can actually just work with just a smaller piece. I will go on to modeling mode this time and just quickly do that isolation same setup, so we could have this like so. The one thing I didn't mention whilst doing the bag was another thing that I really, really like is if we go onto the viewpot shading, we can change the viewpoint shading settings a little bit. So when sculpting, maybe the detail is not going to be as visible. In that case, MAT CAP is going to be great for previewing a bit of extra detail. You can see already that we're seeing a lot more of detail from the edges and whatnot, and it really helps sometimes when doing sculpting to see basically what we are working with. So yeah, that way, we're able to get extra depth. We can also change it. Well, flat doesn't not going to really work with us. We can also change the type of material we're going to get. We're going to, for example, change studio light. This one over here is going to look more like clay. Sometimes it's really helpful. Personally, though, I prefer to just work with this, maybe sometimes with the red one as well, but this is honestly a personal preference, and it doesn't really change the outcome because, again, when we go into material, everything is going to be the same based on the materials and shaders that we're using. In short, the rendering, the material view, and whatnot are now going to change through these settings. I don't think that we're left to do in order to prepare ourselves with this task is going to be, well, separating all of the pieces. If we are not separating all of them and we want to use the dyna mesh that we used before, so Control R, you'll notice that all of these pieces now are connected. We don't want this to happen. We want them to keep them separate. So for that, we're going to go onto object mode. We're going to select it onto Edit mode, right click and we can use the separate tool, which is P, separated by select sorry, not separated by selection, separate by loose parts. And that way, we're going to have all of these parts as separate pieces. Alright, so in the next lesson, we're going to continue on and start the sculpting method. Thank you so much for watching, and I will be seeing you in a bit. 75. Sculpting And Uv Unwrapping A Decimated In Blender 3D: Hello and welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we let ourselves off with some nice posts. We can now make use out of our sculpting skills and just get ourselves in a nicer shape. So let's go on to the sculpting mode. We're going to start off by clicking R and just thinking about the setup. At this case, you can see that the entire grid is slightly legated. Means that it is trying to give a scale on how should I put it, based on the current transformation. What we need to do first is we need to go ahead and go back onto object mode, select all of these pieces, and now we can click Control A and apply the scale. Now if we were to go back onto the sculpting mode, use control, sorry, use R, we can see that now the grid is actually in perfect square, so that's something worth to keep in mind. We can do it at this amount. I think that's going to be pretty good. Let's double check the wireframe. If we were to click Control R, there we go. I think that is the perfect amount. All right. So now we can go ahead and just use shift with small strength to kind of go around it as a good starting point. We don't want this to be too round, let's make sure not to do to round it off a section. But once we go round it as a base setup, we can now make use out of the Where would it be? If I was to open up the drawer, I can find myself Clay strips. So this is really good for building up a shape. Or if we were to hold control, we can remove a little bit of that shape. And I think this is way too much. Let's go back and let's lower the strength to a value of 0.1. Strength really depends on the density of the mesh we're using. So right now, we're having a much more better control. Maybe it's a little bit too little. Like, so there we go. So a quick bit of indense and whatnot, we can make ourselves a very nice shape, like so, and I think that's quite right. Maybe we can add a little bit back onto this part over here, just like that, and I think it's looking quite nice. Alright. At the top section, we can just chip away a little bit on some of those parts. If I was to make this a little bit smaller and increase the strength, we can just slightly have some variation in this wood over here. And just like that, we're going to get ourselves nice shape. Now let's go ahead and use decimate. I'm going to add decimate over here, so through the modifier stab, remove the ratio until we get something low. So obviously not zero. But the face count of 600, I think it is going to be quite right, maybe a little bit more. There you go. 900. Like, so and that's quite a reasonable setup. Now, let's go back on to the up side. We can do the same piece as we did before. Scalp mode. We can increase the strength a little bit or just like that and use shift. Sorry. Oh, yes. We need to make sure we use R and make a reasonable density. So 0.01 seems to be right. Now we can just hold Shift and just kind of quickly tap through certain parts to get that more variation and afterwards, use clay strip to make some variation like that. So sometimes I'm welding control, sometimes I'm just using left mouse button to quickly add and remove and have a variation for the wood just like that. And it makes it look like timbere. So I'm just dragging it downwards. Quick strokes like that, even with a mouse with low strength is going to give us nice results. Over here, we can just hold shift a little bit to kind of ease off the edges. We can even if we want, add a little bit using control over here to kind of make a little bit of an indent. So that's going to be looking quite alright. And again, just like we did before, we're going to hold control and tap a little bit, so we'll have some nicer variation throughout the setup. I'm not going to touch it with the modifier just now because I'm going to move it onto this part and we can do, again, the same setup. So R and lower down to 0.01. Seems right. Control R, and now holding shift, just going to make some variation. And I'm not even going to make much with the claim brush. Going to maybe make it smaller, like so couple taps just like that, just to kind of give us that unique shape at the top in comparison to the bottom, and I think that looks really good. Alright, so now that we have ourselves the setup, of course, we use the decimate over here, but not on these parts. And because they're the similar setup, what we can do is we can go ahead and select these two parts and holding shift, we select the one on the left, that we use modify, we can then hold Control L or tap Control L and use copy modifiers. That way, it's going to copy the decimator just like that. And just double checking if everything right. I think it is, I'm going to select it all, use Object convert to mesh, which is going to apply everything, going to check the mesh itself, and we're going to get ourselves to this. So it is going to look quite messy with the decimator, but it is quite right, especially for more of the sculpted variants of a setup. We just need to focus more on how we're going to UBN rapid because that's the key here in terms of the decimation. It is a messy mesh. It's not fully optimized, but it's really good for static objects, for static props. If you're not animating it, it's an excellent choice to make use out of. And as long as it makes a reasonable type of topology, it's going to be quite right. Okay, so first things first, what can we do about the setup over here? Well, we can try and grabbing just the upper section. So if I click one, click Old Z and free for the Face Selection, I can just try to grab all these upper sections, so maybe then hold Control and try to deselect it as much as I can for the top section, and then we can check out it looks like for the selection. And you know what? This is not bad, but there is another thing what we can do over here. And I will show you an alternative way or a quick fix for such a mesh. So what we can do is if we were to use, well, select all first, then if we were to go onto mesh, there is a very nice bisec tool. Bisec will allow us to just drag it across like so. And you'll notice there is a line now. This line can be made use out of. So let's make sure that we don't have anything ticked on over here. We don't need that. We just need to have this line over, like so. Our thing is we need to make sure that this setup is set as a well, as a straight line. So we're going to make sure X and Y is set to zero, zero, Z is set to one. This way it's going to be perfectly horizontal. And we're going to just drag it just for the tip off the top. Like, so to get this kind of results with this area, for example, is a little bit too low. That's why I'm going to lower it down just a little bit, like so, so it would give us somewhat of a nice looking circle, which it is. And once we're done with that, we can go ahead and Right click and sorry, we need to go click two, then we can right click and Mark SM. That way, we're going to get ourselves a perfect edge going all the way around. So it's a nice little trick to make use out of. And in regards to the setup, well, you know what I will do? I will just drag it up this real quick. I do want to remove these bottom pieces because we don't really need them. We're not going to be using them. So I'm going to go ahead and just make a quick selection at the bottom, delete faces like so and that's going to be that. All right. So number thing is, of course, it's going to be needed to make a quick tweak in regards to the pillar over here perhaps. I will go ahead and just select these parts, so based on normal, so, so both of them selected, clicking H and now we can work with this. So over here, we do have somewhat of a nice selection going off the sharpness around. And I think I'll make use out of it. Except this part over here is not sharp, so I'm going to real quick, make a mark sharp. Think that's going to solve the problem. So a quick cheesy way is click L, use Sharps as a selected limiter. Click L over here, and there we go. We just got ourselves faces on these ends. And now we just want to make sure that we have a line going all the way across. So we're selecting one edge on the side at the bottom over here, and we're going to select it all the way across like this using Control, just like that. Now, right click, Mark, SM and just like that. We're good. We can click Alt and H, I believe. I'm just going to double check. Yeah, okay, these ones are ticked off, so it's not going to affect whether it's hidden or not. I didn't want to unhide the entire scene, so that's why I just made sure to double check it. Okay, so this is going to be the same setup. So select the bottom piece and select the upper piece over here where that red line is, the upper seam. We're going to go ahead and just create it across, so do this outer piece as well. And mark seam. It is going to be a little bit bendy, but that's totally okay, especially for such a setup. Firstly, it is an inward type of a scene. It's going to be not quite as visible. And secondly, it is wood, so it is going to have somewhat of a noisy texture, although it is directional type of a noise, and you'll see that it is going to be barely noticeable as this kind of a seam, even though it's not perfectly straight and whatnot. Okay, so, the other thing that we need to do well, finally, we just need to make sure that we are setting ourselves up with wood. So let's go ahead and do that. We're going to grab wood dry, just like this. And let's double check how well this looks like. So yeah, of course, we need to go to UV editing. So I'm going to go on to UV editing, going to isolate this piece. And now we can go ahead and just select it all and wrap. Minimum stretch should be quite right. And I think, yeah, that is quite right. Let's go ahead and check the texture. It seems to be rotated. I don't want to deal with that. I'm going to rotate it entirely. And this piece is not going to ride away. So I'm going to select this piece over here, rotate it like so, and there we go. Now, in terms of the setup, the wood itself is way too thin, too small. We need to make sure we grab it all, and we're going to make it smaller, like so. Just going to go on to Reneve just to check. And there we go. We got ourselves a nice little piece. So the only thing is the log ends because these are a rounded type of log looking setup, it's not planks. We need to make sure we add something for the top. And for that, we are going to add ourselves a new material. We got ourselves really nice log ends. Let's go ahead and select it. And we are going to go back onto the setup. And select by clicking L, we're going to select it based on the Seam. We're going to do it on both ends, so select, select only the upper sections, click assign and we're going to get ourselves this type of setup. Right away, it should show you the base color of those log ends. If you're not seeing it, just make sure you have this ticked off image pin, and you should find it. Alternatively, you can search it manually for log ends in this search bar over here, and you should be able to find this setup. Once you do, you can make use out of these four presets over here. So we can just expand it a little bit and quickly place it across just like that. And you can see how easy it is. Maybe we can extend it even a little bit more, so we get those edges nicely set up. So you can see those edges over here makes it look like there is thickness in this bark on the side. And of course, we're going to do the same piece for another end as well. This time we can move this onto this section over here. So yeah, I hope that makes sense. This is not a seamless texture. This is an atlas, and atlases are usually set up with multiple pieces of information of different materials. In this case, it has multiple pieces of log ends, which allows us to basically position the UV coordinates into the right spots. And I think this one is quite nicely done, maybe a little bit to the side, there we go. Perfect. All right. Now we can have a look on how the entire setup looks like in our scene. Of course, we need to lower this down a little bit, just like that. The height, we can adjust once we see it in the scene. So let's go back and firstly, let's click Save Control NS. Now we can go and see how it looks like within our scene. So let's go out of isolation mode. There we go. I'm going to go ahead and quickly hide the resource pack. And in terms of height, I'm just going to check it with our human reference, whether or not it looks alright. I think this is perfect. So yeah, that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. Uh 76. Sculpting Cactus Using Lazy Mouse Option In Blender 3D: Hello and welcome back everyone to Master blend of Free with Wild West Environment. In the last lesson, we go to sell a very nice place for the horses to drink their water. We're now going to continue on with the setup. And before doing that, real quick, I would just like us to quickly fix up these assets, essentially, and put it onto our asset browser just to make it easier for us later down the line. So I'm going to go ahead and just rename this first, call it water. We can call it water bath, I reckon. It's quite alright. And the other piece is going to be this so we can just call it og supports. I think that's right. All right. So now I'm going to go ahead and just Right click and I'm going to Right click over here in the scene collection. Section right click, Mark as asset, select this. Right click, Mark as asset. And now, I'm just going to check. This one was still in the grey box, which is okay. I'm going to select both of them, actually, and I'm going to move them first onto the asset browser items. Like, so then move them off to the side, just like that. Oh, I might have had this one already, the water drinker has a setup already. So I'm just going to double check real quick. Yep, it seems now I have two of them, which we don't need. I'm going to go ahead and delete one of them, clear asset, se and place these two into the setup like s and of course, we now need to just quickly replace them back onto our scene. So this way, they're nicely updated. From the asset library. Of course, we could have just duplicated and whatnot, but doing it like this is right, and this one needs to quickly be fixed. I'm going to go ahead and select this, use Control A, rotation and scale. Now that's going to be properly fixed. There we go and place it like so. You know what? I will go back on to modeling real quick and enable the grey box complete. Just kind of reposition this real quick. And this one over here, just like that. Okay? We can go ahead and start with a curve brush. I think that will be the easiest way for us to do it, and then we can make use out of this form to create our own, well, sculpting base, which we can work with. So I'm going to go ahead and start with a bezier, going to isolate everything, and I'm going to go ahead and start off by deleting it all. Click one to go onto the side view, and we can make use out of the draw just like that and draw ourselves a nice cactus shape. So I'm going to draw this base shape, then go on to the curve to actually see what we're doing. We're going to make use out of the depth. There we go. That's going to look good. Let's go ahead and make sure we fill the caps as well. And once we have something like this, we can even grab this upper piece like so and extend it a little bit using extrusion. We can use Altns and that's going to give us that indent like so. If it looks a little bit weird, that's okay. We can fix it afterwards. It might not it might not be quite as well, actually, but I think that's okay for this piece. There we go. We can just fix it up like this a little bit. Boy, that's going to be really good as a base shape. We can now go onto actually, yeah, we can actually go back onto the drawing, and of course, we'll need to add a little bit of an extra. So additional piece coming out of here. Oh, that's a little bit too big. So what's going on over here, we can fix that afterwards. I'm just wondering about the shape. When looking at the shape, we can just make a bit of an extension coming from this angle over here, so it's not right in the middle, but a little bit off the side and a slight curve just like that. And I do want it to be a little bit longer, so I'm going to go ahead and just grab it manually and extend it. And then, again, make an extrusion on the top, use alter to bring it in. And I am going to use S just to kind of bring in these parts. So by just scaling it normally using S, we can bring in this bezier interpolation basically down. And just like that, we're going to get ourselves a nice base setup. So maybe this one is a little bit too big. So just like that, we're able to fix it. And what's going on over here, I think we can just go ahead and just put it in here, and that's quite right. Going to select these two pieces, use Alton S to extend it a little bit. And just like that, we got ourselves a nice base for cactus oh, what do we do what we get this type of a shape? Well, we can go on to our object mode. We can select it and convert it to a mesh. Now, this is what we're going to get. A nice solid piece to work with. And with that, we can go ahead and use R. Oh, sorry, let's go to sculpting mode. We can click R and then just quickly decimate it. Do something like this that's going to be quite nice. Control R. And now this is not giving us the right setup or maybe it is quite liking this overall pattern. But if you don't like it, you can go ahead and click Control Z. You can then simply go on to edit mode, select it all use subdivision with smoothness, all the way set to one, and that way, you're going to get a little more control over once we go onto the scaled mode, control R. You see that these lines that we had before disappear, although I think for a cactus, it might have been right, but for this particular case, it's more of stylized setup. So I think it's okay if we were to just fix it like that. All right, so this piece over here, let's go ahead and just smooth it down. Looks more like a cone so we can just fix it, make it a little bit more rounded. Like so. Fixing up the overall shape, just like that. And if there is an issue with the upper section, we can always use dynamic top topology and just smoving it out. And this should if I was to go to topology, this should change the apology a little bit like so. And now, this piece at the top that we had disappears. Alright, this one, this part seems quite all right, so I'm not going to bother with it too much. But the thing that we need to do and focus on is going to be the setup for creasing. So creasing if I was to search for it, there we go. So this Crease polish and sharp Crease polish is the one that we're going to use this time because it gives us a softer look. But essentially, what this does is if I was to use it, just making sure that dynamic topology is turned off for this particular reason because we don't really need it. If we were to use it, it's going to give us, well, this is a little bit too thick of a brush. You need to make it quite a bit smaller. And if I were to use it, you can see that there is a line. This line can be with a bit more of a strength, can be increased, and it's going to give us some nice way of while adding some detail. So with that said and done, we can go ahead and add that detail. I do want to smooth out this part a little bit, like, so to make it seem like it's part of this act a little bit more, just like that. I think that's quite right. Okay, so I am going to go ahead and just make it just a little bit bigger, just like that and play around with the strength. The strength, again, really depends on the amount of density you have on the cactus. So I'm just going inwards and inwards until I'm quite happy with the sulto. So this is a little bit too much. Going to increase it a little bit, and I think this is perfect. May be just a little bit size of difference there we go. So we want just a bit of an indent, and that's going to be really nice for us. Maybe a little bit more for strength, there we go. You don't really need to be shy. And yeah, this is quite nice. I'm going to change the mat cap actually to a different color this time. I think it's going to help us visualize the setup a little bit more. So maybe this. There we go. A quick little setup. I think it's definitely going to help us out. Although this coloring is not really helping me, so I am going to go back onto this. There we go. Again, it's not really going to make much of a difference. So when doing this kind of sculpting, all we need to think is the way of the structure for these lines. So what I'm trying to do right now is make sure I follow the overall shape. So right now I'm only focusing on the bottom piece over o and just making sure that we have some nice variation in between those lines just like that. And once we're happy with this kind of layout, being square right. Once we're happy with this layout, we can now move on to the upper parts. So now we're going to try to follow the line going from where it ended and continue going upwards. So if you're not happy with the line, you can always click Control Z and undo it. It's always okay. And sometimes when working with these lines, it's also quite nice to make use out of where is it? Let me just find it real quick. There we go. Stabilize stroke. This option is quite nice. It helps us get a smooth line like so. Notice that red line that comes out of it. It basically determines the longer the line is, the easier it is to get that average type of a brush. Let's move and brush. If you want to lower this down, you can lower this radius over here, but by default, it's quite alright to make use out of it. And essentially, it gives us a really nice control with a mouse or a tablet to just have that nice curvature moving down piece like so, and it's going to look quite nice. So with that said and done, we're just going to continue on with this setup. We're going to continue on from those lines where was left out and try to follow, to the best of my ability to where those lines are. So here I started off a little bit too soon. Too early in the line, and it looked like there was an indent, so I just undid my step and just continued on. So basically, if I was to do it over here, you can see that there is an indent. So if I do it a little bit later, it should not have that as much, just like that. And here we can just go ahead and create a new one just like that all the way to the top, so it's quite right. And here we can do it as well. And again, this is more of a stylized setup. We don't really need to worry about the overall layout, but we do need to consider just a little bit in regards to the consistency of the brushes, just to make sure that we're not making some brushes too small, too big and camera position on this matas slot. So if I was to be a little bit too close, you can see that the setup is way, way smaller. So with that in mind, I'm just going to this was a little bit too big, and I'm going to go ahead and do this. I think that's quite right. Over here, I'm going to continue. Maybe I'm going to create a new one actually. Like, so like this. And here, the final brush stroke, I believe, is going to go just like that. And by just doing these kind of setups, we can see that we're getting quite an interesting shape out of our cactus. I do want to quickly just maybe redo this part over here. So I'm going to go ahead and use small strength to kind of ease out these parts. So I think that's quite right. Okay, so now we can go back on to our default Mt cap and see how it looks like. And yeah, this is ready to be textured, ready to be set up with some additional detail for the cactus. We're going to continue on with this though in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 77. Using Cavity Automasking To Enhance Sculpt: Hello, welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we got ourselves a nice setup for the cactus. We're now going to go ahead and tweak it a little bit with some decimation tool. So let's go ahead and do that. Let's go ahead ahead and decimate it, like so. And the ratio, we can drop it down to quite a bit until we see the face count, drop to around 1,000. And that's quite right. That's a little bit too much, actually. I'm going to increase it. 5,000 for such a set up. I think that's quite okay. I'm just going to see before and after if we're losing any detail and whatnot, we can even drop it to 4,000. I'm holding hit right now just to kind of do small tweaks, like so, and there we go. I think it's almost great. This part at the bottom. I'm not happy about it, so I'm going to turn off the decimate real quick. This bottom over here, and I'm going to go ahead and just quickly remove the base chest like that, since we don't really need it anyways. So now, hopefully, if I have a look at the decimation, this should be quite okay. Yeah. That looks quite alright. I'm happy with this result. Let's go ahead and apply it, and we got ourselves this nice little piece of a setup. Okay, so within our resource pack, we have some interesting stuff to help us out with the cactus. If we were to have a look at it, we will have cactus over here, and I just want to show you the material. So we have cactus material, cactus spike gradient and cactus flour. We still need to make those two. But in regards to the cactus material, you'll notice that it's a small little bit of noise, and at the same time, it does have a bit of a I'm not sure if it's visible over here. It does have a bit of vertical pattern going across. It's going to be a little bit more obvious on the cactus itself. So let's start with the cactus material, and then we can work ourselves with these two later down the line. So going back to the cactus, we can go ahead and just apply the material for a cactus cactus. There we go. Like so, and right away, we're going to get ourselves something like this. And even though we have not applied any UVs just yet, you can see that it's already trying to give us somewhat of a reasonable setup because we were using the default curve UVs. So it's quite nice as it is. But of course, let's go ahead and just fix up some of these UVs ourselves. So the easiest way what we can do is we can start by working on this a separated piece. Going to go ahead and make use out of a Lasso selection for this and just make a selection just like that. Cut and cross like so and I just realized old Z needs to be turned on. So we can make a selection going across like this and something like this, I'm going to click free, see how it looks like within regards to the setup, and it is looking quite alright. I'm quite happy with this selection. I'm now going to go on to select select loops, boundary loop. Oh, let's go ahead and make sure we are within edge selection so we can get that boundary loop, Mark and now we have ourselves this piece to work with. And as for this, we can go ahead and just quickly make a a nice edge loop going across from here all the way to the top over like so, and that's going to give us quite a nice edge loop like this. That's actually, I'm not quite happy because it does curve out sideways. I don't like this. I'm going to go ahead and select this over here, then hold Control, select it in the middle and select this part over here. So this is giving me somewhat of a reasonable straight line. I'm going to then mark SM and we are done with that. This can now go ahead and click L. Use SM as a selection, click H to hide it. And we can make quick adjustments over here, so selecting it, like so mark seam on this end and make a nice seam going across over here as well, just like that. And this should give us a real nice setup for our cactus. Let's go ahead and see how it looks like. Right now, it looks like a mess. That's okay because we are setting ourselves up with UV unwrapped minimum stretch. Alright, so in regards to the pattern, let's have a look how it looks like with the pattern itself, I'm going to make this quite a bit bigger, just to see. That's a little bit too small. So yeah, around twice as big as it was. That seems to be quite right. I'm going to go onto Reno view just double check if that is a good setup. Now, this seems to be quite right, but if we have a look at it, the setup might not be quite as good when looking at the redevie and that's because the detail might be a little missing. So we can go back onto the sculpting mode, and I will show you a quick way of fixing this. Let's say we want even more detail on our setup, and maybe it wasn't enough strength. We can make use out of our brush. The auto masking feature. And if we were to use cavity, I believe it's going to be cavity, if we ever have cavity or cavity inverted. So let's have a look at what it does. Essentially, it will take the edges of sharper areas and we'll apply a mask, basically. So if we select cavity inverted, create a mask. We're going to get ourselves this with this, we can use inflate deflate and just make a larger brush, then just quickly tap using control. And that's going to shrink everything down quite nicely based on these areas that we created. Like, so now if we have a look at it, it's going to give us this type of result. And I think if we have a look at no view, it's going to look a little bit better by extending or emphasizing those detailed areas that we sculpted out. So that's just a quick way of fixing that unseen detail that we sculpted in. All right, so the next thing is going to be well adding additional detail. We're going to go ahead and start with creating ourselves spikes. That's going to be quite an easy task. We're just going to go ahead and go out of the redevew. We're going to create ourselves a simple cube in an object mode. So like this. And the next thing is going to be, I'm just going to select the edge over here on the side and dissolve the edges just like that. So we're getting ourselves a triangle. The reason we're doing this is because we want as little topology as possible with this next step because we are making setup for particles, basically. So let's not overthink it about it and just create a nice spike setup, which we can do it like so, and that's going to be quite all right. I don't want the spike at the end to be completely sharp. So I am leaving that triangle at the end. And just like that, we're making ourselves this kind of a spike. Look, I'm going to make this smaller now, like this. That's quite right. Let's go ahead now and just quickly make a duplicate. We can make it a little bit smaller. Make a bit of rotation to it. And I'm going to make a rotation over here as well. And we're clustering them up together. And the third one, we can do it like this. So no matter from which angle you'd look at it, you'll have yourself a nice silhouette of just a spiky look. Maybe this one is a little bit too close. I'm going to go ahead and move it a little bit out. And just like that, we got ourselves to set up. Now, we might need to actually open them up a little bit, looking at this. So I'm going to go ahead and just move them outwards. It's going to rotate based on a camera when I click R. So with Tad in mind, I move my camera around a little bit and create myself that rotation just like Tad and a fink. That is looking much, much better, just like that. So it doesn't matter if the bottom is overlapping. So something like this is going to be great setup for our spikes. And of course, we do need the texture. We're going to go ahead and click Control J to join together and ask for the texture itself. I don't want the bottom pieces to be used, so I'm going to use just a quick selection for the base, dissolve or sorry, not dissolve, delete completely. Athlete faces, and we got ourselves something like this. And, of course, we need to UV wrap it real quick. So I'm going to go ahead and select the edges, one of the edges on each side. Mark, seam and now let's go on to shading. Going to find myself the spikes using isolation mode, like so, and sorry, not shading UV editing. There we go. Double click the isolation button, find ourselves cactus, spike like so, and select it all UV and wrap minimum stretch, we're going to get something like this. Now we just need to identify the setup and you see the top is darker, the bottom is brighter. We can make use out of this knowledge and get something like this. Or actually, it is going to be inverted. So notice how when I'm positioning the bottom over here, it's going to be darker. The reason being is that the shading, if we have a look at it, it's being used. The gradient is being used as a mask for lighter and darker sections. And because it is a mask, the area that is wider for the texture, that's where it's actually going to be darker. Anyways, so this can just set up like so, and we're going to get ourselves a very nice type of a setup. So we're keeping the spikes simple, but we're getting ourselves a very nice base. Just by using gradient color, it gives us a real nice look for those spikes. And because they're going to be so small, we don't really need to overcomplicate the texture, the shading itself. And yeah, that's pretty much it in regards to the setup. We can also adjust the little bit of an origin point. So I'm going to go ahead and select it all, click G Z and just move just a little bit, like so. So the bottom piece can be not at the very bottom, but where they're basically connecting with one another, that's where I'd like the origin point to be, and we can even check the top if it's more or less centered, which it is. And, yeah, we are ready to move on to the next step. That's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 79. Creating Cactus Flowers Using Manual Radial In Blender 3D: Hello and welcome back everyone toaster Blender F D with Wild West Environment. In the last lesson, we left ourselves off with a nice cactus having spikes all over itself. We're going to go ahead and remove this one that we use for the particles as well, and we're going to start creating ourselves a nice leaf petal. So I'm going to go ahead and find myself a plane to start working with, going to go on to Edit mode and just start by making this quite a bit smaller. You know what, right away, we're going to go ahead and add a material. The reason being is that it's just going to make our lives quite a bit easier down the line. Let's go ahead and find ourselves s caked flour, like so, and we can see that it's basically similar gradient to what we had for the spikes. The top is going to be lighter, the bottom is going to be darker. We can make use out of this and set ourselves up with a nice leaf petal. So we're going to make a bottom piece thinner. We're going to also add an edge loop basically in the middle, select a top and create something like this shape. Then we can use G by double tapping G, we can move this around. This will make sure that you see the gradient not moving. If we were to move it, normally it would stretch out the UVs. So the only way you can adjust the edges like that or vertices is by double tapping G and adjusting it without those UVs being stretched, basically. So I'm going to move this setup over here. I'm also going to click SNX and just stretch it out, and this is going to stretch out the UVs, but because it's only gradient going from top to the bottom, a very simplistic type of a design made for a style seen. I'm not really too worried about it being stretched out. Now that we have the setup like this, we can click Control B and add a bevel with a couple of extra edge loops like so, and there we go. We're going to get ourselves nice setup. Bewls also don't tweak those UVs as much. They just kind of interpolate the UV information between them. So it's going to keep us with a normal nice setup. I'm also going to add an extra edge loop over here and just make this quite a bit smaller and I think. Maybe just move this a little bit, so Perfect. All right. Now that we have so force this is just a two D plane, we need to make sure this is three D. So what I like to do is I like to select the very edge. I like to go on the proportional editing, click RY and oh, sorry, not R Y, RX, and you can see it rotating. So by adjusting the amount, we get ourselves nice control over the setup. So we're going to adjust it so it would reach entire piece, and we're going to slightly tilt it just a little bit like so to get this result. We're going to go ahead and select it. Click GY, move this entire piece, like so, so it will be centered a little bit, so we can actually work with some radial setup. I'm also going to go ahead and click RX and just kind of tilt this entire piece, like so, and something like this is going to work quite nicely. Right click Shade Osmoove so we wouldn't see that apology. And there you go. Basic base of a petal. Now we can just go to the top down view, duplicate it, escape, and click Rz and just move it around five times. I think that's going to be quite all right. We're doing it manually because we can and because it makes it a little bit more organic. So even if we did with something like a chair, for example, using a ray modifier, because it's just pi pedals. We don't really need to overwork ourselves and complicate our lives too much. So going to go ahead and just make a duplicate out of this again. Make this smaller and use R z, rotate around, bring this upwards like so, and I think that's going to be quite right. Let's bring it a little bit higher, and now we can go ahead, click seven, select only the vertices in the middle. I just like. For the box selection. So transparency turned on, going to select these vertices, so and then lower it down using the proportional editing to get ourselves a bit more of a unique shape. Maybe it just a little bit, and then we go. We got ourselves a nice flower to work with. Now we can click Control J. We got a els flyer, flower that we can place on the cactus. Oh, I'm going to go ahead and make this a little bit smaller, going to place it right on top over here. Or actually, I'm going to start placing it on the highest one, so we would actually see what we're doing. And the way we're going to do it is we're going to make three variations of it on each side. And then when we are duplicating it cactus, we're going to just basically remove some of them and whatnot. To make our lives, of course, a little easier. So this one can be rotated based on the positioning, the orientation. So it's going to be facing that way a little bit. Like, so maybe make it smaller. We can change up the scale just again to make it seem like it's not just a duplicate of the same flower, and just by doing it like quick small tweaks, we're going to get ourselves nice flour. Let's just make sure that in the middle, we don't really see the green too much, and it's just placed just maybe a little bit above it. Even if it's a little floating, that's totally okay. We don't really need to worry about it because it's not going to be super close up shot. If it was, we would have to work on setting ourselves up with a much complex or detailed flower, maybe even a part in the middle just to cover this piece up. But again, because it's just for a prop, a side prop of the main building, it's not even going to be visible realistically when doing any type of render for the scene. So again, I'm just going to do the same setup over here. Just rotating. And when rotating normally, it's going to be based on a viewport. So I'm just making sure that my camera is positioned sideways towards the angle that I want to rotate, basically. And that way, we get ourselves nice rotations, like so. Alright. I think that's quite right. So, there we go. We're done with the cactus. Let's go ahead and make use out of it. We're not going to join the flowers to it just yet because we want to make use out of them in regards to its variation. I'm going to click AltngT unhide everything, hopefully. There we go. And now it's going to have all of the selection for us. I don't want a selection, so I'm just going to do a sneaky selection like this to make sure that cactus and flowers are selected like. So let's go ahead and start positioning our lovely cactuses. So if we look at reference for a top down view, the cactuses would be two cactuses on the side, one next to the caravan and one on the side, whilst placing the cactuses because they are such large props, it's best to think about their positioning overall. As a piece of a prop. Some of the smaller assets, for example, would be just to enhance the scene whilst others like this one, is helping with the overall shape of the silhouettes, for example, two props over here, just because this place was a little empty, one prop over here because it's well, quite packed up already, as is, like so, and one over here. Also, I'm going to just make some rotations for them, and I'm going to what is this doing? I'm not sure. I thought I deleted it, but I guess that wasn't the case. I'm going to select this, going to hold control, drag it across so we don't select this platform over here. Now we can make some bit of an extra adjustment. Like, so whilst looking at the setup, maybe even make this a little bit bigger, we can totally do so or because it's this kind of a main shot that I quite like, I think this is quite right. For this one, we can go ahead and keep it as it is, but I do want it to be a little bit bigger. This one as well, probably quite a bit bigger comparison. Like, so we'll rotate it all the way around just like that. So we get ourselves. Hey, nice. Cactus and we can just draw it, bring it in the ground. That's quite okay. I think that's right. Now, once we have the setup like this, we can start working with these flowers. So I'm just going to delete a couple from here, maybe one from here. I can leave free over here. Maybe I'll just leave two over here and leave two over here. And just like that, we're able to create our unique cactuses for each and every single one of them. Because these flowers are so bright because they're so basically at the top of the cactus, they're going to be the easiest to distinguish on the cactuses. And that's why because this part will have one, this will have three and whatnot, they're going to have that bit of a different look. Of course, the shape itself is not going to look different. But I think that's quite okay. We could make an alternative version, but honestly, because we adjusted it and tweaked everything a little bit, I think it's quite okay. I do want this to be made a little bit smaller or lowered into the ground, like so, and that's quite alright. Okay, so we're pretty much done with the cactus. The only thing that's left to do is going to be setting ourselves up this cactus as an acid browser item. Going to go ahead and select one of them like so. Just make a duplicate out of it, like so. Join it all up together with these flower petals, making sure that cactus is the main selection, joining it all up, finding it on the name, just clicking up two and calling it a cactus. Now we can go ahead and right click Mark as Library asset and move this onto the asset browser items, just like that. So within our asset browser, we should be able to just drag it to the Western props, and that's going to be it. So, yeah, we got ourselves some nice cactuses, and we got ourselves a prop to use in other environments. That's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 80. Modeling Front Saloon Sign In Blender 3D: And Hello and welcome back around to Master blend of Free D with Wild West environments. In the last lesson, we left ourselves off with a couple of cactuses in our environment. We're going to continue on with the setup, but we're going to work with the front a little bit, the upper section in particular. We do need to have ourselves a nice sign. And for that, we're going to quickly create ourselves a setup. So we're going to start with a simple plane. Let's go ahead and just place a nice post sign. And then after we're done with the sign, we can start working with the skull that goes on a sign. The sign itself can be well, quickly set up. We're just going to make this a lot smaller. I'm going to make sure we position it in somewhat of a center, like so. Now we can go ahead and extend it just a little bit over like this. I think that's quite right. Yep. And then afterwards, we're going to add well, few edge loops, actually. Let's go ahead and go with how many is that? 15 Edge loops, like so or actually 16 just to make it a nice and even number. I think that's much better. Afterwards, we can go ahead and just select a face in the middle, use our proportional editing, and just kind of drag it outwards, like so to get a really nice and interesting type of a shape. Thing that's going to be quite right. And it is nice, but I do want it a little bit better. For that, we're going to use a sphere type. There's a bunch of variations for proportional editing, so it gives us a lot of control with the setup but over here, we're going to get ourselves very nice type of a curve like, so whilst the edges at the side are going to be capped off. And I think that's going to look really nice for a sign like that. Maybe maybe just a little bit more. I would prefer a little bit more. So I'm going to go ahead and do it like so. And I think end it a little bit. Actually, I will start like this and then we can just go ahead and use this move to kind of bring this a little bit more upwards because I want to end pieces to be straight, and this would have a nice and authentic type of curve. Okay, so once we're happy with this result, we can go ahead and add, well, make it free D, basically. We can go ahead and just select all of these pieces. We can create an inset real quick, like, so let's make sure it's quite a bit thicker. Well, let's go ahead and just keep it as it is. Then we can go ahead and select the outer edge loop, use Altns whilst it's outside of proportional editing. And it is not giving me the right type of a result. What I want is to extend this, but I think the alternative ways to get ourselves the shape of free D first. So like, so we're going to get ourselves a free D sign, maybe a little bit thinner or something like that. Then we can go ahead and select this entire edge loop. Use AltnS and there we go. We can make this quite a bit thicker, just like that. Perfect. All right. Now we're done like this, maybe a little bit too much. We're going to lower this down, like so, there we go. Alright, now let's go ahead and select this. Click E Enter and then AltnS and we're going to get ourselves a very nice and simple type of a setup, shade out a smooth, adding bevel as well, and quick and easy going to rotate transformation at scale just in case, and then fix up this setup. Now finally, we can go ahead and use our UVM wraps and whatnot to get ourselves a well, a sign that's actually going to have a texture. So for that, I believe the best way would be to well, to start off with automatic UV projection. Let's go ahead ahead and do that. That is smart UV project like so and the parts in the middle, they're going to be quite alright to have it straight. But the border at the top, I do want to be adjusted. Let's go on to UV editing and see how it looks like. I'm going to go ahead and isolate this entire section and see what it looks like with a wood texture. So we can start off by just using dry wood, like so, see what is going on. So again, this looks great, I reckon. I think it's looking quite nice. The outside. I do want this to be bit going off rounded, basically. I think that's going to add so much more detail. So what we're going to do is we're going to, well, grab this in die piece, we can select one. We can select O. We're going to grab this. So if we have this turned on, we should be able to just click G and move it off to the side. And that way, we can grab this in this, move this off to the side, basically the upper and the bottom section, like, so now we can try straightening out. So we can start by, for example, selecting this entire piece, holding Shift, selecting double clicking on this part over here, which is the middle part, it's going to be the active selection. Then we can use our UBN wrap or let's click U and use follow active quads. This way, it's going to straighten it up nicely so we can do this same for this as well. Follow active quads, length average. There we go. Nice and simple type of a setup. And I'm going to check real quick and believe we're still missing a little bit of wood. Yeah, this part on a border needs to be a different type of a setup. So I'm going to go ahead and add a new slot for material. This wood is going to be just a normal wood, like so. And the wood is going to be applied only plank on the inside. I think the easiest way to do that would be if I was to select it all, I click a sign, so it would reassign it basically and then select this part over here. Hold shift, select this our part over here. Click a sign. Oh, sorry, select the drywood, click assign, and there we go. I'm going to make a small border outside as well. So clicking E, just a tiny bit, not even by too much, but I think it's going to be much nicer overall. And there we go. Now we just need to fix up real quick the setup for the UVs. I think I can select it all upscale it all, and mainly it's okay, but I do want to adjust these individual pieces, make them quite a bit smaller. So these parts is going to be smaller. I'm going to put it off to the side. These parts need to be way bigger. And I think, there we go. We're getting there. These parts need to be rotated on the side. So 90, there we go. These parts over here as well. Need some rotation just like that. And I believe. Yeah, I believe that's pretty much it. We just now need to add ourselves to sign that we have on the resource pack. So that is going to be if we have a quick look at the resource pack. That is going to be the one that says saloon. So this one over here, that is a material 26, Alpha 26, that is, Alright. Let's go ahead and hide this resource pack back in. And quickly fix up the sign with ourselves with the well, the sign that we're looking for. All right, so I'm going to go ahead and make a duplicate out of this GY move this only by a -0.001. So it's basically sticking onto the side. We're now going to click on a plus symbol, search for the 26, I believe. Click assign and it should give us the result. There we go. So this is the one that we're looking for. I'm going to rotate it a little bit, going to do the same thing as we did before where we need to straighten it out. Or alternatively, if we have ourselves UV squares, we can click Alt and E whilst being outside of the selection, Alt and E, there we go. Give us the same result. We can now place this nicely, like so and I'm going to make it look quite a bit nicer. I'm going to also squish it as X, squish it just a little bit, like so and really depends on the style now. We can even extend it even further, or we can just delete these faces over here. I think that's also quite okay. I think, though, I do want this to be extended a little bit, so I'm going to again squish it even further. Something like this. I think it's going to look quite nicely. There we go. Let's go ahead and have a look. It looks like in the rendev and there we go. Now we can go ahead and start working with our Actually, you know what? I think it's a little bit too low. Going to go ahead and just click GY. Slightly. There we go. Perfect. All right. Now, in the next lesson, we're going to continue on working with the sign. This time we're going to get ourselves a nice skull at the top. So thank you so much for watching, and I will be seeing you in a bit. 81. Starting Modeling Skull Usying Clay Brush: Hello, welcome back everyone to Master Blender free D with Wild West. In the last lesson, we left ourselves off with a nice sign at the very front. We're now going to continue on with the setup, and this time, we're going to work on the skull that goes on top of it. So in your reference PRF, you're going to find the skull reference if you want to have a quick look on the setup on the way it's built, and whatnot. We can have a basically, well, a reference to go through. But honestly, working with such detail, it's best not to just have, like, you know, front and side top view and whatnot. It's better to well, have multiple references of multiple angles, but at the same time, you will rarely have those unless you are working with a concept artist who gave you, like, a character or whatnot. Again, because this is more of a style I seen, you're going to be more forgiven with the overall setup. But all in all, we can just start off with a cube. Let's go ahead and do that. We're going to make it smaller, bring it to the front, like so, and you know what? Need this entire building. I'm going to go ahead and select just these parts going to isolate our view. And I forgot to select the cube. So there we go. All right, so now we can just put it in the front, so let's go back on to modeling. I'm going to go ahead and make that selection again. Back on to modeling so we'd have a normal layout. And now let's go on to the sculpting mode. Alright, so whilst working with the setup, we can break down what this is in regards to its items. And for now, we're just going to work on the main piece of the section on the skull. We're going to ignore the horns for now and we're going to attach them later down the line. So for us to do that, we're going to, well, start off by making use out of the symmetry, since it is a symmetrical type of a skull. Let's make our lives a little easier. We're going to also enable dynamic topology just so it could be quite messy. And let's make sure that the dynamic topology, by default, I believe it was 12. Let's go ahead and make sure it's still at 12. This way, we can just have a nice and chunky type of a setup. So I'm just going to tap it a couple of times. This way I have the topology to work with. We can also use, you know, control an R or have a basically a base density on the mesh. So this way, we have something like this, which I think is quite right. Okay, so let's go ahead and start it off with the setup. So the backside, we can just go ahead and you know what, we're going to slightly move it forward, so it's not going to be going into the building just yet. We're now going to go ahead and just make this. It's smaller. So just like that. I'm just slightly refining it, using the shift while holding it, and just moving it out. Just like that. The next thing that we can do is going to be using grab. Grab is really good for just that basic stretching out and whatnot. So we can just have a real nice base. So this one would go downwards. We have a part over here. That's a little bit thicker. I just want to straighten it out a little bit. And here, it's going to be squished down. Yeah, it's going to be squished down over here. So we're going to have something like this. And once we get into, well, somewhat of a reasonable shape, we can start using our clay brush, clay strips. This one is the way to go for just building up the shape and whatnot, adding organic setup, using the Dymo dynamic topology is really, really good. So right now, I'm just making sure that there is a bit of an indent at the middle part, whilst at the same time, the curve would be a little bit going outwards for the nose. So this part needs to be going outwards like so. That's quite right. Alright, we now need to figure out where the holes would be for the eyes, we can just put them in here with a little bit of a smaller brush, like, so let's make it it a bit more. There we go and going to go back onto the grab tool. The reason being is, again, we have kind of the detail. We're just reforming the silhouette from its sides. Grab tool is the way to go for that when it comes to just well, checking the size and whatnot. So this one is a little bit thinner on the ends, like, so I think so far so good. You need to make this thinner as well. There we go. Something like this. This quite a bit thinner as well. Now we can go back on clay brush. So let's go ahead and go here. Clay brush. There we go. And now smaller brush, we can just add in that bit of an extra detail. So here, we'd have a curve going like, so the beak at the front needs to be a little bit sharper and not as flat, so I can just make it quie bit like, so I'm using shift right now to just kind of help me out with this part because it was a little bit too big of a gap. Something like so. It's got right. We're also going to have a bit of a hump at the top of the head. Like so. Here is a bit of a hole. I'm going to go ahead and fix that up real quick. I could straighten it out a little bit, like so. And bit by bit, we're adding in detail. That will give us a nicer shape. So using the brackets to make the setup smaller, we can start adding smaller detail using a smaller brush. A little bit bigger, a little bit too small of a detail. So now, in regard to the shape of the eyes, now they're quite nicely rounded. Looking at reference, we do have it more of a squarish type of a hole. So they'd look a little bit more menacing instead of just round and cute. So we're going to go ahead and fix that up. Again, grab tool, usually for those kind of sideway adjustments are quite nice. Just make it a little bit bigger. There we go. Something like that. Cushing it from these ends. Like so just like that. But now we can go ahead and just slightly tweak this part this time. So I'm going to squish it down on the front just to kind of have it nicely positioned. Holding control, I'm going to bring this out a little bit, like so a little bit too much, just like that. And that's quite right. So as for the nose, we can just have it dripping a little bit more like so, using clay brush again. I'm going to just find it over here. Using a clay brush, we're going to add nostrils a little bit, or the very least its location. Like so and there we go. Nice base. Now we're going to work a little bit more with the conor. So for example, this part over here needs a little bit of that conor, like so to kind of highlight where the skull is going with its shape. I think that's quite right. Here is way too flat. I do want to fix it up, again, grabbing a grab brush and just extending these parts are not moving in the middle. I don't know what is happening with that. Just going to check. Maybe it's a cavity masking. I'm not 100% sure why that was happening, but it seems to be now good. So I'm going to just bring this outwards, like so, and bring this upper section a little bit inwards. Just like that. Like so. All right. So if we look from the top down view, compare to what we have over here, we have, I believe these are nostril parts that needs to be going outwards. Let's go ahead and fix that. I'm going to just grab these nostrils over here and just kind of a little bit towards the main section of the skull. There we go. Now that's looking quite nice. Now we just need to use clay brush to remove a little bit of that section over here. Smaller, just like that. There you go. That's looking quite nice. We just need to grab this piece a little bit, making sure that it's nicely done. Like so. I'm just looking at the side view if the side view is going to be quite right. Mine is a little bit too bumpy, but I think that's quite okay. Just going to bring this out a little bit. Again, small tweaks, small adjustments when working with the setup, just making sure that the main overall silhouette is nicely set up once we're happy with that stuff, we can then focus on all the bigger detail. Just like that, we're creating that main skull section over here. This skull part needs to be going inwards actually quite a bit now that I have a look at it, so and that is going to be looking quite a little bit more menacing, I think. This part needs to go inwards a little bit. There we go, something like that. A little bit too much, I think, there we go. And maybe a quick smoothing part on this end on this end at the top, as well. Maybe a little bit too much. There we go. Perfect. All right. Now we have it, so we're going to continue on with it in the next lesson. Thank you so much for watching and I will be seeing you in a bit. Thanks. Okay 82. Modeling Skull Horns Using Radial Brush In Blender 3D: Hello, and welcome back everyone to Master blend of F D with Wild West and Barbon. In the last lesson, we left ourselves off with this piece of a sculpt. We're now going to continue on adjusting it a little bit. And first things first, I'd like to make some additional adjustments in comparison to the references that we have over here. So. What I noticed whilst being out of the lesson was that I made this nose a little bit too small. Ideally, we want to extend it, although I like the shape as is and we can have full control over how we set this up, it's better to just maybe extend it a little bit like so and widen it at the end. Just like that. I think that's looking much better in comparison. Then we can also straighten this a little bit. So it would be more like this and the cent piece go towards the middle part, just like that. All right. So now we can go ahead and see how it looks like with the other pieces. The other thing that I didn't like was, well, the eyes a little bit. The eyes themselves, if we have a look at it from the side, they're going to go more towards that section, and we have this bit of a hump over here. So I do want to fix this up a little bit. So after we're done with it, we can go ahead and actually, one final piece, I want to just slightly bring this inwards and this outwards like. And I think that's going to be it. Yeah, there we go. Perfect. All right. So I'm quite happy with this shape. Now we can go ahead and finally just use R, click R, readjust the density to bake it a little bit more dense. Click Control R. And now it should give us make it even a bit more dense. There we go. Should give us more to work with. I'm going to turn off dynamic topology at this point as well. And I noticed that it is not giving me. There we go. Okay, for some reason it wasn't working, so I'm just going to go ahead and now fix this up, so make it something like this, Control R. There we go. We have now more topology to work with. I'm going to smoothing out the parts that I think aren't going to look quite as nice. For example, this part over here, it will be quite right. This part can be smoothing out a little bit. Moving it out, we are removing the detail so it's worth knowing, especially for sections like this noise over here. Maybe we do want to use clay brush over here, and then slightly, that's a little bit too much. That's way too strong. Now we have more topology, we can lower down the strength to kind of see the results a little bit better. So strength point free. There we go. And we can just quickly do that. Then using shift slightly to kind of remove a little bit extra if necessary. And this part, maybe even like this, there we go, quite happy with this kind of result. I think, honestly, it's looking quite right. We can spend as much time as we want to. But sculpting with especially like a mouse is always going to be quite challenging. We just need to get the main shape out of the way. And once we start adding texture, I think it's going to be quite okay as a sea. Maybe the thickness though over here needs to be lower down, so I am going to go ahead and go onto Grab tool and just quickly adjust this piece over here. So there we go. Perfect. All right. Now, the horns, how do we do the horns? These horns, if we have a look at it, they do have a bit of a pattern going across like so. We can make use out of radial symmetry for that, and that's going to be a bit different than what we did, for example, with the bar stool. This is going to be more of a cylinder over here. If we take that cylinder and use scale old s or sorry, scale shift head you go to just make it thin cylinder like so. Go onto the sculpt tool, click R, make it a nice setup, actually go back onto object mode, apply rotation scale, now go back onto the setup and make a nice setup. So maybe a little bit too small, something like that. Control R. There we go. We got ourselves nice setup. And in the mirror setup, we got ourselves radial. This radial is going to allow us to get nice symmetry going all the way around. So we have ourselves X Y Z. And if we look at the gizmo, you can imagine, for example, on the Z, it will go all the way around Z or all the way around X or Y and whatnot. So that's pretty much that. I'm just going to increase it to six, I think, is right. And we're going to start off by getting a bit more of a shape rather than just a simple cylinder. I'm going to just grab this upwards a little bit, like so Bacto sculpt and just start smoothing out the top section, just like that. So we have ourselves a bit more of a unique shape. I don't want this. There you go. I want this to be a little bit more thinner. Towards the top, and then we can have it like so right. And afterwards, the crease crease pol crease shop, I believe now would be better a little bit. It's going to give us a real nice setup if we use a little less of radial, so this time free. And let me just have a look if this is going to be right for us. Yeah, it's going to be quite okay. So the way we're going to do it is we're going to make it a little bit bigger. We're going to increase the strength and we're just going to work on having those radial lines, so I'm just doing quick strokes, and just like that, we're able to have well, unique, more unique type of a shape. Afterwards, we can even use clay built to help us build that out a little bit, just like that. And once we're happy with the setup we can move on to the next part. I'm going to go ahead and go on to object mode, Shades move, so we can see what is going on with this piece. So I believe we can make it thinner. So I'm going to use S Shift Z and just make it quite a bit thinner Alright, going to go back onto the sculpting mode real quick and add that bit of an extra detail where we see fit. So here a little bit over here. And I think that's quite right for a horn. If we want, we can do a little bit of an extra. That's smaller as well. It's quite right. Alright. Yeah, I'm happy with this. Okay. Now we can go ahead and turn this into a horn. How do we do that? Well, we can go ahead and make use out of the curve deformer. First of all, I'm going to go ahead and just reposition this horn a little bit closer to this part over here. Yep, seems right. Just going to make it smaller as well. Something like that will do. Reckon it's quite a good starting point. There we go. Maybe a little bit smaller, just like that. Alright. This seems like maybe a little bit smaller. Okay, this seems like a good point. Yep. All right. So now we can go ahead and use curve, the former. Now that we have ourselves to horn in place, we can go ahead and use shifted as cursor to select it, so it would place the cursor right on its origin point for that horn. Then afterwards, we can go ahead and create ourselves a curve path. Like so we're going to make it smaller, so it would be around the same amount as the horn itself, like so. I'm also going to click a dot on the outliner. So that way, we can see and identify where the nerves path is. So we can always just quickly select it. Afterwards, we can go onto the horn and select ourselves a curve modifier. Once we select it, we can go ahead and use the curve object option over here and select the nerves path. It's going to offset it a little bit, but what we can do is we can just bring this back and reposition it because the reason it's offsetting is based on the setup of the origin points, basically. What I want to say is sometimes it's not going to be obvious for the path to reach all the way to its end. So right now, if I had my object moved back, you'll notice that it follows that path over, like so. So sometimes, for example, it won't reach the end part or sometimes it go too far and you won't be able to adjust or modify that end part. So just make sure that the end part of the nerves path almost just barely sticks out. So that way, you have a nice quick selection to make, and you can have a custom selection like that. Also, another thing is that, for example, this horn maybe is a little bit too much. If we have a look at the reference, it is way thinner in regards to its length, and now it's way too long. So we can go ahead and select both the nerves path and this horn. We can use S and X and kind of squish it down a little bit, like so or what's happening right now is it's squishing over this section over here. If I was to do it a little bit more, you can see that it's squishing it like so we might not want this to happen. So what I recommend you doing is we'll notice that without this curve deformer, we still have this straightened out. So we can just simply use S&X only on the horn itself, and that's going to squish it down like so, and we can just tweak it a little bit, like so bring this back to the top, a little bit like so, and then we can just reattach both the nerve path and the horn back onto the setup to have it like this. So maybe this one is a little bit too maybe not enough. There we go, something like this. That's going to be great, and I'm just going to bring it out, like so. And of course, if we look at it from the top down view, it's going to have that frontal section going forward a little bit. So we need to make sure we do that as well. Let's grab the nerve path again, select the last dot and just kind of bring this to the front so, and I think we are pretty much set with in regards to each shape. Yeah, I'm quite happy with the setup. Let's go ahead and leave it. The only thing that I would like to do would be to attach it properly onto the skull. And what I mean by that is, firstly, we'll need to go back onto the skull itself and do some quick sculpting for this setup. So let's go onto the sculpt mode and use the X. Or no radial only on X value over here. This way, when we are sculpting, we're going to have it nicely positioned. So this is a little bit too much. What we want over here is to use clay brush. Clay brush is similar to clay strips, but it's going to give us more organic look if we have a look at it like so. And in terms of certain touches when we're doing it for the horns, is going to help us to kind of get that nicer attachment to the setup, like so. So I think what we want over here is a little bit larger of a brush and just kind of quick tap, like so and then we make it a couple of times smaller brush, hold control, and then bend it inwards. And this should give us a really nice and simple type of an indent like so that goes into the skull. And I think that just adds in that additional look for the horn. Another thing, what we can do is, of course, go onto our horn itself, go onto the scalp mode, and I am going to slightly disable the real time so we can just slightly add additional bit over here. So for this part, I think I'll just use normal clay strip. And just add in that extra value over like so. And just by doing that, I believe there we go. We're going to get ourselves a nice value over here, and the bottom part needs to be a little bit more indented towards this section towards the right side. So I think I'll use Grab tool and just kind of move this entire part, maybe a little bit too much, a little bit to the side. Maybe I'll I'll click one to go to the side view and just move this entire part. Like, so just like that. Checking the other side as well, although it's not as important because it's not going to be as visible, still quite nice to have it. And once we have it so we can check how it looks like, and there we go. Maybe the one at the top needs to be going backwards a little bit, which again, we can also do. There we go. So now, I think it's going to look quite nice. And the only thing is that it looks a little bit squarish. I'm not sure why that is the case. Let's go ahead and check. And yeah, I can see why it looks a little squarish, so quick fix, like, so nice, little bit of shape. And yeah, all in all, looking pretty good. So now we can go ahead and simply select this mesh. We can convert it to a normal mesh. Now we can go ahead and remove this modifier, select these pieces or this piece in particular. I'm going to go ahead and use this skull as a main point. So selecting the skull, using cursor to active, select this horn, use origin to free the cursor. That way we have this origin over here. And now we can make use out of the mirror tool like so, and it's going to based on that origin point going to mirror to the outside, based on X axis, all is looking nice and super cool. Alright. We can finalize it by grabbing both of these. Real quick, I'm just going to go ahead and convert it to mesh, join them up, and now we can just decimate it until we get a more reasonable of a face count, because right now it is way too much for such a scene. So I think if I set it to 0.1, it's a little bit too much, so now we're holding shift. I'm just going to lower it down. Until we get 23,000 is actually quite right for such a setup. We can even lower it down a little bit more, though. I'd like to go into 15,000. I think that's going to be quite right. So I'm just going to manually write in the value. And I think there we go, perfect. That's exactly what I'm looking for. Now we can go ahead and apply it. And in case you're wondering where the face count is being set, at the bottom of this decime tool, we can see the face count over here. So once you get to that similar amount, we can go ahead and apply it, and that's going to fix a lot of issues, like so, and even with that, we can check the shades move and see that it's quite right with the setup. Now, all we need to do is set ourselves up with some material, but we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 83. Uv Unwrapping And Texturing Organic Sculpt In Blender 3D: Okay. Alone, welcome back everyone to master blended fret with Wild West environment. In the last lesson, we got ourselves a nice skull setup. Now we're going to continue on with this and get ourselves some materials. But before doing that, I do want to point out a certain thing about, well, the point to horns. What we can do with these if they look a little bit too soft, at the end is if we were to go onto scalp mode and use inflate, if we were to hold control, we can essentially deflate an asset. So if we just do it at the tips with X symmetry, we can go ahead and make them a little bit more point, as you can see, like so, and I'm just going to do just a little bit like that for entire setup. So we have really nice and sharp type of a look overall. And I think that is much, much better. We just have to make sure that we are very careful with it because when we are deflating, we can see that there is a bit of an issue with once we have this kind of a mesh decimated, we are going to have some bit of an issue over here, as you can see the vertices overlapping. So maybe holding shift and just tapping it real quick to kind of fix that issue will help you out as well, maybe over here a little bit as well. There we go. Nice, quick fix. Alright. Now that we're happy with the setup, we're going to start off with the horns for the UPN wrap. And for us to do that, we can go on to Edit mode, and the best thing that we can do right now is just select the skull. Click H to hide it. This way, we can work with well, the horns themselves. And I do want to make use out of this setup is, as in a way that's just because it's shaped like a cylinder, we can just unwrap it similar to what we'd have in a cylinder. The only thing is that this face over here, these pass over here, we don't really need them. We can go ahead and take care of them. Remove it. So let's go ahead and do that. We're going to go ahead and just click free and click C and then just make this a little bit bigger and grab these faces. That way, we have a essentially hollow horn setup. We can go ahead and delete it. I'm going to click Alt nature real quick just to see how it looks like, then control z. And by doing that, I was able to make sure that this is not, in fact, keep giving us any holes and whatnot. And then the next thing is I'm going to go to the very back like this and just select one edge maybe over here, then go all the way to the top and holding control, select this part over here, and this should create a nice loop except this loop is going through the middle top part, which is going to be quite visible. So for that reason, I'm just going to redo it manually a little bit, like so, and now select the top, and I think that is reasonable. Yes. I'm quite happy with this. Let's go ahead and just mark Seam. And I believe this upside he's not going to have that same selection, so I'm just wondering why that is the case. And these parts were not deleted, so I'm just looking at the symmetry. It is enabled, but for some reason, he just doesn't want to pick the same vertices. So I'm wondering why that is the case. If I click Alton H, maybe that was the issue. No. I'm not sure why, but the easiest way since we already had this setup is if we were to just make a duplicate onto the outside and fix that right away. I think it'll be much easier for us rather than just re mirroring the entire setup. So once we're happy with this Sam let's click Alt and H. Now let's click on this horn. We can go ahead and delete it real quick. Select this horn. You'll be using L, click Shift D, Escape, and then we can use the origin of an active not an active element, sorry. The free decursor that's what we're going to use. If we don't have the frecursor over here, we can go onto the object mode, and this should still be within the center of the skull. Then we can use shifts cursor to active. And that way, this duplication is still here, by the way, we can go ahead and just use S X minus one, and there we go. Perfect duplicate except notice that there might be some issues with, well, some shading. And the reason is my guess is that, yeah, it did invert pass completely. We're going to go ahead and fix that right away. I'm going to select this entire piece. Click shift and N, and there we go. Perfect duplication with a nice bit of seams on the side. Alright, so now this part, the way we are going to do it is we're going to remove the eye sockets basically from the centerpiece and then just going to split the skull in half, and I think that's going to be more than enough with the setup. So let's go ahead and do that. I think the best setup will be if I was just to make a quick selection over here. Then click Control plus a couple of times. This should make a grow. No, there we go. It's growing out a little bit too much, but this should grow out nicely, and afterwards, we can just remove all these parts, unnecessary parts, so to make a nice piece going around it, just like that. And it doesn't need to be super clean, but we are looking for that bit of a nicer flow of an edge. So for example, the strangle over here can be removed. These parts can be over here removed. So we're just trying to make it as straight as possible with our selection. And once we're happy with it, we can click two for Edge selection, go to select Edge oops, select boundary, and Mark C. We're going to do the same part on this end, as well. And I'm just going to go to face selection, make a face like that, Control plus a couple of times until we get something like this. Then we can go ahead and use more Middle mouse button with C to remove anything unnecessary basically. Just like that. Oh, maybe this part was a little too much, maybe not. I think that's quite right. Oh, going into click Control Z, did a little bit too much. And also, think this face was not selected for some reason. Just going to make sure that everything is nicely selected, which now seems to be the case. There we go. All right. And this is going to give us a nice basic setup. So let's repeat what we did previously. Make the same selection. There we go. So when it comes to organic shapes, we just need to make sure that any concave areas that are just going too much inwards are going to be well marked seams. Otherwise, it is just going to skew and warp a lot of texture. For something like this, over here, I think it's fair enough. I think we don't really need to touch it because it's not really going and creating that, you know, deep parts like this part over here. So I believe it will handle it quite nicely. So let's go ahead and just continue on. And this time, we're going to go ahead and select the bottom piece, like, se. And we just need to consider basically how the seam is going placed in this section, and I'm just going to go ahead and make a selection like that. Actually, for this part, I don't want a selection over here and want to go with the contour of the skull. I think I'm going to go ahead and isolate this entire skull this time and just continue on with the selection. Until I'm happy with the result. I'm just making sure that this is just one large chunk. We don't really need to worry about anything else. It is decimated. It might look well poorly in terms of topology, but we're not really concerned about using it for animation or anything of the sort, and it is going to work quite nicely. If you're doing it for a portfolio piece or something of that sort, this kind of a skull might be better to be used with, well, re mesh quad. That would be a little better, but you would end up losing a lot of detail. So as a way of a workaround for that would be, for example, to bake out normals and set yourself up with that, but that would take extra time, and visually, it's not going to help that much for this particular case for this piece to be set exact. So that's why we're not really doing Plus, although blender does have a way to bake normals, it's better to do it with another software such as substance ana, for example. Anyways, all in all, I think, I think this is a nice selection, checking both sides. Final tweaks, making sure that there's no weight sharp edges for no reason. Like so. So it's not going to be a perfect kind of well, edge seam, but all in all, we're going to get ourselves something that looks quite right. Okay, so now let's go ahead and just get ourselves edge boundary, like so and mark Sam. And just like that, we can go ahead and just select this, go on to UV editing, and and isolate this. Actually, we can just do that as well. Double clicking Isolation button. Like so. Now let's go and select it all UV and wrap minimum stretch, and let's see what it looks like. There we go. We got to sell two sockets over here, which is quite right. The top section, we can see the sockets being pulled out, the bottom section over here, and what is happening with this. Let's see. I'm going to go on to UV sink, my favorite little tool. Oh, those are horns. Okay, I see. So yeah, I think that's pretty good. Let's go ahead and start applying the texture, the material. Let's go ahead and find bone material, so from the resource pack, and we can start with this as a base. So I'm just wondering, looking at the reference, how is in regards to the size. So maybe we can make it a little bit smaller in regards to the overall size. I think that's going to be quite right. I'm going to make this UVs bigger and the texture therefore small. Something like that, quite right, just double checking in render mode. Yeah, that's quite nice, actually. Just a little bit a little bit larger. There we go. The reason being is that we are going to be looking at it mainly from a distance, and for that reason, we do want some of that detail to be more visible. So now we can go ahead and select the horns. We can add another material. And this time, we're going to add, again, bone. But this time, bone material 001. Let's go ahead and assign it and see how it looks like. And with that, I believe it's looking quite right. We can have a quick look in regards to the setup over here, and I do want to hide these parts out of the way. So what I'm going to do is I'm going to tick off show overlay this way. I can scale up and down the texture. And if we scale it up, we can see that this is actually directional type of texture. That's why having a nice seam just going across one way allows us to unwrap these parts. And also another thing I'd like to mention is these need to be slightly rotated, just a little bit like so so the tip would go upwards instead, and you can see now it's nicely going following along that curvature of the setup. And that is perfect for us, except this time, it's a little bit too big, so we're going to shrink it down once we kind of work with that direction. And something like this, let's go ahead and have a look at the setup. I would say even smaller would work as well. There you go. Moving it around want some nice detail in between. And yeah, that's looking perfect. I think that's looking really good. Let's go ahead and have a look on how it looks like within or seen. So let's go out of the isolation mode, and there we go. We just now need to attach it properly onto the top of the building, like so. So I think that's going to be quite alright, maybe a little bit higher, just like that. And now we need to decide whether or not we want it to be a little bit more down. I'm looking at the references over here, and we can see that from certain angles, this is looking a little bit maybe down, so we can go ahead and just slightly go ahead and click RX slightly tilted until we get into this kind of shape, and from this angle, well, it's going to look quite right. I think I'm quite happy with this result. So yeah, that's going to be it from this video. Thank you so much for watching and I will be seeing you in a bit. 84. Wagon Modeling, Using Greybox Wagon As: Hello and welcome back everyone to Master Blended free D with Wild West Environment. In the last lesson, we left ourselves off with a nice type of a front side with a skull included. Now we're going to continue moving on with our next piece. This time, it's going to be this wagon over here. So let's go ahead and grab this out of the way. And also, we might as well grab the planks that we had on the side. We're just going to grab ourselves, I believe, yeah, this one over here. So the wagon and the planks. Let's go ahead and just make a good use out of this. And you know what? We might as well just make a duplicate out of this and move this to gray box complete. This way, we can just work on this without worrying about making any of the mesh differences. So let's go ahead and start off by just hiding everything out of the way, so we can just use shift and H. Like so. Now we can go and use Alt and R and Alt and Alt and G, and this way is going to move it back onto the side. As you remember during the gray box time, we didn't apply the transformation tab, so that allowed us to just bring this back into the setup over here, and we can now adjust it and start working with this type of a setup. So what I'm going to do is I'm going to start it off by getting ourselves nice planks at the bottom. We can make use out of this, and I am going to turn off the material, so we wouldn't have to worry about that. So let's go ahead and start by just making a duplicate and start thinking about the base of this structure. So we can go ahead and go on to modify a stab, get ourselves the width to be much smaller, something more manageable. Like so. I believe this is quite right. So in total, we're going to have ourselves nine. Or let's make it ten, and we're going to have a bit more thinner of a setup. That's quite right. Let's move it to the front and start building everything around it, basically. In regards to its length, I believe we can keep the length as it is, I think that's going to be quite nice. Yeah, it is going to be quite nice. Now, as for the sides, we can make a duplicate out of this. And actually before making a duplicate out of this, we do want to make some adjustment for this. Sorry about that. We want to make sure that we do add more gap in comparison. The reason being is that this is going to well, be more of a rough looking wagon on the side. So we definitely want to make sure that it is looking as part of it. So for that reason, I'm going to increase the width like this and then move the count to nine. There we go. That's exactly what we're looking for. Nice, spread out base with some lots of gaps in the middle. Perfect for us. In regards to deformation, bending minimum and maximum slightly by a couple of edges, so to minimum, positive and negative values. And then we want to have some of the displacement. I'm going to increase the scale for starters. So displacement scale and now noise texture, we can lower this down and see how it's going to be affected. So we want to have displacement, something I think that's going to need to be a little bit smaller. So 1.1 of a noise scale, that's quite nice. Now we can go ahead and lower this down to a more manageable result. And I think that's quite right. Actually, I'm not quite happy about this way of a bump, so I am going to increase it noise scale just by a little bit to value of 1.2. There we go. That's exactly what I'm looking for. That's quite nice. Displacement scale just a little bit less. Perfect. All right. So now we can go ahead and make use out of this, making a duplicate onto the side that's rotated around. Oh, we need to make sure that we are using median point to rotate it in Y direction. There we go. And the next thing is going to need to be for the amount. So these planks over here need to be a little bit wider for starters. Let's go ahead and increase the width to something like this, that's going to be quite right. I think four planks on the side is going to be perfect for us, so we can go ahead and lower the amount, like so. I also lower the gap a little bit just by tiny bit. I think it's going to be quite nice, and there we go. We already have ourselves a nice setup. We are going to rotate it a little bit, so it wouldn't be perfectly well vertical. We're going to use R Y and just kind of rotate it this way. So it would go outwards basically on as it goes up, like so. That's looking quite nice. Yeah, that does look quite nice. I'm just going to work with one side at this point, and then we can just mirror everything else to the other side. And I think that's going to be for the best, honestly. So now we're going to go ahead and add a bit of those supports. So for starters, we need to, we need to add something for the top a little bit a bit of an extra support. Like, so, sort of a handrailing. Let's go ahead and do that. When we're extending it, we need to consider how it's going to be connected with the back and the front and the back itself, we're not going to have an additional railing going across, so we can have this a little bit going outwards, just a tiny bit, so the front, however, is going to have another railing. So I'm going to bring this in, and we're going to do some bit of testing afterwards. But for now, though, let's go ahead and see. This is quite a bit too big of a railing. I'm going to select it all, use Old ands and then just shrink it all down and use S Z and just reposition it to more of a reasonable amount. I think it's still a little bit too big, so I'm going to lower it down a little bit even more. There we go. I think that's quite nice. I'm going to go ahead and now add a bed bubble. Like, so using scale, apply scale first. Then we can just go ahead and do small tweaks, just like that. There we go. Perfect. Alright. That's quite nice. Now let's go ahead and do this seta for the front as well. Actually, before doing that, we might as well get ourselves vertical railings. I think that would be a better choice. So for that, we're going to go ahead and grab yet another cube. I'm going to move it downwards. Go to go into edit mode and just scale it down this way. The transformation is not going to be changed, and I know that we won't need to we don't need to basically apply the scaling again. If we're doing it in in edit mode, the scaling, we don't need to worry about the transformation being affected basically. And that means that when we are applying the modifier for bevel, it's going to be quite all right. So the positioning right now, let's think about that. I'm going to go ahead and use isolation mode real quick. So I'm going to select all three pieces, going to use isolation mode. Now can just select this piece and see where it's going to be placed. So a bit more to the front, like so I think that's quite right, bit to the back, and now we can go onto Edit mode, select this bottom piece, GZ, move it down, like so and G X. Like so in this way, we're able to position ourselves nicely with the setup. And, of course, we can move it across to make a duplicate, just like that, and just like that for the pack as well. I think that's quite right. Now we can go back out of isolation mode, and because we have everything hidden, it's not going to cause us trouble with the setup. So we can just simply select these pieces, join them, use Bble, so transformation shouldn't be affected. And that means we can just do a quick setup, so I think that's looking quite right. The only thing that bothers me is in comparison to the planks over here, these are really, really straight and it doesn't look like I used type of wagon. So we're going to add some Breva detail in regards to fixing that. I'm going to go ahead and select all of this. Going to go onto Edit mode, click Control increase edge loops to well eight, in this case, but we just want some density, basically, and I'm going to do the same part over here as well, just like that. You can go ahead and select the, go to mesh, transform, randomize and using Shift I'm going to lower it down just a little bit, 0.003. I think that's going to pick we right. And just by doing that, we're able to get ourselves a little bit of an offset, which is definitely going to help us out with getting it to look more authentic and worn out as wood. So once we're done with that, we can go ahead and make a another version for the front as well. So I'm going to go ahead and duplicate this real quick, GY afterwards. So shift D, GY, and then use Rz 90. Like, so we can see that the scale is way too big for such a setup, so I'm going to low it down length, so put it over here. And I'm thinking whether or not we need to rotate it and I believe we do. In this case, because it's a front, we definitely need to have it a little bit more vertical. I think that's going to help us with the shape with keeping that box up type of a look. Think it's going to be quae right. So now it's looking quite alright. I think we're going to change a little bit displacement for these because they're much smaller. They're still being kept with the same displacement scale, noise scale that is. So I'm going to go ahead and just lower this down a little bit. So it wouldn't be quite as offset. There we go. That's much better in regards to the overall setup. Let's grab this plank over here, make a duplicate, rotate it around by -90, like so, and now we can just bring this back a little bit. I'm going to select this part or actually, let's select this entire piece. Let's use this as active element. There we go. And we can select this last phase, like so and use said, sorry, SX and just scale it down based on this active element. And like that, we're able to get this entire plank shrink down, shrunken down. I think that's quite right. Now, let's think about the placement over here. So when it comes to smaller setup like that, I prefer to have this a little bit higher up, like so, so it'll be overlaying it. But because I know that there is going to be an alternative plank going on the outside on the longer sections of the wagon. We are going to, for that reason, love this down like so, and that's just going to nicely fit together and that beam that we're going to crate in a bit, is going to hold everything up together nicely. The other thing that we need to consider at this point is, well, the placement of this. You can see that because this piece is being well set the way it is set up, which is, you know, going inwards at the bottom, we need to make sure that this part reflects it as well. And at this point, I'm not really prepared to turn this into a mesh, just yet. I prefer to keep it as non destructive as possible whilst working, so we can maybe change the seed or something, you know, if we want to, we can do all of that good stuff. And so for that reason, we're going to make use out of lettuce or sir lattice. There we go. We're going to create ourselves a lattice like, and move this, make sure we are changing the scale a little bit, just to kind of make it fit a little bit more. Like, so let's make sure properly is moved down just like that. I think that's quite right for such a basic setup, but it's more than okay. Let's go ahead and go all the way down until we find the lettuce. Select the lettuce, like so, and now we can start working with it. And let's see which one we need. This is the one that we need. So W. I'm going to change it to five. Let's go ahead and select the bottom pieces like so use SX just to test it. It does seem to work. And we can make use out of the proportional editing, I reckon to kind of bring these in like so and I think that's going to be quite right. I'm going to select the top ones as well. And again, SX, bring them in like so. I think that's quite right. And yeah, that's looking great. We just need to maybe rotate it a little bit more, like so. Perfect. That looks really nice, actually. Maybe even more, actually, so there we go. All right. That is looking so nice. All right. If we do want to have a quick look, we can go ahead and just select this entire piece, so then hold control the gray box part and use the isolation mode. The reason we are doing it like this is because everything else is hidden at the moment, and we just want to work with this one piece. The alternative way for it would be to grab what we're working with and put it into a new collection and then antique everything except for that new collection that we created. But honestly, it's up to a preference. And that is usually how I work with the setups like that. So yeah, anyways, that's going to be it from this video. Thank you so much for watching, and I will be seeing you in a bit. 85. Using Mirror Tool To Our Advantage In Blender 3D: Hello and welcome back round to Master Blender Free tea with Wild West Environment. In the last lesson, we left ourselves off with this wagon piece, which we're now going to continue on setting it up with well, all the rest of the parts. So let's go ahead and do that. First things first, I would like to just get this gray box back out of the way because it's just being in the way and I can't actually visualize it how it's going to look like properly. And you know what? Let's go ahead and just try to mirror this onto the other side and see how it's going to look like. So I think in this particular case, the best thing, the easiest way, at least, would be if we just simply join it all up together this side and mirror it to the other and we could do it individually for each one of those pieces, but it's not really worth it. We don't really need to overcomplicate ourselves, and it would be nice to keep the geometry node still as it is, but I don't think there is a need for that unless we want to maybe get the length randomness just a little bit out. So I think that's going to help us tick out these back ends. That's going to look much nicer. And, yeah, all is good. Let's go ahead and just select it all. Go to object, convert to mesh, and let's duplicate it. So what would be the best way of doing it? Let's select this piece, this gray box section, and use Cursor to active. Let's select now all of these pieces. So now they're properly mesh, we can go ahead and just join them up, and that's not going to give us an issue. I'm going to right click Shade Atos move as well, so there wouldn't be faces with bad shading. And now we can simply use mirror. Like, so and let's right click and set Oge to predecursor. There we go. Nice and simple setup. Very good. All right. So now we can go ahead and start thinking about all the supports that's going to go underneath and the way they're going to be attached with the wheels and whatnot. So there is going to be a plank at the back. I can just simply actually duplicate one on the top over here and move it all the way to the back. Like, so let's see how it looks like. I'm going to just bring this inwards, like so. That's looking quite alright. I think that's looking nice. And I just realized that these planks over here are a little bit too thin. I do prefer them to be a little bit wider. We can go ahead and fix that actually. I'm going to select the upper, the lower section of each one of those. So holding Shift, selecting the top, and then select at the bottom. Then we can click Control plus to make sure we grab these bevel iedges and then using G. Oh, sorry, let's make sure that we turn off proportional editing GY, and just slightly extending it, and because the upside is mirrored, it's going to help us in that term. So now, these supports look like they're actually wide enough for the entire setup. And I think that's looking much better. Okay, so the next thing is going to be, well, the vertical supports, sorry, the longer supports, which, again, we can just duplicate or we can't duplicate the top because we joined it up. So I'm going to go ahead and duplicate this. Like, so kind of reposition it to where I want it to be, which in this case, it's going to be somewhere like this, a little bit more at the base. And I think I think we do want to be extended a little bit. What I'm looking right now is how it's going to be positioned with the setup, and this is a little bit too long. I just realized, let's go ahead and fix it. I'm going to go ahead and select it all. Going to probably going to select a piece in the middle over here. We're still using the act element for this one as X and just nicely putting inside, so there we go now, I can see what's going on over here. And I'm going to go ahead and select it all. Use Control D select the gray box and see what's going on. There we go. All right. So the reason I'm doing it is mainly because we want the width over here to be quite a bit wider. The reason being is that we want to make sure that we have enough space to work with when we're putting our supports over here. And I think that's going to be quite right. I'm going to go ahead and select it all. I'm going to select this piece, holding Shift, double click on it. Now SY, and we are going to extend it all the way like so. And I think that's looking quite right, except we might need to make it a little bit thicker. I think it's going to be quite alright. So there we go. Nice and chunky. Quite right, making sure that it doesn't overlap with the planks themselves. Of course, because they have a random displacement. We can't get around from some places, but all in all, that is looking exactly as it should. Now the next thing is going to be adding a new cube, and we're now going to start thinking about how those sides are going to look like, actually, because we definitely need to make sure that it's placed nicely in the section. So again, I'm just scaling it down for the editor just to make sure it's nicely set. And when I'm moving it in object mode, I am moving it. When I am moving the scube I am moving it in object mode. The reason being is that I prefer to have this origin point to be nicely placed. And yeah, that's going to be nicely placed overall. So I think, honestly, this looks quite perfect. Going to make an extension like this. And I'm not going to worry about this a little bit too much. I just want to make sure that the placement is going to be all right and the scale is going to be all right, which I think in this case, it is. We are going to move it even closer, actually. Like so. The reason being is that we do want this to be touching and this can overlap. It's going to look like it's just cut into this section over here, which is right. And we do want this to be a little bit thicker, like so, and just the final check. We want us to be in an area where this is at the front or on inside, so somewhat centered. And yeah, I'm happy with this. With this thickness, I think it's going to be quite alright, double checking it with three of them at once, which I am going to adjust it in a bit. I just want to make sure that the thickness is going to look quite nice, which it is. So quick tweaking for this is going to be okay and over here. We are going to move it into this section over here, which now we can see that this is being a little bit out. So the way we're going to fix it, we can either make this smaller or sorry, lower this down and then fix it by moving this inwards, like so. So it will look quite interesting. Alternatively, what we can do for this is add a bit of a front cover, which I think is exactly what we're going to do. The reason being is that we do want some bit of an extra chunkiness at the front because this is going to be supporting the very base that we're going to have the parts that basically hold the horse. And for that reason, this is going to be placed like this and basically exactly the same section, maybe lower it a little bit there we go just a little bit so it wouldn't overlap. And this is looking quite right. This part, I believe can now be mirrored, which again, we still have the free deecursor over here, right click geometry origin to predecursor and mirror like this. So now we can see what's going on with this upper side. And we want this to be just around here. I think that's quite right. Let's go ahead and go into our selection. Using shift, double click SX and shrink this down like so, and that's looking quite nice. Now, what I'd like to do is add a bit of an extra shape on overall this setup. So in this case, I'm going to just grab these edges over here, use GY and move this inward, right away, we're going to get such a much much cooler basically shape instead of just a simple square support. Part is overlapping, so I do want this to be bringed in just a little bit further. So making sure that this edge is selected as X and move this inwards just a little bit more. So think actually, I do want to be I do want to be in words even more, actually. So I'm going to use GX and move this back. So it would be a nicer bit of a gap, and SX asX there we go. I move my mouse a little bit more from that active spot. If our mouse is too close, it's going to be super sensitive. So if I move my mouse much lower, you can see that dotted line that comes from the active selection, and we can use that to our advantage and basically create something like this much easier. And this can be also lowered a little bit, as well. Nice bit of a gap. I think that's actually too big of a gap. I don't really like it. Let's bring this upwards, like so. And that is going to look much nicer, I believe. As I said, I'm just going to scale it upwards a little bit. Nice bit of chunkiness. That's going to look quite alright. Okay, so lay a little bit too chunky, lower it down, bring it downwards. I think it's okay if this part is visible. I think it's totally okay. And so we got ourselves the entire section closed off nicely. We just need now to work a little bit more on the bottom and, of course, on the wheels themselves. So let's go ahead and make sure we get that proper. So for the wheels, it is going to be, well, four wheels, so we need to make sure we have a certain setup for axis, although it's going to be barely visible, it's still going to have that thickness and whatnot set up. But actually, we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 86. Continuing With Wagon Modeling For Its In Blender 3D: Hello and welcome back everyone to Master Blender Free D with Wild West Environments. In the last lesson, we left ourselves off with a very nice box, which we're going to continue on developing and making sure that it looks more like a wagon. So for Sarus, we're going to start thinking about how the bottom is going to look like and how it's going to start attaching the wheels. And for that, I think we can go out of our isolation mode and start by well, setting ourselves up with axis. So let's grab ourselves a cube, and I'm just going to make it smaller. Move it on to the well general direction of where it's supposed to be. Like, so and then we can start thinking about how it's going to work. And I think that's a good place. So as X, I'm just going to extend it a little bit as well. There we go. A nice little setup. We can now go ahead and just grab the entire piece again and use Control to just select the gray box, and there we go. Alright, so how can we attach this to support the planks at the top? Otherwise, if we don't do it, you can imagine that all of the weight that's distributed along these planks might end up just causing this entire wagon to break and whatnot, the base at the very least. So we're going to go ahead and just work on that setup. And for us to do that, all we need to do realistically is just select this part over here. Like so. Then I'm going to go ahead and click I to make an inset. And the inset itself going to be relatively thin. You can see it like so. But it's just a small gap like this. Then we can click SX and bring this inwards, like so and use E, and just extrude it out like this and use SX to kind of get ourselves this inverted permit type of a shape. And I think this is looking quite right. The only thing that we need to consider its width, essentially. We can go ahead and select these two pieces, use S and X, and just Oh, let's make sure we use medium point as X and just extend it a little bit. And this part. Really going to depend on how this is set up. And what I mean by that is we're going to make use out of the setup to also support. Let's go out of Isolation mode to also support these. So how they are set up is going to depend on us. Personally, the front I like the way the supports on the front would be. I'd like them to go inwards and then close it up a little bit towards this section. So they're going to be smaller in width. And I'm just checking. So we have ourselves this entire beam going across, and I think right now it's a little bit too wide. I'm going to go ahead and now fix it. Select it all control deselect our usual gray box, and yeah, we are going to make it just a little bit smaller. So it it covers three planks and a half, let's say. There we go, something like that. That is looking quite right. Let's reset rotation and scale. Use ourselves a bevel and a little small type of a bevel. And because it's capped, actually, it's not going to do it more than that, which I think is good for this particular reason for this particular setup. If we want this cap to be fixed a little bit, we can go ahead and just grab these two parts, use S and Y, and kind of bring this in. Again, because this was cap this section, that's why it wasn't giving us entire bevel, but since we brought it in, it will do it now. I think that's looking quite nice. Now we can go ahead and well, move it to the uper section. I'm going to go out of isolation mode real quick, move this part of the year to the uper section, like so that's quite right. And now we can think about how we're going to connect these two axis over here. We can use yet another cube, and we can squish it down to a reasonable amount. Let's move it downwards. Use a Z, make it thinner, like so use SY, extended. To something that's going to give us a bit of an extra on both sides, a little bit more. So, that's good. And use G Z to go halfway into the setup, something like this, quite right. And finally, we can add ourselves some extra detail on both ends. So let's go ahead and do that. Go on Edit mode, add an edge loop around over here just before it starts, this axis and on the other side as well in a similar area. Like so. And now we can go ahead and select these parts on both sides, use SX and just kind of shrink it down. And I think this is a little bit too wide. This part is a little bit too wide. I'm going to lower this down a little bit like so, and this also as well lower down like so. Alright, that's all we need to do over here using rotation and scale, apply that and bevel. And smaller bevel. Like so. Now we have those two connected, increasing the overall frame, basically, and making sure it looks waisterier than it did before. Now finally, we can get ourselves these lanks going across at the bottom. I think we can do that. And honestly, for these planks, we can just reuse it. Why not? We might as well reuse it. I'm going to select it. Click B separated. So we can just work on this one piece, grab this backside, and I'm going to start it off by just bringing it into the middle part over here. We don't really need to go all the way to the end. We can just go to this section like so. Now, the other thing that I did mention before was that we should get it to be more inwards rather than just straight, so I'm going to go ahead and just use this edge loop, move this using G to slide it across, get an edge loop over here and get another edge loop around this area. I think that's right. Now we can go ahead and use, let's see. We can use Old Z and use Face Selection to grab this entire edge over here, all the pieces and then use sorry G x and move it towards this section over here. And I'm seeing that maybe just maybe should move this entire piece a little bit more towards the edge. It's going to be much better. Yeah, definitely. I think we can go ahead and select the GX, move this up like so. There we go. And this part can now be even closer like so, making it a little bit looking nicer, except we need to fix a little bit this length, so I'm going to go ahead and select this and double tap G, slide it across even more. Like so. And as for the end bit, we can go ahead and make an additional edge like so, grab this inwards, and that's going to look quite nice overall, I reckon. And we just need to make sure that this is not just going straight. We can go ahead and select this piece at the front, use proportional editing, G Z, and just move it slightly like so upwards. And that's going to give us a very nice and unique type of a shape. The last piece that we need to do is just reset rotation scale and add ourselves a bevel with a small amount, something like that. I think that looks pretty good. In this case, we need to double check the bevel angle, and I think we need to lower this down until we get sorry, increase it? No, we definitely need to lower it down until we basically get those edges over here on the sides properly set, which they are at this moment. Just making sure that this edge over here is beveled off as well, which if we go into edit mode, we should see that, yes, there is an edge, and we did bevel it off, basically. All right, so now we can go ahead and well, mirror it to the outside. Let's go ahead and do that. Mirror outside. If it's not mirroring, just make sure to set origin to free decursor and there we go. Right, so I'm going to go ahead and just select everything and the select the gray box. By the way, alternative way for selection would be if I was just to select the gray box itself and then click Control I, I can then use isolation, and that's also another way of well, just double checking what we have so far. And so far, we have all the pieces nicely together. We can start working on a wheel. So here we have access, but we don't have the wheel itself. We need to just check the height. I think the height was right. I might as well just make a copy out of this as a base. I think that's going to be quite a good idea. Let's go ahead and do that. And yeah, let's go ahead and just simply make a separation for this selection. Like so. Just double checking if the wheel was nicely set up. I don't think it was. What I'm going to do is I'm going to reset the origin to geometry node, set it to the middle. Now I'm going to select this piece over here. In particular, this part over here, going to use shifts, cursor to active. Oh, sorry, shift and S, cursor to selected. There we go. So we have ourselves the cursor here. Now I'm going to go out of this and use this wheel to right click or not right click shiftiness with the selection, selection to cursor. And the cursor ended up being over there. I think I ended up mi clicking by accident. So let me just try doing that again. Selection here, cursor to selected. There we go. We can go out of isolation mode. Now we can use shiftiness and selection to cursor, and there we go. We got ourselves a perfectly aligned wheel. Of course, we need to just bring this out a little bit, quite a little bit like So there we go much better. Now we can go ahead and start thinking about Wheel itself, but we are running out of time, so I reckon we can continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 87. Modeling Wagon Wheels: Hello and welcome back everyone to Master blend Free D with Wild West Environments. In the last lesson, we left ourselves off with realigned wheel. We're now going to continue on modeling process for it. And the first thing that I like to do is just going to make this wheel a little bit thinner. So let's go ahead and use S and X and just make it thinner. I will also turn off the proportional editing, since we're not going to need that. And now we can go ahead and select both of the bases on the face of the wheel and delete these parts. This is how it's going to look like. Then we can go ahead and just select it all, use E, enter, and scale this part in. This way, we get ourselves a nice base for the rim. So I think that's going to look quite right, so afterwards, we can start thinking about how the setup is going to be I'm just checking double checking if the thickness is right. I do want this to be a little bit thinner using AltnSr now the next thing is going to be figuring out how many do we need to have in this setup. So I think the best way we could do that is if we get ourselves an actual centerpiece, this way we could see how much we need of that. I'm going to go ahead and use Shift D, Enter, and then use AltnS and just inset this a little bit piece. Like so I think we can keep it as is squad right. Click F, and there we go. Now the next part would be figuring out how often we need to set ourselves up with these. I think eight is going to be a good amount. I think that's going to be great. So I'm going to go ahead and try to select it all. So the best way for this would be probably to just have an entire selection using Alt, entire edge loop. Then we can go on to select and check or deselect. And this will give us a nice control over the selection. If we select deselected to be two and selected to be one, going to give us this, and I'm just checking if that's all right and still not enough. So I think there we go. That's what we want. So it's going to be one, two, three, four, one, two, three, four, eight, in total. Perfect for us. Let's go ahead. And now I am checking that this is free, and this is one for some reason. I do want to try to offset it and maybe see if I can go ahead and fix that. And no, it doesn't seem to want to be fixed. So we might need to do that manually, unfortunately. I'm not sure why that's the case, why this is free, and this is one on this end. It makes no sense, but it is what it is. So I'm just going to go ahead and do it manually. Like, so little unfortunate when a tool doesn't work as intended, but there's always ways to go around that, and there we go. There's going to be free on the top, but I think that's totally okay. A little bit of an offset like that. Yep. Alright. Then let's go ahead and click I to make an inset. Just a little bit of an inset, like so or quite a bigger inset. There we go. Okay, then we can click E, Enter and scale these downwards like this to get ourselves a nice setup. Over, like so. And just looking at it seems like, Oh, it didn't go in the right way. Let's go ahead and do that real quick. The reason it was happening was because when we were scaling it down, the overall setup is slightly offset because, again, of that free selection. So what we're going to do is we are going to put our precursor on here. Or you know what? A better way would be, no, the better way would be to just select this part, use cursor to select it. And now we can go back onto our selection that we just had. Like so. And I believe there will be a little mistake, which seems to be fine with the extrusion. But the mistake was, if the extrusion wouldn't have been properly set, I would have needed to use merge by distance on the tool, but now it seems to be quite okay. And it still doesn't want to go in the right direction. So I'm wondering why that is the case. Going to click Shift free or sorry, Control and free and see what is happening over here with the wheel. It doesn't want to go in the right direction, so I'm just going to manually adjust it real quick, there we go, something like that. We'll do the trick. And this is looking quite right. In regards to the Pigness itself, though, I think the wheel is a little bit these rims are a little bit toothin. I'm going to go ahead now and fix that. We can go ahead and still keep that selection, click Control plus and then use S and X, and lightly thicken it. Like so. Now let's see how it looks like with a bevel modifier. I think this is looking perfect so far. So for this part, all we need to do is because it's not going to be rotated or anything of the sort, this type of wheel, we can just go ahead and add that bit of an extra detail. So I'm going to go ahead and add a bit of this sort of a setup, add a nice edge loop around it. And for this, we can make an inset like so, click E, bring it inwards, click Inset again a little bit, and click E to bring this outwards. So this is going to make it look like this axis is separate, although it isn't, and that's going to be more than okay for us. And for the outer end, I'm going to make an extrusion to go onto the outer end. And just like that, we got ourselves a nice axis. Although this part is a little bit too big, let me just lower this down. There we go. Perfect. So all we need to do is just check the bevels, and the bevels are quite thin. The reason being is that these parts on the inside, which I think for this particular case, I am going to go into the geometry and take off clamp overlap. So now we can get ourselves bit more of an intensity with the bubbles, just like that. Our thing that we can do is select this entire edge loop, use I inset, and E enter AltnS and just slightly create ourselves this nice type of an edge rim maybe a little bit thicker. Control plus SX and just extend it a little bit. So we're getting more of a nice shape basically for the detail outside of this wheel. So just like that, I think we got it pretty good. We now need to just put it on both ends. And for that, we can reset our setup. So I'm going to go and select this gray box that we had shift in us, cursor to active, select the wheel. And now I believe we can go ahead and use mirror. Like, so onto the up side, our right click Set origin to fredcursor. There we go. And we can probably delete this part of the wheel as well. See how it looks like on this end, I think it's okay. Yeah, it seems right. Now we can just bring this to the front as well. So that's just duplicate it. Move it to the front a little bit like so. We can go ahead and delete these wheels or this one wheel that is, and that's going to look quite nice. The only thing, though, is that this front wheel is not going to be symmetrical. So we need to right away, le the symmetry like so. So this is going to be its own wheel, and then we can just well we can just simply separate this selection by loose parts. So this is going to be a rim on its own. We can just go ahead and delete it, and this should be left as is. And I just realize we need to make a selection over here and over on these parts as well, making sure everything is grabbed. The reason being is that this was a little bit offset. Let's go ahead and fix that up, center it to our main piece of wood. Now, it seems to be the case. A is good. Although this part, I didn't move it, so I'll just move it manually, like so, and there we go. You got a very nice and simple setup. I think that's quite okay, although we should probably add a bit of an extra detail over this edge, so I'm just going to add an edge loop, use bevel, and with the bevel, I'm going to just change the shape, or it doesn't seem to want to change the shape because it's just a straight line, of course. Okay, so alternatively, we can just go ahead and make an extrusion and use Altns and just kind of bring it inwards, like so, and there we go. Okay, so we got ourselves to wheels. We now can start thinking about this entire piece over here. The top section needs its own framing and whatnot, and these pieces can be set set up a little bit monicer. Pinto, these pieces definitely need to be reckon a little bit longer. So I'm going to go ahead and select these parts like so and use the Gizmo to kind of move them upwards a little bit. Like, so I think this is a better part, just like that. I think that's much much better. This part, I don't like how, although it's in symmetry, might look a little bit offset with this section. And you know what I'm going to do? I'm going to move this a little bit to the side. So it's going to look more in shape with this. I'm thinking of doing that same part over here as well. So I'm just going to just slightly change it up. So from the inside, it's going to look offset, but from the outside, this beam is going to be right in the center of the wheels, and that's going to be much, much better. Okay, so the next part, again, the top of the roof. We can start thinking about that in the next lesson, though. Thank you so much for watching, and I will be seeing you in a bit. Okay. 88. Finalising Roof Supports And Starting Uv In Blender 3D: Hello, welcome back everyone to Master Blender Free D with Wild West Environments. In the last lesson, we left ourselves off with almost a complete card. We're now going to continue on and set ourselves up with the upper section as well. So for us to do that, I think at this point, we can go ahead and hide this out of the way. We're going to use this as a base height, but we already know that this should be quite right for the overall setup. The thing that we need to do now is just quickly mirror this out side, and I think we can do so by joining all of these at this point together, like so setting ourselves up with the cursor to be in the origin point to be in the free de cursor, like so, so it would be properly centered. Now we can use our mirroring, and there we go. All right, so the next step is going to be grabbing ourselves some additional supports. So we can make use out of a cube, like so, and I'm just going to place it up on one of the sides and extend this as well. We can do that in edit mode, though. Like, so and at this point, I believe keeping it square is going to be quite right. We can use Altnes to just kind of push it down a little bit, because it is just a small support for the upper section of the roof. We're going to leave a couple of pieces hanging in front and the back, which is going to be quite right. And just to make our lives easier, we're also going to mirror it in the same way that we did before. So mirror, just like that, so be exactly in the same position. And I believe we can now go ahead and make a duplicate for the front and the back. So I'm going to make a duplicate real quick, like so, and I'm going to remove the mirror just to make my life a little easier. So we'd have the same kind of thickness. Now we can put it at the front and the back. And I'm just going to put it this manually. I'm not really worried about perfect symmetry, but we do need to make sure that this is a reasonable length. So the question is whether or not we want to be going inwards or outwards from the setup. And I think having this amount is going to be perfect for us. Just let's make sure we bring it into the piece a little more, like so, and we can just do it for the other end as well, just like that. And I think that looks quite right. Or, actually, let's go ahead and put it right in the middle. I think that's going to be more structurally sound. You can imagine that there might be a hole or something that gets attached to this piece and keeps that overall frame, like so. I think that's quite right. Now let's just put this same type of setup on our side as well, and there we go. Nice base structure. Of course, now we need to consider the shape of the wagon top as well. We don't want to just have a square like that. We want to make sure that we are having it more of an arc. For our arc going across, we can just grab one of the planks from here. Yeah, that's going to be quite right. Just going to make a duplicate. I'm going to want to make this just a little bit wider and maybe thinner as well. So it would look more like a plank. And the next step is going to be just adding an edge loop, clicking GZ, moving this to a reasonable amount, which I think something like this is going to do well. Yep. Then we can click Control B and increase this to something like so. And actually, I'm just looking at the shape is wave because we're not using super eclipse. There we go. Now we're using a super eclipse, and I can just adjust and tweak the shape a little bit. Like so. And I think that's going to be quite all right. The thickness though is a little bit too thin now. So I'm going to get back that thickness. Right click, shade auto smooth. Like so. So it's already looking quite nice. And now we just need to work on the placement for them. So they need to be sticking into the planks of wood, a little bit themselves. I'm also going to use SNX just extended a little bit, like so. And I think that is quite reasonable for a setup. Now we're going to make sure that every single one of them, every single one of those pieces has that type of a setup, like so. And like so. I think that's quite right or a wagon. Now we just need to make sure that all of these pieces that we have over here, we can go ahead and actually just combine them real quick, including these pieces over here. I think that's quite right. I'm going to do a quick object mesh convert, Control J, and now we can use Control A to apply the scale, so the beble will work well quite nicely. And we're doing all of them at once, so we could have the same amount of thickness throughout this setup, just a little bit more maybe. There we go. A little too much. Yeah, that's quite right. So yeah, they will have the same amount of thickness through the bevel setup, and that's looking quite nice. And now we can start working on the lecturing process. And we're going to, of course, set ourselves up with a cloth for the top as well. But for that, we need to make sure that everything is well properly set up and is set into a simple mesh. So, yeah, let's go ahead and do that right away, actually. We're going to go ahead and just grab this entire piece. We're going to convert this to Amesh and join all of it together. I'm just double checking that everything was selected, and we're not missing anything out. Seems right. Let's go ahead and join it together. I don't think we can join it because we have this piece over here. We don't need this anymore because we converted this front section. So now we can go ahead and join everything together, like so, and I have a suspicion that this part does not have the right face orientation, which is the case. So real quick fix. Let's go ahead and select it all shift and end, and there we go. We got ourselves back onto the usual setup. So I saw the face normals. I saw the way the shading was done on the wheel, and it was just not looking right. So that ended up fixing the setup. And now, all we are left to do is, again, texturing and cloth for the top. So we're going to go ahead and start by grabbing all the materials loss, removing it and grabbing ourselves a nice little wood dry. We believe that will be a good starting point. So this way we can see where we have the setup. And also, I'm going to double check. Yeah, we are having multiple UVs. So just to make sure it doesn't get confusing, I am going to go ahead and remove one of them, so we are kept with just one UVs. Then as a quick repercussion, we're going to click Control A, apply scale, so it doesn't affect the UVs. And now we can start doing UV and wrapping for all of this wagon, all of it at once. So let's go on to UV Editing real quick. I'm going to go into isolation mode right away, double tapping on it, and we should see this result. Okay, so now as a quick starting point, I am going to go ahead and make start off. Actually, let me just go ahead and turn this on. I'm going to make use out of quick UV and wrapping, UV wrap smart UV project. The reason I'm doing it for all of it at once, including the planks that already have the UVs is mainly because they're going to end up having the same scale and yeah, I think that's a good starting point. Let's go ahead and do that. I was worried a little bit if the displacement was a little too much, those plank setups that have the UVs following the offset is not going to look quite as good. But in this particular case, it's not going to matter. It's not big enough of displacement or the UVN wrapping to matter. Let's go ahead and just do a quick Smart UV project. Let's make sure the vertical aligned is set, and it should give us as a nice base. All right, so we got ourselves, well, let's say, 70% of the work done. We just need to focus now on the curves mainly and certain other parts a little bit. So for example, this part over here, I can see that it is not curving in the right way. So I'm going to click L, use UV, and then that way, we can just select the UV slick. So see where it is in regards to the setup, and I can see that the bottom piece is also here, so we might as well select that. Then we should have this nice setup, and at this point, we can click Alt and E, or if we have this disabled so Alt and E should give mainly the right choice except for this part over here. So I'm just going to do it mainly maybe manually. I'm not sure why it was overlapping like this. Just one by one. Oh, this doesn't like being straightened out. So I'm not sure that's the case. Go to check it in a bit. But if it is working, it's great for us. So for example, this piece is a little bit thinner, I'm going to use SNX to kind of stretch it out, and it should be giving us a nice wood angle over here. And for this piece over here, which didn't want to be UV and wrap nicely, I'm going to rotate it a little bit. Going to double click on this face over here. UV and wrap follow active squads, and this should give us this result. And these pieces, I'm not sure what these pieces are. Let me just go ahead and have a look. What is going on with these pieces. Okay. So these I think with both ends, they don't want to be set over here. Hmm. If that happens, we can just manually reattach them, actually. I think that would be the simplest way of doing it. So I'm going to move this out a little bit like so, and I'm going to find which edge it is. So this is the edge. That way, you can go ahead and select both of these edges and use Stitch. So right click and there should be there we go stitch, and that way, we can stitch it back on. Here, I'm just going to stitch it only to this part because the other part is missing. The reason we're using automatic UVN wraps is because it's pizza, but the other thing is that we might need to, for example, UVN wrap some parts manually because, well, some parts would be missing. But in this particular case, I don't think it matters. It's such a small detail in the bevel that it's not even going to be visible. Plus, the edgewares just going to hide that out of the way. And all in all, I think it's going to look great, like that. Let's not overcomplicate ourselves and continue on with the setup. In this case, we still have the arc at the top. We still have the wheels, so let's continue on with the setup. So over here, we can just go ahead and select it, see where it is, move it off onto the side, so we can see exactly which ones we need to fix. And the ones that we need to fix are going to be over here and here. All right, so I'm going to go ahead and just use Face Selection, select these parts over here, use Control to deselect whatever was not needed on the side and try using Alt and E. Hopefully it will work. Partially it worked. I'm not sure why that is happening again, so I'm just going to spread them out a little bit. Maybe that will help and now use it one by one. Or if it is not working, see what is going on. So this part, this is just a simple triangle again, because of the beveling, which is totally okay. And here, again, its to give that type of result. Like, so. And I'm just going to move those strangles out onto the side. And yeah, sometimes, you know, when UBN wrapping, there are people who leave beveling for the very end and they do the UVs whilst the modifier is not being applied, essentially. But I find that it's not going to give you as high of a control over the UVs. You're going to let the program basically determine on certain parts. For that reason, I prefer to just do it manually whilst it is being beveled off. I honestly believe it gives a better result because we're able to have a better UVN wrapping setup. And, this now has a nice curve, which is great for us. Now we just need to do the wheels and break off some of those materials with different type of a texture. All in all, we're going to continue on with this in the next lesson. Thank you so much for watching and I will be seeing you in a bin. Okay. 89. Wagon Uv Unwrapping: And Hello and welcome back around to Master planet three D with Wild West environments. In the last lesson, we left ourselves off with most of the texturing done. We just need to do some quick tweaking in order to get ourselves, well, nicer look for this wagon. So first things first is we need to decide how this wheel is going to be set up. So right now, we can see that the entire grain of the wood is going upwards, and it actually needs to follow along the wheel itself. You might imagine it as just being bent completely around itself or made maybe into four pieces and whatnot. We can go ahead and do that. So for us to do that, we'll need to well, grab ourselves all of those wheel pieces, especially these ones over here, we're going to use normal as the limiter and select all of them like. So then a nice quick little thing that we did was because this is set with, well, the endpoints, can we should be able to make use out of Control minus, and it is not working, so I'm going to go ahead and do a manual deselection using Alton Z and three to go onto the side view. I'm going to go ahead and just deselect the parts of the wheel like so and these parts over here. So this way, we're only left with the rim, which we need to go ahead and UV and wrap. So, this is a good setup. Alright. I'm going to now go ahead and real quick, find it located within the UV setup, which should be over here, going to move all of it onto a separate section so that way we can make a quick selection just like that. And now, we can just quickly make a nice little well selection. Let's go ahead and do that. We're going to firstly, grab ourselves to the front, like sew on all three of our wheels, just like that. And the back as well, we can just do it from the up end just like that. And quick little selection over here as well. All right, so we go to sell a selection for the rim. I'm going to move it off onto this side now, and we're going to go on to well, edge selection, select boundaries or select boundaries over here. There we go. Right click, Mark SEM and we go ourselves the seam that we're looking for. And I believe that's going to be it, actually. We just need to go back onto the selection for the entire rim and try seeing it if it will work with UV and wrapping. Oh, the only thing that we did forget was setting ourselves up while an edge loop that crosses or breaks down that loop. So we can do that. We're going to hold Control and Shift to make sure that there is an edge loop going across each one of those wheels, and then mark Sam and now we should be able to go ahead and select it and unwrap based on a minimum stretch, and this is what we should get. We can see that most of it looks quite right. This looks quite a bit odd, and these look alright, though. So I'm wondering what is going on with this part. I might even try to UV and wrap it again, and stretch, see what it does. Doesn't seem to want to work. So with the UV and wrapping, there is iterations, which if you're lowering it, you should get yourself back to the original and then increasing it, it basically tries to relax the vertices. But even so it doesn't seem to want to work. So what is happening? Maybe we can try using another algorithm, and there we go. That's a better type of a setup. So yeah, I'm not sure why that algorithm wasn't working, but there we go. We got ourselves nicer setup. I'm going to go ahead and just quickly fix this part over here, and I don't want this to be I don't want this to be separate, so I'm going to quickly make a selection. Like, so if we have this turned off, we can rotate it manually without actually breaking those vertices. And here, we have a bit of an odd looking space over here. I'm trying to figure out why that is the case. I'm going to go ahead and select it and go back, click on this spot, like so see where it is. Where is it being located? And it's being located over here. Oh, I see. Alright. So what's happening here is that oddly enough, this one particular part didn't get UV wrapped. And I am not sure why everywhere else we see a nice UBN wrapping, except for this part. So real quick, I'm just going to go ahead and select just this piece over here, nowhere else, making sure that it is just this piece by moving it around. And now we can go ahead and use automatic UBMrap SmartVPject and this should. I'm going to make it smaller just a little bit from now. This should give us a nicer minimum stretch. There we go. The right type of a setup. And also, there was an issue over here. What is this issue? Again, I think I believe the same wheel. This part is actually from the inside. I don't really mind it having it, it being there. It's quite right. All that matters is that we have ourselves a nice edge loop now going for the wheel. You can see the timber, the texture itself looking much, much nicer. And I'm just double checking everywhere that it's looking right, which it seems to be now we only have access to worry about these parts over here. So essentially, when working with automatic V project, the pieces that are going to get in the way are mainly going to be curve type of a mesh, as well as cylindrical forms or spherical, so more like organic forms. And but yeah, all in all, because of those planks, we are not going to have much trouble with the rest of the setup. I'm going to go ahead and just quickly do isolation mode or actually in this case, shift in H. There we go to height selected because we are in edit mode, this is a different hiding in comparison to object mode. So it's not going to affect hiding and hiding in object mode. For example, if I was to go onto object mode, we still have this entire wagon visible, but in edit mode, it just hides everything else out of the way based on, well, whatever we have in edit mode. All right, so let's go ahead and just quickly grab front and back of each of the axes just like that. Front and back, front and back. And like that, we have an entire selection. I'm going to make my life easier and just click two. There we go. Edge selection, Mark C and there we go. Now, let's go ahead and just go on to Edge selection for the bottom piece. Oh, let's hold Alt and basically make a selection like that and do this for every single one of them, an entire edge being selected at the bottom. That way, it's going to give us a really nice type of a setup. Let's go ahead and now mark SM selected, click UVNRp minimum, and we can even check out it looks like, and it looks quite right, but I do want to rotate this by nine degrees. So this way, the wood is facing that way, which I think is looking really good now. Okay, so now we can go ahead and break down some of the material a little bit, and realistically, all we need to do is just the frame itself, actually. Yeah. So we're going to select each one of those pieces. Let's go into edit mode, AlternHT hide it. And let's select it based on normal. All of the pieces at the top. Oh, I just use Left Mouse button by accident, click Control Z to make sure I get this selection back. And this type of selection seems right. And this on the sides as well. It's this at the bottom. There we go. I think that's good. Let's go ahead and add a no material. So that's going to be dry, dark. Click a sign, and let's see how it looks like. Right away, we're going to get ourselves nice setup. I am going to double check the UV scale actually because we did soon wrapping, I am going to go ahead and do average island scale and now quickly see if everything is right, which it seems to be quite nice Lee setup actually, let's go into Rando view and double check if everything is going to look quite nicely. I think all of it looks quite good except for the front. The front, I think is too light of a color, let's go ahead and fix that up. We're going to go ahead and select these parts over here and also apply wood dry dark. And I think that's going to look good. So that is looking good. We just need to select the axis as well and darken them so we could just have it nicely split within the wheel. So let's do that. Assign dark wood. Let's see how it looks like. Now, I don't want to overuse the amount of materials that we're doing that we're having over here, but I think just by having two variations is more than enough. So for example, for the wheel over here, we could have maybe another material for the rim, but ideally, we'd like to keep it as a same type of wood. This one over here perhaps, though, needs another variation. Just kind of help us break down that form. And yeah, that's pretty much it. For the setup. We're now going to be able to continue on with the setup of a physics cloth for the top. So we're going to continue on with that in the next lesson. Thank you so much for watching, and I will be seeing you in a bin. 90. Wagon Cloth Roof Simulation In Blender 3D: Hello Loren, welcome back over to Master Blended three D with Wild West Environment. Now that we're done with the texture for this wagon, we can go ahead and work with the cloth simulation for the top of it. We're going to go on to modeling section real quick to get ourselves a nicer layout. And, of course, the thing that we need to now consider is going to be how it's going to be well set up with the physics simulation. And what you need to know is that the physics simulation is going to use, well, your object of choice as a collision. In this case, we have this wagon over here, and the wagon that we're going to use is going to have this amount of vertices. And the thing is with the collisions, it's better to have more vertices, more topology when setting it up with collisions. For example, this bar over here, it might have a bit more of a glitchy outcome or some cloth maybe is going to overlap on its corner or something of the so to avoid that, to make sure it's more stable of a simulation, I do recommend you adding more topology. But of course, we don't want to be added directly onto our wagon, which has somewhat of a nice topology. You know, it's looking pretty good. We don't want to mess this up. So what we're going to do for that reason for that case is we're going to make a duplicate out of this, like so and we're going to hide it out of the way. And this way, we just have this version, basically, an alternative version, a clone. So again, this previous one is going to be over here. I'm going to just hide it out of the way, and this one is just a duplicate. Then we can go ahead and just select it all, go on to phase selection, subdivide it, and just do it a couple of times. So until we are happy with the result. So I think we can do it even f times. That's quite all right. I'm just worried about this blank over here, not having enough topology, but honestly, I think it's quite right. So a quick and easy type of a setup. Now, the next step is going to be getting ourselves a cloth. So for that, we're going to get ourselves a plane. So let's go on to the mesh plane. And let's go on dragging this at the very top. Like, so we're going to click seven and just kind of extend this a little bit. Like, so I believe that's going to be quite all right, just a little bit from the outside of the edges of the wagon. You can click SY as well to kind of get extra on the front and the back as well, and that's quite all right. Let's go ahead and click Control A and apply scale and rotation. Then we can go on to edit mode and add subdivision. So simulations of a cloth or for a mesh in general is going to be again, based on the mesh. So the reason what we did with this collision, going to use this for collision for is going to be similar for this as well, except here, because it's going to be set with the simulation itself, each one of the vertices is going to be trying to simulate a certain result. And for that, we need to go ahead and subdivide an entire mesh, and we're going to increase it to a reasonable amount. And for some reason, these are not just wondering if they're okay. They seem to be okay. Okay. Anyways, what I want to say is we can't go past the ten number of cuts. If we don't not going to be enough. So for example, we can just write down italian manually. 2040 pin 40 is quite enough. And the best thing to think about this is to make sure we find the most optimal amount of vertices. If we're doing it too little, is going to not have enough detail. If we're doing it too much, like something like 80 perhaps, it might be too much in regards to the detail. And the reason it's going to be too much, it's going to end up looking like some silk or something with extra super extra wrinkles. We don't want this to happen. So maybe let's go ahead and check 50. I think 50 is going to be quite alright for us. Now we can go ahead and plan out our simulation. So all we need to do is go on to modify a sap and find ourselves clove. Within a clove setup, this is going to be at the bottom. We will need to have ourselves, we will need to have ourselves a new section. So a layout maybe would be better or we could just drag ourselves upwards like this and grab ourselves timeline. So the reason for that is because now if we hit play, this is going to start going downwards. So let's make sure that the timeline is set to zero. That way, it's just not going to spawn randomly at the bottom, and yeah. Essentially, once we have the cloth turned on, we're going to be able to see that when we hit play, this is going to start falling. So, of course, just falling itself is not going to help us. We need to make sure we set it up properly. So we need a couple of tweaks. First things first, we need to, well, set the wagon up as a collision. We need to go on to Physics tab or the wagon, and we need to enable collisions. This will help us, well, if we click Play, it will help us get a collision. Now see it's colliding with the setup, which is great for us, but we're not quite done with the setup of the entire cloth. We need to go back onto the cloth and play around with the settings a little bit. We need to well, go on to the physics staab again, we can firstly click on one of the presets, which is over on this button over here. There is cotton, for example. That's pretty good one for this particular setup. Can go ahead and click on it, and that's going to well, apply the right settings for us. The other thing is at the bottom, there is an option for collisions. We need to make sure that object. No, sir, not object self collision is enabled. This will make sure that whenever it's touching, it's parts, it's edges, it's going to not just overlap basically. So now we can go ahead and hit Play and see the result. And that's the result that we're going to get. So I'm just checking whether or not this is right. And ideally, the front is quite okay, I think, I'd like the front to be a little shorter. The back is a little too short. And the sides, I think definitely they're way too short. So I'm going to go back onto the zero setup, going to go onto Edit mode, click SNX to kind of extend this a little bit and move this a little bit to the back just like that. So now we can see how it looks like with the setup, and let's see. And I'm going to hit leave it playing for a little bit until it settles a little bit, so a couple of frames. So now we can go back through the frames and select basically which of the frames we prefer. So something like this, I think that's quite nice. We can now go ahead and fix up a little bit in regards to the setup. So for example, firstly, the setup is, well, quite pixelated. We need to use shade smooth for that, already, it's looking much better. The other thing is that this cloth can use a little extra nicer details, so we can go back onto Modify Stab and use the subdivision. Subdivision surface will allow us to well, subdivide moving out some of those transitions between the vertices. So if we look at it before, you can see some parts are not quite right, but if we add that subdivision, it's just going to relax a little bit, some of that simulation. So already it's looking quite nice. The vital effect that we need to consider is going to be the thickness of it, actually. What we can do is add a solidify mode, solidify modifier, like so. And now the solidifier is going to give us a nice clock thickness, which we can use shift and just kind of make it maybe a little bit smaller like this. I think that's quite all right. We can make it a little bit chunkier, actually. You shouldn't be afraid to do that. So 0.004. I think that's going to work quite nice for us. So already, we can see that this is looking pretty good. We can go ahead and use our sculpting setup to make it even better if we want to. But before doing that, I do recommend you applying cloth simulation. And the reason for that is if we were to use well, sculpting, as is, it's not going to do anything, so we need to make sure that we are actually, let me have a look. So Grab tool we were to try doing it, yeah, it's not going to work. Our reason the main reason I want to say that is because if we were to move the frame rate by accident, it's going to try to resimulate entire setup, and that's way worse because we would lose all the progress, especially for modifying the mesh. So let's go ahead and apply this cloth so we still have the dynamics of division and solidify, so it's not going to be quite as heavy for our setup. And now we can start thinking about how the cloth is going to look like with certain well sections, where the tension is going to be and how we can enhance this entire look of a cloth. The main thing, whilst looking at this stuff is going to be if we go on to Ed Mode, going to check. Yep, we have proper controls now. The main thing is going to be making use out of a believe it's going to be with clay and crease polish. So this one over here. And if we were to use it both of them nicely, we can create some nice extra results. So for example, over here, you can see I can create a bit of an extra part that goes inwards. Maybe it's a little bit too much. But when we are thinking about sculpting, we want these high tension areas for the frame, mainly arc areas to be kept as is and the places where there would be, for example, less tensions, for example, in this part over here, so holding control, I can just move it down, holding shift, I can just remove it a little bit. We can lower this entire section, like so. And I'm just going to double check no auto asking is turned on for me. That's good. So holding control, I'm just tapping it inwards a little bit, like so to create less tension basically over here in these parts, just like that. Then the dynamic crease sorry, the crease polish can be used to get ourselves that bit of an extra up, especially for the front over here, we can use it as with control to kind of get ourselves in nicer setup. And I cannot see a lot. I really need to change this to a different MDCap. So let me just go ahead and do that. There we go. Much nicer to see. And now we can go ahead and just play around with those edges. So simple tabs going back and forth over here, enhancing those creases, basically. It does wonders to those overall setup. And I'm going to just tap mouse button over here, so it goes inwards and maybe enhance this entire section. If we want, we can also hold Shift to kind of, like, smoothing it out a little bit more. I think that's quite right. Here, we can just slightly make it more wrinkly basically. These parts, I think that's quite right. And holding control to enhance this a little bit. I think that's quite okay. This part, I'm not too happy about this part. So I'm going to kind of, like, smoothing it out a little bit to make it look like there is a bit more tension basically instead of just dripping on this part. Same on this end as well, reckon, going to be quite right. There we go. So they look a little bit more tensed up. And in terms of the edges, I think they're quite nicely set up. It has a little bit of that extra detail, which you can maybe enhance over here. But honestly, we don't really need to overdo it. It's already looking quite nice. We're just making sure that the wrinkles are just drooping down a little bit more basically, towards the end on the sides. And just like that, we're able to get ourselves, well, a very nice type of a setup. So that's going to be it for me. Thank you so much for watching, and I will see you in the next lesson. Okay. 91. Texutring Wagon Fabric And Cleaning Up In Blender 3D: Hello and welcome back everyone to Master blending F D with Wild West environment. In the last lesson, we left ourselves off wave sculpting on a cloth, getting that additional detail for the setup. Now we're going to continue on with it and make sure that we do have a nice overall setup for well, the texture. And the first things first, we're going to just grab this wagon and click a dot on the side top right hand corner. So that way we have this setup. And right above it, there should be another mesh, which if we select it, we can move it around, and we can see that this is our original mesh. We're going to select one underneath and we're going to go ahead and delete it because this is going to be the subdivided version. So let's just go ahead and delete it. We're going to be left only with the original mesh. And now let's go back onto cloth. And I believe what we need to do first is going to be I'm going to check UVs real quick. So this one says UVs. This one says UV map. Let's make sure that they just have the same name before joining them up together just to make sure that we don't lose any of our progress with the wagon itself, all the texturing and wrapping that we did. So for us to do that, let's go onto the cloth and just remove it the UV data this way when we are joining everything together. Going to get ourselves a Nie setup. I'm just going to convert everything to measure real quick just in case, and then I'm going to select this piece at the bottom. Control J, and this should give us a nice base for us to work with. Alright, in regards to this fabric, let's go ahead and quickly wrap it. The easiest thing we can do with it is probably we could just do it manually. We could just hold. We could tap it and go through all the edges. But I'd like to show you a little bit of a cheeker way to do it. We're going to go ahead and go to double tap and A, and I'm going to select just this fabric over here, Aldage sorry, A, shift and H. There we go. I always mix them up. Now we can double tap A. This way, we can go on to select and use something called sharp edges. Sharp edges will allow us to make a selection like that. And if we were to increase it to value that's close to 90 so sharpness of 85 degrees, all of these angles are going to be selected. And you see because of our thickness, we are going to have those multiple pieces like so which might be okay, might be not. But in this particular case, it is such a fin setup. I just want this last piece to be selected. In this case, it is such a fin setup that we don't really care that if it is a stripe, we're going to be totally okay with just having it like so. And all we need to do is just right click Mark SM, and I am just double checking real quick. We do need to have a quick edge loop over here, Mark, Sam. The reason being is that this entire section needs to be well in a way, just kind of taken off as a ring, so it would. If we select it all, go to UV editing, click UV and Rap minimum stretch. It would just give us a nice straight line. Like so you can see over here that nice straight line. Afterwards, we can go ahead and add a plus symbol, find ourselves fabric, and assign it onto our selection. This way, we have a if we have a look at the material, we have a nice bas to work with. This might be a little bit too small. Let's go ahead and increase the size to size times by four. Something like this, I think it is going to look much, much better. I'm going to go on to RenderView just real quick to check it, and, yeah, it definitely looks much better. Maybe even more, actually. Like, so I'm just looking at the fabric normals, especially those little bumps that we see from the detail. I think that's going to look quite alright. And, yeah, we are pretty much done with the wagon. Let's go ahead and move it onto our scene. Let's go back on to modeling. I'm going to go out of the material view. The reason being is that when we click O and H right now, everything is going to be hidden, so that is the reason why. And I think for this particular reason for this particular setup, what we can do is we can quickly make two asset setups out of this wagon over here, just as a nice little setup. So one would be wagon 01, and then we can make a duplicate of wagon 02. And the reason we're doing this, we're going to select both of them. We're going to move it to Asit browser. The reason we're doing this is because one of them doesn't have a wheel. Let's say you want to have a wheel on the other side, we can go ahead and fix that. I'm going to go onto the Edit mode, click AlternH and select this entire wheel. We can just select it by clicking L, and this should be quite fine. We can just click Shift D, Escape, and GX, move it to the overside just like that, we got ourselves the second wheel. I'm just going to make sure that it is properly set in a position. Checking the backside as well, case I'm making a mistake, and this has to be a little bit more in like this. Oh, yep, that's pretty much it. Alright, so now we have two versions. Let's go ahead and move them onto our asset browser. Yeah, let's go ahead and do that. So both of them can be marked as asset, like so, and we have two wagons. These two wagons seem to be upside down. And I think if I was to try to move this, it is going to be upside down. Let's go ahead and select both of them. Reset rotation and scale and this should fix that. There we go. All right. So now we can just use wagon one on this section, select both of these wagons, and while we don't really need to do anything with them. I'm just double checking that they are properly placed. And I'm looking at the asset browser seeing that, in fact, I did make a little mistake. The reason being is that a lot of the assets are not part of the asset browser that we have over here. So what we're going to do is, I think the best way would be, well, let's go ahead and move this plan out. Actually this gray box can be just hidden. Like, so it seems like a lot of items disappeared, and the reason for that is that this gray box held a lot of these items beforehand, so I'm just going to select them real quick, see what is being held here. And most of our items should be already in the gray box. If I was to just select all the items in the gray box over here, make isolation mode. Yeah, everything is here except or the base foundation. At this point, we can just move this to grey box complete, as well. And now I'm going to go ahead and hide this out of the way. And as for the rest, I'm going to well, make my life a little easier. I'm going to grab everything like so. I'm just going to check that yes, we'll need to we can delete this one over here because we have the grey box complete version. So this one can already be deleted. Then the next part, this is not really needed. We don't really need to have it as part of our grey box. Let me just check. So we can just move this onto the grey box complete instead. I'm checking if I missed anything else, and no, that seems to be it. So right now, we can just go ahead and see that everything should be in our collection. And, yep, it seems to be the case. We can now go ahead and select the entire scene, and I'm going to just make sure that we move everything into our collection. Just double checking that, yes, the items for the gray box are properly set up. And let's go ahead and select it all, move it to our just normal collection, like so. And now, if I hide it and I hide it, it should be quite right. So at this point, we don't really need these planks, presets. We are pretty much set with them. We can go ahead and delete both of them, just a little cleanup. And since we did fix up a lot of items, a lot of pieces, we might as well just finalize it a little bit. So the wagon that we left over here needs to be a little bit placed properly in regards to its well, rotation. We're going to just slightly rotate it and move it. Its default state. I'm not going to bend it or anything like that. I do want to set some rocks beforehand before doing that, but it's best to just have a general angle of or wanted scene. So this way, we have a nicer result, so already you can see how it's going to look like. Just going to go ahead now and grab both of these wagons, move them to the props like so and we should have all of them properly set. Now we can move on to our foliage setup and our base or platform. But before doing that, I would rather go over the basics of optimization since this is getting quite a complex scene. It might start, well, slowing down the computer whilst checking basically on a Vpohada or even just a material view. So if that happens, I do recommend you watching the next video. Thank you so much for watching and I will be seeing you in a bit. 92. Blender Optimisation Basics: Hello and welcome back everyone to Master Blender Free D with Wild West Environments. In the last lesson, we left ourselves off with a nice wagon on the side. We cleaned up our collection just a little bit, and now we're going to look over the performance and how we can enhance it or blender. So I'm going to leave you with a video, and we'll be seeing you in the next lesson. Thank you very much for watching. And yeah, I'll see you in a bit. Welcome everyone to our performance optimization guide. And a lot of times when you're dealing with really, really complex scenes or even simple scenes, if you've got a low end machine, you will come across things like Cuda out of memory or blender actually crashing. And there are lots and lots of ways we can actually deal with that. And I think it's important for all of you guys to actually know what things we can actually do to stop this happening. We probably won't be able to get rid of it altogether. There'll still be times when blender crashes, but we can do a lot to actually increase that performance to get our scenes where we want them to be and more importantly, render out beautiful images. So the first thing we're going to discuss is RAM. And now, if you look down at the bottom right hand side here, you will see one that says memory, and you will see one that says V RAM. Now, the most important thing is that, first of all, you understand no to bring these on. So what we're going to do is we're going to go up to preferences. We're going to go down then to interface, and under interface, you'll have a status pa and you can actually click all of these on. So we've got system memory and video memory. And these are some of the most important things. So let's just close that down a minute and let's actually go through these. So basically, you can see here that down the we've got how many triangles we've got in the scene and how many objects. These directly correlate most of the time to how much performance your computer will need to actually run this blender scene. So the more faces, which are polygons you have in your scene, the more performance you're going to need. Same thing goes for the amount of objects. If you've got a ton of objects in your scene, then it's going to come at the cost of actual performance. Now let's move on to the actual RAM, which is how much RAM your actual computer actually has. And I recommend a minimum bare minimum, you need 8 gigabytes of RAM to run blender, and it comes down to the more, the better the performance from your machine. So I would say aim for 16 gigabytes. Now, also, we have something that's also very important, which is called V RAM. And this is normally the RAM that comes with your actual graphics card. And basically, the higher this is on the graphics card, the much smoother time you're going to have. So I tend to see problems myself is with the actual memory on your computer. If it's too low, you have problems in the viewport, and where I see the problems arise with the VRAM is normally when you actually come to render out complex scenes. The next thing we can do to actually limit the amount of performance needed is actually put everything in a nice neat order in collections and make sure everything's just named correctly. What we can do from there, then we can close certain parts of our scene down. Which means that we can either render them out a little bit at a time and then lay them on top of each other or especially in the viewport, what we can actually do is close parts that we're not working on at the time, especially in large scenes. And then this, then again, will limit the actual performance. Also, it comes down to your CPU, as well. You CPU, the better it is you know, the better time you're going to have with all of this. But let's now say we've got all of that sorted and we're still having some problems. Let's now go into a few of the options that we can actually mess around with. So what we're going to do is we're going to go up to edit, go down to preferences. And the first thing I want you to look at is system and on the system, just make sure that you've got this set to whichever you can. So it can be QDa, optics X, or one of these. Just make sure it's not unknown. And then once you've got the one selected which you want to use, just make sure both of these are ticked on and blend of them will take advantage of those. Also make sure that you haven't got undue steps set at 250 or something. This has a huge actual impact on performance. So if you're really, really struggling, I recommend turning these undo steps down to five or ten. But the problem, obviously, is that you're not going to be able to press Control sad and go back very far if it's set too low. So I recommend all of these things I'm actually showing you. Try and play a Miranda a bit till you've got, you know, that kind of perfect setup, and then you shouldn't have or you should have less problems in the future. All of these other things we can mess around with as well. I don't recommend these unless you're absolutely really struggling. I think you should keep these what they're set to. This is the only one, and this Tikton is the only one, as far as I would go on here, messing around with those. Alright, so let's close that down and let's now come over to the right hand side. And you can see here at the moment, if I scroll up, I'm on blender render engine cycles. And it's important to know that to have an easier time, it's much, much easier to put this onto EV, which is basically a real time render engine like unreal or unity or something like that. That then makes it much easier if I come to render this or click on my Render view to actually move around the scene while it's actually being rendered. So the thing is, if you're on IV as well, there also are some things that you can actually turn off to increase performance again. But normally with IV, unless you've got a very low end machine, you shouldn't have any problems. If you are having problems, however, just make sure that viewport denoising is actually turned off. This is one of the heaviest things, actually, denoising both on blender and cycles that actually really increase that performance needed. So you can turn the viewport denoising off. You can also turn the ambient occlusion and you can also turn the bloom off and especially screen space reflections, make sure that is also turned off. Now, pretty much everything in EV you shouldn't need to mess around with anything else. Once you've turned these off, you should have a much easier time. Now, let's move on over then to cycles, which is a little bit different. So if we come over to cycles, you will see even my machine, it's quite a high end machine, or it was maybe two years ago or something, sometimes struggle, especially with large scenes like this with a lot of textures and a lot of sand and things like that. So if you look over here at the moment, I actually have, in my view port denoids on. The first thing I recommend doing is turning this off. This then will increase performance no end. So once you've turned that off, it's going to take a little bit of time to actually apply that, as you can see here. And then you can also turn the denoise off in the rendezvous, but I don't recommend that because then you're going to end up with a very grainy render, and that's maybe something that you don't want. Now, you can see already that I'm really, really struggling here, even with the denoise turned off, because this is quite a large scene. It's got a lot of displacement on there. So I'm just showing you just how pixelated that is and just how long we need to wait. I'm going to do now while I actually fix a few things. I'm just going to put this onto material mode, and that leads me on to my next point. So when you're working in blender, it's important, even though it looks really, really nice to be working in blender cycles, it actually comes at a huge cost. You can see already working in material mode over here is actually really, really helping me navigate around my scene. Now, if you're struggling even more, what you can do is you can come and put this just on object mode, and then you shouldn't actually have any problems whatsoever. It's also important to note before you click this render bone, so the render image boon, make sure that you're on wireframe. And the reason is because you don't want to be rendering out the scene, you know, in cycles on viewport shaded and then render it out again, that is more than likely going to lead to a crash. So what I always do before I actually hit that render bone is put it on wireframe. This is the lowest amount that blending needs to use in the actual viewport. It's also important to remember that everything comes at a cost that you put into blender. This could be things like geometry nodes, porticle systems, simulations. Some of them have larger costs than others, but everything down to the smallest object has some kind of cost. So when you've got a scene that's just crashing all the time, it's generally down to something that's quite a large cost on performance. Now, the other thing to note is when you're actually bringing in textures to your scene, it's important to know. So if we go to this one, for instance, and we go to our shading panel, this is quite a complex shader. The more complex the shaders are, the much higher performance it's going to need. The other thing is, when you're actually bringing in textures, be very careful that you're not bringing in really, really large textures. So I recommend four K be the maximum. But honestly, if you can stick to two K textures or one K textures or much better, it's going to make a much easier time for you making large scenes. This is why a lot of game companies, especially mobile, use only like 512 or one K textures so they can handle the performance and keep that optimization pretty high. The other thing is about textures, if you're using seamless textures, that is better than using something that you've gone out and you've painted in substance painter. So it's just much easier to use seamless textures because they can be used over and over again and limit that performance. Also make sure on the right hand side here if you come to this let arrow, you can see that light in our scene lights and sm will make sure they are turned off as well, because they will also cost you performance. And last of all, before we move on to the cycles part of it, if you come over to your actual world, if you're using a HGRI within, we're not on this one. We're using a sky texture. If you're using a HDRI, that's also going to come at a cost performance, and it's quite a large cost in comparison to something like the sky texture. So if you can make sure that you're using something like the sky texture. As you can see, it's just one node here, and I know it's very nice to use HGRI. But if you need to control optimization, try and learn how to use the sky texture instead. Alright, so, finally, then moving over then to our cycles, we can see, first of all, that device I'm using is my GPU. It's always better to use your GPU over your CPU. It will make it much, much faster because it's relying on a lot of VRAM from your actual graphics card. And as we discussed moving down, we can also turn off the denise. This is one of the best things you can do to actually increase performance. Next thing you can do is you can come down to where it says light paths, and all of these come at a cost as well. The lower you set these, the better it's going to be. I recommend messing around with these last. So last of all, after you've done everything else, this is what I would be clicking off or turning down, especially caustics. They're also quite high on the performance. Last of all, let me show you one of the best things you can also do, which is if we've got it on rendom mode, we're on actually cycles. We've turned on denoise again. You can see how nice this actual sand looks, but it comes a huge cost. So just remember this comes a huge cost. Now, if I come over and down and just scroll down here, we have one that says simplify. Click that on, and then what you'll have access to is all of these options here. Now, one of the main things we can do is the texture limit and the maximum subdivisions. The maximum subdivisions, if you go over that subdivisions in your modifiers, you can actually reduce that or override that over here and simplify and turn them down to one or something. That then will reduce the polygon count right across you scene, wherever it's over six or five or whatever you set this to increase in performance. And one of the last things we can do is we can turn down this text limit. If I turn down the text limit something like 256, you'll see after a while, what it'll do is it'll turn down all of those textures right across you scene down to 256. So even if they're four k or eight k, if you turn this on, you can turn them all down and then you'll see, look how grainy now this actual sand looks, look how blurry these looks. And the reason is because we've turned down our text limits all the way down to 256. The other thing is, if you're having problems renting out you'll sea, you can also come in and turn them down in the actual render as well, which really significantly helps with crashes cuda out of memory and things like that. Alright, the last thing then we can do is, especially when we come to actually rendering now, is you can see here that if you hover over here, it says, use compact VH structures. It uses less RAM, but renders slower. So if you are having problems with crashing, I recommend turning this one on. And if you go to the next one, you'll see here for hover over this, it says, use special type VH optimized for curve. Uses more RAM but renders faster. Turn that one off. Also, turn persistent data off if you need to, as well, because what it means is that blender is caching all of that data of the scene to save on basically having to redo it all. So if you turn this off, what it's going to do is a fresh start every time, and it's not saving so much in the memory. I don't actually know whether this one is bet to turn on and off. Again, I would have a play around with it. Something that is a little bit more sophisticated, so we're not going to go into it here, but you do have the option that you might want to look into of baking out your scene. So, in other words, you can actually bake all of your scene out onto a UV map for all the lighting and all the textures and things like that, but mainly for lighting, to make sure when you come to render it, everything is already rendered out, and then all it's going to do is render out the objects, all the textures and without the lighting. So that then makes it much, much easier on your machine to have a fast render without crash. Of all, what I want to say is, if you're building large scenes within blender, try and use the shader panel more than actually bringing in actual textures. That also is going to save you a lot of performance and optimize things really nicely. The only problem you're going to have, obviously, is if you're sending things into Unreal or Unity or another game engine, you obviously won't be able to use those materials, so you will need textures for those. So this primarily is based on rendering and building large scenes within blender. Alright, everyone, so I hope you found that handy. I know if I was just starting out, I'd really want to know this stuff because it would have made my life so much easier in the beginning. Alright, everyone, thanks a lot, Cheers. 93. Generating Rocks Using Extra Mesh Addon In Blender 3D: Hello and welcome back over to Master Blender F D with Wild West Environment. In the last lesson, we went over some performance and how we can enhance the speed of the software, basically. Now we're going to continue on with the environment and start working with the platform. Before doing that, I would really ideally want to have a look at the resource pack and check which material we're going to use for the stone, just as a quick introduction. So the one that we have is going to be called rock, this one over here. So it is looking quite yellowish, and the reason being is that it's going to look a little bit different based on the shader setup. So if we have a look at it in a rendezvous, it's not quite as yellowy. And again, the reason being is that because it is having some masks for the edges and crevices of the rock to make sure it's more enhanced. But, yeah, in the in the normal material view, it's going to look a little yellow, so pay no mind to that, and we can just start working with that. So in order to create rocks, there is a very nice and quick setup for that. If we go to edit preferences and find ourselves something called extra mesh. Extra mesh objects. If you don't have this and you don't have it enabled and you can't even find it, go to get extensions and find it over here, extra mesh. Then you just have to simply click over here and click Install, and you should be able to just install it onto your blender. After that, you'll notice that when you click Shift and A, you'll get extra options for mesh. So I had it pre installed a little bit earlier. I hope it didn't confuse you when I had my menu opened up. But essentially, these options help you with some additional items. Some of them, for example, would be gears. Gears are really good with the setup and also a rock generator. That's the one that we're going to be using today. So let's go ahead and click on it, and right away, you'll see that well, we have a rock over here. I'm going to isolate the view, and I just realized that it's going to ruin my selection. So just to make my life a little easier, I will also go on to modeling tab, and I will just simply yeah, I will just simply move my fre decursor off to the side. So holding shift, we can write Mouse button and just tap it off to the side, and now we can go back onto our rock generator. So the way the rock generator works is it basically creates a primitive shape and then adds a bunch of modifiers combination of it all to create unique shaped rocks. And then on the right side, we'll see a bunch of detail. One of the parameters that we can have is number of rocks. So we can do multiple rocks at once. But honestly, it's best to start with one, and then once we get one good rock, we can just add number, couple of rocks and then work from there. And the next thing I'd like us to do is going to be use random seed. I'd like us to disable that and just use, well, we can use something like four. This way, we'll get more of a consistent result and also the downside of generate rocks using random seed. Is that it would whenever we're changing any minimal type of detail over here on the parameters, it would just randomly change up the seeds, so it would not be quite as helpful when we want to do some small tweaking. So right now, we have multiple options. We have roughness, we have deformer, and whatnot, some scale. And honestly, by default, all of it is quite nicely set up. I would say that use the detail level two on display and level. Uh, that way we'll have consistent results with both of these levels, and also it will give us more of a stylised rock. If we were to start increasing these two, you'll see that it will well give us some much more realistic type of rocks, and we don't really want that. Also, a lot more topology, and it will slow down everything for us. So we again, don't really need to do that. The other thing is smooth factor. If we start smoothing out the rock, it's going to smoothing it out completely nicely, like so, and maybe iterations. There we go. With multiple iterations, we can see how it behaves and that it does smoothing out rock. But for this particular rock, we actually don't really need this smooth factor. We're going to have a nice bumpy type of a rock with a really good setup. We also are going to increase the formation just to kind of exacerbate some of those details, as you can see, make them a little bit sharper, a lot more noise, a lot more well, extra edges, essentially. And as for roughness, if we start increasing it, then it's going to just when combined with deformation, it's just going to make it look more like a meteorite and whatnot. So it's better to kind of lower this down a little bit, like, so we get to this kind of rock. And afterwards, we have a couple of options for scale. So set scale minimum maximum, basically, that's what it is. So if we have a variation 1-1 0.5, that's more than enough. We could have it on other values, but honestly, I just want to have variation in length. We could even have this to two, and that's going to be quite right. And after we are done with that, we can increase the number of rocks to a value of four. I think that's going to be more than enough. And we can then click it off and get ourselves those four rocks. So I think that's looking quite right. Let's go ahead and just start working with them in regards to well, texturing process. Let's go ahead and select them all. Actually, I'm just going to lay them out one by one, like so nicely, so we could actually work on them nicely. And let's go ahead and isolate this entire section. Now let's go into material mode and start working with the UVs. Which I just realized not the right tab. Let's go on to UV editing real quick and then click on the isolation button. That way we can get back onto those rocks like so. And yeah, let's start doing the UV processing. So the rocks themselves, when you think about UVs, they can be essentially in multiple ways of UV and wrapping. And before doing that, we do need to select them all. We do need to convert it to mesh, and we need to check if the setup is going to be qua. So right now you can see that actually these points are going to be quite nicely explained. So first way that could be done if it's just a generic kind of rock is that it could be just in four ways, basically split like this. And we'd have essentially like a cube on the side, the top and the bottom. So we'd have four pieces in regards to the UVs. The other way would be to split it in two, just in half. And finally, we can split it in sort of a if you've ever seen one of those balloons within a balloon type of video, and when the knife goes down, it basically goes in one slice, but it does split off into just one massive chunk of a piece. That's essentially what we're going to do here. We're going to grab A, well, grab a section at selection. Like so. We're going to grab it at the top. We're then going to move it downwards, like so and I'm going to check this edge you know what? We can actually do it like this because of the shape of the well topology. It is going to give us a nice well edge flow for this. And when we're doing it, like so, essentially selected the entire piece in half. But in this case, we're going to keep well, I'd say, 30% of this not selected. So I'm going to go click C and then use Middle Mouse button to kind of deselect this section. L and the reason for that is now that we mark seem so selected and use projection minimum stretch, it's going to unwrap it and kind of relax all the vertices, giving us this sort of a well, double sided egg shape type of a setup. And because of that, if we have a look at a material rock, if we start adding it, so we're going to get ourselves quite a unique and nice little setup. Which I think for rocks like this, it's going to be quite right. So yeah, moving on, we're going to have other rocks as well. We're going to work with this one. So again, we're going to do pretty much the same setup. We're going to select an edge loop, and now this edge loop is not going to work for us. What can we do? This is going to give us a bunch of ziag lines that is not okay for us. So in this particular case, we're going to try to see if we can find an edge loop maybe that gives us more shade of line. For example, this purple line over here, going to give us across like so, and you know what? I think that's more than enough for us. This is going to give us three fourths, let's say, of the entire setup. We can mark it as Sam selected, UB wrap minimum stretch, and there we go. Again, we're going to add a rock material, see how it looks like. And I believe we'll need to slightly tweak the scale, but let's go move on to the next piece. Again, we can make use maybe out of this section over here. Just to make our lives a little easier, I'm just checking if everything is okay, it seems to be. Let's go ahead and do the same setup, minimum stretch, like so, and rock just like that. Finally, this piece over here. Let's go ahead and select. Oh, this piece is just selecting this one over here, and this one is only here, and I don't think we're able to make a proper selection over here. So what can we do with this one? Well, we can't just let's see. I don't like any of these purple lines. They're not giving us a nice flow of topology. Let's see if we can just grab a nice edge loop over here, which seems to work. And if it does work, that's good for us. If in certain cases it doesn't work for you, just make sure to select it, use control and just kind of go over certain lines like so and you can just manually select your own edge flow basically just like that. But again, because it worked so well for me, I think it should work nicely for you as well. I'm just going to select it up until this point, maybe even a less, like, so Markem. Now let's go ahead and unwrap it. There we go. Nice shape or rock. There we go. Alright, now let's go ahead and see if the scale for them is going to be quite all right. I'm going to go on to interview. Just wait for it to load. And yeah, I think what we can do is we can definitely just make a little bit of an extra detail, grab all of them like so and just increase the scale just by a little bit. Let's see. I think that looks much nicer, maybe a little smaller. Like, so I like it everywhere except for this one. So I'm going to select it manually and just make it smaller. Like, so, maybe a little smaller. There we go perfect. What I'm looking for at these kind of setups is I want to make them as small as possible, whilst at the same time keeping those chunky looks on the rock pieces themselves. If we make it too small, it's going to look like gravel or something of a sort. We really don't want this happen. So that's why having rocks like that is going to work quite nicely with texture like that. All right, let's go out of isolation mode and continue on with the setup. So this time we're going to well, let's just wait for it to load. This time we're going to just place them on a terrain on the gray box in the general areas, especially for the wheel, and then we're going to continue on with, well, the terrain itself. So we're running out of time, actually. Thank you so much for watching, and I will be seeing you in the next lesson. 94. Rock Placement In Environment In Blender 3D: Hello and welcome back over to Master Blender F D with Wild West Environment. In the last lesson, we'll ask ourselves off with four different rocks, which we're now going to place within our scene. So I'm just going to go ahead and real quick make actually a duplicate out of this plane over here, so it would be easier for us to start placing these rocks. So let's go ahead and make a duplicate, move it to our collection like so, and now we can just hide everything out of the way except for the main collection. So now we can move this on to Asset Library. Mark as asset, move it to move it onto our asset browser items, and within our asset browser, we'll be able to find our rocks. These rocks can be moved onto Western props and can be placed in the scene. So the way we are going to be placed in the scene, if we have a look at the reference over here, we'll notice that these rocks are well, somewhat randomly scattered, like some of them over here over here, but all of them do have a bit of a pattern. So for example, these rocks over here will be clustered up. These rocks over here will be clustered up. And even the ones, if we have a look at the back, this one has one rock, but it does have a couple of smaller rocks over here and a couple of rocks over here. Essentially, when we are working with something like rocks, you'd think that they'd need to be scattered randomly or something, but we need to enhance the overall form of our environment doing it. So we'll be able to just give us a nice composition over the environment and the scene itself. So let's start to work with it. And you know what? Before doing that, we could just put a rock over on our wagon. I think that'll just make our lives a little easier. I'm going to make a rock and just place it over here, actually. This one fits quite nicely. So I think that's going to be quite right. I'm going to just lower it down until we get it to a nice little form like so, and maybe I'm just going to rotate it a little bit. And now we can select this wagon. And we can, well, rotate it until we get it to this kind of a form. And I'm just going to lower this down a little bit, maybe even pull it upwards because the wheel is slightly floating. And we shouldn't be worried about, like, a wheel going into the ground too much because, well, you can imagine there'd be like dust, dirt, and whatnot. And for that reason, it's okay to have a little bit of a a wheel stuck in the ground. I think that's totally reasonable, especially since if you consider the weight, this one got stuck on a rock. Maybe a wheel ended up flying out or something of the sort or got stolen, and the other wheel ended up just taking more of the weight because of it. So I think that's quite okay to have it, like so. Now, going back to these rocks in regards to their placement, we should work on the angle over here, actually, that's going to be a nice little setup. So we can just place a rock, make it a little bit smaller and place it in a ground. One over here and then another one over here, and whilst doing so, we should consider their scale as well. So, for example, this rock will be lower down in comparison to the rock over here. And the reason being is that we still need to consider the overall composition of the environment. This entire composition is going like, upwards. So if we had a rock in front, the one on the back is not going to be visible. It's just going to look a little isolating. So personally, I prefer to whatever I have walls and whatnot, to have a larger stone at the back and then a couple of smaller ones in the front, like so. And that just, I think, makes it look a little nicer overall with the overall setup. So like that, it's going to be quite alright. We also are going to have a rock at the back over here. Nice and small little rock like so, place it in a dirt just like that. You could place it, I think in this section. I think that's going to be quite all right. And let's not forget that we are going to be working with environment itself. The environment itself does have smaller pebbles, which we can populate our setup. These ones are just for larger rocks and whatnot to kind of help us break down the environment to scene. Like so. And this one, this one was from a duplicate just going to go ahead and delete it actually, we don't need this anymore. And this way, we can just place some rocks across. Like, so we can even rotate the rocks just to have nicer variation and get ourselves a nice setup. So over here, I don't want them to look like a straight line because of this character setup. So I'm going to move this a little bit more to the back, so it would have varied over distance as well with the rocks, like so. And now finally this front section. When working with this front section, it really is best to just kind of look at the camera view. Of the setup and consider our overall composition at this point because we don't want to hide the wagon, for example, we don't want to cover the cactus completely, as well. So it is more of an interesting setup. So for that reason, let's go ahead and grab ourselves a rock that's going to be somewhat of a longer one. So this one over here, we can even use S Z to kind of make it even wider, and we can highlight its weight that is not just perfectly well going upwards. We can tilt it a little bit like so, and that's going to give us a nice form and shape. We're going to place it in the ground. And from this angle, it looks quite alright. I think I'm going to grab the camera real quick. We can click zero on our numpad to go onto the camera. We can click N. And in the Viewport, there is camera to view. This way we'll be able to move our camera around. And at this point, we can think a bit more about the main composition of the shot. So this kind of shot will be much better. Of course, in the future, we can always adjust it, come back to it when we're working more towards the composition. But in this particular case, we definitely need to figure out how this rock is going to just be placed. So I'm going to move this rock a little bit to the side, rotate a little bit, and even rotate this wagon a little bit with this rock over here. This way, we can see the upper wheel a little bit. Like so I think that's going to be quite right. Yeah, that's going to be quite all right. Once we're done with camera movement, let's go ahead and click camera to view. And that way, we can just move out of the camera setup. And I don't want this to be too big, actually, a little bit smaller, so I think that's much better. There we go. Let me just check. Yeah, much better. Okay, so the shape of the cactus is visible, which I think can be just a little bit to the front, L so. So we'd have a nicer shape. Don't want the shape of this angle when it goes outwards to be covered up. I think it's a nice silhouette to have. And then we can work around the setup. Oh, I think I grabbed the wrong object. Let me just go ahead and grab a rock like this. Going to have it placed nicely on the side. That way, it's going to support the weight of this big rock over here, and then we can have a couple of extra rocks with smaller rocks, like so to just kind of, I think this way is going to be nicer. To just kind of get way of breaking down the silhouette of this entire setup. Well, for the rocks, that is, at least, let's go into the compositor to see how it looks like under the lighting. And I'm not really happy about this. I'm going to lower this down even more, actually, or even rotate it a little bit there we go. Think that looks much, much better. But I do think that this is a little bit of an empty space. So what I will do is I'll move this to the front and grab yet another rock. I think a rock number one is going to be quite okay. So the original one I think we used, except we're going to rotate it to make sure that it doesn't look the same as the big one, and we're going to position it, like, so to make it seem like No, that's not it, actually. You want to be a little bit higher up. Like, so let me just click zero to see how it looks like. Perfect. This is going to help us break down the shape and just well, make sure that it's not just a nice straight angle over here for the platform. All in all, I think it's looking quite nice. I'm just making sure that nothing is floating. So, for example, maybe we can have a smaller rock over here just just to make sure that it's not floating overall. Like so even though it's not going to be visible, it's still nice to have some logically supported type of stone, basically. I think that's quite all right. Something like so. Yeah, that's going to be quite right. Okay, so we're pretty much done with the rock set up. Now we're going to continue on with the terrain. Thank you so much for watching, and I will be seeing you in a bit. Okay. 95. Sculpting Terrain Platform Base Ussing Claystrip In Blender 3D: Hello and welcome back everyone to Master Blender FD with Wild West Environment. Now we're going to continue on with the setup. And this time, we're going to start working on the well, the platform itself. So for us to do that, we're going to prepare it for the sculpting mode. We're going to go ahead and go on the Edit mode, select the plane that we have over here. And I believe this one actually was part of the gray box. So I will make a duplicate real quick, move this to gray box complete, and now out of this one, just making sure that this is just within a collection like so for now, we can go ahead and go on to Edit mode, click E, make an extrusion, just like that. And it seems a little off. I'm going to select it all. Click Ship N because I think flipped faces were causing some shader issues, which is okay for us. It doesn't matter. And now we can go on to our sculpt mode, select the well the setup. We can use R to just determine the size. I think this size will be okay for the base. Like so. Control how we have ourselves, a reasonably dense mesh. And let's start working with the shape. The easiest thing to do for terrain sculpting or anything of the larger proportions is to just start off with play strips. It's a really good and useful tool. And whilst working, another thing to know is, if you're doing it like so, you might encounter some of the faces while being pulled in like that. So one thing I might recommend for this type of a setup is going to be to either use automatic masking using where would it be? Yeah. So occlusion masking, we can either use that or alternatively, we could remove the faces at the bottom. Since we already used the occlusion already, based on the view normal, we don't really need to do that. Because, well, I'd like to show you another way, basically. If we go to Edit Mode, click one, use Old Z and just select the base, so let's click free first, select the base, and delete the ***. We're going to be left with just this. And this way is quite okay to work with sculpting as well. We will be able to make some sculpting decisions without actually causing any artifacts being underneath, which is quite nice. So I'm going to take off e normal from now and just work with this. Oh, using control, we can just smudge this piece out and put it inside, like so. And the general shape that we want to have is going to look more of a varied amount. So on this part, I want more indent. Then I'd like this corner to be cut off because well, mainly it's because there's nothing much else on here other than, well, this water tower and the cactuses over here, and yeah, we can use that as a base and just start working by just sculpting these pieces out just like that. If the shape is getting in more of a weight shape, we can just shift and kind of bring that back in, all the topology, and then it should help you get that shape back into it. The other thing that we can do is going to be using the where is it the grab tool. So we can just click on here or we can just click G, and that's going to bring us to the grab tool, and that's going to help us well to get this setup a little bit more tweaked over like that. So with that in mind, we're just going to make some additional changes. We're going to continue on with the corners, over here as well. We don't really need that big of a corner over here. Something like this, a little bit of a cut in over here, maybe not too much. Going to make a brush a little bit smaller and just cut it in like so. And for the back over here, also, we don't really need that big of a setup, so I'm just going to cut in quite deeply. Like so. That's quite nice. For here, we can just break down the edges. I'm going to actually build it up a little bit. The main reason for that is going to be, well, we want to make sure that the base is stable for the water tower. So that's why we can do it like that. I think that's quite right. This part can be just slightly cut in, like so, and this part definitely needs smoothing in just like that. Alright, so now that we have the overall shape, we can start working with a little bit of small details. So I made the brush a little bit smaller, and now I'm just cutting parts in. This rock over here, maybe we want to hide it out of the way. So I'm going to just do it like so, just like that. And this part over here maybe a little bit extra as well, whilst removing this edge completely. Just like that, we're able to break up the entire form and shape, and you can see already how nice it looks like. The other thing I'd like to mention during this sculpting phase is that you really, really should avoid using shift smooth mode, so whilst holding shift, you know, you can just move it off like that. For certain cases where, like, there is a bit of an issue with, well, topology, you can do that. But in most of the time, you would even want to just hold control and just remove it. Or another way would be to well, in this case, it's really good to use flattened tool. Where would that be? There we go, flatten contrast. So this one will help us to kind of break down the overall sharper edges. And by using it, we can get ourselves really nice type of clumpiness, like a rock type formations. So I recommend you using that instead of using shift. And again, shift should be just a final resort, basically. Over here, for example, there is an artifact over here, so we can use shift just to kind of erase that a little bit, and that's pretty much as far as it needs to be. And just like that, I'm going to tap it. Holding control is an interesting one because that will alternate basically between those edges, and instead of flattening it, it'll do the opposite basically. We don't really want to use that too much, but sometimes it can be helpful for, example, for example, over here, holding control, I can just make this a little bit out extruded. It will work in a way similar to inflation or grab if you use control and just pulling it out. And yeah, by doing that, I can just, you know, make more of an interesting shape over here. And that's quite nice, I think. Now over here, we can just continue on with the setup. And right now I'm just working on the outside bits, getting a nicer setup. So this part over here, I don't like the way this is. I'm just going to hold shift and erase it, and then we can use the clay brush, so C or a shortcut, and just kind of bring this up a little bit to get more of an interesting shape. And I believe we can now grab the flatten tool, just kind of mix it up a little bit. Yep, seems right. This part over here is well just like that, we're able to get some really nice and unique all sorts of shapes. Very nice rock formation. Nice way to break this down. So now I'm thinking whether or not it's going to be well, first of all, the barrel over here is a little bit floating. We can now go ahead and use the grab tool by clicking G and just extruding this. If we go from the top down view and just extrude it from here, it's going to extrude it based on our viewport. So even if I do it like this, you can see it's just going to be an X and Y axis, not going to affect Z axis, which is quite useful for this particular setup. So over here, I'm just going to slightly extrude it, and that's going to not make us lose too much of the shape, going to go back onto the flattened contrast. Just to kind of remove that blob of a look, there we go. I think that's going to look much nicer. Here, this edge, we can just apply some extra. So using clay and brush to kind of break this formation up a little bit, so it wouldn't look too well, too wed, let's say, in terms of the complexity because as you can see, over here, we are already getting some nice formation, nice overall setup. But here, if we just kept this entire blob at the back, it wouldn't look consistent through the detail. So that's why I'm just breaking this up a little bit. And whilst working, I'm making sure that somewhat of a distance is kept the same. If we get too close, we start working with the same type of brush. It is based on a viewpoord size, so it's not going to give us that same amount of detail or maybe we end up overdoing it. So I recommend you just keeping the distance the same. Also not too big, you know, because it'll just end up making some well, a large scale setup. And with this distance, basically, I'm just going to go through this entire piece. So this part, for example, I don't really like it. I'm going to use control and just kind of sorry, use clay brush control and just kind of flatten out a little bit more, see if I can get more of an organic shape, maybe something like this. Oh, I think I like this one. It looks a little bit more rocky. Let's go ahead and see if we can just Oh, yeah, if we can just work with that. I use shift by accident. There we go. So this kind of a shape, I think is going to look a lot better. Yep, this looks nicer. This over here. I think we can use G to kind of just push it in a little bit, just a little bit. And now let's go back to the setup and get us nicely broken up. All this piece. So here as well, you can just break this up nicely, like so it's looking good so far. And we're only focusing right now on outside ends. We're going to go on inside bits in just a second. And something like that is going to be quite right. Alright, I think we can continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 96. Sculpting Process Refining Terrain Edges In Blender 3D: Hello and welcome back everyone to Master Blender Free D with Wild West enviromin. In the last lesson, we left ourselves off by setting ourselves up with a nice type of platform, which we're going to continue now working on. So for us to do that, we're going to real quick just fix up this front section over here. Just to make sure that we have more of an interesting shape. We went all the way around, except for this little piece over here. And for that, I'm going to real quick just go on to the Grab tool, make a bit of an extra well placed for us to work with. Like so. I think that's a little bit better, and now we're going to have well more unique type of shape, which we can fix using well flattened contrast. Let's go ahead and do that. I'm going to just make some nice strokes. Also use clay brush as well, just to get more of a unique shape. Over here, I'm going to remove some parts. Over here, I'm going to add. And just like that, we're going to get nice shape. Over here, we can just remove this corner altogether. And now with the flat and contrast, we can make a real nice and touchy type of shape. I think that's going to be quite right. I still don't like this part of it. I'm just going to add a bit of an extra. If we're running out of topology, we could use the control on R, or we could use dynamic topology. In this particular case, it's going to be really good because, well, it's just going to add more topology as we go along with it. Honestly, though, I don't recommend you over using it because we don't really need it that much. Plus, while sculpting the performance usually tends to drop down as we start using that a lot more. But, you know, at the very start, we can get that extra topology. You can see, like so and now we've this go do a little bit more of an extra work. I particularly want to do a little bit of an extra work for this piece for this particular section is because, well, we're going to have it we're going to have a well, more of a perspective camera like this. So this part of here is going to be the most visible out of the tie terrain. That's why I just want to, well, shape it up to be nicely set up. Like this, I think that's looking quite nice. Over here, can be broken down a little bit, as well, and a little bit of an extra touch with just help us break down those stronger shapes that we got from clay brush. And I think that's going to be quite right. I'm quite happy with the shape. We just need to get it nicely broken up. Like, sew. Here, I still don't like this, actually. I'm going to Clay Control Z a little bit. See if I can just break this down using clay brush a little bit more. Like, so now we can go back onto platin and just kind of there we go. I'm much happier with the shape, actually. This is looking much better overall. We can use a bit of a clay brush over here, again, to kind of help us break it down this a little bit over here as well, even smaller brush at this point. Something like this might look a little bit aggressive, but when we go back onto a flat and contrast, we're able to kind of blend in these shapes nicely, like so, and all in all, make them look quite nice overall. Okay. This part over here could be a little bit steeper. We can use Grab tool and just kind of push this a little bit in on itself, just a little bit, like so, and that's kind of going to steepen the part up like this back to Flatin and like this over here. Okay, I don't want to spend too much time on this. We can spend as much as we want over here, dynamic topology back on and just kind of bring some of that extra topology. Now, I think it's a good start up for our next part, which is going to be adding a bit of an extra. I still want to add a little bit more. It's always like this we creating terrain. I want to add extra detail. I want to make sure we kind of break it over some parts, make it more interesting and whatnot. You know, all of that can take time, and I do encourage you spending as much as you want with the setup. It really is nice and simple, but at the same time, just make sure to have more consistency in regards to the overall setup. So for example, over here, you can see, maybe I have a little bit too much extra detail in comparison to something like the back. Honestly, I think, all in all, it's going to be quite fitting. Remember, we still are going to be adding textures. Let's talk a little bit about the inside part. We can use clay brush as well. We have a little bit less of a strength, and we can start building on top of it. So, for example, where the well the cactus would be, we can increase this a little bit of an extra. We can low it down as well afterwards, and we can add a little bit more of chunkiness over here. Which is going to look quite nice around these rocks, especially as a well. If we add a bit of an extra, that's going to look really nice. And another thing we should consider is, for example, we can consider more of a sandy blown piles. So, you know, in Western, there's a lot of windy areas, for example, and some of those sandy piles end up piling up, like the dirt and dust and whatnot. So we can start working on those parts as well, just a little bit of an extra, basically. So for example, this barrel maybe it was placed a long time ago. Maybe it will be a little bit overblown with additional well, dirt. But here, for example, we don't really need to. So it really depends on that kind of mindset. You know how often some props would be moved. And I just realized that this prop over here needs to be slightly outwards because it was inside of the well, the terrain, not terrain, the building itself. Going to go back onto the scalp mode for the terrain and just add some bits of piles, some bits of pieces like that over here a little bit. And when we're building on top of, well, the sections for something like cactuses, we can also use control and just kind of bring it down a little bit towards its base. That makes it seem like it's just well, a nicer type of setup. Over here as well, we can just add a little bit more and just here a little bit as well. This kind of a setup is going to be quite nice. Like this, you can see already how much of, like, a dirty look it looks, how much of a gruniness it adds to the terrain. Just by using a lower strength, it doesn't give us that extreme of disposition within the mesh, but at the same time, it gives that bit of an extra or well, the detail, all the detail that we have over here. So quick overlaying is just going to make it look, so much nicer. After we're done with all that, that placement maybe a little bit over here as well with smaller brush because I think this place will definitely have some extra dirt look like so Yep, like that. We can add more of a neutral type of grunge forut the setup. And just like that, I think it's going to look quite nice. Pink. We got ourselves a nice setup now. So now we can go onto, well, what's it called the platin tool? There we go and finalize it by just making some of the parts a little bit more broken up for some of those areas. I think that's going to look really, really nice overall. So over here maybe a little bit more. We can use it to break down some shapes as well. So between here and here, here can be a little bit broken up a little bit as well. Like so. And this part over here, all in all, I think it's worked out quite nicely, actually. Another thing that we can do now is a little bit of a cleanup or actually, since we're running out of time, we can do that within the next lesson. Now we just want to ideally pick some stops. For example, over here, we can see that extra edge line from the topology. So I'm going to tap shift a little bit throughout just real quick. It's kind of removes that detail and stretches out the entire well topology, which I think is good. I'm checking other areas if we're not missing that kind of detail. This part over here can be a little bit more flattened out in this area, reckon I'm increasing the strength a little bit to get more of an extreme shape. I think that's quite right. This part over here with smaller strength now, just to break it down a little bit. So over here, the topology is a little bit missing maybe. We can just add a bit of an extra topology and take it off and, like, so add that extra touch of detail. And I think all of it is looking good. So when I'm going around, I'm always looking to make sure that well, everything is nicely broken down and shape, but at the same time that none of the props are being overwhelmed. So, for example, maybe the cactus over here might want to be raised a little bit at this point because, well, it was a little bit too much in the ground. Some of the barrels over here will be maybe floating. We might know when to lower them. And all in all, it's just that kind of a height variation and difference that we're making sure we don't have. Maybe this one cactus is going to be smaller now. I'm just going to make sure I select these flowers as well. So that's looking a little bit better with this particular terrain. And the rest is okay. This flower over here just realized it's a little bit floating. Might have moved it a little bit by accident. And these flowers over here as well, actually the same bit of an issue. Just go ahead and fix it. Looking nicely now. And all in all, it is it's pretty good. Okay, so that's going to be it from this lesson. Thank you so much for watching. And in the next lesson, we're going to clean this topology up and work our way with UBM wrapping. So thanks for watching and I'll be seeing you in a bit. 97. Terrain Material And Mesh Preperations In Blender 3D: Hello. Hello and welcome back everyone to Master Blended Free D with Wild West Environment. Now that we're at this point with our terrain, we're going to continue on moving on to the texturing stage. But before doing that, I do recommend you to have some final touches with the sculpting brush. The reason being is that at this point, it should be finalized in regards to the overall shape because we're going to be going on to UBN wrapping. And once we do that the overall shape is going to well, affect how the textures are being stretched out. So for example, if I want to, I could use the move tool real quick and just slightly stretch out this part over here. I think that's going to be much nicer for the overall shape, just like that, just a little bit, like so. And once we have it just like that, we can go ahead and just simply grab this entire shape and start preparing it for, well, the texturing part. The thing is that we're going to do is we're going to go ahead and make use out of a vertex texturing. So it's better to have more consistency throughout all of the UVs, not UV, sorry, the vertices, as we're going to use them for texturing. So we can go ahead and use a decimator a little bit or a re measure to get a bit of a well, nicer topology as well as just help us out with optimization. Let's go ahead and use decimation. We're going to just simply keep it triangulated. And once we start lowering this, we should find ourselves that, hey, it starts lowering down. If we go too low, we're going to get a very basic shape. So we want to get ourselves something to around of 20,000, I think that's a good amount, something like that. I think that's going to be more than enough for such a terrain, Let's go ahead and apply and then have a look at this and there we go. A nice basic, consistent type of setup. You'll notice that some areas won't have as much of topology. But if we went through all of the areas a little bit with the sculpting brush, we should have somewhat of a more spread out type of topology. And I think, all in all, it's going to be quite right. Now, let's go on to the UV editing. I'm going to for now, just quickly turn off the material going to click AltnHO sorry, AltnH, for some reason, this is not visible within my setup. I'm just going to go ahead and quickly locate this plane, go back to UV Editing and see where this plane is. What is going on? Why am I not seeing it? Maybe I was in isolation mode, which I was. Let's go ahead now and just simply select it all within UV Editor, click U and use and wrapping for minimum stretch. And this should give us a nice coverage that unwraps it quite nicely forgot the setup. You can see over here that this has lower topology, but because it's part of the inside of the building, we don't really care about this piece. Everywhere else, as you can see, has a nice variation of topology. If you don't have enough or if it looks like some of the apology is more like this, I do recommend you increasing the just clicking Control Z undoing it onto the point where you do have the modifier for the decimater and then just simply increasing it to maybe something like 40,000, it's going to be a little bit more of topology, but it would give you a more of control and freedom when texturing using the vertex painting. So once we have it like this, we got ourselves a nice setup. We can also click Control at A, apply rotation and scale. The reason being is that it's going to be quite useful for the geometry node, which we're going to apply in the future for our smaller plants. And now we can at this point, honestly, we can just simply apply the terrain. So if we go onto the material, we can click on New and search for terrain. So this is going to be part of the resource pack. Let's go ahead and apply it and we can see that this should give us something like this. Right. As a base, it might be a little bit too large. So it's already, like, tweaked in regards to the mixup of the shader. But as a base, let's go ahead and increase the scale actually a little bit. I'm going to go back onto V, select an entire thing, and just scale it upwards, like, so just by value of two or a value close to that. Maybe a little bit more. Just a tiny bit. There we go. I think that's actually much much better. Okay, now, the shader itself, this is quite an interesting one. I'm going to go ahead and just show you real quick. It is set up out of three different PBR materials, like so. Each one of them makes use of a mask that's going to be applied with the color attribute Right now it's red. But once we go onto the attribute, it's going to start, well, initiating this entire setup and start working. Uh, the other thing that you need to know is that some of the setup is making use out of additional mask, which is going to be displacement, so that further enhances this color attribute breakdown. So the vertex painting just basically gets enhanced by additional information from the textures, and all of them are set up in well, three different setups, so R, G and B, which in order to make use out of, we're going to do it right away. We're going to go on to modeling mode, change it up to vertex paint right away, the entire section is going to disappear. The reason being is that it now applies this attribute information once we enter into this section, and we can simply click and drag or sorry, switch between from white to black. So we switch it to here, we're going to see now that he o, we start painting in information. So not only does this terrain include free materials, you can also make some of the items invisible, some of the section invisible, which we're going to do it at the last stage. But it's just set up. The reason, it's set up like that is because when there is no attribute, it's going to be giving black information. But once you go onto the vertex painting, it by default, sets everything up to a white information. And that, like, makes the opacity change to zero and makes the entire terrain invisible for that reason. So in order for us to work with this terrain, what we need to do is we need to learn a little bit about how the coloring works. If we click on the color itself, we can change it to RGB and I already mentioned the RGB values being used each individually. And for that reason, if we increase this to just red being set to one, we can then click and hold onto the terrain and you can see it blending in additional type of a texture. So it's already quite nice. And you can see in between the texture that if we go a bit closer, we're going to start adding those wed dots, and that's going to be based on these vertices over here. That's why the decimation is important because we need to make sure that we do have a reasonable amount of density. So this is the type of mass that we're applying, but because it's being applied with an addition displacement overlay, it's going to blend in a bit more nicer with one another. Additionally, what we can do is whilst holding shift, we can tap and hold, and we can just blend in this color information like this, essentially blurring out the mask, and that's going to help us out to kind of transition between those two, like so. So that's something else to know. You can also hold control to use this white mask over here, which at this point, it's just going to make it um, opacity. But if we change this to something like black, the original, the stone texture over here, we can hold control, and then we can just bring back this and essentially use this as an eraser. So having the secondary option as black and the first one as whichever one we want is going to be extremely useful. Now, the other the red, what we can do is we can change it to green. This is going to give us more of a rocky texture, like so. Additionally, we can also, well, use blue. This blue is going to be the invisibility mass we talked about previously. So that's going to be a blue channel, and that's pretty much it. When there is no value information for any one of those, is going to give us the default. The red is going to give us the sandy appearance, the green is going to give us this rocky appearance, and blue is going to be giving us the opacity. And with data formation, we can pretty much work ourselves with this entire setup. To do that, we can also make use out of the radius, which we can change up the scale using the square brackets on our keyboard, like so, that's what I'm going to do throughout the painting. Additionally, this strength is going to be extremely useful because it allows us to blend in the components between one another with a lot more of a finas. For example, right now, if I set it to a value of 0.2, we can just nicely blend in these values, like so and it's going to be quite nice. You can also tap it to overlay that information on top of one another to strengthen it. So tapping it is going to give us this whilst holding it, is just going to apply this strength of 0.26 once, and that's going to be it. So, in the next lesson, we're going to actually do the texturing process of this entire setup, and thank you so much for watching, and I'll be seeing you in a bin. 98. Vertex Painting Terrain In Blender 3D: Hello and welcome back everyone to Master blender three D with Wild West Environment. In the last lesson, we went over the basics and the setup of the terrain, making sure that we have the correct preparation for this terrain texture shader. Now that we have this information, we can work with the setup itself, and we're going to consider how it's placed and essentially break down the surface first of the material. So, what we're going to do is we're going to start off with red channel like so, have the strength of something between 0.2 or 0.3. That's the usual default that I go with. And then afterwards, we can just slightly have a smaller brush and help us to break down this overall texture over here. So I'm just making sure that we don't have anything too consistent. Otherwise, this pattern of, well, this western type of rock is going to be very, very visible. Overall. But just like that, we can just use it like so to cover it. We can also hold control to kind of undo that step. And this way, we're also able to break down this circle ish type of spherical pattern, which is very visible over wis. We couldn't gate that with some alternative brush alphas and what, but honestly, for such a task, it's just okay to just go in and out, just like that, holding control, just kind of break it down. And in order for you to see the mask, what I'm doing right now, you can see this variations of blur, some bits of differences in a mask and whatnot. And again, it's mainly just to help us break down this overall texture. So just like that, holding control, tapping it, tapping it in other places. And that is going to be the first pass that I usually do just to make sure that nothing, nothing is repetitive, just like that. And maybe over here like this, tap a couple of times in certain areas just like so, and maybe using control to get that rocky section as well. And just like that, we're going to get ourselves something more more interesting. Yeah, I think that's looking quite nice. Alright, so past number two, what we're going to do now is we're going to consider areas where we are going to have more of that, maybe sandy texture. So in areas where we want, well, example, the corners over here, what we did with sculpting is going to be pretty much the same, and we're just going to add a little bit more of a sandy section over here, for example. Maybe the sand would be collecting in the corners, like, so and maybe over here as well. So this is more of a logistical type of a pass that helps us to bring more of information or natural order of the setup. You can think of it as like, for example, maybe the wind was blowing into these rocks and some sediment gets caught up a little more. Here, for example, the cactus wouldn't be growing too much out of the rock. So maybe we want to cover that up and stuff like that, essentially just quick patches of sand in some areas, maybe over here as well a little bit, just like that. All is good. And I think honestly, that's all it takes for this step. That's, that's pretty nice. So so far, we got something like this. You see the sharper areas of red in certain areas. This part, I also want to cover it up a little more. I think that's going to be quite right. Yeah, it's quite alright. And yeah, the next one is going to be well, the next one is going to be some paths. Let's put it this way. We want to make sure that well, where there's more walkable areas, we're going to have the green chattel, which as you remember, was more of a rocky surface. So this rock might look, well, a little off to reddish, but with renderer, you can see that it blends in really nice with this lighting setup with the perspective and whatnot. So I quite like the overall design of this. I'm going to click Control Z a little bit and actually lower down the brush to value 0.2 this time. And just quickly just have even smaller brush, actually, just quickly tap, tap, tap in certain areas. Hold shift maybe hold control just to kind of help us break down this surface. Already. We're having a nice path over here. Then we need to consider the path on the other side as well. So here, a lot of the walking would be happening. So maybe we want some more of a rocky area, like so. I think that's quite nice, just like that. Yep, that looks quite nice. And then finally, we got to figure out how we're going to do well, for example, there's additional walking happening. So, for example, horse ables over here would have additional rock sediment, well, horses would be stamping the ground on this section. And then we also might need to consider, well, what happens if a person wants to go through this section and wants to maybe pick up those bags over here and whatnot, we can go ahead and fix that up as well. So I would say there could be like a small path, just go in a little bit, like, so and into this section over here. And that's pretty much it. We might consider, for example, going through this section, but honestly, this would kind of break this entire part, I think, if we were to go all the way around on this more of a cliff section. I don't want to, well, stand out too much as a path. So maybe I'll just do a quick bit of traces over here, something like that of the walking section, even break it up actually even more. Just a slight bit of difference. I think that's quite right. And let's have a look in a render view. Alright, so that's looking quite good. I'm quite happy with this result. Now we can go back and finalize it with the blue channel. So the blue channel was the if you remember correctly, the opacity. This strength needs to be set to one so we can actually do it properly. And I'm going to lower the brush and just kind of bring these small values out all the way around just like that. So, like, so I'm just slowly going over it. And then after I'm done with it, I'm going to also hold shift and just kind of blur it out a little bit just to give it more of a natural blending with, well, the render it's done. So just making sure that it's nicely blending in. This rock over here might be an issue. I'm wondering if it will be. Honestly, if it's too high if it's not too low for a camera, then it's going to be quite right. And yeah, I think I'm going to leave the rock. The thing that we could do with this rock is we could just grab it in edit mode, delete some of the pieces for its base, and would be right. It would be totally okay. But since I am not planning to have any type of a low angle camera, it's okay to just keep it as is. Not visible within the render, then there's no need to conside yourselves with such a setup. There's a lot of a lot of times when in environments, you're going to have a lot of parts hidden or something placed behind a wall or something of that sort where you wouldn't even consider that it would be the case, or at the very start of creating environments, I used to, well, try to make everything perfect, making sure that there's no millimeter or no phase that's unused. But that was very, very time process. Time consuming process, and often most of the cases not even going to be visible. So it really depends on optimization. If it's something like for a mobile game or something of that sort, maybe it would be needed. But in certain cases, in most of the cases, that is, it really isn't as long as you don't have too much of optimized topology, like millions of faces, you would be okay. So something like rocks over here would be totally okay, especially in video games, you know, like when you have rocks like that as object instances. So as a abrary in blender case, then you would be able to optimize a lot more of the mesh by just simply having it as an instance. So a duplicate of an object, basically. And that would be, that would be way more optimized instead of just trying to delete each part of an item that's clipping through. So here, maybe I'll just in this case, I'm going to go ahead and just maybe add a little bit of an extra there we go, something like that. I don't like some of the sharpness, so I'm just making sure that I'm blurring it in a little more instead. Not overdoing it, though, because if we end up if we do end up overdoing it, then it's going to well, some of the parts are going to be sharper, some of the parts are going to be not as sharp very blurry. So let's make sure we are having more of a stabilized setup. When we zoom out, we can see that it's somewhat more of consistent. Maybe this part is a little bit too sharp. I don't quite like it, for example. So I'm going to break it down, shift and kind of get that sorted. And I think like that, it's going to be quite right. So I think we are pretty much done with the setup. Here's the final result of the vertex textures. As you can see, it looks quite chaotic. But once we go onto the rendez view, it does turn out to be quite nicely broken up type of a platform for our scene. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 99. Western Terrain Foliage Geometry Node Scale In Blender 3D: Hello and welcome back everyone to Master blend of Free D with Wild West Environment. In the last lesson, we left ourselves off with a very nice type of a textured terrain. Now we just need to populate it with some additional setup, and that's going to be the plans that we have within our resource pad. The resource pack that is. If we go onto where would it be into our resource pack? So resource pack over here, I might as well just go out of rendering mode, just like that. And enable the resource back, so we'll find ourselves at the very back. We'll find ourselves at terrain geometry node. So this one over here is going to include the geometryde that will populate your scene with nice shrubs and stone bits, as well as small cactuses or cacti onto your scene. So we can make use out of it and just get ourselves a nice terrain that's not as flat. Even though we sculpted it, we still want to just make sure that it looks a little more organic overall. So what we can do is we can just simply grab the terrain. And I just want to check Wild West foliage. We can ev just apply it through adding it over here. What I like to do is while solding shift, I select this geometry node, have this selected as last object, so it doesn't have the active selection. And with the terrain on the resource pack being the active selection, we can go ahead and click Control L and copy modifiers. This way, it's going to copy all of the information, although we still need to do a little bit of an extra work for the setup, so as you can see, nothing is showing up yet for this piece, although everything is set up from this terrain. The reason being that this is happening is because, well, we don't have the right scaling for this. It's a bit of a different type of terrain, but we can still work with it. So first things first, let's go ahead and just check up the scale, for example, for rocks, let's start increasing it and see what's up and nothing happens. The reason being is that we don't have the density setup. And what I mean by that is at the very top, you'll see way paint density plants. So this one was copied from the previous terrain. If I was to turn this off, except this one, we can see that this is what we're going to get once it loads up and computes the setup, we're going to get something like this. So this is a little too much for us. We can lower it down for the time being. Something to a value of 0.1 will be a good start. The reason I'm doing it like this. So firstly, we could get ourselves a nice scale for the overall sections of the rocks and pebbles and all the other small little plants. So with the rocks, we can go ahead and start increasing the scale to a more reasonable amount. Something like this, I think we do right. Then we can change up a little bit of scale randomization since we increase the scale itself, scale randomization is pretty good or just making sure we have that more organic look, and I'm also going to lower it down a little bit, just, like, so there we go. Something like that. Perfect for the rocks. Now, pebbles are going to be even smaller than that, although I still want to see them where they are. Let me just go ahead and increase the scale, see where they are. And I'm still not seeing them. So what is going on with the pebbles? This one over here has its own weight paint that makes use out of the well, additional information in combination with the already existing weight paint at the top. If I was to just temporarily turn this off, we can see that this is what we're getting. All right. So this is way too much for such pebbles. I'm going to lower this down to a more reasonable amount, even more. It's a little too many pebbles. I'm going to lower this weight pain to 0.1 for now. And just, again, this is mainly to get the scale right. So something like that, we have a little bit of increased scale randomness. Now I'm going to decrease the scale because it both makes some pebbles bigger and some smaller. Something like that is quite right. We're not worried about the density or anything of the sort for the moment. We're just making sure that everything else in regards to the scale is set up nicely. So small cactuses, let's see what we have over here. We can already see the tiny ones over, so we want to increase it to a reasonable amount where they would be more visible. Something like that is quite right, I think. We can increase the scale randomness, so we'd have more variation in their size and now maybe decrease the scale. Oh, a little bit too much. I'm going to set it up to 0.5. I think that's it's a reasonable scale, looks quite okay. And as for the small foliage. This one is going to be the shrubs that we see all over the place. For this particular part, I'm going to go ahead and go on the rendeview. The reason being is that otherwise in the normal view, it's not quite as visible or how the shrubs look like visually. So in terms of the density and the sizing for them, it's honestly best if we were to just change it up on the get go on the rendez view. So let's see 0.3 maybe. There we go. Now we're getting something. Yeah, 0.3 will do. The scale randoms is also quite right. You can even change to 0.15, a little bit more variation, there we go. All right, so that's going to be a good starting point for small foliage. Let's go back on to the material view, so it wouldn't be as performance heavy, like so large plant stem. Now, this large plant stem is going to be where are they? Let me just find an example. If they're going to be as visible, I'm not seeing them, so I'm just going to increase the scale. There we go. There they are. All right. So the way they're set up is a little different in comparison to other plants. They have their own root canal or their own trunk. And then based on a trunk, it spawn some additional parts on its own well, on its own trunk, basically. So what we're going to do is we're going to get ourselves a reasonable scale first. With the scale, we also have mesh radius. I'm going to crease that a little bit so we could have more visibility going to hold shift and kind of get it to a reasonable amount. Something like this will do. And now we just need to well, fix up the scaling. So let's go ahead and lower this down to something that would be right above the size of those small cacti. But I don't think it would need to go anything above the hip ratio for our human reference. So a value of 0.9, even less, actually, I'm going to increase the scale randomness at this 0.2, a value of 0.2 or even 0.3, so we have even more variation and then lower this down. There we go. Something like that will do the trick. So now I'm going to increase the mesh radius just a little bit like so. And once we are done with the stem, we're going to move on to the large plant section. So this is the part where the large plant has its own blossom. If we start increasing it, we're going to have some interesting setup. So this is all it is. And looking at it, I think it's a little too large for the stem. I'm going to hold Shift again, and I'm going to low it down a value closer to 0.5. There we go. I think even less is okay. There we go. That's much nicer because I'm looking at the top of these plants now that we are increasing it these top sections, and I don't want to be going higher than the hip, just to make sure they don't stand out too much. So something like this is quite okay. We can even increase it even more, a little more, like so and then lower the scale of stem even further. Just like that. Perfect. I think I'm quite happy with this. Then we have large plant extra. So these are the ones that are going to spawn on the trunk itself. So minimum count, we can set it to something like free, maximum count six. And if we increase the scale, we can see that they spawn on the side of the plant. So we can keep them relatively small, but it helps us to break down this trunk shape, like so by just them being spawning on the side. And with that in mind, we got ourselves the basis, the scale setup of this geometry node. In the next lesson, we're actually going to start working with it and make sure that we have everything nicely placed up for our scene because right now it's a little bit chaotic. We need to go ahead and fix everything up. So that's going to be it for this video. Thank you so much for watching, and I will be seeing you in a bit. 100. Painting Foliage And Rocks Using Geonode: Okay. Hello and welcome back everyone to Master blending F D with Wild West environment. In the last lesson, we went over the basic scale of our setup for the terrain geometry node, which allows us to spas some really nice and simple stylized type of a setup for our Wild West. Now we're going to adjust it and make sure we actually place everything in the right position. Otherwise, we have something like this plant over here, sticking out of the water. We really don't want this to happen. So we're going to go ahead and fix that. So first things first, what I do recommend you is just starting off with the very top and then work all the way down slowly. So we're going to start off by making use out of the weight paint. This weight paint is going to apply the spawn setup for all of the plants. It's going to be the basis, the foundation of the entire placement, and then using it, we can tweak and set up density and scaling and all that nice stuff afterwards. So also, by the way, there's seed, which allows you to randomize the placement. We don't really need to worry about that at this point, but it's just know that if you have some issue with the placement, for example, you can adjust the seed and get different placement of items. So easy enough, let's go ahead and now work with the weight paint. So if we go onto the weight paint like so, we can now start brushing it over with all the nice detail. So let's go ahead and do that. We're now going to go on the upper section. We're going to click on the plus symbol over here. I'm going to start off by just renaming this once it loads in. Actually, you know what, to save up on the performance, I am going to go out of the material mode and into just this modeling mode, so, then we can go ahead and even turn off the geometry note for now because the density is a little bit too much. Let's go ahead and do that, just to make our lives a little bit easy. There we go. Much better with the performance. So once we have this creative with the plus symbol, we can double click on it and call this foliage W P. So we know that this is the main foliage way paint. Just like we had with the particle setup for the cactus, we can just simply start brushing it and with the strength of one, we're going to get those red spots, which is going to mean that it's a weight paint of one, and even so the performance is still quite bad. What I'm going to do is I'm going to go onto object mode, isolate this entire setup, and bring in the gray box. So this one over here, I'm just going to go ahead and select it. Of the gray box, not this one, the gray box complete. There we go. I'm going to hide this main piece out of the way, select everything else inside of it. Like, so and hold shift, select the base. We can now go ahead and just isolate it, hide this plane like so. There we go. So this should give us nice basis of where everything is located. At the same time, we can use the weight paint to get ourselves detailed a little bit faster, like so. And just like that, I'm just placing it in all the locations where I don't have objects. Like, so even next to the staircase over here, we can play some just like that, and afterwards, we can tweak it as much as we want to. We don't need to be worried about the placement outside of this setup over here. The reason being is that we do have angle controls, which we're going to talk a little bit about in a bit. So even if you do go over the angle over here, I'm not going to be too worried about it. And just like that, we can well, go over the entire setup. Again, if you want to erase something, you can hold control and just kind of do the inverted strength, basically. That's going to give you that blue, which means that it's not going to spawn any of the plants. And just like that, we can go over the entire setup. Like, so covering all of this nice placement. And if something bothers us, we can go back and fix it. But now, though, it's going to be quite right. And I also know that previously we used the weight paint of 0.1 for this. So what I will do is I will lower all of the density right off the bat to make sure that it doesn't freeze up or doesn't become too performance heavy, and then afterwards, we're going to increase the density a bit by bit. So that's what we're going to do. And I'm just going to make sure that all of this setup is nicely went over. I think that's quite right, honestly. That should be quite okay. We can go and check real quick with the material mode. I'm just checking this piece, for example, over here. I believe it does need a little bit of an extra. There we go. Like so, and I think that should be right. So not going to go under the wagon. Unto this point, I don't really want to go too much either. Everywhere else seems like it's okay. All right. So now let's go back on to object mode. And once we're done with weight painting, we can go out of the isolation mode, hide our trusty gray box complete, like so, and continue with the work for this. And as I said previously, we're going to lower the density for everything, rocks, pebbles, and so forth. I'm going to set it to one for now. Like so, and then we can work our way upwards. So real quick, you'll notice that in some cases, there is viewport density and render density. This means that if you're in the viewport, we'll see the placement. But when rendering, it's going to have a render density instead. So it's quite nice, especially for smaller, like, grass petals and whatnot, where we just want a basic arma noise in the surface, like the shrubs that we had over here, we're going to go over that in a bit. More often than not, it's mainly to do with optimization, for example, so I tend to keep it in that same scale unless when I decided on a scale itself on the density, I can then lower the viewport to give me more performance out of the environment. So that's how I usually use the density setup. But at the very start, I keep them basically the same. And I think that's it. All right, so let's go ahead and apply our weight paint that we created. So we're going to click on this button over here and find ourselves the weight paint turns out that we just needed to enable the real time over here. And once we do, we can go ahead and just select it, and now it appears. So I'm not sure why that is the case. Maybe it's a bug or maybe it just needs to be well, real time. But once we have that enabled, we can just select the foliage WP, and there we go. We're going to get ourselves all of that beautiful foliage that we had before. And now we can talk about the up parameters. So moving downwards, we have, well, rocks. Rocks of dense scale that we already used, have density and max surface parameters, and that includes max surface angle and surface angle randomizer. So firstly, density, density is self explanatory if we increase something like four is going to give us a lot more pebbles. The upper one Max surface angle is the one that's going to not allow basically the items to spawn over a certain steepness. So these rocks of a year, if we start increasing this, it's actually going to spawn a lot more. But if we start decreasing it, it's going to start lowering them down like so. The other one is going to be surface angle randomizer. So this one is just to help us break down this surface angle itself and make sure that it's well, more organic. If we had to set a zero and had a more of a straight type of steepness, it would just cut off in a straight line. So that's why I prefer to have certain value, and this one is -0.8. A 0.8 positive value would also work in the same way, but it just happens that I happen to use it. It seems to work quite well. The Max service angle, I think for this can be a little bit increased. Let's have a look. I'm just looking around, and it's a little bit too much, so a value of 0.8 or a value close to that. I think we work. Yeah, it will work quite nicely. There we go. So that is quite nice. Now, in regards to density, of course, we need to decide how much, how many rocks we need to have. So for that, let's start off with well, let's start off with just one. But I think just having it one is a little bit too little, 1.5, a little bit too much, 1.3 I think that is I think that is great. I think that is actually perfect. There is a part over here that we're going to fix up with the wet paint, but I'm not going to worry about it just yet. I'm just going to continue on working with just the overall, well, placement of the items. And we are actually running out of time. So I think we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 101. Adding Grass Shrubs Onto Our Western: Hello and welcome back everyone to Master Plan three D with Wild West Environment. In the last lesson, we left ourselves off with some nice placement of the rocks. We still have to adjust the foliage WP, but we can continue on working with all the other items, and then we can fix it afterwards. So pebbles, let's go ahead and see how much, how many pebbles we actually want. We can go ahead and increase something like four and see where they are. And for some reason, I'm not seeing that much. Where are they let's go ahead and increase to 100. There we go. There they are because they're so small, the density needs to be a little bit larger. But I think this may be a little bit too much. This, I think is a little too little. And just a little more. There we go. 80. I think that's perfect. I'm just going to look around to see everything around it. Yeah, I think it looks pretty good, actually. All right. So next up is small cactus. This one is it's going to have the same setup. We don't need to worry about it too much. A Mac surface angle can be a little bit lowered because, well, these kind of placements over here, I'm not too happy about it. I'm going to go ahead and just low this down. Like, so and that's going to look a lot better. All right. Next up is going to be the density itself. Although this density is quite nice. I'm going to play around a little bit with additional. So this, I think is a little too much, 0.5. Yeah, way too little, maybe 1.3. And this is this is looking like, it needs to be a little bit smaller, 1.1 perhaps. There we go. I think that's quite nice. Yeah. All right. Next up is going to be small foliage. So small foliage has a little bit of a different setup as viewpoint density and random density. We can just start working with the viewpoint density and then change it up afterwards. So if we change it to 109, right away, we're going to have ourselves this. I think at this point, I am going to well, double check if nothing else is enabled. At this point, I am going to just go on to render view, just so I could visualize these smaller grass buds a little better. And let's see how they look like in terms of density. Takes a while to load up the first time. There we go. All right. So this is almost Oh, boy, for some reason, it's a little. It's not going past the first sample for me. Let me just go and reset it real quick. I'm going to double check the setup Mac samples at the 20. It's right. There we go. Now it's working well. Let's go back on to the where is it small foliage? So viewpot density, let's see. This is almost good. I just want to be a little bit broken up. So 80. And I think 80 is a little too lit. I think 90 will do the trick. Yeah, that looks perfect. I'm quite happy with this. Let me just go ahead and finalize it by well changing it to 90 as well for the render density. So we have that same type of density, like so, I can now go back onto the material view and continue on with this. Next up is going to be large plant. So this is going to be well, viewport density over here. I think this is a little too much. Let's go ahead and drop it down to 0.5. Let's see how that looks like. 0.5 might do the trick. I do want some more over here, so I'm going to increase it to 0.6. Let's see if it spawns any extra, and if it does not, we can just change up the seed, and that would give us a nice little setup. So 0.6 0.7. Is that going to work? Yep, it does. Does seem to work. Alright, so now we have ourselves the whole setup. The whole of it is nicely done. Well, branded density, we need to change it as well 0.7 to give that consistency, mac surface angle I think it's quite all right. Let's go ahead and make use out of it all. And now we're going to go back onto the foliage WP. This will allow us to break it down a little bit more in terms of the setup, so we can go on wet paint. Like so I'm going to go out of the material mode just to make sure that I have a little more performance. There we go. And now that we have the geometry node is not going to preview that red mask. The reason being is that geometry node is not really super good at previewing the weight paint information while it's enabled, which is right because we can pretty much see where it is where we want it to be. So for example, over here, we can hold control and just tap it over here a little bit, and this should take off a good chunk. There we go. I should take off a good chunk amount from this piece. We should also do it well, from the staircase, as well. Just going to hold control and tap, like so. And let's see. It's quite performance heavy. So at this point, what I'm going to do is I'm going to go to small foliage, lower this down to ten just to make sure that we have a lot less foliage to work with. And that way, the render density will still be the same. And now we can work, hopefully with a little bit more performance. So there we go. Or, again, you can just disable the visibility for this geometry node and just use the mask to kind of preview and visualize where the placement is. I think that's what I will do actually because these grass buds are getting way getting in the way of displacement. Let's see. So yeah, we'll just go ahead and turn this off. Just hold control, scroll through it, and let's see. Is it going to have that grass bud removed that I didn't like? All right. Let's pull out the big guns. We're going to go ahead and just quickly select the staircase. We're going to well, not the staircase. We can just select this entire mesh, select it like so, and now we can see that A O there is a grass bud that I really, really want to remove. Let me just go ahead and do that. I will also remove this plant over here because this is way out of the way. And once it goes into the way paint, we can go ahead and do that. Like so. There we go. You remove this stubborn plant. Like, so I'm going to go ahead and just go out of the isolation mode. See how it looks like. So out of isolation mode. There we go. There are some pebbles underneath. We don't really need to worry about that. I'm just making sure that these atrocities like over here are removed. I'm just going to double check where they are. So mainly over here and there's some over here. Yeah, there is some work to be done. Let's go ahead and go back onto the weight pain. It is a little bit slow, but I think that's quite right. Just a couple of taps and it should be done. There we go. All right, so holding control, tapping it once over here. Maybe doing the same over here as well. A little bit larger. And I think Oh, this part over here, definitely. Let's go ahead and gold control, remove it. And a little more. And I don't like this little piece. I'm going to hold control tap it over you, like so. There we go. And now, of course, we need to remove some of this well, from the water area. So hold Control tab. And let's see. Yep, this is looking pretty good. So I'm quite happy with this result. Now, what I'm going to do is I'm going to make use out of the same setup for the pebbles. We have the basic setup for density. I'm going to because we're now using it as a weight paint of 0.1, we're going to well, use the information for foliage WP. Before doing that, though, I would like to change the density to eight instead because this now is going to be setting the weight paint from 0.1 to one. And that will give us all the placement that we had before, except now we can go back onto the weight paint. We can find ourselves the weight paint deformation, make a duplicate out of it, and add more pebble in areas, for example, where there is staircase. So that's quite nice. I'm just having a look over here. Oh, I totally forgot to remove it from this section. So holding control, I'm just going to tap it like so. This should remove most of it. Going to hold control, tap it over here as well. And there we go. We got ourselves a nice little setup. Now, let's go ahead and have a look. Oh, there is a plant over here, going to hold control. Tap it one more time. Like so. All right. Now as for the pebbles. Let's go ahead and make, well, a duplicate out of this. We can duplicate vertex group, and we can call this one pebble, WP, and that's going to keep us that same information that we had previously, except now we're going to be able to spawn pebbles, and that's going to be a little bit more nicer for the entrance places next to the staircase. So I'm just going to go ahead and rename it to pebble. Like so. And now we should be able to well, I'm going to take off this geometry node. Going to change this to pebble WP and have this turned on. Place some over here. And now, they should give us some pebbles over in this section. Let's have a look. Just like that. Alright, so we're going to do the same thing for this entrance over here. So some pebbles over here, some pebbles over here. We can even work with pebbles in this section, maybe underneath the carvn over here, and a little more extra over here, extra over here. I think that's enough. All right. Now, let's go ahead and see our final result. So we're going to go out of the way paint at this point. And of course, let's not forget to turn on our small foliage to the previous setup. Now that we're done with it all. Let's go ahead and see how it looks like. So, yeah, I think that's quite right, although I would say that I do really want to remove this bit over here for the foliage and clear up the path over here, as well as maybe remove some extra grass from this piece. So yeah, let me just go ahead and do that right away. I'm going to go ahead and do that. So with the selected with this lower down, let's go back onto the wet paint and onto the foliage WP. And just real quick, I'm going to just tap it out, like so, tap it over here. Make a smaller brush over here just to kind of help us break down this path over here, like, so I think that's quite right. And over here also. Just like that. Now, let's have a look. I think that's going to be more than enough. So let's see. There we go. I think the placement now is good over here. The placement is pretty good over here as well. So, all in all, I'm quite happy with this result. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bid. 102. Render Preperations Within Our Environment, Turning In Blender 3D: Hello and welcome back every on to Master Blender Free D with Wild West Environment. In the last lesson, we left ourselves off. We've pretty much finished type of a scenery. Now we're going to go ahead and set ourselves up with a nice render. So in order for us to do that, we're going to start off by just getting a nicer composition. We can click zero with the camera to get onto the camera view. Like, so if you don't have the camera, you can just simply create one from this section over here. So shifting a Shifting A will get you that camera, and afterwards, we can click N to open up the bar on side, go into view mode and select camera to view. This way, we can just slightly tweak and adjust the main camera shot just like that. So something like this is going to be pretty good. The next thing would be to set ourselves up with a bit of a better lighting. So if we were to go on to shading, I already have the setting slightly adjusted, so the sun intensity is going to be kept at the same, but we just need to adjust sun elevation and rotation. So elevation will be the height of the sun. 32 degrees seem to be doing it quite reasonably. If we zoom in, we can see all the nice shadows going off to the right side for the rotation of 120 degrees. That would seem to give us that kind of setup for the lighting. All in all, this is already looking quite nice. We can go ahead and leave it as it is, and then move on to the next part. And just before that, though, I did also increase the air resistance over here as well. If we were to change it to something like ten, we can see that it gives us more of an orange type of a look, more warmish type of setup. Although in most of the setup, we're going to just use compositor. I still just prefer to have instead of a default, which is one, just increase it to free that gives us more of a warm type of a look from lighting. Now, once we have it so we can go onto the compositor, we can enable use nodes, and we're going to see this node over here. And then we're going to click and use Fred compositor. Within the resource pack, you're going to find the add on. If you were to go onto Edit within blender, you can select add ons and you can use this arrow to install from disc. Then find yourself the Zip file and select it install from disc, and then you'll find the Fred Toor compositor if you search it over here, just like that. After which you should see this pop up if you click N, and then we can click setup compositor, and by default, it will bring all the necessary setup and information onto your scene, onto your controls. The only thing that we do actually need to do is control how much of the samples we're going to set up. So at the very start, we really need to keep it down to a minimum. So maximum samples, we can keep it down to 30, and this will allow us to just make sure that we're getting a very basic type of a render instead of just needing to wait a long time to render an image in case we want to make some additional tweaks. So, the other thing that you might need to consider is going to be the distance of a mist. And once you have the setup compositor setup, if we go to modeling tab by default, you're going to see, well, the camera having this line now appearing, and this line is going to be well a missed path. This missed path is going to be controlled through the world settings, miss pass. If we change the depth to maybe a little bit higher, something to 50, there were going now it's going to cross this entire scene. And that's exactly what we want. It's going to allow us to control the missed setup. After we're done, we can slightly tweak some of the additional parameters. So for example, this person, this human over here. If you want to hide it, we can just select the human and just tick this random button off, which means that we're going to well, rendering, not going to show this within our environment. So it's a nice little function to make use out of. And I'm just checking if I need to do anything else in regards to the setup. And for now, I think that's going to be more than enough. We're going to continue on with this in the next lesson. Thank you so much for watching and I will be seeing you in a bin. 103. Compositor Controls Using Addon In Blender 3D: Hello. Welcome back around to Master Blender three D with Wild West Environment. In the last lesson, we left ourselves off with the quick settings of compositor setup. Now we're going to continue on and actually start rendering our scene. So we pretty much have the basis done. We can just go ahead and hit F 12. And start rendering. After we are done rendering, we're going to see something like this, very nice base type of. By the way, you'll be able to find the preset within a resource pack. So if you want to skip this stage, you can do so. By clicking on this R over here, you can click on Import preset and find the where would it be JSON file. So this one over here, and then click Import and you'll get yourself this file which you can then click Load to get that same type of setup I have over here. Of course, if you do want to see the fought process of the entire setup, you can do so. We can go ahead and click Load Defaults and go through the entire setup together. And I'm just going to close all the tabs, and now we can go through all of them bit by bit. And for us to see the result, we can also just drag a corner out from the side like this and select this window that we now created, which by the way, we now have two of them. I'm just going to push this one to the side and get ourselves a image editor. Image Editor will allow us to select render results, this one over here, and now we can start working with it. So for Ames, let's go ahead and enable it. We're going to see this with overlay, which if we start playing around with it, we'll notice that, hey ho, we have some interesting values, and these values lets us to control the pass for the depth of this environment. We want to probably get something that's a little bit closer up, so it covers some pieces in the back. And the front is quite right. So we're just going to allow us to this is going to allow us to get a little bit extra depth out of a setup, maybe a little bit more to the back. Actually, a little bit to the front, like so. So only parts in the back are visible. Now we can select one of the arrows and just lower this down something like half, like so, maybe a little bit higher. Just like that. So only basic type of a gradient would be applied. We can change the color of this mist as well, so we can see how it affects the setup. And we want something more towards a yellowish style. Like, so we can also try maybe a bluish type of variation as well. But I think for this particular case, it's going to work much better with more of an orange style. It's going to make it look like it's more of a dusty, sandy type of an environment, you know, full of dust, just floating in the air. I think that's going to be quarter, right? So that's it for the mist. Now, color, color is the type that's going to allow us to, well, control the main color of the base render. There's also some color adjustments afterwards as well within effect Stab. We notice RGB curves, color balance, and so forth. But this one at the top controls the main renderer. So what I mean by that is if we adjust and then get ourselves ambient clusion volume, other effects, it's going to apply on top of this original default type of coloring that we have over here. And so default by default, we want to lower this down a little bit, so this will give us a bit of a sharpened up effect. I'm also going to zoom in here a little bit as well, so we could work our magic with this type of setup. So I think something like this is going to be quite right. And if you want exact values, you can see these two values over here. You can just replicate it to value t10 0.6. This one, 0.4 would give you a pretty good result. The in terms of saturation, we can play around with the saturation, and quick tip for while playing around with compositor in general, is to just play around with values, minimum maximum values just to see exactly what these parameters do. I really do recommend you just playing around with those kind of stuff. And that way, you'll understand and you'll be able to see exactly what they do. So in this case, I might want to just increase the saturation just a little bit. The u is an interesting one because it just shifts the entire color like so. But honestly, we don't need it. I can hit backspace to hit it back to default, and that's going to be quite right. Uh, the value is going to darken it, brighten it, and I think we can just slightly darken it. It's going to be essentially our exposure for the scene. I think something like this is going to be quite right. And now we can go down to Gloss is an interesting one. It affects, well, the glossiness of all the objects, so if I was to increase it, so you'll see the shininess, for example, of these planks over here, starting reflecting the light and everything of that sort of value. The glass even as well gets affected. So if we lower it, everything gets well more rougher, it brings out the color. So I tend to personally just bring it down just a little bit. Leave it as is. Then you can play around with some brightness values. This is just to offset mainly this curvature over here. Contrast is pretty cool because, well, you can increase the contrast of the glossiness, and metal glint is an interesting because it's going to allow you well to adjust this glint value on the metal. And I think water also has that bit of a metallic value just to make it more like a water. So that also affects it, so as well. So having it to a value of 0.8 or 0.9 is I think it's a great it's a great setup. Afterwards, we have transmission, so this is going to be for the glassware over here. We can go ahead and, for example, if we increase it, we can see the shininess and whatnot of this. So, honestly, we can just increase it just a little bit since it's more of a stylized setup. I think it's going to look quite right. It's just going to bring out these bottles. And honestly, this is too dark of a section. So whilst working with all the compositor settings, we can then identify what exactly we need to adjust what exactly we need to tweak. And for example, these crates over here at the top, I think they take away the composition from well, these two signs. We might even lower these signs over here as well with transparency, just to make sure we well blending the values a little more. But we're going to do some color gradient control burst just to make sure that we get overall best out of the setup, and then we can just go back to the scene and make some quick adjustments. Anyways, so with the depth transmission, that's quite right. We also have control for lift, Gamma and gain. If you want to know what it is, you can just hover over these values, and it says, correction for shadows is lift. Gamma is going to be correction for mid tones. And gain highlights. So highlights will be well, the brighter sections or where the sun is sitting, for example, lift where the shadows are, and gam is going to be the mid tones, basically. Then we have also a light level, so that's going to basically say how the light penetrates through the transmission. I prefer to keep it at a value of one that seems to be doing a knives streak for this particular scene, especially. And now we can go onto volume, we don't really need to control volume. We don't have any volumetric setup. We do have a little bit on the water, but that's such a minimal. I don't think it's going to too much. We can skip that light bloom. Again, we don't really need that because we're not using any spotlights. We're not having any lanterns in the scene. So this is not really going to affect us in this particular case. Environment is going to affect how well, environment is affecting the setup of the scene. If I was to increase, for example, the brightness, you can see the brightness hitting the edges of our scene and just kind of brightening it out up. We do the opposite, you're seeing it darkening it down a little bit for the edges. So, honestly, I just prefer to just lower this down just a little bit for this particular case and keep it as is. Again, lift cam again, controls all the good stuff. Afterwards, ambient occlusion. This is quite an important one. This one is what's going to allow you to help break down all of the items in regards to, well, their contacts. So if I was to increase, you can see all the contacts between the assets. You get a lot of control of their silhouettes, and I really like this type of setup. So what we're going to do is we're going to slowly start dragging it, like so until we get reasonable shadows. So something like this, I think it is quite right. And then we can play around with this black arrow. If we change the color or a value for it, we can basically control the opacity of this setup gradient. So that's quite a nice little setup trick. There we go. Something like that. I think it's already looking quite nice. So effects effects include a lot of different controls. These are going to allow you to well, do a lot of different things, but I think we still have a little bit of finicking and a little bit of adjustment that needs to be done, which I think we're going to do continue on in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 104. Finetuning The Scene For Render: Hello, and welcome back over on Tomaso Blender Free D with Wild West Environment. In the last lesson, we left ourselves off by finishing with a lot of different settings within our free Diteor compositor. Now we're going to continue on with the effects. So diamond Sharpen. This one is an interesting one. It's going to be similar to box sharpen. Although if you enable it, you'll see a slight different variation of the sharpening. One gets a more of an overall sharpening, if you'll have a look at it. So I prefer to use that honestly instead of diamond sharpening, but that is really up to you for this particular setup. And so what we're going to do is a real nice little technique is slightly sharpening everything up. Maybe it's a little bit too much. Let's do a value of 0.05. Like, so, so we're slightly sharpening everything up, and then we're going to soften it. So softening it will allow us well to blur everything out essentially, and doing so, we can get ourselves a real nice stylized type of a look. So that's just going to give us some, let me just go ahead and do that a little more. A little bit too much now. So I'm just laying around, seeing what works, whatnot. 0.1, I think, is more than enough for this case. Antialsing is pretty good because it will allow us to well, mainly for something like foliage, it will allow us to help us well transition between what's in front of the foliage, what's behind it, all that good stuff where it has a lot of sharp lines. So that's going to be quite great. We can leave the default settings. We don't really need to mess around with those. Their nicely set up is, color balance. We can play around with that, for sure. Let's go ahead and enable that. So lift gamma and gain. So first of all, lift. Let's go ahead and just start lowering this down and you'll see, A, we get ourselves some really nice shadows. Can we work with that? Let's go ahead and have a look? I think something like that will be quite right, although it's really darkening everything up. I'm just wondering if we should do it with the previous one, maybe we should also doing this seems to take a lot of contrast. So yeah, I'm going to lower it just a little bit, like so. Gamma, let's see if we can play around with gamma. And also not only the values over here, we can also just add additional values. So in this case, for the gamma, we are definitely going to make it a little bit more orange, like so, just to make sure that we're getting that warmth of, well, the Western style, like so. I think that's quite right. Let me just go ahead and have a look before and after. Yeah, seems quite right. Maybe a little bit too much. So I'm just going to actually change from RGB to HSV, hue saturation, and value. I'm going to hold shift and just lower this down a little bit, like so and now, hopefully. Yeah, it's quite nice. It's quite a nice little setup. Then afterwards, gain, I don't think we need to touch gain, but I'm just going to play around because I do want to check if we can. Oh, yeah, I think we definitely need to increase the brightness. Again, I'm going to maybe get a little bit more of a red value out of this and just see if I can brighten the gain and get a nicer vibrant type of color. So I think something like this, maybe a little bit too much. Definitely too much for the red. Going to go a little bit more towards the orange. I think that's quite right. RGB curves. This one, well, nice way to adjust contrast. We can lower it. We can increase it. I think lowering it for this case is going to do us quite well. Something like that, or sure. Next up is going to be hue correction. So this one is an interesting one because you'll notice it's a little bit of a different tab. If we change up, well, something like a yellow, for example, if we heighten this up, you'll notice that it turns more of a color towards yellow. So it's a nice little visualizer to work with. Maybe I'll actually just lower it down a little bit and lower the blue value as well a little bit. The reason I'm lowering blue is because it changes up mainly the windows. Although it doesn't seem to affect it that much, let's see. Yep. I'm not going to play around with that too much. I think I'm just going to actually disable even. I think it's not needed for this particular case, but it's another way of just differently visualizing and allowing you to work with some other colors and setups. So this is going to allow us to, well, change up to brightness. If we want to lower it, we can do so. I think that's a little bit too much, though. So we can lower down the brightness a little bit, so I'm not happy with how there's not much of a shadow over here, so I might lower down the sun intensity and slightly rotate the shadow as well. I think I'll do that. Contrast, I don't think we need much contrast. I think it's perfect as the way it is. Huge saturation value. So this one is what we had previously. We don't really need to touch it. Finally, the noiser. This deniser is going to be the last thing you want to turn on. If you want to make additional adjustments, I recommend you having this turned off, and then once you have it turned off, you'll be able to adjust it other items as well. You can see at the bottom, it's calculating. The reason being is that the noiser is taking a long time to calculate. And then once it's done, you'll notice a huge difference. So all the noise that we had previously is pretty much gone, and we are left with this nice little biece of setup. Um, we can turn this off a little bit. I did notice that yeah, the shadows, the midtone is not quite as well as I want. I'm going to go all the way to the top, and I'm going to maybe lower this down a little bit. No. Is that going to do well? No, it's not going to go a bit lower until we get to ambient inclusion. So this one, I think we're going to increase it a little bit not seeing much of a difference. What is going on over here? So yeah, I'm going to increase the Amber inclusion. There we go. Something like that. And now going to do something like. So, Alright. Now, next thing, what we need to do is, well, play around with some additional settings. I'm going to go back onto modeling and start playing around with all of that. Whereas things first, I really don't like how this stands out these crates. So now we're going to go onto the setup. We can simply select on these crates, and instead of even going through shading, we have controls over here. So if we select Alpha, we can just lower down this color over here, and right away, you can see the color changing. I think I'll do that right away for all of them. I'm not sure about items in the back, but for all of these Alphas, I'm going to definitely change it to a darker version. Like so. And this one over here, just like that. I think that's more than enough. Out of order, definitely, I want to keep it as it is. It's nicely standing out, and I think it's going to look lovely. This one over here, I'm going to darken it just a little bit. Not too much, but just a little bit. Like, so I think that's more than enough of a setup. And we can even we can even go onto the Alpha and we'll find minimum and maximum value. So that's the clamp that we have set up. If we go on to Shader object mode, we'll see this clamp over here. It's essentially now showing in this value over here. So it grabs all of those values, which is very nice actually for some nice controls the well, overall Alphas. And now if I was to change, I believe the maximum value to something like 0.5, this is going to be more transparent, which I think is quite nice. I think I will do that for this water tower sign as well, just a little bit, just a little bit less because otherwise, it just looks a little bit too much. I think personally, we can lower this down to a value of 0.7, and that's going to be much better. As for the saloon sign, maybe doing the same will help as well. To make sure it blends in a little bit more with the overall aesthetics of the environment. I really like this sign over here, which nicely blends in with the wall. So I want to make sure that everything else also blends in. And those kind of small tweaks are really honestly necessary for when we're doing all the rendering and whatnot. And we are writing out of time. I do want to point out a couple of other things before continuing on. So I reckon we can end things here and continue on in lesson. Thank you so much for watching. Now, the up things that we need to consider is going to be, well, of course, the lighting on the inside. Because from the renderer, what I noticed was that this lighting is a little bit too small. It's not enough of lighting, so we're going to go ahead and fix that. What we can do is we can just simply grab ourselves a fake light. We're going to grab ourselves an area light place it in here. And you might be wondering, where is the light source coming from? Well, it is, well, kind of faked, but at the same time, it would make sense because if we look from the bottom section, those are tiny gaps, and we're just exaggerating some of that lighting coming from these parts. I think it's totally okay and acceptable, especially if it's not going to be visible from any other part in the section. It's more than okay just to do that to highlight a little bit. Some of those nicer details. So I think something like this is quite right. We can also change up the colors a little bit to be a little more orange. And I think changing it to a value of 30 will be more than enough. Let's go ahead and have a look. So we can see before and after, before and after. This will definitely add a bit of an extra glint to the setup, and I think that's really going to make it things stand out. The things that we need to do would be to, well, have a look on all of the other pieces. If, for example, maybe there is a rock that you don't like or anything of the sort, especially for this main angle shot, maybe there's something sticking out that's not really to your liking. Maybe, for example, grass bud over here would be maybe off or something. But honestly, just so it happens, I really like this overall design and maybe this one over here except for clam to be lowered 0.6. Oh 0.6 base color as well, lowered. There we go. Something like that. These kind of small tweaks preferences, honestly, they can be left to be well standing out. They can be left to barely be visible and look like they're worn out. All of that is really dependent on what kind of a mood, what kind of a scene you're trying to pull out. And in this case, we're just trying to make it look like a nice, little cozy saloon that you can stop by. It's a little bit abandoned. And barely is able to keep itself going, but it's still nice and cozy place to stop. And all in all, I think we can now hit F 12, do another render, and afterwards, once we're done with that, once we're satisfied, We can make some additional quick tweaks. So if I was to go onto compositor, I think this saturation is a little too much. I'm going to go on to color, and I'm going to lower saturation, actually, by quite a little bit. Like so and maybe darken this down. Something like that works really nicely. Now, are the crates okay? I think they're okay. They could be made a bit brighter with the signs, maybe it is preference. The saloon sign, the water sign. I think they look lovely. All of it looks very nice. So now that we're happy with this overall setup. Oh, and I did forget real quick, I do want to go on to shading and slightly, slightly adjust this lighting for the world environment. So these kind of small tweaks back and forth going like that. Is just a little bit like so. There we go. Alright, I'm happy with this. Small little wigs. Just was looking mainly at the shadow over here, as well as the shadow on the side of the wall. And the wagon section, all the upper parts are nicely blending in with one another. Alright, we're going to continue on with twigs in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 105. Final Compositor Render Adjustments For Image: Hello and welcome back everyone to Master Blender Free D with Wild West Environment. In the last lesson, we went over the settings for, well, the main environment. Now we're going to continue on tweaking these parameters and making sure we get the best version out of our scene. A couple of extra things I'd like to add up will be, well, firstly, the mist, I do think it's a little bit too much. I'm going to lower this down by, well, a little bit. Like so. And the base itself also can be lower down. By quite a bit. We only need a minimum amount, so you can see, like, more in the background type of setup will be a little bit more washed out, but not too much. It is not a large scene, after all, that's going to be quite alright. Then we can low down, where is it the color itself. I'm going to go ahead and just Oh, I have two dots over here. Let me just go ahead and get rid of it one. Like, so and lower down like so. The second one can be upscale like this. If we have two dots like so, it essentially works as a contrast that helps us to, well, break the surface between the darker and the lighter parts. And just like that, we can, well, sharpening up the entire setup. I think that works quite nicely, like so. And we can finally have a look at once we have this kind of sharpness, we can finally look at the upper pieces that do stand out. So for example, these parts over here, I don't really like them. I don't like how they bring out those shadows. With a salter touch, it was okay. Now they are quite visible. Let's go ahead and fix that. We're going to go ahead and just go on here, and I will just maybe go on to the freed view and fix it up through scalp mode. So let's go onto it. And this was over here and over here. Going to double check. So, so this part and this entire part. Okay? Let's go on to our sculpt mode and fix it up. Of course, we don't want it to do it too much because, well, we already have the UVs, we already have the textures. So we're just going to slightly tweak it using the flattened tool over here. And I just realized maybe it's best if we were to turn off our geometry node. Let's go ahead and do that first. Like, so let's just turn it off. Now we'll have a lot more performance to work with, like so, and there we go. I'm going to hold control instead to kind of bring out this shape and just kind of flatten it down. Like, so just to make sure there's no shadow being cast here. Just like that. I think that's quite right. And this part over here can be flattened out a little bit, as well. So those kind of small tweaks, again, they seem mundane, but it's always really good to go back and forth and fix that up. And now there is maybe a bit of issue over here with the terrain. This doesn't matter as much because I know that these parts are going to be covered up with grass. A, it helps us to break down the terrain little bit I am just worried about well the texture itself. Let's see how the texture looks like. And the texture is not being affected too much, so I'm too worried about it, increase the strength even, flatten it even more. Like, so no dark shadows over here. Nothing that would take the eye off from the main part. And now we can go on to back on the compositor. We can re render and see how it looks like. Let's see if it fixes the issue. There we go. Really nice fix over here. Let's just wait up for you to finish the compositor, there we go. All of it is looking quite nice. Maybe a little bit too dark. I'm going to go on to the side of the compositor and increase the main color balance over here just a little bit, like so. A slight bit. Small twigs like that. Fine tuning it, like so always brings out all the color, and we can see the variation in contrast. And now, once we're happy, we can do the final render, so we can get ourselves a sample of 300. The reason being is that we have some translucency for the bottles. We have some water over here. So we definitely want to have a bit more of an extra sample just to make sure we cover that up. And also, as well, glass always needs to have a little bit more of that shine and that shine will cause the path tracer to be a little bit more noisier if we don't increase the sample. So yeah, 300 is going to be right for the scene. Let's go ahead and hit F 12 and render our scene. Now we can go on to the upper section like so and add the background. We can select image. Then the image that we're going to use is going to be from within. We're now going to import an image. So what we can do is just click on an image, open up, find the resource back, and use the Western background. Click Open. There we go. That's the image. Now it's going to be imported within our setup. We can go back on to render result, like so and change it over here to Western background. Like so. We have a couple of options over here, like moving in a little bit, scaling it up if we want to. You know, we can do all of that, but this image was set for the background to be just used like that, and we can just leave it as is. We can also change up the brightness a little bit. Darkness just a little bit. Perhaps that would make the scene a little bit more pop, but not too much like so. And yeah, that's pretty much it from the render. Now we're going to move on to the setup of the turntable. So thank you so much for watching, and I will be seeing you in a bin. Okay. 106. Turntable Basics: Hello and welcome back everyone to Master Blended FD with Wild West Environment. In the last lesson, we got ourselves a very nice render for the environment. Now we're going to make use out of the setup and get ourselves a turntable, as well. Before I get into that, I would like to go over a basics video explaining a little bit more in depth on the essential foundation of the turntables. And then we can make use out of that information to create our own, very own turntable for this specific piece. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. Welcome everyone to our camera setup, Complete guide. And as you can see here, we've got a fairly, fairly large scene, and we actually need to bring a camera in to actually render it. So what I'm first of all, going to do to bring a camera in, I'm going to press Shift A, and within our primitives menu, you will see one that says camera. Now, normally the camera will always come in. Whereabouts you've actually got your cursor. So if I delete that camera out the way now, shift right click and put my cursor over here, press Shift A, bring in my camera, and you'll see there it is. Now, rather than go into my camera, so to go to our camera, we're going to press zero on the number pad. That then is going to zoom into our camera, and from there, then we're able to actually come over and open this little panel here. To do that, we just press the end button to open it. And then what we can do is we can click this camera to view, and you'll notice that it goes fairly red around the outside of the camera. And from there, then we're able to scroll our mouse wheel out and put our camera where we actually want it. We can also hold Control shift middle mouse, and what you can actually do then is really, really get a nice, smooth zoom in and zoom out of our actual camera, as well. So all of the basic functions of moving around the actual viewport work exactly the same way with the camera as long as we've got camera to view turned on. Now, what if I told you, though, there's an easier way of actually doing this, as well. So all I'm going to do is I'm just going to delete my camera out the way. And then what I'm going to do is I'm going to press Shift A, and I'm going to bring in another camera. I'm going to position myself in the viewport of where I want my camera roughly to be. And instead of zoom in to the camera with zero, what I'm going to do is I'm going to press Control Alt and zero. And then what it's going to do is it's going to put the camera in the middle of the viewport for me. And from there, I normally zoom in two, three times. And then what I do is, I click camera to view on. And now I'm able to position my camera where I actually want it, which is a little bit easier than actually going to the camera and moving it into place. Now from here, I want to discuss a few of the camera options that you can actually do with the camera, as well. So what we need to do with the camera selected, so just make sure that your actual camera is selected, so you can see mine is selected there. Print there on the number pad to zoom back into your camera and get the view that you're looking for. Let's press camera to view, although you don't need to take this on to do these options. And if we come down to the right hand side now, we have one that is the actual camera. Now, if we're going over to the right hand side here, we'll see we have a type called perspective. And if I click this little down, you'll see that I also have orthographic on here as well and panoramic. Now, we're not really going to discuss panoramic because that is really taking it up a notch when it comes to actually rendering. So we're going to keep this pretty simple for now. So we do have perspective and orthographic. And basically, perspective is basically as though you're viewing this yourself, orthographic to keep it simple, basically means it has no depth to the actual scene that you're actually trying to render. Now, as well as that, we can actually at the moment, zoom in and zoom out with our actual mouse. But I recommend instead of doing that, just change the focal lens slightly, and then that will be able to zoom you in and zoom you out and get probably a better perspective on what you're actually rendering. We also want to talk about the shift X and Y. If you want to move your camera left and right, that what you can do is you can come up to item instead of moving this around left and right with your actual mouse, what we can actually do now is move the location of our camera like so, and I find this sometimes a little bit easier to use, especially when we're going on the z axis, rather than moving my mouse with shift and middle mouse. I find it a little bit easier because it will be more exact. In other words, if I actually take off camera to view, you will see if I come to my camera now and I go to the item and I'm moving this up, you'll see it moves out perfectly. Alright, so going back now, let's go back to the camera. And let's now discuss our clip Start and the clip end. Basically, if you have a lot of things outside of the scene and you don't want to actually have those rendered, what you can do is you can actually change the clip end. This is the most important one, and let's put it to something like 20. And what you'll see is everything disappears. Now, if I start turning that up, you will see that the camera clipping actually starts to increase, which then shows you the actual buildings of our scene. And if I turn it up, so far, what I can do is I can actually start rendering the entire scene. But anything in the background here won't be actually rendered. So it's extremely handy when you've got a load of assets over here. You've got a scene and you don't actually want to render those parts. Okay, so the next thing we want to discuss is actually coming in and naming our cameras because if we have multiple cameras in the scene, and we want to take different renders of them, let's say we're doing shots and we want one shot to be coming out of this corridor somewhere, want another shot going around the roof or something like that, it's important to know how to actually change the view to render these parts. What I'm first of all going to do is I'm going to come to my camera, make sure it's selected, go over to the right hand side, where all my collections are, press the little dot button, which is on your number pad, and that then will take me to my camera. Now, let's add in another camera after this. But the first thing I want to do is just rename this camera to camera long shot. And then what we're going to do now is bring in another camera. So I'm going to press Shift A, bring in a camera. It's going to come over there. And let's say I want the shot to be down here, so going down through this alleyway like so. I want to press Control Alt and zero to bring my camera there. And then going to Ja zoom in a little bit, go to view and going a camera to view. And then what I'm going to do is just set my camera up where I actually want it. Next of all, I'm going to put it close up, so camera close up shots. Like so. And now I'm going to turn this off. So now we have two cameras in the scene, one short range and one long range. And at the moment you can see the local camera over here, it's set, if I click on this, too long range. The moment I click on this and press zero, you will see it takes me to my long range camera. Now, if I click on it again and click to short range, it will take me to my short range camera or any other cameras. You can have as many cameras as you want in the scene. Now, what about rendering if I set this to camera short range, and I've got my camera here, the moment I go to render out image, you will see that it won't be rendering out the camera short range image. What it will be doing is rendering out the camera long range image. Why is that? That's because we also need to change the camera in the actual scene. So you can see here we have camera at long range. And if we click this, we also have camera at short range. And now, basically, I can render out this actual short range like so so I've come to render render image. Let it start up, and there we go. Now it starts rendering out this actual part of the scene. Now, the thing is, you've got to remember that when you've got loads of cameras in your scene, this part here controls the viewport. So where you're looking in the viewport, which camera you're actually looking through, and this part here controls the actual render. So just be sure to switch them over and just be sure also to rename your cameras when you've got lots of cameras in your scene. Now, finally, the next thing we want to discuss is how to actually make a quick turntable. And the reason we're doing that is because many, many times people want a turn table of where they're actually going to be going around their scene or their actual assets. So the way we're going to do that is, first of all, make sure your asset or your scene is in the center of the viewport, so you can see where these crossing lines are. And then all you want to do is press Shift desk and you want to put cursor to world origin. That then we'll say your cursor to the center. And what I'm going to do from there is I'm going to press Shift Day and I'm going to bring in an actual curve, and the one I'm going to bring in is a circle. From there, then I'm going to press the S button and just pull the circle out where I actually want it. And now what I want to do is I want to tie my camera to my actual circle because I'm going to use my circle to actually animate the camera. So the way I'm going to do that is I'm going to grab my camera, grab my circle, cross Control P, and then I'm going to go down to where it says, follow path. And you will notice now you've got a little bit of a line where the actual camera is to the actual circle. Now, it's important wherever you want your camera to start, so you can see at the moment this is on actual zero. So we want our camera probably to start somewhere around here. So the first thing I'm going to is grab my circle and rotate it round, so Rs rotate it round, and then my cameras going to start roughly over here. But what I need to do, first of all, is move the camera to this point here rather than it rotating away from the actual circle. So the way I'm going to do that is just press tab on my circle to go into Edim and then I'm going to grab this little point here because this is where the camera is attached to. It will always be attached to a point on here, and then I'm going to press shifts, and then cursor to selected. Next one I'm going to do is press tab, and then I'm going to go to my camera. And what I'm going to do is press shifts and selection to cursor keep offset. That then is going to put my camera there. Now, you will see if I press the spaceboard now because it is following this path, my camera actually shoots around there like so before it begins again at frame 200 or 800 or whatever you set it to. Let's now set this back at zero, and the camera should be exactly where they'll put it. And now what we need to do is we need to if we press zero, you can see, it's not actually looking at the building or anything like that. So the next thing we need to do is make sure this camera is looking at our actual scene. So the way we're going to do that is press shift day, and you're going to bring in an empty and plain axis. And at the moment, you can see, I've put this in the wrong place because it came where my cursor was. So what I want to do is delete that. And then what I want to do is press shifts and cursor to world origin. Shift A, bring in an empty plain axis like so. And the reason we're using a plain axis is because it won't be rendered out at all within the render, but it is something which our camera can actually follow. So now I've got my plain axis in there. I recommend that you pull it out, so keep pulling out till it's pretty big, like so. And then what we're going to do is we're going to come to our camera come down to where it says constraints just above the camera image. Add constraint, and the one you want is Track two. And then all you want to do is click this little pipette here, click on your actual empty, and now you'll see that your camera is pointing at the actual empty. Now, still, this isn't very good because we have a problem in the cameras looking completely in the wrong direction. But if you zoom out enough, what you can actually do is you can select your empty and you can pull it up like so. You can select your circle then, and you can also lift it up like so. So you can actually really start to mess around with this and get that perfect viewpoint what you're looking. So something like this. And then all I'm going to do is, I'm just going to press the S but to expand the circle, pull it out, and now you'll see we've got the perfect place where we need it. Need to pull it up a little bit more, maybe. Let's pull up the empty a little bit, and there we go. And now if we press Spacebar, you can see that we've got a term table. So one more thing before we actually finish this, we obviously need to control how fast the actual how fast the actual camera is going around the circle. So all we need to do to do that is we will select our circle. So if I come out and select my circle, go over then to the right hand side where you've got your circle options. And then what you want to do is come down to where it says path animation, and then you can turn this down or up to whatever you like. So let's put this on 800. Let's put the evaluation time on 800. And then if I go to my camera now, press the zero button, press Spacebar, you can see now that we have a render, which is going to last 0-800 frames, or we can change this to 600, so let's say 600, 600, like so. There we go. Now it's gone to 600 frames. Then when it gets to 600 here, it'll just carry on over the 800 because we obviously have 800 frames here. So last of all, just change the amount of frames to match the amount of frames in your path animation. And what will happen is it will get to 600, and that then should restart the camera. So you can see there's no break in it. It just actually carries on in a circle or a turntable around your scene or asset. All every one, so I hope that's a lot of information for you. I hope it made sense, and I hope it gave you a good rundown of how cameras actually work. Thanks a lot. See you on the next one. Cheers. 107. Turntable Setup For The Environment: Hello and, welcome back everyone to Master Blender three D with Wild West Environment. In the last lesson, we left ourselves off with the basics of turn table setup, and now we're going to make use out of that knowledge to make a nice turn table. Let's go ahead and do that. We're going to go onto the modeling settings, and I'm just going to well, turn off the material. We don't really need that. We can just use viewpoard shading. And the next part is going to be well creating ourselves an object or in this case, an empty. And we can use pretty much any one of those. I'm going to use arrows because it gives us well setup for X Y Z. We can see how it looks like, and it's just nicer overall. Then we're going to upscale it so we'd have a better visibility of it. We're going to click seven, and we're going to position it right in the center of our piece, just like that. I think this is going to be quarter right, something like this. We can then click GZ and move it upwards. The reason we're moving it upwards is because, well, we're only going to rotate it in the Z axis. Essentially, we're just going to rotate it like this. And so for that reason, it doesn't really matter for its height. We just need to make sure that we are positioning it in the center from the top down view like Z. And once we have the right position, we can go ahead and select the camera, hold shift, select this origin empty piece. We can then click Control P and use set part two object keep transform like this. And now if you click zero and go back onto the camera, we can click R Z and move this around and we're going to see that it moves the camera around. And for that reason, we already have, well, nice setup of the turntable. We can also position our camera a little bit better. This shot we have over here, this is the preferable main shot of the environment. What I like to personally do is I like to never start the turntable on the main shot. And the reason being is that, for example, if I'm looping, the first loading is going to be like this, and then it's just going to straight up go off from the main camera shot. We really don't want this to happen. We don't want to just start going off like this where the main shot was already left behind on the first frame. So for that reason, I like to just simply use R z -45, and this way is just going to start our camera over here instead. That's going to be much better, and then once it starts rotating, it's going to give us a nice shot, the main shot overview, and then it's going to give us the rest afterwards, just like that. So our z -45 to give us this kind of a view and then we can now go on to the layout like so. The layout will just give us, well, this little piece over here for the setup. We're going to select the empty over here since it's still attached to the camera and we're going to go to frame zero. Then we're going to click I like so. Then we're going to type in R Z 360, like so, click Enter. And sorry about that. We need to move it off from the zero frame. So that way it's going to give us the right result. And now if we click R Z 360 and click Enter, then click I, it's going to give us this kind of motion going all the way around in a 360 degrees. A quick little tip if you want to go the other way, you can do R Z minus 360, like so and that would be going to well, the other way to the left instead. But since this is a good setup, I prefer to keep it, so now the next step is going to be, well, figuring out the interpolation. The interpolation itself, by default uses bezier. So if we right click, we can see interpolation mode, and it has a lot of options. By default, is going to be bessier meaning that when it starts off, it's going to start slowly, and then it's going to speed up and start slowing down again. For organic animation, that's great. But for this particular setup where we want to just have constant looping of turntable, we ideally want to just have a normal set it's going to go at a constant speed. So for that reason, we're going to select both of these keys, and we're going to right click use a interpolation mode, set it to linear, and that way, it's going to give us a very nice constant speed. And at this point, it's very, very fast. So we got to figure out how fast we want this to be exactly. I'm going to click Control Z going to select this part of a year, and I'm going to move it off to the side. So personally, when I'm making it, I prefer to keep it at something like 160 frames. It's going to give us a nice little setup. And just like that, we are going to get, well, a nice look out of this. Now, the only thing that we need to do is just make sure that it ends at 160, like so, and there we go. The other thing I'd like to mention is why exactly we started at a frame zero and not frame one. Well, when we have a turntable like this, for example, we want all of the frames to be smooth transition. So let's say we're making, like, a gift or something of that sort, and we want to be constantly looping. And for that reason, if we had the frame the initial frame over here to start at one, it would be that basically, it starts at one, then it goes all the way to 160, and then the first frame and the last frame would be identical, giving us a small little starter. It would not be a nice smooth transition from start to finish. It would just stutter at that particular point. But because we're setting it up at frame zero, essentially starting it a little bit off at a frame one. As you can see the difference is small, but that little change, it's going to give us a continuous type of a turntable essentially, making it well, a nice litterle scene for the turntable, that is, would just like to ideally finish it up by while changing the output, I'm going to quickly create a new folder under a one. Just make sure that we do create a new folder. The reason being is that it's going to create a lot of images, a lot of image sequences. If we're using file format of PNG, which can be turned into a sequence. That's how professionally it's done. If you want, however, to just keep it as it is and have just a quick video, you can do so as well. You can make use out of the file format for FFM mpeg video that essentially will give you just a normal P foe video, and that in itself is going to be great. And once you have it selected, you can click on Render Render Animation, and that right there will give you the setup. So, well done. You made it to the end of the course, and what a journey it's been. We built an entire Wild West environment from scratch, covering everything from modeling key assets to creating cohesive scene all while developing your freed modeling skills along the way. If you enjoy the course, we'd really appreciate if you could leave us a rating and a bit of feedback. It helps us improve and lets others know what to expect. Thank you so much for joining me. Can't wait to see what you create next until next time. Happy Modeling.