Mastering the Art of 3D Modelling: From Blender to Unreal Engine 5

1. Course Layout in Blender and Unreal Engine: Welcome everyone to this Blender, to Unreal calls in which you've been learning how to model a complete Game Asset. This will be a fairly in-depth intro just to lay out what the course is all about. So as I said, the first thing will be learned about is modelling natural Windmill. Then we'll learn about the texturing process that goes into creating the look of the Windmill. Finally folded Blender side. We're given out Windmill some simple animations such as the arms turn in, the Water Wheel going round and the Sign swinging backwards and forwards in the wind. The video you see now is a Roof windmill I put together and placed in Unreal Engine five. You can also see that there are two windmills. The first is the Animation, and the second is a windmill with all of the textures created and apply correctly to give this a look of a Realistic Game Asset. Finally, when we've finished our windmill, will be taken our model into Unreal Engine. And you'll be glad to hear It's the old, new Unreal Engine five, but more on that later in the intro. Now a couple of things before we move on, we will be creating a complete built in Blender, and I'll show you how to do a quick render. So if you don't want to use the Unreal Engine part, you won't have to, because you'll still end up with a really nice portfolio, render it in the end. For those of you that want to learn a little about game's engines, then we'll take our Complete and model into Unreal Engine five. We'll learn a lot about the basics of a game's Engine, including importing animations. So now let's quickly discuss the course pack. And just like my other courses, it will come loaded with guides, References, SVGs, and models to make the process of the Build as easy to follow along as possible. In the course pack, you'll find all of the textures you're going to need, including not only the Blender textures, but also the unique on the real ones where a few of the textures are combined will learn more about that as we go through the course. You'll also notice we have two files. One says 2k and 4k a. You've guessed it. I have not only supplied the standard 2k a textures, but also the large for K-maps. For those of you that would like to make a portfolio piece. These textures allow more detail in your renders and also making modal pop a little more. Next up is the SVG HDRI and the human OBJ that will make creating the Windmill much easier. They SVG was create in Photoshop and it represents the Sign. You'll learn how to import this flat 2D image and turn it into a 3D fully working Sign the human LBJ will be using so that we're all working to the same scale without guesswork. And finally, they HDRI will give us realistic lighting for our Blender Render. Now finally, let's take a quick look at our References and you'll find a toma them all in a high-quality render available to you within the past. Now for each part of the Windmill, I've created a reference detail in the Main parts and now it should look things like how and where the Window face and now the Roof slants inward. We also have a main image of the policy. You can get a good idea of the overall feel and Build of that pole. We also have a reference for each part for Scale. We, you'll notice our little guy standing next to the windmill parts. Finally, I've also thrown in a reference of the entire Build and the small details. So you can take these away and either work to them on this course or in another project. So just a few more things before we finish up. I'm using Blender to 0.9 something. I'm not sure which one it is, but it's 2.9 plus. So don't worry if you have an older version such as Blender to 0.8 or above your belt to follow along. Absolutely fine as everything will be the same. So don't just rush out and download the latest version. You absolutely won't need it. Now, the versions below 2.8, something maybe a little different, but I'm sure with the cost pack and the guide, you'll be able to follow along pretty easily. One of the main things that won't be available, of course, is the Eevee render engine. But you can always rely on the excellent Cycles Engine, albeit it's a little slower. Now in this course, I'll be using the all new Unreal Engine five now only because I wanted to keep this course up-to-date as possible. But also because X6 science get a brand new release of Unreal after so long. Now if you don't have the UE5 or just want to use you EPO, then don't worry, everything will be doing is pretty much the same and you won't have any problems. Also to help you on the course, you'll see on the bottom left-hand side, key casting will be on. That together with the Animation shortcuts should really help you through this course, even if English is not your first language. Finally, the first few lessons of the course will cover the Blender basics. Things like moving the camera around, how UVs work. Just as an example, please don't worry if you already know these things that they are short and you can just skip through them if you wish. The course's aim to all levels and beginners will need to know this information. So for the first two or three lessons, don't be too frustrated. If you're a Blender master is what I'm trying to say. If you're a beginner, there's a couple of points to take into account. I have tried to create the most user-friendly courses that exist out there. And that's the beginning many years ago. I can understand when you have to rewind the video a few times to understand what we're actually doing. This is frustrating, but more importantly, is quite normal. And I found personally the best way for fast learning is just to rebuild what was doing. This eliminates mistakes that are built all over the building process. So what I'm trying to say is if you knew, just stick with it and in the end, it'll become second nature. Now that was a long introduction. So with all that said, let's get started on Blender to Unreal Engine five. Now here we find ourselves in the viewport. And if I say viewport based on what I mean is actually this area here, all of this area is the viewport. Now what we're going to do just in this final part of the lesson is we're just going to come in. I'm going to left-click, left-click on this cube. I'm going to press Delete. I'm gonna come to this like so this is a point light. I'm going to left-click on this and press Delete. And finally, the camera, I'm going to move my mouse over it, left leg, I'm Place delete it. Now in the next actual Lesson, what you're going to learn about his older Blender basics, that includes moving the camera and a few of the Blender keys. Okay, everyone, so I hope you enjoyed the introduction and I'll see you on the next one. Thanks a lot. Bye bye. 2. Mastering the Basics: Welcome back everyone to Blender to Unreal Engine five. And in this part, what we're gonna do now is we're gonna go through the Blender basics. Now. They're all three videos that I've put together. I'm not going to show them one after another or anything like that. But I think the first one, Blender basics, is the one that we absolutely need to go through before we start anything. So I'll do now is I'll play this video. I don't see her on the other side. Hello everyone and welcome to the basics of Blender part of the course. I recommend grabbing a pen and paper or a Word document enjoined down these keyboard shortcuts. He'll be going through the very basics of Blender and the keyboard shortcuts you will need weave. All that said, let's get started. On the left-hand side, you'll see I have key casting on. This will show you the keys I'm pressing in real-time, and this will be on pretty much, if not all, of the entire Cole's. The next thing I'd like to show you is any new keys we use. There'll be a small animation Delpit down at the bottom right-hand corner. This will only appear the first time we use that particular new key. And I think it really helps keep the flow of the lessons to a decent rate, both for beginners and those more familiar with Blender, because they only appear once. They won't chloro up the screen. And there's always screen casting to rely on. Also down the bottom right-hand side, you'll see a detail animation of anything that needs more contexts. This is useful if you're new to 3D Modelling in particular, because there's a lot of jargon and technical terms that need a decent explanation or more contexts of why we are doing something. I recommend. Then if you need more information, jumping onto Blender website and checking out there, detailed explanations are pretty much anything Blender related. So now when we mentioned Blender viewport, this is actually viewport. You can see all of this gray area here is actually the viewport. Now, if we go to the UV Editing ball up here, you'll see the overlap downside. It's now in two screens. And if I say the UV Editing viewport, all that means is just this gray box over here. So now let's go back to Modeling and let's go a little bit further into how to move around in actual Blender. The first thing I will discuss is that the middle mouse button. Actually, if you hold it down, you can rotate anywhere within the Blender viewport. And then if you want to zoom, is just scrolling in and scroll embark. Now you can also press Control Shift. I'm the middle mouse, hold it down and then just push it forward or push it back. And you can scroll in very, very slowly. Now it's a pond or you need to do is you need to hold Shift button and the middle mouse. And then you can pan from left to right and to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it. All you need to do is press the adults on the actual number of part, and that will zoom your writing to the objects you want to zoom to. For instance, if I'm zoomed out and I want to zoom to my life, for instance, it's very easy then to come across DCMP collection. Click on your light crest adult on the number pad and that will zoom you write it. Now the next thing we need to discuss is just deleting objects. To click on an object is just left-click. And then what you can press as you can press the Delete key. And that will just lead to all the way. I've just lead to my light there. And now I'm going to come across to my camera and actually delete that all the way as well. The next thing I want to discuss is if we click on this cube and we press shift D, you'll notice if you move the mouse now, it's actually going to make a duplication of buyer actual Q. If I don't actually click anything on my mouse and I just click the right-click button, it will drop that back in place. Now you can't see there's actually two cubes ear at the moment. Well, there actually is. So we need to bring in a gizmo. And the gizmo is basically something that we can move things left and right, up and down, things like that. So if I press Shift Spacebar, calm down and you'll see we've got one that says Move. And now we actually have our gizmo. And if I pull this to the right-hand side, you can see now we can pull this away and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you've got selected now you can move it basically anywhere around the viewport. You can drop it back with a right-click, or you can put it wherever you want to, G, and then it click, left-click on it. We'll put it wherever I wanted it. Now also why the adult bone, the Zoom to Bone is important is if I press adult bone now, you will see that if I just zoom out and hold the middle mouse and rotate round, you'll see that I actually rotate around the origin of this actual cubed. Now, if I click on the other queue and oppress the adult bone, you can see now that I'm actually rotating around the origin of this cube. Now, the next thing we want to discuss is Object Mode and edit mode. At the moment we're in object mode, we can't really do a lot with this cube except move it round. Now if I press the top bone, we will then go into edit mode. And in edit mode, we can actually do a lot more things with this cube. So up on the top left-hand side here, you will see that we've got three different icons. One of them, this one here is vertices, the next one across these edges, and the next one across Now, if we're on vertices and we come over to this vertice for instance, I then, if I press Shift Spacebar to bring in my gizmo again, I then can move this around. Now if I come in to edge select, I can grab the whole Edge, move this around like so. Finally, if I come into face select, I can now grab a whole face and move it around like so. Now the other thing is if we come to all the to select, I can select the vistas. You can also select another vertex or another Objects or something else like that, just by holding the Shift button and actually clicking on the other vertices or the other object 0. If we come to face-like, for instance, we can grab this face, shift, select the second place, and this is how we can select multiple objects. Now, the next thing we need to discuss is the axis. So we can see we have a red axis and a green axis. Now, just to show you what this actually relates to, if we come up on the top right-hand side here where you've got these two interlocking balls and you click this little down arrow, you will see that we can turn on the z-axis. Now we're just going to turn this on just to show you what I mean. So it turned that on. Now you'll see another axis appears here. Now, the green axis is representation of the Y. So if I want to scale this out on the Y, although it after presses S and Y. And now you can see I can scale it out along the axis. Now everyone to scale out on the X, so that's the red axis. I'll press S and X and I can scale it out along 56. And again, the same thing. So S and Z, the open down axis is dead. And it's essence add and then you can scale it up and down. Finally as well, this also important if we actually wanted to rotate it because we're rotates it on an actual axis. So what I'm going to do, someone's grabbed the whole of this by pressing the a button. And then I'm going to rotate it round. So once it rotates on the y-axis, sorts all Y, and then you can see it will only rotate on the y-axis. And no malware put my mouse, it will always rotate on that axis. Click you back to where it was just again, the right-click. And if you want to turn it all, you need suppresses all and why again, then let's give it a degrees. So what we're gonna do, he's going to press 90 on the actual number pad. So 90.2 boron, and now you'll see it's rotated by 90 degrees. So just to summarize that S is Scale and all is rotate. Normally when we scale something or rotate something, it's followed by the actual Access and then it's followed by a number. Specifically when we rotate something, normally when we're Scale something we just hit Scale, pull them outside and we'll scale it up when we rotate something that's normally all followed by the axis, followed by a number on the number part. So now the last thing I wanted to discuss is if we go to object mode now, we need a way to actually view this a little bit easier than the Way is at the moment. Let's first of all turn up as that access. And what we'll do now is we'll use the number pad to actually view this. If I press one on the number pad, that will go actually into this front view of our viewport. If I press three on the numpad, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our viewport. Now the opposite to get to the opposite, or you need to do is you need to hold control. So in this occasion will press control and seven, and that will bring us to the bottom of this object in the viewport control one is the rear of the object, uncontrolled, three is the opposite side of the objects. So now before we finish this section of the course, I need to show you something that's also very important. So if we come up to the top left-hand side, you'll see you've got born here that says Edit. And if we come down to Preferences, one thing that you should always do that when you first download a Blender, you should always put on the status bar, which is this button here. And if I click all of these on, you will see now, if I click them all along and I close that down, down at the bottom right-hand side if you are all the details that you need. So for instance, we've got how many faces and how many triangles are actually in the scene. I'm the objects are in the scene. I'm the memory and V Ramp. Let's actually take note. This is really important if you want to get a good idea of how much power your computer is actually using and how many polygons and triangles are in the seat. Polygons and triangles you'll learn more about as we progress through the coals. And that pretty much covers the basic Blender. And I'll be all found that both helpful, uninformative, but more importantly, easy to understand. So now as they say on with the show, welcome back everyone. So I hope you enjoyed that. And I hope you now have a little bit more of an understanding of not only how to move around the viewport, but how to actually use the very basics of Blender. Okay, So on the next lesson than what we'll look at is we'll look at importing images and References and different ways that we can actually use them. Okay, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 3. Exploring References for 3D Design: Welcome back everyone to blend it to Unreal Engine five. And now let's look at how we bring in those images so that we are something to actually work on. So if I pull open my images, which are all here, then you'll see this is the pack, so make sure you've downloaded it and make sure you've actually got these. You'll see that if we look at these, we've got milk building, let's actually click on them so I actually have a better view of him. We've got the Main Building parts like this. If I close that down, I'll move to the side. I could've done it that way. We've got things like the Windmill, which gives you a really, really detailed log of actually, how are we going to build these individual parts. The first thing we want to do, but of course, is we want to build an actual Greybox. And what is important about gray boxes, you should always do this before we actually start to build the details of anything. So what you tend to do is you'll build something in cubes. Then you'll add a little bit more detail to it. And then finally you'll add those little details like Door Handles and things like that. The reason you build the gray boxes, you want the scaling to be right, and you want everything to fit together. You want to actually look at the Greybox and see that it actually looks right. Sometimes things when you don't do this can look really off in the end. And it's because you've not gone in and actually made is called its silhouette of the actual building. And actually looking to see if everything's kinda fit in, right? And if it looks right, putting this here, or where's the Windmill or the Water Park going to go, things like that. So let's first of all look at how we bring in an actual reference. So what I'm going to do is I'm actually going to make these bigger. So firstly, I'm going to do extra large and then I can see what these are actually called. So let's first of all bringing our mill Arm Scale. Then we'll look at that. We can make our Greybox for this, and then we can carry on building out our Greybox. So let's do that first. The first thing I'm going to do is I'm going to press Shift a. And when I come across and you'll see that you've got image and we can bring in a reference image. Now, show you the good way to do it and also the bad way to do it. If I click on reference now and bring in my actual reference of a mill Arms Scale. So I'm going to go and find that now. So here we all in our actual file and you can see mill Arm Scale, this one here. Now when I bring this in, you'll notice that we do have an actual problem. The problem is that this is bent like a banana and that's not something we want. And the reason is for that is because I'm viewing it at this angle here. This reference comes in the actual view that you will be looking at when you bring it in. So I'm going stairs and when delete out the way, I want to press one on the number part and that is going to pop me then in front view. Dead on with this, which is great for when I'm bringing a reference. Now press Shift a again image reference, calm down and we'll pick the arms and Scale, double-click it, and there we go. Now what you need to do is you need to just drag this up to make sure that it's Along this actual ground plane here. This line going along here is actual ground plane. And that's what we'll use actually to say, right? The Windmill is going to sit on top of that. Now, you'll notice that the moment we have no Gizmo to actually move it up and down. So what you need to do is you need to press Shift Spacebar, come down and you'll have move. Now what we can do is we can come up and sit our little guy on top of that ground plane so you can see it's a little bit above it. But as long as these roughly where it needs to go, that's absolutely fine. Now the other problem we have is that a little man, maybe a little bit small, and we're not actually sure if this is the RightScale. What we'll do is we'll actually impulse our actual human reference and then we can scale this. And then every single reference would bring in after that. We know they're going a bit to the right scale. So what we'll do is we'll come to file. We'll go down to impulse. And you should have one that says weight from and then OBJ. So we're going to bring in an OBJ. You up to here you have FBX and you have OBJ. And these are the Main actual formats that you'll be importing or exporting things out. And let, for instance, when we send out to Unreal Engine, we might use the OBJ or the FBX. These other ones are used for different things. And as I say for Models, textures, Animations, things like that. It's either FBX or OBJ. Let's important OBJ Now, long-range doesn't want to go back to my human reference. You'll see in the closed pack we have one that says human reference. Double-click on it and let's bring it in. And you'll see there now how big or little monies on here in comparison TEA. So obviously we have to scale this up. So I'm gonna do is I'm going to grab this, I'm going to press S. I'm going to keep scaling it up until he is the same size as all my night doesn't need to be exact. Just try and get as close as possible, and that'll be great. So I'm gonna keep scaling it, making sure it's right. I'm going to bring it over to the rights on the Side thing that is roughly the right side. Now, if you're struggling to move this up and down, just hold the Shift button down and not what that's going to do is going to really slow it down for you, make it much easier to put in place. Now, we've got the scale, so I'm going to do is I'm going to grab my mom. And you can also see that we don't have a problem in that the orientation is over here and it shall be in the sensor. So what you need, strangeness needs to right-click come down and it'll say set origin and then just set the origin to geometry. And that's going to bang in the center and just make it a little easier to move all guide. I'm just going to put him out with Way over here, will need in probably a little bit later on for when you're scaling Windows and things like that. But to be honest, you could actually make this build basically now without this man, because you've got all of these reference guides. Now let's look at another way that we can actually use references, especially if you've not got two screens a lot of the time. I've built the Greybox, I'm going to be looking at my other screen and building it from these references that I've got. And if you haven't got two screens, or if you have got two screens, you still might want to use this technique. So I'm in today, I'm going to come down to bottom left-hand side and I'm going to left-click and drag. And you'll see that I can pull another one naught, and that's exactly what I want to do. Now. What I'm going to do is I'm going to pull this one. And then I'm going to pull this up a little bit more and just show you what I mean. So now you'll see at the moment that this icon here, if I click on it, it says Editor Type. And this is called properties. We don't really want this as properties. What wants to do is want to click this and want to come down to where it says image editor. If you click on imagenet set, you'll see that you guys screen like this and this just opens up. Then what you want to do is you want to come click on this little file icon here. And then we're gonna do is going to open an image. So I'm going to do is I'm going to come back to my image References. And what else I'm going to do is I'm going to come to this little icon here. I'm going to come down and you'll see that I can actually click thumbnails on. When you click thumbnails on, you can actually see all of the images which we want to create, which is really, really handy. Now what I'm going to do is for me, I'm going to double-click on this mill Arms detail. And you'll see now that you've actually got an image here which can actually work toward, you can move this around with the middle button and you can pull it up and actually get a really good idea of what you wanted to do. Now that makes it really easy to work actually with references. You can also, if you want, pull this right out and then you have a really, really good idea. What you do it all you need to do is just put it, took it out the way when you've actually finished with your reference. Now, to close this area down, if you actually don't want to reference, all you need to do is you need to hover over it to where you get these two little arrows, right-click and join areas, and then just click on the one that you want to join it with. So if I come down and I click on this one, you'll see that disappears. And now we've got this actually back how he wanted it. As I say, you might want to use your images in here, but actually I'm going to use them on my other screen because I actually find that easier to work with. So now what we're gonna do on the next lesson is we're going to start Greybox now our actual arms. And then we're going to start bringing in the older References and building up this Greybox of this windmill. So I hope you enjoyed that. I hope you find it useful and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 4. Creating the Windmill Greybox: Welcome back everyone to blend it to Unreal Engine five, and this is where we left it off. Now, let's make a stall and actually building this. And you'll notice when actually spin round on here, we can still actually see it. But I find if I press one on the number pad is actually far easier just to work and to the scale now I'm with it forward facing just to get all Greybox started. So now let's press Shift day. But I recommend the first thing you do is you always make sure that your cursor is in the center, just for now, just until you get the hang of this. If your cursor is over here somewhere, so let's say shift right-click. That will actually move the cursor around. Let's say it's over here. You actually put it over here by mistake or something like that. All you need to do is you need to press Shift S cursor to willed origin, and that will always place it in the middle. Why is that important? Because then when I bring in a primitive, so shipped a Mesh, bringing a primitive, let's bring in a cylinder. For instance. I click on that. It will always come where the actual cursor is. Now you will notice when I bring in this cylinder that we do have a menu down at the bottom left-hand side. And this is actually really important because it actually dictates how many beds says this cylinder valve on it. So you can see as the terminus up and down it changes it. Once you've actually move this cylinder, this menu will disappear. So it's important that you set the number vertices to what you want it before we start. Now I'm going to keep mine on theta2. And the reason for that is I'm just building out Greybox here. It really doesn't matter how many vertices have at the moment since it's just a gray box. Now what does my array is that this is a little bit more centered, just talking, bringing this up and make it a little bit easier for myself. So I'm going to do is now and when it's bringing this up to of the sensor, I'm going to spin it round. So I'm going to press all on X and 90. And that makes expense by 90 degrees and I'm on Wednesdays, I want to just spin it around, make it a little bit smaller than with the S bones, so bring it in. So, and that then gives me a good start to wear my windmill and needs to be. The other thing of course's, I'm just going to make this a little bit thinner as well because this is the outside and I need the inside a little bit thinner. So I'm gonna do is I'm going to press S and Y and just bring it in a little. And then we're going to do is I'm just going to create this bit that actually goes into our tower. So I went to do, I'm going to press tab. And tab basically takes you into edit mode. So you have Object Mode, which is this where it's a whole of the actual model. And then if you press top, you have actually able to edit the actual Mesh organ coming now and grab this and move them around and things like that. Now, the other thing that's important when we're actually in edit mode is up here on the left-hand side, you'll see that we have three icons. The first icon is the actual vertices. So these little points here. The second one is our edges. So now we can click on the edges. And the last one is basis, which means I can click on the individual phases and we will be swapping between these a lot. So it's really important that you know this. Now what wants to do for what we're gonna do next is we need to click on our faces. I'm going to come to this space. One way to do is I'm going to press I, and that's actually going to give me an insert. So I'm going to insert and you can see now we get an edge loop going round, like so. Now I want to do is I want to pull this out a little bit. Now you will notice again, we've got now gizmo. And that is because we simply need to press Shift and space to bring up our move tool. Now if I try and move this out now you'll end up with something like that. I want to press Control Z. That's not what I actually want. What I want to do is I want to extrude out another piece of Mesh to actually give me that circle part on here and give me the edge going round here. So I'm gonna do is I'm just simply going to press E wounds and then I'm going to pull it out with my mouse. And there you go. You can see now we've extruded that out. Now the next thing that's important, of course, we need to actually save this out. I'm going to do is I'm going to come up to File. And when it come down to Save As and I'm going to actually save this out. And you can see I've got a couple here that I've actually been working on. So I'm going to do is I'm gonna call this Windmill course. And then just press enter and enter again. And now it's actually saved out. And you'll see at the top right-hand side, we've got windmill and we've got course. And now I'll need to do if ever want to save this out is safe. Now, if you do lose your work or your computer switches off or something like that and you need to get you where it back. What you need to do is you need to come up a file. You need to go down to where it says recover. And you need also say Blender will actually also save this out. And then what you need to do is you need to search for Windmill course. And it will say 9484, something like that, autosave. And normally it Blender ends up being shot down. You will find there is a Save and it will have a timestamp on them. I'm actually going to put this on vertical list instead. And then you can see all of these dates. And you can see today, 2 min ago, this was actually saved out as an autosave. So it's kind of easy now to get your weight back if it ever closes down or you make a really big mistake or something like that and you need to get your weight back. So let's close that down now. And now what we need to do is just go through how I got these down here, because this is also important You'll see that I averts edges, faces, triangles, and Objects, and the memory used and things like that. All in the oldest information is really, really important as we actually worked through the course. If you end up with millions and millions of polygons, it's going to be very hard to actually paint it, get anything done, and you compute will slow down drastically. So you, Neil really needs to keep an eye on that. Now the thing is, I will try and keep this fairly low poly, well, you will still end up a fairly high polygon count. So we just need to make sure that we've been reasonable with a polygon count. The other thing, of course, is if you're bringing in textures which are for K, For instance, they use a lot of memory, especially when you using 78910 different materials, it's going to create a lot of memory. And if you use smaller texture maps, it's actually reduce probably by 75 per cent or something. It makes a huge difference. So there's also that to take into account and just bear in mind, your computer setup really dictates how much you can actually get away with. The first thing when do is I'm going to come to Edit Preferences. And then what we're gonna do is going to come to make sure you actually on interface. What we're gonna do now we're going to come down. We'll see one that says status bar. Just make sure all of these have ticked. If they're all TikTok, you will handle with all of this information down the bottom right-hand side. So that's really important. Once you've done that, all you need to do then is close it down. Now that's enough of that. So now let's start work on our actual Greybox and bringing this out. So simply what I'm going to do is I'm going to grab two of these. I'm going to grab the ones on top. I might even grab three. Let's press seven to go over the top. And you can see now I've got really good view and I can see this is slightly out. So I'll do, is I'll grab this one and then I'm going to basically pull these up to make them the same length as this arm. I want to press one to go into front view. I'm going to press E, I'm going to pull it up. And there you go. Now you can see that's around the same length as here. Now, we've got this because then we'll understand how big to actually make. Our arms are. Now pretty much That's all we need for our Greybox for this. Now, if I didn't have a reference or anything like that, I would probably make four of these soda for going out each way. But because we've got this, I'm just going to get away with one. And that's the height where this is. I imagine if it coming around here, where the height of our windmill is going to be, it's important because we don't want it dragging on the floor or in Windows and things like that. Now, let's press Tab to go into object mode. And what we're gonna do is going to click on our reference. Now you will notice on the right-hand side we actually have an icon here, and this actually determines what the actual References. So if I come to this icon now and actually click on it, you will see that it's called middle Arm Scale. Now I want to change this now and a one spring game and X reference. So I'm going to bring him a towel now. So I'm gonna do is I'm going to click this Open icon and I'm going to come to tower. And you'll see when we've got tower Scale, I'm gonna double-click it like so. Then went to press one. Again, come down. And while wants to do now is the ones fit my guy right on the top of there. So I'm going to bring this down to fit them on the top. And you can see now that this tower, basically he's in the right place already. So you can see how big is all towel going to be? You can see the Windmill is actually going to fit in there. It really comes together really nicely. So on the next lesson, what we'll do is we'll start to build up this tower Greybox. We're not doing any details or any water or anything like that right now. All we're doing is trying to get this gray box in place. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 5. Understanding Seams and Sharps in 3D Modeling: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now, let's bring in our actual cylinder to start off tower one Windows. I'm going to move this just a little bit over just to get a little bit more Central. Don't worry too much because we want this to actually be more Central. So you can see as I move this over, you can see now it's in-between those two pieces of wood that I think that's about right to actually start this, There's will make sure again, I'll curses in the middle. If it's not, all you're gonna do is permanent press Shift S because dwelled origin shift a. And let's bring in now another cylinders. Let's bring in a cylinder and now think is important to actually make this cylinder the right number of sides. So we're gonna give it eight sides. So let's come over to where the vertices. I'll click on it, press Enter. Now you'll see that it should be the right number of sides. Now I'm going to bring it up. I'm going to try and get round-about roughly to these signs here just to make sure it's the right size. Now we'll do know this tower is round. It's not all belong or anything like that. So I know that if I get this the right size, this will be exactly the right size of the width as well for our actual terrorists, while Windows, I'm going to bring it down probably several. Look, it's a bit of an angle, I can see that. So I'm gonna do is I'm going to call them round to the bottom of it. When I press tab, I want to come in with Face Select, grab this face, press one again, press the S button just to bring that out. Like so. Then when it comes to this part now and do the same thing. So I'm going to press one, bring it down and I'm looking to see where it comes to. So it looks like it comes to here. So I'm going to bring it kind of halfway between not wooden part there. I'm going to press S when it bring it in a little bit and make it just follow that line along. That doesn't have to be perfect as long as it's close, that'll be absolutely fine. Next level one, going stairs, I'm gonna press E and pull it up. Halfway point here. I'm going to press S and bring it in again. And you'll see now that is following that line. Now you can see pretty much from here, it bends in a little bit and then it comes up again. So we'll do the same thing. So I'm going to press a polytope. I'm going to press S, bring it into here. Like so, I'm going to press E, bring it up. Now, think pretty much you can see it bows out a tiny bit on this bit before it gets to here. So what we're gonna do is I'm going to press E, pull it up, Let's pull it out a little bit. So S, then let's pull it up again. So let's pull it in this time a little bit. So S like so. Now I need to bring it across because you can see it's a little bit out of the moment, so I'm going to grab it with L. Well, that's gonna do is it's going to grab the whole thing. Now, you have to be careful if you have seams or anything like that. Hey, select won't actually selects everything. It will only select up to the actual seams. So if you do want to select everything, just make sure you're in Edge Select, then grab everything with all, and then you'll be able to select everything. So now I've selected everything well, I want to do is I just want to move it across slightly like so. And of course you could actually press top and move it across this way as well. I would always put my orientation in the centers or right-click origin to geometry. It's just gonna make you a bit easier to move it around. So now it's more centralized. Let's actually carry on. So on Wednesdays I'm going to come back to my face leg. I'm going to press one again. It's going to front view and then we're going to extrude it out again. So when extrude it out, pull it down with Aspen into place. And then we're going to do is now went to pull it up again. So E, pull it up. We can see that it's probably not bend in there. You can also actually presses that button. And what we'll do is we'll actually go into wire-frame. And now we have a really good view or how it looks. So you can see that it does actually slope up in this pot. So I'm going to do is I want to press S, pull it in a little like so. Also wireframe way allows you to there is it allows you to select things through the actual back as well if you need to, but we'll discuss that more a bit later on in the course. So now all I'm looking at, I'm just looking to make sure that it's actually near enough the right Scale. And I'm thinking I'm pretty happy with that. Why Window now I'm going to press zed, go back to Solid. I'm going to come down to the bottom. So let's grab the ball. Like so I'm going to press one again. I want to pull it down. So E, press the S ponens, pull it out. Like so. Now let's bring out our actual Windmill a little bit. So while there's all press top, welcome to the actual Greybox of our windmill. I want to pull it out and that's roughly where I wanted what I'm checking for when I do this, he's actually to make sure that the spin of this is not going to collide with the tower or anything like that. So I can see if I press three on the number pad and then I press all. And why? You'll see that if I spin this run, you can just see how close it. So all I'm doing it, they're expressing our MY moving on mouse up and down. And you can see that we're very, very close to that. Now, to put it back in place, one wins do is I'm going to press right-click and that's going to drop it back in its place so I can see I need to pull it out a little bit more. So something like that when a president again, so our neck but sorry, our wine, but only bending that way Now I can see there's a lot more leeway from there. Now, of course, as we move along the course, we'll actually build these out a little bit more and we'll see exactly, for instance, you can see that this is probably way, way too thick for one of the arms. Now, let's come to the top now I'm going to hide this out the way this part here. So I'm going to do is I'm going to make sure I'm clicked on it. You want to press H and that's going to hide it out the way. Now the other thing is you can press Alt H and that will actually bring everything back. So for instance, you can select this part, and this part we've shifts select, self-selected this hold Shift, select this part, press the H bond, hide everything out the way. Press Alt H, that will bring everything by. Now I'm just gonna hide this part of the way while I actually create this Roof. So get the right dimensions for the Roof. I went to, there is Unwin's grab my actual talent. Press the top Bone, make sure I'm in base. Let's grab this top face. Press Shift S cursor to select it. And what that's gonna do is he's going to place it right bang in the sense of whatever you've got selected. So if I grab this part Shift S, because it's likely there's going to put it against that. As you can see, I want you on here, so Shift S because it's selected. There we go. Now if I press Tab now while can do is I can press Shift. I can bring in then another cylinder. I'm going to increase the actual vertices. I'm going to put it on something like, let's try 18, something like that. And the reason I'm doing that is if I use this for my Roof, It's gonna be more rounded. In other words, you can see that there's no way we're going to actually make this rounded. And we don't want to, because we're going to have some wooden struts going on there. But on this, we might actually want to smoke this off and not have these jagged edges. So I want to quickly now show you all about smoothing and why sharps and seams and things like that. A really important so I'll do is I'll play this next video and I'll see you on the other side. Welcome everyone to the shop 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. Seams you can think of like seams on a piece of clothing, like a shirt, all 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 or malt like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles off on all Meshes. This makes them look realistic. It is also important. We do this not only for rendering in Blender, but also Sharps carry on through trial the software or game's engines willing on to use like substance painter, or Unreal Engine as an example. So with all that said, let's get started. So here we'll in Blender with r-star enqueue. Now if I click on my cube and go to my UV Editing, you'll see that the queue is basically on wrapped in this actual way. So basically it unwraps Leica president. Now, if I come across an I grabbed this cube and I press shift D, and then we press Shift Spacebar to bringing out gizmo. We move it across. Now, let's say I want to alter this cube a little bit. So I'm gonna do is I'm going to press the Tab button. I'm gonna go into face select, click the top face Shift Spacebar to bringing the Move tool. Bring it all like so. Now let's say I once on Ramp 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 own raps exactly the same way. Even if I reset the Transformations of this, it will still own Ramp exactly the same way. Now, let's MLK some seams and see how that has the natural effect on our actual loan Ramp. 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 E and then come down to where it says mock seams. Now it's important to remember that it's controlling to mock seams in face-like. But if, for instance, when Edge leg, so if we come to this edge, if we press Control League, you will get this optional as well, mock seams, Bolts. You can also right-click in Edge Select and you can also see we can mock Seam this way as well. So for now though, I'm not going to actually Motley seen one I'm going to do is I'm going to grab the whole thing without like so now wins, press on route 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 a top a comma to my Materials panel opiate and I'm going to give this some material. Someone's come across to the right-hand side. It's like, Oh, my Material button. So let's now bring them Material of already prepared. So if I come across this little down arrow coming down, you can see I've got one here called Wood and let's click my arm. Now you can see what's happened. We've actually applied all material to this Object. B can see it's pretty much a mess. The top of it looks fine. We'll debate going around the side is all Ben and skewed. So if I zoom out and I press Tab now, you can see that the reason is that it's not actually UVs them wrapped correctly. So how do we fix that? If we come up to edge select, let me grab this edge. And now I'm going stairs and went to right-click, come down to mock seams. And now grab the whole thing again. I'm going to press you, unwrap a now you'll see it unwraps. Absolutely fine. You can see that wards 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, they say an infinite loop. So if I come round and I look at this face and this page, you can see that they're going round. If we have no Seam, why not talk about infinite loops? It's basically going around the round 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 would around, for instance, Walgreens do. And when it's comb-over to the left-hand side, the viewport of my UV Editing. Press a to grab everything, all 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 C. So let me exaggerate this a little bit. So I'm going to do is I'm going to press top. I want to make this a lot smaller and I'm going to move it into the center of my UV map. I'm then going to press top. Now you can see that these edges don't line whatsoever against this side. So this texture here doesn't line up with this texture. The reason is because we've got to Seam down there and that is actual break in the texture. Yet if we come around to this side, I spin this round. So if I grab it all 90, now go to this one where we can see, you can see that these lines are perfectly. And the reason is because obviously there's no Seam that the Seam is here. So you need to take that into account on your own Meshes and Objects that when you're applying textures and materials that 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 seams. So now let's this course, sharps. So if I bring in a new primitive, so if I press Shift a, I'm gonna go across to Mesh. I want to bring in a cylinder. Now you'll notice that this cylinder has all these little edges around there. Let's say you want to make a cup or something. The last thing that you want is all these hard edge faces in there. Now there are all things we can do, 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 the way it shifts baseball, bringing my gizmo, move it out of the weight, shift a, bringing in a, another cylinder. And this time I'm 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 brought in 100 words is 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 do. 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 Altos, move them, we can right-click on the viewport and click shades maybe a now you'll notice it's actually been smoothed off. But the problem with this is if I turn up my auto smooth, you can see the Turning off all the way. It goes, really, really funky. And that is because hundred and seven degrees Blender decides that these edges along here needs moving up. So it doesn't give us a lot of control if we do this on the other one's ever grabbed this one, right-click, Shade, Smooth, Altos move on. You can see again, even with lower amounts of polygons, were still able to smooth it all. But if we turn this off, we 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 button, press Control E because we are in face-like and we'll come in a mako shark. And now you'll notice if I press Tab Not now, it's got hard edges on that. This gives us control. So this is why we actually use sharps. No matter what I turn this off 280 degrees, which is the highest it goes, it will not get rid of those Sharps that we mark. We can also mark sharps around the edges as well. So if I grab this one and this one, and now cause we an edge select, we can right-click, come down, mako shark, press the Tab on, and now you'll see you've got hard edges on that. So it's very important that you mark sharps where you're going to actually want hard edges. It's also important, again to the habit of marking sharps 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 Meshes like this. Okay, everyone, I hope you enjoyed the introduction to marking seams and Sharps. And as they say on with the show. Welcome back everyone. So I hope you really enjoyed that, and I hope you now understand why we're actually going to smooth this off and how smoothing wakes and things like that. So what we'll do now is we'll start to actually smoothness off creates all Roof on the next lesson. Alright, Everyone's hope you enjoyed that, say in the next one. Thanks. Bye bye. 6. Mastering Extrusion Techniques: Welcome back everyone to Blender to Unreal Engine five, and this is where we left the all. Now let's actually bring this up a little bit so I want it to be stuck around there. So let's press one. And then what I'll do is I'll try and make this the right scale. So I'm going to press S, I want to bring you out so it really touches just the edges of hair as you can see them on Windows. I'm going to pop it up. So it's just on top of my actual tower. I think we're gonna have to bring the tower up a little bit. We have got some world around near, so we do have to actually take that into account. So I'm just going to stick this just with a little tiny gap on their next of all, what I'm going to do is I'm going to wear press tab from there, come up to the top of it, press one. I'm going to bring this up then to the very top. Then what we're going to do is I'm going to press S, scale it in, all the way in like so. Again, now what I'm going to do is I'm going to press that, go into wire-frame. And now I can say exactly how I need that. You can see, for instance, that we might need to come out a little bit more on the top. And it's completely up to you how you do this. I know how you do, but basically how much angle you want on your actual Roof. I'm hoping that you take this and make it your own. That's why I really hope you get out of this course. Now we need some edge loops. So let's press Control or hovering over these going this way. So I'll show you if I press Control on, I come down to bomb. You can see we pull an edge loop going down and open. We don't really want that. We want to go in sideways. So what you're gonna do is you're going to the left plate and then you're going to drag it down like so. To wear this actual Ben stocks, I'm going to drag it down to here. And then I'm going to do is I'm gonna press S. And you can see, I can now bring it in a little bit. I also say that I do need to bring it in probably a little bit more. So I'm going to press Control Alt, left-click, bring it down, something like that. Press the S Bone. Bring it in a little bit. Now let's press, so let's press Solid. And now we can see exactly what we're doing. Now, let's think about smoothing this off. So I'm going to press top. I'm going to right-click. I'm going to shade smooth. And you can see that we've near enough got rid of all of these little marks here. You can say is we still got some lines in there. This is because this is a cone, which means that as we come up, as we get closer together, these actual edge loops come closer and closer together and it's very hard, smooth, those all. So even if I put this on 64, something like that, then you actually might get some smoothing on these. But apart from that, you probably going to have these lines, are these little lines there. The thing is we're going to be bringing in texture. And once abroad the end, you won't be able to see these. But still, when we actually build this part out for real instead of the Greybox, we might actually increase the number of actual sides on our actual Roof. Now the thing is when you've used right-click and shades mirror what you wanna do, then you always want to come over to this little green icon here. Click on it, come to normal Altos, move on. And then that will smooth it off and make these harder edges on the bottom like so. Alright, so that's that Paul. Now what we need to do is we need to now bring in the next part and actually get that. Actually don't know what I'm going to do as well as I'm going to join the tower together. So I'm going to click on the Roof. I want to click on the bottom of our tower. I want to press Control J, and then I went to join it altogether. Now you will notice because I clicked on this last. So if I press Control Z, because this one is highlighted in yellow, why not join it together? This Roof will inherit the smoothness of this bulb. Now if I joined them the other way round, so I'll grab the bottom of the tower, grabbed the Roof, press Control, Jake, you'll notice that nothing happens to this Roof. It is because if I right-click Shade Smooth, you can see it all gets smoothed off now. And this also smooth is already on there. Now it's up to you whether you want that. I think probably we need to bring in some sharps and things like that just to make it a little bit bad. But for now as I say, this is the Greybox, so we're going to leave it like that. And then we'll start building it out as we progress through the course. Now, let's change our tower Scale and what we need to bring in now is another reference. So I'm going do is I'm just going to move this out of the side to bring in our next reference, because this is one of the Main actual policies. They actual main building of the Build and this is the holidays Paul, to actually get right with the actual Greybox. What we'll do now is we'll come over open. That's all. I'm going to put this back on thumbnails so I can see, and we can see that these gray ones are all the scales. And you can see that this here is the Main Building scale. So we can see what we've always got left is our sign, I'll water wheel are now Main Building. So this here is the most important part. So let's double-click it, and there we go. If I press one now, I'm just going to pull this up, making sure that our actual guy is on the bottom here. And if I move this across, you can see that is roughly, is tiny bit bigger than our actual scale that we've actually fitted. So this is brilliant. This means that we can work with this. We can see if we come to This Greybox, we have a side view. We have an actual review, which is this one, and then we have a front view. So let's start work on probably our front view first. So we can see that it's kinda hard to get right this when you first look at it. So you can see that this Roof here is this Roof here. This little side Roof here is this part here. And that's why it's hard to get right, because this actually comes out so far as you can see, this is where it comes out lobe. So what we'll do is we'll make a start on this front part first. So let's festival, bring it down to that. Then we can say exactly where this Roof is going to promote. And you can see the tower is much, much higher. Now let's bring in an actual cube and we'll make a start on this part on the Greybox. So let's press Shift S. This time we'll do casa two selected. Now I'll put the cursor right with the orientation is all this actual image. Now let's press Shift a and we're gonna do is going to bring in a cube. I want to pull my cue ball and I'm going to actually put it in place. Now I can see that this frontier comes up to here. So this is the piece of wood and this piece here is the actual Side of the building. So just bear that in mind. So I'm going to do now, I'm going to grab my Q. I want to press S and X. I'm going to pull it out to the edges of this built-in, like so don't get too hung up on getting this perfect. It really doesn't need to be as long as it's generally around the same size, you should be absolutely fine. Now, what Wednesday is going to press Tab? I'm going to come to the top with Base select, press one. And I'm going to pull it up to here. That's how where my Roof wants to stop now and press E, pull it all right to the top. And I'm going to press S and X and pull it in like so. And I know then that is roughly the right size of my actual building. Now, I need to think about how long this building is and where it comes out to. So you can see here, it comes up to here, then it drops down, something like that. So that's something that we actually need to work on. And we can see from the rear as well that the ray is about the same width. Well, it is the same width as this part here. So now let's calm and think about the, this one here. There's want to press, want again, press top. I'm going to grab this. I'm going to pull it up. Like sorry, you can see that it's an absolute bandwidth, drop it down a little bit. And the reason it's a bit, you can say dips in there, that's fine. Now let's spend this round. So I'm gonna grab this when I press right-click set origin to geometry. And I'm impressed all 90. And that's actually going to spin it round for me. So then we're going to do is I'm gonna pull it across. Like so. I'm going to press Tab command to face select. I'm going to grab this phase shift, select this face, press one, pull it over to something like, let's have a look, something like here. That's where I want and then I want it to come out just that little bit on these two. So now and Wednesday is going to press one again. I'm going to press Control or left leg polytope. And this is where I want my actual wool to come out to them. I'm going to do is I'm gonna come round, face select shifts like this one and this one. Press one again. Now I'm going to press E, pull it out like so. Then we need actual routes. So I'm going to do is I'm going to come in and I want to extrude this out from here and then start pulling it back. So I want to press one, I want to press eight, pull it out, and this is alpha wanted come in. Now, I need some edge loops and add to pull this back to get the actual right shape. So first of all, I'll press said wireframe and now I can see exactly where this needs to come out to. Now the problem is that this really should be joined to here because the Roof actually he's going to come back to here. But we'll actually work on that in a minute. First of all, we'll put in our edge loops. The reason is why you do it that way. If I join these up to these, I can't bring in an edge loop, you just won't let me because we've got a triangle on this end. So instead of a quad, so this square is a quad and if a join, so let's just grab this just to show you. If I join this back to here, you can see now we've actually formed a triangle and it won't let you put an edge loop and if you've got triangle, so now let's press one and let's bring in our Edge Loop. So let's press Control Law. Let's scroll the mouse wheel up. So 123. Let's try five, something like that should be absolutely fine. So five absolutes, left-click, and then you can move them up and down like so, right-click, we'll drop them right back in the center. Now, I can come in now, enjoying this up with this one here. So I'm going to grab this one. Shifts like this vote. Right-click and calm down. And you'll see you have one that says Merge. And you're going to merge at last and that's going to join that on there. Now come round to the other side and we'll do the same thing. So I'll grab this one. Grab this one, and you can also press the button and click at last. Alright, so now we need to do is we need to bring now these parts into place. I'm gonna press one. And I'm going to bring this all the way back to something like that. Scroll around again one, Let's bring it back to something like here. Again, one here, down to here. And then finally we've got this one where it really starts to come out a lot more so impressed one leg. So you can see now that we've nearly, nearly got that shape, all we need to do is pull this out a little bit more and then we've got our end on that. So I'm gonna come around, grab this one. I'm going to press E, pull it out and you can see we have a problem there that when I pulled it out, it didn't combine the way that wants to one Wednesday I'm going to press Control Z twice. I'm gonna click on it again. And that makes sure that that extrude is not there. Because sometimes if you press E and enter, you can see what's happened is we've actually got a polis extrude that, but you can't really see it. So it causes problems. Can you see how I'm pulling this out now? So make sure when you actually get rid of it that those little dots have disappeared. And that means it's not an exclusion hidden there. It basically means two faces sat over the top of each other. And that causes massive problems later on down the road. So just make sure if you do extrude something and you make CMS just controls that it twice. Just to get rid of that. One way engineering, I'm going to press E, I'm going to press X, I'm going to press X again. And then that's going to make sure that it's extruding along the right way. Now you can see that this is a little bit Ben, and I don't really want that. So I'm gonna do is I'm going to press S and X, pull it in like so. And that's going to straighten that out for me. I don't need it to be perfect or anything like that. What I'm going to do then I'm going to pick this up. Like so. I'm going to come in with my Edge Select. I'm pickled this one as well. So I'm going to press one, pick it up, something like that. And I think also I'll bring this one up as well because it just gives me a better idea of what this is actually going to look like. Alright, so now let's go back into Solid mode. And there we go. That is the Roof looking roundabout, right? What we actually want. Alright everyone. So on the next one we'll do is we'll carry on with the with this actual Main Building, which is the hardest part to get right. I don't plan the next one. We should have a lot of it nailed down. Okay, everyone, hope you enjoyed that. Can the next one. Thanks. Bye bye. 7. Working with Dimensions and Grounding in Greybox Design: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it all. Now, let's make a stall on all sides part which is this poll here. So how are we gonna do that? Well, first of all, we need to have the correct dimension. So I'm going to do is I'm going to press top. I want to drag this over here. And I'm on Windows. And when I press one again, and I'm simply going to make this part first. So I'm gonna come in and want to bring a Cuban, I want it come into roundabout these dimensions here, as you can see. Now, one thing I'm not going to worry about the moment is I'm not going to worry about these little edges or anything like that. I'm simply going to get the right dimensions. So let's bring a Cuban **** day Mesh come up and you'll see one that says cube. Let's bring it up. Bring it somewhere roughly in sprays. If you can't really see where it's going in place around this Door and things. I'll just bring it all. And then you can really get going into place around here. So let's press S on X, pull it out. Again, roughly. It doesn't need to be perfect or anything like that. Let's then bring this down. So I'm going to bring it down to here. Like so I want to come round, press the Tab button, make sure I'm on Face. Select Europe, this top face. The moment to do is I'm going to pull it all, all the way up to like that. I'm going to press E coli. And then finally S and X. Just pull it in, getting the Roof dimensions of where I wanted to be and that's roughly where I needed to be. Now, of course, the next part is we've got this the right size. But what we need to do is make sure it's coming out of the building in the right side, sideways way. So what I'm better off doing here is actually pressing tab, right-click, Insert and origin to geometry. Grabbing this building right-click can set an origin to geometry. And now I need to do is I just need to bring this down. So I'm going to bring this down, setting on the ground plane again. And then I'm going to bring this one across and spin it round. So I want to press all zed and while you can see that it's spinning the wrong way. So I'm going depresses all Z -90 and spin it around that way. Now when you're pressing Alt Z and let's say you're pouring something and if you just right-click it, like so, it will drop it back into place. Or if you press the pause at a 90, just press Escape or right-click and it will again put it back into place. Now, let's move this over to where it needs to be, which is roughly about there. Let's move this one out and you can see that's roughly where it needs to be. Now, I need to do spin this around. So I'm going to press all set. I think it will be, nope, it's always at 90. So all zed, zed 90 and spin it round, and there we go. Now let's pull this into place. Like so again, we're not worried at the moment about getting this into the right place along here. What we're mainly concerned with at the moment is getting these dimensions correct. So we know that the actual width of it is correct, but how much debt visit is what we're working on now? I'm going to pull it out to somewhere around that. Then you can see, well, do what should I pull it out somewhere like that? I should have pull it back a little bit further because the Roof goes into that. So I'll think I'll do it that way. So I'm gonna leave it like that. I'm going to do is I'm going to press Tab now. I'm going to bring in an edge loop. So I'm going to press Control long bringing an edge loop up to that. And then when it come round, so I'm going to press my face select. I'm going to grab this face, press one again. I think actually I should grab them all, so I'm going to grab them all. I'll make it a little bit easier. Actually, I'm going to press this little red X on here just to pull them out so that then one needs to do is I need to pull all of these apps. I'm going to grab both of these. And you can see that the comb out to here. So let's press one and let's pull them out to there. So I'm going to press P, pull them out to that. And now I need another edge loop because I have to pull this out a little bit further. As you can see somewhere in press Control Alt, left-click, bringing it down. Then again, they select, come round, grab this space. In. This space is time. And then I'm going to press E, pull it out to that. And then finally I've got my Roof and it's the same thing is what we did with the other Roof, albeit this one's a little bit easier. So I'm going to come in this time to edge select, grab this top edge, press warm. And then I'm going to pull this one out like so. You can see again, it's probably a little bit higher than where it should be. And you can also see that this needs bend in a bit. I like to put the bending because then when I come to create the actual main windmill, I actually have a really good idea of how the bench should actually look. So I'm going to do is I'm going to press Z wireframe. And I'm going to come in now with Edge Loop. So controller, Let's try probably get away with 3123. So I'm just scroll my mouse. Left-click, right-click, and we can see that it comes out, this piece of what comes out right to there, which is nice, it looks nice. We don't need to pull it into the moment. Now while there's all command, I'll grab this edge loop, press one. I'm going to pull it back to here. Come into the next Edge Loop, next one, open, one. Pull this back to here, and then just work my way up one. Pull this back to here. I know this looks a little bit higher and it's probably it might be a little bit higher and we can deal with that in a minute. Now We've got all this bill out. Now we need to put in the right place. So if I press Solid and you can say this is what we'd call the moment. I'm going to press tab, right-click set origin to geometry. That's going to put it right in the middle. And now we need somewhere where we can work out where it's actually going to go. And we can see that this one is perfect for Telenor's that. So if I grab both of these, press one, bring it down. Like so. You can see it's gonna be a little bit out because it needs actually spinning round now. So we can see the other moment, this is the bank. So I need to spin this round now and get them into the right position. So while Windows, I want to press all 90, spin it round, so that's going that way. And then I'm going to grab this and I need to spin this round this way. So I'm going to press 0 -90 and spin it around that way. I'm going to press one then. And then we press zed wireframe. And now I can see where it needs to put this. So if I move this cross now, you can see that that's roughly where it's going to go, albeit it needs bringing down a little bit. And now you can see that we do have some other problems where we need to bring these up. No problem again, we can actually bring them up and it's always basically Finland about with it. Now you can see that now pull that down that we do have another problem in that this should be at the bottom. Obviously, you can see that it's all too high. So I'm going to grab this part. This part, I want to bring it all down a little so that actually lands on here. Now you can see it's actually in place, so that's good. Now if we come out, press Add, go back and Solid. I can see that I've got it perfectly in the right place. The only thing I need to do now is make sure that it's out far enough. What I need to do, not need to spend both of these round. So I've grabbed them both. And I'm going to make sure that my little tool icons here, if I click on this, we have one for individual origins and one for medium point. Now if I put this in an individual origins and I start spinning this, so I'll Z, you'll see that the boths turnaround on their own origin. That's not something I want. I want them to spin around together. So I'm going to make sure that among medium point now when I spin them around, so all 90, they both spin round exactly together. Now for press warm water can do now is I'm bringing them back up to my top a little bit fiddling around and no, well, once you've got this, then you can actually start building. Now let's grab this one here and all the needs do is pull it out into place. Now we've got it actually perfectly in line with each other. We know all tower is already in the correct place, so all we need to do now is bring both of these over, set them near the tower, and then near enough apart from our wheel and Simon, we've got this actual Greybox nearly done. So what we'll do is let's just have a look and make sure that got enough room. They sign a thing. I think that is about right. I'm just thinking I'll probably have to pull this out a little bit as well. I'm thinking I'm just looking at the dimensions here. I think I can work with that. I think there's just needs to be pulled out a little bit. So while there is all come in and I'm going to pull this out. So what did that? I selected the top face. I came to the bottom one. I hold the Control button, left-click abominated, select them, going all the way down like that just makes it a little bit easier. Now for press three, I'm going to pull it out just a tad like so. The reason I'm doing that is I want to be able to see some wooden parts in here, and I want to be able to see the wall in here as well. So I'm going to pull it out just a little bit more like soap. Alright, I think I'm going to be happy with that. Now, let's bring the actual tower to the actual building towards the time per altogether. So I want to press top, I'm going to grab my actual reference. I want to hide that all the way. I want to press one and just make sure that they're on the ground plane or well enough on the ground plane. And then we're going to do is I'm going to grab both of these. I'm going to move ME over them to my tower. One wants to do, to actually achieve this as a one to put this line here. Again, this line here, that's where I wanted to work. Well, so if I bring this over, I want basically my building to other piece of wood that we can still see going up here. And you can see that the tower is way, way back there. I want my Tau, so I'm gonna grab my towel now. I'm also going to press Alt H and bring back my fund as well. Then one Wednesdays I'm just going to grab my reference and hide that again. I'm going to grab my tower on my Windmill Arm. I'm going to press three. And you'll notice I can't see it from that side, so I need to press Control three, and now I can see them. And what I'm going to do is I'm going to pull these out. Just so this line here sits in front of this piece of wood. So near enough, it's just a little tiny sliver back from there. Now the other thing is before we finish, I want to bring down both of these because we can see the not quite on the floor and this should be in all honesty, hello the floor. So I'm going to grab this one. Grabbed this one, press top, grab this face, grab this face, press one, and just pull them and make sure that both below the ground plane, anything below that ground plane you don't really need to worry about. We can call this away and make sure it's all level. What else I'm going to do actually, I'm going to grab the tower as well. I want to pick them all up and fight. I need to grab their arms so corrupt everything. We've shipped play, pick them up and just put them so they just sat literally below. I can see this one's probably a little bit to fall, so I'm going to grab this one on its own. I've already got the poem that selected. I'm going to pull it up just a little bit just to make them more in line. Alright. It's very important if you've got a selection as well, like this now and you want to select something else or you want to just deselect it so you can see everything. Just quickly double-tap the eye and that will deselect everything. And now you can see exactly what you're doing. So now I'm looking around and thinking, this looks actually really nice. What they need now then is my son and then I can really start word. I'm looking around just making sure where the towers coming up to here, for instance, how it's all going to fit together. I'm basically trying to look now at the silhouette and making sure that looks nice. So if I look at an angle from here, I noticed how to say at the moment, but it does get easier the more we build it out and bought the moment I think I'm really happy with that silhouette. This is putting it off a little bit. Maybe I've made that a little bit thick. I should have probably gone a little bit thinner, but apart from that, yeah, I think this is going to look good. Alright, so what we'll do on the next lesson then is we'll start work on our actual water wheel and then we'll get the Sign In and then hopefully we should have this Greybox done. Okay, everyone, I hope you enjoyed that. I hope you learned a lot. I'll see you on the next one. Thanks a lot. 8. Finishing Touches on the Greybox Design: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now let's press Alt H will bring back our reference. We need to swap this reference out now it's that time again. So what we'll do is we'll call them two. Reference will change the file over. One I'm looking for now is the Bolts whale, which is this one here. So I'm gonna double-click it. The first thing I'm going to do is get the actual size. So if I press one, let's come in. We can have, if we move this actually over here, like so I'm going to move it kind of in the center. I want to press Shift S cursor to world origin. And now I can see roughly where it's going to be. So something around there. He's going to make it really easy to bring out my water wheel. Make sure that it's the right size. I'm just going to place it round about in the sense of that. Alright, so now I want to do is I want to bring in another cylinder, not going to worry again about homicides or anything like that. When we actually come to build out this water wheel, then we'll worry about that. So I'm going to use, I'm going to press Shift a Mesh, bring in a cylinder at the moment it's on 32, that's absolutely fine. Let's rotate it now on the X, so X 90, and let's bring it out. So we're going to press S, we're just going to bring it out to the right scale, which is roughly around that. Now the other problem we've got is that I need now to bring this up a little. So all zed 90. And then we're going to do is I'm going to press S and X and just pull it in just so it's the right side for a water wheel. Alright, so now I'm going to do is I'm just going to get these dimensions now on the way I'm going to do is I'm going to press top, face, select, grab this face. I for insert and insert to all the way down to where I think roughly that is. So on here, I'm going to pull it out. I don't wanna do the same on here. The Press, I insert bringing it all the way down. Again. Don't worry about too much about the dimensions. And then going to press E to extrude it out. Then I'm going to press Insert again to get this'll debate. So when I press, I bring it in like so, then we press E, pull it out. Like so. Now let's do this part here. So all we need to do is grab this one, pull it out. Like so. Alright, so that's pretty much the Water Wheel don't for the Greybox, I can see that this is the side that is gonna go into this part here. So that won't Wednesdays, I want to spin it around, so all 90. And then I'm going to pull it out like so The bring it to the back. Then what I need to do is I need to decide how high up against here is going to go. The thing is we're going to have some wooden joints and things like that on here, old in this part of the wall up. You got to remember as well. It's going to look a lot further out once you've got the wooden parts on there, making a lot more chunkier. So now also what we wanna do is we actually want to center this against it because we don't know whether this wheel is centred to here, and that is a really important part. There is a really easy technique to center things. It's just basically thinking. It's the thought process of how to send you up against something else. So all these will grab this Wheel. I'll make sure that this is actually selected. So it's not face-like. Select this phase shift as cursor to select two. That's going to buying in the sense of this. And we know this is the center of the actual wheel next to one when stairs is going to press Tab, I'm going to right-click. I'm going to set origin to 3D cursor. Now know that may origin is right and bang in the center of this Wheel. Now let's come to this actual building and one Wooden do is going to press top. Make sure I'm on face. Let's grab this face Shift S cursor to select it. That's going to then put it buying in the center of Joseph space. And now I can do is I can press top grandma, we'll press Shift S and then come over to where it says selection to cursor, keep offset. When I click this, it's going to print buying in the sentence or whether it is. Now I know that I can pull this wheel out now. And I know it's really in the center of this building and that's exactly what I want. Now all need to do is I can bring this down and put my Wald's, we're aware of one. So I think if I get some wooden joist appear that they're going to overhanging this war wells can be very close or you give us enough room to actually have a working water wheel. And you can say now, that's looking really nice. Maybe you've got to pull it out a little bit. That's something we'll work on as we build this out. There we go. We've got water wheel in. The last thing we need to bring in now is our actual sign. So I'll do is, I'll come in and I'll change this reference again. So click on the little file, come down to where it got Sign and got one that says Scale, double-click it, and there we go. Now, this Sign measure can see, again, if I pull this up, pull it across, these should be roughly the right size what he is. So that looks about right. You can see also the signs. Here it is. If I solo, the sign should be going out this way. So I'm gonna make this easier. I'm going to spend my actual reference round. So all zed 90, spin it around. Let's have a look. Let's press one, sorry, three Like so. And now we can see our sign should be probably coming out of this part here. Now, the moment it's actually hard to judge because we've got we haven't got Joyce or anything like that. So all I'm going to do is I'm going to say that you sign should probably to start with be something like that. So what we're gonna do to wear put this sign-in is the other thing. Of course, as you need to understand how far it's going to come out. I think it's way out there. I think something like that is about right. So let's put it like that again, this is down to you where you actually want it. Now, let's press Shift S cursor to select. Gonna pray right bang in the middle of our actual reference. And then while there is more press Shift date will bring in a cube. Press Command S to scale it down, pull it up. Let's just pull this out. So I'm going to do it's pulled out and I'm going to press S on why in just pull it out a little bit to where I want it. You can see it's a little bit big, so I'm gonna press S, shrink it in a little bit, is, and why bring it out? So something like that is a really good start. Now I'm gonna do is I'm going to press Shift and S we're gonna do is selected and then I'll bring in another cube. So shift a, bringing in a cube, the cube down to here roughly. So what I'm trying to do now is just get the dimensions roughly of the Sign. I want to press S pulling out a little bit and then just fit that on the bottom of the Sign. And now I want to bring you up to the top. So I'm going to come in, grab this first one, sorry, three, and then bring the like. So now I don't really need to make the chains on the head because this is actually adequate. The one thing I do need to do, He's just get the right thickness. Now I'm gonna do this by eye. I don't see the point in actually moving it to here swarming, there's going to press top S and X, Bring it in. Like so I'm, what I'm going to do is I'm just going to pull this reference back now and look how thick this is. This you can see is roughly about the same thickness as this. Alright, so now that is pretty much all Greybox. Don't, let's pull that out the way. We don't really need that anymore. And let's have a look Ramp so you can see now how we're actually going to build this out. So what we'll do then is now stopped on the actual arms of the Windmill. Get those in place, then we'll work on the tower, probably work on the wheel after and the Sign and find the work on the Main Building. It does get easier as you start building because a lot of the parts you're going to be reusing and things like that. But he's quite a complex Build, actually getting all these wooden parts in Together, making them all fit together, and more importantly, making it structurally sound. That's also something that needs bear in mind when you creating things like this. They need to know be any floating parcel, things that wouldn't be realistic or something like this wall here, it needs to be supported correctly as they would in medieval times or some of that era. You can't have, for instance, a metal goods in here. It's just something that they wouldn't have. So finally, now, let's actually get rid of our reference. We don't need that. Again, if you want to bring your reference over here, you can do a fresh view. Paul, I'm finally, let's come up to File and let's actually save that out. Okay, Once I hope you enjoyed the first part of this course, which was gaining this Greybox done, and I'll see you in the next one. Thanks a lot. I buy 9. Importance of Resetting Transformations in 3D Workflow: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it all. Now, let's make a stall on all actual Tower. Let's try and get some of them. Actually don't. Festival Woman stories and went to grab my tower. I'm going to press the button next to the ship, which is the little question mark. And you'll see then that actually isolates everything out and allows us just work on their sexual pop. Next to vote warm Wednesdays, I'm just going to come in and I'm just going to add in some Sharps of where I actually want my work. So I wanted a piece of work come in here. I want a piece of will come in here. And then if I right-click, come down and click Mark Shaw, you'll see you end up with a little blue line. Now, if you press Tab, you'll see that we can actually see now these actual lines on here. And that's exactly what a warm. The other thing is, I actually, we also want a sharp here because these are actually going to be actual Stone parts. So I'm going to right-click Mark Shaw. Then what I'm going do is I'm going to work my way up. So I'm thinking that dual wants piece of wood here, probably not. So I'm going to have my next piece of wood somewhere around here, and then here, and then here again, right-click. And then I'm going to mock shop again. And then finally I'm going to pull a piece of wood here, right-click and mock shop. The reason is we don't want to bend our ward too much. So we can see here, we've got a slight bend coming down from this part here, which will be fine with one piece of wood. Now we do know if we come back round at the bottom that we can see 12345678. We've got eight sides on this tower. So we might as well use them and bring in something that has actual late sides or use a part that we've already got. So let's use a polo. We've already got that. I'll probably be easier. So I'm gonna do is I'm going to come to this one here. I'm going to Alt, Shift and click. And one that's going to do is just going to grab all of the parts, go in all of the way round. As you can see, it goes all the way round. Now that's really handy. Now if you can't do that, the easiest way to do it is to grab apart, press Control click, and then again, you'll also grab all of these parts. Now the one problem we do have is it's a bit odd to see what we've actually grabbed because it's actually blue. So what you can do is you can come up to these two interlocking balls. Click on, Calm down and you'll see one that says shot. Just make sure that you're in edit mode before you do that, because you'll notice if I'm an actual object mode, they're completely different. So I'm going to be in edit mode. Click the down arrow, click off sharps. And now can really see, while I'm actually doing, now I'm going to do is I'm actually going to duplicate this. I'm going to press Shift Enter and then we'll press S. I'm going to pull it out like so. Can see now that we can make a star on our actual wooden blocks from this. So now I'm going to do is I'm going to press E, pull it down to the actual size I want them, so something like that. Then when we're in series, I want to press one. I'm going to grab the whole thing by pressing L is going to select it all and I'm going to lift it all just very slightly. Now I want to do is I want to actually separate these out and then I want to bring them in to actually make those pieces of wood. There are few ways we can actually do this, but the easiest way I'm going to show you is just to press E enter so that you've actually hit the extrude and then press S and you can bring them in like so. Now just make sure when you bringing them in that drop into fall down. So what do I mean by that? If I press one and I press the Z button comment to wireframe, you can see, for instance, that now these have dropped quite far down in comparison to the outside. So we need to pick those up. I'm going to press S and Z, and that's then going to be able to allow me to pick them up and get them even once again, something like that. Now if I press Z and go back into Solid mode, and now we can see we've got really, really good start on our actual world. Now when we went to do is I'm going to actually pull these into the actual tower. And then when decide all these too thick or they're too big, all those little things. So let's pull them in with S, like so. Then let's have a look how thick these pieces of wood are. I would say that the probably just a little bit too thick. So I'm going to do is I'm going to grab one of them. Alt Shift click twice, and that's going to grab them all going all the way around. Now I'm going to press S and bring them in just a slight bit, like so, just so that the right thickness that I actually want them. Alright, so now we need to do is you need to split these up. So the easiest way to split these up is to come to these edges, these edges here, and actually moccasin. And I'll show you the technique and why we do that. So I'm going to do is going to press Alt, Shift and click. That's going to actually grab them going all the way round even though you can't see it, it also grabs the inside. I'm just gonna go round with Alt Shift click, clicking on all these edges like so. To Love grab them all. And then one when stairs and went to press right-click and you'll come down, you'll see one that says mock seams. Now why is in Poland? Well, what that enables me to do now is to come in and why compresses L in phase selecting. You'll notice it only grabs the ones leading up to the actual scene. Now, if I'm in Edge Select and I grab them with L, you can see it grabs everything around there. And that's not something I want. I want to grab every little warm, so I'm just going to go around grabbing every other one, like so. Now you'll see that if we press Y and then G, then we split them all look like so, so that's just Y. And then when you've hit what I always press G and it will just make sure that you've actually split them up And then just simply plus a right-click on the mouse and that then will drop them all into place. Now we need to do is we need to make these into actual words. So I'm going to do is I'm going to come up to edge select and went to grab all of the rest of them. And I'm actually going to split them all from this part of the Build. And the reason I'm going to do that is because I actually want to make sure that I can just work on these parts. I also wanted to bring them up and I might use them as we go further up the actual tower. And it's just gonna make you a lot easier for me. Alright, so how are we gonna do that? Is we're going to press P once you've grabbed them all and click Selection. And now you'll notice that you've got two parts here. One is the tower and one is the wooden beams. Just make sure that you've actually split them all up. It will be all in yellow, so you will be able to see exactly what you've got. Next, we're going to click on our wooden parts. I'm going to press a on one that's going to do is it's just going to select everything without having to select each individual one. And then I'm going to come up to my little interlocking. Links, come down to individual origins, zoom in a little bit. And then when I press S, and you'll see now that it shrinks them all down. Alright, so that's a really good start as we can see. Now the next thing, well, obviously is we haven't got any pieces of wood in here. They're just open and that's not going to work very well. So what we can do is we can come up to where it says Mesh, come down to where it says clean up. And then what you're going to do is you're going to fill Paltz. So click fill holes and you'll notice now it fills them all in. Now we're actually getting somewhere. And you can see now the Steins a lot like pieces of wood, albeit not quite right yet. Because if we pull these together, so if I press S and pull these together, you'll notice that they're just join up and we can have that little gap. But generally ward tends to be a bit beveled on each of the edges. Let's do that now. So before we bring any modification or anything like that or any animation for that matter, we need to press Control a and calmed down to where it says all transforms what you actually doing any areas urethra in all the transform so that Blender understands These, all they shape. If we don't reset all the transforms, Blender will still take the shape as a cube or as a cylinder or something like that. So it's very important that you set that next level. What I always like to do is right-click set origin to geometry and then that positive bang in the center. And that means then if I want to work on this and make it bigger, for instance, I can always come from the center of this. So just get used to pressing Control a or transforms right-click set origin to geometry. We're going to be doing that a lot. Now the next thing we wanna do is we want to bevel these. So I'm gonna come across to my little spanner here. I'm going to add modifier. I'm gonna come down and you'll see one that says Bevel. Once I click that on, you'll see this happens. And obviously that's way, way too beveled at the moment. So I want to do is first of all, I wanted to change my limit method to angle and get used to doing this. Because if you'll Devlin a cylinder like this tower for instance, and this is not clicked on. What it will do is it will also bevel all of these edges. You can see the angles based on 30% and it will bevel these edges. And that's not something you want because you will be increasing the amount of polygons in your scene dramatically. And also, you won't bounce us, move this off if we beveled them out. So just get used to that. Next of all, let's bring down the segments. I'm sorry, the amounts and Melinda Segment someone the segments. All it does base. If I turn this up, you can see we get more and more segments. And sometimes you do want a lot of segments to really round these pieces off, but we don't want to increase the polygon count too high. The more actual segments we bring in, the higher the polygon is going to be. I'm, the harder actually is to unwrap everything. So I'm going to do is I'm going to bring these segments down back to one. I'm going to try and get away with just bringing these pieces of wood or two naught point, naught two or something like that. You can see now that they actually looked like pieces of wood, especially when we actually get on our materials and textures and things like that. Alright, so I'm pretty happy with for a star. Now, I wanted to do is I need to apply this, bringing some Seams ready for actually texture in this, because I'm going to try and use this, go in pretty much all of the way up and safe and get away with it. If a candidate means that I've already on Ramp them all, rather than unwrapping every single piece of wood actually going on. So let's see if we can do that now. So first of all, let's come in and apply this. And the way you play as you can either click this little down arrow, click Apply, or you can hover over it and press Control a, and then it goes away because it means it's actually applied. Now what we'll do on the next lesson needs will actually Motley seams, and then we'll start bringing probably some textures and materials. And because I like to actually texture things as a work along, because it sets a precedence for the rest of the scene. And it really gives you a good visual or actually what you're looking for. So we'll get them without on the next lesson. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 10. Textures and Node-based Workflow in Blender: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now, let's come in and actually stop marking some seams out. So I'm going to do is I'm going to grab them all. First of all, you can see that we do have a problem in that. If I zoom in, you can see the Seam. First of all, we've got to seams on. Why is that? Because we mount to Seam, then we beveled it. And what it did is a duplicate to this edge and pulled it out and made another scene. That's not something we want, however we do want, want to understand where is the actual Seam going to go in here? The first thing we're going to do is I'm going to press a, to grab everything, and then I'm going to press Control League. Now controlling gives you pretty much the same menu as right-click Bolts. If you're in Face Select for instance, and you press right-click, you'll see there is no mark seams or mock sharps or anything like that. So what you need to, you need to press Control a, and then you'll see we have Maxime Moksha. And also the one we want here is clear seams. Let's click Clear Seam and then that'll take those all away. Now, next of all, what we need to do is now we need to mark some seams. So on Wednesdays I'm going to come in to with my Edge Select. I want to press Alt, Shift and click. And I'm just going to mark this as seams. I'm going to right-click mock scene. Why is that? Because I want my Wooden edges. So if you look at a piece of wood, it will be, would go in this way. So the grain will go this way. And generally on the end, the world will be going a different way. Now it's up to you where you bring your Wood up to another words, do you want the Wooden grain coming all the way down to here? And then the end of the word on here or here, I prefer to have my ends of my word on this part here. So let's now come round and press Alt Shift and click again. We're going all the way around, so it is going around the back leg. So then what we're gonna do is once we've done this is we're going to mark the same. So let's just work our way round. As I say, doing this is going to save you a lot of time in the future with all of these pieces of wood, as I will show you now, I'm going stairs and when to right-click and maxime. Now, if we try and open one of these now, so unwrap it, you will see that there will be a problem. The problem will be there because if I had my tower out the way, I'm calm round the back, press the Tab button to go back into edit mode. You will see that we have no Seam on this part here. So I'm gonna grab this with Alt Shift and click, and you'll see that this goes around and around and round. It's an infinite loop basically, and Blender will not know what to do with it. So if I unwrap this now, it will look CMS. So I'll just show you what I mean. So I'm going to Festival, go into Edge Select, press L to grab everything. And then what we're gonna do is you're going to go into UV Editing and I'm going to press the little dog bone on Monday. And that is going to zoom me it. Now you'll notice as well because we're in the UV editor, we have no actual gizmo again, so we need to press Shift Spacebar, bringing our move tool. And now we've got our actual Move tool that available for women UV. Now if I come anon Ramp this, you'll see you to unwrap. And we've got all these options. The one we want at the moment is just simple on Ramp and you can see there it looks a mess. And this one talking about the reason actually looks a message because it isn't infinite loop. So what we need to do is you need to come in and when to grab this back one and we need to do is you need to make sure that is going up to where the seam on the sides as well. So if I right-click now mock Seam, you can see now that we've got Seam going around here, a Seam going round in a Seam on the back. Which means if I actually grabbed this with L again, press U on route, you'll see now they opened. Absolutely fine, and that's exactly what one. So we can see that these two ends are here, here. And then this part is this pot going round and it does oven end. Why they pick the backup? This is because no one will be able to say that. If I press Tab quickly, press Alt H, bring everything back. You can see that the ward is actually hidden in there. And that's the idea of seams. We want to hide all seams as much as possible. We don't want people to see them. The other thing, of course, is when you come into your UV editor, you will actually inherit everything in the scene again, in other words, you'll have to actually hide it all again. I want to grab this again. I'm going to press a little question mark again. And there we go. It's isolates it out. Now let's come in and actually mark the rest of the seams. So let's come in all of the box PEM. Marking seams is actually really important because if we don't do it, we're going to end up with a ton of work in the end. So I'm going to right-click and Maxine. There we go. Now I'm going stairs. I went to grab everything. I'm going to press U and unwrap. There we go. Now you will see that some of these are actually unwrapped pointing this way and some of them are unwrapped points in this way. And this is also a very important part. Now what we're going to do is I'm going to play you a short video which is going to show you all about nodes and textures and things like that. If you know how to bring in textures and you know all about textures already, then just go on to the next lesson. Okay, so I'll play that now and I'll see you on the other side. Welcome everyone to this short introduction on important texture maps and creating Materials within Blender. Here will be going through basic materials setups and easy ways to import your texture maps all within Blender. Then we'll be moving on to an explanation of what maps do and why they're important. So with all that said, let's get started. So in this basic Seam that I've set up, you will see that I've got these three objects and the role UV unwrapped. So now let's come to our first Objects. And let's say we've already marked all seams as you can see. Now let's come up to Edit First of all, and what we're going to be bringing is a add-on called Node Wrangler. And this is gonna make it very easy to setup materials within your scene. So let's come to edit, come down to Preferences, come over to where it says add-ons. And then we're going to search for node N 0 D, E. And you'll see one called Node Wrangler. Make sure that's ticked on. And then let's close this down. Now I want to do is actually create our material. So if we come over to the right-hand side, you'll see this little football icon. Let's click on the plus. And then what that actually does is create a new material. And let's click New and give it a name. Let's call this would because I've already created award, it will come up as one.001. If you've got a 001, it will come up as wood.002 and so on. You'll notice as well that this has come in as a principled BSD F. And this basically is the magical node Shader within Blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this button here. Once in the shading panel, you'll see basic cell, same as what we had in the modelling panel. And now if I zoom out of here a little bit, you'll see that we've actually got a basic setup already. So we've got all Material output. And of course, this is where all the nodes end up in the end. Then we've got our principle, which is what I told you about, is the magic kind of Blender node. And if we zoom in a little bit, you'll see we've got all of these things where it can plug things in or we can mess around with these without actual map plugged in. So now let's come and click on our principle, be SDF, what we're going to press Control Shift and T. And that then we'll open up the file of where you want to actually find your maps. So make sure you store them in a place where you know where they are going, find them, and then you should end up with five maps. Normally it's five maps. Actually you can download. One is the base color, the next one down is metallic. Next one down is roughness. The next one down is height. And then you've got normal. They're normally the basic five maps. So now we need to do is and he'd come to the first one and shift select the bottom one, and then that'll select them all. And then come over to where it says principle, texture sets up and click down. And there you go. The bowl actually come in. You'll notice Blender is automatically set everything up for us. This is part of what the Node Wrangler actual dose. Now if we zoom in a little bit so we can see what we did. And now we can actually go through some of these nodes over here. So let's zoom into here as well. The first one we've got is texture coordinates. Now, basically this node tells Blender whereabouts to place this texture on this object. So you notice at the moment is basically clubbed in from the UV. Now, if we quickly just go over to the UV and I grabbed everything, you can see this is our UV map and this is how basically this texture is placed on this. So for instance, you can see that this one has been turned round. So it's going the correct way. Now let's go back over to our shading panel. And if we plug in the generated instead to the vector, let it load up. And you'll see now that Blender is trying to generate how this texture is actually gonna go onto this object. This is useful when you create in textures within Blender itself without maps, but useless if you're actually bringing in your own maps. So let's put it back on UV. Next one across is called Mapping, and this basically is how this texture is mapped onto this object. So you can see here that we can actually move the location of our actual texture. And this basically is kind of move in the UV map. Now if we call me, can also scale this up as well as you can see so you can stay lit smaller and bigger. And it gives you a lot of control within actually the Shader mess around with the scale and things like that. Normally, I would actually do this in the UV map. But if there's any small details that I want to make, a little bit smaller or something like that. I will do it within the Shader. Moving across, you can see that all of these nodes over here, which are our maps, are plugged into our Mapping node. So let's come to the first one. The first one is colour. And basically down on the right-hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the Blender website and find all of the rest of the information out about all of these maps that we're talking about. So as I say, the first one is the color. And if we unplugged that, it's basically what we can see is it's just The base color. Now, sometimes you will get College where they come in with ambient occlusion. And I'm going to talk about ambient occlusion just in a few minutes. So if we plug this in, we can see, we can actually alter the color with other nodes that we can slide into here. So I'm quickly going to show you that. So if we press Shift a, do a search and we'll just bring in a gamma, which is going to lighten or darken all actual color. Now, I've pulled that in, then you can see if I bring that down, I'll bring you up. I can make you much darker, much liked it. So that's something that we can actually do. And then Node Wrangler enables us to bring in a new node and just drop it in there. So I'm going do now, I'm just going to delete that and I'm going to plug that in now to go onto the next map is metallic. So I'm just going to head on over where I've actually brought in a metallic texture. So here we all in our setup now with our actual and metal texture and Material. So if we zoom in now, we can say that we have the next one down which is metallic. And we can see that if we call them and actually unplugged that, you'll see that not a lot happens and this is because this metallic is very close. Li based on the metallic that's already there, which is zero is quite dull metal. Now if we come in and we turn upon metallic, you can see that it goes really, really, really metallic like so. And you don't have to actually use a map to make something metallic, or you need to do is turn up this metallic. Now normally when we're doing things like using this slider here and no map, even something is metallic. So if I turn this down or it isn't like so we don't really have anything in-between when we don't actually use in a map. If we plug this back in now to all metallic and let it load open, There you go. Now the next one down is roughness. Roughness is basically if you think of a sheets of glass, when you look at it, it's not completely see-through. You might have certain scratches on there. Your minds have things like smears, Han Moocs, things like that. And basically that is what the roughness map doors, basically the roughness is determined by this map. So if I unplug this map, you can see we've got a lot of the kind of shinier parts and dollar parts on here. So let's unplug this and then you'll see that it's all one kind of shine. You can also say if I come in and actually turn the Roof and assault alternate down, I can make something like ice or it can make something very, very dark. This is why we use this map because it gives us a lot of control. How much smearing and things like that and makes it look a lot more realistic. So now let's move over back to our Wood. And what we'll do is now will come down and look all normal map. So if I double-tap the a quickly, that'll just highlight this and then we can just zoom in a little bit. I'm Look what this normal models, as you can see, the normal map always plugs into a normal map node and then we can mess around with the strength. So if I turn this strength right, or you can see now we've got a lot more pushing through of the actual texture. Now, just be very careful when using this node. You can turn it up too high and it will, it will lock. It won't look very real, in other words, so try and just get it somewhere where you really happy with it and it still looks realistic. For instance, you do get some world which looks like this, where it's really kind of elevated from the base. But I wouldn't go again to high with this. Okay, so that's the normal map. Now let's move to the displacement map. For displacement map, I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with a cobblestone texture, which we're going to use for our displacement example. So what displacement does is it basically gives this texture. It basically pushes it out. It's like using tessellation, as you'll see shortly. Well, the one thing is if you're using that displacement map, you really need to, well, you really need to know two things. First of all, it doesn't work in Eevee. Second of all, it really needs a lot more geometry than what you would normally have. So here we can see we've got a flat plane and we can see that they're slightly pushed up. And you can still see that this is basically a 3D texture. So how do we create displacement on this? First of all, we're going to do is you're going to come over to our little spanner. So first of all, we're going to do, we're actually going to sub-divide this a couple of times. So let's press Tab and what we're gonna do is right-click and sub-divide, right-click sub-divide. And now we're going to do is I wanted to press Tab. I'm going to bring in and modify it. And what we've done now is basically increase the geometry a lot. So let's come over to add modifier. We're going to come down to where it says multi-resolution. I'm going to sub-divide. Sub-divide. And again and again full times. Have you press Tab, you'll see that still actually looks like this. So you can't really see all the subdivisions on here. But when we finish this, I'll actually apply it and then you'll be able to see them. Next of all, what we need to do now is we need to put this on Cycles. So if we come over here and we change it from Eevee and we put it on Cycles. And then what we can do, serene, calm down now to our material, which is this button here. Scroll down and you'll see one where it says settings and under setting July 1 that says Surface. What you need to do now is changed this it should say Bump only change this to displacement and Bone. Once you've done that, then all you need to do is go to your Cycles Shader, which is this bone here. And there we go. You can see now how actually Realistic that looks. Now you can actually mess around with these, so it can really, really bump up the scale. As you can see. We can also change the mid-level, like so. So it really pushed it out or you can rarely pull it in as well. Okay. So that's a bit of an explanation on there. Now, as I said, I will move over now to the actual Spanner where I'm modifiers on. I want to press Control a, to apply that, I want to press top. And now you can see just how much geometry not actually taught. Now you can get away with a little bit less geometry. So if I press Control Z and just bring it back and just bring it down one. So if I bring this down one, like so, and you can see that it's still looking quite good for if we put the viewport level up a little bit, it's nowhere near the level of this, so it will put it on three, press Control a, press the Tab button. You can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, So the last thing I wanted to show you is if we come back to our material Shader and we put this back on EVs overcome to our Computer icon, put it back on Eevee, and now we'll just scroll around and zoom in to this word. Now what does ambient occlusion do? So I'll pull a brief explanation down the right-hand side of what actually ambient occlusion is. What we can actually enable it by coming over to our computer, putting this on Eevee and you'll have one that says, I'm meeting occlusion. When you click this on, you can see already that we really get much more shading on here, much more realism and things like that. Now as I said, you can get textures where they are. Ambient occlusion already built-in, but I find actually doing it this way generally gives you a better result. Now the other thing you can do is you can mess around with the un-mute and occlusion and really bring you up or down, Mesh around with factors and things like that. I'm really get the shadows that you really want on the surface of the actual object. So that concludes the material and texture introduction part of the course. And I'm hope you all go a lot out of it and have a much better understanding of maps and materials within Blender. So with that said, let's get on with the show. Welcome back everyone. So I hope you enjoyed that and I hope it made quite a bit of sense. And now on the next lesson, what we'll do is we'll actually start using that. Okay, so I hope see on the next one. Thanks a lot. Bye bye. 11. Creating Your First Material in Blender: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now we understand about UV unwrapping. We understand the node system. So let's start bringing in so materials. So the first thing we're going to do is I'm going to come over to my Materials panel, which is this button here. I'm going to press the plus and I'm going to click the New. And then one Wednesdays I'm going to rename this and we'll call it would Main. Now I always like to name my materials. Just make sure you do that. Because in the future, if you actually want to bring in some of these Materials to one of your projects or scenes or something like that. It's always better if everything's named, it's the same with naming. All of these at the bottom you can see these are just cold cubes and things like that. And when we finish this, we will be renaming everything correctly just to make sure that as I say, if you take it into Unreal Engine, you don't want something in Unreal Engine called cube. You also, if you take it into Unreal Engine, then you taking it into Unity or something like that. You want to make sure that the name correctly because you don't want to be renaming something in every other piece of software. So if we rename it from the salts, same as the materials that you won't have any problems in the future. Alright, so now we've done that. Let's now go over to our shading panel, which is this bone here. Now, if you didn't watch the actual Introduction to nodes and textures and things like that. What we need to do first is we need to make sure that we've got one of our preferences enabled. So let's come to edit, come down to Preferences. And what we're gonna do is we're gonna go to our add-ons, which is this bone here, which simply going to pull a wrangler. Now, if you put him Rang, you'll see we've got one that says no granular. We need to make sure this is ticked on, close that down. And then that'll enable is now to bring in our actual textures. Again, you will see that all of these parts are back here again, and we only need to work on this part. So I'm going to do is, first of all, I'm going to click on it first-level question mark and embark now, The isolates it out. Now let's press Shift Spacebar, come down to move, and then we've got our gizmo and again, ready for when we actually come back into shading with your other paths. So now let's come down to our actual Shader, which is the principle be SDF. And this is like the magic Shader of Blender. It's the main one that you'll use and it's the easiest one to use. And what it enables you to do is bring in a loaded textures and plug them all into this one actual Shader and then add this material output coming out of it, which is really, really handy. Now let's CMM. Click on our principal, the actual shaders, they've got a white outline around it, press Control Shift and C. And then all you need to do now is you need to go and find your actual textures. So here I'll textures here, and you'll see there's one that's called Main would all would Main. Now if you double-click on this, you'll see you've got the choice of 2k and 4k a textures. Now, what I recommend doing this, I recommend using 2k a textures from the beginning. Now, in the end, when you've got all your texture on you wants to do a portfolio piece, you might then want to change them all for, for K, I know you need to do, to do that as you just click on here and read bringing All the textures. So let's come on, click on 2k. And you'll also notice now, like I said in the intro, we have three which all the Unreal Engine textures, which we don't mean to use. We have these five, which are the Blender textures. Now the thing is we also have a spec in here, which is not something many people Download, but I fail. It adds a little bit extra to it. You'll also see that the base color is with an A0 map already built into it, which means we don't have to sell ambient occlusion, or at least not as a texture, we will bring in some ambient occlusion. But as far as texture goes, it's already actually in there. So now let's grab the first one, shift, select the specular and that'll grab them all and then click this little bar near principle texture cell, and that brings them all in a now you'll see that this is starting to really come to life. Now the lighting isn't done or anything like that, but it is easy enough for us to see exactly what's going on there. You will notice via Zoom in a little bit, what I was talking about is these pieces of wood, the grain changes the other way. Now it's important when you bring game, you're textures, you need to check to make sure that the ward is going the correct way. So you can see here that all of these are actually wrong. So let's fix that before we do anything Small do is we'll go over to YUV Editing. And then, well, there's all zoom out a little bit and you'll see that Blender as well as already brought in our actual word for us. And you can see this is the way the actual grain goals and all of these you can see here are going the wrong way. So I'm going to do is, I'm going to do this a little bit easier. I'm going to come to edge select and one going stairs and went to look where my actual program is going. Now you'll notice at the moment I can't see anything on there. And that is because we have on object mode at the moment, and this is called the viewport Shader. We can see we've got our wireframe here, we've got our object Shader, we've got our material Shader. And finally, we've got our Eevee retina Shader. Now the thing is, we're not going to see anything from the Eevee Renderer at the moment because we have no lighting, nothing cell. So let's not worry about that right now. What we want to bring in, first of all, it's a material Shader. And now you can see everything's let and we can see things really, really well. Now all you need to do is you need to come in with Edge Select, Grab each of the pieces of wood like so All the way round, just look at the ones that the wolf grain is going the wrong way. You would never have Wood Grain going this way, for instance, it would be a massive piece of what if it was going that way. So just make sure that the going from left to right, like so then what you're going to do is you're gonna come over now to the viewport of the UV editor. You're going to press a to grab everything. I'm going to press all and 90 and spin them around. Now you will notice as well that most of these textures are actually Seamless. I don't think this wouldn't want is completely seamless, so you will see some difference. But it's very hard to tell. You can notice that for instance, I can pull this out, really, really fall. And you'll see this would actually expands with it. So you can see some little lines in there from it, but you can see how much detail you can get from this. So even want this close, you can see it's not pixelated or anything. That is the actual joy of being able to use a texture in this way. So I Windows, I'm just going to press Control Z and I'm going to actually put them back into place. Now while it needs to do before Carry on is I need to make sure that the word locks. Absolutely fine. So I'm gonna do now is I'm gonna go back over to my modelling panel. So this one here, I'm going to put this back onto materials so I can actually see what I'm doing. And I'm going to zoom in a little bit. Now we have a few problems with Wood and the resolution for instance. So first of all, look at the resolution that you want because you're gonna be doing this mainly by eye. It does make it easy when you're doing something like this on this Build that if you look at it and think, right, that would looks right. Now, the problem you will have, OK, close. You can see all the grains and things like that, but far away you can't really see anything. So when you render this out, you've got to balance out between, do you want this actual object to be seen up close or do you want to have a good render from really, really far away? And that's what you need to actually establish. If you want it from really far away, you might want to make your ward on the UV editor, for instance. So if I press tab a little bit smaller, so if I grab all this, press a in the actual UV at its in, press the S button and bring them in. You can see now that word is rarely, rarely bag, but you can see it gets really blurred as we come in Bolts. You can actually see it from further away. And that's exactly what I'm talking about. So I'm just going to set mine back. I think I'm actually happy with how that looks to me. And I think in Unreal, if I'm fairly close or if I'm fairly far away, it's gonna look about right? And you can see actually is taught most of the UV space. So, alright, so now let's press tab. Let's come back to modelling. What I'm gonna do is I'm going to isolate the tower. And I'm going to isolate this piece of wood out. I'm going to press question marks off shifts like them. You press the question mark and there they are isolated now and now I can do is I can grab my pieces of wood and I can bring them up to the next level. The other thing, of course, is, I don't like this white on here. So on Wednesdays I'm going to come over to my Material and I'm going to actually give this some material just so I can see what I'm doing a little bit better. So I'm going to want to press Plus New and I'm just going to then turn this a little bit great. So if I bring this down, you can see it goes a little bit great, and it just makes it much, much easier to actually see what we do. Now, the other thing is you can see that these pieces of wood are probably not close enough together. I'm going to grab my piece of what I'm going to press Tab. I'm going to press a to make sure I've got everything. I'm going to come up and make sure that I'm on individual origins. If more medium point is going to skew these out a little bit. So just make sure you're on individual origins and then all you're going to press S and just pull them out just so they're actually touching any Can't see in-between them. That's real estate. That's how the world would look. Volvo, I'm going to do is I'm going to press one on minimum path. I'm going to press shift D. And then we're going to do is I'm gonna press shift in space Move tool. And I'm going to bring them up to the next run. Them on Wednesdays, I'm going to come over, I'm going to press S, then shrink them down into where they need to go and hopefully they should actually follow this actual lives. So in other words, the she'll come in and actually be where that line is. Now we are going to have some pieces of water. I'm going to come from here down to here. So we might need to pull these out a little bit depending on how thick these pieces of wood are going to bid. Now, we've got all piece of wood coming down here. We've got warm ring gear. We don't need a ring gear because we've got actually I'll wooden blocks. So you can have a look in your reference and see how those wooden blocks go on. But what we do need to do now is actually work our way up. The next lesson then what we'll do is we'll get these pieces of wood in there. We'll change what they look like because you've got to remember that these pieces would look exactly the same as each over and that's not something we want. We want them to look a little bit different, especially if you're close. So if you're looking at this thing around close, you don't want them to look all the same, so we're going to sort that out. Alright everyone, I hope you enjoyed that. I hope you learned a lot. I'll see you in the next lesson. Thanks a lot. Bye bye. 12. Advanced Techniques with Booleans in 3D Modeling: Welcome back everyone to Blender, to Unreal Engine five, and this is where we left. They all. Now let's bring in all other piece of wood so we can see that I'm thinking I've got two piece of wood as I need a Window in-between here somewhere so we can see it bends out. How tall is this? So I find zoom out a little bit. I can see that probably going to have 12.3 rungs on here. So I'm going to grab my tower. And I can see this is where one of the actual rooms is, just around here. So what you can do actually, you can grab, you'll tower, you can grab the award at the same time. So shifts like the world. Now press the top. And now you can see that I've actually got this and I can actually move it up. So I'm going to do is I'm going to press Shift D. And I can see exactly where I'm going to pour it. Now the moment I've got no work gizmo again, so I'm going to press Shift Space, bringing in my move tool, and now I'm actually going to bring it up. And the reason why I went to bringing our move tool there again is because we grab both of these. So now it should be sat and we shall be able to use it. Now we can see that this is a little bit out. It needs going in a little bit. So I'm going to press S and bring it in. Now you will notice that as I try and bring this in, it's making it smaller and that's not something I want. So what I wanted to do is I want to come off and I wanted to put this, this time on medium point. So I'm going to grab it on medium point as Bone. And now you'll see I can bring those in perfectly where it need them. And I'm just looking to make sure that this one's in as well, and I think that's absolutely fine. Now we'll do is I'll press one again and I'll grab this again. I'm going to press shift D. I'm going to bring you like so. And again, I'm going to pull this one out a little bit. So S, pull-out little bit like so. Then we're going to press one again and we're going to probably a code grumble this one I record, use this one. I think I'll use this one, so I'll press shift D, bringing it all into place, like so. And then we're going to do is I'm going to press S and pull it in. Like so, just so the backs of them are actually hidden in the actual tower. And now finally we've got two more pieces. So I've got one piece that's on here, one piece here where it needs to make them a fair bit smaller. So let's even get away with it. So what we're gonna do is I'm going to press shift D, bring it up, bring it in, calm around near the side just so you can see what I'm doing. I can see that has made that quite small. Now the thing is on this one here, you might want to make this a little bit thicker because don't forget when you shrink it in. So I'm going to shrink it out a little bit like so that you're actually shrinking it in as well on the z-axis. In other words, if I process and Z, you can say I can make it thicker like this. And that might be something that you want to do. Another words, a mommy, little bit thin on here. So while there's all press essence that and just bring it out a little bit more. Alright, so I'm just now having a look, making sure that this is in then you can see it's not quite enough, so I'm going to shrink in just a tiny bit moles, so bring it in like so. Now I will want to do is I want a piece of wood rot on the top Supporting is actual Roof. So I'm going do is I'm going to press shift D, bring it up, put it in place, and you can see it's way, way too big at the moment. So I need to shrink it down a fair bit. So I'm going to press S, bring it right in. Its jaws, touch him in there like so. Then wanting to decide is, is this thick enough now to be holding this Roof? Or do I need to make it a little bit thicker? I'm going to press S and Z and just make it a tiny bit thicker and pull it down just so it's on the actual Roof here. I'm not going to worry too much about this part in here because I'm actually going to bring it in just to make it look actual realistic. The other thing is we might need another piece of wood on here. Actually it's a Support the Roof, but we'll see as we work along. Now, we've got all these pieces of wood, which is really great. But the problem we have now is that they're all looking exactly the same. So what you can do is you can either spin them around. So I called, grab this one for instance, and press all zed hundred and 80. Well though there is, it'll spin it round to make sure that this piece of wood here looks different from this because this one which was on here is now spun around right to the back. You can't really do that on everyone. But what you can do as you can come in to each one now, so let's grab our piece of wood again. I'm going to press one. And then one Wednesday is going to press top. And you can see that these are all grabbed at the moment. So I'm going do is I'm going to double-tap be. I want to press Z to go into wire-frame and one wins do now is I'm actually going to press the B boredom the be born is actually going to give you a box select won't wanna do then is I'm just going to click, left-click drag. And I can actually select all of these. I'm going to do now is gonna go to UV Editing. And you can see that these are my piece of wood. I want to press Dalton the number pad to zoom to where my piece of wood are. Then we're going to do is I'm simply going to move these over. And then I'm going to repeat this process going all the way along, making sure that I'm trying to change these around. Now we're going to press wireframe, rub one of them BY select them all, and then G, move them all. Then let's do the same thing on the next one. Like one, be grabbed them all. And then let's spin this around. Actually, I can press all. You don't need to actually have an axis because this is 2D from geneity Then he's going to spin them around and make them different. So now we've got a couple of more to do. So let's grab this one. They grabbed them all. Put them over it. Let's spin them around. So all hundred and 80, you can't spend them around by 90 of calls because then the World Green will be going the wrong way. And finally the last one, so it's pressed, be grabbed them all. And let's just move this 1/8. Now let's go back to modelling night Shevelov, what we've actually achieved there. So let's press the Tab button. Let's go back into solid and let's put it on Material. Let's double-tap the ages to get rid of everything. And let's have a low level looking at and that locks are really, really good start of all actual tower. I think I'm really, really happy with that. Now what we need to do is you need to work now on the front of it. So if I press one, you will see that this is the actual, From what we need now is a hole in here for our actual Windmill Arm to actually go into. This is where it's actually going to sit. I'll think that's something that we should work on next. Well, there is. Our welcome to this point is I'm going to grab my tower. I want to press Tab to go into edit mode, make sure you're on Edge Length. We're going to grab this edge here. We're going to press Shift S cursor to select it. And what that's going to do is going to put the cursor bang in the middle of where that is. Why we're doing that. Well, we're doing that because Napa press Tab to go into object mode and I'm going to bring in an actual cubes. Oh ****, they bring in a queue. You'll notice the cube comes exactly where I want it to. And now when I shrink this Q with S, You can see that it shrinks down perfectly and we should end up with an even on each side and the top and the bomb pretty much and that's Bang where we needed to go. So I'm going to shrink it down probably like this and need some world going round each of these sides. So that's the way that I want it. I'll probably end up using these parts to make the word because it's gonna be bent because of the actual tower. So that's something that we definitely need to consider. And I think I'm actually happy with that. I think when I put some world going up here and down here just to support even more. Now we want this guy and back far enough to actually make a hole in our actual tower. So I'll think something like that. So you can see here, this is how far it's going back. If it's not far enough back when you come Support your actual Arm in the Windmill Arm and it goes into, you will be able to see that it's just basically stuck against the back of the tower. And that's not something I really want to say. I want to hide it far enough out the way. So that's not that obvious. Alright, so now we've got this in place. What we'll do now is we'll grab our tower. And again, before we use any modification, we want to press Control a or transforms. Right-click set origin to geometry. And now I can do is I can come over to my little spanner and I can bring in another modifier. So let's come down at modifier, and this time we're going to bring in a Boolean. A Boolean, those basically it makes differences between two objects. So the one we're going to use here is this Q. So if I come over to my little pipette, you'll see it's set on difference. What it means is it will basically make the difference between these two objects. So if I commend grandma pipette, click on actual cube. You'll notice now that there is a little yellow mall that's gone down there. And that basically means that it's actually cut through here. Now, if I come over now and apply this, so if I press Control a, come over to my lo que, grab it, press Delete, and there you go. You've got your actual Holt. Now what I tend to do is I'm going to bring that back. I don't tend to delete my cube. And the reason for that is sometimes you might need to use it to make this piece of wood going Ronnie is sometimes it's easier to use the actual Boolean. So until you've actually got right this part here, make sure you just keep the Boolean just out the way somewhere, just so you can actually work on this. So what I'm gonna do now I'm going to grab my actual cue, my Boolean press H bond is to hide out the way. And now I can actually work on the tower. So I'm going to grab my tower, press the question mark. You'll see it's brought everything back. Press the question mark again, and now you'll see it's isolated down. Now again, if you have a problem zooming in, just press a little.in the number pad and then you should be able to zoom in. Absolutely fine. Now what I mean is on the tower is we need some world going round here, here and here, because it doesn't just want to be basically a wall coming up here and nothing actually supporting it. So we need something supports in it. Now the reason I'm using these pieces of wood or these edges for piece of wood is it's going to make a lot easier for me to do it that way rather than use that Q, because these are already been in the correct way. So let's have a look what I mean by that. You can see that these edges around here are actually perfect to use for my piece of water. I'm going to come in. I'm gonna grab all of these edges among gonna do is I'm going to press Shift D to duplicate it and pull them out and you should end up with something like that. Now before we end this actual class, you will see that the other problem with boys, if I come in and I grabbed this phase, you can see at the moment we have 123456 loads and loads of signs on here. And that is now good thing because this is classed as an angle. So we can use polygons in 3D modelling. We can use triangles in 3D Modelling. So a triangle, for instance, would be these two here. So this line coming down here would be a triangle. We can use those, no problem, it doesn't affect the lighting Animation generally we use polygons because that's actually a better actual shape to use for animations rather than triangles. So whenever we come, we've used polygons or triangles. Now, if we've got something like this, which is an angle on, it really affects your lighting. It really affects your Animation. And if you're working for a company or something like that, the last thing they want you to send through is something with a load of Angolans within the actual Mesh. It just doesn't look professional and it's not easy to actually deal with. So the important thing is to make sure that we learn how to actually fixed Meshes. So we're not sending through actual angles. Alright, so on the next lesson we'll actually look at that and how to fix this mess here because it's not right. Um, this mesh here because you can see that this is also five-sided and we don't want that as well. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. 13. Solidifying 2D Planes for Realistic Designs: Welcome back everyone to Blender to Unreal Engine five, and this is where we left the all. Now what's promised? We need to first of all, fixed or angles. So I'm going to do is I'm going to come up, I'm going to make sure I'm going to grab all this. So I'm gonna press out, I want to press H just to hide it out of the way. You'll notice that all of that got hidden and that's because I had those selected. So I'm going to click on one of these, press L, press H to hide out the way I should be left with this. You can also say that this is also an angle. So we need a fair few things to fix on this. And we might as well fix them as we move along because fixing everything once it's finished is not a good idea. It takes so long and it's just a pain to do it so miles or fix them now they have a thing of course is, do we need this bottom one here is gonna be sat on the ground, for instance, I tend to now always leave Bottoms on. And the reason I do that is just in case it messes up the Mesh or anything like that, I Seams end up with a lot of problems. If I don't leave an object as a whole is what I mean. There is all come in to the bottom of here. Now, before I actually change this into polygons and triangles, I always moccasin. And the reason is, I'll show you why. If I come in and I press right-click and I come down to where it says triangulate faces. It will triangulate all those phases for me. Now, if I come in, I want to grab all of these edges and press Alt Shift plate. You will see nothing happens. And the reason is because I need to go round now holding Control and clicking on each one of these to actually moccasin. Now, if we just take few steps back and go back before it did that, and I press Control late moccasin. Now we're triangulate the phases. You will see it's a much, much faster way of actually doing it because we've already marked the Seams. We also need to do the same now on the top, so I'm going to come in to the top right-click and you'll see, I don't have any marketing because I'm on face-like. So I'll press Control a and maxime. And then while there is right-click triangulate faces, you can also try as well to change. You can see here as well, I've got triangulate faces down here. You can see it's on actual beauty. And you can actually change these two fixed or Schultz's polygons, things like that. I FY calm to clip. You'll see now that actually changes this now. And it actually looks a lot better than now. It was, the reason is if I go back and I right-click and I come on, put this on triangulate faces. You can say that this here, all of these are going into one actual vertice. Now the other thing you need to know is it's better, a lot better if you don't have too many edges coming into one vertice. So if I come down, put this on clip again, you'll see now it spreads them all around and there's only two or three edges going into an actual vertice, and that's exactly what you're looking for. Two or three edges. If you go more than that, it's sometimes causes problems, especially if you animating things. Just make sure that you've not got too many ideas going into a vertice, alright, so we've pretty much done on that one. So now what we need to do is fix this actual face here, which is an angle. Now we'll show you another technique. So if we grab this vertices in there, grab this one here, and I press the J button, you'll see that we actually make an actual Edge. And that is also a very good way to make actual Mesh where you actually need it. So now we can see that we've got a polygon here. So now let's come down to this one. Grab this one on this one, press J, and I'll make her age. Now of course, there is an easier way we can come in, grab this right-click, I'm triangulate faces bolt. You'll see that we end up with a lot more triangles than when we did it. The manual way. I'm going to press Control Z and I'm long-run to do is I'm gonna grab this one and this one, because it's a small piece. It's very simple to do. And I'm just going to press J on each one of these. So then we're going to do is I'm actually going to now triangulate this face as well. So I'm going to come in, I'm going to grab this one. And this one because they're an angle, because they're more than four sides, right-click and triangulate faces. And because it was simple, that one, it won't, it will use exactly the same edges what I would have done doing it manually. Alright, so that's all that fixed. That's very, very nice now. Now we need to work on this piece of wood. So I'm gonna do is I'm going to grab all of these edges with Alt shifting plate. I'm going to press E and I'm going to press the Y to pull them back along the y-axis to give me some actual structure to this, what I need to do is I need to obviously give this some thickness because it's a 2D plane base layer the moment, and I don't really want that. So how I'm gonna do is I'm going to press L to select it all. I'm going to separate out with P selection. Press the Tab button, and then let's grab this piece here. And again, we're going to use another modifier this time. And again we need to reset the transformation. So controlling all transforms write plate origin 2D geometry. Now let's come over and adding a modifier. And this time we're going to bring in a solidifying. Now you'll notice when I bring my solidifying that it gains a little bit of thickness. That's exactly what it won't knife I bring this out See, we start to have a lot of problems. Now why are we adding those problems? Another thing you can do with modifiers, as you can actually hide the modifier with this little TV icon. And that enables you then to fix whatever problems you've got. So the reason why this is not working correctly is because if I come up to my little interlocking icons, come down and frown face orientation. You will see that these, some are blue, some are red. Well, that means is that these basis of base in this way and these phases are facing inwards. That is why we're having these problems. It's basically the normals and the normals all needs to be facing normally on the inside. Because if you send them through to a game's engine and you'll normals are facing outwards for instance. So let's say this wall for instance. So if I click on here, I'm just going to show you what I mean. Grab both these. I'm going to press Shift N, calmed down, put them on the inside. Now, if you sent this through now to Unreal Engine or unity or even Substance Painter, you will find that when it comes in, you'll be able to see through this poll is because that piece of software is reading this part here that's facing the other way to save on computer power and things like that. It only reads the actual one side of an actual Mesh. It actually does. Otherwise, it'd be seen through the mesh and actually trying to render out the inside of Meshes when it doesn't need to. So that's the reason why I'm going to do is I'm going to grab both of these again. I'm going to press Shift and I'm going to spin them around. And then Walgreens do. Now, I went to press Tab, grew up this part top again, a to grab everything, press Shift N and spend them all round. And now you'll see the old blue is on the outside. And the best of all, when I bring you my TV now, you'll see that they come out all nice and even going all the way around. Now quite even, there's a reason for that and we'll just discuss that in 1 s. Let's first of all turn off our face orientation. And what we'll do now is we'll come over to the right-hand side and you'll see even thickness, click even thickness on. Now you'll say that it's all nice and actual level up to you, whether you don't have this on or not, maybe a little bit of what being a bit thicker. I don't think I want to think it's more realistic looking like that. Now what you need to do now is you need to pull this back into place and actually have a log. How you actually want your piece of wood. In other words, what I mean is, do you want them a little bit thicker than that to support this or not? So I'm going to pull them out a little bit. I'm just looking now to make sure actually role in place and what I can see as well as probably going to have to pull out these middle parts before I do anything. So I'm going to grab this one here. This one here. I'm going to pull them out just a tad, just to make them a little bit more even you can see it's still a little bit out on these edges. And it always will be a little bit out because of the angle of the actual tower. So for instance, if I come in and let's say, let's grab this, I'm going to press adult because I'm struggling to move around. And I pull this one out like so. You can see that although it looks a little bit bad, but pull it out, it's not actually coming against the wall anymore. And that's the problem we have. So we need to work with it like this. I think actually it looks absolutely fine like this. Once It's going to have a piece of what one thing I think is that, uh, probably need to make this a little bit thicker. So I'm going to do is I'm going to grab the whole thing. I want to press S and Y and pull it out a little bit more like so you can say that because how we've done it, we've not pulled it out and no, it's not going to wear pulling out in that way. So one wins do instead is I'm going to press Alt, shifting plate and grab just the outside of it and then pull it out. And it's going to pull out lots, much easier than trying to pull the whole thing. Because what happens is when you pull the whole thing, as you pull it out, you actually straighten it out as well. And that's not something one. Alright, so I'm happy with that. The one thing that I'm not happy with is the fact that on the inside, it doesn't look like we've grown your ward. In other words, it's just flat round here and we need it to look like it's got what we're gonna do is going to press L to grab everything, press the S button, make sure you're on medium point before you do this because you don't want to shrink them individually. And now you'll see we've actually got a little bit of an edge go in all of the way round on the inside. And it looks a lot more realistic. Alright, so I'm actually happy with that now. Now I need to do is I need to apply this actual solidify and then I can start work on making these into piece of wood. So let's grab our solidify, Let's press Control a, just to apply that, like so. Now the other thing is you need to think, do I actually want this to be so sharp, a dual one to round it up a little bit, I think on mine, I'm going to round it off just a tab. So I'm going to do is I'm going to grab both of these edges. So I'm going to grab this one, shifts like this one. I'm going to press Control and B and pull it out. And what that's going to do is it's actually going to bevel off these Paltz for me. And now you'll say it's much, much Fly going round. And that would be definitely more realistic than a really sharp edge. So I'm thinking I'm happy with it like that. Alright, once what we'll do on the next one is we'll actually get the actual, these mock scenes split. You will get a piece of wood on here, and then we shall be able to start work on the rest of our actual town. Alright, I hope you enjoyed that. Say on the next one. Thanks a lot. Bye bye. 14. Creative Approaches to Wooden Support Creation: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it all. Now, what we want to do is want to carry on with this and actually turn this into action wooden part. So we're going to use a similar technique to while we used the rings actually going round. So I'm going stairs when I come in a maximum seams. So Alt shifting play in all these corners. Like so, right-click, come down, come up to Face Select and moments do is I'm going to select all of these. So I'll press Y to split G Then just to make sure they are split, right-click, drop them back in place. Finally, I want to actually come to my tower had the other way. So I'm just got this piece of wood to actually work with. Now let's grab the piece of wood. Now there is something you might not want to keep these back pieces to want to do Castile law in polygons. But again, I tend to always keep them now, it just simplifies things. And if I want to do something with this, it makes sure that I'm actually can move it around and not actually worried about the backs of the pieces. The other thing is sometimes when using modifiers and you get rid of this back, sometimes it messes around with a modified, so I tend to always keep them in place because it's not actually worth the hassle. The polygon count isn't that high that it's going to cause me to many problems. Alright, so now what we need to do is we need to mock obviously a Seam at the back. So Alt Shift and click, Alt Shift, click on all of the edges at the back. No, not one. This one here. And I'll do the inside actually not the outside, something like that. I'm going to right-click. I'm going to moccasin. Alright, so I'm happy with that. So now I need to make them a little bit smallest one Windows, I'm just going to simply grabbed them all with a node is split will now come to my little and talk in Links. Make sure on individual origins, press the S Bone, shrink them down. Now we need obviously some faces in here why they're all selected? Well, there is Art come up to Mesh, come down to clean up, and let's fill holes. And then we go just make sure all the holes are filled correctly. Sometimes with Meshes like this where it's a little bit skewed. As you can see, the holes don't get filled correctly. And that's just something you just need to take into account. Well, think on this occasion they actually work, so that's great. Now we've got all of our Seams Mark, everything's mall. We actually need now to bring in our bevel modifier. Now, we might not up to use a bevel modifier on this. What we might wanna do is just bevel these edges and not the backs of them. And I think that's probably the best way to do this. Sometimes it's better to do that rather than trying bevel everything off. So let's see if we can actually get away with it first. So what we'll do is we'll press tab, we'll press Control eight because we've actually changed it all transforms right-click. And then what we'll do is set origin to geometry. Now let's come over to odd modifier. I'm going to bring in a Bevel modifier. And you can see this is where it's going to look like. Now you can see that we've got some bevels on here. And this is why I was talking about where the angle, if I can want to limit method, bring that down to angle. You'll see they disappear. And now it just tries beveling off the actual sharp edges which are based around 30 degrees. So now let's turn the angle down and see if we can get away with anything. Actually, I think that looks really, really nice. So I think actually I'm going to stick with this bevel. I'm not going to bevel it all on my own. So I'm going to use actual modifier. So what now wants to do is I wanted to press Control a on the bevel. Then what I need to do is I need to fix the actual seams that amount because a brawl that in now, what I'm going to do to make it easy, just press a, press Control a, and let's play Seam. Now let's come in one small. And then what we'll do is we're marks on seams Again. I think this occasion, I'll mark the seams on the actual phases. Now you can see when to try and grab these spaces. It actually tries and select some going all the way around and that's not something to one. So while there is all grab the faces individually with a select on the inside of each of these like so. Then I'm simply gonna do is controlling and mob scene. Now let's go round the back and we can see that we need some arccosine going all the way along. The easiest way to do it is to grab this little one in here, so it's touching this Seam, go in here all the way across to this one here on the same going all the way around. So Control click. And you can see that one's messed up a little bit. So let's make sure I'm going to shift click, Shift-click. Shift-click this one when you zoom in a little bit so you can see what I'm doing. I'm going to come all the way over here. I'm going to Control click this one. Like so, Shift-click, Shift-click, Shift-click. One in there, right-click, I'm oxygen. Alright, so now the moment of truth, Let's see if these actually unwrap. So I'm going to grab them all with a when I press U on Ramp and when it come across to my Materials panel, and I'm going to click the little down arrow. And we should have one here that says, would mean, Let's click that on and you should end up with something like that. Now the other thing, of course, is you need to make sure that this looks the same as the other word that we've been doing. So repress the question mark, bring everything back, press Alt H Bringing back all Tower. Let's zoom in and see if this is looking about right now. Sometimes it's smaller pieces. You actually want the wood grain to be a little bit different, but I think on this occasion I'm just going to hide this out the way. I think on this occasion, it actually looks really, really nice. Now the one thing you can see that we still need salts out is that these are miles away from each other and we don't want NOT. So I'm gonna do is I'm going to press Tab and then I'm going to come up, make sure I'm on individual origins. I'm going to press one on the number pad, zoom in, then I'm going to press S and pull these together not so the overlapping just so we've got a little bit of orange down that press Tab, press adult bond, zoom in and now you can see we've still got that going down there, but the very, very tight and that's what they would be on this actual piece of wood. Alright, so I'm happy with that. Now we do need piece of wood coming down here, here, and all the way down the tower. So how we're actually going to do that? Well, I'm going to show you a technique to actually get all of these pieces of wood in place. And then we can just move around this side. Because the thing is, we could bring in a cube lining up against that and try and get the right angle, but it'll never be the actual right angle. That's the problem we have. So the way we're gonna do is we're going to grab the whole tower. We're going to press Shift, Enter. And now we actually have two towers. Now I'm gonna do is press P selection. And now again, we have to Tiles and they both split. So if I grab one of these tiles, I'm just going to press G and show you that we now have two towels. I'm going to right-click and hide that one out of the way. The reason I want to taus is because I actually want to use one just for my piece of wood. So there is I'll press top. I'm going to come up, make sure minutes late. I want to calm down and grab each of these edges in between here, like so. And then going to press Control, be, pulled them out. More that's going to do is going to bevel them out perfectly the right size I want. Now it's important that you do actually get them the right size that you want. So if you actually bring these out now, you will see the other good thing, because we used eight-sided cylinder. Now when I bring these, I'm just going to pull it out. You can save the come out at the right angle. And that's exactly what we want. Alright, so the next thing is though, just make sure I'm going to press controls that again, that you get the ward the right size because it's harder to actually fix if it's the wrong size. So I'm going to press Control. Bei pulled them out. Basically how thick I actually want these pieces of wood, so something like that. I think she'll be absolutely fine. Then one way to do is I'm going to pressure date and I'm going to pull them out a little bit like so. Now, the reason I've done that is because I can actually use this now to put all of the piece of wood round here, and that's exactly what I want. I can also pull them up and get them into really nice place so that the world isn't actually sat in these actual rings. And that's exactly well one. So I'm going to do is I'm going to come in, I'm going to fix the top. And I think the Bottoms not God problem anyway, I want to press Delete. I'm going to press faces. Now we've got these pieces of wood. So now we need this piece of wood regard piece of wood here and you can see them going all the way down like so. You can see where I need to break them is basically where these actual sharps are apart from the bottom one. So let's come in and calm down and select every other ones. So you can see now need this as one piece of wood. And again, I need this as one piece of wood. Personally, a wide ban press G, and now they should all be split off. And that's exactly what one. The other thing is, I don't really need these Sharps on under, don't no longer need this tower. I'm gonna come in with Edge Length. Press L on this tower, press Delete, and then come up and select vertices. And the reason that's like versus is it makes sure that we get rid of everything on this tower. If you don't select versus sometimes you end up with little bits is all over the scene on the cold empties and they don't really do anything. And to avoid that, just make sure you sleep like so now press Alt H and you should be able to bring back your tower. So here's Metella. The reason all teachers and working is because I'm actually in edit mode. If I press top, then press Alt H, my tower actually comes back. So now let's select these pieces of wood. And again, like I said, they should all be actually split now. And I can come in in edit mode on Walgreens, do is I'm actually going to separate them out from my Roof and all those things because I think that Roof is also a duplicate. So I'm going to do now is I'm going to grab them all. First pig selection tab grabbed this Roof. Let's have a lot. So G, I don't think actually I've gone all the rooms so that Roof is there. So I'm going to leave that Rubens it is. And then just select these, which is fine. Now what we'll do on the next lesson, we'll actually start creating these pieces of wood and actually moving them all the way around the town. Alright everyone, so I hope you enjoyed that and I'll see on the next one. Thanks. Bye bye. 15. Exploring Different Transformations in 3D Design: Welcome back everyone to Blender to Unreal Engine five, and that's where we left off. Now the thing is that don't just want this to be going all the way around. If you look on the reference, you'll see that we have little parts that really make it and give it some character. So we actually want to keep it up. So I'm going to do is I'm just gonna hide this out the way. I don't think hadn't no longer need this cube. So while there is, I'll grab this cube and just delete that. I don't need that anymore. Now let's come to these pieces of wood. And what we'll do is we'll try and get these all into place before we actually turn them into piece of wood. There is all come in. Well, there's our press a and press Control-V and I'll just clear all of the same so you can see we've got, sorry, not seams, sharps, so player sharps like so now should they able to come in, grab this one? I should be able to pull it back into place like so. And we can see now how far we've actually got. So I'm going to do is I'm gonna press E, and I'm just going to pull this out on this axis and it should pull out all the way to that. Now you can see that because we've done it this way, we do actually have a problem in that the ward is actually sat in here and that's not something we want. So I'm gonna do is I'm going to grab this one with L. So I've made Shaw grabbed it all. I'm going to press S and Z and pull it down. Now the problem is when I pulled that down, as you can see, it's bending away from the wool. And again, that's not something we want. Some organ donor is going to press Control zed. I want to pull it all the way back to here. So I want to pull it out a little bit like so. And then one Wednesdays I'm going to come in with Edge Select, grab this ball match when it makes sure that among actual normal, I want to press three on the number pad. Hover over here, press three and the number pad. And you can see that's the wrong side. If it's the wrong side, press Control three, and that'll put you on the right side. Now you'll see that this is pointing straight. So now allows me to actually pointed, as you can see, it's at an angle, allows me to actually pull it all based on this piece of Mesh, not straight up based on the actual world. So if it was in the world, it will point straight up and go straight to pair, which would pull it again away from the wall. That is not what I wanted. So if I press Control three now, what I want to make sure is that this is just a little bit above this actual word here, like so just sat above it because we are going to bevel it. We also want to make sure that this is also just below this piece here. So as I say, I'm going to get all of these pieces into place. So I'm going to grab this one now, press the L Bone and you can see that as well. I can actually pull this back now to the wall. Now I don't really want that. That's not something I want because what I'll do is if I pull this back, you can see that this part gets lower and this part gets lower. So it's basically moved it out Place, so I don't want that. So I'm going to press Control Z, comeback, Global, Press one now. And now I'm going to pull it back. And you should see that fits in place really, really nicely. And now finally won't do is I'm going to press E and pull this out. And you can see now how nicely that actually fits into place. That is looking a lot more realistic than what it did before. And that's exactly what we're looking for. Now, let's pull this bit into place. Then we come in, we'll grab this piece. We'll pull it back into place and envelope to see how much where we need to do on there. So I'm going to press Control three again. I want to make sure that I'm on normal. I'm gonna pull this one down first, so pull it down into place. Like so. And then we're going to pull this one up into place. Now you will notice on the reference we have a little bit of a different part on this and we're gonna make that, so don't worry about it. And then I'm going to do is I think actually I pulled the wrong one now I'm going to grab that one. There's a mad so much because I pulled the wrong one down, but now grab this and I'll pull it all into place. And then I'll actually grab this and pull this one down its place because then I'll make it a little bit easier. But let's do it that way because that'll make it so much easier. Pulling all these into place. I'm going to pull that one all full this one down. I just speed up that Workflow just a little bit more. That's exactly what it wants. So let's bring it up. You can see that as a brother or pay actually went to the back of it. We didn't want that. So it was obviously this one. Let's bring this will know. Just make sure that they offer him right on there. You want too much of a big gap there. This one is to Paltz because as you can see, we've got a bit of a bednet, so we need to grab this one. I'm going to leave that one because I know that's where it bends from, so I'm not going to touch that one. Then this one. Like so in this one, again, this parents so we know it's that one. Like so. And then this yeah, this one should be absolutely fine. Alright, so let's start work on this one here. So first of all, I need to pull this back into place. So I'm going to come round to the Sign, want to press one? And you can say, I don't want it on normal I 1to1 global, I'm going to pull it back into place like so. I'm going to press the button to play out like so. And you can see that because I'm pulling it out that way. I'd really don't well, not so all want to do is I wanted to press the X button twice and then pull it out at the right angle that I want it. And you can see it's pulled it out to here. Now you can see on the actual reference that we do have a little bit extra on this one. So let's actually create that. Well, there is a common ground the bottom of it. I'm going to press shift D, play out. Then what I'm going to do is I'm going to press E and X, pull it out into place. Like I wanted to pull this down now. So I'm going to come face legs, grab this, and I'm going to press E. I'm going to pull it down to here. Something like that Yana thing that's going to look nice like that. Now the one thing I'm thinking, should this be a little bit higher up? In other words, is this the wrong angle? And I think it is, I think it needs coming up a little bit more than lifting this up is what I mean. Let's sold out. So while there's all come in, how high this other way, and hopefully I should be able to just click this on the here. Now again, it's on global and don't will not want it on normal. So that is actually going all the way I want its own, then I'm going to pick it up life. So making sure that it's still Tuczyn, which it is not going to press Alt H and bring back my little block. And then finally I'm going to bring this block code. Like so, just so it's touching that. Now there will be a little Fine-Tuning to do once we've actually got these pots in place. But I think that at the moment, I'm pretty happy with I'm just looking to make sure this is a little bit out on here. Does it need pollen back or does this piece of wood knee pulling? But that's the other thing you need to ask. I think actually this piece of wood needs pulling out a little bit. So let's sort it out now. So grab this piece of wood where it grabbed them all without going all the way around. So Control Z, let's go back and I'll select that. Let's grab these and then let's make sure we're on global and medium point. Press the S been pulled them out. Like so just making sure that that piece of wood is under there. Now, you don't have problem in that. If the null coming in like this so far enough, then you're gonna have to actually hide the tar out the way. Come to the backs of these. And what you can do, it's easiest way to do this is just to grab each one of these. Like so. We might be able to get away with pressing the S Bone and scaling them in just in selecting these. So I'm going to select these and see if I can pull this out. You can say that we're trying to pull them out and it's actually stretching the Mesh. What if we press Control and plus on the number pad? You'll see then that we pull all of these, they actually select more or less. So if I press Control plus, you can see all control minus that we can select more or less. I'm just going to press Control plus just select the next ring ground. And then I want to press S and bring them in very slightly. Then press Tab, I'll teach, bring my, my tower. And now I can see the raw up against there. And if a comb around this side, that now looks really nice. Alright, so now let's come in and think how far we want this part down. So I'm going to come in when I press top face, select, grab this face and it's going to pull it down a little bit further, like so. Now I'm going to come into this part here. Now the other thing is, do I want this a little bit thicker thing could do as well, so we'll do that as well. So I'm going to grab each one of these sides, press S and Y, and just pull it out a little bit, just make sure you're on medium point. Now. Let's bring this in now. So I'm going to make sure I'm on global. Want to pull this in. And you can see that it's going over this part. Do we will not I don't think so. I'm going to press Control three, come in, make sure I'm on a normal grabbed the top of it, pull it down just so it's below that, and that should all fit together really nicely. Finally, now I'm going to press L global. Why Windows? I'm going to pull it back into here. Then I'm going to press E and pull it out again. You can see that it's pulling it out. Possibly we can get away with that angle. Sometimes we now need to press E and export. I think actually that's worked out absolutely fine for us. Alright, so now let's carry on working down. So I'm going to press 3D Control three, sorry, this one has been done, so I should be fine with that one. So while there is all grab this again. Let's pull it into place. Let's just make sure that it's right and it looks right to me. So let's pull it into place. Like so. And I think when I pull this one now I'm going to actually have to press E and X. So I'm just looking to make sure how much gap between them, because you can see that there's a lot more gap on this one. So I'm going to pull it a little bit more in, press E and X twice and then pull it out like so. Now let's have a look at that. Yeah, and I think that looks really, really nice. And now we're going to come down to this. You can see we've got a bend on this one here, so we need to allow for that. So I'm going to come in, grab this one, pull it into place. Like so. And I'm going to press E X twice, pull it out like so, and you should end up with something like that. Now let's come round and what we need to know. Now if you look at the wrappings, you'll see that this one is a little bit different. So for instance, we have another little pop on here and it kinda comes in and then breaks down an angle. So that's something we'll have to get on our next lesson. Okay, everyone, I hope you enjoyed that. And I'll say on the next one. Thanks a lot. Bye bye. 16. Achieving Realistic Wood Joints in 3D Modeling: Welcome back everyone to Blender to Unreal Engine five. And this where we left off. Now, let's come to this part here first. Now, this part here, you can see it's the Main support of the actual town, which means realistically, this should be thicker than the other part. So I'm going to actually make this that Goswami and I'm going to press L to grubby old control three. I'm going to pull it out first. So let's press S X. Now. Let's process and why? Let's pull it out little bit like so. Now you can see it's a lot thicker than these parts as it should be. Now let's pull this into place first. So something like that. And I can also see that if you look on the reference, that we actually have a piece of wood that comes from about here and then actually goes up. So I'm actually going to create those Walgreens. Do is I'm gonna grab this part here. I want to press Control three again, I'm going to make sure that I'm all-natural, normal. And then I'm going to pull this down, say something around there where we can have a piece of wood coming out here to give this a bit of character. The other thing is, let's say about this file because I haven't saved in a long time. Don't wanna lose my work. So just make sure you've saved your file out. Now, let's come in and pull this, makes sure it's right against the wall. Now we're going to grab it all with all. I want to make sure that among global again and then Walgreens theories, I'm going to press one. And then I can see outbound when I pull this out. So I'm going to press E and I'm going to press X twice to make sure it's going out straight. I'm going to pull it out like so. It's quite thick. So I want to probably pass this point because the other part that comes out here is also going to be past this point coming up to you to hold everything together. I think that kind of thickness looks absolutely fine. The one thing I do need to do though before carry-on is just grab it all and pull it actually against the wall. I do want this sun into that wall, which means now if I press one, I need to re-establish how thick actually want this probably needs to come out a little bit more. So I'm going to grab the front of this one. Let's pull it out like so. Alright, so now let's actually bring in the actual, this part here and bring it up. So I'm going to do is I'm going to press I to bring it in. Like so. Then I'm going to press E to bring it up. Like so. Just so it's actually through that, Something like that thing looks really nice. The one problem we can see is that this still needs to be touching this wall, which means that we might need to bring this out. So I'm going to pull this in. So it's actually touching the wall. And then Walgreens do is now orange, grab this one, this one, and this one. And I'm going to pull them out. So I'm going to pull them out like so. And you should still keep that angle because we pulled them out pretty much straight. Now when I press tab, double-tap the a and actually have a look at that before I carry on. And I think I'm actually happy with that. The one thing that I do know, if you look at the references that this is kind of split and it actually drops down on the front of there. So that's something that we actually need to do. Let's do that now. So what we'll do is we'll grab this again, press a tuple and go into Edit Mode, come into Edge Select and warm gonna do is I'm going to drop in an edge loop in the middle of here. I'm going to press Control Law, left-click and natural to you where you want this thing, I want to pull it down probably to something probably to something like that because then I'm going to get away with the thickness of this. So let me show you why Main and then you'll actually on this down. So I've got manage looping now. I'm going to come in and hide my tower just out the weight for now. I'm going to come back to this part and I'm going to grab this part here. I don't want to drop this down. Now. I'm just going to drop it down like so. And then hopefully with this pot now, if I grab it, I'm going to pull it back. So let's pull it back. And then you can see that I actually need to lift the old. Now you can see that because I've pulled it back, it's actually hidden. So I'm going to pull it back, just pass there, and then I can really see where I need to pull this up to. Now if I grab just this edge here, put this on actual normal. And now I can say that can pull it open, it's past that point there. Now I can finally grab it back on global and then put it back into place. Now, is that too close? I think actually we might get away with that, so that's nice. Finally, the last press E and X, X twice and pull it out. And you can see actually that actually probably it didn't work out for us so well because you can see that it's gone through that piece of wood and that's not something I want actually want to make sure that we can actually see a clear distinction between this piece of wood and this piece of wood here. So the other thing we can do is we can come in when grabbed the top of it. We can press the button, hide it. And now I can actually see through that, which means now I'm comin, grab this edge, put it back onto normal. And now you can see that I do have a problem in how a pull this up. Sometimes that happens. I'm not sure why it is, but sometimes it does. And what I need to do now is just put it on global, pull it up and you can see it's pulling out a little bit. I'm going to press one. And now I can see where it needs. Pull this in. I'm gonna pull this back To something like there, pull it down. And now I've got a little bit of a gap in here, which is what I want. Now, do I want to pull this all the bit up as well? I might as well do that while I'm here. So I'm going to press one, the number pad, Nepal it 4k, just a tiny bit like so. Press all takes to bring back that gap. What was there? Let's press tap, double-tap the a, and there we go. That should be pretty much all of the ward actually don't Along here. Now of course they're all. We need to add the basic textures on. We need to bevel these, That's another thing we need to do. We need to make sure that they in place. And then of course we need to spin them so they're going all the way around. So all those things to do, what we'll do is welcome to these now and we'll start isolates them out. Well, bevel them off. Yeah, well bevel them up there. So the thing with Bohr isolates and we'll bring back old tower and we're just basically taking Stock now allowed to proceed. Sometimes we have to do that. Take a step back, think you're going to proceed, then we can actually move on. So let's press Alt H, bring back old tower. And the reason I'm bringing back all terrorists, because then I'll be able to see exactly what these look like when they're actually beveled off. So now let's press Control or transforms right-click origin to geometry. Let's come over to our little spanner. Add, modify it, and let's bring in I level. And you'll see that, that now they're all devil dog. You can see how nice they actually look. So do we festival want this part here beveled off so much? First of all, I'm going to put this on an angle like so. Now you can see it makes it look much, much bad. We can see the gaps that we've got now. And what we're looking for is to make sure that they're really up against these pieces of what because we don't want a gap where it's not actually touch him. That's one thing we do actually need to make certain know. First of all though, let's make sure we're happy with the bevel. I think at the moment this is too much of a bevel as well. There is. I'll just bring this down a little bit like so I think that bevel there but double-tap the a looks much, much bad. Yeah, I think I'm happy with actual bevel and test things out as well. Like for instance, here you can see this is actually stuck out probably to fall. And I'm looking at this point here. Is it all pulled out to fall? I think so. Your mouse will get this part, Ryan, the reason is when you move on to the next part, you're going to actually be duplicating this all the way around. So we might as will get this part. So I'm just going to grab those two. I want to pull them back. Ryan's plates like so. Now the thing that looks at home better already like that. Alright, let's press the tab. Let's double-tap be. And I'm just looking at the sizing of the moment. That's the main thing I'm looking at. This one we can see is Out a little bit. Now, do we rarely want that? I think that this part here would be more Chow and actually overlapping there. So I'm going to take into account, so I'm going stairs. I'm gonna do the same thing that I did before this time. Now I'm gonna do it on the outside. So I'm going to grab each of the ones on the outside. Like so. All the way round. Press Control plus on the number pad, make sure that Ron medium point. And then what we're gonna do is going to press S Bone and pulled them out. So they're actually over those pieces of wood. Press the Tab button and just make sure that the ward still looks absolutely fine. Alright, so I'm very happy with that. Now what I need to do now is I need to press Control 31, looking for is now any kind of gaps. I really don't want any gaps. I want the actual award touching on all of these parts. I'm just going down. We can see here for instance, that this would isn't touching. So we'll come in. They select, try and grab the top of this face. And another thing is because I'm not actually adding in the bevel, so I have not applied it yet. It's much easier to wherever it. So make sure you do it before doing that. So let's pull it up. Make sure there was a Tuczyn like so let's work our way down. We can see here again, these are a little bit out, so Control three, bring them down. So it's actually touching the word not one is about right. Let's come down now. Like so this one's a little bit out. And it definitely is worth doing this just to make sure the Build looks correct. Just spending this little bit of extra time, you can see that some of them are actually quite far out. So Control three. Bring it down. Same for this one. Because we want this model to look really, really nice. It's important that we do just spend a little bit of extra time just getting these things. Correct. Now the other thing is on this part, do I actually want it so that the word looks as though it's coming out of there, or do I want it where this is a separate piece of wood actually joined to this. And it's probably, in all honesty, going to be better if it's a separate piece of wood. So how to actually fix that? So I'm going to press Alt, Shift and click grabbing all these. I want to grab both of these as well. Then I'm going to, I'm thinking probably grab all this going around. So Alt Shift and click Show gribble those what I compresses the Y button and you'll see that now it splits it all off. Now if I hide this part all the way, I'm column to this part here, I'll show you another way to fill in whole. So what we'll do is we'll grab this side and this side, or press the button. And then we'll grab this side, on this side and we'll press the ethyl and again. And now you'll see now it's actually beveled off. Now you will see there's a gap in here. So we need to do the same thing with the other side. So I'll press Alt H, hide this one out of the way this time. And you should end up with something like this. So now let's fill in this one. So this one, this one after filling phase, this one on this one after filling phase, old age, bring everything back, tap, double-tap the a, and there we go. Now the last thing is I want to pick this up because I wanted to look like it's actually sat on top of that. So finally we'll do that. Well, there is, I'll grab all of these going roundness. I'm thinking the easiest way to do this is probably to hide this out the way I want to press H, grab both of these, press Control plus, and now let's pull this down. Let's make sure that we're pulling it down on the normal. So I'm gonna pull it down. Press Alt H, bring this back again. Now grab both these control plus control three and then pull them up. Like so. Now tab double-tap the eight. It looks like it's actually sat on that and that is exactly what we're one. Alright, so what we're doing the next lesson, we'll start applying our bevel. We'll start marking seams, will start bringing in not textures. And finally then we can actually start spinning this round so it goes all the way around the tower. Okay, everyone, I hope you enjoyed that. Stay on the next one. Thanks. Bye. Bye. 17. Easy Methods for Creating Unique UVs: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now, we need to start marking seams. We know the role fits in really nicely. We know we still have our walls and stones and things lot today, but let's actually do the wolf, so we're going to hide those out the way. I think actually I'm going to select Base, isolates it with the question mark and that then he's gonna make it a little bit easier to actually wear conforming. So let's say calm and work our way down. First of all though, I need to press tab because I need to be an object mode to apply my actual bevel. So I'm going to press Control leg and apply that bevel because we know it looks pretty nice now. Now let's come in and marks on Seam. So I'm gonna grab the top of here. I'm going to press adult on the number pad just so I can actually move around this actual place here. So Alt Shift and click. Let's work our way down. So Alt Shift and click, you can see what I'm doing is I'm leaving the space and the next one out. And that's how I'm actually going to mark my seams on these. I think I'll do it all the way around. Exactly the same way. You can see once you get the hang of this, how actually quick is I'm going to calm down. So the next one, next one. And I'm doing all of these vesicles, I find that this is a much quicker Workflow. I think I'll do one there than actually doing the backs of them the same time. So I'm going to come all the way down to the balmy can see I've got Seam on the bone that don't particularly want. So I'm going to right-click now. Moccasin, grabbed this one, press a little dot bonds to zoom in. And then we'll press Alt, Shift and click and you can see it doesn't go round. So I'm going to do is I'm going to grab this one, shifts like this one, right-click and I'm going to clear those Seams, importantly, clear seams that we don't need. If not Blender will still try and make a call. So that's important. Now back to the top. Let's say com to this one here, press adopt to zoom in. I'll think something right in the bucket against the wall should be absolutely fine. And we'll do the same on here. Now, I'm looking for is just to make sure that they touch in the actual seams. I'm going to right-click moccasin, grab this one, press adult just saw can zoom into this one now where my way down all the way round and just take your time again, just to make sure you get all the seams are going to select this one, right-click mob scene and zoom out. And I've got one Seam left, which is here, right-click, I'm oxime. So the moments of truth, Let's see. Can we on Ramp these all are the same time. That is the question. So I'm going to grab them all. I'm going to make sure among global because I don't want to be on normal animal. I want to come over to my UV Editing. I'm going to press Z to go back into material preview, like so. I'm going to then press Alt H, All the question mark just to get everything back. I'm going to press top. Just to make sure I've actually got these selective which I have now, then I can press Tab again, press a to make sure you've got everything. Press U on Ramp and let's see what those are. Warm Ramp light. You can see we've got many going the wrong way. So now let's come over and make sure that we've gotten Material. And so you can see on the material but material or one, we don't want, we want Wood Main. Now if we zoom in, Let's have a look at which way these are going and work our way down. So I'm going to press Tab. Now I can see that this piece of wood looks really nice. Another way my way down, I can say that the get the wrong way round. So one way to do is I'm going to grab both of these, zoom out a little bit, press a all 90, spin them around and now you can see jots down nice Those piece of wood. Look, let's keep going down and see that this one's wrong. This one's wrong. So I'm going to spend these round a 90, work my way down. This one and this one, a 90. Spin them around. Alright, that looks really nice. Now let's come to modelling. Let's press question mall, bring everything back, double-tap the egg, old teach, bring back Kolb's Howard. Let's just click off it somewhere like so. Now we're just going to have a look, all work and make sure that we happy with it before we finish because we can still bring these up and down. If you not be with them. It's just a bit harder than white walls initially where you can see we've got all these joins now and then look really nice. Now one thing you need to always look at is how is this bending? I think the actual grain Fuller and in this way actually looks quite nice, so I'm happy with that. So I'm just waking. Well, I'm just looking at how this looks. Alright, so I'm really happy with that. Now what we need to do is of course, we need to bring this to each one of these points. We need to make sure that the ward actually looks different. So let's first of all pulled this out the way. Pulled this out the way. And I'm just going to grab all these and just hide them all out the way. I should just be left with this now. Now come to the bottom of the tower and there's an easier way how you can actually bring this around. So comes up on the tower, grabbed the bone. And then what you're going to do is just going to select all of these. Now there isn't easy way to select things as well. If you press the C Bone, you'll end up with this circle. If you move your mouse wheel in and out, you'll see you can make it bigger or smaller. And then what you can, as you can left-click to select all middle mouse to deselect. So just select all the bottom of here. Right-click them to take you all should cursor to select it. Now I want to do is needs to come back to our world. So let's press top, come back to onward. Right-click. And let's set the origin to our 3D cursor. And now when I move this, so if I press on zed, you will see that actually moves round all tower perfectly. Now all we need to know now is what is the angle of the tower? And it's basically a circle which is 360 degrees divided by eight because we have eight of the sides. So let's get our calculator out. Here is our calculator. So what we do is 360/8 equals 45 degrees. So now there is a close that down. I'll grab this one first. A moment to do is I'm going to press Shift and D. That then is going to duplicate it and press Enter straight away. And then you compressed all 45 or not. Then it's going to put it right smack where we actually need it again. Now let's do the same thing. So Shift D, all 45 ship, they all said 45. Now you can actually do this with an array Mesh or circle, things like that, or even an empty. There's many, many ways you can do this. But honestly, for something like this, don't complicate it. Just try and do the simple way. So Shift D, all 45. 45, shift the opposite 45 thing. Just make sure that one's on. Yes, it is Shift D or decline. There we go. And you'll see now the towers really starting to come to life. Albeit this part doesn't know about God, but that's something we're going to salts out now. Because all these the slope now before we join them all together, it is going to make it easy because we know where we need to change. Another words. If I grab this one and a hide it, while in fact will go to UVs and that'll make it easier. I'll grab this one. I'll press H to hide all the way. I'll come to this one. I'll press Tab. Hey, grab everything a over the other side, G, Let's move them. Now we know that these pieces of wood should look different to these on this one here, I'm going also move them up a little bit as well. Alright, so now with their high this one throughout the next one, top a, a over here, grab everything, move them out away, top, hide them, and just work your way around. This way you're going to make sure all of the pieces of wood are different. You can also spin them around, so all underneath to spin them around, top, hide them out of the way. There is something else we can do as well if you're grabbed them tab to grow within a over here, you can also come up to where is it? Let's see UV mirror. Move them around the axon, you'll see it just Mirrors them over the other side. And that actually will make them look different as well. So you've got that option as well. Hide them all the way. You can do it with the Y. So we'll grab these top a comb-over a again, you, the mirror. Why? Spend them upside down? Hide them all the way. Now, let's do the something with these. So we'll grab these and I'll just pull them down like so. Top of them out of the Way. In the last one you can see how quick that actually used to just do that. So let's pull these something like that. Knowable top be Alt H, bring everything back towards up the a, and there we go. Now you should say that all these pizza would actually look different on inspection when you actually come to either render out or if it's unknown real, they should look very, very different from each other. Now, before we finished, Let's just hide this out the way. And what we need to do now is we need to fix this part here you can see it's not right way, way too far out. There is welcome to this piece of wood. I'm going to press one. I'm actually going to do this while a Main UV, I don't see, why don't, I can't do it in there. There is. I'll press Tab. I'll make sure that I grabbed all of this one. So I'm gonna come in L to grab it all. And then what I'm going stairs, I'm going to come up to something called Mesh or peer. Come down your loved one, says bisect. Margarines do now is going to click on the buy-side. You'll notice when you've clicked on the buy-side, you can't actually move anywhere or anything because you need to left-click drag. You'll notice you make a line along there. And then what you need, storage needs comb to the menu Bottom left-hand side, and just clear even the inner all the outset. So in this case is clear in the inner. Now you will notice we do have a problem in that. When we've used the bicep tool, it's actually got rid of this bomb and we don't really want that. Again, it's a bit of forward planning on this. What I need to do first is I need to just make an actual Edge Loop using either the bisect or I can press control law. Now the problem is bringing in an edge loop. So I brought him edge loop here, left-click, you'll see that I can actually bring it in this way now sometimes it will move the Mesh up and down. So if I leave this here like so, try and pull it up. You can see that all of this wood grain is being stretched and that's not something you want. So just be aware of that. Now I can do is I'm coming Grab all of these. So Alt, Shift and click grabbed them all going round, press Delete and bases. And there we go. Now we've got our gap that we need. And finally now we need to bring these back into here because the Way too far out, so I'm going to do is I'm going to grab both of these out and Al and just pull them back like so into place behind that Paul there. Like so. Now the other thing is I do want to fill this out. Do I want a bevel they sell for dual, wanted to let allege that. That's the, that's the thing I need to think about. So I think I will do that. So I'm gonna hide this part of the way. I'm going to fill in this part. So easiest way to fill it in is probably with all types. Well, there's Alt Shift and click alter, like so. And then I'll do the same thing now actually, I did the wrong thing that I'm going to press Control Z, I'm going to right-click mock Seam, then press Alt F, and that's gonna make it a little bit easier for me. Same on this one. So Control-V, Maxine, all tech, bring them back. Now, what else I need to do is I need to Beverly is all I'm gonna grab my tower. I'm going to call it into my piece of wood. And what we're going to do is I'm going to try and grab this in Solid mode so I can see what I'm doing all the way around here, like so I'm also going to do then the same with this one. So I'm gonna come in, grab this one. I'm control-click and bases what I'm doing. So grubs it all the way round, like so. Then finally one way to do is I'm going to press one. I'm going to press Control B and just bevel those off as you can see now hopefully don't bevel it to by just needs to be a little tiny bit just so we don't break the Mesh or anything like that. Now let's bring back on Material and you should be able to say that it's not actually right at the moment. What we need to do now is get rid of this scene on the inside. So what we can do is we can come up, they select, grab this face so L and you can see grubs it all the way up to that because there's a Seam malt that will do the same thing on this one. So L, controlling and placing and you'll see it actually gets your love scene, which is exactly one. And now finally, let's say press tab. Let's bring back our actual tower. So I'm going to hide this the way what I'm looking for now is to make sure that these are not in the world that this sticky notes that they're aware we actually did was actually pointless. So what I'm gonna do now is I'm going to grab this, grab all of this one. So L. And then I'm going to come to normal select. And you can see because I'm actually in my UV editing, some of the options appear a little bit different. So I'm gonna go back to modelling just to make it a little bit easier on myself. Press the adult bond to zoom in. Press one on the number pad. And the moment I'm just going to put this on normal and then pull this down. You can say it's still not right. So I need to come in and actually pull this down the other way. So I'm gonna hide this out the way again. Come into this, grab all of this with L. Press one, pull it all the way down. Same for this one. We miles will do this at the same time. So I'm going to grab this. I'll pull it all the whale. Now, top, I'll teach. Hide this all the way. Grabbed these tab. We should have both of these grabbed all use this one, should be fine. Let's pull it down into that. Lets them do this one. I'll pull it up into their mic night. You will notice that obviously in there, we can see for double-tap be joined drought begins there. Now we can't see those norm wrapped on there, which is absolutely fine. We don't need to unwrap those posts. Alright, everyone. So that was a bit of a long one boy, he managed to get there in the hand. I hope you enjoy that. I hope you learned a lot and I'll see on the next one. Thanks a lot of I 18. Harnessing HDRI and the Eevee Renderer: Welcome back everyone to Blender to Unreal Engine five and this where we left it all. Now, let's hide this other way a minute. Like so. Just hide them all out the way. And let's come to my Wood again. Now I'm going to do is I'm going to grab all of my piece of wood. Now. We've Shift-click in all the way around and when join them altogether, I'm going to grab this one in here. Hopefully they should be grabbed as well. I'm going to press Control J, join them all together, press the G ban, and then you'll make sure you've called them or you can see I've missed one down there, so I'm going to join that as well. Control J, G, make sure I've grabbed them all. Now the other thing is, I've actually got on my actual smoothing. So I'm going to shade smooth like so normals, make sure Altos movies on. And then when you send them through to anywhere, it's just going to make sure they're all smoothed off correctly, so they look old gold. Now, at this point, you can, if you want to, change what the world actually looks like. So I can come in, press a, grab everything, come to my UV, and you'll see you end up with this mess. Don't worry too much about how it looks and then what you can raise you and press S and pull them all out and make the world grain a little bigger if you need. So I'm thinking now I'm old grandmas, perhaps a little bit too small. Now you will see that you do end up with things like this. And that is just because it's actually going over the actual boundaries of this one. I don't mind that pretty much most of the time, I'm just looking around now and just making sure it all looks okay. You will get a little bit of discoloration and things like that. I think if it's something that's like on the front like this, so just this one here, I think I'll probably go in with my Edge Select and just grab this and just pull it down into a bad place, like whatnot, we'll get rid of it. So any of those that you've got like that, just make sure if you want to just go in and saw that out. Now think at this point in the best thing to do as well as also to, first of all, save it out. And now let's have a look at all Eevee Renderer. So now let's plot it on all Eevee Shader. Let's double-tap the a. Let's come over to our little world icon, which is this one here. And then what we need to do is needs come to where it says color. When I click this little icon, you're going to come down to an unsafe environment and texture. Click the home, everything will go pink. Don't worry about that. Click Open. And what you need to do now as you need to go to your Download Pack. And then you Download part, which is this one here. You will see you've got one called HDRI, double-click that and your loved one that says day EX or double-click it. And voila, there we go. Now you'll see you've got an environment texture, which is a day which gives realistic lighting. You can also turn off the actual lighting to make it a little bit brighter. Now, it's not hundred percent right? So when you do a render or something like that, you will want a song in here or something like that just to give it a bit more lights. And because this is like kind of a background lighting. So what we'll do is we'll actually bringing us on now and I'll show you exactly what made. So we've got our cursor right down here. Let's Paul cursor in the census, we know where it is so shipped desk because it's world origin and then Shift a and you'll notice when you come down your loved one that says line Como vanilla Bonuses, some, bringing you some political. Pull it out. And you'll notice, as I spin this around, so all X spinning round, you can see the song is actually shining on here now and given us a lot more light over the right-hand side as well, if I click on my life, I can actually turn up the strength or my son, let's put them three, something like that. And I say it's a lot, lot brighter. And now you're able to really see what your actual tower of you windmill is going to look like. So I can also now as well put this on global. First of all, move my son right back here. Because it doesn't actually matter because it's a song like this one real lives is an infinite light source. He's not like a candle where the further you go away from it, the less you can see it's not like a point light in Blender or anything like that. It's actually based on physics of our actual son, which means that no matter where the sun is, it will always shine exactly the same line. There we go. Now we have something to actually look up. Now the other thing that we need to do is we need to just click on a few options. And the reason we're gonna do is just to make sure that we've got an actual good view of what this is going to look like. So if we come over to the right-hand side, you'll see we've got this little TV here. Now if you come in and you click on ambient occlusion, while that does is it actually brings shadows to our actual Build. So if you can see, if I click this on an app, you can see just in here, for instance, this little edge down here. You can see when I turn it off. You can see when I'm turning off, there's nothing there. When I click it on, you can see we end up with some nice shadows in those little edges. Let's pull them some bloom as well. And you can see it goes a little bit foggy. We're not going to mess around too much of a bloom at this moment. What it means is it makes it a little bit hazy, as you would in real life. Nothing is like really, really clear. Generally, you always get a little tiny bell pays on the camera or anything like that. The other thing is we're going to turn on screen space reflections. And this is important for a metal. So we need this on ready for our mental. Let's open this one up as well. And what we'll do is we'll turn on refraction and turn off half raise trace. We don't actually need that on. So that's all. Now. Everything else at the moment should be able to stay the same. We are going to mess around with these a little bit more as we work long. Now, the other thing is, apart from all of these, you have one that says colour management and this is one that I do want to turn on. So if I scroll right down, come to colour management and a pot this lock on very high contrast. You'll see now that actually really, really brings out the lighting on here. I'm rarely makes this thing pop, and that's really important actually. So make sure that you've got actually this ticks. On. The other thing is when we come to actually render this out in the Eevee, it's important that we messed around with the gamma as well because you can save button this gamble. It really, really affects how the lighting looks. So I'm just going to set that back to where one. We're going to leave that alone for now. But at the moment, the most important thing, now you have an idea of what the actual tower is going to look like. So now let's put this back on Material. And now we need to do it. Start work on our actual stones down here. So let's click on the tower press Tab. And what I'm going to do is I'm going to press Alt, Shift and click going all the way round that should select them all. And Window then press shift D just to duplicate them. I want to press S and pull them out. Now, when it did that, I made sure the amman medium point just so it's not pulling them out individually or anything like that. Now what we're gonna do is we're going to split these up now to make our stone slabs. So I'm gonna come around every other one. Like so. Press Y, G, split them up like so. And then I'm going to grab everyone. I'm going to split them away from actual tower, just saw can work on them. So I'm gonna grab them all. Pay selection. Top, grabbed the Stone again, top again. And now we should be able to make these smaller on individual origin server command, make them smaller. As you can see now, that kind of gains a place where I want them. Now, let's bring them in. So if we come back to medium point, press the S Bone and bring them in log. And then let's make them smaller individual origins. As again, like so because we want all stone slabs to actually be up against this. Well, we don't want actually to be in the actual what we want them to be up against it. That's important. Now what we need to do is you need to press Control a or transforms. Right-click set origin to geometry. And basically now these are all prepared for the next lesson where we're going to solidify them and turn these into actual Stone. Okay, everyone, I hope you enjoyed that. The on the next one. Thanks. Bye bye. 19. Working with Stone Materials in Blender: Welcome back everyone to Blender to Unreal Engine five. And this is where we left the off. Now I'm just going to press worn a minute so I can see where these off. And you can see that I need to really pull these out a little bit. So I'm going to press S and Z and pull these up like so. Now you can see when I did that, it's actually distorting them. So we'll have to probably come in and put it on normal. Let's see if I grab the edges. Will it pull them down? Now we do have a problem in that if we grab all these, as you can see, not all going to be pulled down in the correct way. So there is another technique you can do it, we can grab all of these. So let's press a and we want to pull them on the Z axis on this angle individually. So we've already gotten normal. We've got it on individual and not to press S and Y. You'll see that it pulls it from all different angles. If you press S and Z, you'll see again, pulls it from all different angles and you progress S and X. You can see that we can pull it from the right angles. So now if I pull this down, I can pull these into the ball like that and it keeps the angle going on. It's very, very handy to actually pull things that are arrayed out like this in a certain angles. So that's really wanted to know. Now what we want to do is now we can also as well, if I press S and Y, your consent can also pull them in on this angle, which is also very young to know. Now, let's pull these back. So how I'm gonna do is I'm going to come over to my modifier. On modifier. I'm going to bring in an actual solidifying. And I'm going to pull this now back into here. So I'm going to pull it back into this part here, like so I'm going to make sure even thicknesses on and now I just need scenarios. I just need to make sure that they're up against these pieces of wood here. So I'll think actually that looks really nice how they all, I'm thinking, don't want them bigger than this or are these kind of about the right side is nothing but around about the right size. I could pull them all down. But I think will give the electrons. What we'll do now is we'll press tab again. I'll apply my modifier, so Control a, and then I'll press Control a again, all transforms right-click set origin to geometry at another modifier. And this time we'll bring in now a double, bevel them up like so just want to make sure as well that there in the floor. So what I wanna do is I want to first of all bring this down slightly so they look like Stone. Put this on an angle. What I want to do now is it just want to make sure, as you can see, we do have a problem in that these are all basically in the actual Wood on these pots. And we really don't want that. One Window is going to press H to hide metallic column to the backs of these stones like so we're going to use the same trick that I've just showed you today. So I'm going to grab each of these facts. And then one Wednesday is going to press S and why and pull them in. Like so. So they're actually against Award and now they're much, much bad. Now we're Stone sometimes better off putting on one extra segment, as you can see and then turning this off. And sometimes that makes them look much more like Stone. It's kind of up to you. I think for me I'm going to leave it on one. I'm going to bring it down a little bit like so. And I think that should be absolutely fine. Because again, the more we set this higher, the more polygons is going to use. Alright, so think I'm happy with that. One way to do now is I'm going to press Control a and apply that modifier. Now why needs? There's a need to actually mock them Seams. Now it's Stone, it's a little bit different. We have to be very careful. We can mark seams each side again, you just have to be careful where you're actually Malkin seams. So I'll think on the inner parts of here is probably the best place we can mock seams. That's gonna be somewhere where we can't actually see when to grab my Stones. I'm gonna grab this face precedent bonds. So I'm actually can move around here like so. What I'm going to do is I'm going to come now and grab each of the interfaces all the way around. And that is where I'm going to mark my Seam. You can see we've got Seam already on the bottom here. And I'm just going to check that before carry on. You can see we've got lost seams on the bottom and that's not something we want. So what we need to do is we need to press a very thin controlling. And what we're gonna do is going to clear our seams. I'm also going to clear our sharps because they've inherited from our actual Tau. So let's also clear the sharps because we won't be needing those. And now we can actually go in a mock. The Seams all on the inside of here. And hopefully they should turn out very nice. And then we can start work on the actual walls of the actual tower. And actually after that, apart from the Window, not actually a lot more to do except the roof. The roof actually it doesn't say it that long to do. Now and that's all of those. So let's press Control a mock seams. There we go. Alright, so now we need to mock Seam the bomb. Now, sometimes when you press Alt Shift and click, it goes all the way around. And we really don't want that. The reason these are going in the flaw, but we really don't really want to get away from actually doing that. So I'm going to do is I'm actually going to do it just a little bit. A little texts a little bit long, you just pressing shift, coming to the end. Control-click, same again. So Shift-click, control-click Coming round, Shift-click. Like so. All the way round. Little bit tedious as Paul. But trust me into web them rather than leaving it to them. So right-click marketing. Alright, there we go. Now let's come to our UV Editing first and let's see if we can unwrap all these. And it really doesn't matter which way the face and actually with Stone, That's the beauty of Stone save his mouth. It's just mainly the ward or bricks and things like that. Now, let's change this material on one to actual lead Stone. So I'm going to click on it. Type in stone like so. Come now to our shading gravel principle. Press adult bone just zooms in. And if there's not anything that press all teach, press the question mark. Come to your Stone, so grab your stones, rest adult bone so it can zoom in. Principle Control Shift T. And now let's find our actual material. So here is all material Stone. Suppose we have one, that's Stone Wall. We don't want that one. There's just don't Supports to K again. And then we're going to grab all the way down to the specular, principled. Bring it in. There we go. Now, let's just put all know EVM and it just to see, we'll now actually looks like to make sure that looks actually fine. You can see what it's done is it's actually put the Stone all over our actual material. That is because he used the material over one. And then maybe that's another thing why it's so important. So we definitely don't want to be doing that. At the moment. We can't really see what this looks like because we need to change the material on here as well. I'm going to do is I'm just going to come to my Material when a minus they all, I'm going to click on our default, which is this one here. I'm going to change this to a great color. And I'm gonna do the same one on here. So default gray, and now I have an idea what this looks like. So you can see, recall that edge down there which we're talking about because we didn't want the Stone to be right up against the wall, which are things important. Now we can see that we're probably a little bit, we need to make these a little bit bigger. So I'll do is I'll grab the Stone, press a, make sure I'm on Global, make sure I'm on the individual origins. Press the S Bone, pulled them out just to Todd like double-tap the a and now thing that's much, much better than what the word, alright, so I'll think I'm happy with that. Now, let's come back to modelling. And I think what we should do now is we should bring in the actual material for our actual tower. So let's come in, hide these parts out the way again. Like so. We'll hide the Roof as well. We don't need that. We'll also think about where i'll, I'll seams. So hopefully we've got Seam down each of these. Now, if I press top from on the tower like so, you can see that we've got one in here that we definitely don't need to Seam. So what I'm gonna do is I think I'm trying to think, I'm going to mark one edge of it. So right-click mark scheme, that means I definitely don't want a, what I mean is I don't want to split this up. I want them to be a full wall going down, so I don't want Seam in that. So it's two pieces. I don't want no. Now what can do is I can hide the piece of wood, come back. And now you can see that's the one that I don't need marking. So what I mean is I've got to Seam here. I'm going to pour in a scene going here, here, here, here, here, and then write down the bottom. I don't want to Seam in here. So right-click MLK Seam. Now we need to Seam going all the whale, all of these like so. So right-click monk Seam. Alright, so that's pretty much ready. A pulp from that will not need to remove, which is this one here. So right-click cleansing. Now, let's say press top, press Control a will transform Right-click origin to geometry. And the reason I did that, of course, this is nearly prepared now for actually bringing in our actual wall texture. Okay, everyone, So hope you enjoyed that and I'll see on the next one, hopefully on the next one, we should be able to get this tower actual finished apart from the windows, the roof should be able to get dome. And then we can start on Windows. Okay, one, I'll see you on the next one. Thanks a lot. Bye bye. 20. Mastering Shader Alterations in Blender: Welcome back everyone to Blender to Unreal Engine five. And now let's check out this before we bring it out materials. So I think we need songs seams in as we do. So Alt Shift and click describe it going all the way round, right-click and mixing. Now we can see that I've got some seams as well. Miss it in here. So I need to be some oxime. I need to Seam in here, right-click MSG because we got there would appear anywhere that's going to hide it. The other thing is I want to mark Seam in these parts as well. We're not really going to see you there. Well, Blender won't belts on rapid. If we don't do anything with this, we're going to right-click and moccasin. Alright, so I think that now is ready to rock and roll. Let's see if this actually works. So what we're gonna do is we're going to grab all of this. I want to press U on route. And then we're gonna go over a minute to my UV Editing. And it should end up with something like that. I'm can say it's unwrapped pretty, pretty nicely. Now, let's come in and press the plus minus of the default. And you have to minus off in any mode, so minus L. No, I'm only going to call this is we're going to call it just Wall. And we call it main. Just so we know that this is the Main wool throughout the Build. Now we'll do is we'll come over to our shading panel, like so Control Shift T. And then let's go back and look for all wool. So where is our world has all Main wall? It just says role of the woman need to K again. And you can see, I don't want to select the first three because they are the UE fall. So when it's like the, this one here, well, the way down to the bomb principled, bring it in. Now, it doesn't look like much of the moment in mind me a little bit out in my knee making bigger bolt will see when we come back now to UV Editing. And I bring everything back. So I'll teach, bring everything back, double-tap the a, and let's have a little this is going to like so. First of all, let's come over to our UV Editing, and there we go. Now that's looking quite nice. Let's zoom in a little bit and let's click on it, press the Tab button, grab all these. Let's make them a little bit bigger and have lowered that looks like I'm just looking to make sure if I make what happens if I make them smaller? Canal for kinda get away with its maintenance one then looking a little bit too blue to that. So I'll think actually I'm going to bring them out and make them a little bit bigger. And we can see here we go a lot of detail on there. And the one thing I'm not happy with, as you can see, is that they are probably if I press tab double-tap, be way too wide for the moment, so I'm going to hide all of these other way. But when I come back to my UV Editing, like so what I'm gonna do now is going to go into shade and then just darken these out little bit, there are a little bit too light. So let's come over now to our shading panel. Click on our tower, and this is what we should have. This is the setup. This point I think is good idea to actually go through all sets off just a little bit. So you can see that this is our column up and you can see that we've gotten metallic mop and a specular roughness and a normal map. We can alter many, many of these things. But I think for this course, we're only really going to mess around with the actual color just to make a little bit darker, we will have to actually make the color a little bit darker in Unreal as well. Because these obviously materials don't go through to Unreal, will have to actually bringing those separate textures folder. Now there's a very simple technique just to make these a little bit darker. Or you need to do is you need to calm. You need to press Shift daylight you would do if you're trying to bring in a primitive or alive or anything like that. And you can have a little search box on the search box and put in GAM, and you'll have one that comes up and says gamma. Now because we've got Node Wrangler on when I'm bringing this in and I drop it over this line with the color, you will actually drop on there like so. And that's exactly what we need. Now, let's turn our gamma rope to 1.33. And you'll notice now it goes a lot darker and looks a lot more real estate, which is the most important thing. Now, just have a look around and make sure that you're happy with the wall and now it all looks and I think I am. And then one when stairs, I'm gonna go over to my modelling now, press the Tab button, double-tap the a, and then one wins, does just put it on Eevee and now can have a really, really good look around. Now another thing I should mention, if they actual lighting on here is getting irritating for you. You can come over, click on your little box, come down to where it says Fill and just click on transparent. And then you'll still have the lights in bulk without the backdrop of it. And sometimes I find that's a little bit easier to see, especially when you come up and you click this on a now you've got no lines or anything like that, just makes it much, much easier. Now you can also, if we, let's click the up economy now share what I mean. Let's click off all transparent. Let's go to Material. And let's now come up to where it says it's little down arrow and put on Seam lines. Now what unseen world and you can see by for Tennessee milled off. I've got the lighting now for this without the Seam world, which means now if I click off these little interlocking Links, that is rarely really, I feel for me personally the best view to see exactly what it looks like and what it's actually going to render like. What is all going to come out like he's base and what I'm looking for here I think that looks really, really nice. I think I'm really, really happy without lots turn now. And basically looking at my Stone as well to make sure that the actual maps are actually fine. Because remember when this goes into Unreal, it's going to look pretty much exactly like this. Alright, so I'm just having a little bit around making sure I'm happy with everything before carry-on, and I think I am. Okay. So now let's have a look at this Roof. Now, I did say that on the Roof, you are nearly always going to get these little ridges here, Bolts. You can actually limit them. And the way to limit them is if I right-click now and I set origin to geometry, what I'm gonna do now is I'm going to bring in another solvent nodes. So let's press Shift day. Mesh will bring in a cylinder like so and it's come down then that's not where I wanted it because I forgot. I need to click on my Roof. I need click Shift S because to select it and that's going to print banging their ship date. And let's bring in a cylinder that's going to pray right in the center of the moment. There's some, there's some 32. Now for this Roof, Let's see if we turn this up, something like 60 bulk. Bring it like that. Now we'll try and make it the same as this Roof so we can save it. Click on this Roof. We've only got one Angelou paneer. We might as well put one edge loop in this one as well. So what I'm gonna do first, I'm going to press Tab again on my new cylinder. Press one. I'm going to level it up to where it needs to be. So it's something down like that. I'm going to also increase the size and then level it up on my midi easier way, Neil. So let's bring you, put it in place rather bottom of that. Now let's bring the top of this book to where it needs to be. So I'm gonna grab the top one, pull it all, make it smaller. So S, like so Booleans Place and then make it smaller. S, Keep going, keep going, and there you go. You can see that's where it goes up. So now we need one edge loop. So control law, left leg. And you can see if I'm bringing in an edge loop. So let's press Control Z. I need to really press wireframe, and now I can see the edge loop preserved. So I'm going to press Control R again, left-click, bring it down to exactly where they Edge Loop is, like so now I can bring this in, so I'm going to press S, bring it in like sir. Alright, so there is all new. So now let's press Add. Now, go back into solid. Now let's see if I shade smooth this. Now you can see how much more smooth, that is the null old ones. If I pull out our old one, they can see the difference. Now if I come over and put it on auto smooth which is on, and I caught, I guess Malkin a sharp or something like that. But don't actually think a one-two. I think they'll the bottom of it needs to be coming out a little bit. I think it's a little bit too close in maps, so I'm gonna get rid of this one now. I don't think I need that. So I'm going to do that. Then we're going to do is I'm going to grab this one. And I think I need just a little bit of an actual edge going in there. So I'm going to do is I'm going to come to Melbourne. I'm going to press and bring this in like so. And then I'm just going to bring it up. So I'm going to press E polio and then S and pull it in just so it's hidden in there. Now you can say, it looks so much better. We've got a little bit of an edge going down there, and that's exactly what you wanted. Now, while I've got this edge and I'm going to press Control a, I'm going to mark a scene. I'm going to right-click and I'm going to triangulate faces. Now I have no idea what that looks like in there. So I'm going to press top. I'm gonna hide this other way. Hi my tower comeback. And you can see there's what it actually looks like. Actually that's not the, but we're gonna get a fair few because it is, after all, a lot of polygons. Now the one thing you could do is probably get rid of actually this space. I don't think actually we're going to need it. I don't think you're about to seeing this. I'm going to delete basis. And then walgreens doesn't want to now mark some edges on here. So CMM to here, like so. And went to right-click. I'm going to mark Cosine. I'm going to right-click and I'm going to mock shop. Now you'll see that looks much, much bad. I think that looks actually good for now. Now, can we unwrap this? Well, first of all, we're going to need a top on this as well. Definitely. So I'm going to hold Shift click, right-click, mock shop, right-click, Maxime, press the Tab button that's available that looks like I'm, we can see the auto smooth is not on, so I'm going to click alters, move on. Now you can see it looks a lot. They're all Bay. We have some little lines on there. Now. It doesn't matter if I turn this all pulled away or anything like that. It's not actually going to do anything because of the fact, as I said, this is a cone. While we made it so many polygons is to limit how much of this we've actually go. So let's set this back to 30. Now, what we need stairs need to bring in all materials and things that Apple this lesson actually went on a little bit longer than I expected. So what we'll do is we'll end it here nonetheless, Lesson finally, we should get this tau finished. Okay, everyone, so you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 21. Creating Windows and Projecting UVs in 3D Design: Welcome back everyone to Blender to Unreal Engine five, and this is where I left. They all. Now this is ready to rock and roll. So let's go, let's say bringing All Material this so plus new and we'll call this Roof. I'll also make sure I'm on material. I'll also then come over to my shading panel and I'll bring in my let's see if we've got this. Let's press question mark. Come to our principal, Control Shift T. Go back, find out Roof, which is this one here. Okay, of course, on select all of these, you'll notice comes out like that. Actually doesn't actually a little bit about, albeit they're going the wrong way. So now let's come in and see if we can actually wrap this. Now. Cones, pretty hard to IM route to be honest. So what we'll do is we'll press one, press Tab command with Face Select. And the thing is as well that we haven't marked to Seam going this way. So we need to think of that. So if I come in and I grabbed this for instance, so grab all of this. So this is all this going up and I press U calmed down to cylinder projection. You'll see that we unwrap like this, which is pretty much are a mess. And that is because Blender doesn't know which way to actually turn this. I think now if we go to UV, actually it's not actually done a bunch of old. Let's try and turn this around. So I'm going to press a all 90. Let's see what that actually looks like. I think they're way too big, so let's press S bring them down. Like so. I'm just looking to see yeah, I think it's still a little bit of a mess, so I need to pull a seam on the back. So I'm gonna do is I'm going to press one. Then I'm going to press Control one. So I know I'm around at the back. I'm going to comment noun press Tab. I'm going to mark a Seam right at the back here, so right-click MSG. And then finally I'm going to try and grab all of this again. So I'm wondering is there is going to press U and let's come down and put it on cylinder projection. Now, it should unwrap correctly if you're facing this way. In other words, I want to be facing either one or Control one. It means dead-on. It actually works. This projection by the way that you're facing. So if I press U now come down cylinder projection, you should end up with something like that and you can see it's not quite right. Let's try all 90 and spin it round. And let's have a law that looks like a thing Up to make it a lot, lot smaller. Look at that. Press the dot. And there you go. You can see actually that doesn't look that butter. Oh, now the other thing is obviously we can stretch it out. So SY, oh, yeah, Let's actually bring it in action looks better for bringing in so SY, like so something, look it up. There we go. That looks really, really nice. You can say that they start to disappear as we get towards the top. Unfortunately, we can't really make any bad than that. That is probably the best we're going to do. Now you can also stretch you to do otherwise. So S and X you can see we can make them smaller. We want to look at that. Maybe they're a little bit too small. Let's have a look at it in comparison to all tower. So thing I'm going to actually put those back. Like so. One way to do now is I'm going to come to my modelling, going to press Alt H. I'm going to have a local guy actually looks like now. That looks rarely, rarely not. I'm actually really happy with that. So now I need to make sure that these policies are also unwrapped. So I'm going to I think a common Let's put it on Eevee civil gold bit more light on them and went on route those. So on Ramp. Let's have a little they look like yeah, I think I'll be happy with it looking like that because if you look down from here, that actually looks nice like that. Now the other thing is you can see slightly in there. So I'm going to Arizona press L, grab all those. I want to press born again. I'm impressed you. And suddenly projection and now come back. And now I can see just in there, but it actually looks quite nice. So if I press tab builds up the a, you really wouldn't be able to tell this. This is one route wrong in the inside of that. So I'm looking at the outside now and I think that actually looks really, really nice. Now one thing I didn't do on the Main Mobile is I didn't bring in another piece of wood and put it on the outside. That might work. Let's have a locate that though. So what we'll do is we'll come in, we'll grab all of these Paltz, like so like so I'm going to press Shift D and to bring them up. And then Walgreens days, I'm gonna make sure that I'm on medium point. I'm going to then press the S Bone like so bring them out, press Z to bring them down. Like so. One wants to do is I showed, you can see they're a little bit to foreign. Probably. Let's, let's bring them in a little bit. Where can we get to something like that? Probably a reason why didn't this probably because it's too fine. It doesn't look right. Let's have a look at that. Doublets up the I just thought, Well, thoughts about hide in the actual Roof Paltz, so I don't think it went out that Bolts still always play around with things and just to see if can get it any bad. The Y So actually, I think I'm going to leave a lot that I think it actually looks really, really nice like that. Alright, so now let's once again make sure a modelling, let's put it back on Material, and let's just hide these other way now. Like so. Now you need stairs, you need to look a reference and you'll see whereabouts. We need to put these windows and that's the next thing we're going to work on. On the Windows. We're going to actually put them into where Place we're going to design the Windows roughly based on size of this. So the size and scale of this will create, I'll Windows and then we'll put them in place. So now let's make a start on the Window, so we're going to press one. I'm going to make sure that my cursor first volleys in the census showed Shift S goes to selected, not selected cursor to weld origin. There we go. Now let's pressure today and we'll bring in a plane. So shipped day, come across plane and we'll use that. So all X 90, spin it round. Let's get into the right size. So I'm going to use this size here. As you can see, two extra credit my window, I'm going to press S and X, bring it in like so. And you can see that's way, way too. Then I'm going to pick you like so then X out a little bit. So I want my Window to be pretty much nearly up to the side. So there's a little bit of gap that something like that thing is going to work absolutely fine. So now I've got the size and I don't really need to worry about anything else. I can actually work with this poll. The other thing, of course, this amount as well, join all this together for now because I know it's going to be easier to move around at the moment. So I'm going to grab all of this like so I want to press Control J joined together, press the G Bone, and then just make sure you've rubbed it all. And then I can just hide all the way. Now with my Window, I'm going to press one, so I'm Central onto it. I'm going to come in. What I'm gonna do is first of all, I think I'll make two versions of this. You can also see it's glowing. I don't really like that. So I think I'm going to pull it on default. And now I can see it's not going all. You can put it just on object mode, knew about say a little bit bad thing wrong when stairs and went to make two versions of this. I'm going to press Tab, ship date, pull it back. One I'm going to use for the actual Window. One I'm going to use for the actual lab. So welcome to this part first and we use this for the actual sides and top of the window. So I'm gonna do that as I'm simply going to press, I bring it in. And you can see we actually have a problem that the reason is because we need to reset the transform. So I'll show you that again. If I press it, you can say comes down at the top, but the sides of it aren't coming in knowing in the same. So top control like all transforms, right-click, sorry Jim, to Geometry tab. Press the I Bone. Now you see it all comes in. Nice. And even now, I got lucky there because I brought in, I know roughly what size is going to be, but that's probably going to be the right size for my Window. Is it a little bit? Think, well, isn't easy way to see that parasol to age. Bring everything back. Now you'll see if I press tab on here, not the Window would she'll be thinner than this. What after all, this is Supports. This is a Window. So that's what we're basically checking on. Now when I click on my Windows again and press question mark, and now can actually work on them one small. So I'm going to delete this. I don't need that. So delete bases. And now you can say I can see through my window. Now let's bring in some edge loops on this. So I'm going to come in, control lock. Left-click, right-click, not one then right in the center. And you can see the Window as six Pane. So I'm going to press control law to left-click, right-click. And there we go. There's our six Panes. Now we're not going to worry about this bit at the moment because we're just going to work on this part first. So let's CMM moments there is I'm going to split both of these. So I'm gonna grab this side, this side, press the Y Bone, G, split them up, grabbed them all, come over. Individual origins, press the S Bone, make them smaller. And then went to do is I'm going to extrude them out. So I'm going to press P, pulled them out. Like so make sure that the quite thick. Now the reason we're making sure they're so thick is these are being pushed back to an actual rounded tower. So it means that there needs to go fairly fall into the wall, so don't be afraid and pulling them out much further than you normally would. Alright, so now we need stairs, you need to bevel these off. So I'm gonna grab all of these now and I'm actually going to split them up away from these pains. So P selection tab grabbed them again, control Lake because we've changed the actual size of them. Right-click origins, geometry. I'd wanted fire, bring in a bevel modifier. Let's pull this angle on an angle. Let's turn down this so that they look correct. Now no point note one thing that looks absolutely fine. Then what we'll do is we'll grab them all as pulled them out. Just so that took Jin Window is actually nearly touch each other. You just didn't know with a little ridge down here, which is what? This is. Absolutely fine now. Now let's come over and press Control a to I thought beveled. Let's press L and L on both these hundred miles away. And then we'll come in. And now I'm thinking, well mark a Woolmark, I'll seams on these pads like so. So control a mob scene. And then I just wanted to Seam going in the bank. Now again, the we have to select one and control select the other one. Right-click moms, same. Then we'll do the same. On this side, I'm thinking actually I probably should pray on the inner side rather than that side. So I will grab both of these. I'm Walter is all control. Click on this one. Control click on this one. Can say it didn't do it there. So let's see, we've still got the one that the bomb right-click mocks him. And I've done it again. I'll have to stop doing that. So right-click and let's see. Let's do it on the inside. That's all we won't be inside. And you can say that again, messed up. So while there is, I'll just shift click both of those. And then we should be able to mark saying find me that was a bit of a pain. Now, let's come to the tops. We do the same thing on those. So I'm going to come in, grab this one, turned around. This one. This one, control a mob scene. Come round. We'll do, we'll just do them one at a time. It might be a little bit easier to take that one. I'll right-click. Come to this one now. Like so. Right-click mock Seam. Alright, so that's it for this lesson. What we'll do on the next lesson, then he's hopefully we should at least be able together Windows finished with the lead and everything like that. We might even be able to get some texture and I'm not sure about that. We'll say, okay, once I hope you enjoyed that and I'll see you in the next one. Thanks a lot of I 22. Lead and Pane Creation Techniques: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it all. So now we've got actually are seams in our frame. So let's actually bring the ward in for this one Window is going to press Alt H, bring everything back. Then I'm gonna come over to my Materials panel and let's just put it on Wood Main. And then what we'll do, we'll also put the Shader onto Material and of course will end up something like this. I just want to make sure that these two is split over which they also just make sure you also split. So grab them all and then press U, and let's click on Unreal. Let's have a look. Well they look like, and you can see, we've got some guy in the wrong way. Let's have a look at the other side. So I'm going to come around this side and I can see that I've only got pretty much one going the wrong way. So let's go into a UV editing. I'll press the adult bone because I've actually got it selected. I'll come in now with edit and let's come into Edge leg, grab this edge. Let's put it on material as well so it can see what we're doing. And then let's press a and spin these around. So all 90, spin it round, and there we go. Now the other thing is I want to make sure that the ward is kinda similar to here because the thing is, this is only four parts, which means that if I grab everything, you'll see it's took up near the whole of this actual UV Island, and that's probably a little bit too big. So if I command, press the S Bone, scale it in. You can see now that it looks actually a lot more realistic. We can see we've got some cracks in there and things like that. So that's much better. Now I want to do is want to go back now to Modelling in one ever looked at it's Window and the glass on the lead and things like that. So we're gonna do is going to press top on our window pane. I'm going to come in and I'm going to grab all of these going down here. And I'm going to press Alt Shift and click. So basically got all of these going across like this. Now I'm going to do is I'm going to actually press Control D, pull it out. And what that's gonna do is it's going to bevel it off. So it's very important that you get this right because you want to know how thick the actual letters. So I'm gonna do now is I'm going to press right-click set origin to geometry, and I'm going to pull it into place. Like so. Now if I press tab, I can actually see how big that lead is going to be honest, I'm actually happy with that. I think what would the best thing we should do is actually we should press controls that and just go back, take that off a minute, press the top on, and now I'm going to pull it into place already. Now press the Tab button and now we'll have a better idea of how this is going to look. The other thing is, I'm thinking that before I actually do the lead, I should probably bring these parts out a little bit. In other words, bringing them in just a tiny bit. So what I'm going to do is I'm going to come and I'm going to grab all of these. I'm going to press the I button and try and bring them in. You can see it brings them in like that. That's not well once I'm going to bring them in like this left-click and now come down to the bombing, you'll have one that says individual. Now if we select individual and now I press Control Z to go back. And now presi, you can bring them in individually, and that's exactly what we want. So you can see now, I want my lead basically to go past here. And these are going to actually be my window panes. So this is actually going to be all lead. But the thing is now, now we've done that. This lead is probably going to be a little bit too small. What he wants to do this like this just because I want the window panes to go slightly past the lab one Wednesdays I'm going to press Control zed one small I want to press shift D. I'm going to pull this forward. And then monuments do now I'm going to press one on the number pad. Now going to press I bring these in individually like so. And then we're going to press Shift D. And then I went to pull those out. And what that's gonna do now is that's going to enable each one of these to actually be unwrapped separately. And that is exactly what we want. Now we're going to come to this window and press Delete and faces and just delete that all the way. Now I'm going to do is I'm going to now create my lead. So I'm going to come in, oh, shifting plague on all of these. And then I'm going to press Control B, pull these out like so. And you can see there that the probably over a little bit on the sides and things like that and that's not something we want. Well, first of all, let's bring this leg out and actually create it. So I'm gonna pressure date, pull it out. Like so. Then I'm going to come to this part here, the first lead that says, and then we've got rid of that. Now you can see that this lead actually overhangs this window and that's exactly what you want. So now let's make these parts a little bit smaller on the actual width. So I'm going to grab them. I'm going to press S and X, pulled them in a little bit and you can see the Napoleon. And the reason for that is we need to be on medium point S and X, bring them in life. So just so they go pass that and nothing sticking out. And then let's do the top as well. So essence add, pulled them in just a tad like so. Now let's actually create this and give it some depth. So I'm going to, first of all, I think I'm just thinking, yeah, we'll actually mark the Seams after Solid probably all. And I'll just actually extrude it out. It's going to press eight, pull it out like so. Then what I wanted to do is finally, just bevel these edges here just to give it a little bit of character. So I'm just going to grab the inner edges with edge select life. So all of these One way to do is I'm going to press Control B, pull it out slightly, and then you should end up with something like this. And you can see now it's called lot more character. And finally then we're going to come in, grab the center of here. I'm going to press the I von, bring it in like so, and then press E and pull it out just to Todd like so now you can see that we've got a really, really nice-looking Window, and it was actually quite simple to actually make. Now let's pull the window panes into place. So I'll do is I'll grab each one of these and I'll probably split them up just to make it a little bit easier for me. So I'm going to press P selection, top grandma in Napoleon's again, right-click. So origin to geometry. And I can pull these into place. Now finally, I can grab my lead, I'm a Windows and pull them all back in to where exactly where I want them. Now the thing is remember that we're going to put these against the wall. So this would mind still need pulling back further. So just look where you want you actual window panes to go back to. So I think something like that looks kind of realistic and they still actually might get the wall actually sticking through that. So just bear in mind. Alright, so now let's work on actually bringing in materials. So I'm going to hide them pulled out the way I went to hide the pains out the way I want to come to my lead now, I'm on Wednesdays, I'm going to mark some seams. So Alt Shift and click, and you should be able to get in chunks like this. So going all the way round, you can see. And then just make sure that your edges are also done So that don't let on. The top ones done, right-click, I'm oxygen. Now let's do this part so we can see that it will unwrap and along the route flap, which is exactly what one. So I wanted to do it like that. Then what I want to do is I'm going to right-click mock scene. And now I want this to open a little bit like a present. So what I'm going to do is I'm just going to mock Seam in each of the corner. And I'm gonna do the same on here. And the other thing is we can use this actual Window a fair few times. So it's important that we get right. So right-click Maxime, something like that. Now let's think about marking to Seam on each of these because we can't see these seams because obviously they're going to be in the window. And that's good for us. That's exactly what it once I'm going to come down, marking to Seam on each of these edges like so. And on the bottom, right-click mark Seam. Now let's go round the back, Alt Shift and click and just the same thing again, going all the way around. Like so. Just make sure you don't miss those middle parts. Like so. Like so these middle parts right-click mock Seam. I'm just looking now to make sure it all goes round and then find the one Wednesdays, I'm just going to grab it all. Makes sure in Edge Select, press out grubby, old. Let's go to our UV Editing. And let's press U and unwrap, and let's zoom in and have a lot what we've got now because this is lead, but probably don't have to spin this around or anything like that. So I'll do now is a minus all in object mode. This default, I'll click plus new, and we'll call this lead. And then we'll go over now to our shading, just like we've done many times before. Click on your principled control shift T, and that's fine. Now I'll actual lead. So here's the one that's called lead. Let's double-click on it to K, of course, and let's grab the top one all the way down specular, bring them in. Let's just move them out in the way just in case I need to do something with them. And finally, now, let's come back to our Modeling. I'm sure these will be okay. Let's have a look. There we go. Let's press tab and you can say they look really, really nice. You still got some nice blend coming up there. The one thing I would say is that probably needs to be a little bit smaller on the UV map. So let's check that out. Soon as we use in this window a fair few times. Let's make sure that it's actually right. So I'm going to do is I'm just going to zoom in, grab them all on this side. And let's make them a bit smaller. So we'll bring them in like so. And let's have look at that. Alright, I think I'm happy with that. Now the one thing is that you can see that the Probably edges around here a probably a little bit shot. The other thing of course is I don't need to bevel Rayleigh the back end off because it's a waste of polygons. So I need to do is just bevel these edges just a tiny bit. So I don't really want to use my modifier. What I want to do is I wanted to just grab them, going all the way around, just the edges of this front-facing one. So I'm going to do is I'm just going to grab the exact grab the back. They're going to grab all of these. Mike. So I am going to grab them going down to here because it will make it easier to bevel and it will make the Mesh look nicer. So I've grabbed them all. Let's now try and bevel these up. So I'm going to do is I'm going to press Control, be just pull them in just a little bit, like so. And you can see now how much bad that actually looks nice. I didn't bevel these edges up. You can see that it would have kinda messed up my actual Mesh there, so it didn't really want that. And finally then what I want to do is I just want a bevel also this off. And you can see as well that we do have one more problem in that this Mesh is not correct. You can see it's got more than false sides, which means it's gone. Now let's press Control V and just pull that out a little bit. Level that off. And then finally what we'll do is now we'll fix these faces, won't do is right-click and triangulate faces. And then we go, Let's make sure that's actually done correctly. Yes, it is. And that's absolutely fine because it's such a small part. Not really going to worry about that, but you can see how actually nice that looks with those beveled edges. Now finally, let's press, I'll teach, bring back our Window, double-tap the a. And what we'll do now is woken up to File and we'll save that out. And on the next lesson then we'll start working on our actual window panes. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye-bye. 23. Applying Glass Materials to Windows in Blender: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now, let's come to our window pane. So we're going to grab all window panes. As you can see. I'm going to press a you can see they're already on ramps, Bolts probably not unwrapped promptly. What I really wanted to do is actually wants on Ramp them the way that I'm looking at it. Because then I'll actually get an understanding all how they actually are going to look. So I'll do is I'll pressure you, calm down. You'll see you've got one Project From View. Now, it's important that you're looking straight on it. So I've press one to make sure I'm looking straight on oppress. You come down Project From View. And that's because it's actually projecting from the actual way. I'm actually looking at this. So if I view it from an angle a bit like our references when we bought them in, it won't actually work correctly. So let's press you come down Project From View. And there we go. Now let's bring in our Glass. So I'm going to do is I'm going to press Tab just minus off this default, press the Plus button, click New, and let's call this glass like so. And then what we'll do is now we'll go over to our shading one small about principled control shift T. And let's bring in our actual Glass. So we're gonna go over to Glass, to K. So now let's click on the top one. Let's click on the speculum, and let's click principal texture, and let's bring those in. Now let's go, let's go to UV Editing. That's where we need to be. And you'll notice that it's brought out glycine, which is great for us. And you can see that there Way wave out of where that needs to be. So I'm gonna do is I'm going to press want to go into front view, like so I'm going to make sure I've grabbed them all. I'm going to press a to grab them all. I know I need to do is I need to move these into place. What I'm going to do is I'm actually going to grab these and when to pull them over with the G bonds. So I'm hoping the G bone down, I'm going to try and get these into some sort of place so I can see, work on this top one. I can actually get an idea of where this is so long run to do is I'm going to use do them all together because then that's gonna make it easy for me. Because if we're making them all the same size, it's going to make it much easier than actually trying to do them individually and then trying to match each of the sizes. So I'm gonna do is I want to shrink this down first. And I'm going to use this top-left one just to get an idea where this is. So you can see that there's dirt coming down here, coming down here, and this side, there isn't any dirt, so and that's because this side here is actually this side in here. Sorry, this side here is this side here, the other way round. So I need to do now is I need to pull them out. So I'm going to press S and X, pull them out. Now you can see if I press tab that we've got dirt coming down the side. We've got dirt going around there, and that's exactly what we're looking for. So now we know roughly we've gotten the right side. Now, don't spend too much on doing this because they want to look natural. So for instance, this one here, you can see that there probably won't moving up a little bit. So I'm going to press G and Y and let's see if I move these down. Just a tad like so. Now you can see the game much, much better. You can see we're still going to go a lot of dirt on each of these sides. So I probably need to just pull them out just a tiny bit more so we'll look so you can pull them out where that is. There. Like so. Alright, so I'm not going to fiddle around with these anymore. I think I'm happy with them. What I need to do now is I need to get these into place. So I'm going to grab all of these when I press G and Y, pull them up. And you can see that these ones are probably a little bit out as well. So I need to pull these big announced. So I'm going to do is press S and Y. And as I said, we're going to use these windows a few times. So don't worry if it takes a little bit of fiddling around just to get them right, you can see they look really nice. Now let's come to our bottom ones. And then G, Y, pull them down a little bit and I'm going to shrink them down. So S and Y, this way, like so, let's press tap, double-tap the eye. And there we go, they look really, really nice. Grow a lot in these little grooves, especially around these bits it, and you might want Lester on there, but I think I'm really happy with how that looks. Alright, Finally then what we need to do now is we need to come back to modelling among rents. Do is I'm going to actually grab my window panes, grabbed my lead, grew up my Windows, press Control J and join them all together. Now I'm going to press Control ALL transforms right-click origin to geometry, right? Finally, let's press the question mark, bring everything back. And now what we need to do is meet to fit these into place where it won't. This one is, I want this on the second rung down and I want it on the left-hand side because we can see this is all Roof actually here. So you can see if I press one, this one is actually roughly in the right way. It's just actually needs pull it back a little bit. So I'm going to do is I'm going to pull this back a little bit like so. Then obviously I need to spin this around. I'm going to press all and zed and spin it round. Now we could use snapping on this, but I find that just to spin it round, it doesn't really take much. So I'm not really going to use the snapping. I'm just going to spin it around a little bit more like so just make sure it's in place. So something like that and they don't want to be exactly in place anyway. Another thing is of course you can put it on normal now and now you can actually pull it into place. And this is what I'm saying. As I pull this further back, you can see the actual glass plane panes disappear, and that's not something we want. The other thing, of course, as you can see, that this is actually bent a little bit. So you might want to bend your window a little bit. So let's see if we can actually bend our window. So when pressed all let's proceed. We're going to spend it on there. I think actually we need to be on individual origins to do that. So let's see if when bend it now and there we go, we can bend it out Like so you can hold the Shift button down as well to slow it down. And we're just going to bend it very, very slightly and just make it look a little bit more natural. Now we want to put this over the back as well. So I'm going to do is you want to press shift D? I'm going to bring this out. And if I press Alt R, you'll see that actually goes back to what it actually was. In other words, it's not actually bent anymore, it's straight up. And the reason for that is because when I set the Transformations, again, I'll show you what I mean. If I press all why, spin it round like this and then press Alt and all, it will actually put it back to where you set the Transformations, orientations. And that's really, really handy to know because that means then when you put your Window in place, you just pull another one out with a duplication, reset the rotation, and then you free to go again and put another Window in. Alright, so let's now put this back. So I'm gonna spin it round walls, add hundred 90. Let's spin it round the right way because on the boat we don't have these little knobs on there, so we need those on. And now let's think where we're going to put them on the bank. So I think with this background one Wednesdays, I'm going to put the a's probably let's think probably on this one here. So I'm going to press Control one this time. I'm going to get this one into place. So something something like that. And you can see it's already in the actual wall. We don't really want that. Let's put Eevee Renderer on and see if that brands upload it. So and see what I'm doing just a little bit better. So let's spin it around then. Let's pull it back into place. Not sure actually until I actually zoom out a little bit. If this year, as you can see, it's actually bent as well, this one, it's wrong Wednesdays, I'm going to make sure among individual origins again, I'm going to press all an ax and just bend that back out into place. So it looks a little bit more realistic. I'm looking now to seep in it all lines up which it does. And now we'll do is I'll press shift D, pull this one out. And then we're going to press Alt and all just to reset that, spin it round. So our zed hundred and 80, and now it's facing the correct way. And now I'm going to do is I'm going to put it into this one here. So let's see if it's too high, probably will be control one. Pull it down. You can see that it's a little bit too high. So all I'll do is I'll press S and Z and just shrink it down a little bit. Like so. So I'm getting its place and now we're just going to pull it back. I need to spin it round and maybe actually rotate it, let's say. So I'll turn it round. Like so. Let's put it back into place. You can see that it's actually disappear at nonane, which means I need to rotate. It should already have the settings on. So all we need to press his all annex, rotate it round just so it lines up. Nice and neat. Let's have a look at the bottom. And let's pull it this way a little bit. Double-tap the eye. And now let's zoom out. And I've looked at our work and you can see now it's really starting to come together this tower, when we now we've added those little details like those Windows and for once what we'll do on the next lesson, this will actually make a start on our actual arms of our windmill. I'm really give this when Muslim character. Okay, everyone, thanks a lot. And I'll see on the next one, Bye bye. 24. Planning the Windmill Arm Structure: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now, let's work on our actual arms as we said. So let's start making the actual arms first before we do the center part, because then that'll give us a good idea how far out this needs to go. The reason for the eyes, because you have a look at windmill most of the time, these actual arms are actually twisted. They're actually twisted slightly. You can see if I don't towards them, they're going to actually hit this Roof and that's not something we want. So we need to work out how far this needs to come out and still look realistic because you don't need Stone ran out here on a piece of wood like this because obviously that would pull the whole of the tower down. So we need to work out whether this is too far out, whether our windmills needs actually rotating out a little bit or something like that. So that's the way we're going to do. So first of all, let's press one and let's actually center this one Wednesdays. And when it come to this part, I'm going to come space leg, grab this phase here. I'm also going to put this back on global. And then while I'm going to do it, we're going to press Shift S because the selected tab, shift eight and bring in a queue. And you can see my cube columns right there. Let's put this back on material as well so we can see what we're doing. And also, let's give this the default material, which is this one here. Just so I've got that right. You can see there's a slight glow on that. And the reason actually for that is because we actually brought our bloomin, but we don't need to worry about that. So let's bring this in. Let's make it smaller. First of all, like so I'm thinking I want this pretty square and I need it pretty chunky. So if I'm looking now, if it's going into my actual circle like this one went to do, I'm actually going to call, and I'm going to pull this up and try and get this piece, actually fit it first and then I can actually delete this other way. And I love a much, much better idea of what I'm looking at. So I grabbed the top face there. So what I'm going to do is I'm going to pull it up to, let's say something like that. I'm going to press the S Bowen, pull it in like so. And then one way to do is I'm going to now make the top of this. So I'm going to press, I pull it in line. So I still want this relatively chunky. I want to press one when to pull it off. So E polytope, the top of that, press the S Bone and bring it in, you should end up with something like this. Now let's come in and actually get rid of this part here. We don't really need this, it's actually just getting in the way. So I'll do is I'll grab the tops of PL press Control. Click on this one, Control plus then on the number pad and that should select them going all the way down apart from this circle here, which I'll be very happy with, delete and bases and you should end up with something like this. Alright, so now let's think, are we going to do this? So we do want to the other side as well. So we've got to make sure that they're going to come out from, let's say from near the bottom, from here, going up, as you can see on the actual reference. So just make sure they are happy with that. We do need to as well bevel these off, so we need to take that into account. And because this is a difficult piece, just make sure that you actually looking at your reference and making sure that you're happy with it. Now I think, well, the first thing we'll do is we'll actually bevel these pops off. And then we'll start painting these little metal posts that you see. The other thing is, well, as I've noticed on my reference that it goes up and then it starts bending in. So think I'm actually going to sort out, but I'm going to grab this. I've already got the face selected. I'm just going to pull it out again just a little bit. So I'm president S. The moments doesn't want to come to this part here. So control law, let's bring in an edge loop. Left-click, right-click, come back to the top of the face. And now let's bring that in. One S, bring it in. Now you can see it looks something like this. And of course it's entirely up to you. I'm how you create these. Everyone should be different to be honest, it's better if they are. So Alt Shift and click. I'm going to bring this one in, Joel's to Todd, like so just to make it a little bit more bent like that. Alright, so I'll think I'm happy with the very basics of this. So I'm gonna do now is I'm going to grab one of the edges, come up to the top and I'm just going to wet my way around, pressing Shift click, Control click, and then Shift-click on control-click. And I'm actually just wondering, do I need to select these? I don't think I do. So I'm just going to go round deselect those. So then when Wednesdays bevel these off, I'm going to press Control B and just pull them out and just a bevel them off to make them nice and smooth. When you can see, we do have some issues here. I didn't know that that would actually happen and it did happen on my own Build and I need to go in and fix those as long as you've got no issues on the other parts, it should be absolutely fine. So let's now come in and fix these, and then there will be fixed. But when we actually put these on the other places, all you need to do, you just need to comment, delete the four phases, these four phases first and then just work your way along. Deletes in the face is how the Way, so delete faces. And then you should end up with just these here, like so. So delete faces and it's because when you Bevel things off, your bevel them off to fall. They actually cross over all the pieces of the match. That's the reason why it did that. So now I wanna do is I want to fill these spaces. And now there's a number of ways of doing this. We can go Alt Shift and click Alt Shift, click, press the F button that will fill it in. And then you can right-click, come down and you can, Where is it? Let's go into face. Select them, press right-click, come down and triangulate faces. You should end up with something like that, which is actually quite nice. Now, one thing I did forget that I seem to always forget is if I press Control zed before I do that, one going to do is I'm going to right-click and market Seam, get used Door is doing that. I'll save you a lot of time in the long run. Then right-click Let's mark, sorry, then come to face, select right-click and triangulate faces. Alright, so it should look nice and clean. That's exactly what we're looking for. Now let's make these little bands on here. So I'm going to do is I'm going to press Control Law. Left-click, right-click. And I think actually two of the bands there should be absolutely fine. I do think that this needs making a little bit thinner as well. I think it's too thick on the top, so I'm going to grab the top first, press the S Bone and bring it in. I'm doing this before actually finished these balls on there just to make sure it all looks right. I think that looks actually a lot better. Now let's see where it looks like with these balls. And then I'll Command Alt Shift and click. I'm going to press one on the number pad, Control D, like so. And then to make these Basel we're going to do is going to press E and then Enter and then pull them out. Now, it's not coming out, right, just make sure that you're on individual origins and you'll see again that the Kamau in an angle. So all I'm on a dairies, I want to press S and Z and because I'm on individual origins, it will pull them in individually. And then just make sure you're happy with our alcohol. They're going down. You can see minus Sloping around a little bit and that's exactly what I want. Also our father coming out, so I'm gonna pull them in just a tad light. So I think that looks much, much better. Now remember, you will have a problem in that you would, if I come to smooth shapes, move, bringing my auto smooth, you will see that we still end up with these kind of ridges along here. And that's fine for the word, but perhaps for the metal, we probably need to actually move those off a little bit more, which is not something that said that hard or you can do is as you've got these selected anyway, press Control B, pull it out like so, and then you'll see that smooths them off nice and smooth via. And that looks a lot more realistic. Alright, So I think I'm happy with those. Now what we need to do is you need to make a start on our bottom shafts to work out how well, basically where we need these actual cloths to calm. So I recommend before you put on the sides, probably put the balls going down because you know, you're going to need fall balls and you can actually place them in the right place. And then you can make this piece of wood come out and go to where you actually want it. So let's actually work on those. So while there is, I've got my cursor in the center again. While there is, I'll press Shift a, I'll come over Mesh ammonia can do is bring in a cylinder. Obviously 32 polygons is way, way too high. We don't want it on that. So what I'm going to do is I'm going to turn this down. Let's think, probably get away with 16 and still make it relatively rounded. So press 16 and then I'll bring this up. I'll rotate it around. So are and why and 90. So let's rotate it round AES, bring it down, press one on the number pad, pull it up. And now let's look if we pull this out. So I'm going to press S and X, pull it out like so. And then just look how thick you actually want these pieces of cloth. I think actually something like that. I think there probably needs to be a little bit thicker, a little bit bigger at the top, little bit smaller as they go round. So I'm going do is I'm going to press S and X. So pull this one out. I want this to be fairly, fairly big. That's maybe a little bit too bigger the moment let's bring it in just a sad little more light. So, alright, something like that. Now these are wants to be more like sticks or big actual logs, chunks, not actually a whole tree trunk or something like that. So I want them talking a little bit like that. So the way I'm gonna do is I'm just going to press Tab. I'm going to press Control or let's think can we get away with three or four? So I'm going to press full. So scrub my mouse so full times, left-click, right-click, and then walk can do is I can come in now, grab for these with Alt Shift plague, process Bone, pulled them out a little bit like so. Grab both of these. And again, instead of pulling mount pulled them in like so. And that's exactly what I want. And then that can actually put my little chain links on these little parts here. Alright, so that's looking really nice now before I actually duplicate this, I might as well mark some seams on it. It's going to save me a lot of work, so I'll do that now. So I'm going to come to the bomb, went on can say Alt Shift and click. So it goes all the way across controlling and moccasin. Now we need to do the edges as well. So I'm going to come in to a Main Arm page behind. And now let's come in and mock Seam on each of these. So, so controlling. And you'll see that impressive. So Control eight, whoops, Mozi, like so. Now let's actually fill in the spaces so they're not angles, so right-click and triangulate faces. On. There we go. Now let's put this again on clip instead so it fills them in, in a really nice way on the boat, on the same way. There we go. Now let's press one tab, Alt H, and let's click on it, right-click Shade Smooth. And you should see because we did what we talked about where we use 16, it should smooth off. Let's envelope relatively smooth, which your apps, and that's exactly what we're looking for. You can see we have a little bit of odd Edge on here, but I think we can actually get away with that. Alright everyone, so that's it for this one on the next lesson then what we'll do is we'll start to create more of these strokes, will mirror them over the other side. And then we'll start to get this cloth in, which is quite a technical thing to get the cloth in, but I'm sure will be absolutely fine. Okay, everyone, so I'll see you on the next one. Thanks. Bye. Bye. 25. Laying Out Arm Struts for the Windmill: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now we've got this Paul, let's look at actually creates in this part that comes out and goes up. So all those will press one. And I just wanted to get basically a rough estimate of where it's going to need to go if this is going to be too big and things like that. So let's first of all, bringing a piece of wood and I love this piece of water going out and then to another piece that's going to come up exactly the same as you see on the reference. So again, I'm going to use my cursor to bring in an actual cube. So Mesh, bring in a cube. Let's press S, bringing it up to where I want it. So I think probably it's going to have to start relatively low down, so I think something like that and I don't want it to be too small to not look like it's actually Supporting something because it would have a lot of pressure actually on this. Now, this probably, this bar here is probably a little bit thick and we're going to find that out in a minute. Once we've actually put these parts in, there is I'll bring it over. I'm going to rotate it up so it's a nice angle. So let's try all why and 45 degrees, something like that. So I'll try that. I'll make it a little bit smaller now. I'll bring it over and I'll see where it comes out at. Like at that angle, it might need a bit more of an angle, but we'll see, we'll come in, grab my face. So I'm going to grab this face. And the other thing, of course, as you can see, that because we brought it in here as well, that it's come in basically dead center on this part, which is great for us. So now I'm going to do is I'm going to pray in a plot this on normal. I'm going to press Wall. I'm going to pull it out, something like that. And here's why I'm talking about so now, even at this angle, you can see that this is probably going to be a little bit too big. Even if we, let say we bend this angle to something like that, Let's try something like that. So to make it a little bit more. The other thing is, is this a little bit too thick? Probably is. So I'm going to shrink it down just a little bit like so. Then I'm going to put it back into place this time on global, like so. Then what I'm looking for is this basically out enough. I'm going to put this back on normal again. And this Bay is a little bit fiddly. I'm going to grab that face and you can see it is slightly out and that's because I actually moved it. So I'm going to pull it out like that. Then when Wednesdays I'm going to see now if I press E, so press E when to pull this up. And I'm just going to use this actually to see where it needs to put this. So I'm gonna pull this back on global now, I want to pull this across like so, just kind of get where actually want there. So you can see that, that that ain't looking that bad. Although I would say that these are still a little bit too thick because we need to fit four of these in the way, way too thick at the moment I think. So. I'm going to shrink these down. I'm going to come in, grab these, shrink them down like so. Then what I'm going to do is I'm going to press S and X, pulled them out like so and maybe drop this one down. Just that, something like that. Now I'm going to do is I'm going to put four of these in and see where these come to. And then I've got a good idea how this is all going to fit together. So I'm going to press Shift and D. I'm going to bring this one down here. I want to pay shift in D, bring another one down. Then lastly, shipped and D bring one finally down here. So I'm thinking that's still probably a little bit too thick, so I'm going to grab them again and press S, shrink them down, process the next, pull them out, get that top one and so something perhaps like that. Then I'm thinking now I need to pull this further over. It's a little bit too far out. So I'm going to grab the top of it, press one again, pull it over. Like so I still want that actual angle on there. So something like that. I think I'm happy with. One thing I'm not happy with is I think I need to pull this down. So when I press one, pull it down a little bit, something like that. And yeah, I think that's actually looking really, really nice. Actually. I think I'll actually do the job for us, albeit this one down here probably is gonna be a little bit too small. So I'm thinking I can, I think I need to bring these up a little bit. I think the gap in-between them is probably a bit too much. So I'm gonna grab this one, this one. I'm going to pull them up just a tiny bit like so. I'm going to grab this last one, press one, and pull it up. So I've got 123. Actually I only need three, so let's pull that back just 1 s and see whether it is. Yeah, actually, I think it's gonna be bad for pull them up. Just a slight bit, like so. Alright, so now let's come in and what we'll do is we'll try and get this one a little bit more even so I'm going to do is I'm going to press S annex, pull this in, pull it across, and then I'm going to do the same. I'm here, SNIPs, pull it in, it across. Then the same on this one is an X. Just to make sure that they're in, just to make sure that this little bit of a inwards part is in the right place because that's where I want basically my chain links to come from an oldie. So I'm looking at each side of them, making sure that they can align on S and X, pull it in, pull it over. You can see this one needs to go in a little bit more. So as an act, something like that Alright, so now we've got this basically, I'm thinking this is probably actually going to be fine. I can probably work with this as a piece of wood as well. Do any of this a little bit thicker? I don't think so. I actually think it's actually relatively nice. The one thing I would like is just to flatten this part of and then bring it out to make those points for this, Paul, I'll think I'll do that next. So while there's all grab this part here, I'm going to press 1.1 monetarism, just going to fly off a little bit more than this. Now there are few ways we can do this. We can even bisects it, or we can actually pull this down. I think pulling it bounds probably, let's see if we can get the right angles. So if I put this on normal, you can see that we're not going an angle, which means that if I put it on global, you'll see if I pull this down. You can see it does shrink in a little bit on here and I'm not sure whether I want that. So rather than do that wall do is I'll press a, grab everything in edit mode. And then we'll do is I'll come over to Mesh and we'll come down to our bisect tool. And I'm just going to cut this across. Something, something roundabout there. As you can see, I'm not going to worry about too much about them because I do want it a little bit of an angle and it's kind of following the angle at this Camino. Note where this is going to clear the inner or the outset. So it's the outrun this case and we should end up with something like that. I think that actually I'm really happy with. So now I'm just going to fill this space him with the F button. Then walgreens doesn't come up to my face. I'm going to grab this face. I'm going to press I bring it in just a tad like so. So you can see we're trying to make this part now a little bit, but little bit smaller. And then margarines do is I'm gonna press E. And if I press E, it should come out at the same angle. Let's say, I don't think actually awesome. I need to move it over just very slightly, just so it lines up, kinda lining up along that. And then what I'll do is now press E, pull it out again. Lining up a little bit further. You can see I'm not very happy actually without that all lines up. So I'm going to do, instead of doing that, I'm going to actually do this again. So I'm going to press, get it back to you. Then when Window is going to pull it all out all the way, I'm gonna press eight, pull it out to where actually a once it's probably something like that moving across centerline it OK. And now I'm going to print a couple of edge loops. So control law, to scroll on the mouse wheel, left-click, right-click. And whenever I'm banging the sensor, that's absolutely fine. Then I'll come in, grab the top of it. One again, press the S Bone, bring it in like so. Now we should be absolutely fine to bring game. You could bring in a couple of balls, I think on this, I'm just going to bring in 1 bar. So the way I'm going to do that as I think, I'll get rid of this edge loop. So delete, come down, dissolve edges. Now get rid of that comptroller. Left-click and bring it up. I think I want to something like that. So I'll do then is controlled BY bevel E enter S, like so. Now we need to make sure that we're going on the actual right angle. So to do that, what we need to do is you need to put this on normal. And let's make sure it's on individual origins. Let's press one and let's see now, if we can get this, go in at the right angle, you can see that I'm actually struggling to pull this down on the right angle. So I'm going to press S and Y. Let's see where that actually is going and that's completely wrong way. So let's try S and X. You can see there that I haven't got the right angles. So older than that, what we can do is we can grab this going all the way around. Now you can see it's going to the right angle. Let's save and grab this one. Going all the way around as well. And you can see that we can't do that, so we'll have to do these one at a time. So I'm going to grab this one. I'm going to pull it down very slightly like so. I'm gonna come to the bottom one then Alt Shift and click, and then pull this one all very slightly like so. And there we go. Alright, the other thing is I think that these are a little bit too thin. So if you all know a little bit too thin or you need to do is Alt, Shift and click going all the way around, press one on the number part and then just pull them down. You can see the duple down relatively straight. They don't need to be perfect anyway, but I think I'm much happier with them at that thickness. Alright, so now what I need to do is I need to base this, separate this from this. And then we can actually start beveling these parts separately because I want this to be a little bit chunkier than this part here. So I'll come in and we'll do is I'll press Alt Shift and click. I'll press P selection and just separate that out. And then we'll do is I'll press top, grabbed this main part, hide it all the way. We showed. If I press Tab now be left with a Paul here on its own, which is this part here joined to this. So I'm going to come in, grab this face, delete faces, tab, grab this older pot now and just press H to hide it either way. And you shouldn't be left with something like that. And that's what we're basically looking for. So we've got 92 separate parts. Let's now press Alt H and bring everything back. Now we know that it's all cleaned up. And now we need to do is just make this a little bit smaller. So I'm going to make sure I'm on Global, make sure I'm on individual origins, press the S button, shrink it in. And now we can do is we can actually work on these two parts, bevel in a mall and things like that. I want a bevel these off probably be by hand. That's gonna make it a little bit easier. I'm going to come in first of all, now, do this one first. I need to first of all, put on a face on the bumps. So I'm just going to grab this edge, this edge, and towards the face you can just get away with adding, just selecting two edges, press that button and join them together like so. And then going to press Alt Shift and click going all the way round. And let's see if and I can bevel this up. So where does it go up to? Goes all the way up to that. I really don't need to bevel these edges off here. Oops, this one here, this one on this one. Once more. And you can see as well, I've got all of these selected and I don't need to bevel those off Eva. I'm just going to deselect those on the bottom as well. Like so. Then we're going to do is I'm going to press Control, be pulled them out. Joel's very slightly, I don't want to actually go over the top of them. And let's see if that's still a clean mesh. You can see I've got one selected here. So if I press Control dead, you can see that I've got this selected here and I don't really want that selected the moment, so I'm gonna do that again. So controlled bag, like so pull them out. Like so. Let's see if I've gone too far again as you can see. So I want to press Control P Again, pulled them out just to that and you can see when they touch, that's when you starve in problems. So just don't go over that. We just wanted to very, very slight bevel on this, something like that. Alright, so I think I'm happy with that. Now, what I need to do is on the next lesson, I need to make sure that I'm babbling and fill in these holes in, bevel these out. So they actually looked like they're kind of put together and it's not just one piece of wood because that's definitely not how it would look. Alright, so I'm happy with that so far. I hope you happy with yours, and I'll see you in the next. And everyone, thanks a lot. Bye bye. 26. Preparing Windmill Arms for Material Application: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now, let's come in and let's come to this part here. I'm going to isolate out, it's going to make it easier. So the little question mark, and then while there is all come round now and I'll grab two edges, like I said, press the iPhone just to fill those in. And then again, two edges, F bond, fill those in. Now let's grab the outside of it first. So all these outsides, let's press Control be like so just a bevel those off. Let's then come to this one because this is one page. No, Let's press Control B on this one and give it a nice bevel, like so let's press the question mark to bring everything back. And now we can see that definitely not going to join. Nope. Well, I need to do is I need to do this by handbook. First of all, let me bevel off this one. So I'm going to grab this one again, grab the end of it, control Bay, pull it out and just bevel that off as well, like that. Alright, so now I'm going to pull this one towards this. So I'm going to come back to this part. I'm going to grab this one. I'm going to press Control plus. And the reason I'm gonna do that is because if I start moving it so abreast of G, you'll see it basically stretches it out and gets rid of the bevel that we made. We don't really want to do that. So I wanted to press Control plus, and now if I move it, move it into place now. Like so, you can see that the joint up pretty nicely and we've got a little bit of a gap there. Let's double-tap the eight and have a look at this gap. And that is actually looking really nice. It actually looks like it's joined to it in some way. They've got I don't know if something metal actually going through it and joins it together. So it looks realistic is what makes this trying to say. Alright, so now I'm thinking that I do need to do a little bit more beveling on these edges. So I can say I've got an edge here, needs bevel, I've got an edge here. And basically what we're doing is we're actually preparing this, ready to, not only bringing All materials and things like that, but we're also preparing it to actually mirror it over this side and eventually go all the way round, false folks, all you might want five or something like that. So let's now come in. And I'll do is, I'll also just give this just a basic material. So that's the wrong one. Let's come to Material. Let's click the down arrow on default and we'll do the same on these. I might as well join these altogether actually. So let's press Control J, join them all together. Now in our own default and finally on this one as well. And then I can just see what I'm doing just that little bit better wild work on these. So now let's come to this one here. You can see that I'm probably gonna have a few problems with this because of the bevel. So rather than trying to bevel this off and make myself a lot of work, I'm just going to go round and actually just delete all of these faces because I don't really need all of these phases anyway. Then Walgreens doing when I press delete and bases, and then Walgreens come in once, press Alt Shift and click Like so. I'm going to press the F been like so. And then when to grab this all the way around, I'm going to press Control V, bevel that off. And then we're going to do is now triangulate this part here. So let's right-click and come down and triangulate faces. And you should end up with something like that, which now is a perfect Mesh. And you can see that we've got our bevel on there, which is exactly what I wanted. Now, let's have a look at this top one CIF and get away with just babbling this I think we can all need to do is press Control. B, leveling off, grabbed this part, right-click triangulate faces. Now let's call them to this part here. So grab the top, Control B, babbling off, right-click and triangulate faces. Now, let's come to this pie and my belts get away with this. We did actually fill this end, but I'm thinking probably better off coming in, grabbing it all. Elite in the faces. So delete basis, same as what we did before. Alt Shift and click. You can see that I need to go round. Actually select all these, all use Control and select whichever is easiest for you. And then press F, grabbed the outside Alt Shift and click Control B, babbling off. Come to your face now. Right-click and triangulate faces. There we go. Like that. Alright, that I'm now, I'm very happy with. Everything's beveled off and it looks really, really nice. Now, what we need to do is we need to actually, we might as well, Marco seams on this and then we can start work on the actual pieces of cloth. So let's come to this part first. I think, yeah, we haven't got all the Seams marked on this, so I'm going to need a few seams in here and here in the back of it. So I might as well at the moment hide this out the weight and then I can just work on this, which is really good. Now, let's come in and I think we'll mark a Seam around here. So I'm going to Control click around here, going round. When democracy. So Maxime, I want to Seam at the bank where people can't sit. So I'm gonna pick this one here, Alt Shift and click. You can see that it's gone through there. So just make sure it isn't you don't want to Seam going through that. You just want it coming down the back. And you can also see that it's come down to here. And we don't want this don't either. So I'm just going to do it down to here, right-click Maxime, not going to press Alt Shift and click. And that should go all the way round on both of these. Right-click and mock Seam We can see that this piece of metal we do need to Seam. So what we might as will do. So it's not an infinite loop, is just mark Seam, go in to here and then do the same on this one. This might seem a bit tedious, but in the end, when we've married it over, you'll see that saves you a lot of time. Now I need to Seam here, I need to Seam here. So right-click moccasin. You can see that I've got Seam. I'm Randy and I don't really want that. So I'm going to do is I'm going to press Alt Shift and click. And if it doesn't go round, you just going to have to click on it. And as I said, because it's triangles, Alt Shift and click doesn't always work. So right-click and placing. So there we go, we've got that. So false. We've got these coming down, we've got it going down the back. So it's not an infinite loop going round here. And now we're going to the back. I'm going to come down and make sure it's going all the way down through here. So Alt Shift and click, right-click mob scene. Now I'm sure the bottom needs to have a decent base net. Now to make a really decent face if you want to, the easiest way is just come in to vertex select, grabbed this vertice, grab this one, J, grab this one, and this one J. And you can see now that that is polygons four-sided, and it looks really nice. Alright, so that's the other way of doing it. Now let's comb to, let's hide this one on the way. Let's add this other way and just make sure all of these add-on which I'm sure there are. So I would go Seam, going around all of the bombs which we have. So that's really good. So I can hide those out the way and come back to this poll. And I can actually, First of all, moccasin on each of the edges. You can see that we've got bevel in there. Now. We haven't got babbling now, which we don't need because this is actually into that piece of wood and it looks a bit more natural without bevel. So while there is a marker Seam on this part here, so controlling Maxine and one going stairs. While I've got these two parts now mount the same, I'm going to right-click and we're going to triangulate faces. Alright, so now we just need a Seam running down the back. So what we'll do is we'll come in and are moccasin from here all the way up to here. And you can see, just make sure you've got your whole line going all the way. All right, plague, a mock Seam. Alright, now if you ever want to check that just to make sure the Seams amount just press the elbow and you'll see that we haven't gone through there because I'm on face legs like to them. So you can see that these two definitely have a full Seam on them. Okay, so let's press top. I'll teach, bring everything back. And now we're just going to work on this part here. I'm going to press question mark this time just to isolate that out. Now let's start probably at the top. Now, do I want Seam on this bundle, this span? I think the one where it's actually on. So I'm going to Control click, go in all the way round. Like so. This one here, right-click and Matsui. Now let's think about going around these parts. So I'm going to press Alt Shift and click and it's going all the way round. And then Alt Shift and click, Alt Shift and click. And I'm thinking actually now I've come to this part. Should I bevel these parts up as well now thinking it does look a bit chunky but don't bevel them all saw thinker will bevel them all. So it's, it's kind of a pain to actually do this, but we want this to look really, really nice. So we might as well, while we're here before we mirror on the other side, get it looking as, as nice as possible. So I'm just going to select all of these phases. One, press Delete and bases. And then when it come down to the bottom, and I'm gonna do the same if you can't see the bottom, just put it on Object Shader and then you're about to see absolutely fine. So I'm going to grab all of these mics, so like, so, like so delete and bases. Now I'm going to do is I'm going to fill these faces and temporarily, so Alt Shift and click F, and then Alt Shift and click Like so, like so. Now we're going to bevel these off. So I'm going to come in alt Shift and click. I'm going to press Control, be babble them off, like so. And then while I just wanted to do is I need a Seam on here, of course. So where do on my Seam? I think I love it around the top. So Alt Shift and click, top and bottom, right-click moccasin. Now why we call that selected reminds or right-click, and we need to be on face-like. So let's come space, let right-click and triangulate faces. And there we go. Now you can see that that goes passes all the way through that it doesn't really matter. So what I mean is if I grab all this, Let's zoom in, grab the top, this one, press G. You can see that it's worn for junk. So we're not really going to worry about that. That's absolutely fine. I'm going to right-click and just pulled out there. And then while I'm going to do is I'm just going to press H and hide the other way can see here now, we have to Base democracy on these parts as well. Now we have got this bevel dots, so we might as well coming in, Let's see if we can grab the whole thing. So you can see here, this is a whole chunk as well. So just bear that in mind. When you come some rapid though, you will see where the problems lie and you'll be able to actually picks up. What I mean is it's not going all the way down into this piece of woody. It's actually a separate peace awards. So just that to bear in mind. Alright, so now let's come to this part first. And while there is right-click triangulate faces, in fact, before we do that or press Control League boxy, then right-click triangulate faces. Now let's mark a Seam. So I'm gonna press one and then a. Now if I press Control one, this is the actual rear of it. So I can mama Seam now the back of it where people are not going to see where the actual Seam is. So right-click mock scene. Now let's come to this part down here. What we'll do on the next lesson is then we should be able to get this finished off. And we should, I think, probably actually bring in some materials before we actually bring in the cloth, because then we're going to have a really good idea what it's actually going to look like. Alright everyone, so I hope you enjoyed Donald, stand the next one. Thanks a lot. Bye bye. 27. Cloth Simulation and Proportional Editing Techniques: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now we've done this base, so that's absolutely fine. So Watson theories attempt to grab it without press H and just hide out of the way. I want to also probably isolate this one out. So I'm going to grab it with Al personal question mark and isolates it, which I can't do. So there isn't all the way you embrace Shift H and just hide the other way. Okay, so now let's mark a Seam going round here and round here. Right-click on mocked Seam, put it on face legs, right-click on triangulate faces. There we go. Now control one. So we around the rear of it, click on this edge here, right-click a mock Seam again, sorry, it's round the back, then press Alt H, bring everything back. And now we're on this part here. Again, L Shift H to hide everything bought this, and now we can actually work on this. Let's put an autopsy so we can see that this actually is marked out. Now, do I want my Seam coming around here? In other words, do I want my wood grain at the top go into these edges or just on these edges. I think we'll do the same as what we've been doing, where it's the top edge going round. So Control click, right-click. Matson. Alright, control one. Come to the bag. I'm going to moccasin just down here like now. I'm going to follow all the way around, like that, right-click magazine. And then finally, Alt Shift and click, right-click Maxime, face, select, right-click triangulate faces. Alright, so there we go. Perfect pieces of Mesh I'll take to bring everything back. Let's press the little question mark and now we'll bring all that back as well. Now this should be ready now to bring in all materials. So what we'll do is now I'm just looking. Don't want a bevel those up a little bit more. I'm happy with them. Happy with them being the square. I think I am a look. I think that looks really nice. I think I'm Aubrey. I'm just having one last log before bell to tell when we got this here as well. Because that's not actually going to be how it looks. So yeah, you can see if you press warm, it actually really starting to sue the actual windmill. So it's really got that kind of medieval ask type, ESO type look about it. Kind of sharp, grungy type, something like that. Yeah, I'm happy with how that looks. So let's see how your windmill turns out and I hope it looks a little bit different from mine, but still follows a certain Art style is what you're aiming for. Alright, so I'm happy with that. Now, let's say join all these altogether. So join them all look controlled JNC. And then what we'll do is we'll press Control a or transforms. Right-click its origins geometry because I just always get used to that habit of actually doing that. And then what we'll do is we'll also Shade Smooth. And we'll come up and make sure Altos movies on. They are basically the steps that you wanna go through once you've finished it. The other thing, of course, is that you should always check before doing. Moving onto the next part is always come over and just check to make sure that your face orientations are correct. And you can see here, we have a lot problems with face orientation. Now there is another reason why we change these round, because when we actually come to render out, if these are facing their own way, you end up with lighting distorted and things like that, and they'll look a bit like darker or something like that. So it's always wave coming in. I'm just making sure these effects, so Walgreens do is I'm going to grab everything. So I've selected my tower, press a press Shift, and I'm Blender should actually do the work for you. So there you go. They're all turned around now. Now I've blended it doesn't just press Shift N calmed down and just go individually to them and just put them on the inside. So friends via press inside. Now you'll see it turns them all round, which I don't want, of course. Now once you've done that, let's press tab. Come back. Cool. Thanks. Orientation. And there we go. Now we can actually work on this. Let's put it on Material. And that's come in and see if these on Ramp and see what problems we have. So first of all, Unwin's grab it. When I press top eight to grab everything, Let's go over to UV Editing. First little dots. So we're going to actually all there. And then one Wednesdays I'm going to press U and on Ramp. Now, let's see if we have any problems. We should have unwrapped this really, really nicely when we bring in our materials. Now we will say if you've got any problems, now there is one new material we need to use, which is the light warred against it. And I think the dark metal because we hadn't used the either of those. So let's actually first of all, bringing our world would mean bring it in. And let's see what that actually looks in. You see every one of them is going the wrong way, which is not what we want. So what we're gonna do is we're going to come while we've got everything, might as well spend them all around. So all 90, spin them all round. And there you go. You can see it looks a ton better like that. You can see these ones are going the wrong way, but we're not worried about those in a moment because they are going to be a different material. So I'm glad spring in this material. So let's press plus knew what we'll point is in light Would like so then what we'll do is we will now come over to our shading panel. Click on unprincipled Control Shift and T. And let's now bring in our light wood which you should find light would this one here to care of calls. And let's click it down to the specular. And this should be second nature to you now. Alright, so let's now come in to our Materials panel while we've actually got on here, what we'll do is we'll just grab each one of these. So I'm going to make sure I'm grabbing them though on edge like just to make sure I go all the way through, especially if we've got seams on and things like that. I'm going to grab them all. Click on my light ward and click Assign. Let's press tab and you can see they're still going the wrong way. But you can see there is a polynomial, a little bit of difference in color that they look like I said, a little bit more like logs rather than these thick tree trunks. And that's exactly Look we're going for. So now we need to do is you need to head on over to our UV Editing and basically spend these around. So I'm going to press all 90, spin them around. Let's press tab and have a look at what they look like. Let's put it on Eevee again. And I think they look really, really nice actually. So I think I'm happy with those. Double tap the, I have a look at the world grain and make sure you're happy with it. And yeah, that looks really good. Alright, so now we need to do our actual metal bumps. There is welcome to the plus new. And we'll call this dark metal like so. Then let's come over once again to our shading panel control shift T. And that's calmed down to, well, let's find it first. So we're looking for dark metal, which is this one here to K. Same principle. We go, alright, so now let's come in and let's see if these have actually unwrapped. Absolutely fine. So I'm going to grab all of those. And you can see that because I'm actually in Edge Select, it's not actually grabbing them all the way through. What needs to do is I needs to be on Face Select. I need to grab, let's say this one here, this one here, and then on this one because we know it goes all the way past that. I'm going to press L on Edge Select. They are all of the metal I think, yet there's no more metal on there. So I'll do now come to my adult male and click Assign. Now let's press tab and let's zoom in a little bit and I have a look at that dharma. And you can see looking rarely really nice. Got a little bit of roast on there. And that's exactly what we're looking for. Of course, no one's ever gonna get this close. But even if they did, you can see we've got a nice DO finished and smell. You can see the world looks even from this angle here. Even if this close, you can see that still looks really nice. And that's exactly what we're looking for. This one is a bit Square. Maybe we could have beveled it off a little bit more, I think actually because it is on a square actual peg, I think it actually suits it. Really nice. Alright, so always do that. Always criticize your own way it look at, see if he could have done something bad. That's also a really important part of actually modelling. So now we've got this and I think that part is really, really good. The next part we need to do, which is perhaps one of the hardest parts of the build, is actually creating this actual Cloth. What we'll do first, we've got our cursor in the center of here, which is really good. So what we'll do is we'll bring in a plane. So shipped day Mesh, bringing a plane, I'm going to spin it round. So our X 19, I'm going to pull it all and then try and get something into place like so I'm going to press one on the number pad. This is like I say, the probability that one of the trickiest Paul's like, so what I'm going stairs actually, I'm going to cheat a little bit. I'm going to press S and X is to pull it out into place. The moment there isn't gonna come over to my modifies tab. I'm going to press Control a or transforms right-click Set origin 2D geometry. And then I'm going to add a modifier. And this time I'm going to add in a subdivision surface. And you'll see because it's not on simple, they actually does that. Now what you need to do is you need to bring in a subdivision. You need to put it on simple. And then you need to press Control leg. And then you need to add in another modifier, come into subdivision again. And now you'll see it's actually rounded off a little bit more. Now the reason for this is when you bring it in this subdivision, you're actually giving it a lot more edge loops going along here. Now you can't actually see them. I think we can see them if a point on wireframe here we can see we've added to win so far, we're going to need a lot more. So let's put it on simple. Let's press Control. There you go. You can see all of those little edge loops are now in. And now finally, if you come to subdivision surface, you'll see now that we've got really, really nice end into our plot. Still, it's a little bit too much at the moment that bent round a little bit too much and we don't really want that. So I'll put it on simple again, press Control a and again add modifier subdivision. And now that's probably what I'm looking for now, is that enough subdivisions, Omelas cloth, that's the thing you need to think. Let's try one more. So I'll put on simple control a, and then let's try one more subdivision surface. And I think that's probably about right now. Why did we need so many subdivisions on? Well, if I press said now and go into solid mode, you can say that we've got cloth here. What you'll see is if I press Tab now, come in and pull this arm, which is called Proportional Editing. Now, if I click on one of the edges, for instance, like here, and I press the down arrow, you'll see that we have a little round circle here. And if I move my mouse in and out, you can see that as more influence on the Mesh. Now, why is this useful for something like this, it means now we can actually use G naught actually is up and down arrows and just move them into place. And you can see already that this actually starts to look like Realistic Cloth. We can actually start to stretch it out, though it's actually realistic. So it looks as though it's being pulled. And that's what we're looking for. So let's pull this this way, maybe a little bit too much now. So I'm going to press G. I want to bring my mouse in a little bit and just pull it in just a tad, like so. And then also with this one because what you wanted, you wanted to look as though it's actually been pulled out and the winds actually blowing, and that's exactly what we want. Now you will also notice that these are pretty flat. It's also good for when we actually want to pull these out because we want them being pulled out as though the winds actually blowing into them. So we are going to pull them out backwards. So what we'll do on the next lesson is we'll actually duplicate these down. We'll start moving them a little bit wrong so they all don't look the same because they needs to be a little bit thinner as well and things like that. And then finally, we can actually apply this and actually extrude the mountain, give him some deaths. We also need to think about putting a Booleans in here so that the actual chain links are actually going through something that's also very important. Alright everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 28. Exploring the Versatility of the Torus Object: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now I recommend that we save it out. I haven't saved it for a bit, so I'm going to save my now, now ongoing series. I'm going to not actually bring in my Booleans quite yet. I want to bring it in button, just not yet to make these also want to get these in place verse, but I think I need to bring the, the actual Boolean in before I actually give this death. As I said, one of the Main most important things when you 3D Modelling is just thinking a few steps ahead about how we actually going to do something. So I know if I bring my Boolean in when I've actually extruded, this is going to make a lot harder on the mesh. So I'll share what I mean as we work along. So first of all, let's grab this one. Let's press ship date. And what we're going to do, he's going to bring it down. Now you can see as abroad that down it didn't actually come down properly. So I'm going to bring it down like so I'm going to pull this one in its place. I'm gonna make it a little bit thinner, so S and X. And then we'll merge those. And now I'm going to try and manipulate this width Proportional Editing on. So I'm going to try manipulate this. Now you can see that is not what we want because it's manipulating this one. And we don't want that to come up to this level. Lone pair, click on it and you can see you've got one that says connected only. Let's click that on. And now no matter how pulled this, it will only pull this one away and that's what I want. Now let's pull this one over a little bit. What we need to do is we need to think that the actual chain is going to probably be coming from somewhere around here. So we don't want to go to fold out ways what I'm saying, let's bring it down a little bit and let's bring the whole thing down. Just so it all looks a little bit different. Like so maybe that's like that. Alright, I think I'm happy with that. It looks different from each of these and that's what we're looking for. So once again on the number pad, all make sure Proportional Editing is off. Shift. Bring it down. Cnx, bring it together. Like so. An S and X, I'm going to pull it in a little bit more and now going to pop Proportional Editing on. Grab this one here, G. Let's pull it over a little bit. She like so like so. Let's make these not quite as Ben on this one. Like sir. Alright, so think I'm happy with that. Now we need to make cold chain links. And then finally we can make our little holes of where all these are gonna go in and make sure basically that they're all going to be incorrectly. As I said, this part is probably one of the hardest parts in the build. So it's important that we get actually correct. So what we'll do now is we will first of all bringing our chains. So let's do that. So how are we gonna do that? First of all, we're going to press Tab, so we bring in a potluck separate from these. Now we're going to press shoot day Mesh, come across and you'll see one that says Torus. So click on Torus and you'll bring in something like this. Now the problem with using tosses is they are very heavy on polygons, so you need to be aware of that. So the first thing you need to do is bring these polygons right now. I mean this is 48 segments and 12 minus segments. So the minus segments are these going round here and the other segments are these ones going across here like that. We need to bring this right down. So let's try something like 12. We only need to make these look like chain links, so we really don't need this to be that high. Again, let's try ten if can get away with that. Now, let's try turning the minus segments down to something like a. Let's try that. All right, can we get rid of can we get away with that? The first thing I do, so look to see if an actually get away with it is I'll right-click Shade Smooth and come on, Paul, an auto smooth. And now I need to turn off auto smooth. And then you can see that I can go away with that, Turning that up. And it does look a little bit chunky. So it's telling me it's probably a little bit too low. So I'll do is I'll press Delete, Shifts a, bringing my Torus again. So let's come down final Torus. And now you'll see it comes in with exactly the same as what we had before. So I'm gonna try putting this up to 12. I want to turn this off to ten. And then when do the same thing again, Shade Smooth. Put an auto smooth and let's see how I have to turn up to smooth it off. And you can see that that actually looks hello bad. Now I do need squishy sand because it's not right at the moment obviously because it's way, way. It doesn't really look like a change to rounded. In other words, if I press S and X, squishy, and now you can see it looks a lot more like a chain. Now the other thing about sources is when you bring it in, it's very hard to tell when it's actually this bag, how small this is going to look when it's actually in place. So if I press S now and bring it down, and then I'll spin it round. So all X 90, let's spin it round. Press warm. I'm going to pull it up into place. And what you need to locate aids if this is to chunky, I'm gonna make it smaller. Like so And then I'm going to put it into someplace like this. Now the good thing is about these is we're not going to need all of this because it's gonna be actually in the woods. So there is that to take into account. So if I make it a little bit smaller, our much kind of get away with probably something, probably something like that. So I'm gonna grab this one. I'm going to spin it round. So all zed 92 because that's obviously the way it's going to be. So I'm going to do is I'm going to duplicate this now. So ship date, I'm going to duplicate it over this side just to get it into some sort of Place. And we're going to have to pull actually a cylinder. And each one of these, just to make sure that we're going to have a hole in each of these, and that's based on what we're trying to achieve here. Now I've got these two, I might as well bringing them down. So ship date, let's bring them down to the other part. Make sure they're in roughly about the same as what they are in this one. You can see we've got to rotate and move these around. And now I'll do is I'll grab these two again, bring them all. So Shift D to the next part, like so. And then I'll grab them again. So Shift D bring them all. And I'm going to worry, I'm going to actually move these once I've got some into place. So Shift D, bring them all like so. And then finally Shift D with the top one. Bring them all like sir. Alright, so now let's start work on the first of all, I'll join them all together. So let's make sure they're all joined together because that'll make it far, far easier for us. Like so. Now one thing I should have done before doing all that is actually marked my seams out and that now it's up to you. We can either go back and do these just so just leave one I think, uh, well, I think I'll do that. Well, there is I'll basically I think yeah, I think are welded resolve come in. I'll just do those again because it's just going to save me so much work rather than going around them. So I'm going to press Control J. And we're going to join those together, which means I've got one here, delete, and then one wins. Do is I'm just going to come to this one. I'm going to press Shift and H hide everything else. Apart from this, I want to press Alt to zoom insolvency wondering tab, and let's marketing. So when a market Seam on the inside, of course we don't see it. So mop Seam. And then I went to mark a Seam in this part here. And I know that sometimes your belt to see that boy is hidden where it's going into the actual cloth as well. So I think it will be fine. So we're just going to market Seam there, just so it's not an infinite loop going random brown. Now I'm going to press top, I'm going to press Alt and H, bring everything back. Now we're just going to redo what we actually did. So sorry about that. Makes it a little bit to slow ed bought in the end, it's going to make it much, much better than what it while someone's grabbed both of these shifting, bring them all like so. Then Shift D. Now all those Seams, a malt, which makes it much, much easier for me. So shipped date, bring them up into Place, Ship D. Then finally, shift date, bring them all into place. So alright, so I think I'm happy with where they are. So now let's come in and actually work on this. So I'm going to grab this one first. I'll pull it over and say I've still got proportion. I did not I don't want that on for doing this. I'm going to press all on Y and just spin that round. And we want them at an angle on each one of these are, and why spin it round like so. I'll pull this one a little bit more because what we need to think about is a little hole in that. We need to think that this should be fit in through that and this should be a little bits of metal holding these into place to give it some other Realism. So now let's come to, let's actually join the modal. That's gonna make easier, not the cloth, of course. All of these little links like so. Then press Control J, join them all together. Now what we need to do is just come in and do the same for these. Aren't MY spin it round, pull it into place. We don't want them in the same place, so we do want them a little bit away from each other. So let's move this one round like so some of them can be straight, some of them can be a little bit, we want some randomness there is what I'm saying. So let's move this one here, spinning around a little bit. And then it looks very different from that one. So L, Y, move it over like so from this one, L then all and why? Mike? So let's come to this one. Why? Like so I'm just looking at if I need to pull that one out a little bit, the thing and get away with this one. Alright, so now let's come to this one. Rotate it round. This one on why into place. Now, I don't actually like how these ones are the same. So I'm going to spin it round just to make it a little bit different. Then this one, L, Y. Finally this one. Now, why spin it around? Move it over a little bit. Top, double top there. I'm not I think I'm happy with that. So far. So good a lot to get through on this one. We will be married on the other side. So what I have to do this the whole of them, so don't worry about that. And then what we'll do on the next lesson, then that is M will start to actually make our little Boolean Hole in here. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks. Bye bye. 29. Creating Realistic Cloth Sail Meshes: Welcome back everyone to Blender to Unreal Engine five and this where I left they all. Now let's start with the most tedious bet, which is the Booleans. So what we'll do is we'll press Shift day. I'm going to bring in a Mesh and I'm going to bring in a cylinder. Now I want to make sure that this is not too many signs that all the very, very tiny these things. So let's put it on something like ten. I think I should be able to get away with that actually, that Morgan who is going to spin it round. So all X 90, spin it round, and let's pull it in some sort of play. So S Bring it in to where actually it's going to go. So I want to press one again, making sure that it's going through. The Pausanias want to squish it down and put it over. And this is where it needs to be conceived, probably named a little bit smaller, like so. And you can see that to make this easier on myself. So I can actually see where it's going through. I could actually pull this out, so S and Y and just stretch it out like so what we need to do is you need to make sure that the Boolean is just going through here. Then what we're going to do is probably going to keep the cylinder. And that's what we're going to make those metallic rings. I'm to actually go through each side of this. So let's see how we go. So I'm just press space bar, so I needs press that off because I've got Matt animation running. So I'm going to press wall and then walgreens knows when I press U to bring this one over, probably say it and I didn't want them looking a little bit different. So Shift D bring this down to maybe hear something like that, just making sure that we'll be going through that ship date and we can obviously alter the Cloth ones. We've actually got these Booleans in, can see that this one a little bit too low. I don't want it to close their cloth because they'll look like it'll actually break the cloth and that's not something we want. One again, shift D bringing it down. Like so. And then she'll bring this one probably up a little bit shifty. As I say, we want them to lock, not lie there all in the same place. Definitely not. So something like that. I think that will just fit in there. So we'll see maybe it won't will have to move the cloth around a little bit if it doesn't want to pull this one here, like so. And then Shift D. So something like that, maybe a little bit, and then Shift D. And of course we won't Realism in this. So the main thing is These are looking different and the cloth is working around these points as well. So I'm going to grab each one of these now, which shifts select. And I'm going to join them all together. So, so Control J, join them altogether. Now, let's come to our cloth now this should already be joined up. We have got one actual modifier on this anyway, which is a subdivision a don't actually want to apply that yet. So I'm going to bring in now is a Boolean. I'm going to call them to my little pipette, same as we did on our tower here. So quantum a little pipette and click on all cylinders. There you go. You can see all those holes going all the way around. And that actually looks really nice. Now, let's come in and we'll apply our Boolean, but not the subdivision yet. Hopefully it'll work. So control a, Let's now grab all cylinders. And again, I always say this, keep you Booleans just in case you need them. So I'm going to look now at this Cloth and I think they actually look really, really nice. Now if I click on my actual plot, press the Tab button. You can see first of all, we've got a little bit of a mess along here. And Booleans always, always do this. So there is that to also contend with. Now, we need to actually fix this Mesh cell that this looks correct before will actually apply this subdivision we need to go in and actually marked some seams that's going to make life a lot easier. So bearing in mind, if we add in our subdivision, is going to make marking seams, especially near these round circles here much, much harder. Let's come in and actually mock call seams in. Because then it's going to make it easy for us to actually bring in all materials. Now there is also something if you press U, you'll see I've one that says smart UV project. And basically what it is Blender will try and actually ultimately on Ramp knees. And it does do a very good job. In all honesty, if you don't want to do this tedious part of work, then use that and it should on route them absolutely fine. But I wanted to show you the right way of doing things so that you never Stock and you can basically on-ramp anything. Now the thing is let's come in and actually mount the Seams going round here. So don't look at this part here. Just look at the lines going around these edges, for instance, and just make sure that you're marking all the Seams going around. So Mazzini, I'm going to actually hide these other way. All these rings is gonna make it much easier for me to work on. Is going to take a little bit of time, just a molecule of the Seams up some mock Seam. You can see I've missed one here, so I'm just going to come in moccasin. Also you can see that is the Mesh actually broken? In other words, is this organ to join us? We'll have to actually see when we bring our subdivision and just to make sure The other thing is make sure that you're not missing any of these. So right-click mock Seam. If you do miss some of these, you'll find that when we come to him rapid, you will end up with a bit of a mess of trying and get them all going round. So you can see, I'm trying to get all of these. And as I say, this is a little bit easier because we haven't applied this subdivision. So I'm oxime, I'm looking to make sure I've gone all the way around. I think I have. And I'm basically just going to take my time. There is only six of these, so not too many. And just make sure that they're unwrapped. Sorry, marked Seams correctly, ready for unwrapping. You can see that that one's done there. And I'm just going to work my way around like so they're all various ways we could have probably done this. But this is probably the wall now we'll go with probably awesome easier ways out there. I'm not sure, but this is the one I'm going to go with. So if you find, do find easier way, then drop it in the comments and it'll help all the people out and speed up my workflow as well as yours. So right-click moccasin. So I'm just looking at there's going all the way around. I've done that warm someone's comb to this one. I do know that you can come off and go to Select and select by a similar length for instance. So if you say if I select this, for instance, going all the way around and I try and do that, is going to select a load of the other pulse. Now you can select by edges bolt because this is a floodplain and we don't actually want to extrude it out just quite yet. We can't actually use that feature now is we've probably could've extrude it out and then use that feature, but it might have worked and it might have created as more work in the long run. So that's why I'm a bit trapped in about doing it that particular way. Alright, so let's grab this one here, right-click and mock Seam. I'm just looking to make sure I've got all that. I'm sure there'll be one I've missed as well. So when I come to where, unwrap it, We'll see if I've actually missed one, but I'm sure there'll be at least one that I've met. So right-click Maxine, and you can see I've missed it there. Right-click, mock same. But Ambien, trying to be as careful as possible. You can say I'm already at the bottom. It didn't take too long. So let's go all the way around and see if not call this one in here. Like so, right-click and mock same, just again, checking it round. Come in all the way around here. Like so like so making sure don't miss that one. I will grab that one. There we go. Alright, so right-click and mock soon. Now let's say there are Mall, they look actually pretty good. Okay, So the next thing we need to do now is we need to actually think about pulling these out. Now, I'm not going to apply all subdivision yet. I'm going to actually just start pulling these out a little bit and making them like kinda blow in the wind. So I'm gonna grab my Proportional Editing. I'm going to come in, I'm going to press G and I'm going to pull them out. Like so making them trying to make them look as organic as possible. So you can see that I've pulled them out. Alright, so let's press top, Let's press Alt H, bring back all little rings. And let's have a lot what we're looking at here. Okay, So I think that is looking pretty nice. Now the one thing we do need is we definitely are going to need some rings on the inside of here. Now, that's why I actually saved out these, these here. Because what we're going to use, I think though what we should do really is apply all subdivision. Now, I'm going to hover over it, control, lay apply it, click on them. And now you can see we've got a lot of subdivisions in that. You can see that there is one missed on here as you can see. So Alt Shift and click right-click magazine. So making sure probably a lot, probably a fuel dismissed. I'm just having a look round and having a look, see if there's any Mesh. I'm not quite sure if there's any Mesh. Jet will have to wait and see if they're all. We might even end up using the blend away of unwrapping it. Alright, so let's create now these into actual Solid Meshes, not just there. So I want to press Tab. I'm going to actually smooth it off as well. So Shade smooth. I'm going to bring in my old so smooth as well. That's important because if we join this over, then it knows when just want to make sure that they're smoothed off as well. Then what we'll do is now welcome to add modifier and we'll bring in a solidifying like so. I'm going to put even thickness on. You can see we do have a problem. And the reason is probably because I've not read set the transformation. So let's press Control a or transforms. Right-click the origin to geometry. And let's also see if face orientations absolutely fine, which it is. I'm just looking to make sure that I do have some issues and I don't really want those. There are easier ways to fix these. We don't need to worry too much about it. So what we'll do is we'll actually fix those a different way. So I'm going to turn off my face orientation, turn off my solidify. When I press a one going stairs, I'm basically going to copy these. I'm going to grab each one of these now. And it also should get rid of the problem that we're going to have with marking seams here. So let's press shift D and we're going to pull them out without Proportional ended tunnel. Like so as thick as we want them. So let's say let's have a look at that. That looks about are they thick enough to everything? So I'm just looking around, see if that cloth will be thick enough that you can see this is where it's going to come up to. And I think I think that's gonna be relatively thick. I think I was well, I'm going to do is I'm going to grab them all and just pull them back this way a little bit like so. I'm just going to look round, just making sure they're all looking nice. I think they are now long rinse depresses. And when you press the question mark, isolate it all out. You can see that we need to now join all these old. Alright, so let's do that. Now. We're going to press top. Morgan there is. Now we're going to grab all of the outside yet edges. So Alt Shift and click, Alt Shift and click and you can see they go up to roundabout the corners, which is absolutely fine. So we're gonna go now all the way around. Just don't one of them. We're gonna do one at a time. Like so. One of the time going all the way around. And then Morgan to do is right-click and we're going to bridge Edge Loop. So bridge edge loops like so. And there we go. We can see they are looking nice and thick about the right thickness. Now one thing you need to do is you just need some oxime on the corners. And the reason you need to do that is because if you don't want the same, it's gonna be an infinite loop. So let's say moccasin here, right-click and oxygen. Okay, so think I'm happy with that. I think they're actually going to unwrap. Absolutely fine. So I'm going to try one out on the next lesson and we'll see how we go with that. So it's a little bit tedious, but bear with it. Once we get through this, we can actually copy all the way around the Windmill. It should look really, really nice. Okay everyone, I hope you enjoyed that and I'll see you in the next one. Thanks. Bye bye. 30. Mastering Hole Creation and Linking Objects: Welcome back everyone to blend it to Unreal Engine five. And this is where we left off. Now, let's see what these actually on rock on Ramp like before I do anything else margarines do is I'm gonna come over to my Material, click the Plus button, click New, and I'm going to call this Cloth fabric, whichever one you want. I want to call it cloth, that should be absolutely fine. In fact, I'm not going to do that. I'm going to call a fabric. And the reason is, I think it's actually called fabrics. So let's make sure it is. I want to come to my principal Control Shift T, and let's have a look, see if it is called. So let's come to our resource pack textures. And yes, it as it's called Fabric to K, I'm going to select the ones we need and bring them in and let this load. Let's have a little look like I also need some rapid cell does let it load up. Let's grab this first one. We'll grab all of this with Edge Select New on the Ramp, like so. And there we go. That looks really, really nice. Let's look at our registers to make sure I'm going to press question mark again, just to isolate mountain then I can see my uneven, my edges look really nice, so that is looking relaxed. Now I know we haven't done the rest of them yet. We need to join these up. I'm looking actually what they look like and they look really nice. The one thing I do know is that they're a little bit lie on the color, so I am going to darken those up a little bit, but apart from that, we know that Way to go. So now let's come back to where modelling, and we'll do the same thing on this one here. So Alt Shift and click going all the way round will bridge the edge loops multiple corners. And then we'll actually unwrap these salts out the actual color of them because they're a little bit light. Then we can start bringing in these metal parts on here. Which because we've actually created those cylinders now, should be quite easily to do. So, right-click on, Let's come in where all we bridge, bridge edge loops. Because I did too. It's time. That's not work. So let's come in and they wanted to time. Wasn't sure if that would work or not to be honest. So this one, this one, right-click and bridge Engine lips. There we go. Now let's come in. I'm oxime on each of the corners, like so. Right-click and mock scene. And now we'll come to this one. Yeah. Like so. And then this one here, right-click moccasin. Alright, not marketing, right-click, bridge edge loops. There we go. Now we need democracy. Variable. Seams are already marked. We don't need anymore seams. So they would go this one on, this one, right-click and moccasin. Now let's put it on Material. And let's see if we grabbed this one. Click on Ramp, and then we grab this one. Are you on Ramp? Let's have a look and we can see that they're looking the same. And that obviously is because we need to move these around. So I'm going to put this on Material. Let it load up, grab this one, and then I'll grab this one. I can see the exactly the same lock. So I think actually what I need to do is I think they're a little bit too big as well, so I'm going to grab them all. And then what I'm going to do is another little trick you can do is you can come up to where it says UV. And you can actually CAC islands, Blender's can actually pack them in there nice and neatly for you. You can see now they're all packed in. Now, again, you need to decide, is this Cloth too big? For instance, do we need a little bit big? And if you do, just grab it, press the S Bone and pull it out little bit. There you go. Now it should be absolutely fine. Just make sure that they locate different. We are going to move these around obviously on the, on the map one we've got the other ones in. Now, let's come over to shading before we do anything else and make sure that the actual colors actually fine. So we'll come over to our shading panel. I'm just going to move my Material output over here, move my principled over it. I'm just going to make the color just a little bit darker, light. We are done with the warm material. The way I'm going to do it this time is I'm going to bring in a gamma. So shift day search gamma, bring that in, drop that in there, and I'm also going to bring in a hue. So HQA and saturation dropped down in there. There we go. Now, gamma First of all, so let's put this to 1.830, like so. And you can see that it's much more darker. And then let's put the saturation debt up to 1.4. So 1.4, like so. And that brings up colour out a little bit more. Now the moment we're on material, but if I come in now to Modeling, press the tab Bone, let's put Eevee on. I'm probably going to need my son actually, so I'm going to press question mark, bring everything back and there we go. Double-tap the a. And you can see jots down, nice to actually looks Now, well it fits into our actual Windmill. Alright, really, really happy with that. Now we need these little Bolts putting in. The way we're gonna do is we're going to come to one of them. I'm going to create it, put it in place, and then do all the alveolus. So again, a little bit tedious now, I know that you can copy it over to all of these. I do know that's available, but the problem is if you do that inherits everything else about it. And it also means that you can't change the materials and things like that. So there is that content with so thing. I'm just going to do it this way. So long Wednesdays, I'm going to grab this one here. I'm going to press P selection, tap, pull it over. Then I'm going to put this on Material. I'm going to grab these other cylinders. I'm going to press Delete and delete them either way. Now, I'm going to come to this one here. I'm going to pull it into place. I'm going to go to the right size. So S, Why not X? Let's get it into the right size. Probably going to work on one, maybe. Could I get away working on one? I think I need I definitely need a hole in that Saul thing. Yeah. I think I'll probably work on one. It'll be easier. So what I mean is I'm going to work on one face, I'm going to press your date, pull it out, get rid of this are the one L delete vertices. Grabbed the middle of this. I pull it in. Let's see how far we want to end. So if I press one, that probably comes right up to the edge of M, we don't really well not so I'm going to press L S, bring it out like that. Probably bring this in a little bit more. So I'm going to press S just to bring it in a tad more Delete and bases. And that's how it's going to look. So it makes sure that you actually happy with that. I think I'm happy with that. It's a little bit chunky. I know. But the thing is, there's so many of these and they're going all the way around. It's really going to propel polygon council. We need to keep it a little bit low. So that's why I'm looking at. So now I'm going stairs. I'm going to grab this, the Press E and just pull it out. And now I'm going to try and get it into the right place. So I'm gonna put it over here. Like so in conceits still a little bit too thick. So S and Y, like so. And I really want to make sure that it's actually in the clock. And you can say, if a pulley this way needs actually rotating round, probably this will be far rotates it around a basically want a bevel off these, these edges. So I'm gonna come in and grab this edge, this edge. Mit Press. I might as well actually do it all the same time. So this one on, this one as well, controlled BY Beverly off. And there we go. Alright, so that's now looking really nice. Now we might as well mock a Seam on this as well. So I want to probably Marcus Seam on the on the inside of this somewhere. Probably going around here like soaps or right-click mock Seam. I'm also going to mock Seam. Go round here, right-click mock soon. Alright, so I know that we'll on Ramp Up. So findings exactly the same as the chain links. So now on age there is just get these into place. So what I'm going stairs again, I'm thinking the easiest way to do this, just to copy it, bring it over and it should fit into place. So I'm going to actually, I'm going to probably do it in edit mode as well. So shipped date, bring it over. Let's see how easy is to get these things into place. So something like that. Shift D, bring it over. So put it into place, like so. And then Shift D. You can save this one needs rotates in a fair bet. So Shift D latches get in though to a central place where it's covering up all of the edges first. So Shift D. And remember, it's going to be, no one's gonna be able to see like really, really up close with these. So we all put in a lot of working for mainly for if you want a really close-up details sort of thing. But in a game's engineer might be able to get away with this, probably a lot, lot smaller on the polygon count. So you could probably as well get away with just painting these actual pulse onto the cloth rather than actually creating the actual Mesh. In other words, using the normal map. Instead of doing this, so I'm just going to bring that, oh, that one's a little bit, it's close to the Agilent is going to pull it in a little bit more and then shift they bring it down. And why I've known route to Asia or anything is because I want them all to be different. Mountains were mountains will give them not being as they're all different Meshes as well. Something like that. Alright, so now you can say I've a little bit of work to do on pulling these out. So I'm gonna do now is I'm just looking at the ones that need polynom going down the backspace, going to put this on Material. You can see here that this one is way out. So I need to grab this, pull it back and say I'm not even pulling it back the right way. So let's pull it back that way. And then that's rotated on the, on the X, like so. And then I can pull it out a little bit more. You can also say that the chain on this is a little bit too high. So I'm going to come in, grab this, grab this chain probably by that, put them Proportional Editing, press the G, bring it in a little bit and just pull it out like that, just make sure it's fitting. And then I'll probably do the same with these just to make sure that they're not hanging over. So I know pretty much that these rings I'm looking at the outside now, all the way down to here. She'll be fine. So I'm just going to mess around with a chain now just a little bit. So I'm just going to press G, just pull the chain into place so it works both ways as well. You can stretch and you can push the chain, which means that you want them. Basics look like it's really holding onto. They're not like the kind of loose or anything like that and change also somewhat be finished soon we'll be thinking and say this one's probably sticking in there a little bit too much. So something like that. None I'm looking at this one, That one is absolutely fine. So now again, I'll do the same thing. I'll come to my actual parts. These parts, for instance, making sure that they're in the actual Cloth the right way. So you can say I need to pull this one out. Take Proportional Editing and X bended round. Let's do this one as well. So L sub a look at this one, looks a bit of a sorry, state that one's a little make sure it's all in there. Come down to the next one. This one actually on Z, twist on the z-axis, making sure, Actually, yeah, I mean it's pull this one out a little bit as well. There are twist out the wrong way. Like so. Working my way around, I'm going to look at this one. The buck as well. It's way too out, so let's pull it out then, all on X. So making sure it's fine there. This one we can see is way, way out again. And let's pull it back. Go round the back, make sure. And then finally this one. Pull this one out and see that this one needs twist indefinitely. So all X spin it round. Let's make sure it's right this side. And now finally, let's come back to our chains. Put back on Proportional Editing, and then G on the same on this one. So G, so G, G, There we go. And then let's make sure this one, so J, this one you like, sir. Alright, so that looks really good. Now let's grab our little chain links. Right-click, Shade, Smooth, double-tap the eye. That is what you shall be left with. Okay, everyone, So we're nearly there on this bit and I hope you enjoying it. I don't see on the next one. Thanks. Bye bye. 31. Working with Mirrors in 3D Modeling: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now, let's think about bringing in some materials for these parts. And so I think that they should all be actually the metal. Which metal though is probably going to be the light Mel and nuts. No amount of that would view so false. So let's put this on Material. And let's say coming now and actually unwrap all these. I think I can get away with joining all these together. Actually, I'm going to press Control J, join them altogether. And then one way to do is I'm going to unwrap these, so it's gonna be easier. I think we're mirroring these over as well to change these around. So I think, well I want to do is I want to change this side, making these clots and things like that a little bit different. Even this pit award, but probably actually going around the acronym, probably exactly the same. You can go in and change them around if you want. I don't think I'm going to do that. So I'm going to grab them all a, to grab everything. And then let's come to UV Editing. And let's see if the unwrap pairs. So you on-ramp. There you go. They've unwrapped. Absolutely fine. So I'm just checking actually. I'm really impressed. Lecture without that. So unwrapped. Yeah, then on rats, really, really well. So hopefully you also want to rub the same. Now what we'll do is we'll bring in all metals. So I'm going to click plus new to make sure my caps lock is off. So a look. Stallone, don't like metal. Like so. And let's come to our shading panel and control shift and C will bring in now are like metal, which is this one here. Okay, of course, bring it in. Now as I said, I'm going to press a question mark and you can see what that's what they look like. Now you can see if I put this on eBay, they're gonna be very, very bright and then needs to be, I think there needs to be a lot darker than what they are on this. Plus we hunger lost someone here, anything like that. So we just need to be prepared. So what I'm going to do is I'm actually going to bring in a gamma Just to then give us the option if we want to make these darker or lighter. So I'm going to press Shift date, bringing a gamma, like so, drop that in and I'm going to put this on something like 1.9, like. So when you can see much, much darker metal double-tap be. But I think it'll look a lot more Realistic and long run. Again. We can just turn this down whenever we want. And all the metals around our windmill will all be turned down. So that's exactly what I'm looking for. Alright, so now let's come back to our Modeling. Let's press Tab. Now we need to do is you need to put this, of course, on the other side. So what we'll do is we've got these here. We need to basically set a point which is the center. Now I don't want to say it to this, or do I want to say it's this actual poet, probably this part here. So what we're gonna do is we're going to grab this. I'm going to come in. I'm going to grab the bottom of it without so it's selected all that space Shift S because disliked it. Now I want stairs. I need to make sure that this, So all these parts, all these parts are actually split off. So I'm going to come on and grab all of these without making sure I'm on edge, select all of this, all of this. Just keep working your way, all the way over pay selection. And now let's make sure all of these split off which they are. Now the other thing is, I don't want to really join these together because if for join them together, it's going to have pain to actually split them up again, to actually change all of the UVs round and things like that. So I'm going to keep them separate. It's going to make you probably a bit odd because we'll have to add in three modifiers. So let's do it that way. So first of all, grubby fabric, right-click set origin to 3D cursor, then grubby Mao, right-click origins 3D cursor. Finally, what right-click origin 3D cursor. Now why we've done that is because we need a point or an origin of where we want to mirror this over. So because our point is he a short Marriott exactly over the other side, and that's what we're looking for. If we add our origin over here, it would actually mirror it from the origin which would be over here, which would put it somewhere over there. That's why we're doing that. So let's do all Wood first, come over to our little spanner I'd modifier and we're going to bring in a mirror. You can see now it brings it over the other side. Now let's do our Cloth. So I've modifier mirror, and now let's do our piece of metal of modifier mirror. Now let's double-tap the a. There you go. That is what you should end up with. That actually looks really, really nice. Okay, so you can see though it's a bit far forward. Let's press three and C. Alpha Florida is it needs the middle bit onto rarely actually come to lie. But we can see that actually look really good. Now because we've married them. What we need to do now is we need to apply these merits and then change around just these clubs than that so they don't look the same. So while there is our column to my Cloth first, I'll press Control leg. And then while there is our grabbed now, all of these, so I'm going to come in with Edge leg, grab all of these UV Editing. And one way to do is I'm just going to press G without fortunately internal GI, move them over top. And then I'm gonna do the same Now with my actual rings. So I'm going to press top. So I'm gonna come over to my Spanish, press Control late. Then come to my rings. A moment is to instead, I'm going to press be grabbed them all on the left-hand side. Press Control plus just keep pressing them so you've got them all, grab all of these a, G, move them over. And then finally these rings here. Again, control lay, press tab. Let's come in and grab all of these pots now. So I'm going to grab every single part. Like so, grab the bottom as well. And then all I'm gonna do is I'm just going to press G, move them over somewhere else. And now hopefully they should all look very different to the side. Let's go back to modelling and find out. So we're looking at this side. This side we can see, we can see that the cloth, for instance, looks very different. We can see the word here is a little bit darker than this side. On if we really zoom in, we can probably see some difference in the mouth. And the reason I did the mail, although you can't say is if you do have a close-up shot, it's actually done. And because it was so easy just to do well, we had all this here, we might as well do it. So what I'm going to do now is join all of this altogether. So press control J, joining together, press G, just to make sure all columns you can say I've missed this sense part, Control J, join it all up together, GI, make sure all comes together. And now what I'm looking for is just to make sure that these are actually smoothed off. So I'm going to have to smooth those off a little bit. So when increase my smoothness, just a tiny bit, not enough though to change the world. So you've got to be very careful that, you know, actually smooth enough that what, we really don't want that smooth enough. You can say if I spin this OH, blob tool that you can see how it changes all of that and we don't want that. So bring it down and then put it all just so it smooths off those little pieces. If you can get away with bringing it down a little bit more, you do that. So you can see that it's changed the word, sorry, the metal, but not the actual world. And that's what we're looking for. If you want to see what it looks like, the smoothness, you can see all of this movie, you can see these move and this is still a hard edge and that is where you're looking at. If I come in, I'm going to remember this 42.8, if I turn it up, can you see I guess all smoothed off so we don't will not so 42.8. And you wanna make sure that you have these edges, so you should be able to get away with it. Now let's put it on Eevee. Let's have a look of what we're actually looking at. So double-tap be and you can see that looks really, really nice. Now we are going to have to pull this back just a little bit, something like that. Then we are going to work out how far we can get away with, because we do have to actually rotate this. In other words, we need to rotate this from me. So it's actually slightly forward from this tip. And it's actually rotated because that's how it's going to grab the wind. They don't grab the wind because this straight on, they are actually rotates a little tiny bit. Alright, let's actually start work now on this part here. So we can see that this has a lot of edges on them. We don't want that many. So I'll do is again, I might as well bring in all cylinder. And I'm thinking, should I base my cylinder on the center of B? I'm gonna hide this one out of the weight. And the reason I'm doing that is because then I know it's pretty Central. So I'm going to come to this, I'm going to grab this back panel because I know that this is Central. I'm going to press Shift S because it's selected. And then one wins, there's going to press Shift. I come in bringing a cylinder and let's put the cylinder on something like less than what we're going to put this on. We don't really need it that high bulk, high enough so that it's actually appears actually round. So I'm thinking something like 16 as it is a central piece. Then we're going to do is I'm going to separate out. So when to press P selection tab, grab it all X. And you can see there that the origin is up here and I don't want that. So I'm going to grab it, right-click set origin to geometry and then all an X 90, spin it round. You can also say that we've got Roof Tiles on that. That's not what I want either. So I'm going to come to my Material and just minus up all of these and then just give it the default material. Alright, so now we need to make sure that it's going to fit. This part doesn't need to fit inside this, but it needs to be big enough to look as though it's actually holding it. So the moment the actual size of the Sun is about right? I think if I press S and Y, I can squish it down a little bit. And then that should be enough these to actually come out of and look realistic. So I'm thinking that this size here, when I've got four of these Arm, actually looks realistic. Alright, so I'm happy with that. Now on needs, There's just let me give it the basics of there. So I'll come to the back of it and I'll grab the back face. I'll press I won't wanna do now is pull it out and make sure that that is just being in that. So I'm going to press eight, pull it back into their life. So you can see it's really, really close to this, probably a little bit too close. Now, I can actually make it a little bit small. So Alt, Shift and click, press the S bond, you can say is pulling it out this way. And that also is probably fine because we do want a little bit of an actual angle on here from where the courts it and it's probably going to be either one piece or it probably would have a little bit of Babylon is what I'm trying to say. I'm looking now to save that span inside and it looks like staying inside absolutely beautifully. So now on the next lesson, what can do is I can start to work on this mouth, sorry, this wooden part. I'm really get this. This, these are arms really coming together. Okay, everyone. I hope you enjoyed that and I'll see you on the next one. Thanks. Bye bye. 32. Engineering the Turning Mechanism for the Windmill: Welcome back everyone to Blender, to Unreal Engine five, and that's where I left it all. Now, let's split this away from this piece here. So first of all, 11 today, I want to press Control plus and then a one, a minus this. I'll just make sure I've got the back of that because I don't want that left in there or anything like that. Then I'm gonna press Alt, Shift and click. I'm going to press and pay selection and just split that off. And the reason I'm going to do that is because I want to grab now the, this part here. So basically this edge going around here, I want to press S, bring it back a little bit. I wanted to press E and pull it in. And the reason I want to do that is because I want to make it look as though this part is actually fitting in it. So I'm gonna do now is grab this edge and pull it into there. Now that looks much, much better as you can see. Now, I want one edge loop around, so I'm going to press Control Alt, left-click, pull it. Not quite up to that because you do want to say a little bit of a gap in there, like so. Then what you're going to do is now you're going to bring in another edge loop, control arm, left leg. Something roundabout here you want it quite chunky. And then what you're gonna do is you're going to come in now and grab all of these bases with Alt, Shift and click, you're gonna press enter S, pull it out. You can see that again, we've got the problem of it's not pulling it out quite even. So I'm going to do, is I'm going to pull it together now. So S and Y then pull this back like so. And that is why I want. So we've got little gap in there where it can see things actually working together. Alright, so now I'll actually want to pull this out. So we have a little bevel on there. Now, I'm thinking that probably yeah, probably needs pull this out a little bit more and then give it a bevel. So Alt Shift and click, pull this out a little bit and then come to my edgy, and then press Control B and pull that out like so. Now if you're not happy with the bevel or you need to do is you just need to grab this edge and pull it back from you love it and dealt with it. A bit of a bad bevel. Think now that's actually looking really, really nice. Now we do need some metal parts that are going to hold this altogether, of course, would never just hold this big end on it without some metal pieces on there. So what we're gonna do is going to bring in MLP. So I'm going to press Shift a, I'm going to bring in a cube. I'm going to pull it over, wanna make it smaller, like so. I'm going to pick it up, put it into place on a warrantless to actually have a little tiny gap underneath it. So I'm going to pull it up. Like so I wanted just on their something like that. And then I'm going to pull this button down. I'm going to pull this down, like so on. I also want to make sure that this is smoothed off because of the moment it looks a bit jagged, like it's not going to fit. So I am going to grab this and right-click Shade Smooth. There we go. Looks a little bit better now. Alright, so now let's come back to as Paul here. I'm thinking probably need to pull it out. Probably something obtain here. Maybe let's press top, grabbed the face, pull it out. Like so. And then I'm probably going to give a Edge Loop on here. So control law, left-click and I'm lying now with this part here from where the bevel starts. And then what I'm going to do is I'm going to grab this edge. I'm going to pull this down to here. Next of all, why needs there is need to make sure that this is not too thick or anything like the moment it's looking a little bit too thick. So I'm going to grab both of these, pulled them down a little bit. And I also then want to probably, probably bevel of this. Let's save and get away with just babbling this part. So Control V, bevel, they've solved like so, something like that thing looks really nice. Now finally, let's make sure it's not too thick on the width. So I'm going to press S and X, just pull it in a little bit. I think that looks really good. Nothing is going to look. Press tap, double-tap the eye as though that's actually holding this part together. The one thing I'm not sure about is, do I really want this going over here, or do I want to just being held up to it? That's the thing when we're doing this. So I'm going to press Control Z and just go back and just change this a little bit. So another way it's warming is I'm going to pull a Edge Loop banana, left-click, bring it up, like so. And then Walgreens do is instead. I'm just going to see if it looks better. If I grab this and this edge now and pull this down. Will it look bear coming up to this point here rather than all the way over. Still not really sure about that. I'm going to try it like this. So I'm going to get grabbed. This will now pull it up a little bit, like so. Then I'm going to scrub it all. I want to press S and X, pull it in. And finally I'm going to try and just grab this edge, face here, S and eggs, pull it in And then grab all of these going round and S and X bring in yeah, nothing that looks just a lot bad. It just looks like it fits it and holds it altogether much better. Like, more like an engineering part is what we're looking for. Alright, so I'm happy with that. Now, I might as well. Mama seams on this and I also might as well most of my bevels on this. So that will at first because then it's easier to marking seams. So I'm going to do is I'm gonna press Control a or transforms right-click. And I might as well actually set my orientation to the cursor because I need to put these going all the way around. So I'm going to right-click origins 3D cursor instead. One way to do now is Unwin's actually bevel it. So come over to you a little spanner modifier, bevel. And let's turn that bevel a bit down. It's a bit too high. And also turn off the angle because we don't want those parts babbling on. And there we go. That'll actually looks a nice piece of metal. And now actually I can apply that. So Control a and then I can press question mark twice, laying Out, press the Tab button. And now I'm going to bring in some seams so we don't want my Seams probably get away with one Seam on here. Once Seam on here, Control League magazine. And then I can probably actually get away with just one Seam. The bond going all the way round to this one here when no one can see it right-click marketing. Now I'm going to see if this unwraps, okay, So I'm gonna grab it all away. They're all making sure I'm on edge, select, press U on Ramp. Let's come over to you. We Editing just to make sure it's unwrapped. It looks like it's on route well, actually because it is metal. So it doesn't matter if it's on rats in this kind of weird way. The one thing is it's really too big, so I'm just going to pull it down to here. I'm going to press DLT and zoom in so I can see what I'm doing. And finally now let's bring in the materials. So when I click the down arrow, we've already got the material, we should be the dark metal. I'm going to press Tab double-tap the a now and I can see exactly where it looks like. Let's put Eevee on. And yeah, that actually looks really, really nice. Okay, So that looks like it's going to hold something. Now, one thing that is bugging me about this is if I press question them all and the Eevee, that the moment you can see we don't really have any Eevee, a light source coming from this angle. It's always better when you're actually building your model to bring in a couple of light sources. And the reason is you can say at the moment, this is Melanie light source. So why tend to do is I tend to create Tucson, so I'm going to shift D, the song to duplicate it, bring it right around the back, and then just spin it round so I'll pull Engine at and I do that. Just so I've got a lot of likes on that. Can actually rarely then see while I'm doing it. If I can't see this part again, I'll leave and bring in another light source. Because getting the parts are looking right, is the most impulsive thing at this stage. It's not about the lighting or anything like that. So I'm going to bring this here all spinning around a now should be able to see this melt Paul, what it looks like and now can actually got a visual, a good visual. And now it's going to look, even though we've got many light sources which we'll get rid of in the end anyway. Okay, so I'm happy with that. What I need to do now is I need to create a few of these. So I'm going to grab this. We can see our rotation is here. So if I press shift D and we want eight on ASR, it's 45 degrees. So what are you going to use? Press shift D. All why? 45. And then shift dig wide 45 and just keep going around. Because we know it's there hundred and 60. I think it's 1 mol, so we should, and so on. Why 45? There we go. Alright, yeah, that looks really nice. Now let's grab all of these. Again will use the same trick where we just pack them. So Control J, UV map, top, they're all grabbed UV, Pack islands, tab. And there we go. They'll look different. Double-tap the eye. Yeah, I think I'm really, really happy with that. Alright, so on the next lesson then we'll do is we'll just carry on working on this Bay bit more. We should actually get close to finishing it on that lesson. And finally then what we'll do is we'll let actually be able to when and mirror these will not mirror actually copy them going round on 90 degrees. All right, everyone, so I hope you enjoyed that and I'll say on the next one. Thanks a lot of I 33. Designing Structurally Sound 3D Models: Welcome back everyone to Blender to Unreal Engine five, and this is where we left the all. Now let's finish this back part first before we do anything else is looking really good. Apart from my thing, we need another piece of metal on here that is actually going to give it a little bit more strength. So I'm going to click on here. I'm going to press Control. Left-click on a want my ball tank kinda be on it. Now in past I would've made another one and then put it close to it. You can do that. Well, what you can do is you can just grab this one, press Control B, and just pull it out. And then you'll end up with the same result just a little bit quicker. So it's all about speed. Note that Workflow. Now I want to do is we need to wear probably, I would say instead of just extrude this out, press shift D and we'll just copy it, make it a little bit bigger, like so, and then press E and S, pull it out, and then S and Y pull it together like so. And I think then we've got a tiny, tiny little bit of a gap on there looking as though we've got a little bit more of a joint as you can see, now think I'm just going to grab it all with control. Plus I'm going to press S and just pull it in slightly and we still got that little bit of a gap there. And that's exactly what we're looking for. Alright, so I'm happy with this bit. Now let's come round and actually start working on the actual front of here. What we'll do is we'll click on our main point here and then Walgreens do is I think I'll start work on, I think it's actually go out far enough. I need to design how far they still actually go in. So while there's all press Tab, I'll come to face legs. Now grab this from Phase. I want to press I and bring it in to probably something, something like that. Then win-wins do is I'm gonna pull this back. So I'm going to press E and just pull it back. Something like that. I also probably want this beveled off a little bit. So it's a bevel alpha can just press the S and that's going to bevel it off. Nice and fine for me. Now I want to press I want Small to bring it in. And then we'll wants to do is bring this in and use this to pull it out again. So what do I mean by that? Well, I'm going to press E and pull it back packs. So I'm going to press, I bring it in very, very slowly, very slowly, don't need on any gap. And then finally you going to press E and pull it out. Now if you missed any of that, just re-watch it again just to see how actually did that, because it's probably quite complicated to do that. So don't be afraid that you've got to re-watch a couple of times just to see how actually did that. Now I'm going to do is I'm going to press, I pull it in again. Then I'm going to press E, pull it back. Like so. Then what we need is we need something that's going to actually hold this altogether. So this is gonna be made of metal. This is all Award. This part is what as well on the inside. So we're trying to hold it altogether from this metal part with some metal parts that are going to be bad. So think of the mountain that's looking really nice. We do need then just a Wooden bit, a1 here. What I'm going stairs, I'm going to press Shift S cursor to select it because that is the center of their shift a, I'm going to bring in a cube. I'm going to make this cube smaller. This is going to be like the Central pen. That's kind of olden it altogether. And then one way to do is I'm probably, I'm thinking, do I want to pull this out a little bit and make it a little bit different from the reference I could probably do on this one. I'm going to pull it out just a tiny bit. And I press Control Law. Want to press too. So when I scroll my mouse or twice, left-click, right-click, I'm going to press S, bring those in a little bit, like so. And then I'm going to bevel this off. So I'm going to crop these edges and press B for bevel it in like so. And I think that actually looks better than the original. Now what we need is these mouthparts going around near bearing in mind that we've got cursor in the center, so that's absolutely great. So let's press one. Let's press Shift a, bringing an acute, may the cube Smaller, bring it up. And then I went to shrink it in so as an X, like so. And now I just wanted to make sure that this is first of all above here because it needs to be, this is holding onto here. So I need to shrink in S and why? I also need to make sure you want this metal to come all the way over on do I just wanted to be on here? In other words, if I pull this to here, is this piece of metal gonna be enough to hold onto this? Hard to say, we need to bevel this off as well. So what we'll do first of all, these will come in. We'll grab this outside edge Alt Shift and click Control Bay, pull it out. Just a bevel that off. Now we'll do is we'll actually work on this piece of mouse. So I'm going to come back to my metal. Thanks. Select, grab it, pull it all the whale to round about the halfway points on here. And then one Wednesdays I'm going to press Control or left-click, pull it all so that it's actually to this actual circle here. And then what you're going do is you going to grab this edge and pull it back? Like so now you can say that's what it looks like at the moment. Now I do think that this part here, like the bond, does need to be a little bit thicker in comparison to the top. I don't think this would be quite thick enough to actually old all this together, so well, There's will press Control, left-click will drop it down to roundabout here. And then walgreens doesn't want to extrude these pots out. So I'm gonna grab each of these sides E, enter. Now before you pull it out, just remember if prestin and so because you've already gotten Extrusion there now, which means if you press a again, you're going to end up with double extrusion, which means they're going to face this over the top of each other. And it's going to make your hard work, make sure that it's on medium point. Then what you're going to do is you're going to press S and X. You're going to pull those out like so. And then finally we're going to pull these down like so, like this. Now also, do I want to kinda go away? We're just pulling them back. Well, they look back or pull them back light. So I think they do look better in that way. And I think also the top of this needs also pollinated. So S and X pull it in. Now you can see that actually looks really, really nice. It actually looks like it's actually going to hold it. Now the other thing is, I do want this slightly coming in to the ward as it comes here. So what I mean is if I grabbed this, can I get away with pulling it back? Just a slight bit like so just to give it a little bit more. Yeah, I think that looks so bad in that way. Alright, so that looks really nice. Now what we need to do is, I'm thinking, should I bevel this off as well? Let's have a look if we can get away with beveling this off. So Control B, Let's bevel that all up to that. So we'll look at that. Like so yeah, that looks like it's actually holding it now. So there we go. Now, let's isolate this out. So let's press question mark. I must put it onto materials so it can actually see what we're actually doing. And then what we'll do is now will actually stop mocking. I'll seams. So I'm gonna come in and I'm going to Festival mock Seam at the top. And I'll just mark a Seam there for now. So I'm going to press Control a mock Seam. And then margarines do is I'm going to think I need is definitely to Seam at the bottom. So we're going to mock a Seam going all the way around this bottom. Right-click mocks him now because no one can see that. We might as well moccasin going all the way down here and all the way up to the top of this or right-click mock seem like so. Alright, I think I'm happy with that. Now, let's see if this will wrap. So I'm gonna grab it all you on the Ramp. We can see here it says non-uniform scale. And the reason for that is because I didn't reset my Transformations. The other thing, of course, is I've not beveled this up yet. And that might be a bit of a problem. So first of all, let's resale Transformations. So Ultron Psalms, right-click set origin to 3D cursor because then we can use this to go round. Let's add in a modifier. So we're going to come in, I'm adding a bevel modifier. And then we're going to turn this down to nought 0.1. Let's see him get away with that. It's putting on an angle like so let's say press question mark to bring everything back and have all the way it looks like. And I feel like that babbling is way, way too much. So one Wednesdays, I've tended antinode 0.1. The next one down actually turns it to nothing. And we don't want that. I want to turn it all. The moments. Who's going to print on naught point, naught, naught four. Try that, and that then looks absolutely fine. Okay, happy with the bevel. Let's apply that control lay. Let's isolate this out again. And now let's look at all levels because I know that they're going to be messed up. So I need to just fix these now. So I'm going to come all the way around here, right-click and placing. And then one register is I'm going to look where I want there. So I think I want it down here. So I went to get rid of this one. So Alt, Shift and click, it will take it all the way around. Place Seam, moccasin back here, magazine. And then finally, let's bring in the ECM. We've probably got another problem on the bomb as well, which we will fix. So I need to mock Seam in here. In here, right plate MMP Seam, and then Alt, Shift and click. And we should be able to get rid of that Seam, their players Seam. And now we should end up with all seams back the way it wants to them, which we are. Now, if we grab it and we press L U on the Ramp, Let's have a look in our UV Editing. Let's spin it around just so it's the right way. So I'm just grabbing the old pressing all to spin it round. I'm gonna make it a little bit smaller as well. I'm going to press dot and then one going stairs. And now I'm going to just bring it into Materials, sermons. Click the down arrow. Don't mental top. And there you go. That actually looks really, really nice. Alright, so what we'll do on the next lesson is then we'll actually rotate this ram going to each of these points. And then we'll get the rest of the material on here. And we'll get this smoothed off and things like that. And hopefully it should all come together and then we shouldn't be able to actually rotate these arms around. Okay, everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. I buy 34. Testing Complex Seam Techniques in 3D: Welcome back everyone to Blender to Unreal Engine five and this where we left off. Now, let's bring in some materials. Once you started adenine, all of all seams and things like that. So what I'm gonna do is, I think I'm going to grab just this part. This part, I'm going to press a question mark just to isolate it all out. I'm gonna put all Materials and I think I can actually do this while I'm in my UV panel. First of all though, I needs to move this off so I'm going to right-click Shade Smooth. I'm just looked to see how smooth that isn't actually looks quite nice. Make sure also it's moving his arm. So normals autosome moving his arm, make sure this one's also smoothed off which it is. And now let's work on, probably work on this part here first. So I'm going to press Shift H just to work on this part. Then let's add in some things. So I'm going to come in. Alt Shift click, right-click, mocks him and he should be pretty proficient now on marking seams. So Alt, Shift and click, right-click mock scenes. Let's do this one here. So Alt Shift plate right-click mock seams. And I think we can get away with this going all the way there. So Alt Shift click, right-click monk seams. And again, round here. Let's not seem so please shop right-click moccasin. Now there is one problem, of course that we can't see into there. So we need to solve that out. So while we do is I'm going to grab the center control plus going all the way down and just hide those other way. And now we can see in that, so we've got two edges in here. As you can see, I'm going to mold the same on both of those and I'm going to really worry about it. So right-click mock Seam. And then the other thing is, I can get away with this being relatively flat. Water can't get away with though is where does this one in, for instance. So I'm gonna pause Seam over the top of here. So right-click and Maxine, they also the outside of this. You can't be an infinite loop. So I'm going to pro Seam rod the bottom here where I know it's going to be partly hidden by our actual arm. So right-click magazine. I'm just going round now and look in making sure I've got actually one in here as well as you can say. So I want to actually mock Seam in their monk Seam and then went to press Alt H, bring everything back. I'm going to market Seam here and here. Right-click marketing. Now you can see that before I did that actually wanting to do is I need to just bevel these off. So I'm going to bevel them up first because that Sue shot these edges. So I'm going to press Control, Bay, Level them off. Like so. Then I went to market Seam, probably here and probably, I'm thinking and actually I'll come from the outside. So here, Alt Shift and click, Alt Shift, click, right-click mock Seam, and then we'll mark a Seam in the top. So right-click mock Seam and the same, and the bomb right-click mock same. That is because if I might want in the top is much easier to see this than it is to see this one. And again, on this one, it's easier to see this one than it is this one. That's why I've swap those over. Just saw the seams are actually hidden. The same is why I've marked to Seam down here as well. Alright, so the last part is I should've actually bevel this up as well. So controlled Bay, Let's bevel this off like so then end up with two seams and I really don't want that. So while there is, I'll clear the inosine. So right-click placing. Okay, so I'm looking now to see how smooth that is. We can see it looks really, really nice. We can see now that we've got to Seam, because Seam going up against here now we've not. So anyone here, right-click and mock Seam. The other thing, of course, is this edge here is a handgun and we don't want that. So there's prompt face, legs, right-click and triangulate faces. Let's put it onto clip. That looks really nice now. And now we're working on just a square and you can see it as well. This, again is too sharp of an edge, same as these edges when really need sort those out. So we'll just grab all of these going round here and then just take these ones off. Then all on Wednesday, I'm just going to press Control Bay. And I wanna do this very, very slightly, not Morcher also very slightly something like that. Just to kind of smooth those off. Alright, so I'm happy with that and now needs there isn't a to mark Seam on this part here because this obviously is the space a cut-off. Do we want the ward going all the way up to here is basically what I'm saying. In other words, do I want my word following this all the way? I'll do I want this actually flying off. I think what I'm going to do is I'm going to mark Seam going all the way down here. Let's see him get away with this like this. So Alt shifting, plague, Alt Shift and click, Alt Shift and click life. So and then finally, around here, right-click moccasin. Now, that should be fine. Now the only thing I can see that I can't see is the back of this and a need. So actually mock Seam on the back. Oh, it will again try and be an infinite loop. Now the other thing is on the back, as you can see, we need to actually sort out this because it's an Angolan There is WordPress controlling MSG. And then what we'll do is we'll right-click and we'll triangulate faces and put this onto clip. Like so. And that should be absolutely fine now. Alright, so I'm happy with that. I'm going to press Alt H, bring it all back. Now let's see if it all on ramps on this one when we brought the of the bag. So impressed. Question mark. That isn't working. I'll teach bring everything back tab. I'll teach question mark. It should all come back in 3D. It just gives seconds for Blend to work out where it's doing. There we go. That reminds me as well, I need to actually save this out. So file, save it out. Now, we don't actually need these parts here, this white part here. So I might as well delete those out the way and it should be left with something like this. So now we just need to work on this bit here. So I'm going to press a question mark twice late it out. Then what I'm going to do is I'm going to start thinking when a tomato seams on it. So Alt, Shift and click. These are the easy ones going all the way around. So here, this part, here we know, is one separate part. In other words, he's got faces behind that. So I'm gonna just do both of the edges here. I want to right-click. I'm going to moccasin. I know that this means the same mocking around. So right-click magazine. Thanks. Select right-click and triangulate faces. On flipping. There we go. That's that Paul dome. Now we need a Seam going underneath because we don't want less an infinite loop. It won't one route like that obviously. So you can press Control seven as well. And then you can find this real nice point here. So on stairs, I'm going to come grab this Alt Shift and click you go all the way through a pot from this shifting plate that will go all the way through as well. Right-click and Maxine. There we go. That's all marked. It should unwrap. Absolutely fine. So let's press Alt H. Let's press Tab I'll take to bring everything back. Not losing weight. Question mount. Bring everything back. Now we'll do is we'll just grab both of these. I'm going to press question mark to isolate both of these out. And now we're going to do is I'm going to press Tab and hopefully I should be able to unwrap them all together so you on the Ramp and they should all them wrapped together. Now you can see what he said there. That is because again, we didn't reset all Transformations. So while there is, I'll join all this up. So Control J, join it altogether. I'll press Control a, all transforms, right-click set origin to Geometry tab. You on-ramp. So now let's see what the materials look like. So what we'll do is we'll come over to our Materials panel, click the down arrow, and let's pick our main mode where it's all Main. Well, that's fine. Try and find it lie. Mental will, would mean, there we go. Alright, so we can see that this part here going round looks really, really nice. Now, this point here, do you actually want to go around like that sometimes I don't think that looks the best way. What we can actually do is we can come, let's say we'll call them to the bottom of it. And I'll grab one of these actual polygons here. And then while there is all, come to the next one and press L, and then that will grab them are going all the way round. Now what we can do is you compress, you, come down to light my Pack. Click Okay, you'll end up with an absolute mess. Don't worry about it. Fresh, you come down. And what we're gonna do is follow active quads. Click Okay, and you should end up with something like this. Now you can see it looks much, much bow, all bits are one way around, so let's grab him a 90 spinning round. And there you go. You can see how much nicer, how much of flow that actually looks in Israeli God. If you actually know this technique to turn the actual ward. So it looks as though it's following it all the way around Ozarks one piece. Now whether it would be like that or whether it'd be like this or like this is entirely up to you how you want to unwrap that. I prefer looking like this. Now I can see that I'm happy with these pieces of these in here. I think these need to be a little bit bigger. So this one here, for instance, is far too big, so I'm going to press S, bring it in. And now it looks a lot of barriers you can see. Now with these parts in here, I do want these to be actual metal. So these parts here, you can see I've got my other Mel piece missing. I need to bring that in as well. So I'm going to grab this plus Down Arrow. Don't mental click Assign. I can see that they probably way, way too small, so I'm going to grab it, I'm going to press pass, pull it out. Like so when I looked much, much bad. Now, let's come to this part here and then come in, grab it. And I'm gonna give this the older piece of wood. So let's see if it looks bad like that. So down-arrow, and we're going to go with light, would click Assign top. There we go. Now, one thing I'm not happy with these pieces here, they shouldn't be that way. So I'm going to press a UV and so a UV Pack islands and then spin them around. So all 90 spin them around and then make them smaller. Like so. Now you can see, looks a lot more realistic. Instead of the world grain comes up, say, and actually it looks like it's cracking and things like that and that is exactly what we want. So that looks nice. Let's put it on Eevee and just have a low, let Eevee low note. Let's press Question malt, bring everything back. Now of a local way it looks like, and I think that looks much, much bad like that. Alright, so we've got that done so far. Now we need the word on this park or in the right way round is definitely the wrong way around a thing. So let's come in. And I'm gonna grab all of this, a 90, spin it round. And now you can see that loads the tone bad like that. So let's come in now. I'm grabbed all of this. Now we know it's not touching the rest of it, so we know we can grab all of this. So I'm gonna do now is give it the dark metal. So click assign a fairly chunky bits, so pull it fairly out, like so like that. Alright, so I'm really happy with unknown. The next one, what we need to do is just move this around then round here to make sure diets being held, we could actually get away with a lot of spokes by thinking when you try, First of all, just bringing in probably four of these spokes, something like that. There's going to double-tap there and just make sure that I'm actually happy with this. I think actually, let's just go in and see. We can actually bring this a little bit bigger. So S pulling out a little bit like so. Yeah, Not looks bad like viruses it a little bit too smaller thing. So it looks a little battle either. The other thing is a thing. I'm going to straighten this up with this. I just feel like a little bit out. I'm going to come in, grab all of this space, and then press bring it out a little bit and then just spin it round. So all spinning around this way. So it's all lining up now and dot lobes that are, and I'm also going to spin this one round as well, while a man. So a spin it round. So yeah, that looks just a lot bad like that. Alright everyone, so hope see on the next one, I hope you enjoying it. I hope fueling a lot. And hopefully by the next one we should have this actual windmill arms actually finished. Okay, everyone see on the next one, Thanks. Bye bye. 35. Finalizing the Windmill Arm Assembly: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now, let's start on this part. So if I come in and grab this part, I showed already at the origin in the center. So that's good. So all I need to do now is an age press shift D, and then all on Y and 90 degrees shift D. All why? 90 Shift D off-white. 90 like so. I'm not sorry, I should look now we can grab them all together. Like so. Press control J, press top. Make sure you've grabbed them all UV and we're going to Pack islands, you should end up with something like that. Double top the a, and now they should all look fairly different. And that's exactly we're looking for. Now. Before we do anything else, Let's go back to modelling. Let's bring everything back. So it's either Alt H or the question mark to bring everything back. Let's put it on Eevee and see what we're looking at right now. Okay, So that is looking really nice. I'm making so that it looks as though everything is being held and it will be strong enough to hold everything in. And I think you probably would be. And the other thing of course, is we now can grab all of this because if we pull it away, we're going to pull it from the anyway. And if I press all and why you can say I'm not pulling it from there, so I need to make sure that I'm pulling this from this point and that is based on what's wants to do. So I wanted to basically make sure that my orientation is to this center point here. So I'm going to write plate its origin to 3D cursor now, assured be able to grab it all. So let me see if I can grab it all. I'm going to actually join these two parts together because it kind of annoying me a little bit how the note Joints getting someone to grab these two, Control J. Now I'm going to press G just to make sure all moves I can say I've got my black ones out. So I'm going to grab this, grab these which Shift select Control J, join them altogether, G. And now finally, I should be able to right-click and set origin to 3D cursor. Now grab my actual arms. Right-click. So origins 3D Kazaa, grab both of these and now it should move that. Now this is what I'm looking at. So I need to be forward to that though. Reset the origin. So control lay all transforms right-click set origin to 3D cursor. Now, if I move this around, so if I press all and why spend this round? We can see how close is this. Now we're going to have a window in here, so it's not going to hit that. Or we can see it's very close, will not close enough to actually, now we are going to have a piece of wood on here. So we have to make sure that we actually avoid this piece of wood on here, and it's going to come out a little bit so we're very close, but it's absolutely fine. Now if I press Alt and all, it should put everything back because I actually reset the orientation before. I actually didn't think. So. Now we need to pull these out little bit. So I'm going to grab this actual plot here. I'm, what I need to do is I need to actually hide this part out first. So I'm going to come to the ball mafia in phase leg, grab this bumpy. So L. Should this cursor selected tab, right-click, set origin to 3D cursor. I'll teach bring everything back. Grab your arm. Three. So we're looking at the side view of it and then that's rotating forward. So all and X rotate it forward the other way. Tiny bit now hold Shift to make sure that you're not rotating that much. So I'm going to do it again. So all an X. It needs to be very, very slightly. So you can see it's very slightly. Now the next thing you want to do is you want to actually rotate it from the top. So we're gonna do is going to press all I'm rotates it very slightly from the top, like so. And there we go. Now you can say it's kinda looking really realistic. Now we need to actually pick the center point again. So Shift S because it's selected. Grab your arm and then right-click set origin to 3D cursor one. And now we're going to do is going to duplicate this round. So it should date all why 90 ship date all why 90 Shift D, all wine. 90, and there we go. Alright, so now you can say that looks really, really Realistic, really nice. Now the thing is, we've got all these split off, so we might as well use it. What do I mean by that? Let's come to this one and go into our UV. More. We're going to do nice press top to grab everything. You'll see it's a real mess. We're not going to worry about that. All we're gonna do is simply grab everything so you can see you've not brought with them. So a G, move it over very slightly. Come to your next one. Top a, a again, G movie over somewhere else very slightly. Grab the next one, a, an UV pole and move it very slightly over. Now you should find that all of these Wood looks different. All of the Cloth looks different on close inspection, as you can say, just to move in those, which is really, really handy. Now let's come back to Modelling From what we're gonna do now is join all of these together. So we'll join this, this, this, this, and finally this part here, press Control J, join it altogether. And then the one thing you need to check is just to make sure that you smoothness is on. So I'm going to come in, I'm going to turn on my smoothness very slightly. You can see my ward is altering a little bit like so. And all those Bolts now I've got that smoothness on. I'm just looking at my cloth as well. I'm actually going to go into object mode just to check. You can see that these have been smoothed off because it is a little bit too high, so let's try and move them back. So 44, what can we get away with? Let's say, I want those pieces of wood smoke back. So 44.9, Let's try 44.8. That's what way down before. And are we going to smooth up these? And you can see these aren't a smoothed off as we would like. And we can go in and smoothies off if you want to, but actually I think is just the edge, it's just this one I'm looking at. It's just the edge going down. So actually, I think that's absolutely fine. I'm just looking around and making sure everything's right. Yeah. And I'm really happy with actually, it looks really, really nice. Okay. So now there's will put it back onto Eevee and double-tap the eye and just have a quick look round and making sure it works. And then finally, I'll grab this part G, just to make sure of all I'm going to press Control, lay all transforms. And I'm going to right-click and set origin to 3D cursor. Now what you should be able to do is you should be able to press Alt and why and just see where it actually spins round light and just make sure you actually happy with it and just have a look. I'll close it is now to this actual Roof. So why? And you can see the shadows moving to the same time. It looks really, really beautiful. Alright, so what we're gonna do now is we're going to make a star perhaps on our Roof. I think, I think what we'll do is we'll get the Roof Stone, this part because they are quite a technical part. And then what we'll do is we'll bring in our actual sign. Okay, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 36. Beginning the Main Roof Construction: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now, we've got our actual tower and we've got our arms down. Now we need start work on is our actual Roof. So we'll start working on both haul routes. This one we're going to add bold in a little bit. This one here, we're going to have a little bit straighter. So first of all, what I'm going to do so I can actually see what I'm doing is I'm going to come over to my materials and just put it onto default. And then that's gonna give me a little bit of a better idea of what I'm working with here. Alright, so something like that. So let's double-tap the a and let's have a look at this Roof. So this Roof, I actually want bold. It's not actually bowed with the Greybox that we've put in. What we can see, the rough dimensions here. These are actually very, very good because it means we can make copies of would come over here and then we can start bending our Roof down. It also should bow in here. So it should be as nice gradual slope on actually probably both of these. So let's come in and what we'll do is we'll pull or let's put our cursor to center. That should make it a little bit easier. So we've got something in place and then we can actually build off that ship desk because it's world origin, shift a, and let's bring in a queue. So we're going to bring out cue ball. We're going to align it over the top of this Roof. So I want to press seven to go over the top on the number pad when I press S, bring it down. Like so probably to something that sort size. We don't want it massively think probably a little bit thinner than these. These aren't, these are all denote the ohms after all. And this is a Roof, so probably roundabout that thickness. He's got to be realistic. In other words, is what I'm saying. I would keep it square. You might want to bring it in and a bit on the wet, but I think for me I'm going to keep it square. So then when I went to do is I'm going to pull it back to the back of the Roof like so. I'm gonna make sure I'm press three and then lining up with the back because I don't really want to go too far past this point, of course, because of these arms, so something like that. And one of them press tab, I'm going to grab this face. I'm going to pull it all the way then to the front of here To whereabouts it should go something. Now what we're gonna do is going to add in some edge loops, I'm going to press Control or bringing 12345, maybe something like that. Left-click, right-click. And now what you can do is you can actually come up again with the Proportional Editing. And let's try and even this, bend this over and then make it nice. And even so I'm going to pull it down like so I'm going to bring out this a lot. Furthermore, it was then want to come to this one alt Shift click and then just bring it down. Like so. And I want it basically just a nice gradual slow. The one on the reference is probably a little bit too big actually. So I'm going to grab this one again, bring it down. And now you can see it's a nice gradual slope. And I'm just going to pick up the top of it. This face here. Like so. Just pick it up a little bit. Now I'm looking for is how thick is this? I think that's about right, even though my actual Greybox is a little bit big. Now let's think about starting with our actual Roof going down the side. I find that once I've got my actual plane in that comes up here, it does make things a lot easier. The other thing of course, they have to think about is, are you going to be doubling up your plane because you need to have some Roof Tiles on the inside because this wall here is actually setbacks. So let's bring in our plane first one, Wednesdays, I'm going to grab my Roof because I know that this is roughly centered. I'm going to press Control lay all transforms right-click set origin to geometry. And now that's right in the center Shift, S cosets is selected. And now we can actually work off of this. Now, let's press Shift a. And what we're going to do, he's going to start with a simple plain among When do that, I'm going to press Control one this time. I'm going to bend this now to actually kind of comb down to this point here. So let's press all on X now are, and why? There we go and let's bend it round, like so. And let's just get it going in the general direction. So I'm going to pull it out. I'm going to make sure that it's actually under that roof so you can see I need to bend it a little bit more, so all and why? I'm that's just took it under there. So now once I've got the right dimensions, I can hide this gray box and start working on it. So I'm going to do now, I'm going to pull it down a little bit further because I don't want to have too much waste in there. Then what I'm going to do is when I press tab, I'm going to come in and I can just as you can see, grabbed this and I can pull this out as you can see. Now the thing is I don't want Proportional and it's an omnivore, want to pull it out a little bit. Then what I'm going to do is I'm going to come up, put it on normal, and hopefully I should now be able to pull this down to where I wanted to go. So I'm going to pull it down to here, pull it in its place, like so. And you can see now that that should be falling it relatively well. Now the other thing is I want to pull these back now. So on the back, It's pretty straight. I don't need to bend those or anything like that, so I'm going to pull it out, reaches there. And they also have a good idea than where it's going to come up to. And you can see that needs pulling up a little bit as well. We're going to solve that out. The main thing is to get this part into place. I need this back a little bit because we're going to have some world on these edges anyway. Alright, so now let's pull this part out. We need to pull it out all the way because we actually need to cut this out. So I went to pull it out to here. And then I'm going to do is I'm going to make sure now that this is tucked into play. So I'm going to grab this edge again. I'm going to pull it up a little bit. And then I'm just going to pull it out and see where that's going to lie. So you can see if I pull it out to here, not forgetting that we are going to have some pieces of wood coming up here. And also not forgetting that this is actually going to be bold as well. Now let's bring in some edge loops and actually build this out a little bit. So I'm going to press Control or going across here, let's try for something like that. Left-click, right-click. And then let's grab this one here. Put on Proportional Editing, and let's pull it in just a little bit, like so. And I can see it's bending it out. Nice and easy. Alright, so now let's think about quoting this away and then we can start putting this into place. I'm just making sure that this part of the Roof is in place. I think I'm going to just pull it back a little bit without Proportional its genome. As I say, this is quite important game, That's right. So I think something like that. I think that looks nice. Alright, so let's call them and press three, sorry, inside view. Let's press on the Num. Sorry, let's press it out on the keyboard is going to wireframe. And now we can see that this part, if I click on it without, I can see that I need to cut this out probably from here. So this part here going all the way down to here. And then we can put all pieces of wood on. And then we have this bit here sticking out like it should be. So how are we going to do that? Well, we're going to use the knife tool. So all you need to do is you just need to press K and you'll see that you have a little cooler. Then what you can do is you can come to way you want it to start. You'll have a green box left-click, and then you'll see where it does. It places an actual vertice. And if I come down then to the next point, left-click, you'll see now we're actually placing another vertices. And then what we can do is work our way along. Now we do want it to bend round nice and slowly. We don't actually want it to have this straight cut like this. We want a nice slope on it. So I'm going to do is I'm going to put one here and then put one here, like so, and then put one here, and then here, and then finally here. Now the thing is, you'll see that it's actually magnetize when you go near the actual edges. If you want to stop that, just hold the Shift button and you'll see now that doesn't actually do that. If you want to cancel this at anytime, just right-click it and then it'll just take all that away. Once you've finished, just press the Enter button and then you'll see you've got this nice Korea. Now let's come in and actually get rid of these spaces that we don't want anymore. So I'm gonna press delete faces, and there we go. Now we can see that maybe we think it's this subtle. If we grab it. Let's press L and let's have a look at that. Nice caught. So actually, I think, I think that actually looks really nice. This bit could do this. They could deal with pulling out a little bit to give a little bit more smoothness. And the reason I want to do that is because I'm actually basing this on the pieces of wood that are actually going to support it. So it's important that I make sure that this is bowed rarely nicely. So if I grab this one for instance, and when a bot it out, a little bit more like so. Then I'm just checking to make sure I'm happy with it. I think I'm going to pro another edge loop in there. So Control Alt, left-click, right-click, grab this one. Now I'm just bowing out a little bit more and then I can bowl this one out a little bit more and just make that transition nice and smooth. Alright, so now I've done that, I'm going to press that, go back and Solid. And the moment stairs, I'm just going to hide this Greybox out for the time being and I should be left with something like that. You can see that's looking really, really nice already. I'm also going to hide this one out as well at the moment. So I can actually work on this part here. Now let's come in. If I grab this, you can see it's got some lines going down. Can we smooth it off? So let's shade smooth. Let's put it on auto smooth. And then we should be end up with something like that, nice and smooth. And now we need to do is you need to think about Boeing, this topic. Because if we don't, Boy in, Tiles aren't really going to come around here. So we need to actually bot it in a little bit. So this follows this kind of nice. We didn't actually do that on the reference, but I'm going to do on this. So I'm going to do is I'm going to press top, I'm going to press control law. And you can see there that it's not actually cutting through. What I need to do is I need cone to the top and hopefully yours will be able to come through the top. And the reason is because this is here. In other words, it's not a straight quote here. This is actually missing. We have a couple of options. If you want it to go all the way through. What you need to do is you need to come in, grab this actual vertices and press Delete and dissolve that as this one here. And then what you're going to do is you're going to press Control or left-click, right-click, and then just pull this 13 into place like a now you can see it's nice and smooth. Now you'll find that if you press control or you can make all the loads loop cuts that we want. So let's make something like five loop cops lead plate right-click. And now let's press once again wireframe. And now we should be able to come in and just bow this out following this long. So again, I'm going to be using they Proportional Editing. I'm also going to put this on global to make sure I'm pulling it down relatively straight. And I'm going to probably pick on the middle one, start with and just pull this out just a little bit like so. Then work my way along and probably going to make it a little bit safer and get away with this one. I don't want to bold that one to files. You can say I wanted Justin tucked in there. Now where's the next one? This one here. In the next one. This one here. Alright. So now let's go back in solid. So solid. And let's have a look at that. That looks really, really nice. We might need to pull them up a tiny bit, but apart from that, I'm really happy with it. So on the next lesson then what we'll do is we'll start to create this into a 3D national 2D mesh will start to add are rare seams and things like that. And we'll also start to bring in these Supports because it's important that you create your Supports probably before creating this into a 3D mesh, actually just makes it that little bit easier. Okay, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot of I 37. Creating Wooden Sloping Supports for the Roof: Welcome back everyone to Blender to Unreal Engine five and this were LFTR. Now let's do one of the simple ones, so we'll grab this one here. So long Wednesdays, I'm going to come in and I'm going to try and grab this edge with Alt shifting plate. I'm going to press shift D, pull this out, like so. I'm going to take Proportional and it's an Alcove, really don't need that Arm. Like so then when the press E and why and pull it back, then it will extrude it out. So you can see now we've got some thickness on there. And why I've done that is them. It's one of the easiest ways to create some actual Mesh by doing it this way. And it follows the line of the actual Roof, making it pretty easy for us. So now if I press L on this, press P to separate out, you'll see we end up with this piece of Meshes. What we're trying to do is basically speed up the Workflow all the time and make things as easy as possible. And if we build in this way, then we'll get into the habit of building always like this. You may change in the future and find this pasta Workflow. Well, this is one of the fastest workflows I've found. So I'm just passing it onto you. Now if I press top and grab this one, press Control late or transforms right-click set origin to geometry. And now let's turn this into 3D. So we'll come over and we'll grab, I'm just thinking actually probably I probably just think I'm going to actually pull this down just a little bit while I've got it. So I'm gonna grab this edge comb to normal and just pull it down just a tad, like so just so it's over hanging in there. I don't want it flat against their Alright. So now I can do is I can press tab, come over to my little spanner, add modifier and bringing a solidifying. And now all I'm going to do is I'm going to press one. And I'm gonna make this as thick as a one-tail. So I want to pull it out like so you can pull it out either way. It doesn't really matter. So I'm thinking I'll pull it out this way. It's sold in a Roof after all. So something like that, I think by them pull that into place. And you can see now how easy that was to get that in there. And now let's pull it back into place. I want it pass there. Like so. And the other thing is I need it to go past that. Now, we do want to see this word here, so just up to be careful you don't pull it to fall back because you want the Tiles actually to go kind of up to this point. So you can see that there's still a joint and it's still under and that's what you're looking for. We're also going to mirror this on the other side so you don't need to worry about anything. We just need to make sure that we're going to mop the Seams and everything like that. Alright, so now let's do this part here. So we'll call them to the Roof again. Press Tab and comb-over, Alt Shift and click and grab this edge. You're going to press shift D, pull it out on global, like so. Press E and why? And I'm going to pull my embark less time, like so making sure it's nice and straight. I want it relatively thick, so something like that. And then when we weren't stairs, I'm going to separate this out again. So L P section tab, click on it and again, reset your transforms. Always reset transforms. And then let's say in a solidifying. And let's pull this this one on. The one thing I forgot is make sure I'm putting even thickness on. Always get into the habit of doing that as well. Let's press Control one this time, making sure this is in place. I'm going to pull it back. So that's roughly where it needs to be, just under this. And I'm going to press three and I'm going to pull it back into place and see how that's going to line up. You can see here that I didn't pull this down. I need to pull this down a little bit. And you can also see where it's coming up to. Maybe have a look. Maybe we can get away with pulling this one just a tad more like so. Yeah, and I think that looks a ton better. The other thing is, I want this piece of what I also want it to be a little bit more supportive than what it is at the moment. Actually, I want it to come out and bend round here. So I'm First of all going to come to the bottom. And when I press tab, I'm going to grab this bottom edge. I'm going to put this on normal. And I'm just going to pull this down just so it overhangs and goes into the piece award that's gonna be supporting the whole Roof like so. And then I'm thinking that I need salt this, this and now here. So I'm thinking the best way to do that is just to hide this big chunk here. Come to my top, press the top bone and we can see that this where does it go? It goes up to a lot. Is it This one? Yeah. We've pulled it out this way, so it's going to be a little bit tricky to pull that out there. So I'm thinking that maybe I showed add in a, a vertice Along year joining up with this and then I can probably pull this out then in that way, that might be the easiest way to where to do this, or I could rotate this around under a different way. So lots to think about the way that we actually do list. Let's try. First of all, if I can pull this down, kinda pull this down a little bit. You can see it's kinda getting a bit Ben types of shapes. So that might not be the best way. Let's say, by the way that I said, I'm gonna grab this. I'm going to right-click, I'm going to click sub-divide will end up with a vertice right in here. Let's come in now and grab it, and let's pull it up just into place, something like that. And now I want this to be from here to here, roughly the thickness up here to here. So I'm gonna get grabbed this one now I've got that, join it with this one. So I've Shifts selected this one here, press J, and you'll end up with a nice edge going across there. Now we should be able to grab this edge, press E and why. And you can see there that you need to press went several, but let's just add controls at that, put it onto Global. And now let's press E and why and pull it out like so let's see what that looks like, something like that. And we also need to straighten this up. First of all, let's bring back all top part of our Roof and see how far we need that. Not this, this is the Greybox. Let's hide the other way so you can see that it's not bending the way I wanted to. I need to basically pull this over and not so much of a bend on there. So I will fix that and I also need to straighten this up. As you can see. I think the first thing what we'll do is we'll actually apply this, solidify and then try and fix this and see what that looks like. It might not come together. Sometimes it doesn't and sometimes you need a little bit work just to make it look right. But I think we're happy with this. What we'll do is we'll grab it comb-over to solidify, press Control a, and let's apply that. Now let's salts out this part first. So I obviously need to pull this back a little bit. So I'm going to come with my Edge Select, pressing at three on the number pot. I'm going to pull it back, make it kind of straight lines. So and then while there is, I'll pull it out a little bit. So one sorry, three again, pull it out. Now, once you lift this all up. So I'm going to pull it up now altogether and you can see that we're losing that. That's good because we need to pull that out anyway. So I'm gonna grab this edge, pull it out. Now you can see that we've actually rounded this off and it actually looks nice. Now, the other thing is you all gonna get obviously turned to the sign because it is coming up from this angle that's quite normal and that actually looks realistic. The other thing is, do you want to pull any of this out? I think I want to pull it down just a little bit like that and then pull this out like that. So basically I want it to come and actually bend in this. So I think it's a little bit too much. So while there is, I'll press Control Alt, left-click, right-click, and then pull this out a little bit. Then pull this one. So Alt Shift and click down a little bit like so. So we're trying to make that nice slope going up to the top. And that is what you actually looking for. Something like that looks really nice because you can see it comes up to me and you're not sure if this actually gets a lot thicker on the end and that's exactly what you're looking for. You might want to flatten this out a little bit more, but I think I'm actually happy without that. Looks alright, so that's that bit. Now what we need to do is we just, I think needs to put in this piece Award going across here. I'm thinking that it should be relatively thick on the reference is not as thick, but I think it should be thicker than these pieces of wood here. I'm also thinking I should smooth it off, so I'm going to right-click, Shade Smooth, make sure also smoothens on which it is now. And I'm just having one final look and making sure I'm happy with that. Alright, so let's hide this part out of the way. The mall there is all colon tumor Roof again, grab the button, Shift S, cursor selected Tab Shift a, and let's bring in a cube. And we want the actual piece of wood here to be level, so we don't want to rotate this or anything like that. Let's press three and the number pad, Let's press S. And you can see that now this piece award is thicker than both of these pieces. So I'm going to pull it over to this side and it should fit in really nice and it should just be pointing out with their. Now you can see I do need to pull it over a little bit. I feel like it's a little bit too far over. I also fits a tiny, tiny bit too big. So I'm going to pull it in a little bit, but I definitely wanted poking out there. Now we're gonna do is press top. I'm going to grab this face. I'm going to press three on one number pad again, I'm going to pull this all the way across now and have a jaw sticking out of there, and then everything's going to meet. So to this and you can see that looks really, really nice already. Alright, so that's looking really good. Now what we'll do on the next lesson is we'll start marking seams and then bringing All materials for our Wood. And then we'll start doubling up this actual Roof. So we've got an inside of the Roof because as I said, if you can see inside this Roof, so from this angle, if you can see any of these tiles, you will actually be able to see through them if this is a single plane and we need to make sure that it's not. All right everyone. So I hope you enjoyed that. I hope you learned a lot and I'll see you on the next one. Thanks a lot. Bye bye. 38. Adding Materials to Enhance the Main Roof: Welcome back everyone to blend to Unreal Engine five, and this is where we left off. Now, let's join these parts of what altogether. So I might as well join all of these. Actually, I need to just make sure that I've actually applied my solidifying, which I've not been an even thickness on. I want to hover over it when I press Control light, apply that, making sure that there's no other solidifies on them which they shouldn't be. And then I'm just going to join all of these pieces together. So if I press Control J now, join them all together like so now can work on them all at the same time. And when a mirror him over as well, I can do the same thing apart from this part here. Okay, so let's come in and what we'll do is we'll make a, in fact, well, bevel the mole actually first because they need beveling off and at the moment they're looking way, way too sharp on the edges as you can see. Again, we do Control a or transforms rank plate set origin to Geometry, modify it, and let's bring in a bevel. We can see it's way, way too thick at the moment. So let's turn that down. All the way down to maybe naught point to something like that. I'm looking at this just making sure that it's actually going to be right. And the problem I've got with this part here, as you can say, if I press tab that we've got an edge going in here. And I'm just wondering if I can actually get rid of it. I'm just going to click on this edge. I want to press Delete and dissolve edges. And I think actually I can get rid of both of these. So delete, dissolve edges. Let's have a look and that's still looks absolutely fine. And what you'll see now is if I press tab that we've got rid of that mesh shape there. And that's great. That's exactly what won't. We all ran up with a little bend in that. Well, the word should actually hide that and the rest of it looks absolutely fine now. So just have a look around and just make sure that you happy with the amount of bevel you've got on your actual Wood. And I think I'm actually happy with that. And do is I'm going to hover over my bevel now I want to press Control H, apply that. And then I'm going to come in and think about where I'm going to have my actual wood grain going up. So think on this one from here, and we'll do the same on here. I think there'll be a wood grain going up to this edge here. So I'm going to right-click. I'm going to come down and mock Seam. And then I want to mark a seam down the back coffee. I'm just going to hide my tower out the way just for now, just so you can see what I'm doing. I'm going to hide it down here. Now a quick poll and Angelou right in the center here and hide it right in the center. But I don't think I need to do that. It just creates more polygons on each side. So I'm gonna grab this here, come all the way up to here, Control click, right-click then and marketing. Alright, so I'm happy with that. Now, let's hide this one out of the way. So I'm going to grab it, hold, press H. I've grabbed it in Edge Select solve, also hidden nodes, so two faces there. And then we're going to do is I'm going to also come in. I might as well adding the seams on hand then I can hide out the Way and speed of the Workflow a little bit more. So Alt Shift and click. Let's come around to this side now, alt Shift and click. And let's come to the inside top because we never really going to see that all we Apart from this bit that's hanging out here. So yeah, we'll do the bottom of it. Always think about Waypoint you seams and where you can be able to see. So you can see here probably going to be at Ralph actually, if I put it right on the bottom there, normal bell to see that. So right-click moccasin. Okay, so that's that one done. Let's grab it, Let's hide the other way. And now let's work on this part here, perhaps the hardest part. Now you can see that we do Issues here in the Mesh, doesn't actually join up with anything. So I actually need to get rid of these. And you can see we do have quite a big problem here. So I'm gonna show you how to fix that. So I'm going to do is I'm going to come in and hopefully should be able to fix this. So I'm going to grab all of these grabbed here. I'm going to press, I need to grab this one here. I want to press Delete and dissolve edges. And you can see it's made it very, very flat. I need to check that to make sure that still level. You can also see that we do have many, many problems coming around it. So when I was pressing Control zed, and I'm gonna have to make sure that what I'm getting rid up here, these edges first. So I'm gonna get rid of these edges and see if I can get away with that. I'm going to press Delete. And there's all the edges like so. And that is much better as you can see always when you've done that click on the actual edges just to make sure they all want Edge and not multiple edges. So you don't end up with an guns and things that you don't want in there. We can see now because I did it that way. I've still got these bevels on there. Now let's quickly check. So if I press tab, we'll see that this still looks really, really nice and that's exactly what we're looking for. So now we can press Tab, but now I can carry on working on this one. I want to probably look in here, probably my actual grain coming up, maybe not all the way up. This is quite chunky, this part here. So the ward would it come over? That's the thing you have to ask yourself. I'm actually going to put it there again. So right-click moccasin. Let's come down to the button now. And that's moccasin on here. So Alt, Shift and click, right-click mob scene. Now you can see that when a beveled it, I didn't actually put on angle. And you can see now I have an adult with all of these bands going up here. And that's not something I really want, so I'm going to actually get rid of those. So what I'm going to do is I've gotta be careful around this one. I'll probably leave them on this one. That's fine. But on this one, for instance, we don't need them. So Alt Shift and click and just go and pick the ones where you actually want them. So something like this and just work your way down. And we're actually going to get rid of these because it's increasing our polygon count dramatically and we really don't need it. I'm going to press Delete and dissolve edges, and that gets rid of all those there. So that's looking much, much better. And we need to do the same now on this side. So I'm gonna do the same one. So I'm just going to pick one of the bands on each one of these, like so, delete and dissolve edges. Alright, so that's much bad. So that's why we do that. And if you can try and fix it because you don't actually want that. Now I know that this part here, this top part is on the inside. So I might as well come in, grab them all down to their right-click and mock scene. Now let's think about the back of this one. So we need to go Alt Shift and click on this band. And Alt Shift and click on this band and then grab the inside of here. So Control click, right-click mob scene. So now let's make sure that that one's done correctly, which it is a now for bringing All of these bank with old age, they should all basically have that Seams marks and be ready to go. Alright, so now let's say Grandma with a, let's press you for on route. Now let's come and check them out in the UV editing, so make sure that they've unwrap correctly. So Blender's been a little bit slow but never mind. And let's come in and it's caused the Eevee Renderer is on, just turn it onto Material that'd be quicker than loading that. Now you can see that we do have a problem in that they're not facing the right way. Let's bring in all Wood first though and see what they actually looked like. You can also see, I am I'm thinking is this Roof part of it? No, it's not. So let's come in, come down, and let's look for would mean, which is this one here. And now let's see which ones are going the wrong way. When zoom-out want to grab this one, look at the other side, and that one's actually going the right way. So it's just this one. So all 90, spin it around. Let's press Tab, double-tap the a, and let's have a look at what that looks like. I think that looks really, really nice as you can see. I think I'm trying to actually make sure that the ward is fitting with this. This is the thing we need to make sure it fits in. Also on these, make sure you check these pieces here because there's so in your face when you're taking your render, I would make sure that these appointing the right way or you're happy with the way that point. I feel like these should be pointing upwards. Let's are generally do is on these. I'll come in, I'll grab them and I'll spend them both round and actually see what they look like. So a 90, spin them around. And then I'm going to make sure that I'm happy with the way that point in on this one. I feel like it's pointing the right way. Not so sure about this one. I'm going to grab just this one and I'm going to spin it round. So our 90, like so now I'm looking, do they look right? And I think actually it looks better with this one going to the side and this one going up. So let's come round to the other side. This one's going up, this one's already going to the side, so I'm happy with those. Alright, so we're basically making sure that everything is correct before we mirror it over the other side. Now let's come to our Roof. Let's go back to Modeling. And let's now think about extending this out. So I'm going to do is I'm going to press Control eight all transforms right-click origin to geometry. I'm going to have a view of this now, so I'm going to press Control one. And you can see it's slopes nicely and it slopes nicely down. So now I want to do is I want to come in, I'm modifying it and we're going to bring you in a solidifying. We won't even thickness on. And I want to just pull it out Up to this type here. So if you pull it out, OBS or something like that, given it some thickness, it doesn't have to be that thick. It just needs to hide the fact that we've actually not got any towels on the inside. It needs to basically have some towels on the inside. Now, let's come in while we've got this, Let's hide the rest of it. And now you can see that's what it's going to look like. Like I said, it doesn't need to be thick or anything like that. Come over to solidify press Control a. And then what you're going to do now is going to press Tab and we're going to actually get rid of this down here. So we've basically got an inside and an outside. We don't need these because all of these edges are actually hidden. So we're not even going to bevel this Roof Off or anything like that. So it really doesn't matter about these edges. So let's press Alt, Shift and click going all the way round, delete and faces. Now the one thing is that we need to make sure this face is pointing out this way. This base is pointing this way. So let's come in and what we'll do is we'll call them and look at our face orientation. And again, you can do face orientation on Edit mode. You just need to come and it's in a different place. So it's here. And you can see that the bowl facing the correct way, and that's exactly what we want. Now, while we're here, you can see that all of these a point in the wrong way. So we might as well fix those while we're here. This you can see Glass is pointing that way. That's fine though, because that is on the inside. Now, let's come in and grab all of these while we're here. So we'll come in. I'm just looking if I grab everything on here, press Shift and that should have looked spin everything around and that looks a ton better and will be much better because we won't be able to see through them in the games Engine. Alright, we will check that at the end anyway. So don't worry too much about it. Let's now go and click on my Roof. Go into edit mode, make sure Base orientation is off, which is, and now we can start on wrapping these on the next lesson. Alright everyone, so hope you enjoyed that. Hope you'll in a lot and I'll see you in the next one. Thanks a lot. Bye bye. 39. Achieving Realism with Roof Tiles in 3D Design: Welcome back everyone to Blender to Unreal Engine five. In this way, I left it off. Now, looking from this angle, I can see that these are not actually flat and I really want those as flat as it can be. So I'm going to press top, I'm going to call them than to this part here. And I'm just going to turn this down a couple of points. So if I click once, twice, ten it down, now you can see they're all flat. The Main thing is that all of these have still got that nice smooth edge on, which is what we want to keep. You can see that these are still smoothed off. It was just that part that alright, so with that done now I can move back to our Roof. I'm going to press Alt H, bring everything back and then going to hide my Greybox out. The way the thing is I will need that Greybox so hide it or deduction bleeds. I think I deleted it so I'm going to press H to hide it and then H to hide that one. And I'm going to keep them because obviously I'm wouldn't be working to that Greybox still nuts important that you don't delete it or anything like that. Oh, you'll have to bring another one in. Now let's click on our Roof. What we're gonna do is you're just going to grab it all. I'm going to see if it unwraps like this, I'm going to first of all reset the Transformations just in case I've not done that Origins Geometry tab. And now we're going to presage you and let's unwrap it. Let's go over to our UV Editing now. Let's see what these warm Ramp, right? I think the will of them wrap their own way, will say, Well, bring in our roof tile now. So I'm going to come in, click the down arrow and we're looking for Roof. Let's have a little they look like Let's press Tab. I think I'm looking if they look better the other way. So I'm gonna press tab, I'm going to grab them all 180, spin them around. I think that is the right way round. So just have a lot by eye and just make sure that you're happy with it. We can see that this is not bowing in. We can make it Boeing actually, let's try doing that. So if I press three, press tab, make sure I've grabbed them all, and then press U. And let's click Project From View. And then let's spin this around. So all 90. And let's see now if they're bold, a little bit better. You can see it's not bowing the way I wanted to. Its boiling a tiny, tiny bit actually, yeah, I think that's actually going to look the way it should be. Although codon lift up, this is what I'm looking for now. How big all the Roof Tiles needing to be. I feel like these are probably a little bit too big in a moment, so I'm going to pull them all out like so. Unless of the other thing is, I want Roof Tiles to calm to the IgA will disappear into the edge here. So I'm going to move this to the side. So if I press G and X, pull it to the side a little bit and then I'll make sure that those Roof Tiles, if I hold shift, just sit right along the top of that. Now, let's look at these Roof Tiles. So I'm going to come to the middle. What we are in series, I'm going to make sure grabbed them knife, I grabbed this. There is that back side of the Roof hidden behind this? In other words, if I move this little Veritas, as you can see, you can see there's another one behind it. Well wants to do is I want to grab all of those. So I'm going to press B and grab them both, and then B and grab them both. And I'm just doing a test ear just to see if I can bring this down a little bit. So I'm going to make sure I've got Proportional Editing on. And then one way to do now and went to press Shift Spacebar, bringing my move tool, and then I'm just going to move them back a little bit and you can see it's moving the whole thing. And because I've got Proportional Editing, it means that my circle is used. So if I pull this in, just keep scrolling in. Now you can see we can actually get somewhere and I'm just going to mess around with these, just bend them in a little bit. And I can say that they're starting to flow a little bit bad around that. And that's exactly well once I do want some kind of following this around, you can see even on here, the knee pulling down a little bit. So again, I'm going to come in and Joe's going to pull them down just that little bit. Just so we got a nice flow. Now the thing is to be realistic, they would start to flow around and then as they compare the dam because they've drooped down over time, That's exactly top and then build it like this. It will have kind of even though it's come down to the bomb. So that's realistic now, that's basically what we're looking for. Now let's go back to modelling. Let's put it onto Material. Let's double-tap the a and that's number Look around that and that looks really, really nice. And also then we can base these Roof Tiles on the other Roof that we're going to build because we've got these the right size now. Now you could go in and bend these down a little bit the way I've showed you. But I think for me, that's looking fantastic. Now let's come into our world. And what we'll do is then will split off just this piece of wood here. So all pink selection splits it off, click on it, and then come in and grab this piece of what. So L Shift S cursor to selected. Like so now I can do is I can grab these pieces of wood. Right-click set origin to 3D cursor. I'm coming with this now. Right-click set origin to 3D cursor, like so. Now we're gonna do is you're going to grab these pieces of wood. We're going to come over to our little spanner add modifier and we're going to bring in a mirror. And there you go. That's over the other side. And then just look where it's coming down to. Its actually, I'm I happy with where do I need to pull these up? That's the thing I'll do. I pull this down because I basically want this piece of wood sop up against here. Now, the thing is, can I get away with actually pulling this down? So what I'm going to do is I'm just going to grab these two and pull them down to where I want them. I'm going to obviously take off Proportional Editing and sometimes we have to actually do this. You see, if I pull these down, the problem I have is That these are gonna be out, which means I need to move all of these down. It will stretch the word out very slightly. And also I need to make my window smaller. That's a lot of work on that site. So if I come to this part here, grab both of grub. This piece of wood here is because it's mirrored of course, and then pull it up very slightly like so. Now it looks a ton better as you can see. Now, as long as we then come in and move it across again, there's so these are on the top. I think that will look absolutely fine. I'm also thinking, should I pulled it now? Actually, I think that looks really good. The way is because the Roof Tiles are actually going to be in there. So as long as they sat on the hand, looks like it's supporting a thing that's going to be fine. So just take that into account when you're doing this because you really want to make it look realistic. And if you've got this just sat halfway in that, it's not a lot about realistic. Now let's salts out this Roof before we continue. So I'm going to grab it again, UV Editing. I'm going to grab the whole thing. And then I'm just going to come in to this part here and I'm going to move it with G and X. Let's move it just a tiny bit, just so it's not right on top of that. And we can just see the little edges going across. That is what we're looking for. This should still have followed, that. They should still be bold so much you're looking at the bow here on a thing that this part here needs also pulling up. So I'm going to come in grabbing these with B. And I'm going to pop Proportional Editing on. And I'm going to pull these up a little bit like so. And then I'm going to grab both of these. So B again, so I've got both of these grabbed now, I'm going to pull these down just a little bit, just so it's flow in. And then we're going to do is I'm just want to get rid of this line here. So I'm going to come to this one here. B again, pull it this way just so it's actually just under there. And then work my way along. So I'm going to work my way along and I think it's this one here that can do so, be grab it all, pull it up just under that. And finally then the last one, be grumpy old political joules. Just don't know the ship on if you need to, like so now let's have a look at that. That looks really, really nice. This one might need just coming up just one little time. So let's go in. Fix that. So pull it, shift that we go. Alright, press Tab, double-tap the eye, make sure you're happy with it before you do anything. And that looks fantastic. Now, let's put it over the other side, so I'm going to grab it. I'm going to come over to my little spanner and modify it, and let's bring in a merit. Now, we don't need to worry about how this looks over one side of the other because you can't see both sides at the same time, which is absolutely a great pearls. Let's double-tap the a and let's have a lot what we're looking at now and then we go, looks really, really nice. Okay, let's come to modelling. What we need to think about now is working on this part here. So we're going to need a face going all the way up. Now, the face of the wall is not going to be, it's gonna be setback from probably roundabout here. So you're gonna have a piece of work coming across here and then you're going to have the face coming up. And then all this kinda Roof Tiles and things like that will be supported on the inside. So we're just got to take that into account. So I'm going to then put a face in here. So I'm going to do that. It's First of all, I also need to apply my mirror. I want to press Control a. I'm going to applying mirror on the Roof Control a. And then I'm going to come to these pieces of wood. And I do want these pieces of wood look indifferent. So on Wednesdays I'm going to grab all of this. I'm going to come in then and just grab these sides because I don't want them look in the same UV Editing. Grab everything. A G, takeoff Proportional Editing, G, move them over a little bit and now they should look different from each other just in case on close inspection or anything like that. Okay. Now, let's Sacramento. We'll do is I'll grab both of these fronts. So both of these shift S cosets, the selected tab. Let's go back to modelling. And now we've basically made a, is that this is ready now to create the actual inside wall that's going to come in. Because when I bring in a plane, it will literally come into this part here, making it just needs to pull it back where it is centrally as well. I'm trying to go. Alright, I, for one, so we'll look at that on the next one. And we should be able to start getting this structure actually built up, ready to bring in all sign. Alright, I'll see you in the next one. Thanks a lot. Bye bye. 40. Understanding the Importance of Support Structures: Welcome back everyone to Blender to Unreal Engine five, and this is where I left it off. Now, let's just hide out this main part of the Sign. Just now. I think I got away with leaving out there. So we'll do is I'll press Shift day and we'll bring in a plane more quickly. Spin this plain round. So all 90, spin it round. And Walgreens theories, I'm also going to save out my file because AMD on that for awhile. So make sure you save yours then press Control wants your face in this view. And now we can start to pull this off. First of all, get in where you actually want this. Now remember, there's gonna be a piece of wood going across here, inset Supports in this wool so I can lift it up a little bit more and know that this piece of wall is in this piece of wood. Now I'm going to do is I'm going to actually go into edit mode. I'm going to pull it out. So S and X pull it out all the way. Don't worry about it actually going through the roof. We're not concerned about that right now. Well, I want to do is just get it to the right height and set back far enough. So let's come in, grab it, pull it up to the top, like so. And there you can see, where's it going to start from now? This wall. I think if I grabbed the whole thing now and pull it back, I think the wall should start from roundabout here and then go all the way up and we're going to have a support in here. Now we do need some edge loops in here to actually bring it in. So I'm doing is I'm going to press Control or 123. Let's try four, maybe five actually, so pretty up to five. Left-click, right-click. And now let's start working on this bringing in. So I'm going to grab the top actual Edge. I'm going to press Control one. I'm, of course I'm going to use Proportional Editing because that then is going to make it nice and easy to bring in. S and X stopped bringing in, bringing out your little circle and start bringing it all in life. So, and you can see how easy that is now. Now we using that, we need to make sure is that these edges actually hidden in this word here. So in-between because we need to make sure that they're fair enough packs so we can't see that. You can see this here. That's not what he wants to see. We want to actually in. So none of this is sticking out. So S and X bring it in a little bit more than you can see that I'm struggling to bring this top part and it's bringing in the other part's a little bit too much. So I'm going to right-click. I'm going to come to this one, S and X, bring it in like so. And then work on perhaps this one. So S and X bring it in like so. And now we need to work on the top. Now what I'm looking at here is just making sure that they're not sticking out there. You can see about this one. Probably. I'm just looking to make sure it's not stock-out. I'm thinking that this one's probably a little bit too far out. So S and X bring it in. You can see the button here is poking way too far out. So I'm going to come in, grab the bottom, takeoff Proportional Editing S and X, pull it out like so, making sure it's not sticking through anything. And then finally we'll do the top. I'm going to hide the top beam. Come to this one, grabbed the top then S and X without Proportional Editing. And pull that right in, just so sticking in the middle of here. So you can see we've got a gap here, just making sure it's down there. Let's press Tab voltage, bring everything back. Okay, so now let's zoom out a little bit and have a lot with looking at, Let's hide our Greybox out the way we really don't need that. Let's turn off sound either way. We'd really don't need that either. And I think I'm happy with that. Now, let's just hide this part all the way a little bit. And let's now think about building out our piece of wood. So I need a piece of wood here, I need a piece of wood in the bottom. Now I'm gonna do these pieces of wood here. Actually, I'm probably going to use, I'm thinking whether I can get away with using actually this year or do I use the actual Roof to actually create a nice flat piece of wood? Let's see if I can actually get away with the roofs over grabbed the Roof. Yeah. They they're not straight basically. So it's probably going to be easier to use this wall. I want to grab this wall. I'm going to pull it out. And then what I'm going to do is I'm going to grab this edge here. What I want to also do is make sure this is relatively smooth, as you can say, it's a little bit out on here. So I'm probably going to grab just this one and just smooth it in just a ton. Like so little bit smoother. And then went to grab this edge, this edge all the way down, press Shift D, pull it out like so. And while I've got my cube in the middle, sorry my cursor in the middle here. I might as well bringing a cube as well. I'm pulling out over there, so I'll do that before create this one. So I'm going to press ship date, bringing in a cube, make it smaller, like so, pull it out. So S, XX, pull it out, can see it's way too big. It needs to fit into there. So I'm gonna make it smaller. So S like so pull it back and put it into place. Like so. Making sure that it's a little bit lower down. So it's Supporting this actual wall here. So what it means, there's probably have my wool then I probably need to pull this back a little bit as you can see, because we want mobile starting probably somewhere around there. Alright, let's make these pieces of wood now. So I'm gonna do is I'm going to come back to this part. I'm going to press P selection to split it off top, grab this Paul. Top again. On why pull it out. Like so. Then while there is, I'll now solidify it. So I'll press top control a full transforms right-click set origins, geometry. I'd modifier, solidify and I think probably I'm going to need to bring inwards or outwards. So bring it in like so. Needs to be relatively thick is supporting a fair bit of weight here, even thickness on. And now let's pull these back. So we'll grab this wall first. We'll pull the wool back to just in front of that piece of wood. So I'm going to zoom in a little bit and we press don't actually because I couldn't zoom in very well then pull it back. Like so, so it's just in front of that. Then we'll grab this piece of wood now and see what this looks like. So grumpy piece of wood. Pull it back into place, just making sure it goes up. You can see the top of the piece of wood. It's probably too far over it. It needs to be roughly in the center. We don't want them crossing over. So if I pull it here, we can see that sticking out there and we don't want that. So what I'll do is instead, I'll press Control Z. I'll press control once I've got backwards view on it and I'll see where it's actually sticking out. We're going to pull in this a little bit less like so. Yeah, that looks much, much better now by mirror that they should meet in the middle. And that is exactly what we're looking for. What we're also looking for is just making sure nothing sticking out. You can say wobbles a little bit on that and that's actually given it some character, so that's absolutely fine. Now, where do we want this piece of wood starting? Do we want it starting behind this or do we want it looking in front? So if I bring this to here, you can say it could start from there or we could start it from behind you. So let's pull it back so that it starts a little bit further in and then pull our wall back just a tad. Like so do we want it starting from there? So it looks like it's kind of supports in it from more of the inside. So I think actually, I'm happy with how that looks. I'm going to have a much better idea, of course, once I've actually got my materials on. Alright, so that I'm actually happy with. Now, we need to press Alt H and bring back this actual sign where it's going to be held so we don't want it right. You can see as well, I've got my Greybox that, so let's hide that other way, makes it a little bit easier. We're going to actually use this piece of wood. So I can see this is how far it comes out. I'm fine. I'm not going to use this piece of wood. I'm just going to press shift D, grab another piece of wood, process and bring it out a little bit and then pull it back. And you can see that I can then fit it to where actually I want it. I'm happy with the thickness of this now. And once I've got that, can actually start working on building this up. Now you do know him from looking at the actual reference that we do have an actual window in here. I think if I press all it takes us secrets in there. Now I didn't actually put my window in here, just bent it out. So what I'm gonna do is I'm going to look halfway up. So again, I'm going to hide this Greybox out the way. We can also hide this Sign out the way because this is quite hard to actually get ryan want to press Control one. You can see as well that this is not in the right place. So I do need to send to the outer as well on its think about that. Now, this is my main piece of wood, so I might as well, first of all, center this. So I'll press Shift S selection to cursor. Now can pull it open, so control one, pull it up just into the right place and make sure it's stuck out enough. So that's roughly where it's going to be. I'm going to pull it out to this point here, like so, then I can actually probably delete this part now I don't actually need that anymore. Now if I press Control one, I can see from my reference, not my Window probably starts roundabout here. So round about the halfway point. So that is where it needs to build the parts from. So I'm going to press Shift day. I'm going to bring in a cube. And this is basically going to tell me where my actual Window stops. So we can see that if all Window is that thing, you can see how thick are Windows all but these, I want to make a different window for this as well. So I'm going to press I'm going to I think bringing the top of it. So I'll come in, grab the top phase, press S and X just to give it a little bit more. And then I think with that, let's see if I can bring it up a little bit to something like that. And then I think that will be enough to support this. How far out don't want it. I don't think I want it really sticking out that much. So I'm Windows, I'm going to press three. I'm going to grab this face, sorry, press three and then just pull it back. So he's just just out a little bit. Now the thing is I need it to come down just below this part here. So I'm going to pull it down. Jewels below here, and then I'll support it with some wooden parts here. Lava quick look round, make sure that you actually happy with how this logs. And then what you can do is you can start now building on these other parts. So we can see that these parts here, for instance, the minds, needs to come out just a tad. So I'm going to grab this one and pull it out just a little bit more just to make it a little bit thicker at the moment is looking a little bit too thin. And I can also see, So where does this go up through? Let's have a lot. Yeah, we can see that this behind the ear needs Salton. Now, we'll go round to the back of Anna will show you a little techniques. If you come to the back and you can't actually see through it, if you press F5 on the number pod, that will make sure that you can actually go through the mesh. So you have one way you can't pass through the mesh, but you can rotate around things. And five, again, we'll make sure that you can actually pass through the mesh on the inside of something is great if you bring eyeballs in and things like that, that you know that. Alright, so now older is I'll grab this one here. Press Tab button, Face, Select, grab this face, zoom out a little bit, and then just pull it back into place and see where that's going actually land. And actually for me, it's worked out perfectly. It's really, really perfect on that actual piece of wood desk. So that's actually great. I hope yours is worked out as nice as that, but sometimes it's just a bit lucky and that's what's happened there. Alright, everyone. So I'm going to press Tab. I'm going to just save it out and I'll stay on the next one. Thanks a lot. Bye bye. 41. Fixing Mesh Issues Along the Way in 3D Modeling: Welcome back everyone to Blender to Unreal Engine five. And this where I left it off. Now, let's start cracking on with actually more of the Supports on the air making it look as realistic as possible. So what I'll do is we're still golf course in the actual center. I'm just wondering whether I should move that cursor somewhere around here or not. I think I'll leave it that for now. So I'll do is I'll press Shift day will bring in another cube. This one will bring up press S, make it smaller. Like so I missed one. I want probably a little bit thicker than this board here. So I'm gonna press S. I'm going to pour it back into place now. So in all the way back into the wool, I don't want the whole cube coming through. I want about probably half of it. And let's see what this looks like if I grabbed the top of it now and I'm going to pull it up all the way up to the top, maybe the top of it or maybe bring it in. I'm just thinking it needs to go back further than this word here. So I'm probably going to get away with it, pulling it all the way to the top just near the Roof from just need to make sure that it's not sticking through. You can see here is starting to stick through and that's something wants to avoid. So I'm gonna grab it, pull it up. And among Wednesdays, I'm just going to bring it in very slightly. So S and X bring it in. So just to make sure that it's actually hidden. And then I'm gonna grab the front of this and pull it back. So it's hidden behind those there. Now these then are in front of it. This looks like it's got great support. Alright, so now we need another cube, and this one is going to support our sin because obviously it can't work, just stuck out of there. So we need to support this. We also need to make sure that this also our Supports going along here for the windows. Because you'll notice on top of Windows from this period, there was little pieces of ward going across that made the support on that. One wins does now I'm going to grab the whole of this. So I'm going to press Shift S cursor selected. So we've moved that led to the halfway point here, Tab Shift a and bring in another cube. Now let's press S. We need this one to be smaller than the one we just made. We're going to bring it down to here. And we're actually going and going to pull it out a little bit. And then we're going to rotate it probably by, let's say, let's try 45 degrees. So our X 45, let's rotate it and that's probably going to be a little bit too much. Let's have a look. First of all though, we need to make sure that it's actually positioned in place. So make sure that it's actually relatively level against the ear. And then what you're going to do is you're going to press Tab, Face Select, grab this top face, put it on normal, and then just pull it out. So it goes into this piece of wood appear. And you can see now that looks actually really nice. Now that actually looks strong enough to support our sin. Now it all looks fairly, fairly strong. So now we actually go to the next bit. The next bit is making sure that these up here are also supported. Now these will be smaller piece of wood and the basin will go out and support this part in here. Now let's come into this and what we'll do is the thing is when we actually hide this out the way, I can't really hide both sides out the way because the moment I come to this piece of wood, it's going to then show them again. I need to do is I need to realistically join all these together. So I'm going to do that now. I went to grab all of these pieces of wood that I've worked on when do need to mirror them over. But the most important thing first is getting these slots up on this side here. So I'm gonna do is I'm going to press Control J. I'm going to press Control lay, all transforms right-click set origin to geometry. And then I'm going to join them to my roof here. Now it will inherit. Probably this would, that's fine. So if you press Control J, you'll see it inherits that word. But now we're enables me to do is come in and actually come to not this one. I don't want scrubbing. That's why I need to go back a minute. I think I've not got my mirror on. Let's kinda weird. Why is it grabbing both of those? They must be joined together in some way, which is fine. I don't know why they're joined together, but if you actually find that happens, I think they join together here on this little point here. So let's have a look. If we can have a look, I think it's just on this point here. So if they are joined together like that, just come in, grab all these alt Shift and click Control plus and your work your way up then once more, and you'll see that is where they're actually Joints. I'm just going to now press Control plus one Small and then one going stairs. I'm going to come in, press Add wireframe. I'm going to use my C select. So press C middle mouse and just minus those of you don't actually want joining. You can see it goes all the way up to that there. This one here and this one here, zoom in and have a lot. And there you go. Now you can see it goes this little point on here that I need to actually separate, want to press P, selection, separates it out. Top, zed, Solid mode. And now let's join them back together. So join them all or Control J like so. Press tab. Let's go back into Material view. And let's have a lot now if I can split these off so well, I've looked L and L. If I can split These off and this Roof, I also want to split off. So I want to come in and you can see my Roof there is not actually joined. So I'm going to, at the moment, I'm going to grab all of these. Let's see if I've enjoyed these. You can see I have a problem here that lets have a lot. Why is this not actually being selectable? Yeah, there we go. Now it's selectable. You can see it's not joined. That's the issue. So it's not join. So what you need to do is we add a bit of a mess ear. So how do we, if I grab this with G, you can see that's not joined all. So how do we join this together? Well, if I press Alt, Shift and click on try and go run here all these joint as well, so then adjoined, so that's fine. So let's try and join all of these up. So I'm just going to grab all of these like so I'm going to actually hide this top part of the way. I don't need that. Their grabbed this one and then one Wednesdays and we've come to Mesh clean up. What we're gonna do is we're gonna go down to merge my distance. Four vertices actually joined, as you can see, now if I grab this G, It's all joined together, and that's exactly what we want. Now we should be able to come in and grab all of this. Well, let's see if I can al like so. And I also should check this one first. I'm going to hide this one. I'm going to come in with all again. There we go. Now, it's absolutely fine. So sorry about that was a little bit of a mess on these things. Obviously neat, tidy, and you've just seen how we can actually merge those votes as Together if they're too close together and things like that. Alright, so wondering now is I'm just looking around and seeing if there's any parts I need to get rid off. If everything's nice and clean, then Walgreens do is we're going to hide this out the way. And then going to join this up with a Roof as well because I need to hide that. So Control J top. And now let's hide this Roof. So I'll hide L Hyde. And we should finally be left with this. Alright, so now we can see that we need some wooden struts going up there. We had to do all that. We're basically just to get any air and actually put these wooden struts on. I'm seeing if that Wooden straw, if I press Alt H, hide the Greybox, I'm looking, where is my wooden part gone? So I think some reason I actually deleted this wooden pole pair and I don't know how the app and let me try and hide this again. I'm just looking, It's definitely it. So I'm going to have to create it again. I'm gonna come in, grab this, and grab this. I'm going to press shift D, pull it out on Global Light. So then B and Y pull it back. So E, Y pulling back or forwards, it doesn't really matter. And then we're going to grab their splits it up, all selection, tab, grab it again, Control a or transforms. Now let's pull this in. So I'm going again, command and solidify and with whether technical build like this, sometimes things like this to happen actually. So let's press Control one, just making sure they're going into the center, like so I'm going to have to pull it back a bit. So now when I right-click their origins geometry, pull it back, Todd, and then pull it out wrong way, just this way a little bit. And now I just wanna make sure that that's not coming through the roof. So I'll take and you can say I need to pull it really, really fall back. So I'm gonna do that first. I'm going to grab this, pull it back into place where 100 before, which was if I hide my Greybox again, just in there. So you can say it needs coming back a little bit further than that, probably into the wall. A little roundabout there I can will be absolutely fine. Now, let's just see if it's poking through which it is. So let's hide that. So hide the top comin. Grab the top. And you can see we've still got solidify them. I think I can get away with just pulling this this way into the middle of that Roof. Yeah, I think I can get away with that. And if I press Tab now, even thickness on, apply this Control. Alt H, bring everything back wound Small. Hi my Greybox. And there we go. I'm gonna hide this sign again. I'm ready for the next lesson. Now finally, I can come in and hide that Roof a. Now I can start actually building these Supports elongate bit of a long process. I know bit fiddly, bit of a pain actually this bit, but once we've got passed this bit, Don't give up on it. It's gonna be much easier as we build up these other parts of the roof and walls and things like that. Alright everyone, I hope you enjoyed that. I hope you didn't get too frustrated and I hope you managed to follow along. If not, just go back and try and rebuild it and just follow along, why did hopefully not making the mistakes I made. Alright, thanks a lot. Bye-bye. 42. Completing the Main Small Support Mesh: Welcome back everyone to Blender to Unreal Engine five. And this where we left off. Now let's bring in those wooden struts. So we've got our cursor right here. Let's pressure. Let's bring in a cube and let's make it smaller. This cube as well. I'm just going to print on Wood instead, so I'm going to assign the award. I don't like the Roof Tiles been on there. It just looks a bit wacky. So what I'm gonna do is I'm going to press S, make these smaller. I'm probably going to rotate these a little bit as well because they don't want right? If they're actually straight. So let's rotate them around. So RY, just a tiny bit like that. And the last thing you don't want to see poking through this Roof Tiles so you're going to pull them out a little bit. Press Control one just so you can see, and we can just make out this edge here. So I'm going to pull them out just far enough, like so, then I'm going to pull them back. So I'm going to come in, grab this face here, make sure that I'm on normal and just pull it back through that Roof Tiles link. So probably gonna have to pull them out a little bit as we work along. Now I'm going to do is I'm going to put this into place. So what I want, this one is I want it at the top, roughly at the top of it. So I'm going to pull it down. Then we're going to put this back on global, moving across them into where I want it, making sure it's not poking through and also making sure that it's back far enough. So you can see now that I need this support to comb if I zoom round enough so that it's hidden by this. So if I pull it back here, you can see there is the point where it's pulled out far enough. So now we can pull this part out into this and then I can pull this from Paul out delicately. So I'm going to just move around, pull it out into this, and that's hidden behind that. And now we need to just work on this a little bit more. So I'm going do is put it on normal. And then I'm going to jaws, pull it back. So it's hidden behind that. They go, There's one Support. Now a thing that we need, probably three Supports going up here and we will need to obviously work on them, maybe even a few moles. So let's see how many weekend we can get away with. Now when you will need to do is I'm going to come to global. I'm going to press shift D, pick it up like so. And we could probably get actually mark our seams on here, but I don't think I'm going to, I think I'm just going to see where I want them. Even when we've doubled them off, they should absolutely be absolutely fine. So thinking that one should be there, Let's have a look at our next one. So Shift D, bringing in another one. Like here. You can see that the gaps a little bit different on there. So I'm going to pull it up, pull it out like so. And then I'm going to put one probably rather top. So Shift eight, pull it up, making it look and see that actually miss clicked it. I'm going to pull it back like so. And I think I want not one route the top, I'm going to actually hide this part or the way a minute. Just so I can see what I'm doing. I'm thinking, yeah, can I get away with this one being right at the top? So if I pull that one right up to the top, you can see because of the bend there, it's probably going to have to bend this a little bit by thinking a lot more realistic been here. Then what we'll do is I'll bring this one up a little like so pull it out, making sure it's not stuck in the actual Roof out. Pull it up. Pull it out. You can see them pulling at the wrong way. That's the red. Like so. Now I'm going to do is I'm just going to grab these like so. I'm going to pull them across like so and see where they actually line up. And you can see there that they need to go back a little bit more. So I'm going to grab this one, several. Ok. How far it needs to go back, put it on normal. Pull it back now, like so, pull this one back into place. And finally this one back in its place. And we know that these are straight. So that's the good thing about it. Now, let's put it back onto Global. And we're going to just pull this one into place now and then this one into place. And finally, we'll go around the other side and make sure they're not sticking out of the actual Roof. If I press tab, we can see they're not actually sticking out of that and that's the main thing. Press Tab again. And we need to solve this one. Now we can see that this one is not straight and we need to bring it up. So again, I'm gonna hide this now the way, so H is now the way I'm going to then. I am hoping that if I put this on normal, they'll pull it the right way and yes, it goes. So that's quite lucky for me. So I'm going to pour it joules, so it's poking on that and you can see now it goes with it. The other thing is I can probably just bring this one up a little bit, just making it, even in a little bit, making it look a little bit more realistic, bend in the ward as the Roof actually suck. So now let's press Alt H, bring it back Double-tap the a, press top. And there you go. You can see that looks really, really nice. Now we need 1 mol Support in here. And that basically then will be on the kind of pinning this into place. So I think that from under this part, there would be a part of word that comes up here. So if I press tab again, this part of the way, this time bringing another cube. So Shift a, you put it back onto what again? Bring it down. And then MY wants stairs, I want to bring it out. Like so I'm still on normal as you can see, and I don't really want now I want it on their global, like so now I can pull it out properly into place. So where do want this? So I want this one each side. So I'm going to put this, this side. So something like that. I'm also going to pull it back. So it just fits into their life. So I want it halfway and a bit of a gap between. So I'm going to grab this now this side, pull it back. And then what I wanted to do now is I want to pull this out. So I'm going to pull it out like so pull it down. Then I want it sat on top of that. You can say it's to fall back, so I need to pull it forward. So I'm going to press out, pull it forward with this green. There we go. Then I need salt that obviously that bottomed out and its commit now. And make sure that fits on top of here. And you can see they'd still in the back of that. We don't want that, so I'm going to pull it so it sits on top of there. And then one way to do now is I need to make sure that our press, I want to grab this from an actually a little bit too thick for my liking. Press out, pull it forward so it's joules sign in front of there. Like so. Now you can see that the thickness actually changes as we go down. We don't really want that. We do want it halfway in between. So I'm going to come to my Edge Select, I should be able to grab it through here. You can see that I'm struggling. If you all struggling, just press Add wireframe and I can just make out what you can grab it and then you can press that, go back into solid and I can pull it over a little bit like so. Now that should actually be relatively level five press control when you can see that it's relative level, it wouldn't be perfect by any means. But I think like That looks pretty nice. Now we need to do is make sure that this actually fits in there. Now you can see that we do have a little bit of problem in that we need to call this away. So what I'm going to do is I'm going to press LP selection. And then one way to do is I'm going to grab this bit, press Control one. Now I can say exactly where it's going through. I'm actually think I'm thinking whether I can actually, I will be able to see the Roof through that. So that's the main thing. So let's see if I can zed wireframe. The Roof is these two-part series you can see. So I need to basically cut this down here. So I'm going to grab my piece of wood, press the tub Bone, press a and now I can see through it. So I need to call through here. So I'm going to do is I'm going to Mesh, bisect. And then we can cut this straight down like so. And then we can clear the inner layer, we go, alright, so we just need to make sure though, that this is not an angle now. So while there is all grab it and I'll press a question mark to isolate it. And then I'll fix this Mesh while I'm here. If I command, grab this one and this point, press J, grab this point on the back point, press J, and then just fill in this space. And then that will be absolutely fine in space here. I'll press F, fill it in, top material preview, and then that's pressed. So a question mark, bring back everything. Let's now hide our Greybox and this gray box, I will be glad when it's actually gone. Because this kind of gets in the way, as you can see. I'm going to hide the Greybox, hide the Sign. I'm going to also hide this Window that's just their temporary hide the other Paul Greybox. And then we can see what we've actually achieved that I'm looking if there's full on here, which there isn't that come down to here, which I'm very happy with, that logs rarely realistic. Now, we need to, on the next lesson, get all materials on here we can see and we need to also mirror them over little side, we need to get all materials on the wall as well and things like that. Alright everyone, so I hope you enjoying it. As I say, very technical this part. But once we've got that part of the way, the rest of the buildup, this He's relatively straightforward. There are some hard parts like the stairs and things like that, but it's actually easier miss the problem with this is it's hard to get in there and things like that and actually get fixed and stuff like that. All right, everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks. Bye bye. 43. Finalizing the Main Roof Design: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, one thing I'm not the with is, as you can see, these here. So this part here, this is the same as this and I really want to change that round. So I'm going to do is I'm just going to come in to my UV Editing while I've got it, I'm just going to move them to a different part and let's see what they look like. Just see if they're a little bit different now from each other. Let's put it on Eevee and then I can see exactly where it looks like. Press the Tab button, double-tap be. Now that look different from each of and that's why I'm actually looking for, okay, so wanting to do is I need to join now all of these parts. So if I can join, you can say that we'd have a problem in these parts here. I'll parts of the actual Roof and we don't really want that. So what we're going to do is I'm going to press Alt H, bring everything back on this part, and then went to split you up. So I'm going to come to my Edge Select, grab these edges. This one in here, you see I can't grab, it, can't grab these ear as well. So I know there are different selections. So what I'm gonna do is I'm going to come in and try and grab these ones here. So now these Roof Supports, she'll be able to grab I don't think I can grab that. So I'm going to do is I'm going to press P selection. So I've split those up top. Now, going to grab this and this Control J, and then this part here. So this bottom part is looks like it's part of the whole Roof. Let's press top. Cmnh, grab it, L P, selection, like so. Now if we hide our Roof, what is it going to take away? The wall is not that once Roof. There we go. Hey, I Dao the way now is everything actually gone from there? I'm just looking to make sure. I think actually we've got everything in there now apart from no, we haven't. We've got these two in there as well. We've got these in there as well. So let's have a low. Listen, this can be joined together, so Control J and then going to press G. And you can see that the only thing I'm not going ear now is this, but this is fine because you will join it altogether and we'll bevel it off, so we'll join it altogether. So this one here, this here, and this here, Control J, join it altogether. Alright, so we've got all that now, ready for babbling and I'm ready for our materials. So let's first of all, press Control late, all transforms right-click set origin to geometry. I've modifier, I'm going to bring in a Bevel and then I'm going to drop this bubble down. It's way, way too much to have a look at nought 0.2. No point to, I think she'll be absolutely fine. Alright. Now we've got that now I can press Control a written press question mark to isolate every now and put it on Material mode. So I just have a better view on what I'm doing. Now. Basically I need to go in and let me check this. Go in and basically make sure that all my seams are marked and things like that. Okay, so let's start that. What we'll do is we'll come to this part here, because once I've done this part, I can then highbrow the weight. So right-click mock scene, come to the back of it, right-click moccasin, hide out the way. Now you see I can get to both of these parts. So we'll do this one first. We'll comb to the front here. Right-click obscene. Come to the probability the top on this one, actually, I'm going to grab the top because that's the hardest place to see on this. So right-click mom Seam. Actually do we want to on the top? Because if you think about it, well, we will be looking from underneath it. But if you want to top view of it, you probably going to see this big because it's actually poking out. So there's that to content with. So I'm actually going to put it probably on this side here is probably going to be the hardest place to sit. So right-click mock Seam out on the way. Now, let's come to this one here, just methodically working my way around now, alt Shift click, right-click, Maxime will put one in there, right-click marked Seam out. Now the way, now let's do this one here so we can get to these parts here. So Alt Shift and click nothing and just get to that Right-click mock Seam inside again. You don't want to do that as you can see. So Alt Shift and click didn't work on that. So let's come up to the top Control click, right-click, Maxine. Hi down the way. Now let's come to this part here. So Alt Shift and click, click, right-click, monk Seam, hideout, other way. Alright, so now let's think about this one here. So I'm gonna do probably all of these at the same time. Thanks a lot. One, this one here. Then let's come to the other side. So right-click on Democracy. Now let's hide all of these out the way we're left with just this one here. So Alt, Shift and click. Where do we get this one? Yeah, this one's a bit bit different on here, so where don't want it to come up to. I think I want my Wood to come all the way to here fully round. Maybe. I'm going to, I think putting a Seam on here, like so mop seem calm round the back. And I think I love it from here. Now being officer right-click moccasin It might struggle a bit game around these corners. But we'll have a look and see where it unwraps. I'm fat. I'm just going to grab this one, press U on Ramp and see where it unwraps like because we've all done, let's have a look. We can say it's completely the wrong way. So let's just spin it round and envelope to see what actually I'm actually not unwrapped really, really nicely. You can see, actually, you can't really see in there anyway, so, but I think that'll be absolutely fine. So now while there is, I'll press Alt H, grab everything. So a, and then press U and unwrap. Press a over here. And now I can go in and just make sure these are all Festival on the same material. So let's click Assign, might as well minus the Roof all packs or we don't need that on the year. So press Tab now. Now let's have a lot which ones are pointing the wrong way? Everything's pointing the right way around and actually accept this one. So if I grab this one or 90, spinning round, and now you can see everything is the route way round. Now let's press Alt H, bring everything back. If not question mark, bring everything not wait for it to load up. Let's hide once again now Greybox. And there we go. That looks really nice. Now I'm just going to hide these pots out the way again and then I'm going to come into my wall. Now a wall is pretty easy and also I can bring my wall to the other side as well. So we'll do we'll actually on rapid First, I want to grab it a you on the wrap. There we go. Now let's bring our Material in. So I'm gonna press tab. I'm going to cool them down and I'm going to look for Wall Main. And you can see that isn't going to be too dark in there. That's for our Eevee Renderer on. Now, There we go. And that logs just making sure it's not too big, making sure it fits with the rest of it. And I think it will while do now is I'll grab my wall. I'll press shift D, shift space, Move tool, and then I'll just bring it to the backup here and slot it into place right around there. I think that'll be absolutely fine. And then we'll do is as well. I'll grab this part here and I'm going to come out. Shift D, bring it all the way to the back. Like so. And I'm going to slot that into there like so. And I'm also for now, I'm going to grab this one, this one here, the bomb, while I've grabbed the other one. So I've got both of them grabbed. I'm going to press P selection and just split those up. And the reason I'm doing that is of course, I'm going to actually be mirroring these parts now. So I'm going to press top, hide out my window. I'm gonna go back to modelling just so you can see what I'm doing a little bit, bet. You can see I've got this here, that's this part here for instance, I'm just going to look there, you can see that one is the wrong way round. So I did actually make a error there. So UV Editing, Let's spin it around. So all 90 G, Let's put it into place. Let's press Tab. I'm just looking around now making sure I'm happy. I'm actually happy with this piece of will go in this way, so that's good. So now while wants to do is I want to grab now all of the central pulse with Edge select like this, this, and split those up. So peep selection, top, grabbed them again, hide them out of White. Shelby left then we're just that I've course what we're gonna do now is we're going to grab all these. We've got all cursor in the center. If you don't have it in the center, just grab your wall. All this piece of wood here. You can use either of them and basically come in, grab them all. So L Shift S because it's a selected comeback man, come back to this part of the word, right-click Set Origin, 3D cursor. There you go. Now we can come in, add modifier, come in and add in. Where is it? Mirror. And then you go easily over the other side. Now, come over to your mirror Control a. And now it will do is we'll actually come in and press Tab. I'm going to again do what I normally do. Not. I'll grab all of these pieces and then I'll just move them around on the UV map, and then it just makes them different. Now, let's press Alt H, bring everything back room Small. Go back to Modeling. Let's hide this Greybox, this gray box on this as well. Let's have a look round and say, Well, that looks like I'm gonna hide this other way as well just for now because it doesn't look right. Alright, and there you go. All of that work to create this piece here. But you can see that it was really, really worth. It looks really, really nice, especially when we go Window and things like that. So what we're gonna do in the next lesson, we'll start work on this real fear. And once we've got that in, then we can actually start work on our actual sign. And that will basically break it up a little bit. Let's first of all, let's say last of all, sorry, save this out. And then I'll see you in the next. And everyone, thanks a lot. How by 44. Taking Stock and Planning Next Steps in 3D Creation: Welcome back everyone to Blender to Unreal Engine five. And this way left they all now looking very nice lead time this real in fact, no, Why not? Well, because we need to press Alt H to bring back this part of the Roof. So we can say, this is the next bit we're going to create. You can say it come's up to this part here. It does have a slight sloping, it nowhere near the same slope as well the other one does. And also the kind of, if you look at the reference to wool actually follows it a little bit more. In other words, the wall actually Bone is a little bit on this one, which is absolutely fine. It makes it much easier to create them. This Roof fear, this Roof here is pretty complex, but we've got through that now. So let's come to this Roof. It pretty much the same thing as what we did. We'll start with this part here. Now this part here, we're going to actually make flat, not bold like this. We are going to probably buy when they actual Roof coming down here. And of course we've got this here. So take stock. First of all, is why I always say of what you're looking at. How are you going to build it? And then start actually building it. So let's say grab this. What we'll do first of all is we'll put our cursor there. So Shift S caissons selected, and now we'll bring in a cube. So shift they Mesh, bringing a cube, make it smaller. I'm probably thinking that it's gonna be smaller than this. Now, how much smaller? Well, let's pull it back first, put it into place, and then we'll have a good idea of how much smaller we need it. So I'm thinking probably something like that. Actually, it's probably enough to support this Roof. Let's command grab the face and let's pull that out to where it needs to go. So something like that. It doesn't need to come over a little bit. Now on this one, I think it's probably better off if we just kinda caught this a little bit. What I mean by that is if I come to this edge here and just pull it back just very slightly like that, just to give it a little bit more character, this is very chunky. There wouldn't be able to cut this thing that actually looks bad like that. Now we need this Roof. Should we First of all, putting our pieces of wood going up to you? Probably. So when we got a good idea of where we need to call this two, or we could do it the other way. Again, we're forward planning, always thinking which way is the best way to actually attack this. You can see as well that this, for instance, Greybox, comes a little bit too far out in comparisons. That's what it's actually hid under anything like that. So let's bring in a plane and we'll level it up with this. So let's do that first. So we'll press Shift a, bringing a if I need to scroll up here because you can see the way sometimes Blender does is it'll put it right at the top here, especially when you've got all these extras on and things like that now, so of these extras on, or you need to do is you need to go to Edit Preferences. And if you come in and type in extra, you'll see that you've got to, you've got Meshes, extras, I'm curve extras. Now we don't using those the moment, so I haven't showed you what to do with those. But you will see now that if you press Shift day, you will have all of these extras on the Mesh, for instance, mass gears, things like that. And as I said, we're not going to look at those at the moment. We might look at them further on in the actual cause. But for now, we're just going to bring in a simple plane. Now, let's press three, so we get the right angle moment to do is I'm going to rotate it. So I'm going to press all annex, rotates it around, trying to follow this one here. So I'm going to bring it out, bring it in, pull it in, then I can still say that it's going along here. So I'm gonna press R and X. Well it round like so. Pull it back and I wanted just to fit under this actual piece of wood here. And then what I'm going to do now and we're going to pull it down to here. So I'm going to press top. I'm going to probably yeah, kinda grew grab it through there. Let's see, pecan and I can grab it if I pull this out now you'll see it comes out. That's good. Let's press three again. I'm going to pull it all the way down here and pull it down to where it needs to be, which is roughly roundabout that now I need to bring this out and I need to bow in. So I'm gonna grab this back edge, which I can just see here. I'm going to pull it all the way back. Now I can't see how far that's actually going in because this gray box is actually here. So I'm going to first of all come to this one. I'm going to pull out this one. So I know it comes to this point here, which is great and a no then that I can cut it from here. Now let's say, hi This Greybox out a minute. And then I can say, Look, this is what I'm talking about. This here needs to go all the way back into the actual Roof, just make sure there's not going through the backside. It shouldn't actually do that note really should be very difficult to actually realize a long way to go through that. They shouldn't be absolutely fine. Now, let's bow this out a little bit. Well, first of all, let's just put in all default material on both of these. Because it really does my eyes when it's like that because I'm going to grab this now. I'm going to press Control or let's try for something like that. And let's bow it in a little bit. So I'm going to grab this part here, pressing three. Very hard to say, but I'm just going to try Bone it in a little bit, like so I'm gonna grab this next one for, in a little bit. Grab this one though it in a little bit like so we want to slight Bowen this. We don't want anything too much. So then I'm just about this one, just the Boeing liked. So I just don't want it to straight. I don't like things to straight Alright, so now let's press Alt H in object mode. So I'll teach, bring back our Greybox one small, and this is where we're working to now. So I know if I grab this, for instance, press one or Control one so I can get to the back of it. And then if I press top a to grab everything, and then one wins do is I'm ready to go into wire-frame. And now I can see where it needs to call this over. Again. We might need some more points. Let's see if we can get this angle without causing too much disruption to these actual edge loops we've already got. So you can see it's going to come down. We might need one more edge loop in here actually. So I'll, I'll, I'll preempts it and I'll put one in, left-click, bring it down, drop it in, and there we go. Now, let's grab it all again with L. Let's commit now without knife, which is K, come up to this top corner. And let's now start cutting down. Making this have a lot slight slope going round. And you can say it's nowhere near as brutal as the other wall. And then what we're gonna do is going to come in, grab each of these and press Delete. And faces. There we go. Let's print material, preview, hide this gray box. So once more. So I'm gonna press top of the Greybox. And that is a really, really nice stop on our actual room. Now you can see that it's probably needs coming in a little bit more. You can see that this is the gap here. This is the gap here is probably know enough. So I'm just going to pull it back just a slight bit like so making sure that it's actually tucked onto there. I think I'm really happy with that. Now let's think about first of all, creating these pieces of wood here, then these pieces of wood, and then finally a piece of wood maybe coming down here. We might have to leave this one until we've actually got our main part of our wall limb, which is the bottom of here. Of course, I think we'll do this piece of wood here. Pretty much the same thing as what we've already been doing. So I'm gonna grab this edge Control, click this edge Shift D, bring it out. Then you're going to press P selection. And then you're going to grab it again. So top, grab it again, top again a and then E and X this time to pull it out like so. And on my actual I reference, you'll see this word is not thick enough. I don't feel I feel I should have made it a fair bit thicker than weren't actually is. So I'm gonna pull it out to there. And then what I'm going to do is I'm then going to press Tab Control a or transforms right-click. So origins Geometry, modify it and then bring in a solidifying and she'll be quite used to doing this by now. Now the thing is you just gotta be careful now. So if I press Control, Let's have a little control. Three, note three. No pod that I don't want to really go past this point. So once it kind of this part here, coming over to the central just before it. And then I'm going to pull it out the other way. And you can see this is why actually made it thinner because we have the problem of these two coming together. So if I pull this, see it, and then pull it out a little bit more like so. I think that looks a lot better. Now, we might have the problem in that. As you can see, I need to pull it out so it's not sticking through here and you can see it's sticking through them. We don't will not. We do also want this part coming down. So let's fix those few things. So first of all, let's come in and grab this edge here and pull it back. So it's not actually sticking in. And then let's come in and grab this edge here. Precedent three again, I'm long-winded here is I'm just going to make sure I'm on normal and then just pull it down a little bit so it goes past that. Now, this is actually going to be on the outside. So you've got to take that into account. How far you want this duck down. So probably a little bit more actually. So we can have a piece of wood duck comes up to this. Now the other thing is this piece of what has got to be hidden behind that. Remember, so just take all these parts into account when you're actually building this. The other thing is you need to make sure that this is a compress three roundabout in the center because you don't really want these two pieces of wood overlapping each other. So that's also to take into account, lots of things to take into account here. Now, now we've got this piece of wood, Let's put in another piece of wood. Go in here. I'll press Tab. I'm going to actually put even thickness on. And I'm going to apply this solidifying need not to. There's no reason why shouldn't press Control a, and then we'll press Shift a, bringing a new queue. Make sure it has on our default material. Press three on the number pad, press S, bring it down, and let's pull it into place. As I said, we want this to be right up against there. So is this thick enough? That's the thing you need to add. So you can see here that that is probably thicken up doing is pulling out more. If ado, I've just got to make sure that it only comes up to this point here, as you can see, what I'm saying is, is it too thick now as you can see that this comes out and this is the thing I was talking about of how thick this part needs to be to make it look realistic. You've got a bit that goes down, then you've got a bit that comes out. So let's pull it first into here, and I'll just pull it down. So I'm going to grab this face Like, so I'm going to pull it down then, like so. And that's going to make a gold star for my piece of wood, even though I'm probably going to alter this anyway. Alright, so now let's think about this, but do I want this a little bit wider? And if I do want a little bit wider, am I going to make this wider? All these things as I say, you need to take into account all do you want to pull that butt pop back? I don't think I want to pull that pop back. So what I'm going to do is I'm gonna grab this part. I'm going to press shift D. I want to press all X, sorry, all why 90? Spin it around and I'm gonna make it thinner now. So S and one bring it in like so. And then I'm going to pull it up into place now. Pull it back. And there we go. We can see it's right in place. There sits really nice against that. So it's just this bit that's bothering me a little bit. Now, could I actually pull just this part out? So if I come to this part, grab it, kinda got away with pulling out this. And you'll say that's what happens. So do I make it thick cut all the way up, all just on this bit. So if I grab all of these, for instance, like so, pull them out, so they go past that point. That's what he's kinda going to look like. I'm thinking that probably looks bear, let's see if I can bring this out as well. So I'm going to press S and Y and pull it out a little bit. How much do I need to get? It's a lot Realistic and you can see this is the problem we have that this needs to come out so far. Now we're actually going to have to pull this Roof out even more. So I'm going to take a step back. I want to double-tap the eye. I'm going to look how thick that is. Yeah, and I think it's too much, so I'm going to press Control zed and just go back and put this back into place. And I think you can get away. Let's try the other way of pulling this out. Like so. And then just pulling this out just a little bit. Like so. And I think yeah, and I think actually that looks a lot better. Okay. I think I'm happy with that going up today. It just hides that. That fits together much, much better. Alright, So I'm happy with that. So what we'll do then on the next lesson is we'll start to get our actual Wall in, and we'll start to get this cross beam in here and get this actually all sorted out, ready for this wall that comes down here. I think it looks if I press Alt H and just bring back my Greybox and just making sure it needs probably coming forwards a little bit because you can see that my green boxes here, I'm a Peace Award is back there. I think before we leave, let's just grab these two and let's pull them out a little bit. So they're actually sat in front of the Greybox like this. Now know that means I'm going to have to just fiddle around with it a little bit on the next lesson. But it's going to look better if all Wall, for instance, this wall has this piece of wood site inference rate as you can see here. Alright everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 45. Working on the Smaller Roof Elements: Welcome back everyone to Blender, to Unreal Engine five. And this where we left it all pretty precarious place where we left off. But let's see if we can now solve this out. So I'm gonna go in. First of all, I want to grab this piece of wood in Face Select. So grab this back and hopefully she'll be able to pull this back through like so. And then we can also see that, well, this is Greybox is a little bit over here, but I'm not so worried about that. Why I'm worried advise that comes out far enough because I think this is really beautiful how this actually goes. So what I need to do now is I need to make sure that my Roof and everything else all lines up. So Let's have a look at the Roof. So let's press H hide that Greybox out the way. Let's come in and now move this Roof. So I'm going to press Alt, Shift and click grumble that, pull it forward just by chins place, making sure it all lines up. And then finally I can grab this Main actual post and pull it forward. Non-normal. I want to pull it on global just so I don't get rid of that, bend, pull it forward. Like so press one on the number pad and just make sure that it follows. And you can see, probably need to pull this a little bit further forward. I'm gonna come in, grab this press Control one this time, someone the other side and pull it out a little bit like so. And then it's a nice flow as you can see, I'm going run. You will note some buildings like this. They do have a really nice flow to them. So you can see this is a really beautiful flow and we really want to keep them. Okay, I'll think I'm happy with that. Let's now think about building this part. How, and the way we're gonna do that is a thing we should actually start bringing in. So materials onto these parts, not on maybe on this part here just for now, just as temporary thing, mirror them over and then we can start building out this wall. Again. Forward planning, always be doing that. So what we'll do is we'll hide this Greybox out the way and we'll hide all Roof all the way. I should now be able together. So I'm going to grab all of these. First of all, I'm going to press Control J, join them all today, given Control a or transforms right-click set origin to geometry. Now let's bring in our first modifier, which will be a Boolean. Boolean, sorry, we don't need a Boolean, that's the last thing we need. We need a bevel. There we go. Let's put this down to note point. So something like that. Okay, that looks fairly nice. Then what we'll do is we'll simply apply that. We don't need to do anything else with it. And now we'll come in and mark off seams. So let's press top. You can see again, I'm gonna go back because I don't want to have this. So I'm gonna just press Control zed, bring it back, make sure Limit Method is on angle. And now when I apply maps, so control a press Tab. And now you see we end up with the same amount of edge loops just saves you a lot. Work Delete and amount. Now let's come in. Mark some seams. So I want democracy here, here. And then probably underneath here. I'm thinking maybe there's Sign actually because it'll will be, although this is the Main Sign where we're looking at, as you can see, where if I come from this side, I can see a lot more. So that's the thing I'm trying to establish. So probably this side on the here right-click moccasin. Alright, so that's that. Let's hide it out the way. So all page I Dao the way. Now let's do this one. So Alt Shift and click this one of course is hidden. Alt Shift and click, right-click mock Seam. And let's come on the inside of here that will make it nice and easy. So I'll grab this. I'm going to Control click this, right-click. Maxime high. Now the way. Now let's come to this one here. So Alt Shift and click. This one might be a temporary one as we've talked about. So right-click box Seam, but we'll still mall the Seams correctly anyway, just in case it's not going down there, right-click, mocked Seam, all page it all the way. Now, last one, Alt Shift, click, Alt Shift click, and we'll put it in the bottom of the other place where it's most it and right-click and Matsui, I'll teach, bring everything back. And then what we're gonna do is we're just going to simply on-ramp them now and then bring in our material which you're going to swap over to Wood Main. This one here, you can see that this one's going the wrong way round. So we'll come now to UV Editing. First adult bone just to zoom in and we'll grab this one and spin it around. So a 90, like so I'm just going to pull it over a little bit just so they're not halfway on the UV map. I'm going to press Tab, I'm going to press Alt H, bring everything button. The reason I'm doing that, of course, is a wanna see how it all fits together. This needs to look pretty similar to this. So that's what we're basically doing. We're doing this by I, we could've done it with a resolution map or something like that, which we can use. But I'm thinking on this. We'll just try and do it all by high, make it really nice that way. Alright, so I'm happy with that. Now while wants to do is I want to mirror it over, except this part here, of course. So I can actually probably do that while I'm in the UV space because I can, I've still got my cursor here as well. So I'm going to first of all come in, separate this out. So P selection, then I shouldn't note with just this. And I'm going to right-click set origin to 3D cursor, add modifier command and bring in a mirror. And let's do it this time on the Y, takeoff the X. And now we should have something like that. Then all I need to do is I need to apply this controller Tab, and let's call them and grab all of these. So al, on each of these a, and then just move them over like so. That is that done? Now back to Modeling. And what we'll do now is the roof. The roof is pretty much the same. We do how we will belt see some of the Roof. So we might as well actually doubled this up again like we did before. So we'll do that first woman there is, I'm just going to hide these out the way. I'm going to come into my Roof now, press Control a or transforms right-click sergeants geometry. Bring in our solidify like so and it is going the right way. So we'll pull it out jaws to Todd. So just a little bit, it doesn't need to be much something like that just to make sure it fits in that ward as well. Then what I'll do is I will then apply that. They can show even thicknesses on applying it top. And then I'll come round, grab all of these, going all the way round, delete faces. Now I'm going to do is I'm going to press 3D. Is it 3D? Let's have a look. No, it's one. I'm going to grab it all with a press U. And we will Project From View. And basically of course he's just projecting from the view I am. So Project From View. Now let's go and I'm bringing our material, which will be our Roof, should end up with something like this. Course is going the wrong way round so we need spin it round. So let's go to UV. Hey, are 90, spin it round. And what we're trying to do is make sure that the tails are roughly the same size as these tiles on here. Even though it's Smaller Roof, it wouldn't look right at the Tiles went the same. So I'm looking at this Roof now and thinking that narrow enough about the right side. So I don't have to mess around with mine. Where if you do just grab it and shrink it or make it bigger just to get those in right? Now, we need some merit. On the other side, again, we can keep the same Roof Tiles. We don't need to move the UVs or anything like that. Before you do though, just make sure that you can see that these are halfway in and these are halfway in. If I press Alt H, bring everything back high, both the gray boxes out of the way. You can see the kinda needs a common little bit. Then you can see that this one here is probably fine. It's just this one at the top here. So to actually fix that, you can even pull them all. And I think that's the Way to go because remember, if I pull them down, it's going to shrink all of these in and actually liked the actual size of them. So I'm going to pull them up a little bit. So I'm going to grab my Roof, want to come in. And I'm thinking the long part will be the top of the Roof so I can grab this one here again and it's Presby because I have got that Roof behind it as well. I'm not going to have put my Proportional Editing on that, don't need that. And all I'm gonna do then is just pull it the other way. So shift, pull it like so. You can see that I do have a little bit of a problem. And the reason for that is because I've actually got this on here, so I can't do it that way. So I'm going to have to do is grab it all and won't have to press S and X and just pull it the other way, like so. And then I'm going to have to move it the way sold in shift, moving it up, like so. Now let the in much, much better than what the word. So if I press Tab now, double-tap the a, and there we go, you can see that's much, much better. Now the other thing is do all the Roof Tiles gotten the right way round. So one Window is going to press time. I'm going to spin this around. So all hundred and 80, spin it round, lead to look better on there they would do what it mean. Then we just need to press G and X and then just move them back into position that we add them like so. Now you can say that a little look at TomTom bear wasn't sure whether the wrong way round, but they definitely will. So now let's grab our Roof Tiles. Let's reset our origin to our 3D cursor. And finally now let's add a modifier and bring in a mirror. Let's put it on the wide, get rid of the eggs. Double-tap the a before we apply it and just make sure they actually happy with it. And that looks pretty, pretty nice. So now it can do is we can come over to our mirror, press Control a, apply that. Then there we go again, we don't need to worry about moving the UVs round or anything like that. Now let's go back to modelling. And let's bring in our piece of wood that's going to come along here. And then we can bring in all Wall. So we already have our cursor here. So let's press Shift a, bringing a cube, make it smaller, pull it down. I'm also going to save it out just while I remember. When I press. Let's have a look. Three will make this smaller, not too small. We need it to support wool. So just bear that in mind. S and Y play out like so. And then just look Way actually wanted. So I can see probably too thick this would, for now. I'm going to make it a little bit smaller. So S and then woman's doesn't want to pull it out to here. And I also wanted to pull it up. So I need this to support these two here and then have them overhanging a little bit so we can see that it needs making a little bit thinner. So I'm going to press S and X and then pull it out so it's just stop in front of those pieces of wood so you can see a little bit tiny thinner. So as the next line. So let's have a look. These Bone bits, as you can see, they're not going. So I'm going to press S and Y, pull it out just so they're in like so making sure the naught point to now the top and then double-tap the a or not, then it is a great start for the next piece. Now I'm just thinking, don't want these over. I'm gonna I think actually that will be fine, I think. And again, a bit too picky, I guess is the word I think once I've got my Wall coming up here, well, I've looked how much we need to bend the wall. If we can get away without bending the wall, we will do. Amber, I think now that looks really good. Alright everyone, so I hope you enjoyed that and I'll stay on the next one. Thanks a lot. Bye bye. 46. Finishing Touches on the Small Roof: Welcome back everyone to Blender to Unreal Engine five. And this is where we left it off. Now, if we, now bringing All will do is we'll bring in a well, I think probably from this actual plank of wood here. So I'm gonna do is I'm going to press top. I'm going to press Shift S because it's already selected because it's a select to. And then I'll press Shift a and bring in a plane. So let's spend this plane around by 90 degrees this time. So all why 90 spinning round? Let's put it into place. Let's see how that looks like going up there, as I say, on my original actually bend this around a little bit. I don't think actually I will do on this. I think it should be absolutely fine. So I'm going to place it in probably about halfway in, something like that. All let's have a look it up, pull it back. Just a tad light. So I'm gonna pull it back as well and pull it up just so it sits on there a little bit more. Even. Then, press S and Y, S and X backlight. So grab the top of it in Edge Select. Let's pull it into place and it will look something like that. I think that's gonna be fine. I'm just thinking whether I need to pull it back a little bit more narrow ear. So I'm going to pull it back a little bit more on at my walls. May be starting from there. I'm thinking now, do I want to bend? This will allow a little bit. Maybe, maybe we'll look back. It's been just that time. So what we'll do is we'll press Control or I'll press three, left-click, right-click, and I will just bend it out just a little bit. I'm just going to grab all three of these. I'm going to bend it very slowly. Grabbed these two. Bend it a little bit more, grab this top one, bending a little bit more like that. So it's Jill's kind of bent over a little bit. I think that adds just a lot to it. Now, let's grab the top one. We won't use Proportional Editing and we'll just literally bring it in with S and Y. So bring it all the way back so it's hidden under that. You can say I went to fall there, so I just pulled it back a little bit. And why bring this one bike? And now I can come back to my top part if and grab it. There you go. And now needs to just pull that on this. So S and Y bring it in. Then, working our way down, S and Y, bring it in, S and Y, bring it in. There we go. Alright, so I'm happy with that. That looks very nice. Now let's work on all pieces of wood that are gonna be in here. So when a piece of wood coming up to the center of here and maybe coming out a little bit as it goes up, as you can see on the reference. So we'll do is I'll press Shift a, bringing in another cube, press the S button, bring it down, bring it up. I want it. So obviously behind this piece of wood here, I don't want to poke him from I'm going to pull it to that. Then I'm going to grab the top of this, pull it straight. So I'm not sure, then go up to that and you can see because this has bent out, this piece of wood also needs bending. So I'm going to do is I'm going to pull this piece of wood out to the top and then make it straight and then bend it back. So I'm going to pull it up, it goes into the top, pull it out. Now. It's kind of even going all the way down. Press control law. Let's try three, left-click, right-click, grab. Let's try this one first. I'm going to pull it back just a little bit like so grab this one, I'll Shift and clicking, pull it back a little bit. And then finally this one, alt Shift and click and just bend it back in place like that. I think that looks actually really nice. Lighten up. Now we need two pieces of wood going up. One roundabout, probably around about here and want roundabout here. So again, we'll press it a, bringing a cube, press the S button, shrink it down, pull it up. And let's put it somewhere around about here. And then I'm going to, I think I'll pull it out first. So S and X, sorry, X and Y. Again, those mixed up a little bit. Let's pull it out into place, something like that. And then SM why I'm pulling out all the way now, making sure that it's probably he's going to poke through the little bit of the root been needed, really going up to the edgy as you can see. So why? I'm going to pull it out all the way and I'm going to probably pull it back as well a little bit because it's a little bit to form from there as you can see. So I'm going to grab the front of it first, pull it back. Just so it sat in front of that and you can see kinda get away with it being that thing probably. So this is a little bit too far out. So I think one way to do is I'm going to grab all of this and I'm going to pull this one back a little bit as well, just so it doesn't make it so obvious. I think then what I'm going to do is I can see that these are quite far out. So I'm going to grab the top of this one, the top of this one. And I'm going to pull those back MEN S and Y, pull them back into place then now the hidden actually behind that, and that looks very nice. Now I'm gonna grab this one. I'm going to actually just duplicate it because it makes it a little bit easier for me. Shift D, bring it up. You can say I need to bring this out now. I'm going to bring it out, making sure it's not in front of that, something like that, things absolutely fine. And then S and Y pull it in. Like so I'm going to pull it in so far. Then what I'm going to do is I'm going to grab the tops again, then S MY pull them back so they go through the roof. Alright, that looks really, really nice. Now let's get some materials on these. And we don't have to do any Mirrors. One thing, the only thing we need to do is the beveling. We'll get that done now. So one way to do is I'm going to first of all split my route, my wall. So all pay selection Then it should are two separate policies. So I'm going to join these both folk Control J. And then when I press Control a and resell the transforms right-click origin to geometry, and then come over to my little spanner, add, modify it and we're going to bring in a bevel. Now let's turn the bevel amount down to nought 0.2 as we've done with the rest of the Build. And I think that should be absolutely fine. Finally, we don't need to do anything apart from put this on angle. Always get used to doing that as we've talked about. And just add one quick look and make sure that you're happy with it before carrying on, then, I think I might need to bring out do I need to bring out this top a little bit more as what I'm thinking. So I'm just going to hide the top of here. I'm going to come in now and grab just this top just before I finish and just bring it out just a slight bit more like so I'm just looking at the bend now. Yeah, nothing. I'm happy with it. Without bend like that. Alright, so now let's press tab. Let's apply our bevel control. A question mark I'm will isolate it all out and now we'll actually bring in some seams. So it will come in Edge Select. Pretty much the same thing, just repeated. You shouldn't be able to do this very quickly. Now I'm just going around each of them and you can see that you can speed up your workflow just by clicking on them like that. Right-click, not sharps. Let's right-click and lock scene. And then we'll come to this one, go all the way down, and then this one, and this one, this one, right-click mock Seam. There we go. So now let's press a you and on Ramp, Let's bring in all material. So Material down arrow come down and would Main. And you can see as well because we have everything set up, it just makes it so much quicker. So let's come in now and grab each one of these UV and let's spin them around. So a all 90, making sure they're just not over the edge, just makes it easier. Tab, double-tap the a. And then we go, you should end up with something like that. Just make sure the world looks similar to this. And I don't think actually, if a person will teach, bring back my Greybox and hide it and look at this. I don't think actually I need anything else Support and I think it looks absolutely fine. One thing I do need, of course, is this wall, so I'm going to grab it. I'm going to press U on the Ramp. I'm going to come in and add a modifier bringing material which is the wool. So I'm going to scroll down Wall Main, bring that in, tap, double-tap the a. There we go. Looks really, really beautiful. And we'll hide out while Greybox or you can see altogether hideout or Window. There we go. That is what we're looking at at the moment and that's looking really, really nice. Probably needs some work on this. We might as well, they do that as well before we, to finish off with our roofs. So let's come back to Modeling. And then what we'll do is we'll press the question mark just to bring everything back and I'm going to come round to the front of you. I'm going to grab this face here. I'm gonna grab this middle part of it. Shift pests, cursor selected Tab Shift a, and let's bring in a cube. Let's make this smaller. Like so. Let's bring it down. And obviously we don't want it poking over that. So I'm thinking I liked the actual size of it. I think this middle part needs to be quite chunky boy, needs to be sending a little bit, so S and Y bring it in like so. And then I'll grab the top of it. Like this top face. I'm just going to pull it into place. So I think I'll looks really, really nice. Now, might as well use this. What I've got on this side. So I'll grab it. I'll press L shift day. I'm not shrink it down a little bit and make this really, really nice. So essence add, let's shrink it down on that Access. And I'm going to pull it in to here. Then I'm going to grab the top. I think I want it bending, kind of like something like that and then just bend in. So I'm gonna do is I'm going to press Control Law. Let's try three. Left-click, right-click. Let's see when Ben, that's now. Sometimes I have to do this a few times just to get it right while one, I'm going to grab the top of it, put on Proportional Editing, make my things Smaller. And you can see what I mean that where as you try and bend it, you actually pulls the whole thing. It's just a little bit fiddly. So now I'm to do is are and why? Try and rotate it round like so. And just get a start for something that can work with takeoff Proportional Editing and then, and just start manipulating it round now. So I'm going to start pulling it out, rotating it round so RY like so and just start getting into the right space where I wanted. So I'm going to grab this one, alt Shift and click, bend it rounds. So that's looking really, really nice now. And obviously you can say that I don't want these parts. And the other thing is, of course, I need to pull this back so that it's behind this piece of board here. Alright, so I think I'm happy with that. But we'll do then on the next one is we will get this finished off mirrored over the other side, will actually get all Greybox for a wall. Now Greybox bar, Main Wall actually put in. And then we can kinda I think we can get rid of those gray boxes out of the way, Ben and we pretty much set to go, then we'll actually start work on our sign. Alright everyone, so I hope you enjoyed that. And I'll say in the next one. Thanks a lot. Bye bye. 47. Refining the Greybox for a Polished Look: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off, right, let's come in then. I must fix this. So if I press I want, I can get a good view of how this is going to look. And then I'm going to do is I'm going to make sure I've grabbed it all. I don't actually want to cut this way. Now, even if I bring in my bisects is probably going to try caught in that way. So just to stop that happening, just separates out. So pay selection, separate out, regrab it, press a just to grab it all. And then what we'll do is we'll come in Mesh. I'm bringing a bisect. I'm just going to say, Oh, here, just so it's out of the Way. And what I need to make sure is that it's just not sticking through without Roof or anything like that. And I think that looks absolutely fine. Alright, so what we'll do now is welcome in, join these backup together. So I'm going to grab this one on this one, press Control J. I want to hide my windmill out the way they Arms of it, how the wages for now and now I've just got freedom to work in here. So I'm gonna do, I need some merit over the other side Book Festival it needs to mom and seams the Press question mark twice, let everything out the way. Press Control a or transforms plates, the origins, geometry. And then we're going to bring in our bevel because we need to bevel things off. We don't ever want anything just flat and sharp or anything like that. So let's click on a bevel. Let's put it on naught point naught two. Then what we can see is that looks absolutely fine. And then we can apply this again, is pretty much rinse and repeat at this stage on all of the parts. And you can see that I'm going to just go back. I could go in and just delete those other way, but I'm not gonna do that when it put it on an angle. I do keep forgetting that. It's just a habit gain, gain into the habit of not forgetting it. So Alt Shift and click, like I say, and on the bottom as well. And on this bottom right-click mock Seam. And now let's moccasin, probably going round this part here and you can see that this doesn't have a face on it, but that's fine because it's actually bevel it off the way we want to anyway. I'm not going to mess around with that. So all I'm gonna do is Alt Shift and click, right-click. And I'm just going to mock Seam there, even though I don't need it because it's an open hole, so we don't really mean to Seam there. I'm just making sure that is this a N gun, which it looks like to me because it is an angle. I'm going to grab this face, this face. I'm going to right-click on triangulate faces just to fix that angle in there, and that's now fixed. Now let's come to the backs of these and actually marking seams. So I'm going to moccasin from there all the way down to here. So right-click Maxine, and then come all the way up making sure it's going all the whale, right-click moccasin. Now, let's grab all of these. Press U on Ramp. Let's come over to them Material click the down arrow. Would Main, bring it in, double-talk be, and There we go. That looks really nice. Let's now bring everything back. So question marks bring everything back. And let's just split this off. Pay selection. Now you will notice that occurs, so still in the center, which is great pearls. So all I need to do is click on this control al transforms right-click. So origins 3D cursor, and of course them all we're gonna do is mirror it over the other side. So I've modify it, bringing in merit and it just Mirrors it over there, applying mirror. And then finally come to the left-hand side, one on the right-hand side doesn't really matter. Uv editor said, grab UV a G, just move it round and then go in. And you can see now that look very different from each other, and that's the way that we want it. Now, let's go to modelling. Let's join all of these together. So I'm going to join all of this. So Control J. And I'm just joining them all up. As I'm joined them up, I'm checking to make sure that all my modifiers are actually apply. Now in the future when we come to doing animations and things that we might need to take these all apart, means separate them and things like that. But for now I think we'll rejoin them all together. I always press G to see what I've actually gotten. You can see them or walls aren't parts of this. So that's why I always do that. I'm going to join them up with all these as well. Checking my modifiers, Control J, G. We can see we need to join this up. So Control J, G and join this OK, Control J and G. There you go. You can see we've got it all now. Last of all, why I wanted to check now is to make sure that I've got all of the wooden parts and I think is just a Window that goes under there. So I'm just looking around. I'm also going to shade smooth and make sure my auto smoothing is on. And that's good because if I join all this altogether, my alter smoothing is set at 30 degrees. So I can make sure that if I come to object mode, everything looks as it should be. In other words, we've got no smoothing Issues. We have got a tiny smoothing issue here is you can see, and if I drop this down just a tiny bit, as you can see, it does get rid of that. And that's something that you need to keep an eye on when you join all these things together. So just make sure you keep that into account. When I come to join this to the tower, for instance, we might have to go in and make some hard edges, awesome Sharps on some of this, just to make sure it also may resolve. The problem is when you start adding sharps and things, you'd end up finding sharps or near enough everything so you can get away without doing that, it's the best way to go. Alright, so now we've done that, let's put it back on Material, and now let's bring back our Greybox. So if oppressed soul teach, bring everything back. There we go. I'll leave, I think my Greybox, you can see here that this gray box here, for instance, this top of it, we don't really need that. The result come in Um, I think I'll grab this actually, all the way round. I'll press Control plus, and it should go all the way round. And then I can actually delete and delete faces. So delete the other way. It's just gonna make it a little bit cleaner for me, same as on this gray box here. I'm gonna do the same thing when he grabbed the top Alt Shift and click Control Plus down to that delete. And let's delete. Let's think, let's delete faces. So we don't want delete vertices because that then we'll end up in a mess. Now, the thing is, I do want this, I do want to look that this gray box, but you can see there are some issues with it. It needs making a little bit smaller. So I could actually use this gray box for my actual wall. I think if I grab it on here, and if not, you will make probably a new Greybox. I'm going to bring this in on here and see if I can actually use it. Don't press S and Y, bring it in right where the halfway point is on here. So the walls setback like so. And you can see this front wall as well. This one here. In other words, needs also pulling back a little bit like so. The other thing is, how far does this Greybox go into? Because it doesn't really need to go any further back than this points here. So I might as well just hide this one out of the Way and see how far it goes back. So we can say probably going back way too far. We don't want to actually waste that UV space. So I might as well grab all of these and pull them forward just before they actually start going into that Roof there and leave it like that, then that looks very nice. Now let's press Alt and H, bring everything back or tub, an alternate, bring everything by a. Now let's have a look at this Greybox here. So what I'm going to do now is I'm going to pull this one back as well. So I'm going to pull it back. So we've got nice edge of our actual wall on here. So maybe a little bit further, like so because we do want these sticking out a little bit further, you can see here on the bottom that this is still cow here, which means I don't really want it like that. I do want some would kind of coming up this edge here. So I actually wanted to probably get rid of this, don't, I don't want to Stone sticking it doesn't look right. I'll come into my tower, grab this Stone. I knew when I made these stones up, probably it won't be using them all. I'm going to delete this vertices like so. I'm actually as well going to just hide the bottom, albeit out of the way. Then I can say that I've got these 3 st here, so I know I can get rid of these three Stone, so I'm going to hide my Greybox, come into my tower. And again, these are wasted polygons. No one's ever going to see them. So you might as well get rid of them. So delete vertices and get them out of the way. Top Alt H bring back in Greybox and then just make sure everything's fitting in the way we've built. This is the short fit really nicely in closely to here. We can show that you've got a nice gap under here where there can be another wall coming down. That's exactly what we're looking for. Now. We need to look on here to make sure that this is not too far over. And the reason why this is to a lot further over is because this obviously, as you can see, she'll come down further. So in other words, well, I mean is that the Supports on here is going to come below here. So in other words, it's gonna be a piece of work coming out here, going round like so. Now I'm just looking at the rest of it, just thinking whether that is right. So I'm looking at these sides, for instance, I'm looking on the here and just making sure it all fits together and it all looks right. I think it's actually going to look right now. What can do is I can hide my wheel out the way. I can hide this Window. How the Way hide my Sign out the way. What I wanna do now is I want to look where I want my wall pieces on. Another words, I need sperm will Wall a bit based on where my wood's going to go, looking at my actual them reference. So for instance, I know that pretty much on this part, at least going all the way down near enough. I can put an edge loop pin. So control of left-click, right-click. And I can put some wall space down there apart from the bottom, you can see that the bottom of this is actually going to be split up the wall underneath here on this part, this part here you can see we've got this edge loop here. I'm going to for now, just for now, and might need to come back and change it. Put another edge loop in here. So control law, left-click, right-click. And that leaves this then more space. And then I need probably some Look at this one, another one in here. So control off left-click, right-click. Just in that. While I'm doing this is a basically want to get Wall space. So in other words, the wall material on this and then build around that one of Paul piece of wood on. Then I can move these over a little bit and things like that and then read them, wrap them. And then I'll have a nice wall. It just gives me a visual to actually see what I'm doing and that's why I'm actually doing this. So now what we'll do then on the next lesson as well, get all Wall Material in and then we'll start bringing our actual sign-in and creating that. And then, um, it's pretty much straightforward to actually put all of these pieces of wood on. It's just same as what we've already been doing on here. Obviously there's a few technical things like the Windows, putting numbers, Supports, and one of the hardest parts actually is getting in all of the Wooden walkways and things like that. And we've now got the skills to actually do that fairly easily. Okay, everyone, I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 48. Mastering SVG Workflow in 3D Design: Welcome back everyone to Blender to Unreal Engine five. And this is where we left. The. Now the easiest way to do these gray boxes is first of all, let's save the gold top of them. We don't want any tops of them. I'm going to leave the Bottoms on. I always say that because it just makes it easier for when you're planting things on the ground and things like that. One thing you should make sure of is that these all about the same length. Because when you come to bring these into Unreal, you want to base them on the bottom of this thought when you pull them in, the orientation is some on the bottom. Which means if I pull this in from this button, it means that this one will be just above the ground. You want to avoid that. You can see the same thing on the tower here. So this gray box a little bit to fall down is what I'm trying to say. So I'll do is we'll press top, we'll press Alt H, bring everything back. I'm going to press Tab again. And then one we're instead is I'm going to grab this face and I'm actually going to press one. And I'm going to pull it all in line with my tower to make sure that when I put these on the ground, everything is going to be in the ground like so. So you can see that these are mostly level now. So it should be absolutely fine. What you should do actually as well, It's just makes sure the orientation of the build, and actually it's probably just a little bit above this actual Seam, sorry, this bottom here. So what I'll do is I'll actually prepare that. So I'll press control law, bringing an edge loop. And that is the Main Edge Loop that are used to put this building on the floor. So you can see here, if I bring it down to here, and if I select this, and then when a finished the whole Build put my orientation to this, this actual Edge other pair. I know that everything around me and we'll actually be in the flow and that's based of what I'm trying to do. Alright, so now we've got that in. What we can do is grab everything out and we can press Control a, and we can moccasin. Then what we can do is we can take this Seam off now of this. So right-click clear Seam and you should end up with something like that. We'll do the same on here. So I'll come to this. Well, originally Greybox, not mere Greybox anymore. Press a Control a, and moccasin. And you can see that, well, there's lots of pockets of different Wall parts and some of these we might need to change like this one here, Miami too much. So we might need to get rid of it Seam and unwrap this whole thing, for instance. So unwrap both of these are the same time, but for now we're just going to unwrap them all separate. And then it's going to give us a really good idea where it's going to look like. Now, they're all things that I should get rid of. I shouldn't really have all of these backs on here. The reason is that as this is Bill, you, the only reason you want to keep them for, is if you want to make a modular system, in other words, you want to take this part of the building out and put it somewhere else. So if you do want to do that, leave them on. The problem of course, you've got is that you don't have a roof on the back, so you will have to move sorry, a wall here. You will have to move this wall to copy it from there to there. And then you'll end up with a little bit of a modular system. Well, I'm not going to do, That's what I'm going to do is I'm actually just going to delete these parts. It's not something I need, so delete faces and get rid of those on the other part of it. I cook them in, I guess moccasin down here and delete those. But actually that will create more polygons. So I don't really wanna do that. So everything else on here now should be the same. I will keep my flaws as I've already spoken about. That looks, that should look good. Alright, so let's go and wrap these. So first of all, control al transform, plate set origin to Geometry tab on the Ramp. And now what I want to do is I want to make sure my walls are based on these ones here. In other words, I want them look in the same. What you can do is you can actually First of all command bringing your wool. So come down, find your wall Main like so, and just make sure that they're looking kinda similar to these. Now you can see that a little bit of discoloration in some of them, but I think that's quite natural and it will look natural when you've got your walls, it wooden planks in and things like that. So don't worry too much about this at the moment is what I'm trying to say. You can see that these look fairly similar and things like that. As I say, the main point here is just get your walls in. So I'm going to grab this one now. Pay. Grab it all top just to make sure all transforms. Right-click. So origins geometry. And now let's Tab again. You unwrap. And let's calm down and put this on Wall Main, like so. Now I'm just trying to compare it to these walls here, and they do look the same. You can see we've got where I'll seams are whether Different. Alright, so I'm happy with that. If I press all Teach Now bring everything back, double-tap the a, you can see now that's a really, really good start on what we're trying to do here. So the next thing that we need to look at is actually bringing in our sin. And we do have within the course pack and SVG. So let's first of all do that. Now, SVG is probably going to call them in the middle, they normally do. Or it might come where actually set my actual cursor. I'm just going to shift right-click and put my cursor over that. And then we're bringing mass vG. I'm not sure if it does come there or if it welcome in the middle, we'll see. So let's bring it in. So let's come to file, calmed down impulse, and you'll see that this should be one Scalable Vector Graphics. Now, this is not here. Come up to Edit, go to Preferences, and then let's put in SVG. So I'm just going to minus that off Sv, and you'll see that it says import, export Scalable Vector Graphics. I'm not sure if this is actually ticked on in the new Blender, but just make sure yours is on. It should be available in all Blender's from 2.7 onwards. Basically, then click refresh and then close it down. And then let's come to file impulse, come down scalable vector graphic. And let's go and find our graphic. You'll see SVG sign, double-click it, double-click the Sign, and you should be able to import. And now let's see where it's actually been imported to. And I can't really see it. So what I'm going to do is I want to zoom out a little bit and see where it is. And if I can't say, I'm just going to come over to this right-hand side. And I'm going to see if I can see on here is this one here, so it's colorful. You can see, you can see now I've clicked on it. I don't know why it comes in as color Philae thing, that's what it's named in actual Photoshop, is a scalable vector graphic. Now all we need to do is we just need to now, because we've got that selected is pull it out. And if I press the adult board now you can zoom in and you can say exactly where it's going to look like. First of all, let's reset the orientation just so it can get this into a nice place where it wanted someone to write plague, set origin to geometry. Then I'm going to rotate it round. So all why 90 and then our X 90 and just to spin it the right way round, I want to press three on the number pad them. I'm going to pull it into place now. You need to check which way round you want it. So first of all, let's just get it the right scale. So when grub it, press the S button and I can see here that if I pull it out to there, now, that roughly shouldn't be the right size of it, let's pull it back into place like so. Let's get rid of this block, block now we don't really need it anymore. So let's get rid of that. Now you need to do is just decide how big you want this. Actually, I think that is roundabout the right size. I can imagine the change coming up here and things like that. They would think, of course, it's just makes sure that it's fitting the flow. So if I press all zed hundred and 80 and spin it round, press three on the number pad and just have a look. Is the flow that way better? In other words, because it's curving up here. Does that actually suit the flow of this or does it look bad? All is that honored at the other way around? Which way do you want in which way looks the best? I actually think that because of this coming out, it actually looks bad flowing around this way rather than trying to flow with building. So actually like you bad that way. I'll think I'm going to leave mine that way. Now you will notice as we bought this Indians a scalable vector graphic, it's basically brought in as a curve. Well that means is that Blender, I love little button over here, which is the object data properties for full Curves. So when you bring in a curve and things like that, you will have this same panel and that's how Blender actually deals with them. Now you will also notice that these parts here, uh, probably, probably a little bit too thin. I'm not sure when I brought the other one in abroad these together, they did look too thin light that we're going to snap in the wind or something like that. So I might do something with those. So first of all, the one going stairs, I'm gonna put this on 3D. And what that means, Omeka, a gap froze. And I find easiest way to deal with SVGs to clean up the Mesh because you'll always end up with a bit of a mess. The Mesh is just to bring that to 3D and then bring down your resolution. You'll see as I bring this down, all goes really square. One is trying to do. Now Blender is limit the number of vertices within this actual SVG. So the problem with SVGs and things like that, you'll end up with a ton of vertices and you don't always want that. So what tends to bring this down to one? Then a slowly bring this up to something where I can actually work with it. So you can see here, I've put its weight now and we've still got those really nice Curves. Now you will see that it's a little probably be out in that. So if I turn this opens up a lot. Yeah, it's not really adding anything by turning it up anymore. So I'm going to set it sue several eight. And I think that's smoothing of them to actually get away with another nice smooth curve going around there. So just reduce it from 12 dance weight, something like that. Okay, so last of all then, now we've done that, we need to turn this into actual Mesh because of the moment we can't do anything with it. If we press tab, we're going to see some vertices and we can't do anything with these vertices. What we can do though, is we can actually click on these vertices. And you can now do things with these all, move them around or something like that. What I think I'm gonna do though is I'm going to come to each of these because I think these points are a little bit too much. So I'm going to come to each of these points first before we do anything like this pointy, you can see it's got all these. Leave the two with the end. And I'm going to actually delete these vertices off because I don't think these spikes are particularly helpful for this bill. So I'm going actually come in and just select them all like so. And I'm going to press Delete and you're going to press vexes and that's then he's going to pop them back in his place. Elite versus just then go round and look at any of you you've missed. So you can see these have a little spike, hope I'm not concerned about that. It's these major, major spikes that we're looking at. So delete versus this one here look delete vertices and these look absolutely fine. Alright, so something like that looks absolutely fine. I think I'm happy with that. So what we'll do that on the next lesson. We'll convert this into Mesh. We'll clean it all up. And finally, we should end up with a really, really nice sign. Okay, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 49. Converting Curves to Mesh for Versatile Modeling: Welcome back everyone to Blender to Unreal Engine five, and this is where I left. They all. Now let's convert this. So if I press Tab, I come up to Object and you'll see down here, you've got one that says convert. And if you kras Mesh from Curves, the second one, you'll find that that curve disappears. So the curve options disappeared. Where's it gone? Well, it's now basically match. So if I come in, you'll see we can't see anything at the moment. But if I come over here to my slide, you'll see now it's basically put in a load off that we don't want this many vertices of course, and we need to fill it in. So I'm going to do is going to press a to grab everything, and then going to press Alt and F a mobile, There's fill it all in. Now you'll see though, the problem we have is that again, we still got way, way too many triangles in this. I mean, it's 2037 triangles in this. That's not what we want. So we're gonna do is going to press Control Z and just go back before we fill it in. We're going to come to edge select because we're gonna make this life easier on ourselves. And what we're going to, is going to right-click and democracy. Then we're gonna do is now I'm going to fill it in. So I'm going to press top. I'm going to press alternate, fill it all in. Top. Come over to the right-hand side, make sure you're on your modifies and we're going to add in a decimate what we're gonna do. Now as you'll see, if I bring this all the way down, you'll see it goes really, really funky like that. That is because we've gone way too far. You can see here that we do have a face camp. We basically want to use that to see how many faces we can get away with. So you can see that as I've brought that up to 613 faces, this now actually looks a really, really nice piece of Mesh. I mean, I can keep bringing it all and get even more out of it. But is there any point all we actually get any benefit of increasing it even more? I don't think so. I'm going to leave around 700. Look at that. I think that looks really, really nice. Finally, now if I actually apply this decimate, so control a hover over it, control a press tab. And you'll see now that's where it looks like and it's a really nice piece of Mesh. The other great thing is of course, that we now have actually marked all Seams already. And that makes it really, really easy rather than trying to go around this whole thing, marking seams out and things like that. Alright, so that's a little tip there. So you know exactly how to bring them in, how to deal with them, how to reduce the polygon counts and things that are out some mock seams before you actually do anything else. Now of course, there will be one issue in that when we pull this out, we will actually have to mock some seams in the edges and things like that. I prefer doing that manually. Actually, it's probably a bit easier than trying to go in and do this automatically because they don't put the seams where you want them anyway. Now the thing is we need now to bring this out and make this a bit of a mesh. So what we need to do now is press E, pull it out like so to the thickness they actually wanted bearing in mind that it's going to be quite heavy and chunky. It needs to be quietly and chunky. And there you go. You can say it looks really, really nice already. Now you can see we've got lots and lots of bumps down here, but because we actually made it quite high polygon. So in other words, if I click it now you can see 2,772 polygons bought if we let it the way the walls, it would have been seven or 8,000. So we've reduced it a fair amount. You can also see because we got rid of those vertices, that actually looks really nice now and the points, and actually it looks realistic, not so much like the reference that I did before. Alright, so now I want stairs, I want to Festival press Tab. I want to right-click Shade Smooth, and then I want to come in, I don't want to pull. Also, let's move on. And now you can say it looks really, really nice. Next of all, I want to actually get rid of this SVG map. I'm just going to come over while I'm in object mode, click on the minus button and now can really see while I'm actually doing, Let's put it onto the default material. And there we go. Alright, so now we need some Ramp this, now we know that the front, the back are easy to unwrap because this will just unwrap like this. And that's fine because we're only using metal, but we do know that we're going to have a problem with infinite loops going all the way around here as well. Uh, not only that, because of the size of this thing. You can imagine that if, even if Blender starts here and goes all the way around here, following all the way around. This UV. Unwrap is gonna be really, really long. Which means that it's going to make my actual metal look really, really pixelated and things like that. So you need to split this up, look for places to split it up in colonies like here. So for instance, let's grab this corner, right-click moccasin. Let's say Blender's starts from it. It goes all the way around and it ends roundabout here. Unfortunately, you could end it in here, but it's still going to be really, really long. So we'll try and actually ended in here because no one can see that in there. If you're looking from a, you will be able to see there's an actual Seam that normally L6, I'm going to mark a Seam in there. Then what I'm going to do is I'm going to just go under each one of these. And I'm going to zoom in a little bit, a moccasin right in the corner of these, so that no one can see any Seams marked on this. I'm gonna go in, I'm looking on here. I can get away with the Seam in that It can follow it all the way around. And then we can really get a CE mark right in that corner there. Then we can come round and I can moccasin in here. So in that one there, then get into it. Let's try. There we go. Not one that then that's called underneath here. And this one here. Let's work our way around. Thinking probably in there, all the way around again. In here, come in all the way around. I want democracy older here. And then a Seam in this points here. And then a Seam in this one here. We follow it then all the way around. I'm thinking I can probably get away with a Seam in here. And then it's going to follow all the way back round to the store again. So right-click magazine. That's the first law of Seams dome. Now remember every single one of these. So in here, in here, in each of these is going to need to Seam because they're all going to be infinite loop. So we don't basically the outside of it all the way around the plants and things that are, well now we need to do like the inside of here. So I'm going to right-click mock scene. I'm going to work my way over then, right-click mock scene. In this one here. Right-click mock Seam. Then finally, in each of these, so I'm going to pick the top Colonna of here, Tu Mama seem the least Place. People are going to say it again in all of these. So the null infinite loops, and then it's short on Ramp really, really nicely. So let's scrub all these right-click monks in. There we go. Now, the moments of truth, Let's actually see if this will maps. Okay, So I'm gonna grab it all. I'm going to in fact reset the transformation so it's controlling all transforms. Plague origin to geometry. Top. Make sure it's all grabbed with a, you unwrap comb-over to UV Editing. And we showed have this on Route. Really, really beautiful and you can see how clean that actually is. Now, let's press dealt, Zoom to our actual sign. And now let's change this from the default over to our dark mantle, which is this one here. Press the Tab button, and there you go. That looks really, really nice. Now one thing we did actually forget to do is we haven't beveled this off. And the reason is because it will increase the actual and polygon count pretty well, quite a lot. And that's one problem that we've got. Now, what you can do is to grab all of these edges on the outside is we can now go in and basically select them all. So if I come over to modelling, and I've grabbed it all already, and I come down to select, and I want to select sharp edges. For instance, you notice now if I turn this down actually I need style. I'm going to double-tap the eye. Then I'm going to come in, select and select sharp edges. You'll see that we can select all of the sharp edges going around. Now, you can say I'm on faulty 1.1, you can see it's selected a few of the edges there. And if that happens, just turn down, alternative up just so it doesn't select those edges. Say now can say if I keeps me up to something, lag here, I'm just going to take the edge off. Then I'm going to take an interest, select it again. So let's come in. Let's do this right? So turn it down 90 degrees. I'm going to carry out 90 degrees now, 89. Let's try that, something like that. Now all we need to do, let's press Control B and C If I can bevel them all very, very slightly. So very slightly. I'm just going to bevel them off like so. Press the top Bone. And now you can see that looks much, much better because we've beveled. Those are the actual logs. You can't even see actually, unless you're so close where they actual bevel lives. I did that for a reason. What I mean is I actually beveled it all after. I'd actually marked I'll seams and unwrapped it and all that stuff because of the fact that I've done it that way. It's just so much easier to mock seams and things like that. Alright, so let's shapes move. Let's make sure our smoothing exons, Let's turn it off so you can get rid of a few of those. You can see that we do have some light lines on here. And I really, I can't do anymore with those really because it's actually triangulated. Now you could come in and let's see if I gonna do that. So if I can grab all of these. So I'm going to press C just to grab a few of these. And let's see if we can actually smoothies off hello or shake plant-based. There's what we wanted to do. So I'm going to shade, gribble these. I'm going to right-click and let's see if I've got one Shader, flat. Amigo, you can see it doesn't really do a lot. Let's try shade in smooth. There you go, you can see you still going end up with those lines that we're going to do is we're going to actually bevel these. So if I press Control, big, pull out the bevel very slightly. You don't want to do much. So very slightly, something like this. You'll see now that we've got a really, really beautiful Babylon here. The only problem is you can see that we've got all of this triangulation on that and that's not something we want. So how do we fix that? Well, if we zoom out and we just have a look around this, I want to put on Eevee again just to show you. You can see that this now it looks really nice because it's really smooth, rough edges. But we can see those triangle Bolts in there and that's something that needs a base. On the next lesson where we're going to find out is how to fix this. We think in a real unwrap it and actually finished this actual main problem, sino. Okay, everyone, I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 50. Finalizing the Sign for the Windmill Project: Welcome back everyone to Blender to Unreal Engine five and this were elected. Now, we need to fix these. They look a mess. That's not something we want, especially in our games Engine. So let's come in now. And what we'll do is I'm going to come in and select all of the faces going down here. So I'm going to do is I'm going to select all of these and all of these. Why Windows? I'm going to try and right-click Shade Smooth. Now you'll see that it smooths all of those off. And that looks a ton better at with very little work. Alright, so that's not actually sorted. Now, what we can do is we can come back onto Material and now we can start working on our actual chain links. Now one thing we need to do is look at, is this far enough down. I think actually this needs to be a little bit lower because we've got a Window here. As you can see, this is all Window going to be looking out. I think it just needs to be a little bit lower than what this actually is. We're going to have some wooden blocks coming in, so you can imagine that coming out. So here I would say the bottom of this needs to be just a tad lower, a little bit tiny, lowest, something like that. Now, while we've got this in the sensor will mountains world press Shift S, goes to selected and Shift a and let's bring in another cube and one wins do is I'm just going to decorate just the bottom of this actual sign. So I'm going to press S, bring it in, I'm going to pull it up then I want a nice bomb on it. And I wanted just to come out just that little bit. But I also want to make sure that it looks right as it's join up. So I'm gonna pull this in a little bit here. So S and X plane. And then going to bring this up to make sure that it's into the actual metal like so probably a little bit thinner as well, so as an X like so. And then whirlwind stairs, I want to press three on the number pad, press tab, come underneath it. Grabbed this bond pays three again. I'm going to pull it out like so I just wanted to make sure it looks like something's attached to it, not just glued on all something like that. So I'm gonna grab both of those play phases. S and Y, pulled them out to something, maybe run about like now. And then finally grabbed this top face while it like so. Now I can actually work on this part here. So I called use this pole here and actually pull it out. But I think I'll just make a new cubed. So the other thing is, of course, I want to make sure that this is in the center. So the way I'm gonna do is I'm actually going to come to the actual sign. I'm going to look for the center, which is roundabout, this point here. Thing. I wanna do that, That's the thing I'm thinking. It's very hard to see where the center of this is. So think I'll do this by actually. So I'll grab my actual and QB, I'll press Shift S because to selected. I know that's now in the center and now I'll bring in another cube. So shift a, bringing a cube, make it smaller. I know that that cube then she'll be the same on either side and that's exactly what I'm looking for. And then I can squish this together. So essence add, bring it together, like so. Now pull it out. So S and Y pull it out to where I wanted. So perhaps something, something like that. And I think the thickness of that is absolutely fine. And then Wilder is all out in, let's say, two edge loops to start with. So controller to left-click, right-click. And I want to split these now, so I need one on this side, one on this side, so I can start lifting this up basically. So I'll bring them one edge loop this side. So Control Alt, left-click, right-click, one Angelou, this side, Control Alt, left-click, right-click. And then I want to bring these two together. So I'm going to grab both of these alt Shift and click, make sure I'm on medium point. Press S and Y and just bring them together. And now finally can start bringing these outside edges up. I'm gonna grab both of these precedents three, pull them up, like so. Then I want to pull them out and then pull them down a bit. So I'm gonna do is I'm going to press E S and why pull them out like so maybe to here and then pull them out again, a thing, so something like that. And then E and S Y, pull them out and then pull them down. Like so. Maybe you want your edges as well going in a little bit. So S and X pulled them together. Like so. And I think that looks really, really nice. I'm really finishes off the actual sign rather than they'd just been and round Paul on the bottom. You might not live that, but I think it looks bad. The only thing I think is assured come in and just bring this in a little bit on here rather than it looks a little bit blocky like that. So come in. I'll actually have my sign all the way the top of it. And I've got the face here. So then I'll press S and Y and just bring it in a little bit. Top Alt H, bring it back, double-tap be, and yeah, that looks on BAT. Now, we might as well bevel this off as well. So I'll do is, I'll join both of these up. So Control J or Control late or transforms right place or origin to geometry. Come over to my modifier, add, modify, and we'll bring in a Bevel. Let's bring this bevel down to naught point, naught, something like that. And that actually it's too much for this as you can see, it's still beveled, so I'm going to bring it down to naught point, naught one that's have a look. How much bevel that is, we kinda want it to be the same as the sun. We don't want this much bevel on it, so I'm gonna put it on No point, no, no fall. Let's try that. And that's probably much, much better. Now let's come in and actually mark some seams. So I'm going to isolate it out where the question mark, press the tab bar. And what we're gonna do is then I'm going to hide the bottom of it just for now. I'm going to grab. The other thing is I need to bring that back and just apply the bevel before I do that. Oh, I won't be able to actually Models seams because they'll need remarking. So I'm going to hover over them, a bevel, Control a, and now I'll hide the ball. Now, let's go back again because they're made a mistake limit method on an angle. Now finally, let's apply. There we go. Now finally with us. So let's say hide the bottom. Let's put a Seam on this top and this bond. So control a mock scene. I'm thinking I need to Seam roundness somewhere. So I think I'll just pick one of them because it is mouse, so it's very hard to see anyway. I think actually there are, well pick the inside because that will be harder to see them the outside. So I'm gonna pick the inside here, right-click Magazine. Let's press Alt H, bring back the rest of it, and then we'll come to this space here, on this face here, controlling mock Seam. Let's come in now and mark the Seam probably from the inner bottom here. So I'm going to grab this one and then go all the way along to this part here. So control clicking, Shift, clicking on that one plus one here, right-click mock scene. Grab it all as you unwrap. And let's see for bring my Material in, how it's going to look. So we're going to preach on. Whereas don't mental. There we go. Press the Tab button. There we go. Let's put it on Eevee. Let's press Alt H, bring everything back, all the question mark. Let's double-tap be let it load up. There'll be a bit slower as well, the mole actual parts, you put an N, So double-tap be. Alright. Now what we'll do is we'll join it all up now. So I'll join this up with this. So Control J, join it all up together. Let's double-tap be, I'm just looking now. You can see that that bloom is kinda making. It looks really great and all that, but it's kinda making it a bit hard to see what we're doing on our sound. But you can see from here, it's really, really beautiful as the sun shine through. And you can imagine that moving backwards and forwards, so as beautiful, but it's kinda caused me a little bit Issues just having a low what actually looks like, but I think it looks absolutely fine. Now what we do is we need our chain for our actual them Sign as well. So change pretty easy. So let's bring in our chain. So I'm actually going to save this out. So File and Save. And then one way to do now and when it's bringing in a null the Torus. So shift day, Let's come over to Mesh and we'll go into where it says Torus, which is, you can see that I've got Torus to Objects. I don't want to use that. That's from bringing the extra Objects. And I want this one here, that's the Torus. Now you can see again that because I've loaded up my Blender few times, it's gone back to where it was. I'm going to try again and put this on, let's say 14. And let's say put this on ten. I think that's why I don't want befall. You can also as well save out a preset. So you can say if I click this little down arrow, I have one that says chain link. And if I click on that, you can say I've got it as 10.7. I don't think that's correct. So you can see my chain links here. I don't really like this chain link. So while there is, I'll delete all the way. I'll bring in another Torus and so Mesh Torus. And then what we'll do instead is I'll come down, you can see also generates UVs, which is kinda nice. Let's put this on 14. Let's put this on ten. I think on the actual one I've saved out. I've saved out as like a low poly version. I'm going to click Plus, I'm going to name it and I'm gonna call chain HP for high poly. And I want to click Okay, and now that it's saved out, so if you ever need to bring in a chain now, you should have that saved out and it should have generated the UVs. Let's see if it has actually generate the UVs. So what we'll do is first of all, I'll come and give it all light metal, which is this one here. Right-click Shade Smooth. And that is what it's going to look like. So I'm just looking to save it. As you can see. It says is generated the UVs, but it's looking a bit stretch. So let's see if I can make about a job of the UVs before actually do anything with this. So Alt Shift and click, right-click moccasin. I'll go to the top right-click monk Seam, grubby old owl, you on route. Now I can say I've done a better job of what it looked like before. So I'm very happy with that. Now in the next lesson then what we'll do is we'll start bringing our chain up to this part here. This is of course where we going to animate it from. So the change part of the Animation. So it's important we get that right. Okay, everyone, I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 51. Creating Links for the Sign Structure: Welcome back everyone to Blender to Unreal Engine five, and that's where it left the Art. Now, let's come in and spend this around first. So all why 90? Let's pull it up. Like so. And that's obviously make it much, much smaller. And also, let's shrink it on the actual and y-axis. So if we press S and Y and just bring it in, just make it look a lot more chain line. Now it's up to you how big, how big you have your chains. So I'm thinking, let's put it down that first and try see what that looks like. So That's looking quite nice. Well the results see me Links. So probably want six Links, something like that. Let's see even get that in. So Shift D, bring it up, spinning around. So all 90 like so and then it's grabbed them both shift D bring them all. Like so maybe I can get away with one more link, or I may call these links smaller. So I've got, just got to take a step back and envelope all these things a little bit too big. Probably also I'm going to shrink them all down together. Then I press three, then bring them back down. Also been on EVs, make it a little bit of matrices. I'm just going to shrink them down. And then I'm going to grab this link Shift D, bring it all it into place, like so now I really want it sticking out here at the halfway point near enough. So I know that I need probably another link, another couple of links on here. And you can see now that I do have a problem in that these links, or I need to basically lower the Sign down a little bit. In other words, I need this and this to come up. So Shift D to here and now hang on this actual sign. So I'm going to grab everything. I'm going to grab my Sign. Hopefully I've got the bomb of it. And then I'm going to pull my Sign a little bit down and have a law that looks like so let's put it like that. Never thing is I could get away with probably bring my Sign up a little bit. Yeah, I think it's it's probably a little bit too low. So what I'm gonna do is I'm going to grab all these links. I'm thinking couldn't get away with Ms. Sign being up here. So let's grab my Sign, actually put it into place here. Like so. Let's have a little that looks like and I think that actually looks much, much bad like that. So I think I'm gonna go with that. So I'm going to do is I'm gonna grab these two links, linked them out away. Yeah, that looks, that looks just a ton more realistic. Now the other thing is that you can see that this piece of wood might needs come out a little bit further. So let's grab these links now. Join them altogether. So Control J, Shift D, duplicate them. Press three on the number pad and you want to pull them over and see where they're gonna go on the other side. So you can see like the bend of this is actually telling you where it needs to go. So let's put them there, double-tap the eye. And I've looked at that. All we happy with that? Or do we need them? Either the Sign moving over, the world coming out? Is that gonna be enough to hold our sign is what I'm saying. If I, for instance, bring these over and then bring one of these down. So let's try grabbing this one. L shift D, bring it down, spinning around. So all hundred and 8,900, 1990, spin it round. And you can see that's not going to work either. So I think, I'm, think I'm fiddling around with this too much. So I'm gonna do is I'm just gonna go back. I'm going to actually leave it as it was. Let's put it back into place. Double-tap the eye. I'm thinking the other way that could do this is if I move this a little bit to the side and then pull this down a little bit. So let me have a look. Let me just try pulling this out to the side a little bit. Pull this up a little bit, like so. Then what we'll do is we'll grab this now, pull it to the side. Like so, double-tap the eye. That looks bad. The problem I had was they looked too close together. Now I'm looking, I'm thinking they look much, much bad like that. Now of course you can see one problem in that if you press one or Control one, you can see that they're a little bit out in the center of here. So I'm going to grab them, both of them on the Sign, control one again and just pull them over now, just so the more central. The other thing is, I think I need to pull them down just a little bit. I think I need some metal parts in here as well, just so it looks like it's held on something and not just on this piece award or something like that. So let's actually do that now. So I'm looking at my cursor's here, might as will make use of that. So Shift a and let's bring in a cube. So we'll bring you up. Let's bring it opens Place now. So something like that. I need to obviously move it so it's more central line. So I'm going to press S and X, pull it out, and then pull it over. Then press essence. Like so. Just making sure it's quiet Central can see my chain still probably a little bit out. So I'm gonna grab my chain, I'm assigned. I'm going to move it Joel's to Todd mole like so. Hold this down just a little bit more and then grab this face. Pull it out a little bit. Like Sona thing that just looks much, much better. Live up Alright, so finally then why can do is I can just bevel up all the, the sides. I'm just going to grab it all. Press Control. B, Beverly off, like so then I'm just going to grab this, pull it over, Shift D doesn't need to be Level or anything, really super level or anything like that. So something like that should be absolutely fine. Then while there is, I'll just grab these BAU. I'll press you come down to Smart UV project. Press. Okay, and I'll just show you what that does. So if we come over now and we put this on dark mouth, you can see it's made a really, really fine job and put this on Eevee. Hopefully we'll be able to see something can't really see if I duplicate one, so Shift D and pull it out. So we're duplicated them. You can see how much of a nice job that's actually don't and that's what basically that does for us. Now, I don't really like using smart UV project. And there is a reason is that if I take this through to another piece of software and I want to send through all the Seams and things like that. I've actually lost them all and that's the problem I have with it. So I'm actually going to go in now. Now I've showed you that up to you whether you keep yours or not and what we're gonna do now I'm going to come to each of these chains, join them both together, Control J, and then I'm going to actually get rid of these here. The thing is about chain is it costs a line polygons. So if you can get rid of any polygons that you're not going to need light. All of these, for instance, not going to need them. Same on the other side. Then delete and places like so. And also if you can also get rid of the ones in here, so I can see past this point and pass this point. I can probably get rid of two. So if I come in and then get rid of these, these, I think we're going to be three, so I'm going news, I'm gonna press tab. I'll teach, bring it back home to my chain. So below you can see that Cong, get rid of that one. So it's just the other two. I'm going to take that Window and then I'm going to try and see if I can get rid of the one. Is the one in there as well. I mean, so I'm going to grab this again. Grab it again. You can see there is so Alt Shift and click. And now I know that on the other side, I can do exactly the same thing. So I'm gonna go down to there, delete faces top. I'll teach, bring everything back. And now you shouldn't be able to see anything. It should look like it's actually stuck in there, which it does. So that looks really nice. Finally, now, let's again hide this piece of wood com to these parts here. And we'll just, we'll just real Ramp these because I also want to add them on rap. So I'm going to Alt, Shift and click, going all the way round. I'm gonna do the inside of each one of these right-click mock Seam, grab them both. Just real Ramp them. So then if I do not on that, if I do send them through to another piece software, you can see it says non-uniform scale, so just need to reset that. It means that it will have the seams on if I send them through. So I've grabbed them now, you unwrap. There we go. Alright, so now we can join all of these up together in a minute. What First needs theories me to grab all of these with a consumer UV editing. Michelle Dolby in the same one, grabbed them all with a again UV and you're gonna go down to Pack islands. Now let's go back to Modeling. And they should all look different now which they do, which is what we're looking for, of course. And now I can join all of this up together with the signs. So Control J, press Alt H, bring everything back, double-tap the a, and you, she'll be left with something like that. Alright, so what we'll do then on the next lesson, next, we'll start work on our actual wood or actual war going on the way around our actual building will try and get those in place. And then we can finally start work on this window here, which has been here long time. So we got to actually start work on that. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 52. Achieving a Medieval Atmosphere with Wood Materials: Welcome, like everyone's Blender to Unreal Engine five, and this is where we left it all. Now, it's just the case of wealth for this bend least make him What lots and lots of work. So what we're gonna do is let's make a start. So you basically want to break this down. So what they'll do is I'll break it down. I'll make my Supports here and then it can stall waking on this side and then mirroring it over the other side. And that's the way you kind of try and do this. So let's think about putting this in the sense that will make a little bit easier for me. So I'm thinking if I put some pieces of wood against the it, it's going to make easy when I'm trying to do this side. So what I'll do is I'll come and grab this edge here. I'm going to also save out while I remember, just make sure I don't lose my work Shift S selected tab and then shipped a, bringing a cube. And let's make this cube Smaller. This one is the, one of the Main supports that holds all basically part of this war. You can see we've got a little ridge coming over here. So this piece of wood needs to be relatively thick, not as thick as these Main pits are odd number Roof but relatively thick. So let's try this. So we'll actually pull it out on the X now and we'll pull it probably out to something like that. And I think, yeah, I think we can work with this piece of wood like that. Alright, so the main thing is I want to make sure that I'm not wasting too much of it, so I want it in the wall like that. And then while there is our grabbed the face of it and just pull that back then into where I actually want there. So you'd say it's coming out there and this is actually sat on top of there. And that's exactly well one. Now what I'll do is I'll use this piece of one. So I'll bring it down to here and just make it a little bit smaller. So shifting, bring it down into place again, halfway because we want some nicer plots on here. And then we'll do is I'll pull this space back. So something like that. I do need another Support in here, of course. So now let's think about this part here. So I'm going to grab this piece of wood. I'm going to press shift D. I'm going to rotate it round on the XOR, X, not X or Y 90. So it's point to note, make it a little bit thinner because we don't want it to be as thick as the other piece. And then let's pull it over like so into this part here. And then once another piece going over there. So how do I want this going through? I mean, it's up to you really do want to go in that far back, so it's in there, like so. And then another part come in there. I think that's probably the case. So if I grab this piece of wood, pull it down to just below that, something like that. And then I'll grab it again, Shift D and to pull it up and then rotate it. So it's going nice and flat against that. You can see there, I do need to pull it back a little bit, so it's going behind that. And then all I'm going to do is I think I'll also I'll try and bring it in a little bit as well. Grab it again. Press Control. Control one. There we go. That's a good view. And then press all on why I'm rotate it so it's going the right way, lifted off, put it into place. Like so so it comes down the top of that. I need to make sure that it's basically going in the Roof that so I'm going to press R and Y and just rotate it around a little bit more, pull it in its place. So, and then finally, I need to make sure that it's not coming through here. So I'm going to grab this face. I'm like I said, all these skills are Base void been learning throughout the call. So now we can pull it all into place like so, I think that's going to look really nice. Now we want another piece of wood going from here into this corner. So again, I'll grab this one here, should bring it out. And we'll put it on Global again, bring it up. And now wherever I wanted it from, so probably from here going up to here. So I'm going to press Control one. I'm going to press Alt and why rotate it round. Nothing but I'll do is I'll get it into where I want it first. So once it coming back into here, into here, bit lower, something like that. And then that's like kind of both where you can see it's a bit chunky. We might need to pull it back a bit. You can also see, is it touching that back wall? Nope, it's not into the back wall, so I'm going to pull it essays. It's just the shadow looks, so that's absolutely fine. I do want it out further than these pieces of wood. And the reason for that is I'm going to have some wooden struts coming down here so it doesn't need to be slightly thicker. The only issue we'll have is can it go into there and do the same time? This is always a problem you're going to have with the pieces of wood on your wall. So let's try and bring this over now. I'm going to bring it over and put it into place and you can see it's way, way too thick. And that's the thing important I'm thinking about. So now let me pull this back into place so it just fits under there. And then hopefully by brings some wooden struts. Now you can see, is that gonna look right against that doesn't need to go back a little bit further. Probably a little bit further like so. Now let's still this piece of wood. And then I'm going to press Shift T. Hold this over. I can see that these probably a little bit too thick, so I'm going to press S and X and just make them a little bit thinner. I'm going to grab this one and make it a little bit thinner as well towards vault. And I want to pull it up to here and see how much and get away with a thing it needs to come back a little bit further than that as well. So I'm going to pull it back joules to Ta-dah, So it just fits onto their Now I'm on Wednesday, I'm going to press Control one again. Now want to have this another couple of times at least. So let's press shift D, bring it over here, and then Shift D bringing it over here. Like so you've got a nice even gap between them. Or B, this one's a bit thinner, but think that would be more natural anyway. And then all I'll do is I'll come to this one, pull it all. Come to this one. Pull it up. Like so. Alright, so there we go. That's the first part of this done. So now let's work our way down. So can I use this piece of wood again? I think it cancel out, Shift D. Bringing it over. The one problem I have is with these pieces of what is it squared. I don't want to use a piece of wood that made a little bit thinner. So this one is which is good for me when I make sure that it's in properly. So you can see what a mean by that is the, the points, so this point of the wall leaves about halfway. The same as this point of the wall is about halfway. And that's exactly what I'm looking for when I grabbed the top of it, pull it up like so. Now I can use one of these pieces of wood. So I'm going to grab this pressure date, bring it down. Then what I'm going to do is I'm going to rotate this round the other way. So I'm gonna grab, I think I'm probably better off grabbing the bottom African belonging to do is going to press Alt and why rotates it around. And then I'm going to pull it across. So I can actually grab this top if I need to. As you can see, pull it across, put it in its place, in the corner of that, which looks really nice. Then I'm thinking now pull it out a little bit just to make it a little bit different from the other water around it. Grabbed then this face control one again. And I'm going to put it right in the corner here. Now obviously we need another piece of wood in this part here. And again, we'll go to this one. I'll steal it, shipped day, bring it down into place. Just make sure that we're not wasting any Wood again, in other words, why mean is I don't want it the same width of this. I think I do. So it's coming out exactly the same. It's just probably poking through there a little bit to false. I'm going to just print that. Then I'm going to grab this part high. Now the way grandma bomb here, pull it all the way you teach. Grab it again and then pull it down. So it's just sat on top of that, like so. Alright, there we go. You can see that's really, really good start. And you can say it's really, really Stein's come together now. Now I want to do is because all these are all the same. We might as well Level them. And I'm going to put these over the other side and then I can start work on these parts and things like that. So I'm going to grab all these, I'm going to press Control al transforms, right-click set origin to geometry. And then when we are in series now I'm going to come over to my little spanner. I've modifier bevel. I'm going to put this on naught point, naught one and see what that looks like. And that's going to look really, really nice as you can see. Yep, I'm really happy with that. I'm going do is I'm going to apply that control a question mark. And now we just put it on Material and now let's mark off seams off. So I'm going to come in a mock these, these ones first, Alt Shift and click. Go in all the way along here and try and get a few dawn in a row will make life easier for you. So as you can say, I'm going round all the ones that can actually see like so, right-click mock scene. Then I'm going to come to the inner side of the wall. And then I'm going to mock the Seams go in. Down here, here, here, here, right-click mock scene. Girl that was done now, I haven't done this one yet as you can see, and I haven't done the bottom of this one, so I'm going to press Alt, shifting plague, plague and moccasin. Now, let's come in. Hi, those are the way like so page for HIV. And now let's do, let's do these ones. So Alt Shift and click. Like so. Let's go to the top. Then the bottom. Right-click, boxy. Now let's mock Seam on the inside of these, like so right-click monk Seam. And then finally, let's just hide. These two are the way we can actually do this one. So Alt Shift and click, right-click magazine and then the back of it, mark Seam, I'll take to bring everything back. A and that's now will not them. So you on Ramp, Let's bring in our material and it's going to be the Main. Let's then see which ones are going the wrong way round. You can see this one here, for instance, it has a number of correctly. And the reason is because we've got Seam that we miss that. So right plank mock Seam, you can see that this one also is the wrong way round. I'm First of all DO going to rearm Ramp them like so. Then you can see they're all going now, nice, except this one here which needs spinning round. There is welcome to this one. Simply go to UV Editing eight, grab everything off 90, spin it, round back to modelling now, bring everything back. So I'll teach all the question mark. So let's press question mark, double-tap the a, and there you go. You can see how nice that actually looks. You can also see that the actual wall that we put on here is actually hidden behind this. So we don't actually need to do anything with that. All we need to do now is actually mirror this part onto this side and we're making a really, really good start and actually are building. All right everyone. So I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 53. Designing the Main Door Place Holder: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it off. Now if I come around here, why don't wanna do is I want to grab all of this and basically wants mirror it over the other side. So one Wednesdays, I'm going to call them into this gray box here, while it's not Greybox anymore. But you get what I mean. So I'm going to grab this Edge going down here. I'm going to press Shift S because this selected, and I'm going to come back to my piece of wood here. I'm going to right-click set origin to 3D cursor. And finally, I'm going to mirror it over the other side. So I've modifier, Let's come in and add in a mirror. Let's put it on the Y, turn off the eggs, and there we go, we should end up with something like that. Now you can say that output could, can easily start to build it. So I'm going to apply this. I'm not going to worry about these parts being the same or anything like that. What I am going to do though is I'm going to just come in and let's have a look. Are they the same Let's thing. I don't think they came in with these, so I think these ones are different. It's just basically these here. So I'm going to grab these in Edge Length, going to come in all L and L. I'm going to calm them to my UV Editing. I'm going to press a to grab them all G, just move them around a little bit. Top. Let's go back to modelling now, and now we can carry on working. So now let's start building this bit. So we're gonna have a double Window in here. We're going to have a point coming up peers you can see in the reference and just carry on working on weight our way down. So I'm going to do it seem as I've got my cursor in the sense I'm going to press Shift a, bringing a cube. Let's make it smaller. And this one, I want to actually fit in-between these two here. You can see that I've not got my gizmo, so Shift Spacebar to bring it in and I've still got my gizmo and I'm not sure what that is. It's because I've actually got my animation playing. So if I press space bar, I must suppress that by mistake. So just press that and then you should already gizmo back. Have you ever come across that? It's normally that to do with the Animation. Now let's make it bigger on the y-axis, so S and Y. And then I think I'll make this a little bit bigger because it is an actual Supporting beam, so something like that. Then S and why make it a bit smaller so we're not wasting all that UV space. Yeah. Thank something like that looks absolutely fine. Now we need one coming down, so I'm gonna grab this, I'm going to press shift D, bring it down. And then let's put this one into place as well. And that is going to support the wall underneath. I'm going to pull that back just a little bit further than this one. Alright, so that looks really nice. I think I'm happy with that. So now I need to do, I need to make the beam that goes up the middle here. And I also need to make beam. And then one that goes eat side on this part here. Well, there's a use their soon as well I'm gonna do though, I'm going to join them both together for now, Control J, and then I'll grab this one now in Edge Select. So I've grabbed everything, Shift D and then spin it around on the X. So X 90, lead, spin it round, make it smaller on the z-axis, and then we'll see how thick this needs to be. Obviously, I don't want it exactly the same thickness as this one below it, so I need to pull it back a little bit. Now what I tend to do when I do these beams along here is I will make, for instance, this part thicker than the two-sided beams. There is that just to take into account, I just need to pull it up a little bit and make sure that it's actually sat in their life. So now let's work on these side beams here. So what I'll do is I'll press Shift D and to bring it over. And I'm gonna make it a little bit thinner on the Y. So X and Y just a bit thinner than this one. And I'm also going to pull it back just a little bit like lack of just spoke about. What we're gonna do is we're going to rotate it. So I'm going to press three just so I'm facing it the right way. Then I'm going to press all an X and pull it into the corner. I always try and work. So I always try and stop in the corner. And then I'll move this one to the corner and then finally bend it in the position that I wanted. So I'll come in, grab this top face. Three again, pull it into the corner. Like so. Now we'll do is we'll press control law. Let's bring in something like three, left-click, right-click, and then I'll come in and grab this one first. Like so, pull it up, bend it round, and then work on this one. So I'm going to pull this one across, like so. And then pull this one across. So when you can see it's still keeps in that corner, and that's exactly what I want. Now let's come in and grab this one, so L, and then Shift D. Let's bring it up. And let's pull this one out. Like so. Pull it into place. We've got Window each side of this as well. So probably don't want this quite as thick as this bottom one, bottom one. So I'm going to press S and Y, shrink it in just a tiny bit, grabbed the top of the face. Let's pull it up. Like so. Alright, so there we go. Now we're getting somewhere. Now we need to think about a Door and a mind probably just put our door in as a reference on the here. I also need to mirror this over the other side. Now as well. You can grab this piece of wood here. You can press shift D and we can just literally just spin it round as well. So all zed hundred and 80, spin it round. And then let's just put it back into place on this side and then it makes it a little bit uneven. You can see it's a bit on, even on here, and that's what we want. We don't want to look in the same as well. Alright, so let's come and grab our little months. So we're going to pull him over And I'm going to pull him to where I want my actual Door to be. So I need my support something here as well. I'm going to spin him around as well, so it's facing me. So I was at 93 and that's polymorph where one I'll top of our dots Bay. So I'm thinking something around here. We've got to remember that we've got some Stone as well from there. So if I pull him down to here, we'll bring in our door and then we'll put in our Stone Supports on there. And now let's think where we're going to pour our actual Door in here. So we've still our cursor. That's why there's all bring in a suddenness of ship day bringing us cylinder. Let's drop this right down to something like eight just to make it a little bit easy for is like so. And that's then spin it round. So RY 90 round and we use this just as a Placement. That's all we're using it for. So we need to first of all see how big it will be now on a door, I'll just get rid of the bottom that makes it so much easier and I'll also make it finished. So S and X just bring it in. So top command, delete this face and you're looking basically for the halfway point which is here as you can see. And then all we're gonna do is just bring this down just to make you that very basic Door shaped. So delete faces and delete faces. Now we need to do is we need to bring these down. So I'm gonna grab both of these. The Press one, sorry, three, I'm going to press E to extrude. So it's pulling along that axis and then just fill in these phase. You can see this Door the moments way, way too big and one of them press F just to fill the M. And finally, I'm going to grab it all, press the F bond. I know it's an N Gumbert doesn't matter because it's just a Placement. Grab it all, press three, make it smaller now to where it wants it. So something like that you can see now we're starting to get the right sort of size, nothing that is basically the right size. The other thing we need to take into account anions, we do need the Stone going around the outside. So I'm quickly just going to make a basic Stone going around the outside by grabbing all of these phases, like so three. And then when I press B to pull them out, like so, I'm not even going to worry about this bit on the bottom. I'm just trying to get something placed in. So something like that is a nice Door. And you can see here that these are a nice Stone Arched going around it. So I think that's found about the right size. Now if these are bothering, you, just grabbed each edge and just pull them up so it's flat or relatively flat. And let's pull it into place. Now, why we've done that is we now have a reference of where the Door is actually going to be. And we can actually build around that because we need these coming up here. We need some Supports coming on each side. And now we know how much room we've actually got. Alright, so let's press Tab. Let's go back to these parts here. And now we can start using these to actually build around. So I want to grab this one. I'm going to press shift D. I want to bring it down. I'm going to rotate it round on the X. So X 90, I'm going to press three. I'm going to try and put this into place, something around here. So I'm going to try and get the halfway point and then going to pull it back. It's Hall thin as you can see, a little bit more that way probably. And among went to design. I'm just going to press S and Z, pull it out just so it's in that floor now, as long as it goes below this gray part here, this bottom, this face here, it should be fine. So now I can do is I can grab this and I can pull it the other side. I'm just making sure it's tucked under there as well. So I'm going to press Shift D and to pull it over the other side. Now, if you want to give it even more character on these parts, what you can do is you can actually bring in some edge loops. So let's say we'll bring in a five or six Edge groups. Left-click, right-click. And then you can just come down with Proportional Editing on and just bend these out a little bit, just making them a little bit uneven like that. That is what you can do with a lot of these parts just to really give it some characters. So I think no for me, I'm going to keep them pretty straight because I've not really done that in this Build. So I'll do want them pretty straight. I'm going to leave him pretty straight. I might go in in the end and just bend them around a little bit. That might be something that we do do once you've got all of the materials on and things like that, that's gonna give it a lot of characters. So we may do that mean as we bent this in, we probably will go and do that. But for now, we're just going to leave them like this, get the Build don't, and then we can actually work on that. Alright, so we do need some supports him here. So let's build those out. So, well, there is a mat as well. Use this, I'm going to press Shift M D, bring it over, takeoff Proportional Editing off, bring it over now, and some zed. And let's think where we actually want these should be a Support. And I'm saying that the Support should probably come to roundabout here, something like that. So essence that bringing up a little bit, pull it up like so. Let's make it a little bit wider. So S and Y. So pull it out. And that's use that as a Supports. I'm going to probably put it right next to this piece of wood. I also want to pull it back a little bit just so it's not actually obvious that it's touching probably even a little bit more actually, it's even Polished back, something like that. I'm just gonna have a look and make sure that I'm actually happy with that and I think I am. And then what I'll do is now I'll press. In fact, if I move my actual Curves, so it means that everything is not centered. I might as well, I'll leave that like that so well, there is all press Shift day bringing another cube, Bring it down, press the S button. Like so. And then let's try and get this into the center. Here are a little bit higher up. Let's see where it looks like. So I'm gonna press three and bring you over. Rabbit. It will again bring it over, pull it up to something like that. Then let's pull it into place. So I'm going to press Alt and why it's bending over. So it's all in like so. And I really want it basically coming up probably underneath there, Support here. So I'm gonna grab this face. You can put it on normal and then that will actually pull it out in the right direction. If you put it there, you can see that site fits in. I think actually, I'm not sure if I wanted just under there. I think that's probably actually going to be better on my actual original lab, put it past this. So it was up to here. But I think that looks better like that. So I'll think I'll leave it like that actually. I think that looks just looking around thinking, yeah, that looks bad. So what I'll do now is I'm just going to check to make sure this is pretty Central. It looks like it is. I'm also thinking, Is this a little bit too thick? Show they have less space on each side. Is it a little bit too far down? I'm thinking let's pull it up a little bit. Maybe something like that. Now looks a bit more realistic now. Alright, so let's now grab each of these. Again, I'm not going to mirror them. I'm just going to press Shift D and to pull them over like so. Alright, let's press top, double-tap the a and just have a look around them. What we've actually achieved. Let's go up to File and save it out. Alright, I'm the next lesson then we'll just keep working around. It's a lot of work to get dome. And then what we'll finally do is start to bring in all Booleans for these doors. Because if you look at the reference there slightly inwards and things like that. And we can also start to bring in our actual brick material. I'm rarely make the bottom of here look different from the actual top. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 54. Creating an Alcove for the Door: Welcome back everyone to Blender to Unreal Engine five. And this where I left it off. Now I want to do is I want to get this actual Door in one Wednesdays, I'm going to press Three, want to bring my mom down again. And this one's gonna be a relatively straightforward Door. It's just gonna be a rectangle. So just a normal DHL fall into this time when the press Shift and S goes to selected, that's going to put it where money is going to bring in a cube. So Mesh cube. Let's make it a little bit smaller. So we'll festival get the right dimensions. So I'm going to press essence at and just pull it up. Let's bigger than my mom, so something like that. Let's pull it back a little bit as well so I can see what I'm doing. Let's press three again. So this looks about the right height for a Door now and just need the width. Remember the guy's arms are actually open so no one walks around like this. So if we press S and Y, pull it out little bit, that then is going to be pretty much easily accessible by someone. Now let's pull it back in. And let's look. Now, if we think about this Door is going to need a joint round it on this corner is also going to need a joint around it. And we need a tiny little bit of a gap between I'm thinking that probably if I pull it this way a little bit. Because the other thing, what we've got to take into account is we've got a wooden pole that walks along here where someone walks along and I don't really want it going over the doors. So what we're gonna do is we're going to pull our guy up. We're going to pull him over. So I'm going to grab him, pull him over a little bit. I'm gonna press seven on the number pad so I can see what I'm doing. I'm going to pull him down to here. Now you can see that E would be able to walk along here. And we can see we need to pull out Door over just a tad like so. So allow the Walkway probably up to something like this, which will be absolutely fine. It just means that we've just got to figure out where the actual Walkway actually sticks in. So if we pull a piece of wood appear, as you can see, that Walkway then can actually be supported partly by that piece of wood, and that is what we're trying to get. Now the next thing you need to think about is how far this goes in. So I'll fall back D10 Door. I think something roundabout like that should be absolutely fine. Now the next thing is you just need to make sure that your actual cube is sticking through the floor. If it's not sticking through the floor, is going to actually cause you problems in that you're going to end up with a little sliver of wood that you're going to need to place over this part just to hide it. So we don't really want to do that unless you actually wanted to pull a little step along here. Now that's up to you. So if what I mean is if I press three, bring my man down to here, it means that if I want to step, he's got to step up. So slight step here. And that means then that we need to pull our door opens. So I'm gonna pull all Door to something like that. And even though I've got to step on here, I still want to pull this all the way down just to make it easier than to put that step in and build around it. It's much harder if we are a kind of coming down here and we've got just a hole in there. It's much easier and cleaner if we actually do it this way. Now the other thing I want to take into account is that I need a piece of wood going over here. I will then need to go in all the way around it because I want this actual joint that goes over the top of the actual wall to follow all the way around, which means then I'll have a little bit of a gap. And then this Door will actually sit on these planks that actually come round thing and get away with it here. So I think I'm happy with that. Like I said though, let's grab the bottom up here, pull it all the way down. So now it pops through. There we go. We should be actually fine with that. Now it will do is we'll grab our actual Main wool, which is this one here, will come to our motif. I'm just wondering if upset the reset, the Transformations. I'm sure how so I'm just going to wing it. So let's come in and come to Boolean. And then the Boolean we're going to pick as this one here. And then one Winsor. And when I hover over it, press Control a. There we go. Now if I pull out this, we should have a nice hole back there. Now I'm going to keep this. Actually. I'm just going to hide out the way for now because I wanted to keep it to actually make all Door when it comes time to make that actual Door. Alright, so now we've got something we can actually work with. So we know that we need the top up here to be aldol. We know it needs to move across here and then finally, all the way around here. So let's see if we can actually do that. So first of all, we'll bring in some joints for this Door. So I'm going to do is I'm going to come in. I think I'll grab this one here. Press three, shift D over two, halfway in so you can see if I come up, it's gonna be halfway and then let's pull it back so you can see what I mean. If I pull that into there, It's quite a big joint there, so probably needs to be a little bit thinner. So let's make it a little bit thinner, bit too thick. Let's pull it down just below there and it should now fit. So you can see this is how far it's going to come out. So something like that I think should be fine. Now, you need to decide how far this actually comes up. So I'm thinking that this should probably come all the way up to the top, which means actually that probably should pull it out this way a little bit. So I'm going to do is I'm going to come in, grab this edge, pull it out this way a little bit just to make it a little bit thicker because it is a Main Support And then one going to do is I'm going to think, do I need all the way up to the top? And I think with this one, just as the same as we've done on a reference. We did actually pull it all the way up, not quite to the Roof, but it definitely was. Let's think about this. So we've got, this is all Main Roof coming out, so this one here. So I think below here where it should do. I think it should come up to something like that for now, something like that, then we can carry on working along that. I don't think it would look realistic if it was going all the way to the top, but I think it looks realistic if it's one of the Main Supports, same as this one. And then finally we, now we need a main Support in here. So I'm going to grab this again. I'm going to press shift D because I know this is the right size. And then what I'm going to do now I need to make this much, much chunkier. Well, not all much, much, but a fair bit chunkier to actually support this part here. I'm gonna pull it over to the halfway point. I don't want to still count so far that it looks ridiculous, but I'm just going to kinda look round now and just make sure it's out far enough. So thank something something like that. I'm looking this side as well and see how far it's out. And then of course I need to pull it up into place. Like so I think this one here should go pretty much all the way up is what I'm thinking. All the way up to, all the way up to this point here. Like so because it's a corner point, as I say, it should be much, much thicker. Now, let's get this part in so we can actually see exactly what we're doing. So I'm thinking that we need to Joyce now that goes across there. So what I'll do is I'll grab this one here. Press L D X 90. And of course you build in these, should be able to basically build them how you want them to look on this one here. I'm going to pull this out a little bit and just have a play around with them. Really play with these parts. So I don't want to come in. I want it kind of been a bit uneven along gear for instance. So I'm gonna do now is I'm gonna pull this over. And of course, on the, on the edges like things like this where they come out. I always like to make my wards to cow a little bit. I don't like them to be flat against the wall. I just think it adds a lot to it when we, when we work like this and we've got to remember that also along here. I'm gonna have to pull it out much, much further because we're going to have actually a Walkway Along year. So basically we're trying to build ground the Walkway, but some of this we might actually have to come in and just replace. So it looks kinda right. Alright, so that's not Paul in, and we're going to leave that for now. And then what we're gonna do now is going to do the top of the Door and kinda follow this round all the way around here. So let's come in and do that. So I'll do is I'll grab this part here. When I press L, I'm going to make sure that among global, normal for some reason should bring it down and then make it a lot, lots thinner. So something like that I think looks much better. Press S and Y, bring it in. Then let's pull it back a little bit into place, like so. And then of course we're going to need another Door in here. Well, the thing I need, you need to make sure that it's actually hope foreign office is that looking realistic is basically what I'm asking myself. I think it is, I think what we need to do those just make this a little bit because I miss. So I'm going to press essence add, just make it a little bit thinner, a little bit more square. Alright, so I'm happy with, I'm just thinking, Is this a little bit too thick now? It probably is a little bit too thick actually. So I'm going to just pull it back just a tad like that. And I think that looks a little bit more squaring a little bit, but now I'll grab this one, L Shift D, and then all X 90 spin it round. And let's make this part here, bringing it down to the bulb. So let's press three, see how Paul it comes down making sure it goes into the floor there. I'm thinking I probably needs to call them a little bit more this way. And I'm also thinking that probably needs pull it a little bit this way as well. And then I'll bring you up and then I'll pull it back. So I'll just grab this part, pull it back, and then come to the back of here. Pull it forward a little bit. And I think that looks really nice. Alright, so now let's just take stock. So it's gonna be a bit hard building a lot of this based on this Walkway that we have. So we probably going to have to start building out this window and things like that. I think what we'll do on the next lesson is we'll get in the material for these parts and then we'll start on this pot building out because it's just gonna make it easier once we've got this Walkway and we now four, it's going to be well, we've made good progress on this so far, so we'll just keep at it. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 55. Accelerating Workflow Efficiency in 3D Design: Welcome back everyone to Blender to Unreal Engine five. Now I might be asking, why don't we just build out all of this would and then come in and adding all the materials. And the reason is because it's tedious. It takes so long to actually, I don't know, these pieces of wood that bill do it as you're building alone or she will find it absolutely too tedious. So that's the reason we're doing it that way. What we're gonna do now is we're going to actually mark or seams out on all these, bringing out what Material. And then what we can do is we can actually make a stop on this part here. Alright, so let's do that. So let's grab these. Let's press the question mark to isolate them out and now print on Material Shader so I can see a little bit better, I'm wondering. Alright, so let's come in. And the other thing of course, is we need to actually bevel these up. So I'm going to press Control a old transforms right-click or origins the geometry. Let's move it off so Shade Smooth, bring in also smooth. And now I'll do is we'll bring in our bevel modifier, bringing a bevel, put this on naught point naught. Let's try naught point naught two First. Let's try naught point naught one. Now, I think naught point naught one looks, it looks a bit better actually. Make sure again, limit method is on angle because we do have some that are angled and some here that are angled. And then finally, what we'll do is what we've done many times, Control a and just actually apply that. Now let's come in and actually bring in some seams. So Alt Shift and click and again, try and go round and just do as many as you can. Because I find it's much better Workflow, doing it a lot weight. So right-click Seam, come round the back, and then we're just going to grab each of these that we've done doesn't malware on the back obviously because it's in the wall. And then finally, you can just grab those without hide them out the way you should find your work flow actually really speeding up now at this point. So I'm just going to come round grabbing each one. I can see like so. And then come to the bottom of them. Right-click Maxime and then rub each one of these. You can see I've missed this here, so I'm going to right-click mock scene from the bottom of each of these ones, right-click MSG, grab each of these now, right-click Maxime. And finally this one, right-click moccasin. Now, let's come into each of these high the mountain away. And then let's look at this one so we can do this one here. So Alt Shift and click. My mouse will do it all actually right-click mock Seam at that one out of the way. Then I'll do this one. It's up to you. What do you do yours? And of course, right-click mock Seam. Say I miss the top of that some reasons. So I'll go in, hold Shift and click through that one again, right-click mock scene. Either way. Now, let's carry on. So I think I'm probably get away with doing pretty much all of these. So this one right-click MSG. Now let's come to the back. This is a little bit trickier. So shift control, control, control, right-click Magazine side. Those are the way they're all done. Let's come now to this one. So these two in here. Now the thing is, remember these aren't in the wall, so just make sure you're doing it in the top. So right-click mock Seam because no one can see in there. And now finally there's one left Alt Shift click, right-click MSG. We'll do in the back of the wall Mark Seam, I'll take to bring everything back. You can see how quick that actually is once you've got it like that. Also remember if you're doing this altogether, you'd literally have pieces of wood everywhere and it gets really confusing. Now, let's grab them all with a, let's press U on the Ramp. Let's come over to our Material and let's come down and add in or would Main. And let's have a look and take stock. And you can see that the Wooden this is looking, first of all, is looking very chunky and pixelated. And the reason for that is of course, is because we've gotten wrapped all these in one go. So that's probably not the best idea. You can see though a lot of these are very, very long piece of what as well. So there's also that's taken into account. We're going to do is I'm just going to make sure on these parts that go into the right way which they are. So we have one piece of wood that's going the wrong way, which is this one here. I'm just going to come in, grab it all with Edge Select. I'm going to come to my UV Editing now. And I'm just going to address a and spin it around. So all 90, spin it round. Now the one thing I'm going to do now is I'm going to come in. So I'm going to press adults calm round, put this on Material. And one wants to do is I want to check this against the other part. So you can see here, these are the parts that I'm actually working and you can see there are a lot more chunkier than these parts here. That's not something at once. So what we'll do instead, I'll come in and I'll grab all of these. I'll come over to this side, press a UV. And what we're gonna do is Pack islands like so. And now we'll check them against them and making sure that they look absolutely fine. I can see they look a little bit too. You can see that it's actually Pack the island. That's something I need to actually show you. I'll actually share that. So we'll just go back 1 s before apart the islands. And I'll just grab a null The, Let's grab these as well. I think that'll work. Press a come into UV and we're going to Pack islands. Now you will notice that it's rotated somewhere around and that's not what you want. If you call Nance the bottom left-hand side opening up, you'll see you've got one that says rotate, click that off, and they'll make sure now this will always be on until you reload Blender That it actually keeps them the right way. It won't try and rotate them to actually create less UV space. In other words, it's not going to try and use up more UV space by rotating them around. It's basically Blender trying to use as much as this space as possible. So it just took that off now. And now you should see they look absolutely fine and fit in with the rest of the world. Now let's come in and grab the other ones that we didn't do. So these ones here, I think it was this one as well and this one grabbed them all a and you'll see now when a Pack islands that they all come in under rotations or 3D off and the state the right way. Alright, so they look absolutely fine now, so that's good. Now, let's join the moat with the rest of them. I don't think I need to mirror them or anything like that. I'm just checking saved my marriage, the loan, which is not so I can basically join all of these pieces of wood, OK. I'm going to press Control J, joining them all, like double-tap the eye and just have a look around, just making sure they all look fine, which they do. Alright, so I'm happy with that. Now, let's come round to the other side and actually make a start on this part here. So let's come into modelling. Mall wants to do is I want to make sure that this, so I'll bring everything back. I think it's question mark as it is is coming from the top of here. And I need to make this basically into a box. So we do want this war material on each side of this on the front, things like that on the reference. Actually it's weird, but I think it would be better probably if it's actual wall itself to you, of course what? It's up to you, of course what you actually want this material to be, but I think I'm gonna go with a warm material. So what First of all gonna go is I'm going to put some pieces of wood in here. So in these corners just to make sure I didn't get those fits in correctly. So I'm going to grab my box. I'm going to press Shift S cursor to select it, and then Shift a. And let's start working from this cube, make it smaller. And let's pull it up to the top and make the front first. So I'm going to come in to the top of it. And basically what I want to do is get the right dimensions first and then I can actually take this away and actually start creating it away from here. So I'm going to grab this here. Polygonal. So something like that. I think she'll be absolutely fine. Let's pull it down to the side. So I'm going to press S and X over like so. Look where this is going to come. You can see that it's stocked in this here. So I might need to make this a little bit thinner because we don't actually want us. I'm going to press S and X, bring it to where I wanted. So that's where I actually want it. I need to make sure now my wooden pieces are coming down here, so I'm going to grab this. I'm going to press S and X, make it a little bit thinner, like so. And now it should be able to work on these parts. So now when I come back to this part here, I'm going to press the top. So I'm in edit mode, shift D, rotate it so our wine 90 degrees, just for now, I'm going to also come in, Hi my Sign out the way so it can actually see what I'm doing. And I'm going to press three or control one. I think it is. There we go. Press Tab, bring this down. Let's pull it into place. I'm going to pull it just below this part here and pull it down. So it's got a little tiny bit of a gap in. And when we bring all babbling as well, it will have a little bit more of a gap in something like that. And then I'm thinking to grab the bottom. So this one here, press Control one again, out, like so. And let's pull it down and then out again. And then it'll sit on top of that one or the bottom. And I'm thinking that probably I'm thinking I probably need to pull it up a little bit before, so I'm going to pull it out. So it's kind of in the halfway point as you can see, something like that. I think he's a good star. Now we'll grab the top of it, will press L, I'll press Shift D, and I'll bring it down. Now, sit it on top of here. And then from there we can actually abs are Supports on there as well. So I'm going to press S and X, pull this out like something, something like that. I think it's absolutely fine. I think I'm also with the bottom because we are going to have some Supports under here. This is the Main Support. So I could make this a little bit thinner. So think of will, think I'll grab this and just make it a little bit thinner, like so. Now we need actually to Arm Support at the back and the sides as well. We've got to actually think about that. So let's, first of all, they'll come in and we'll grab this one. Chip date, all 90. Let's make this a little bit smaller. Pull it over weight. So let's pull it up with this red one. Like so. And let's then pull it into place and you can see it's too big. I'm going to pour into the wall, grabbed the front of it, and pull it back. So it goes jaws them to their so that then locally for me is right underneath that and that would be a really good Support actually. So now I need just a Support when we Nope, I Support going back. So I'm going to grab this one here. When the ship date, bring it up and try and put this in place along here. So you can see now it needs to go in because it's not quite fitting in place. So let's pull it back. Like so. We can also see because I've done that, that's way, way, probably too thick. So I'm going to grab this, pull it out a little bit like so. I'm probably also going to pull it up and then pull it back a little bit just so it's in there. I think that looks really nice. Now, on the next one we'll do then is we'll make these quickly make these, they're wooden slats along here just so it looks Realistic. And then we'll just carry on building. And finally, we'll get all actual window in here. And this window, if you look on the reference, also has an actual selling it. So there is that also to take into account. All right, everyone, so hope you enjoyed that. And I'll say on the next one. Thanks a lot. Bye bye. 56. Developing the Small Window Extension: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, let's get both of these parts and so I might as well grab them both. So both these sides, I'm not going to mirror them over. I might as well just put them over. So Shift D bring them over. Let's put them in its place. And you can see that not a problem obviously in there actually want is far over them, the other. So let's see if I can actually come in, mirror it. And I'll merit on the Let's try this. There we go. That should do it. And then if I compartment is place like so you can see that the Stone not going in place. So I want to actually just do it by, by I is going to make it easy. I'm just making sure though, that you can see that it's altered, that I've messed this up a little bit. So I'm gonna do is I'm going to press Delete and verses, and I'm actually going to just grab all of them. Start again. So shipped date, we could do something really technical merit round and get, make it really easy way of doing it. But I think for me this is gonna be easier just to do it by lipase. It takes a few seconds to actually do about so no problem. So Shift D bring it over. Like so. Just make sure it's in place. So something like that. Alright, so now we need to do is you need to also bring over this one. So I'm going to press L, I'm going to press Control one. This time. I am going to mirror it because that'll make it easier for me. So hopefully I should be able to get the mirror right. So if I come in Mesh mirror, Let's see if it's the local. I think. Yeah, there you go. Nice can see it's mirrored it just around there and that's exactly what it one. And there's a little bit of difference on the gaps here. And that's something I actually like. And now find the one Wednesdays, I'm going to grab them both, so all and I'm going to pull these back. So shift D, pull them back into place. So we've got an actual Support on these parts as well. I'm just making sure it's fit in nice, which it looks like it is. Alright, so that's enough there. Now we just need these top wooden slats and we also need some underneath as well. So what I'll do is I'll grab my actual Q. I need to actually go in and pull this cube back. So I'm going to come in and I'm going to press Tab, grab this face. I'm going to pull it back a little bit just so it's up against the actual wall. So if I go in, I'm going to pull it up to here, something like that again. So we've not got too much waste as well. We're actually using this to actually create our slots. So what I'm gonna do is I'm going to grab both of these. I'm going over then pull them out. So ship date, pull them out. Like so. Now we've got the actual size in for our actual wooden parts. I wanna go in here. I'm actually going to print an object mode at the moment, just so I can really see what I'm doing now with the top one, Let's press Control or let's press something like three. Left-click, right-click. And now let's do the bottom one. Actually, what we'll do is we'll grab all of these. I'm going to right-click and I'm going to moccasin. Then that's just basically going to split them up for me to make it easier. Again, in the bottom one, control law. Three, left-click, right-click, grab you, right-click methoxy. Now, let's come in and grab each one of these. So I'm going to grab every other one. Press the Y G just to make sure you split them all. And then we're gonna do the same on this one. So grab them both. Why G split them off? Alright, so now let's come to this one. What we're gonna do is going to make sure we're on individual origins. And then we're going to pull it out. So I'm going to press eight, pull it up like so, and then S and X pulled them in a. Now you'll see you end up with Planck's award that I want to fit really nice on there. Now the other thing that you can do if you really want to, as you can go in and put in a couple of edge loops. So left-click, right-click. I will show you on one of them or you do that. So let's put in three on this one or four, it doesn't really matter. Controller to left-click move them all. Control law to left-click, move them down. So you can see we've got a number Edge loops in there. And then what you're going to do is you're going to grab the edge loop, going all the way around, or just on the top, it's up to you, come up, put your Proportional Editing on. And what you wanna do is you want to set this to random. And what that means is when I pull this over now, you can see I don't want to grab this and I also want to make sure that connected only is off. Then when I grabbed this, you'll see it starts moving them all around in a random sort of disorders. So now I can do is because we've got so many Edge loops. You can see now that they look really uneven and it's a really easy trick to actually get on even planks of wood. The other thing, of course, these don't forget if you are going to do it, make sure that you're also pulling them the other way as well to make them on even going along there because that is a Realistic. Now one going stairs. I'm going to grab all of these with Edge Select, and I'm going to press P selection and just split them off a minute. Right-click origin to geometry. Also, I should reset old transform, so I'll Trump's homes. Right-click origins geometry. Now let's do this. Bottom one as well. I'm going to split off there, so I'm going to grab all these lights, so selection. And I'm not going to reset the transforms yet because I've not actually finished on it. So what I need to do now is I need to grab all of these. So Al takeoff Proportional Editing, just a second, press E, bringing it up Like so. And then what we're going to do is going to press S and X, bring them in like so, and then control or three, left-click, pull them up a bit, control or to let plague maybe pull them down. And we're just making these edge loops just a little bit uneven like so. Maybe one on this one, something like that. Alright, again, let's put it on to all Proportional Editing with the random on. And then let's start pulling them out just a little bit, like so. And then it's also pull them up, just make them a little bit on even. Now remember with this, the thing is we need to spend this round because we want these planks of wood on the bottom here. So we need to grab all of these. We need to take off Proportional Editing and now let's spin them around. So if we press all, why hundred and 80 spend them round? It should just spend them round individually, which doesn't really matter if it's altogether individual. And now you should be able to bring him back and drop them into place so you can see that I needs pull them down. Like so just make sure nothing sticking through. Press the Tab button, double-tap the a, and there you go. You've got your planks award in there looking really, really nice. Alright, so again, I'll just shade him smooth and then I'll just put on my auto smooth, just making sure they look correct. Now, let's come to the top ones. Top one is just gonna be pulled back. We don't need to move them around. One thing we do need to check on the top ones though, as you can see that kind of a little bit high up here. So if we can pull them back like so, making sure they fit into place. And then we've probably going to have to make these sides a little bit higher. So I'm going to grab this one and this one and just pull them up a little bit. Like so, just making sure they fit into place and looking at this piece of wood here, that's the other thing. Do I want it right next to? They're probably not. So we could come round the back. Let's call them round. Let's see if that still count. And then they go. Let's put it on medium point this time. And that's pressing S annex and just pull them in a little bit. And if I go around the front now, she'll be able to say that they are not touching those. I do want them touching a little bit, so I'm just going to pull them out just a slight bit, but just making sure they're not actually in that piece of wood, that's not 11. Alright, now let's come back to these right-click Shade Smooth. Altos. Move on now and get rid of all those lumps and things like that. Okay, so think I'm really actually happy with that. So the last thing I need to do now is I need to actually think about my Walkway, where my guy is going to walk and I'm going to actually start putting my Walkway in. And the reason for that is I need to make sure actually, if I bring him all that is going to be able to. So it can seem a Walkway should be something around here. It needs to actually walk around here without kinda banging his head on the Support. So you just need to make shoulder out the white of course, is going to be a little bit tight on these Walkway. So you can see I need to pull him out a little bit, have my Walkway go into maybe here or something, and then I'll get a good idea of how far can pull this out. So what I'm basically saying is I'll probably build my Walkway out, line it all up before I put my Supports on here. So let's stop that. So if I press Shift day and I'll bring in a cube, I'm going to bring it down. Essence, add, bring it down like so. Then let's figure out where we want this Walkway. So I want to pull it out. I'm going to probably pull it down because I do want my Walkway probably into the top of that, then I can get extra support probably from underneath here. So if I pull it so I'm going to have a piece of wood on the and I can actually have my Walkway on that. And then I just need to put my guy up a little bit making sure that it's walking along it. And now I can pull it to where it's going to go. So it's obviously way, way too far there. I'm going to pull it back. Got to imagine that there's also going to be Posts along here. So I'll think something like that should be absolutely fine. Then the Walkway of course, is gonna go right up to something like that. Now let's see if we can actually bring it out the other way. So I'm gonna pull it out this way, something like that. And basically we want it to be the same width from here. So what I'm going to do is I'm going to basically grab this. I'm going to press shift D 90 and just make it pull it out, something like there. And then I'll see how far can get weighted. So I can say if I pull the ear and grab this edge seven, go over the top, pull it out. Like so. Now let's see how that's going to look. Now let's bring in an edge loop. So control law, left leg, pull it over to there, and then grab this face. Press E, pull it over there. You can see it's gonna go in. Now the gold thing is, again, you can see how it all fits together. This is going into there, which is really good, and it's also under that, which is also a really good actually fits really nicely. Now the other thing is of course that we actually need Door in air as well. So I think on the next one, what we'll do is we'll try and get all Doreen where we actually want it. And then we can kinda work from there. Because we've got this in now, at least a rough guide, I can actually get rid of that one as well. I don't need animals suddenly versus now I can actually work on my Supports and work on whereabouts. This is going to be because I'm probably want this maybe a little bit lower, so halfway in there, something like that. I don't think I want it dropping down. If I grab it and drop it down all the way down to here, for instance, because I'm using this part here as Maxwell supports us, I think I need to actually work with that piece that I can get away with pointing out a little bit lower, but not too much low because it's all going to be supported from this. So I think having it just below that is probably going to be a bit better as well, I'm trying to say. And then actually the support will go into this posterior. Alright everyone, so I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 57. Strategizing Walkway Placement in the Design: Welcome back everyone to Blender, to Unreal Engine five, and this is where we left it off. Now what I'm going to do is I'm going to press Tab, I'm going to press Alt H. I'm going to bring back this cube here because I'm use it as the actual Door over this side. So I'm going to pull it up. I know it's a little bit too high. I know that what I'm trying to do though is to just get it into place on the right width, so something like that. So I want my guy to be able to walk in. Now. I'm not too concerned if he asked to kind of if it's not very high Door Base is what I'm saying. So because I wanted to have lots of Support. So think something roundabout here. I don't want it really towards this edge either. I want it somewhere in the middle and a no, then if I press Control one, is it no, control three, there we go. Now can see, I know if I probe piece of wood along here, it probably needs to go a little bit higher. So something like that. But I know the width is absolutely fine. Now while wants to do is I need to I need a piece of do I need a piece of wood here? I should have a piece of wall is one thinking, is there a little step? In other words, going into this actual Door? Probably so. So if I put my guy's legs here, you can see that we can have a tiny step going up, so that'll be fine. What I'll do now is I'll bring this up. I'm thinking bringing it up to here. So if I press Control three, you can see there just under his feet. So something like that. I'm looking at how much Support I can put on there, kinda get away with a little bit more. So if I pull him here, pull my guy up a little bit. Yeah, I can probably get away with joules. That's what I think. Alright, so now let's pull this back into place to decide how far back we actually want this Door. We don't actually want it to fall back. As you can imagine, how big this is, how much room is actually an air. These things that they're actually, they look fairly big but actually inside because there's all this Wooden things like that. They're not actually that bag. Homely is what they would be. Everything every bit of space would be used. They're not huge places inside, so there is not to take into account, right? I think I'm left with that. So I'll do is I'll grab this part here. And while there is, I'll come over to my Add Modifier. I'm going to bring in a, whereas if boolean, little pipette, grab this, press Control a, hide it either way and you should be left with something like that. And then bring your guy over and you can see how it's actually going to go in there. And that's going to look absolutely fine. Alright, so now we've got that on, we've got this part on, I think now we can actually start building this part out with, well, basically with how we're actually going to put all Supports and things like that. So I just need to pull him up actually, I'm going to sit him on there just so I have a better idea than all this Walkway and how this part here is gonna be. So I'm going to pour him roundabout here and then I can work on the Supports here. So let's now come in and make the Support. So we want probably three supports along their thing. There'll be enough. I'm just wondering whether I should pull this down maybe a little bit so you can see the orientation is there. So I'm gonna right-click set origin to geometry. And I wanted to show us pull it down a little bit just to make it a little bit lower so it looks a little bit more Realistic. And then while there is, while I've got this al press Shift S curve since it's selected, and let's bring in another cube. So bringing a cube, Let's make it a little bit smaller. And then let's figure out how we want these Supports look, so I want to bring it down. I want them to be a probably a little bit flat, so S and Z. And then let's pull it over to the Sign Up. Probably want it go in, something a little bit like that. Let's pull it back and we'll just see what this will look like. Let's pull it up. So it's Supporting it underneath, like so. Then let's pull it now this way. Pull it out. When I wanted to just below there, as you can see, I don't want to actually commit to that world. That doesn't really look right. What you can see, one problem we do have is that probably need to drop these these pieces down a little bit just to make it fit. The other thing is I'm probably thinking all day too thick or are they about right? I'm thinking that the probably a little bit too thick, so if I grab it all on a press S, I'm just making it a little bit thinner line. So I think that looks better than so I'm going to pull it to that side. Then we're going to do is I'm just going to grab both of these. So on each of these sides and just drop them down just so they're below there. Like so and sat on top near enough of these pots and I think that looks yeah, I think that looks much, much barrel-like, so alright, so I'm happy with that. So what I need to do now is I need to basically come back to my Support. And I need to think that I need this part here coming down. So I'm gonna grab this. I'm going to press Tab, so I'm in edit mode when I grab it, ship date, and let's bring it down, make it a little bit smaller, so S, spin it round. So our wine now, RX 90 Let's decide how far I want it coming down. So I'm going to print in its place, put it back here into the wool. And I'm thinking, would that be enough to support that? I think you will be well, there is, I'll create this Support and then I can work on my other supports. So I'll press Shift D and to bring it out. And then let's rotate it. So if I press three and then rotate it on the X, so our X, rotate it round, pull it up. Now I'm looking at where the guy is going to walk. As you can see, he's walking along this Walkway is not really going to bang his head in there. I think that looks realistic. So I'll do is I'll grab this edge, put it on normal, press one. Not 13. There we go. And then let's pull it out into place and let's have a look at that. So double-tap the a. And yeah, that looks that looks pretty realistic. The one thing is that we do want something along here, some extra work to support this. So I'm thinking, is it a little bit to fall down? Probably is. So we'll grab this. I'm will do is I'll pull it up. You can also see that this needs making thin it. So we're going to pull it up to something like that. And I'm going to grab this L, S and X, Pull it in, make it much, much thinner, like so. Now I can actually put in another piece of wood going to the bottom of here for these all to sit on. Now we've got this. So let's bring it over. So I'm going to press your date. I'm going to press one Control one that is now I can pull it over to this side like so. And then Shift D wants more, pull it over to this side. Like so. Now one thing I didn't do, which I probably should've done, is I probably should've made, actually done all my seams along here. I think though, we just have to go in now and actually mark on seams, let's put it on Material and then we can see what we're actually doing. So let's load up. There we go. Now we can see we've got all of this to actually do. So that's great. Let's join it all together first, let's hide our Sign Out of the way. I'm just making sure it all looks nice. And then what we can do is we can join all of this soaps. I went to grab it all. And even the wall join all of these soaps or Control J. When you've joined them up, just G is to make sure Gamow, right-click Command, Shift, click Control J, G. Make sure you've grown up. And there we go. Make sure you've got Altos. Move on. And then press question mark. We'll just isolate out the way and then we'll start working it. Alright, so let's come in a mock, some seams on pollen, obviously our bevels and things like that. So we'll grab it all, will press Control J now, all transforms right-click origin to geometry. Let's come over to our little spanner. I'd modify it and we'll bring in a Bevel. Bringing bevel right down to note point. While we've been doing a null 0.1, I think we should keep with that. Let's put it on angle, and now let's apply that. So Control eight. And now we can come in and mark some seams. So I'll start with this one here. I'll also start with the bottom one here, just making sure ongoing on the inner side. The way we do that as well, it makes it a little bit easier when we're marking these Seams across here because it means we only need to put one in if we marked it on the outside. It means you have to put one there, one in middle and one the other side. So right-click mock Seam. And I'm also because I want to mark a Seam underneath here where with the less chance of seeing that I'm just going to hide these out the way. And I'm going to come in and moccasin here. So right-click, mock Seam, come to the other one. I'm probably going to do one in here, right-click boxing, ALL teach, bring everything back and I'll just hide those two out of the way. This one here. So now before a beveled it, the reason why I'm OK to Seam on these is because it's far easier to grab them and manipulate them. That's the reason that did it. So when we grab them, we can actually bring them in. So if we messed up, we can still grab them and actually bring them in before beveled. It is that's the reason we mark seams on here. But you can see now the moment we really don't need all these seams on here. So wanting to do is I need to come in, grab all of these and actually just take away the Seam. So I'm going to right-click and placing light. So now I'm going to go in and marketing. So Alt Shift and click on, I'll do the thing I'll do the bottom ones are the same time, like so and then I'll go round the back. So the top right-click and moccasin. Alright, so now let's hide this wall out the way I want to try. Kind of grabbed the wall, page, hide all the way, and then that's come underneath. Now the thing is you will have to use control-click on here. So you're going to Shift click Control, click, just going along, shift, click, Control, click, shift, click Control, click once those. And now let's do this one. So shift click, Control click, and just work your way along So like so right-click MSG. Alright, that's those done. So now we can just carry on what's grabbed. The wrong wall will hide these other way as well. Alright, now let's work on these two here. So with this Build as well, I should say that the only difference between this and a triple, a Build or something like that is basically all of these wooden parts probably would be taken into something like ZBrush or even in Blender actually might do this. And they'll do some sculpting on. They'll make all the edges kinda worn and things like that. And then basically they'll take the high poly. So what I'm saying is you could take this once we've finished it into ZBrush, you can basically create a high poly from that pretty easily actually. And then it would be a AAA asset. So I'll put something down the bottom right-hand side here to show you exactly what I mean, the difference between the generally just much, much higher polygons. And then you basically bake it, which means that you take the high poly, you take the low poly and we basically bake the difference between them. So then you low poly ends up with all the details of the high poly or not, then creates a AAA asset. This actual building we're building here is basically a AAA asset, but it's not high enough. Polyps are realistically B1, but it's easily able to become one if you so wish. So let's come in. Is what I'm trying to say is it's quite a complex building. It's Realistic. And the materials are really high-quality. So it's near enough there. It's just one step away from being a basically AAA asset. So let's command hide these other way. Once you've built this, what I'm trying to say is that you are well on your way then to create an Realistic AAA gaming assets that you'd find in any game like Elder Scrolls or Witcher or something like that. So let's right-click MSG, hide these out the Way. And also the skills you've learned here, they are the skills that the people in the industry use. There's nothing here that's different from what they will be doing. So there's also that to take into account. So by the time you've finished her building this, you'll have a good idea of what it takes to build these very, very detail them assets, because this is a pretty detailed asset. Let's shift click Mark seem like so. And on top of that, we're also going to take into a game's Engine. So you'll also understand that process as well, which is really great. So Alt Shift and click, Let's now mall called seams on these. So right-click, Look Magazine. Let's do it on the bottom. Inner parts on here. So right-click, Maxine, grab them, I the mountain away. And now let's work on this one. So Alt Shift and click. Oh, Shift-click. Like so, right-click, mocked Seam announced they're the ones that are in the actual walls. Right-click, Maxime, grab all these, Hard them out of the way. He showed fine now as well, like I said, that the speed at which you go Malkin your Seams should be really, really fast. So let's mark them actually in the top of it. And you should also began a really good idea of where the actual Seams need to go. I'll take to bring everything back. Now the one thing we haven't done is just as well. So I'm going to grab it. I'm going to press Shift H just to bring everything in. And we've also beveled this. We didn't really need to bevel this because it is actually a wall. You could if you press Delete, man, I'm pot limits and dissolve. Not my work actually game rid of the edges. It doesn't look like it as on this occasion. So what we'll do is we'll just literally mark all seams anyways. So I'm going to grab the inside of here, the inside of here. I'm just gonna go round just marking all of the Seams, like so. So I think that pretty much got them all. And if I right-click them oxime, let's have a look at what we've got here. Double-tap the eye. I'm not even worried about these little corners and things like that because they're going to be hit in any way as long as all these bases split up, that's absolutely fine. Now let's press all teach, press top. Let's will actually work on this as we are here. So now I can do is I can come in, grab everything. And the thing is due on 1to1, wrap it all at the same time. Now, the thing is I've probably not because I probably just wanted to on-ramp even the wall all the world saw, grabbed the wolf first and alone, wrap it like so. Then I'll hide the other way and then I'll grab everything else. Now the thing is these quiet small chunks of wood, so they should actually on Ramp fine altogether. So let's press U on Ramp. Now, let's say I press tab. We'll go over to our UV Editing. Let it load up. And then what we'll do is we'll bring in our material. Now. Let's come in. And what we'll do is now it will come over to our Materials panel, click the down arrow and let's put it on. Would mean, alright, you can see we do have problems. Let's now press. Let's first of all turn these ones around so we'll sort these out first so I can see that we do have issues with this one. I'm just looking round now. I'm looking at these panels as well. I'll go to the top first act shall make you bet. In fact, what will make your basic oppress question mark and isolate it out first. So now I can see all the ones that grow in the wrong way round, which is this one here, this one, this one, this one, this one. And I'm going to go to the other side. I'm looking at the back ones as well, making sure they've unwrapped. Okay. I'm coming now down to these ones around here. You can see this one's their own way round. This one's wrong way round, this one's wrong way round. Let's come to the other ones now. So this one, this one, this one. They're all correct. This one's wrong and this one is correct. So let's grab them all, all 90, spin them around. Now they should all be correct. Now let's come to the back wall now. So let's press Alt H, grab all back world with L plus down-arrow, and we're looking for Wall Main, and let's click Assign, and you should end up with something like that. Now what we need to do is just compare and save it all comes together. Now, you can say as well, but I've still got some of these go in their own way round. You can see that this one here, for instance, I think on 90 spinning around in the wrong way round. So I'm just having a final check just to make sure they're all correct. I can also see here that these aren't down far enough. So I'll do is hold Command or Control. Plus I want to make sure that I'm on normal, which it is, and then I'm just going to pull it down into much better place, so actually fits. And I'm also gonna do the same on this side. I'm going to grab this control plus on the number pad, pull it down into place. So top again, come round and seven last look at what this looks like. And I think that looks really nice. Now the other thing is you might want to change the world on these, these planks of wood going over here. So I always test the water. So I always come in an envelope if these look different with the other materials. So I'm going to press plus down-arrow and come in and put in lightboard and let's click Assign. And that's how they look like. As you can see, they look bad. So what we'll do on the next one is will actually change the word over on these, get these into place, and then we can carry on work on the way around a bit of a long one, this one. But I hope you learned a lot, hope you enjoyed it and I'll say in the next one, Thanks. Bye bye. 58. Finalizing the Window Extension: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, let's think about one more thing. I think that this is a little bit flat, so I'll think he wants to pull this out and I know it's a bit late in the game to actually decide that, but I think I'm going to pull it out a little bit. So what I'm going to do is I'm going to come in. I think I can get away. Can I get away if I grab this? I want to pull this edge out basis. I'll think of a grab both of these actually. Yeah, Probably this space actually, we'll grab this face. And then we'll grab each of these here. And then I'll also grab them going around. So Alt Shift and click, I can't do it that. So I'll grab these two first, I'll press Control plus, and then I'll grab this one and then I'll put it back onto Global. Now, I'm going to see if I can actually pull this out a little bit. So let's see. You can see that I'm pulling it, but I'm actually stretching these parts out. So I'll probably be enough to read them, Ramp this wall a little bit, but just want to Tilton just a little bit forward like that because I think it just looks a little bit bad. The other thing, of course, he's now, I'll Willem Ramp this. So let's come in, grab this again. What I'm looking for now is that stretching. I really don't like that. So I'm going to you on Ramp Let's save AND gate right again. I'm looking out up here to make sure it all looks right. Which adults? And you can say that I really need to pull out this now. So I'm going to press Alt H grounded as Paul L, pull it out to here. These planks still fit in, which is really handy. And then in one wins, there's going to grab each side of here, press Control plus, and then I'm just going to pull those into place, like so. Now let's have a look at them. That to me looks much, much nicer than the way it did. So I'm really happy with that. Now, let's press a question mark or I'll take whichever it is, bring it back. Now, the only thing you need to change now is these planks, what you can see, because we changed those on top of it. They look actually much nicer. The neck, we left them the same kind of wood. So let's come in and do the same on the bottom. I'm going to come in and try and grab my Bottoms. So L L, L and L on there. There is four of them. Light would a sign line. So, alright, so that's looking really nice. Now let's go back to Modeling. Let's press the question mark, bring everything back and we should end up with something like that. Now you can see those would actually look alright, so I'm happy with this. Now, let's think about all Window. So we need a window in here. I do want my Window square. I don't want it at this angle or anything like that. I do want something underneath it, and I do also want it to look a little bit different from this window here. I want the pains to be actually a little bit smaller. So I'm gonna do is I've got my cursor in the center. I'm going to press Shift a and I'm going to bring in, let's think will bring in a plane. It will make it much, much easier. So all on X 90, bring it out. Press Control three, I think no control one. There we go. In. We can see that that isn't in the center. So I'm gonna delete that and I'm going to come back to my wall. I'm going to grab this face here. I'm going to press Shift S because it's a selected Tab, Shift a and bring in my plane again. And now it should be the racks size and in the census, so all X 90 S bring it in. That is where I want it probably coming up, so I'm gonna pull it out. I'm not going to level the opera or anything like that at the moment. When I press essence ed and work out how big I want it to be. So maybe something like this. And you can see this is how big the Window. So the Window is actually going to be on the inside of here. I think I can work with that. Now what we're gonna do is we're going to work exactly the same way we did before. So I'm gonna grab it. I'm going to press the I button to insert and you can see it's coming in wrong. And the reason for that is we know is we need to reset all the transform. So right-click origin to Geometry tab I. And that comes in nice and neat, like so we want the frame to be relatively the same thicknesses here. So that looks good. Now we've got the frame. Let's grab the whole thing. Shift D, bring it out. And that's what we're going to wet with. So now I can get rid of the frame on this one. So delete, delete faces like Sound. We should end up with something like that. Now let's press Control one again. And now we can work on how we want this to look. So control law to left-click, right-click, and then control all. Let's have a little 123. Can we get away with for, should we have four on there or three? Left-click, right-click. Let's have a lock on here. We've got three on here now I've got 12345, so probably too many, I'm gonna go with one extra. So control Z on Cho La, 123, left-click, right-click. And I think that looks much, much bad Alright, so now we know as well that will make the lead and then we'll make the actual window pane. So I'm thinking I'll use these for the Window Pane, so I'll grab it all once more. I'm going to press shift D. I'm going to pull that back. And then when I press Control a mock seams, they are gonna be on window panes. Now, let's make all lead parts. So I'm going to come in, I'm going to grab each one of these along here, control one. And then one Wednesday is what we did before with the bevel. So Control B, pull it out. And of course this needs to be relatively thick still. So something like that. And then what we'll do now is we'll get rid of these parts here. We have all Frame. We can also get rid of this as well. We have our LED, we have our Glass, and we're done this in three stages. Delete faces, and that's how you should end up. Now, let's come to the lead verse. So what we'll do first of all, I just want NFL make it easier. I think actually it's easier just to grab it all. Press the button and Beverly out like so. I'm just wondering actually, did I actually yes, I did. I'm just wondering if a beveled those off, so it did. So that's good. So now let's think about Devlin. These parts here will come in and we will be using this window again. Now I think there's so be it for the windows, we might need one smaller Window. The Press dot just zoom into those. But apart from that, we should be able to get away with just these few Windows, or there is one main window, I forgot, of course, that one is a big, a big one and that one's a fairly complex Window. That's the main window at the front. So let's not forget that one. No one's going to take at least a couple of lessons, at least to create that thing. It's the Bay Window. And honestly in the past I used to struggle so much with the Bay Windows, a thing of vocal technique for doing them now. So there we go. Let's make sure now if we press Control B, bevel these out. So just make sure they're all the same. Now it can do is do what we normally do. Come in, grab each of these. And I compress the eyeball and bring them in. And then E, like so. And then finally, make sure you're on individual origins. Press the S Bone, make them a little bit smaller, like so. Alright, so that's looking really nice. Now, let's come in and separate this out because we don't want to actually bevel this. All one word to do now is I'm going to hide that all the way. I won't hide it all the way. What I'll do is I'll separate it. So pay selection, like so. Ok, Oh man. Now right-click origins geometry. I'll put it in the front. Hide all the way. Now I'm going to come in with my frame. I need to I need to keep this frame on the lead together, of course, because I'm going to bevel of mouth. I want to bring my frame forwards. And then one Wednesdays I'm going to press yeah, I don't want to pull it out. Yeah. I don't think so. I think well, I need to do festival is separate them. So I'm going to grab, I'm thinking of probably grab the top and the button. Press the Y G. Now the separated grabbed the other parts like so, press the Ebola and pull them out like so. And then finally come in, make sure you're on individual origins. Grabbed them all out on each one, press the S Bone, shrink them down, and there we go. Now the other thing is I do want to pull these out as well. So I want them slightly out on this one. So if I grab all of these edges, I can then just pull them out and just give them a little bit more to it. So just a slight bit. That is okay. Now I'm looking, I've got my face is on here, which is great. So now I basically need to bevel this off on it should have a really realistic Window. Let's do that now. Let's press the top Control a or transforms, right-click its origin to geometry and modify it. And we're going to bring in a bevel. You can see there that if I put this on default for just for now, we can see that it's beveled off really, really nicely and it's exactly what we're looking for. Alright, so that's good. So let's come back over to our modifiers Control a to apply that. And now we'll actually come in and maximum seams. And we also need to make these smaller. Of course, I'm going to come into each of the outer of the edge loops going round and we're just going to mark some seams. So right-click mock seams. And of course, these Windows you can actually use in your own bills as well. So once you've created them, make sure that you remember you've got them, and then you can bring them into any other medieval scenes. You don't. The thing is the quiet High-Quality Windows. So the width using his warm trying to say Alt, Shift and click, you can see that I'm going to go off to go all the way around here because there is a lot of edges, so I'm gonna hide these edges up awake. Then one way to do is I'm just going to grab one of those and then try and go all the way around. Now I'm looking where it's actually going. And you can see it's coming, it's actually going right for me, so that's good. So I'm just going to keep going on the inside, like so. Then once I've done this, I'm actually going to moccasin and actually see what that actually looks like. Alright, so there we go. Now let's right-click them oxime. And now I can say that it's going all the way around. You can see I do need to parse seemed and things like that, but we'll get that done on the next lesson. Okay, everyone, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 59. Working with Complex Meshes in 3D Modeling: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, let's actually think about the rest of this. So we need to work on. So I think one way to do, I'm actually going to come in and make this a little bit easier rather than selecting all of the edges, I'm just going to come in a mock Seam going on each of these spaces that should make it a little easier for me. And you can say I've missed one there. So I'll actually come in and sort that out. So control at this time because we already know Face Select, let's commit now and mark an edge down this side here. So right-click mock scene, and we've also missed this one here. So right-click, I'm oxygen. Alright, this one here, finding a lot Seams. I've missed Maxi. There we go. Now is that every seem dull? I think so. So we need to also market Seam obviously going round here. So I'm thinking we'll probably get away. We're going up to there. So I'm going to come in to each of these ones here so you can see which one. I've got a little bit of a band going there, then a mama scene. I'm going to do it that way. Same on this one. So right-click mock scene. And then I've got a thing. How is this actually going to unwrap? The only way, realistically as we've done with the other ones is we need to just put a Seam in each one of these, like so. It's a bit tedious is the problem. So I want democracy on here, like so. Alright, so now let's, now we know where we're going to mark. I'll see. We're just going to work our way down each one of these and do the tedious job of marking seams. So we'll come to the top and the middle now. So like so and this makes sure that it will unwrap. Like present, like you've seen in the introduction to Seams. Is that all of them, I think I've missed some yarrow, have a Muslim right-click mock seem subtle. So I've got all of these myths, the top ones. There we go. I've got six of them. Not that I need to zoom in a little bit. This one here and this one here, right-click mops Seam. I'm gonna make it a little bit easier on this one. I'm going to grab just to see me wordpress dot. And then that's going to zoom in and making sure I can orientate myself around. They're very handy. The dot on the number pad, so right-click mob scene, alright, the moments of truth. And let's save this actually on maps correctly. So I'm gonna press U on Ramp. Let's go to UV Editing. And it looks like they've unwrapped. Absolutely fine. You can see we do have a little bit of an issue here. So what is causing that? You can see it's this. So it's these here, they're infinite loops. So we don't want infinite loop is going to press dot again just to zoom in. So I'm going to do is I'm going to pull an end to the infinite loop basically along here. Now I'm thinking Alt Shift click, will that work? No, it's going to make it all the way that. So I'm gonna grab the, this one here. I'm going to come round and grab control. Click this one here, right-click Maxine. And then I'm gonna do the same on this one. So this here, control-click, right-click. Msg, grabbed the whole thing again, you on-ramp, and there you go. Now it's perfect. Alright, so that's really nice. Now, let's say minus this off. In object mode, Let's bring in all lead. So lead, see it like so. And you can see they've all been Ramp beautifully. Now let's come to this one. So let's press Alt H, grab all of this high the other way. Now it's come to our piece of wood. We've got all the oldest Seams mount looking around the bank. So all we need to do now is grab this unwraps so you on Ramp want to make them much smaller of course, as a way, way too big. Press plus and bringing our Wood Main assign, press the Tab button. On. There we go. Beautiful. Now the yield of thing is I'm going to protonate. We just saw, couldn't get a bit extra light in there. I want to grab these. And I'm going to make the smallest. So I'm going to press Control one just to go to the other side and I'm going to press S pulled them out just so that together. And you can see that they are probably a bit, two bits in which together you can also see it's very, very pixelated. I need sold out, so I'm gonna make them a little bit smaller, just so they come together like that. And then one we're going to do is I'm gonna make these bigger. Bring that without just to make it look a lot more realistic. Alright, so that's looking really nice. Now, if we press Alt H, we can bring back the only I'll sign, but also all Glass. So I'm going to pull my glass pipe now to where it needs to go and then I'm going to grab the LED. You can see how needs to press Alt H, grab this lead. I need to pull it much, much further forward. So something roundabout that grabbed my Glass now, elegant. Pull it out. Like so something like that thing. Maybe a little bit further back where it can get away with Just there, I think will be absolutely fine. Now, let's come in. Just two are Glass and grabbed just my Glass. And I'm going to do is I'm going to press a and hopefully you can see it's on route like that. I don't really want now I want some some Ramp separately, but the other problem I've got is that I need to make each one of these Smaller and I need them split off. So all they split off. If I grabbed one of these now press G can see they're not split off. So I'm gonna do is I'm just going to split them all off in the way I'm going to do that is the easiest way. I'm going to grab this one, this one and this one. Press Y G, hide the mth way. So drop them back page to hide. And then we'll grab this one, this one, and then we'll press Y G, right-click, hide them out the way. This one, this one, this one, this one. And then Y, G, hide them away. Well, we don't need to hide them. We can bring everything back now. Now if I press one, sorry, control 19, now, make these a tiny bit smaller. So I have a command, make them smaller. You can see that we can bring them all in together, which is what we want. You can see I've also not selected that one, so I'm gonna select that one. Now I'm going to bring them in just very slightly. You can say as a bring those in the coming in from the side. So I'm going to bring them in very, very slightly like so. Now I'll probably think about stretching them all out. So I'll do is now I'll put it onto Medium point and then press S, pull them all out a little bit like so. Now if I actually am Ramp, so if I press U Project From View, this one's not on there. So I'm going to grab them all again. So you Project From View and now they should all be split up. So if I press L, G, you can see they're all split open. That is what we actually want. Now let's bring in a material for this. So if you click the down arrow, we're going to look for Glass. Like so you can see they're a bit of a mess at the moment, but my glasses actually come in. So that's handy to have, I'm going to press Control one now and try and gain these into place. So I'll grab them all and I'll put them, let's say on this one here. Now let's try and bring them into play. So Gy, bring them up, and then we need to shrink them in. So S and Y bring them all in. Like so GE, put them into place. Can see we've nearly great there. So S and Y, G and Y. We're just trying to get this dirt round years we've done before. So I think there's still a little bit too small, so let's bring them in. The now on this one I'm looking at looks fine. It's just the sides now, so S and X, Let's bring them in this way. And G and X, Let's pull them over. Holding the Shift button. And that one there is absolutely perfect. So I'm very happy with this one. Now I just need to align the rest of them up, so make sure I'm on Face Select, grab this one. Let's put it over here somewhere. And we can see that this one seems to be a little bit out because it's the middle one. It's probably a little bit smaller actually. So I might as well grabbed them all at the same time then when I bring this in, so S and X the other way. And then G and X pull them all over. Then S and X the other way, like so G, X. There we go, like that. Now you can see that one's perfect, which means hopefully, if I grab this one, we showed how this one also pretty much perfect which it is. So now we're getting good at putting these pieces of glass in now. So as you can see, that one there. And now let's come to the other ones. So these should already be correct. So if I bring this in here, let me just move across a little bit so I can see what I'm doing. So G and X is move it over to the side. Now you can see how easy these all go together. Let's put this one over here. These are all done. Let's come to this one here. Put it into place, something like that. And that's scrub this one, G math. And then this one here. Tiny bit like SAP. Alright, double-tap the a. There we go. That's what he's going to look like. Or we can see that these ones here actually. All right. So I don't know why they actually went like that, but maybe I didn't see them actually because it didn't do them. So G and Y, let's, let's hope. Yeah, I need to bring this one in, so that's kind of a pain. But anyway, let's say if I can get this one to go in properly. So this one here will also be the Side. Never mind, we thought we'd to crack this, but I need to just a little bit more. So G and X from in that way, like so. And then finally this one would it into place somewhere and then bring it in. And then G acts out like sir, alright, there we go. Now that looking good. Alright, so what we'll do then on the next one is we'll actually bring these into place and then we can really now start work on creating this bottom bit here once you've got this window in so you can see it's looking really, really nice. Alright everyone. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 60. Achieving Realistic Support Structures for the Extension: Welcome back everyone to blend. So Unreal Engine five and this were elected all know what I'm going to do is I'm just going to put this on to default just to make it a little bit easier on my eyes. And then while also do is I'm going to just save it out. Just make sure you keep saving year-olds out. Now the thing is this Window. I do want to use this round this side as well. So what I'm gonna do is I'm going to actually bring this one round. So when I press ship date, hopefully a little bit together. No, it's not. So let's join it altogether. So I'm going to come in, grab this part. In this part, control Jake, journey altogether. Mountains will right-click Shade Smooth, and then we'll on auto smooth like so. Now let's press shift D and pull it out. Or 90, that's the wrong way. So while zed -90, and let's pull this over to this side, like so. And then let's get this one in place. And the reason obviously I've duplicated it is because I need to just bend this one a little bit to get the right angle. So I'm just going to put it a little bit further up and I'm just making sure it's not touching there. Then Walgreens do is I'm just going to rotate it back a little bit. So I'm going to press all an X, rotate it, and then try and fit this into place. I'm going to put it into place. So making sure that it's the right angle. Now, if I double tap the a now you can say, is that a slight angle? And that's exactly where it wants. It just adds a little bit extra to our Build. Now, let's think about putting this one in place. So I'm going to pull this one down to here. And I think I'm going to have a roundabout there somewhere. Obviously I won't say a little bit further out. And I think those have actually about the right height. And I think you can also put an actual window sill underneath there. So let's put it in the Window cell. So I'm gonna grab this one. I've got my cursor in the middle of it on a press Shift S goes to Selected Shift a, and let's bring in a cube. Let's make it smaller. So let's bring it into place. So essence add, bring it in. I don't want these to be fancy or anything like that. The whole rest of the Build isn't. So there's no point making these fancy lats press S and Y, but you know that you've just got the ability to do that if you need to do that. So I'm going to make a little bit less chunky. So essence add, bring it down. Like so. I'm also just wanted to look to see how big this Window actually is. It's fairly fairly size. Window is a bedroom window, so it would be fairly big. I'm just wondering if it's a little bit too big because now's the time when I can actually make it a little bit smaller. I think actually it's probably about right. Actually, there's Windows would have been fair size. We can make some smaller if we need to as well. So I'm actually going to look at these windows as well and just see. So when I press Control one. Now and the windows are quite big, but I think they go with the actual Build. So imagine if we came up to here, this would be the size of the actual window. I think it will It won't look as good Actually if it's a different size. So I think when leave it, you may your window a little bit smaller, just squish it and another zed, as long as you do it steadily, not too much, it should be able to get away with that. Alright, so let's make this window ledge. So what we'll do is S and X, just pull it out and just make sure the window ledge is just past these parts here. You also with this window ledge. I'm going to actually rotate it after I've actually brought in the world. So what I'm gonna do is I'm going to press Control late or transforms, right-click. So origins geometry. And now I'm going to do is I'm just going to quickly bevel this off. So I'd modifier Beverley, I'll put this R naught point, naught one, like so. Press the Tab button, and now let's come in Markov's seams, so I need to actually apply that first. So again, a bit ahead of myself. So let's come in now. Markov's Seams, Alt shifting plate go around the back. Can I go in? There is a can. I'm just going to moccasin, whereas it now I've lost my, lost my bearings a little bit. So I need to come into here. Should be in well, the Window, it shouldn't be in there somewhere, but we can't see it because we need to go actually into this part here I think. There we go. Right-click boxing. Alright, there we go. Now let's bring in a Woodson while there is how you unwrap. Make it smaller. And in a material which is gonna be what Main, making sure it's going the right way. And there we go, that all fits together now. Now let's press shift D, bring it over. And then this one will just rotate a tiny bit. So Paul X rotate it like so. Double-tap the eye. Then we go. That looks really, really nice. Now let's grab this one. All zed 93 of number pad. Bring this over to here. Let's put it into place. Like so. Yeah, there we go. Double-tap the eye and you'll save needs. This one's quite far. I actually like it like that, so I'm gonna leave it like that. I'm just making sure that it's actually the same either side. So I'm just going to press a three. It's a little bit far left side There we go. Then what's out there? Alright, now let's start work on this part here then. And then we can start building all would round here now. So let's come to this point. And then what we can do is we can see that we're going to need this part here. So we're going to need applying, sorry, a post in here, post in here and maybe something across here just to finish this part off. So let's do that. Well, there is all actually calm. Yeah, I don't actually want to use this because I'd like the woods to be different. It just makes it harder work. So I'll come to my wall here. I'll grab this wall here, Shift S, cursor to select it, tap shift a, and let's bring in a cube. I'm also going to go back into modelling a finite hot, hot. It's work actually in the UV panel. I'm going to press S, bring this down. I'm going to pull this down then into place. You can see it's probably a bit too big. So S pull it into place. Let's see where that line Zope, something like that when also pull it over a little bit over here. I've just got to think. If I'm bringing another piece of wood in here, just gotta make sure that you can actually pay me. So just that to take into account. So I'm going to do is I'm gonna grab the top now. And we're going to pull that Place like so. And then I'm going to grab this now, shifting, bring it over to my window, like so. Alright, I'm happy with that. I'm going to press shift D. Want to grab this. I'm going to press a three and rotates it on the X. So RX, again, make sure it's in the corner. You can be a little bit out if it's actually going at an angle like this, sometimes it does look a little bit better. Then I'm just grabbed the top of the normal three. Now can pull it over like so. And I think I'll pull it down. So it's like that. Then finally wanting to do is just put this back on global, come round, grab this piece of wood, pull it back so it fits actions Place. Now let's work on this part right over here. So I'm going to do is I'm going to grab this piece here. I'm going to press Control one shift D, bring it over and pull that into place along there, making sure that it's actually on the head. Like so I'll think I'm happy with that. Then I need a bit going over here. And this is where my planks of wood are going to come up to. In other words, planks of wood are going to come from here. I'm going to press Shift D to duplicate it, spin it round. So all why 90? Press Control one on a wanted just sat on the top of this part here. So I'm going to pull it out as an X, like so I'm going to pull it all goes to Todd, like so. And then I just want to pull it back as well because I don't want it flush with this. So I need it pulled back like so. And then again, Control Shift D, Let's bring it up again. So another one. So it fits right under these parts here. So these here, something like that. So it looks like it's actually supporting it. So there should be sat on it, just sat on it like that. Now we can use this to actually bring these across. So what I'll do is I'll press shift D. Why 90, bring it over. Then S and Z, bring it down. Like so. And then essence add just so ego's much wasted space, so something like that. And let's pull it back into place. There we go. Now a 12123, maybe four. So control one again. I'm going to pop this one, this side first of all over here. And then I'm going to press shift D, bring it here in the middle of these, and then shipped deep, bring it here in the middle of these. Alright, so the thing is you got to take into, you don't wanna go too crazy with the piece of wood. You want them to look realistic. But there are actually medieval houses and things that are out there where they go absolutely nuts with the amount of wood on them. I don't really want to do that not only because it creates a lot of work for us, but actually making it look realistic and making all those pieces of wood probably not going to happen in this build somewhat. Sometimes actually, if you look in real life, some things you think to yourself, well, they look realistic is a 3D model. I'm probably not. So I'm trying to keep a fine balance between Realism, making sure something goes together and actually is engineering, engineered in the correct way. In other words, it's built soundly. In other words, all of this word is actually serve in either mostly a purpose. So even with these pieces of wood here, they might be decorative, but they're also serving a purpose because you've got a piece of work going over here. That piece of what if you didn't have these in here Supporting it would be Bowden so far, and then it would also push down the bottom. But we've put in these pieces of wood in here, is actually supporting all of this. So you've got your Window, WOW, air, which has been supported by these, being supported by these, which we'll go into the wall and then finally being supported by this. And we've done that all the way along the pillow. That is the idea of this. Okay, so what we'll do on the next lesson is we'll come round to this side. I think actually kinda high bound the way yes, I can. That is our thing. So we'll come around to this side and actually make sure that all of this is working correctly. And then we'll bring our Material in with all these peaceable. Okay, everyone, so I hope you enjoyed that. And I'll say on the next one. Thanks a lot. Bye bye. 61. Increasing Modeling Efficiency in 3D Design: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, let's think about these pieces of wood along here like we talked about as well. There's all come in. I'll grab this piece award here. Actually, no, I'll grab this piece of wood here because we know it's the right height. So all will do is we'll pressure date and I'll rotate it on the zed, zed 90 and I'll see how that fits along there. So you can see it's going to fit along here. So they have to kinda step over a piece of what CC you can see. It probably needs to be a tiny bit lower on here, but I don't really want to lower it on down the whole thing. What mean is I need to just lower this top part of it. First of all, I'm going to put it in place so I want it against there. Then I'm going to grab this and pulled up not Along that. I wanted to pull the green. There we go against that. And then finally then I can pull this down and make it just so it's just above there. Like so maybe a little bit more, something like that. I think it's absolutely fine. So they're going to step over it basically. Then we've can now put, applying some water along here when we create this, won't be doing that soon actually, so that'll be cool. Alright, so now let's grab this one. We might as well seeing is a great day. Bring this over to this part. I'm going to pull it back into place. And the thing is here now I need to work out. Do I want this sat in front of there or do I just want it behind there? There's all these this to consider when you're actually building these things. I'll think my piece of wood there. Let's see if I can come in and if I can just pulled up just in front of them, I think they'll look a little bit more realistic. The other thing is, of course, you can see that this piece award is actually below there. So I'm just going to hide this great power all the way. I'm just going to pull it up just a little bit, just get it into place and everything is due. I wanted that thickness. I think I wanted about thickness. What I think I need to do is pull it down, of course. So I'm going to come in this part Ramp. This is now the way parasol take bring everything back. So top, I'll teach, hide my little gray box either way again. There we go. And now it'll do is I'll grab this one small, so I'll press I think let's say is it controlled Three? Yes, it's Control. Shift D. Bring it over. Like so. Now think I need to bring these down. Bring them down a little bit. Probably actually two below there. Then of this piece of wood sat on top of that. So I'll grab this shift D all X 90, control three, pull it up on top of there, like so. Then S and Y, pull them in. A mall wants to do is just make sure there's a little tiny sliver hanging over each side of that, like so. And the other thing is I want to pull it out just so the one side, it looks like it's actually sat on it and it looks like it's actually supporting it. Now, let's think about we need just a few more pieces of wood now. I think these, this will need polynomial as well. So that's kinda irritate me. So I'll do that now. So I'll just hide back this again. I'm going to grab this and pull it up like so. Then I'll come back now and think, I want to Peace Award going along here and a piece of board going along here, I think. So. Yeah, that's what we'll do. We'll grab this one, will press shift D, pull it over like there. And I'm going to press S and X just to squish it. And just so it's past that like so I think called soft squishy in just a little bit on the Y, just to make it a little bit thinner than this Supporting beam here. And then finally Shift D, bring it over to here. Like so. Yeah, I think that looks really, really nice. Alright, let's press top. Let's bring everything back. I'll teach. Let's just hide this cube out the way. And that's just take stock of what we've got here. I think if we unwrap these into separate parts, I think we should be fine. So now let's make sure all this is to get so by pressing G, grabbed them all. See that there altogether. So that's good. Now can just press question mark and isolate them out. Now, let's come in on Mark in some seams and our bevels like we do every other time. So Control a or transforms right-click set origin to geometry. And now let's add in a modifier level. Again, let's put it on an angle. I have forgotten some of them. Naught point, naught two, not one though they really matters. I think it needs to come down 1 mol. So naught point, naught one. Yeah, something like that. Alright, so now let's apply this. So Control a and then let's come in and mark, I'll seams. So it's a bit tricky on this one because there's a lot of seams that are hidden. So I'll come in and I'll hide just these out the way To make it a little bit easier for me, so hide all those. And now I can come in and mark all of these, so make it really fast. Like so. I'll do the tops of them first. Like so right-click moccasin. Now let's come to this one and the bottom. And then right-click, I'm oxime. Now let's come to the back. So we're going to come to this one. These so like so so, so right-click magazine. That makes sure Grandma, Okay, so let's press Alt H. Bring back these parts. Now why you've got these selected, you might as well then press Shift H and that then we'll hide the rest of them, all the rest of the room enough to actually mark some seams on. So now I'll come in Malta seams on here. It's just another way of speeding up your workflow. And that's basically what you really want to focus on because actually getting the basics down pretty easy, that'll take not too long. Speeding up the Workflow is definitely the way that you become a better artist because you can create more like so right-click and lock Seam. Alright, there we go. I'll teach, bring everything back and everything should be have a scene marks on it. Now, we'll split these into lab we spoke off. So what I'll do is I'll grab, I think all of these things can get away with doing it this way. We'll see anyway, so while there is alone Ramp these and then while there is all coming around to these now, along Ramp these, and I'll see how they look. So you unwrap like so now let's bring in all material. Down arrow would mean, no, we go. Now let's see what these look like. So which ones go wrong? Let's put our EVMs, we can see what we're doing. Then we'll also make sure that would bring it on Edge Select. And I'm just gonna go in and just have a real good luck making sure they're going all the way round which they are on this one, pretty much actually. All of them near enough. We're going the right way round. So UV spin them around. So a of 90, making sure that they're in place. So I'm just going to move that all. I'm going to grab this one as well, making sure it's just not hanging over their press the Tab button, double-tap the a and I'm just making sure now that Ward is actually looking the same as the other water. There we go. You can see that looks really, really nice. Now, let's think about putting these windows and while we're here, so we'll go back to Modeling. I'm going to press one. I'm going to press a question mark. Language repressor. Is it one? No, it's nice. Three. Yeah, three. There we go. Now, let's join these two up. So control, in fact, do I want to join those up? What do I want to put my window frames in after? I'll do even once a window frames, I'm going to just play around with this a little bit. I'm going to grab this window. I want to press shift D. I want to bring you out and put it into place and then press three. I'm going to see if want to make this a little bit thinner, so S and Y squish it in a little bit. Let's think, do I actually want an actual, I don't think I do actually on these, so I'm going to bring it in like so just making sure it's far enough back, I'm going to press a three again on number pad and appreciate deep. Bring it over. And then Walgreens do is actually, I'm going to join these two together. So Control J on, then I'm going to come in, grab them all. I can obviously change. I could go in and change the window frames around. Well, do I actually want to do that? Is the point. I'm not sure because it's a bit of messing around. So what I'll do is I'll just come in and I'll grab all of the warden lead and I'll change those around now. Yeah, I'm thinking should I move everything around? Probably so probably so let's go in. We'll grab them all. They're gonna look too similar as my problem. I'm going to move them just over here, something like that. In fact, can I get away with moving them all the same? So what means by that? If a line, all of these all on the map. So let's try that. So Gy, let's try and line them all lobe, as you can see. Now the problem is that these and these are the same, but that's fine. And then G and NX pull them over a little bit. So now they should look different too. These ones here, you can see this here, looks different to these, but these still look the same. So I'm gonna come in now. And I think I'm going to grab each one of these now. So I'm going to grab the second one. Like so. Then one were to do is I'm gonna do the same thing again. So G and X move them over. You can say I've not got the window pane, so I'm going to grab all of those. So L on each of these. Then when it's come over, G and NX, move them over just one side, like so. Now, they should all look different. Let's have a look at that double-tap be and see, yep, they all look different. So that is exactly what I'm looking for. Now the problem is you can see this one and this one, I'm pretty similar. So let's go in and just move them a little more over. So I'm going to press G and X and just move them over a couple more light. So it's making those look very different from each other. Okay, let's press Tab. Yeah, Now they look much, much better as you can say, and they all look different. So, alright, so that looks really good. Now what we'll do that on the next one is we'll make a style actually on this Walkway. It's a fairly complex piece, but I think with the skills we have now, we should be absolutely confident. Okay, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 62. Harnessing Edge Length Techniques for Precise Modeling: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now, let's go into modelling because we liked working in that much bad. The thing now we need to do is we're going to make this Walkway around here. But the thing we need to work out first is where does it come out? So because we've got a rough estimate in there at the moment, but it's probably going to need to come out a little bit further down. The reason is because we need Posts long year to actually hold it altogether. So what we're gonna do is we're going to go cursor here, so a mouse or use it. So shift day, let's bring in a cube, make it smaller. We want it to be kind of the right size for a Posts one Wednesdays, I'm going to look and put it in this corner here so you can see, I'm just lying Neil with this bit and this bit, something like that. Then one Wednesdays I'm going to pull it down. Like so I'm basically looking how high my post comes up. So you want your post basically to be slightly higher than his waist. You want in basically to lean against the assault, somebody would be looking out. That is where you're aiming for. So if I bring this up, let's say five press, Let's press Control one, let's pull it up to something like that. And then one way to do is I'm just going to make a basic shape just going across here. So I'm going to press your date. I'm going to spin it round so I'll Y 90, pull it into place. Polytope. The top of my post is going to be there, as you can see, then this is these weights. So is this high enough is what we're asking ourselves. So essence add squishy, end because obviously it's not going to be high and we also need to bring it in along here, so S and Y pull it in. Now, we should be able to pull this out to this part here. And that is going to serve then if I press Control one for the basis of our actual pulse going round. So it's just a gray box at the moment. We are going to make it into a ward and things like that, and make it look a little bit better the more it is. But we generally now at the moment get in the actual size of it. So I can say that my little guy here, if he's walking along here, can pretty much walk along here fairly easy if he turns around. So I'll zed 90. You can see that it can lean up against here. Now this is where we're looking, so you can see that it might need to come up just a little Todd highest. So if I pick this and pull it up just a little bit and now we can properly lean on it. And I think that is about right. And I also think just pull this down. Now. That is also why denote for him to walk rounds, which means that this is also widen up for him to walk around. So I'm pretty happy with them. Alright, so now what we can use, we can just hide the other way. And now we can come in, that's pretty on material again and come in and actually work on this part here. So this part here, quite tricky to get right. First of all, we need our world to come up to this part here. So I'm going to do is I'm going to, I know that this here, for instance, coming out here is correct. I know that I need to bring this one in, so we've not got any wasted UVs. So I'm going to come in, grab the top of it and then I shouldn't be able to pull this out like that. Now the problem I have is that course I need to pull it all out because I want to make this a plane. So I'm gonna grab this one as well. When it pull it all out to roundabout there. It's just sat in there. Now the other thing is I need to make sure that we can see the world so we're going to work or not, don't worry about that at the moment. So we're just going to get into this position. I think we can go from that. And then what we'll do is now will actually come in, grab the top of here, press the Y button, G, just to make sure it's separates and it's separates it out. Grab the ball Moebius so that you press out and that'll get all of that delete and vertices. And you should end up with just this. And this is obviously where it's going to sound. Stood on, sorry. Now if I grab this and pull it down a little bit, I'm going to say that the, the thickness of the planks of wood ways walk in a gonna be roundabout this thickness. I'm also going to say that this year is going to have to come out to this point here. So our minds will do that. We'll do that first. I'm going to come in, Control Plus pull it out to just pass here, something like that. I'm what I'm looking for Along that is, as I pulled it out, did it stretch it too much? And actually, I think if I press tab, I can get away with it being stretched out a little bit like that. I think that's absolutely fine. Now, I didn't have some world along here. In other words, I didn't have one of these Supports going along here and along here on the actual reference. And maybe I do need that, or maybe it's enough with Supports and it underneath. So we'll just check that out and see what that actually looks like. At the moment though, we've got a nice piece of wood in place it. Now let's come in and let's give this some edge loops. We can actually create our Wood. I also did this part a little bit different on the reference, so I think I'll actually stick with that. While Windows, I'm going to press Control or and I'm going to put in, let's see how many pieces, planks of wood. I think if we'd look that when I do this, so left-click, right-click and normally do it so that if he is walking along. So if I spinning round or hundred 90 mi I don't Engine at I'm over like so grab this again and I'm looking then if he's walking, he would literally near enough be woken every step on a plank of wood. That is how I normally work this out. So I can see the difference in lengthier is this much. Now there is another thing you can do. You can actually come in if you want to be really exact income and grab this edge, click this little down arrow and you will see you've got one called Edge Length. And when I clicked on, it will actually tell me how actually big this is and this is like 40 cm at the moment. So if I come now to this and I press Control all bring these out roughly to the same. So maybe the CIA. And you can see now, if I click on here, this is near enough, the same as this. Now, if I go 1 mol, so if I've got 12345678, so if I press Control Z to go back control all eight on the number pad, left-click, right-click. You can see, yep, I need to go nine. So control law, Let's go nine on the numpad, left-click, right-click. And now you can see that it's on there. And I don't think they look they look a little bit too thin. So I'm definitely going to go with a control law. Eight, left-click, right-click, and there we go. Now I'm going to turn my measurements Edge Length off. And I normally do these things by because it is a Build which we can get away with doing that. Now, the one thing that we do need to think about is this here is just in here. So we need to make sure that these all against the we don't want them right up next to the actual wall, and that goes for this one here. So we need to cope this across here and probably round here as well to make it look realistic, same as caught in these along here as well. So I'm probably going to do that first before actually I stop doing anything else. You can see here that the word along this part going in actually looks pretty fine. He's probably not even close enough. So I'm gonna grab one of them, grabbed the other one, and then just pull them just a little bit closer to the wall. And then these ones here. So I'm going to grab this one here. And I'm going to try and actually grab this one here. I'm going to try and go in and actually come out and grab this one here. So control-click. And then I've got all those and I'm going to pull them back and just make sure that they go in joules next to the wall. Not actually in the wall. I don't want these in the wall so you can see him just there, like so. And then I'm going to grab this and it's a little bit too close as you can see. So I'm going to grab the end of it, pull it out a little bit. There you go, the Water morale to the wall. That's the thing you need to take into account. Now with these parts here, we might as well bring these, sort these out. So I'm going to actually look super can get to them. So if I press seven on the number pad, you can say I can't quite see where this is going to. And even if I get rid of that, I really can't see where I'm going. So what I'm going to do is I'm going to bring it back. So I'll teach women do is I'm going to press Z on the number pad, go into wire-frame and see if I can see where it's going to come up to. So you can see probably going to come up to. And this points here, still very hot, very, very hard to see at the moment. So I'm going to scrap that. I'm gonna go to material preview. I'm going to come to my ward here. And then one we're going to do now I'm going to do this again by I, so I went to press top. I want to press a grab it all. And then one more inch there's going to press my knife tool. So K come in on a one-by-one to come up against this here. So around about that, all the way over to here, then it's near the wall, not quite touching it. And even on this, but it literally would be going around the Posts Like so. Then backup to this one, press Enter, and then hopefully you should end up with something like that. Now what you need to do is you need to just press top and why Michael call this Shift H. Just hide it out of the way. Tableau. And now we're just going to call this part out. Like so, delete and bases. Alright, so there we go. Now, I know these aren't correct to the moment, but for now, I'm going to keep them like that. The other thing, of course, is I want to make this a really nice piece of wood. This part here is where the actual posters, so I want to basically bring this out and keep this kind of squares. So I'm going to use my Knoxville again. I'm going to press seven to go over the top. And then Walgreens do is I'm going to press K coming into here. I'm probably going out Let's see if we can yeah, if we do too many Along here, you can see that it's not going to look right if we have a corner, that thing, I'll probably have it to here. And then K and the other one, I think, will come from here out to here maybe. And then enter something like that, I think will work absolutely fine. We're going to make them smaller and make them all fit together, so don't worry too much. Finally now what we'll do is we'll grab the whole thing, will press Control a, and then we'll moccasin. And we do that again because now it's easy to just go in, press the elbow and then just click on every other one to split all these are, of course you can have a few problems around near splitting them up. So just avoid that at the moment comes to this one, will do what we did. So it's Y, G, split them all, hide them out the way. And then we need to split these up now. So I'm going to grab this one, this one, Y G, hide them out away. And then finally this one, Y G and an alternate bring them all back because now they're actually all split. Alright everyone. So on the next one then what we'll do is we'll actually start creating these into planks of wood. Okay, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 63. Advancing Complexity in 3D Creations: Welcome back everyone to Blender to Unreal Engine five and this where we left it off. Now, let's make sure first of all, that wire on individual origins, let's press the S Bone and shrink those down a little bit. And that is what your planks award should end up looking like. So we've got a lot of gaps going down here. That's exactly what you want. Obviously we need some edge loops in here to kind of the mob, make them look a bit bendy and things like that. We definitely want to do that on these, even if we don't do it on the rest of them, just to make that added Realism. The other thing of course's these would, they wouldn't all be the same length. So it's really worth now just going down with your Edge Select and just pulling them out a little bit or pollen so Main and just making them a little bit uneven because it's easier to do this now, the other thing is all zed and just rotate some of them round as well. That really helps like so just pull them out a little bit, making them a little bit on even, especially on these edges here. Like so I'm going to rotate this round so I'll Zed, Like so, like so, like so. Alright, so there you go. Now you can see the look on even already, and that's exactly you want. Now, let's come in and actually extrude these up. So I'm going to actually press top. I'll teach, bring everything back. And now I can see how high I need to bring these up to. So let's select our planks. So these ones here, let's press Tab a, let's press one or three so we can see exactly what we're doing. I can't see anything from there, so I'm going to press Control one. And then when I press E, pull it up so that my little guy is on top of them. You don't want these to, they don't want to be massively think there's gonna be a lot of Support underneath and things like that. The basic thing is that we want them to come up to this part here. So you can see here, there should be underneath is what we're trying to say. So control one. And you can see I need to pull all of these up now. So I'm going to press a and I'm going to pull them up to here, like so, so they sat under there and that is how they're going to look. And then they will be supported on their Support here. I'm basically looking now to make sure everything's correct. I'm also going to check down here to making sure how that's going to log. Double-tap the async. A good view. I might have to move these a little bit in just to make sure they're not quite up against there, but I'm just looking at the rest of them. I'm also located this posted this post here. You can see is it needs bringing up a little bit so it's above that. So I'm going to do is I'm gonna grab this here, press L in Edge leg, pull it up like so. Top, double-tap the eye. There we go. Now you can see it's really all Stein's come together. Now let's hide all post and beam out the way. And let's do a little bit more work on them. You can see now these film there, but the going right up against the wall like so. And that's exactly what we want. We can see on the and they go in quite Realistic. And I'm very happy with that, but can also see we've got gap down there and that logs. Perfect. So now let's do some more work on these. So what we'll do is we'll come in, we'll grab them again. Control law and just give them some edge loops. So control law on this one to left-click, move them all, control or two or three of them down. And basically you just going to work your way along. Now of course, you won't be able to pull edge loops in those there because they're funny shape. We need to fix those and we will show you how to do. I will show you how to actually do that. So three, left-click, right-click control law to left-click, right-click controller. You can see you do have a problem with this one. I think actually show why that is. But either way, we've got obviously some problems in there. So I'm going to press L. Then what I'm going to do is I'm actually going to press Delete and I'll try and do limiter dissolve. And now see if I can actually put an angel who pin. And there you go. We can left-click. And obviously here we won't be able to put an edge loop pen, but do we really need to bend this out a little bit or anything like you can see when I try and point Edge Loop in air, it's not actually working. No, This one. No, This one. Do I need to bend those out? I don't think I do, so I'm going to leave those as they are when a work my way along. You can see this one here. We have a problem. I think it's because we caught this part away and it basically caught along here. So we've actually got probably you can see there, we've got actually a vertice there and that's the issue. So I'm going to press L, delete limited dissolve control law. Let's try three left plague, control law. Let's try one on there, pretty Ryan the middle. So control law to left-click, move them over. Control law, three, or full control law. So Left-click move him over. And the good thing is about the Unreal Engine five, if you don't know, is that you can bring it in basically as many polygons as you want. Yeah, I've seen people bringing in billions of polygons into it. So because the way we're building this, where we're actually using material maps, we're not actually painting in substance painter or anything like that. It means we can have as many polygons as we want. Now, the problem is that it's only in Unreal So if you're using another pizza software, something, it's not a great idea even if you want to take this in substance painter, with 1 million polygons, you're going to have a lot of problems, so probably not worth doing anything with it. You can see here actually I can put that there might actually put an edge loop in there. So that actually looks nice. And this one, I can't actually give an edge loop because we've got this part in here. So now why needs, there is a need to actually, and think about fixing these edges. Now, you can say I've golf many problems with these. So I'm going to come in, I'm going to grab all of these like so. And I'm thinking I'm going over problems with any others. I don't think so. I'm going to right-click and I'm gonna put them face like to actually right-click. And I'm wondering stairs, I'm going to triangulate faces just to make sure there's no angles in there and they're all fixed. And now I can do is I can come in and now I can move these all around. So I'm going to come in with my Edge Select, grab an edge, make sure I'm on. Random. Make sure connection only is off, and just start moving these all around, like so. And then I'm going to also, why I tend to do is I'll move them around like this, even these just a little bit. Then what I'll do is I'll actually come and actually start lifting some of them all up. So you can see that probably gone a little bit to false. I'm just going to go back a little bit. I'm going to look around. This one is just a tiny bit, by the way, you don't need to go far all just a tiny, tiny bit. Alright, something like that. And I'll come to this one, lift them all. Come to this one, pull it down. Same on this one. Pull it OK. Then let's grab the middle of here, pull it down a little bit. So now that several of those, and you can see the look really realistic, now let's right-click Shade Smooth, and then we'll do is just put on oral so smooth. And now finally we need to bevel these off. So I'm going to press Control a whole transforms right-click set origin to geometry. And I'm going to come in now add modifier. Let's bring in a Bevel. And I'm just making sure because we actually triangulated these ones that actually beveled off. Okay. And it did it actually did a good job. Let's turn off for angle. And you'll see that when I didn't turn it off, you can see I've got these parts here and this is because it's triangulated. So again, another reason to make sure you're on an angle. Let's put this down on naught point, naught want like so. Now I can say they look really, really beautiful. Alright, so let's come in control a, and now let's bring in our actual material and then we can start actually building these out and actually making them all secure and things like that. So what we'll do is we'll press Shift H tab. We can see we have a lot seams on them already. Some of them we don't want. So when we confronted like this, the best thing you can do, grab everything, control a clear Seams. I know it seems weird to do that, but I think it's the best way of doing it. And now we'll do is we'll come in alt Shift and click. Do all the easy ones first, which is this side pretty much. And then go to the other side. Like so. Right-click magazine, then come underneath and you're going to have to control click each one, going all the way. I'll just make sure you're not doing one twice or anything like that. Like so right-click Matson. Alright, so that's all that was done. Now I'm going to actually just hide this one out the way so I can see what I'm doing with these. And I'm thinking that the best way to mock Seam on this is probably to go along there and come all the way around. So I'm going to Control click. And I'm just making sure that I've got this one in here, right-click mob scene. And then we'll do is I'll probably put a Seam right onto here. So this one here. And then I'm gonna come round to this side now, alt Shift and click and see what that looks like. So it's going all the way around to here. I wanted probably coming from here to that Right-click mock soon. So I've got one of the buck. I've got Seam, this side and this side. So that should, looking at it, split that off. Alright, so yeah, I think I'll be happy with that. Now on this one will do pretty much the same thing. So Alt Shift and click going all the way round here. Pretty much. I'm thinking, do I want my ward? Yeah, I think it's going to have to be two separate pieces. There's something in the world grain this way. The world grain that way is how it would look. And then Alt, Shift and click going round here, like so. So coming all the way round now. And this one's fairly actually Complex. So Alt Shift and click going all the way around. Then I'm going to look at where I don't want my seams. So along here, I'm thinking that probably it needs going along. I'm thinking the same as this will avail to get away with that, well, give it a try. So I'm going to click Azim along here, here and here. Maxime will have a lot while the world looks like and if it's not right, well, that's obviously remotely seams, so no problem. But we'll do the on the next lesson. So hopefully you're really getting the hang of Seams. And hopefully on the next lesson we should definitely have all these planks dawn and start actually working on our posts. Okay, everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot of I 64. Utilizing Average Island Scale for Uniform Texturing: Welcome back everyone to Blender to Unreal Engine five, and that's where we left off. Now, let's maximum seams. So we basically just going to carry on marking seams. On marking seams, it's a pain, but it's something you just really need to get used to. It's a little bit like reach, apologize, and it's the same thing. It's a real, real pain. And I wish that we could have a way where everything was done automatic, but we haven't gotten out of the moment. So right-click Maxine, and I'm just seeing if we've got Seam down there, going to follow all the way along. And I want one on here. I'm probably one on here. So right-click monk Seam probably also want one on here as well. And actually come in moccasin there. Well, look round these as a site to make sure they're right. Now these ones are the easiest. So Alt Shift and click going all the way around till we get to the corner ones, which again, a little bit harder, but I can mark Seam in there for sure. So a will control click, Control click and control click, right-click mob scene. Now I'm gonna leave that one just for now. So I'm going to come in ALT, shift in play, all of these. So right-click and magazine come underneath. Shift-click and now control-click all the way along. So control-click in each one of these very, very fast way of selection, of course, like so, right-click moccasin. Now let's come in and figure out this. So Alt, Shift and click miles will go all the way around this one, all the way backgrounds there. So right-click MSG. And I'm thinking now that we need to probably do the top here. So I'm gonna come round. I'm going to Control click, going all the way round to that, as you can see, right-click and mock scene. And then I'm gonna do the same with this one here. And I'll be amazed if we don't have any problems with these seams, but we'll soon, I won't be amazed. So now let's come in and Alt Shift and click going all the way around this one. Background to the other side. So backgrounds are here. And you can see at miss one there, right-click Maxime. And now let's do the oldest side of this. So I'm going to Control click actually going all the way along in there. And you can see that that messed up a little bit. So I'm going to Control click, Control click, this one here, right-click MAMP Seam. And finally, I'm probably going to need a Seam, that Seam here and a Seam here. So right-click monk Seam. Oh, the moments of truth. Let's see what we've met. So I'm going to press Alt H is to bring that one back. I'm going to also, I'm thinking I'll wrap them all the same time. I'll just have to make them bigger on the UV map of schools. So while do now is I'll press U on the route. Let's come in and then all material. So a little down arrow would mean we can see we have a lot of problems. Let's turn them all round first before we do anything else. So I'm looking where they're wrong. So this one here, here, here, here, they're going miller, right way round, which is nice. This one, this one, this one looks a little bit messy. So this one we can see, it's probably wrong, will go to UV. And then we'll see this one anyway, it's done now is this one here, as you can see, a 90 dots. Let's have a look now at this one. So we've obviously missed the sea mount on that one. So I'm gonna press tab. We can see we are, we missed the same here look, so Alt Shift and right-click mock Seam, grabbed them all again. In fact, I'll just actually do this one. So on the Ramp like so make it smaller so it fits the rest of them roughly. I'm going to UV now and I'm gonna do another little trick where if you come in and you do Average Island Scale, well they'll do it. So make sure that the role the same Island Scale, which is really, really handy as well. We can see as well that these two here all the wrong way round. So all 90, let's put on materials so it can really see what we're looking at here. I'm just making shown now the role going the right way. Now I'm going to do is I'm going to make sure that I'm happy with the Woodside. So I'm gonna do is I'm going to press Alt H, bring everything back, wafer. It's a low note. Double-tap the a. Now I'm just comparing this with this piece of wood here. Now the thing is about these pieces of what if they felt poor EVM? You do want these to look like this kind of a chunky, a bit chunkier than this because this word is a lot more weathered, has a lot more rain damage on it, things like that. Zero got a nice edge in there and say this is a nice edge in here. The other thing on these pieces of what is, I think that the goal would be going this way as well. So I'm going to also do that. So I'm going to do is I'm going to come in, grab each one where it's not going the wrong way. So you can see the sticker like salt forms. They can see this one here. Work your way around. This one here. Here Here. These two at the end. Then what we'll do is we'll just spin them around. So all 90, like so. And there we go. Looks really nice. You can see either a lumpy, they're all still cat and angles and then just look Realistic and that's what we're looking for. Now, let's go back to modelling. And what we wanna do now is we want to salts how these Posts, so we need to make a post and then think how far, how many posts we actually want him. We're not going to worry too much about which one of these will print them in as long as they're not halfway. So you don't want to post halfway in there. You actually want it to kinda follow this along. So let's come in. And what we'll do first is we'll grab this one here. We're just going to move it slightly over so it's not takeoff. Unfortunately, it's in special random, we don't want that. So it's right next to this piece of wood here. And then we need to move it back as well a little bit because it's really too close to the edge, like so. Now, I just wanna make sure before I commit to this term, a man rounds. So I was at 90. Bring him over. I want to put it actually on object mode as well so it can really see what I'm doing. I'm going to pull this guy over now. Seeing how much room he's got width is posted, I need to move this one over as well as you can see. Now, the moment this is not in the center, I'm not going to worry about that quite yet. I'm just making sure it's all the right size. Okay. I'll think I'm happy with that at the moment. Now, I need to create this post first. Mark my seams out because I don't want to put this post along all the way along here and not have seams and things like that done. So what we'll do is now we'll create this post, will create actually a very simple Posts. So what we'll do is we'll grab the top of the press E for Extrude S then to pull it out. And then what we're going to do is you're going to press E, it's polytope. And then finally E, pull it up a little bit more, press the is Bone. Just a standard post is all we're looking for, something like that. The Polished Look in I might be a little bit too thick, probably a bit too thick. So I'm going to actually grab it. I'm going to press S, make it a little bit smaller, so it's a little bit more reasonable as you can see now it looks a lot better. Now I'm going to pick it up. So this can actually go on the Side of there. I'm also going to press Control one. When I've come under, grabbed the face here, press Control one now, pull it down. Now I want to do is I want to see that I get this over to here. So it's right again, stay alive. So, and finally now I need to think about this before I do anything else. So I'll come in, they select Alt Shift and click Solve grabbed it going all the way round Shift S because to selected. And now we'll grab this. And what we'll do now is we'll press Shift S, selections Curves, keep offset and not now he's going to print bang in the middle. Now I can say that do need to make this thinner. So I'm going to press S, Y, bring it in, make it a little bit thinner, a more manageable. Pull it up to where it's going to go. Something like that. Now, let's come to this POJO and we'll work on this separately. So I'll grab this L. Hey, selection. Grab it again, Control a or transforms right-click origins geometry. And now order is we'll add in a Bevel modifier, come in and add in a Bevel. Turn this down. Naught point, naught one. Something like that, uneven that looks a bit too much actually. So we need to turn it down to naught point, naught, naught four. Let's try something like that and that looks a lot better the more it did. Now the other thing is as well with these, you could come in and adding some edge loops again to bend these a little bit. And we might think about doing that at the end, depending on how long this course has already been. I think for now though I'm happy with the bevels and then press Control a and now an aids. Think about where I'm gonna pull up my Seams. First of all, I want to Seam on the top. So Alt shifting plate. I also want to Seam on the bomb Alt Shift and click. And I also want to Seam in here, Alt Shift and click, right-click MSG. Okay, So let's isolate this out. So question mark. Let's porcine right at the bottom, not quite on that bond would just here. Right-click mob scene. And now I'm thinking is to make this easy, we could market Seam on every single one of these. So Alt Shift click, as you can see, it's going to go all the way around them and back down the other Sign, same on the other one, Alt Shift and click. And then all you need to do is press right-click. And in fact, no, we want, we'll just press C minus those off with the middle bones. So see Melbourne middle Bone, right-click, take it. I'll right-click mob scene. Alright, there we go. Now let's see what this actually on maps like. So I'm going to grab it all. I'm going to press U on the route. Bringing my Material down arrow would mean putting on Material. Let's have a low. Now we can see that this would go in the right way, so it's following it all the way around, which I'm happy with a pot from this side. And you can see the older bombs are also going the wrong way. So I'm going to do, to do this one when it makes sure I'm on face-like grab this face, put it on Eevee so I can see what I'm doing. And grab this face, grab this face from this one. Grab this 1.1 Window is I'm actually kinda see you over there. I'm just making sure all those are going the right way. So the more grain is going the right way along here. So that absolutely fine. And one wins do now is gonna go to UV Editing and just spin those around. So a all 90, spin them around. They have a thing of course is, as you can see, that this word is way, way too tiny in comparison to this, and we don't really want that as well. I think I want to turn just while I've got these, I'm going to press Control plus spin this warm round. So I'll 90. Yeah, and I think that looks better that way. So now and come back to my Posts, grab everything. So a, a, and then that's shrink them down. Like so making a much, much more realistic like so double-tap the I have a look at it. I think a much, much happier without that. Looks yes, ma'am. Okay. That's good. Now let's go back to modelling. What we need to do now is on the next lesson ever press question mark is actually bring this Posts then all the way along and try and make it even as possible, going all the way along to here. And then finally we can put our actual handrail along there as well. Alright everyone, I hope you enjoyed that. Finally there I'm going to save it out. Don't forget to do that. And I'll see you on the next one. Thanks a lot. Bye bye. 65. Constructing the Balcony Area: Welcome back everyone to Blender to Unreal Engine five, and that's where we left. They all. Now let's work on these pumps. So on the reference you can see that we've got five Posts going along here. So let's give that try and see if actually works. There is, I'll grab this Posts, I'll press Shift, Enter. I'm going to pull those pumps right over to this side because I know this is basically where it's going to end. Then finally, I don't need a post over it, but I do want to post probably around this point here. So I'm going to grab this post Shift D and Y always do is this way because then it gives me a good idea of where actually I shouldn't be placing my posts. The other thing is, I can now have a good idea of where they need to go in-between each of these. And just make sure that you Posts are always on top of that you wouldn't have a post halfway between for instance. So now let's come to this one. If a thing that I need five on me, it means I need three in-between, but I also need to take into account isn't going to be strongly enough if I put one here. So in other words, if I get my post Shift D, bring it over and put one, there is a handrail going to be strong enough holding him up. And is there enough room on there for him to slip out, things like that? We don't really want that happening. So it's probably going to be better if we put it on here. Now let's see if these lineup, so Shift D, pull it over, Shift D, pull it over. And then Shift D pull it over. And let's see what that actually looks like. A maybe we need 1 mol, so Shift D, pull it over one in the sea and making sure it's not going past that point. That a thing that actually looks quite nice, I don't think we can get away with less than those. Actually. Think something like that, it's gonna be absolutely fine. Now, let's come to this one and we want to work out the same standard as this one. So I'm going to do is I'm going to grab all of these. I'm going to press Control J, join them all together because I know that the role UV unwrapped and everything like that. What I'm going to do now is I'm going to come in, grab this one. I'm going to press out Shift S, cursor, selected tab, right-click origin 3D cursor Shift D, and then all and Z and 90. And then I'm just going to pull these out a little bit. Pulled them over to where this Posts dos and he's gonna give me a fairly good idea, hopefully of where these needs to be. So if I now pull these into place, grab this one, delete it all the way. So delete. That says comb-over. One way to do is I'm going to delete this one as well. So I'll delete that says announcement today. I'm going to press tab when a move these over and I know they're not quite right at the moment. And then one way to do is I'm going to pull them over just a little bit. So I'm going to sit that one on there and I'm going to work my way along just pulling these over, can see it. I need this one somewhere. Probably I probably can get rid of that one. Actually. I'll grab this one. I'll pull it over. It's more central position. L over. L. Pull it over, probably, let's think, can we ever get away with it? There may be so. And then I'll pull this 1/2, something like that. Subtle look at that. Yeah, I'm thinking do I need this one here? And I think I do because I've taken away, it's gonna be too much of a gap between there. So I think actually that looks hi Nice. We will know for certain when we've created the little bands going down and they're not all the same actual the moment they're all the same. They all look the same, which doesn't help us when we're trying to establish whether they should look right. The other thing of course as well, they're all, they're all exactly the same height. And that's something that we do need to fix because of the moment they just look too similar, so we will fix that. Now what we'll do is we'll come over to this ball here. And you can see, I do need to bring it in a little bit more, still, probably too wide. So S on why bring it in like so. And let's see if now we can actually fix this. So what I'm going to do is I'm actually going to now, now Gregor the right length. I'm going to come in, grab this one. So Alt Shift and click and start. You say I can't pull it that. So I'm gonna hide these out the way. Just for now. Come back to my ball, top, grab this and pull it. Not like that. Pull it all the way back to here, top alto, each, bring it back. Now let's come in and may call ball handrail. Come to that. Alright, there we go. Now I just want to change this a little bit. So I'm just going to bevel this, I'm going to grab each of the edges control, be, pulled them out Now that looks much, much bad. Like so. Okay, so what I need to do now is I need to hide these other way and each grab this again. And I need to bevel this and had in some seams. So I'm going to press Control a whole transforms, right? Plague, origins, geometry, little spanner, add modifier, bevel, naught point. Naught, naught point. Don't know it won't try that. No, that's too much naught point, naught one. Let's try that. Still. Too high. So no point, don't know, full. And there we go. They're not sure. Be the same as the other parts that we've done. And now we just want to apply that. And now moccasin, so Alt Shift and click. Each of these right-click mark Seam underneath it. Right-click Maxine. There we go. Now let's grab it. Let's UV unwrap it. So unwrap. And in all material like so, make sure they're going the wrong way round and finally then bring back the rest of it. So I'll teach, double-tap the a. And that's how that's going to look like. It looks really nice. This just looks a bit out because it needs to be smaller. So I'm going to grab it. Uv editing a, S, bring it in. And that's Have a look at that and that looks much, much nicer. And one going to do now is I'm basically going to put this into place all the way along. And finally then I'm going to change the UVs and then I'm going to make these uneven because of the moment they're all going to be perfectly even and we don't want that. So let's go back to modelling to do that part, it will make it easier. So I'm going to press Shift date 97 on the number pad. Let's pull it into place along here, like so. And you can see it's not gonna fit in the wool. That's no problem now we're just going to pull it out. I'm going to come round to the back of it now because of girls Seam on there and just press out, pull it out. And hopefully it won't stretch toward to fall. Put it into there. Like so tap, double-tap. They just make sure you're happy with that part there. One thing one thing I'm thinking is, do I need another piece of water on here or would it go into the wall? I think I need another piece of wood. One it just doesn't doesn't actually look right like that. I'll think even need a square block, or I could grab this one with L in Fine-Tuning to grab it on Edge leg. So shift D, bring this over like so top. Yeah. And you can see now it looks it just looks so much bad with that piece of what didn't they just loads it just looks a bit out before, so yeah, I think I'm happy with that. The one thing I do need to do while I'm here is I'll just grab these and just move them over just so it doesn't look the same as this piece of wood here. And now it can actually come back to modelling and work my way along. So I'm going to grab this. I'm going to press shift D, move it over. And I wasn't moving these over actually, I'm gonna do is I'm going to just rotate them and things like that just because I'm actually here, so might as well do that while I'm doing this. So Shift D, bring it over, rotate it like so I want to rotate that a little bit straight. So Shu De bring it over. Move it down just a tiny bit. The very, very slight. You don't need to go with crazy with them. Where you can ball. I don't think you'll work right? You can see this one here. I need to make a bit thinner. So S and X make it a bit thinner. Pull it up very slightly shift date. But actually rotate this now the other way. So Art and zed, like so, and then Shift D, because I imagined that this bit, all 90 would be a little bit bowed out, I imagine. So I'm going to rotate it so much. So there we go. Now let's bring it along. So Shift D. And if you want to again reset everything, you can just press Alt and all and then rotate it by 90. And now you know it's perfectly straight again, I'm going to rotate to on the X. So just pointing up a little bit shifty. Alton arm rotates it again. I'll zed 90, perfectly straight. Shift D, bring it over, bring it down a little bit like so Shift D, rotate it a tiny bit of Z, like so, just make sure it's not sticking out this end or anything like that. Ship date. I think I'll drop this one. I'll bring it up a little bit and then Shift D, bring it out and see what that's gonna go in here. Make sure I'm happy with that. Probably Going to rotate it around. So all Zed. Just, so it's just past that, this actual frame here. I'm going to also rotate it on the X. So X, just pull it up a little bit so it's kind of a slum. Double-tap the eye. Let's have a little that looks like and yeah, you can say it's really starting to come together. Let's hide this Greybox out. The way it doesn't actually do is just this makes it Lakota. And now what we need to do is just mess around with these Posts a bit. So we've joined, we can join all these Posts together, even this one. So Control J, join them altogether. And now let's come in and just mess around with these posts. So I'm gonna do is I'm probably go into, I'm just thinking if I showed grid, It's a bit hard way. I wanted to grab them five press Control plus you can see I can grab them all going down that and then I can actually lift them up. But I'm lifting them up from there. I don't want to carry those petals. So if I Control plus oocyst once more, again, you can see we have a problem there. So I want to lift it up like so like that. And then you can see now they're actually looking a little bit different. So now I'm going to come to the next one. I'm gonna go down to that, grabs the whole thing and then take it off. Then what I'm going to do is I'm just going to rotate this just on the RY, like so. Then when it come to the next one, make you a bit smaller all the way down. So it gets to that. Then that's pulling it down just a little bit. Then the next one. And it's just worth doing this just to make them a little bit different. I'm going to rotate this one on. Let's try the aisle. Why? It's rotates it that way. Like so. This one Let's pull this one, we'll just a tad. And then this one will rotate round on the X, Y. And then finally this one, we will make it a little bit higher a thing. So minus live, sir. Now, all we need to do is we need to change now. All of these to be different, so they all look different. So I'm going to grab all of these balls. And it does seem like I said, a lot of messing around. In the end. It's going to be worth it. So we'll grab all of these Control J, tab a, grab everything. Cocci UV, UV Editing. Now you're going to do is make sure you've grabbed everything with a, you're going to come to UV and you're going to Pack islands, make sure your rotation is off. And then you're going to make them probably a little bit bigger. Like so. Just make sure you can see the what is to chunky now. So I need to make it Hello much, much bigger. Now you can say I do have a problem in now I've got a lot of these like this. So all I'm going to do is I'm going to come and try and sold out. In fact, we'll do that on the next lesson because this lesson's getting on a bit, but we don't want these halfway points in. So I'm going to go along and just move them into place manually and check them all out. Okay, everyone, I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 66. Creating Sturdy Supports for the Balcony: Welcome back everyone to Blender to Unreal Engine five. I'm actually, I'm just looking underneath to look at the Supports for our sky. Now, notice that all of these little lights coming through here making these little slits, Danny, I didn't even more realism to it, so yes, I'm very happy with that. Now, let's call them to each of these. So when it come into where I'm going to grab them and I'm going to map probably probably want to Pack islands. So let's come in. Pack islands. I'm just worried they might pack them all the same. So I'm going to I'm thinking the best way to do this. I think I'll just come in and Pack islands on each of these. So unfortunately, we'll have to come in and do them separately. And these are turned into a little bit of a pain. I know. Pack islands like so bile. Show you the quickest way to do this. So I'm just going to select this one now, once we've done these individually, we should be able to get these look in different from each other. I've probably gone a little bit round in circles, a little bit on these, not something I wanted to do. So Pack islands sometimes happens. Well, that's called the learning process. So the more you go around in circles, they, the quicker you're going to learn a better way of doing something. So all I CG-islands and now I can show, be able to grab them all. And this should all be the same again, which is not something I wanted. And now let's make them smaller. I never look at how thick they also the right thickness now which is good. And now I can do is I can just call them to each one. So let's say this one and just move them into different places on the UV map, making them look different. So let's come to this one. And I also need to make sure that the actual buttons, these buttons going across, which are the handrails also looked at from, so it's going to move these over. So so three mole didn't take too long. I always think things take longer than they actually do. It's just a few minutes. So no problem. Now, that's all those don't. Now let's look all bands making sure all these are different. So I'm gonna go in LA where they are law and I think actually a bands and much, much easier because it's very hard to see where they actually change, going up around Material com rarely see anything. Well, I can say actually a bit bad. Now they'll look different. So I think bell, after those, one thing I'm now activated is a thing the tops of these just need to spin him around. So I'm going to do that now. I'm going to hide This Out of the way, and I'm going to come in and grab the top of each one of these, which are wants bidding round. So I'm just going to grab the top of these. This one here. Yeah, I'm going to spend them all round actually. I'm going to grab them all like so press Control plus just see getting up to that point where they change and then just press off 90, spin them around on a thing pot from this one, you can see that one's wrong. So I'm going to grab it all 90. Then I'm just giving them all go in the other way. So I'm just going down and now looking at the way that they go in the old, should we going the right way now? Okay, finally, let's double-tap the a and have a look at what we've done. And that looks really, really nice as you can see. Now, let's think about all actual Support. So let's hide this. We'll either way, I'm thinking, I'll probably come in and put my actual cursor down here somewhere. So I'm going to come in, grab this edge Shift S goes to selected tab. And let's bring in a cube. Let's press S. And we want the first Support to come in. First of all, to be level with the, so if I press Control one, you can see this needs pulling down to round about here, something like that. While there is all coming now, they select, pull it up. I'm looking how thinker want this and I wanted a roundabout, the same thicknesses here. And I need to obviously pull it across because it's way, way too thick at the moment. So something like that. Maybe let's pull it back now to here. Let's pull it back than two. Here. Somewhere like this I think will be fine. Let's grab it. So let's press shift D, and let's pull it over to this part here. Fountain, I'm going to come to this edge Yes, So it's just pass this edge here is what I'm looking for. Now, what we're gonna do is we're going to have some Supports not coming from the wall now and supporting the whole thing. So we've got a lot of Supporting here. You can see that it's probably not far enough down. So if I press Control one, you can say I need to bring these down and make them a fairly bit chunkier, like so. Now you've just gotta establish now, is this too far out, just make sure on this one, at least all of these planks award, uh, going over the top. So I think pulling it back a little bit further, it looks a little bit more realistic. The other thing is all these too thick, probably all. I'm going to press S and Y and pull them apart. Now, I pulled them apart is you need to be on medium point S and Y, and then you can pull them apart like so now they look kind of realistic. Alright, so I'm happy with that. Now all I need to do is I need the oldest Supports and now which is these going across here? So while there's all grab one of these pressure, date 90, spin it round, and then come to this part here, leaving a little bit of a gap. Pull it down to where it's going to go in. Now, how much gap don't want to leave? Grab it again. A little bit more like so. And then I'm looking where this is actually going to go in because these Supports, they don't have to be the same size. We can have difference in sizes, but we don't want a gap in-between this. So you can see here, I'm probably we also want this to pray tiny build, something like that. So now I'm looking at where this is gonna be supported to. I think actually up against there is going to be absolutely fine because that then is Supporting up against here. I'd probably can get away with pulling it back a tiny bit, like so then the next Support. So if I grabbed this one, I'm going to pull it over. So it should bring it over to something like that. And then let's bring this over to the wall. Probably is gonna go into wool. And let's pull it Ryan to the wall, actually, something like that. Now you can say that that looks like it's really, really supported well. Alright, so thing that looks really good. Now let's give these bevels and then we can start work on the parts underneath. We also need to think about, we're going to have a big post in here. So in this part here. So I might as well probably grub this posterior. So L, In fact, I need to grab all of it with Edge leg. So control one shift D, bringing it over, pull that post in place, and then I can see where this is actually going to come up to. Now doesn't look right with this actually stoke that. I don't think so. How much room I've actually buy Coke, probably pull it back a little bit further. So there. And then pull this Support away a little bit. So I'm gonna grab this Support and pull it away a little bit. So it's actually next to that post, like so. And that looks a lot more realistic now, I'm just making sure it's all looking nice. And even though this is wave from the world and wouldn't be touching the wall. Because as I said, we now going to be points, some supports in here, underneath here as well, just to support the whole thing, save it out. Then I'm going to do now is I'm going to bevel these off. So I'm going to press Control a whole transforms right-click. So origins geometry, little spanner modifier, and let's bevel these off. Angled. No point, no, no full. Let's see what that looks like. Think. Yeah, it's not going to be too low. Let's try naught point naught one. That's probably going to be better with these bigger Supports on here. So I'm going to leave it at that control a. Let's isolate these out. So Shift H, Let's put it on materials so it can really see what we're doing. Let's press Tab. Now let's come in Morocco Seam. So Alt, Shift and click, Go in all the way rancor and just get that one in there as you can see. Same for these same for this right-click mark Seam, and then we'll mark a seam on the inside of each of these and the inside of each of these right-click monk Seam, a grub, everything you on Ramp. Let's bring in the material is gonna be our Wood Main. Let's make sure they're going the route way in which they all are actually. So now let's press Shift H or old tapes or a, bring everything back, double-tap be I'm at some local will they look like can't really see him that well. As for Eevee on and see where the light you Sturdy slats, little shadow slats going through which is really nice, even shine on these. You can just see though it just looks, Stein's look rarely, rarely Realistic the way we're building this and that's exactly what we're looking for. Again, this old come together is the hardest part. Okay, everyone, so I'll hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 67. Effective Solutions for Fixing Mesh Issues: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now, before we start work on our actual Supports under there, Let's think about this paul going around here. So I basically wanted to Paul Peace Award going around here before actually build the Supports on Sunday. It just gives me a bad visual, uh, where am I supposed needs to come up to and things like that. Well, there is I'll come in and I think I'll grab this one here, the top of the adult. I want to press out. Just having a look around then just making sure looks right. I think this part here, why it looks a little bit off. It's just not coming quite far enough out of the wall. So I'm just going to pull that out while I'm here. And then all chipped S cursor to selected Tab Shift a. And let's bring in another queue. Let's make it smaller and bring it along here. So now we know this is buying in the center. And let's put it Let's try something now. I'm going to make him probably a little bit smaller. I don't want it that thick. I do want it thicker than here. So it goes nice. Lead into this post is I'm going to press S, Y and then pull it out a little bit to their top. Grew up the top of this. I'm going to pull it over here. Like so I do want things on top of the year or at least on the knee. So I think yeah, I think that's looking quite nice like not and then I just need to bring it round now to this side. So I'm gonna grab it. All, Shift D, all zed, 90, spin it round. I'm going to pull it up to this post here, like so. And I'm gonna pull it back into the wall. And you can say that's a little bit further than this post. Now, how much room of a golf for this, but I haven't got any room for this post, so I need to make sure I pull this back behind that post. Like so. I don't want to grab this, pull this back into place, like so. Alright, so I'm happy with that. Now the thing is you can see that this wall here is a little bit out on this wall here needs changing. So we're going to change these walls now. So I'm gonna do is going to press Tab before doing anything else. I can see my Edge Loop is here and I'm not happy with that. I need Basically majorly probably to come down to here that will make it easier foaming. So I'll do is I'll Command Alt, Shift and click grab. It should go all the way around. Bring it down to here. Now I am aware that obviously I need to come in now. Alt, Shift and click going all the way around. I'm real Ramp these pieces of wool. So you on Ramp. Let's unwrap them all and that straighten them all out. Now, I can come in and grab each one of these. Now you can see that obviously we've called them coming all the way down. So weird because we spoke about we put this edge loop pin just so we know when the button is. What I'm going to do is I'm think I can press L on each of these, going all the way around. You can see I do have a problem in this one here will show how that happened. I think when I brought it down, didn't bring it down to not sure why this is a bit of a mess actually, just want to do is I'm going to press question mark, isolate it all out and see what their shoes off. When I first of all come to my bank, hide the bomb out of the way. Let's have a little the issue is, so we've got we've got a piece in here that's going to this corner here, not sure how that happens. So I'm going to hide all the way. It looks like it's this face along here and here. And I think what's causing it is, yeah, we've not got a Seam in here and it's weight is, it's the Boolean that's causing it. So let's press Alt H. Let's put a Seam in first. So I'm going to press Alt Shift and click. You can see it's trying to go all the way around there. I don't want that. So I'm just going to take those off. I'm just going to make sure it's not there. I'm going to Shift click each one of these right-click box Seam. I'm also then going to make sure I've got an actual Seam in here. So seams in here and here. In the bottom here, right-click mock Seam. And now I should be able to come in, delete this face. So delete faces. There we go. You can say it's cleaned it up already. Now. Hopefully kinda come in. Yeah, and you can see this is one of the issues with the Boolean again, in that it's basically, this is not actually part of this. I don't think there's some a little bag. You can see it's not actually part of it. And so it's caused a bit of an issue with each of these part soon. So what probably better off doing is grabbing. I'm thinking how to join these two 4k. That's the Bay of an issue actually. So I don't want to pull this up or anything like that. I could get away because we've got pieces of wood on here leaving this actually, instead of joining this all up. So in other words, if I put a face on here instead, so F base on here, and then come to this one and put a face on here. I should be able to go away Without actually joining this up to any of them. So this here. Now if I grab all of it, press U on the wrap and wrap it all, you'll say, Oh, wraps, absolutely fine. Now where I needed there is no issues with it. So that's so dow, we still might need to change few of these as we keep Build. And let's press Question malt, bring everything back. You can see now it's all following the same place and the wall looks nice. Now, is it too big in comparison to that? Probably so. So I need to do is I need to go to a UV Editing, grab everything. You can say I have got problem in here. So it's a good job, a check that. And the problem and near enough guaranteeing is probably somewhere to do with this Door. Let's see. If we come in, grab the doll, grab these edges. Nope, it's not actually to do with adults. So where is this problem? We need to find where this is. We're going to work away around all the way. And there it is. It's in this one here. So we know what that is. If a command hide these pieces of wood, the problem is that this is not unwrapping correctly. So let's fix them. Will come in, grab this, This, this, this, this, this, this, and then these corners, because it's trying to unwrap it on an infinite loop and we don't want, alright, so that's that. Now if I grubby old press U from Ramp, the olam ramps, absolutely fine. Now we do have problems in here is that you can see this is not unwrapped correctly. Well, as on route currently, it's just an angle. We don't want those in. So we're gonna do is right-click and go to face, select them, right-click and triangulate faces. And now we can see, although we've got a few more polygons, it's fixed all the issues that we had, so that's great. Now we need to do is we need to base this on Eevee on this wall here. You can see that this is a lot more grainy than this one here, and it's because we fit them all into this UV space. Let's bring them out. Like so. Now you can see they look much more the same as this one, and that's exactly what we're looking for. Alright, so now finally, let's go back to modelling. What we'll do is now I'll start bringing in these pieces of rock here, this wall here basically you can see you've got aligned along there, so I'll have to be careful about that. And I will go around and check bees to make sure there's not lines like this. It's just based on where it's crossing over the UV point. So now let's come in and press Tab a. Mobile dairies will come grab this. So L, L all will do these pods phase will come around and do those separately. We'll click Plus and we'll click New. And we're going to call this Stone Wall. I don't think we've got one as that set yet. If you will come up as.001 or something, and now we'll go to our Shader. Let's bring in another material. So Control Shift T. Let's find our materials that we want and we've got one here called Stonewall to K. And let's just check to make sure it's the right one. So thumbnails. And we can see that it is you can see it's actually a wall. So that's what we need. Put it on vertical list. Select all these principled modelling. And let's assign, and let's make sure the guy in the right way. So first of all, we can see they're all going the wrong way. And we don't really want that. And we also want them to be all of the same size. So we need to make sure they all add up. Swan were in series. I'm going to go to UV Editing and I'm going to press UV, and I'm going to then Average Island Scale. And then I'm going to spin, I think it's this one which is the wrong way round, so it's this one here. So press L all 90. And let's see if this one's also the wrong way round this envelope. Press Tab. Yeah, I think it is. So that's this one here. So L Let's have a look. All 90. Yeah, there we go. Now it's the right way round and now you can see, you can see they're all the wrong way round. So we need spin them all around. So let's say all 90, let's see further away round that this one's still seems to me the wrong way round. So I'm just going to grab this one all 90. Now it's the wrong way around. Alright, so now that looks bad. Now the other thing is of course, we want to make sure that First of all, the actual Stone luxury, I've got lucky in that milestone looks about the right size of the moment. The problem I do have of course says that do these line-up. That's the thing you need to make sure you wanna make sure that these align. And all I know you need to do for that, of course, is just make sure that you move in them so I could grab this one for instance, now I'm press G and Y and just sorry, G and X and just lining up, making sure that lines up correctly, hold the Shift button down, like so. And then just make sure that it lines up roughly. And you can see that we don't actually want these stones under there as well. So I'm going to align those up. So I'm gonna do I'm going to come in not so concerned about this wall here. This wall is so small, it's very hard to see anyway. I'm going to grab them both. I'm going to press a G and X and I'm going to move them up. So my wall starts right on the here. So now I'm going to press top making sure it starts under there. I also want to make them a little bit thinner because I don't well, actually I can get Way actually with that. I think it holds up the eye. I think I can get away with. These are in the floor with the bricks beam right down the bottom. So I'm just looking around making shoulder about rock can see this one now. I can fix so L, G, X pulley OK, to the top holding the Shift button. So there you go. Now they look really, really nice. Now you can see really starting to come together. Alright, so now let's go back to modelling. Little bit of a technical hitch there. You can see though now, if I press Alt H, I've got some things missing. I can see hide the wall, we'll hide this little cube and there we go. Now we're gonna do on the next lesson, we're going to start work on bringing in all of these extra supports along here. And then hopefully we should be able to finish these few sides off. And then I think what we'll do is we'll start getting all Dorian and I'll wheel before we actually start work on this side, on the side here. Okay, everyone, I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 68. Initiating the Water Wheel Build: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, I think the best thing to do now is actually make us Door on our actual wheel. And the reason I wanted to do that is I need to get in place to see where I'm actually going to put my Supports on. Plus, it's a bit of a break from building all of these wooden structures and things like that. Which I think after building all this, I think we need one. So let's press Alt H and bring back our wheel. We can see it's called many sides, but we've got a rough size of what it's actually going to be. So I'm going to do is I'm first of all, I'm going to bring my cursor to the center of this. So I'm going to press Shift S because it is selected and then Shift a and we're going to bring in a, another cylinder. And I'm going to set the sudden defenses to something like 16. And it's important what we set this up because this dictates how many actual sides on this actual wheel. So now I've got that, I'm going to spin it round. So all why not our Y or X 90 spinning around, so it's based on the right way. Now let's festival, bring it to the same size of zero. So I'm going to press Control one. And then when I press S, bringing it out, so let's run about the same size as this one. And then we're going to press S and Y, pull it in. And I'm not too concerned at the moment about it being the same width of this. What I need to do is make sure that it's these kind of chunks of wood a wide enough to actually create our piece of wood that are going to hold the Olympics thing together. So it needs to be fairly chunky. So something, these are probably still a little bit too thick. So if I process and wind just bring them in just a little bit more like that. And I think that's going to be a good start then on those actual piece of wood. Now we can, we are going to mirror it over the other side. So we've got to work on Israeli one side and then mirror it over. But we want this log fairly realistic. So let's start from here. Now. Let's press top. I'm will come in now and delete. In fact, probably better off actually not deleting that face, probably actually better bringing it in. So I'll do that. I'll press Control one. I'll press the eyeball and bring in to where I think these parts of the wheel, they're going to look right? So if you look something like that, I think will be big enough to have a couple of Bolts in and actually hold the kind of wraps that actually go round with the flow of the water. Now if you're not happy with the size, just press Control Z. Try not to press the S Bone because you might shrink it in the other way. So I'm just going to press a Control Z. I want to press I again, bring it in and just make sure that I'm happy with the size. And so I think that size looks about right now. I'm going to do is I'm just going to grab all of these. So Alt, Shift and click, I'm going to press Shift date, bring it out. Like so. I'm going to work on this and do it a bit different to how it did the original. So I went to grab this when I press delete and vertices. And then when to come into each of these, a moment to do is I'm just going to split them off. The way. I'm going to press Y, G, make sure they're all split. And our a, and then walk can do is I can split these now on individual origins. So if I press Control one now, I can press S, shrink them in. And you'll see now we've got a little bit of a gut down there. And of course we want a bevel these and things like that. Now what we can do is now we've got them split off. We impress a, pull them out now to the right width that we want them. So we said something roundabout that sort of size. And now what we can do is we can start work on the actual bit that actually comes in because the bit that comes in needs to go against each one of these. So you can see it needs to go against the, to the actual center. So I think the best thing to do is actually create our center. And then from there we can actually work out. So we've got our cursor in the center anyway. But the thing is do we, yeah, it's probably going to be we'll try it from here. Well, there's all press Shift day. I'm going to bring in now another cylinder and I'm going to spin it around. So all X 90. And I'm thinking 16 should be right because I think that will actually be enough to still be rounded off as we've talked about many times now. And I can press seven and God the top and just make it come out so you can see is in the right place. Now the thing is, is this too big or not? I'm thinking of the moment it is probably a little bit too big. Small Window is I'm going to press Control one. I'm going to press S, bring it in a little, something, something like that. So size I think will be much, much bat. And then Waldo is, I'll grab this and I'm going to press I, bringing it in, like so. Then I think I'm going to bring this out. So E, bring it out. Like so. I think then while there is a lot two rings going around here. So I'll do is we'll press control law to left-click, right-click. And then what we'll do is we'll turn these into these metal balls. So while I've got them grabbed now, I'll press Control, be pulled them out. Like so. And then I think I'll pull one of them back. So I'll pull this one back all the way, nearly to that, like so. And then this one, I think I'm just wondering whether I should leave it on the front or not. I think while there is, I'll pull this one back to here. Like so. And then I'll have another smaller ring on the front of this. I think they'll look much better, so I'll press Control or left-click, right-click. Like so. And then Walgreens do. Yeah, I'm think I'm going to use this as well to bring out this ring a little bit more. So let's see if I can actually do that. Well, can I get away with pulling out? Yeah, I think I got way to pronounce while there's our graph, these rings. And I'm going to press E, enter S, pull them out. Like so. Then what we'll do then is I'll grab this one here. So and I'm going to just pull it out a little bit with eight. So I've just extrude it out just a little bit, something like that. Just so overhangs they're a little bit now while wants to do is I wanted to come now and bring probably this bit in a little bit, so I'm going to press, I bring it in like so then when the press E, just pull it back a little bit and now on a cube in there, so I'm going to press Shift S because the selected shift a, bringing a cube, make it smaller, actually fits in there. And that will be the middle part of that old sold is kinda together and I guess I want to press Control one and just pull it out just so it's a little bit more touch him because he's going to be beveled off and things like that. Now, I have a look to CEP, it's pulled up foreign. Thank once you've got materials on this, it's going to lock a lot more realistic. Now what we need to do is we need to bring in these parts here. So we need to kinda work from this part and bring it down to make a product goes into here. So I will use this pop soon as I have got it, and I can use that then to bring apart into here. Now the problem I do have, as you can see, is that this isn't straight and that's an issue and it's really straighten it up and then rotate it back, rotate the whole thing around, and then I can do it from that thing. I'm wondering if I grab all of this. I'm rotates it from the central point. So I'll show you what I mean. So I'm going to press Control one if I rotate this now. So all in fact, what we'll do is the way that we know how to rotate this to get it perfectly right, It's probably 360/16. So if I bring out my calculator, so here's my calculator. So 360/16 equals 22.5. So now if I rotate this on, the lengths are all why 22.5 and you can see that went like that. That's not what I want because I want this on medium point. So all why 22.5? And you can see it moves it one over. So now we know that to move them exactly halfway, we need to just divide that by two, which gives us, what did we say? 2,122.5. So now we need to put this at halfway. So that is 11.25. So 11.25. And there you go. Now you can see that software that it might be a tiny little bit outbreak, it's good enough to actually work with. So what we're gonna do now is I can now grab this one. What I can do is I can grab, in fact, I can grab it all. That might make it a little bit easier, Shift D and to hide one of them. And now I can work on this one. I'm when I'm finished with it, I can just delete out the way and I've still got the other one. I'm going to press I bring that any can see it's coming in a horrible angle. So I'm gonna do is I'm going to press Tab Control a or transforms right-click origin to Geometry tab again. And now let's see if I'm bringing him with the eye. And you can see it comes in much, much nicer. So I want to do is I want to bring this in probably to something like that. Won't want to do is we want to press Wall, sorry, control one. I want to press E then bring it down. Like so. Then I want to press S annex, bring it in and then E, and see if I can bring it to the sentence. And you can see it's probably a little bit too thick. And you can also see that this is a little bit out of the moment, so I think I need to bring it in a little bit more. I also think I need to bring these down further, but first of all, let's bring it in a little bit more. So S and X spring it in like so. Let's now grab this bulk. And what we'll do is we'll pull this down and then S and X and bring this in, something like that thing. And then we're just looking at the thickness of the ward. And I actually think It's looking about right now if we grabbed this bit, so L and L, Now from peace and pull this in to this part here. Again, I'm going to need a band going down there as well. So I'm going to probably put these together, the mirror them over and then move them going all the way round. I think that's the best way to do this. Alright, because we know is 22.5, because we know it's 60. I'm actually going to write down that 22.5 down because then it'll tell me how far I need to move this around to create each of the spokes, because there'll be, I'm thinking probably seven or eight spokes, probably eight actually, I think that's the halfway point, so we'll have one here and then one here going all the way around. Alright, so next you need to just make sure that you're happy with this. And then what we can do now we can actually bring back that part. So I need to split this off first. One wins do is I'm going to grab all of this Alt Shift and click Control plus. And then I think I'm going to minus off this control plus, minus of this again. And what that means now is that I've split this and it's still about based on the inside. So why and G, you can see it's all coming away. And now I can simply come up to this one, delete it all the way. So delete faces. Then that's out-of-phase into here. Alt Shift and click, press the F Bone, Alt H, bring it back. There we go. Now it's back as new Alright, so I think I'm happy with that now. I want to France probably on each one of these, and I probably want this going up a little bit back. So in other words, what I mean is I'm going to grab this again. I want to pull it a little bit forward and that then it's gonna give me the ability to put a front Omnia, which amount as we'll actually do while I've actually got this. So what I'll do is I'll come to this Alt Shift and click Command, face-like hold Shift and click Shift S, customer selected shift a, bringing in another cube. Make it smaller. Let's pull it out so S, Y, and then pull it out to the thickness that I want it. This is a bit too thick, so SY something like that. And then it's just a warden part that's going to go in here now I'm thinking, maybe I want to bring this in a little, so I'm going to grab each side, press S and X, bring them in. And I'm also thinking, I'll probably want to bring this in as well, so S and X, and now bring this down and set this up against this piece of wood here, like so. And now I can put my actual Bolts in here and it should all hold together nicely. Okay, so I'll think I might put that one thing is a thing. I'll press Control Alt, left-click, right-click. And I'm just going to lift up this. Just add a little bit of character to it, like so just to give it a more about and look, actually, I think it looks better like that. Now I've got the size and right, and got pretty much the width of this. So I think I'll actually bring this out now to where it needs to go. In other words, I'm gonna grab this gray box. I'm going to pull it out to here. And now I've got good idea of where this part needs to go. I should also probably split up these actually probably going to make it a bit easier. Well, I'll do is I'll have my Greybox now. Come back to my Wheel. I'll grab it all like so. And I'm just going to work out the width of it because then it's gonna give me a good idea for this. That's simply all I'm doing this fall. I'm going to press your date, pull it out. I'm going to actually separate it. So pay selection tab, I'll teach, bring back my Greybox, grabbed my other partner. We'll right-click. So origins geometry, pull it back into place. Now I've got something to actually work with. Now simply all I need to do is grab all of this. So if I press G on the Greybox, pull the Greybox now by chins place to where it's going to go. So now I can see that the wheel is going to go in there. How far is it going to go out? Probably just under there, probably actually a little bit out. Actually, it's just so I can give myself a little bit more. If they looked down what they want to see the wheel is based on what we're asking ourselves. I think if you look over and you probably need to see a little bit more of this working behind it. So something roundabout there. Now finally, I conveyed to the comb, to my Greybox and delete out the way and it should be left with something like that. Alright, so this was a bit of a long one, but we got a lot done in that time. It's on the next one. We'll carry on working on this and hopefully within the next two or three lessons, well, we should have a definitely modeled and hopefully we'll have some textures on there as well. Okay, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 69. Forward-Thinking Approaches to Seam Placement: Welcome back everyone to Blender, to Unreal Engine five, and that's where we left off. Now, let's first of all come in. I'm going to grab both of these. Actually, I'm going to give them both the default material just so I can see wondering because there are a bit shiny and very hard to suit. Now, let's think about all puddles. And then we can also think about the little piece of wood that's going to go over here. So let's do the puddles first. I'm gonna do is I've got my cursor. I need my cursor rarely in-between both of these. So what I'm going to do is I'm going to grab both of these ones. I've grabbed them both with Shift-click when a press tab, then it will actually be able to access both of them in edit mode, press Shift as Christa selected, That's pretty bang in the sense of that and that's exactly where we need it. Now let's think about all puddles. And if these needs come in a little bit, or if they look in a little bit too thin, which maybe the case I'm not quite sure yet, but we'll see once we've got all puddles. And so what I'll do is I'll press Shift a, bringing a cube, the cube Smaller. You can see that they got rid of the background of some reasons. So I'm just going to press Control zed. I want to press top now. And now I'm going to press Shift a and bring in a cube. And hopefully it should make sure that I'm not getting rid of that back one. Okay, that's bad. And now it will do is we'll bring this problem. So S and X bring it in to the right thickness. Something needs to be fairly chunky actually the goal lot Walter going around these, so something probably like that. They probably also need to overhang a little bit down on the top, probably not the bomb. So if I press and three, you can see this is the line whether needs to. So something roundabout here, and probably this is overhanging a little bit too much. Now let's press S why and just bring it into place. Like so. Then what we'll do is we'll just bring in joules so it touches that. And then we'll come to the bottom of it and we'll pull that down to the bottom up here. Like so, so just into there, so it's kind of level with that. And then what I'm going to do is I'm going to probably, let's think bringing into Edge Loop. So control law to left-click, right-click. I'm going to just spread those out probably a little bit. So S and Y, like so. And then one more edge loops. So Control Alt, left-click, right-click. Alright, so that's enough Edge loops. And then what I'll do is I'll grab the bottom. And I'm just going to pull this out like so. And then pull out these two just a tiny bit, just to give us that nice rounded slope there. And then I will also gives a random slope on the, and you can see these are probably way, way too far over. Let me see if I grabbed these two now. Pull them down, something like that. And actually, that's looking really, really nice already. So I think that's actually looking good. And then what I'll do is I'll also, I think spread this one out. So let's see, even just grab this press S and Y, not X and Y, S and X and pull those out. Like so, something like that. I think given the, this bit, a bit chunkier on the top, making these a little bit flatter at the bottom. Thing that looks really, really nice. Now let's have a look at that. Let's double-tap the, I think actually this is really coming together, really nice now. Okay, so we've got these where they need to be. So we need to now make this and then mirror it over based on halfway between these, which we've got our cursory. Or actually, what we can do is to first of all, probably easier if I put my cursor where I need to go. So I want to grab both of these. And then one way to do is I'm just gonna go round and try and grab the central vein. And the way I'm going to do is I'm just going to select them all going round. Then I'm going to select them all going round the other side. And that is gonna give me a center. Well, it's going to basically make it bind in the center of where I wanted. So let's keep grabbing them round like so. And that's then press Shift S cursor to select. And that's going to predict bang in the middle, we hope, but I think that's good. Okay, so now we've got that there. Now we can actually work on these. Now the thing is before I make any of these, I really should think about unwrapping them. As we know it's gonna make it a Pane. Real pain if we don't unwrap them. And then we're going have to kind of UV map them and all kinds of things after we've done it on a lot of parts. So we don't really want to do with that. Let's come in to this part here first. What we'll do is we'll press question mark. Isolate it out and you can see it's isolate that out. And they're going to press Shift H just to isolate all this out. And one way to do now, I think, yeah, I should actually went to press Alt H and bring everything back. What I'm gonna do is I'm going to split this up into parts now. So I'm going to grab both of these parts. I've also got to think about the Bolts and things like that, then I'm going to have on it. So there is that to consider, but I think I'll do that after. Now. I'm going to split these parts off, so selection, so split this up. I'm also going to come in and I'm going to split this part off as well from this central part because this, I can actually also Mock seams on and do my things like my babbling. So P selection. Now I'll do is I'll also grab all of this, all of this P selection. And now I can hide this part or the way, hide this part or the Way and work with. Well, we'll work on this part first. The thing, so what we'll do is we'll press Control a all transforms, right-click set origin to geometry. And then we'll come over to our little spanner add modifier and bring in a Bevel naught point naught. Let's try naught point naught two. That looks like, actually I think that looks really good because these, these would not be touching. If I double-tap the a, I can see through the now probably a little bit much so there would be probably a little bit of sliver there. Well, actually some wood in there that's actually hold them all together because you can't really see what's arms together, so they probably won't be touching perfectly. If I press Control one and I now press Tab, grabbed them all, make sure that I mean, individual origins, press the S Bone, pull them out and something like that you can see as just a little beverage liver, and that's exactly what we're looking for. Now we've done that. Let's come over, make sure that we've got Angolan. Let's press Control layer. Let's grab it again. Right-click, Shade, Smooth, pull on autos, move in. Now let's come in and mark our seams. So I'm going to come in and I want obviously all of the seams I'm thinking probably be better if we mark our seams right on the inside of here and then we're not going to have the wood will come all the way up to this point. So I'm actually going to do that on this one. So I'm going to come every other one, like HIV, those out the way. And then I'll come in to each of the bases. So here, here, and just work my way around Mach in the same on each of these phases then like so. And if you are enjoying the course, please leave a review. We've does help the course grow and helps get into a lot of other people's hands. Also, it can give a written review on whichever platform you're on. That will be really great and I really appreciate control the mock seams. And now let's go round to the back. I'm going to mark a seam on the inner one of here. Now the thing is because I'm Arched Seam right on here because I don't want to see the word. It means that I have to come in and it's just that little bit harder in coming in and actually marking to Seam up to here. So you can say, I've got to actually control click, shift, click, Control click, and then just go all the way around like so. So I'm control-click in, Shift-click in. And the reason I'm shift clicking there's just so don't lose the ones I've already selected. So control-click, like so and then just work my way around. Again, this is a bit tedious, but it would be even more tedious. Having to do both, we'll, instead of just one. Like I've showed, you, can also use the automatic own rap with Blender. But I really don't want to actually use that. I just want to use it this way just so we can also get used to unwrapping a lot of things. And by the end of it then you should be very confident to wrap things. So right-click and let's moccasin. Now let's do the same for the other ones. So I'm going to press Alt H. I'm going to come in now and I'm going to press Control. Zed actually hide those. Yeah, that's the other ones. So I can do is now I can come to the other ones. Yeah, if I hide those other way, Let's have a look. Actually. I'm going to think that these, let's try. Let's just hide this and see, yeah, it's that one there, so I've got the right one. Alright, so I'm going to come in and grab every other one, like so, and then hide them away. Now I'm gonna do the same thing with these ones here. I'm going to come round. Remember in the mall, like so. Let's come to this one here. Work away around this one here, and then the last one, yeah, so control a mock Seam and now we'll just go to the inside again, grab Edge Select, and just grab the inside of them. The Zoom in our code actually hide the building all the way. It might make it a little bit easier. I'm going to come in working my way round. So control-click and come to the next one. Next one, it's fine. It, then you go this one here. This one here. Finally, you have done that went in there. So right-click and mop. So you can see somewhere at the top some of the bomb, but doesn't think it matters too much. Alright, I'll teach. And what we'll do then on the next one is we'll probably get these unwrapped and get our first Materials in and see what they actually looked like. Okay, everyone, I hope you enjoyed that and I'll see on the next one. Thanks. Bye bye. 70. Simplified Techniques for Creating Bolts in 3D: Welcome back everyone to Blender to Unreal Engine five, and this is where I left it off. Now, let's see what these actually on rap like Walmart stairs. I'm going to grab them all with a and I'm going to brace the press you on Ramp. And now what I'm going to do is I'm gonna come over and bring in a new materials. So when a minus this off, so impressed, top minus a plus new and we're going to call this wet, would like. So then we're gonna go over to our shading panel, come to our principal's control shift T. If you're webs control shift T, There we go. And that's fine. Our actual cost pack. And then we're gonna go to a textures and we're gonna go to where it ward, which is this one here to K. I'm going to grab the, I'm not going to grab the top when you can see the first three are Unreal Engine false, so we don't want those on the last five principled, bring it in. And now let's go to our UV Editing. And we showed if we put this onto our material, we should end up with something like that. Now it's a bit odd to see from that angle. And now I'm going to turn them around. As you can see, these are going all the wrong way. So let's turn them around first. You might want them going that way, but I think it's more realistic going this way here. So Let's do that first. So what I'll do is operate actually on Eevee. So I've got, should have a little bit better liars have a look at the front. There we go. Now we can see what we're looking at. Now let's come in and grab the ones that are going the wrong way, which is, all of these are quite easy to see now. So all most of them actually have a low. In fact, pretty much all of them except three anyway. All 90. Spin them around, press the tub on an avid look at them. They should love really, really beautiful and actually a little bit wet the glycerin because obviously they're going in the water, so they should actually have that will make sure that you're happy with the Valgrind. So you can see we've got some nice cracks in there and all kinds of things like that. You can see there's discoloration on the ward. This would be quite normal because obviously the made-up of different wooden panels. So they are looking really nice. Now, let's press Alt H, bring everything back. And now we can do is we can actually work on this part here. So I'm going to grab this part. I'm going to press question mark. One way to do is when I press tab, I'm going to mark some seams off. So we do know in the top and the bottom, no one's ever going to see that. Obviously, First of all though, control al transforms right-click set origins geometry. Again a little bit ahead of myself. Let's click the Question mark. I'm bringing a bevel before we marking seams. And let's put a naught point. Naught, naught, naught, naught two, like so. And that's too much. So we're gonna go naught point, naught, naught 4k. Try that. That's probably not high enough. So naught point, naught, naught eight. Let's try that. And that's probably just about right there like Goldilocks. So there we go. Let's actually apply that now. So control a comeback now. And what we'll do is maximum seams. I'm going to mark a Seam this time on the inner ones because I know that actually in the world, right-click moccasin come to the back. So I'm going to grab the back of here, control-click with backup here, right-click moccasin, grab it all, hide all the way. So L H hide. And now let's come to these parts and do exactly the same. I think on these ones though, I want to press Alt Shift and click and you can see that it's going a little bit around the wrong way. I'm just going to press the.in the number pad, just soap and follow this around. So I wanted to do is I'm going to grab this part here and go all the way around, like so. Right-click mock Seam and I'm going to come to the bottom. Europe in this one. All the way around marketing. Now I just want democracy on the inside of here or the back of air. We can mark it on the back actually going all the way up here, can't see it on the back right-click Maxime, and then L, and then you wrap. And let's bring in wet world. So when I click the down arrow come down, you've got wet wood there. And obviously I need to make these a lot, lot smaller. So let's make much smaller. And I think I also need to turn it round. So our 90 spin it round tab. You can see that's some reason got messed up. I have no idea why that got messed up. So I'm going to press Alt H, bring everything back. I'm going to actually come in now. I'm just real numbers. So you unwrap. I don't know why did that apart from the I didn't unwrap it. Fair. So I did mock Seam, I just didn't unwrap it. So now let's grab this one, same as your guide. All 90, spin it round. First of all, press the S button, bring it in, and let's have a lot what that looks like. So I'm looking on here and you can see it's not unwrapped out wealth. And I'm thinking it's because obviously it's got a slope going inward. So I'm going to mark another scene. So I'm gonna do is I'm going to Control click down here. And then when it come round to this side, and I'm going to Control click, round to this side, Shift-click, control click, right-click MSG. And now let's try it and see This one wraps any bad, which I think it does. So I'm going to spend both of these round. So these ones you can see ago and the right way. So all 90, spin them around, grab everything, S, bring them in. And let's have a look now what that looks like. And that's looking at Tom, tom better as you can see. Alright, so that's looking realistic now. Now if I come around, so this will be the actual front. I'm going to press question marks, bring everything back and then we can really see what these going to look like. Double-tap the a just so we can see how that's fed in place. And I think, yeah, thing that looks really nice. Now the next thing is we might as well put our Bolts on now because we can then start pairing them all the way around, especially when I have a bolt in there and things like that. We also need another piece of wood in here and we also need obviously this puddle here that we're working on. I think the first thing we'll do is we'll put a bolt into this point here. So I'll do is, I'll literally bring in a salinas. So shift a, let's bring in a cylinder. Let's bring this down something like seven. So let's see what seven looks like. Is that bolt like? I think it is. I'll think I'll use that. So our eggs, 90, let's spin it round. So S, and let's pull this into place. I'm going to press Control one. I want to lift it up, like so so I want it in there, but I want it obviously much, much smaller than that. So I'm going to press S. Then I'm gonna put this into place. I'm going to put it just in the word like so. And then when I pull this back to something like that, and then I think I'll press Control B and just Beverly up very slowly, I'm on the ship on down just to kinda smooth off that. Alright, so that looks like a bowl and it does look nice. I don't think I have to bevel that off. The other thing is I'm going to probably just moccasin on the back and then just mark some Seams going up. So let's save. This actually works a little trick you can do with Bolts. So if I grab the bar, press controlling MSG, and then come in and grab each of these edges here. So going all the way round down to the bomb and then right-click mark same. And you think, well, I was like when to interrupt me if you've not done these over here or the front or anything like that, but you will say five. Now grab it and press U on route. It should by a much smaller. Let's see if we bring in now, I don't metal tab. And there you go. You can see it's unwrapped, rarely, rarely nicely. You can't even tell that these Arm to join up and it does help. That is actually metal. So there is that to take into account. But I think if I press Alt H now, double-tap the eye. You can say that looks really, really nice. Now, We might as well make this go all the way around first. So what I'm hours we'll do is join all of this up now. So I'm going to press Control J, like so the words of law, I think it changed. Yeah, chains actual material. So I'm going to shapes, move on, auto smooth. And that's something that looks like went a bit lighter. I'm not sure why that did that. But anyway, right, so now we've got our cursor in the sense if I press Control one, it should be buying incentives. So let's right-click set origin to 3D cursor. Now, if I press shift D and then all, and why I think it is 22.5. It will go to the next one. We know now if I delete that and I grabbed this one again and I press shift D and then all why 45? Because that's 22.5 times two. You can see now that's going to the next point. So again, shift D, all why 45? Now they're all ways of doing this. You can spin it round and things like that. But honestly, by the time you've done that, I will finish this. So Shift D all why 45? Shift D, RY 45. So like I said, you can now be messing around with modifiers on things to try and get this spawn around. But like say, this is the quickest and easiest way. So they are wide 45 and just keep working Ramp. And you'll be back at the start in no time and then we go. That's actually don't. Oh, okay. So now we've got that. All we need now is to first of all, change these UVs. So that's why I'm going to do so I'm going to do is I'm going to basically, I'll come in, probably individual the solo cup, all this out and then just move them over like so. Then I'll come to the next one and remember the top. So this one here is the one that I don't need to chain, grab everything. Do this. The next one, muzzle press a actually to grab everything. G, like so. Click on it top a, a to grab everything this side, move them over like so. Grab this one. A to grab everything. Let's spend them upside down. So all hundred and eight say spin them around. Let's do the same. But this one, a, all underneath seat, spin them around. G, pulled them over here. And then finally this one here. So a. And then again we can come up, we can go to UV and mirror it on the x-axis, been around in that way, make them a little bit different and up a little bit phone. There we go. Now they should all look different. Okay, Then, so now we just need to mirror those over the center of here. Now we've already got this in here, so that's good because it means we can mirror that sin. Lets see if it does, then what we'll do now is we'll join all of these old. So join them to the Wheel, Control J, like so. Make sure also smoothens on which it is. And now I'll right-click so origin to 3D cursor. And now finally, let's save your work. So let's bring in a mirror on the X light. So sorry, the why? Let's take off the X and then let's delete this one here. So delete light. So and we should end up with something like that. Looks really nice right now let's come with the puddle. Same thing again. Although the puddle, those 22.5 because we need to have it on each one of these, so we'll come into the puddle, we're paste the question mark. We'll press Control. They are all transforms right-click. So origins, geometry. And then on the next lesson, what we'll do is we'll actually start to actually mark seams, put in a Bevel and obviously get our material on there. Okay, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 71. Finalizing the Exterior Wheel Design: Welcome back everyone to Blender to Unreal Engine five. And this where we left off, now we've read Zola transform. So let's bring in now a bevel. Let's pebble that off. Let's try naught point naught, naught one, naught naught point, naught point naught one. Let's try that. Yeah, that looks about perfect, so that's fine. Now let's apply that. So Control a and that's coming now I'm macau seams out, so I want my Seam probably going all the way around that and all the way around the bomb. Right-click mock Seam. Then what I'm going to do, It's a little bit bowed this. So I might as well marker Seam on each one of these because they're in the insights, you won't be able to see them all. So right-click and lock Seam. Now we'll try on rapidness or grab the whole thing. You unwrap. And we're going to grab it and press S and just shrink it and make it a little bit smaller. And now let's bring in all material. So it went all the way down to bottom. Like so. Let's have a lot without looking like me see straight away that it's going the wrong way round. So I'm going to rotate them. So all 90. And now let's see what they look like. So that's looking nice. That is looking very nice as you can see. This part, and this part is going the wrong way round as you can see. So Command Ramp this one. I'll spin it around on it like so. And now you can see it's going the right way round. This one is also going around. Alright, so that looks really, really nice. Now, let's go back to modelling and let's put these then going on each of these. So I'm just going to double-tap the a button and just have a lot what that looks like. And yeah, that looks rarely really cool. It might need saturating out a little bit is what I'm thinking as well with a color. So I'm thinking I'll go now to my wet would come to shade him. I'm going to put it on eBay and I have a good log because we do want to get a good image of this. The thing is a low is where it might need saturated. Now I'm gonna just pull it over this one on this one. Command, Shift a, and let's bring in a hue and saturation. Let's bring that in. Let's, let's turn the saturation down a little bit and you can see already it's starting to look much, much better. You can turn it down obviously it make it really, really dull or something like that. I think I want to turn it down to something like yeah, no, 0.7, I don't wanna lose the wetness of there. So you can see that still on there where you can see it looks, it looks a ton barracks. So let's try and turn the value. Let's try and turn it down a little bit, making a bit darker. Yeah, Not looks that looks a lot bad like that. I think it fits the scene much more so do you of course, don't mess around with you though. Just remember that because you will change it into all crazy colors and things that, and that's not something you want. Now while upgrade here might as well just pull this out to where I wanted because that's irritate me a little bit. So I'm going to press Shift Spacebar new. Let's pull it out to something probably around then I think I need another big piece of metal on here before it actually goes in. And maybe that pizza model actually should be on the outside like this. So I will actually come in and what I'm going to do is you want to press Control, left-click, pull it out here. Like so. Yeah, something like that. It needs something old and it on the original. I didn't have anything alternate, so I need to bring this in now. So I bring it in. Then I'm going to press E, pull it out into the wall. Let's have a look how thick that is. You can see that looks about right now, big enough to actually hold it. It's just as though there's nothing holding it on back of ASR need to work a little bit on the back of their on this one just to make it look right. And I also need to fix this mouse. I've got that in place now ready for the next base. So let's go back to Modeling now. And what we'll do is we'll put this over each side. So if I press Control one now, press shift D and then all why 22.5. And that's not going to move it because this is not set there. So let's press Control Z. Right-click set origin to the 3D cursor. And then I'll Y 22.5 and you'll see now they're going around. So Shift D all why 22.5, and then Shift D 0 Y plane 2.5, and then just keep working your way around. So she stayed RY 22.5 bit tedious and now, as I said, it's still quicker than any of the other ways. We know that everyone is going in the right place. So Shift D R Y 22.5. Just rinse and repeat, we're halfway there already. So Shift D or why 22.5? Shift D or why 22.5. And we will check as well to see if we've doubled our New York because that can sometimes happen when you're doing this, a lot of times like this. So our Y 22.5 and we've got two more to go. So Shift D RY 22.5 and then one more. Like so. Now let's join all of these up. So I'm going to grab each one of these So press control J, like so. I'm also going to do is I'm going to come to the back of these. You can see this as married at the moment. So I might as well applying my mirror, there's no reason why I don't need to control light. And I'm then going to go and before actually work on my puddles, I'm just going to go to the back of here and just move these over slightly like we do every time before. So we're going to grab all of these, will do these ones first, then we'll do these ones, will go to UV Editing. And I'm gonna grab everything. And I want to just press G. In fact, while there is, I'll just mirror them. So I'll come to UV and more mirror on the Y, like so. And now let's, While we're here, let's press question mark. There we go. Now you can say that they look, let's have a look completely different from the other side, which is good. Now let's come to our puddles. I'm going to press a, a moment to do is I'm just gonna go to UV Pack islands, make sure rotation is off. So they're all going the wrong way. And then it makes sure they happy with the size. And again of these, I'm going to double-tap the aim. Just have a look at those. And I'm actually, I'm actually happy with the size of those. They've come out really, really nice. So that was an easy way to do that. Now, we've got Boltzmann. Did we change our Bolts, Randall? They all look in the same yeah, The Bolts all look different as well, so that's good. So now we need is this little ball that comes in here. So let's bring that end. So I'm going to press Shift a and let's bring in a cube. Let's make it smaller. So S bringing it all. Let's put this now into place. So when to come in-between them, make them a little bit smaller. Let's pull it out now. So S, Y. And I've got a good idea. I think this needs to be something like that. I think I think that's absolutely fine and that looks like it's really going to pull that. Do we need to bevel these two all? I don't really think so. I think it should be fine like that. I am just going to come in now and just bevel these off just a slight bit just to make sure that they're not too straight. So I'm going to press Control J, pull it out just a tiny bit, rather than using my modifier. Don't see the point in doing that. Something like that should be absolutely fine. Now, let's come in, isolated out while we're actually in our UV. So I'll come in to each of these ends and you can see that they're actually a angle. So it might as well Right-click triangulate faces. And then I can come in and I made mistake that you can see. I'm going to control the mock Seam, right-click triangulate faces and now grab the inside. So right-click, if I grab both of them, Moslem rubbed them separate. Box seem like control lay old transforms, right-click the origins geometry. And now finally a, you on route a, S, bring it down. And let's just turn this one the right way round. You can see this one ultimately on the UV looks wrong. So all nine to spin it round a, and now let's come in, bring in all wet. Let's make sure they're going the right way. There we go. Alright, so that's looking pretty nice. Back to Modeling. Now let's have a local we've got here. So that looks really nice. Let's press Control one, making sure my cursor stay in the middle. So right-click and set origin to 3D cursor. And then finally Shift D, and then I'll wipe 45. I'm just way you way around again. This should be the easiest way of creating one of these. I have found, I think should DRY 45. Did it go round to all of it? Shift D, 0, Y, 45. Think that is right now. So now I'm going to grab them all. Going all the way round. Control J. Now let's press top a, make sure you've grabbed them all back to UV Editing. And what we're gonna do nice Pack Island. So UV and Pack islands are now going to make them a little bit smaller, like so I've looked at those. They look really nice and chunky. Now let's go back to our Modeling. Double-tap. Be. There we go. That's looking pretty nice. Now let's join all these old. We do have one more thing to do, so I'm just going to join all of these. I've got my house there and I don't will not join. Nope, So just these. So I'm going to press Control J, press G. I need the inside ones. So I'm gonna grab not the wheel and the grab these and these then Control J. J. Then I'm going to right-click Shade Smooth, making sure my also smoothies on which it is. Now let's put these Bolts him. So we need a couple of bolts on each one of these going all the way around. So and I press Control one again. What I'm going to do on the next lesson is then we'll start making those actual round Bolts, get those in place. And then based around just sent apart. And you can see we're moving really fast now because we're really getting the idea of how to do all these things. I will say that this Wheel, Let's have a look before we finish. It's probably less chunky than my other whale, but I think actually it's suits. It suits the overall build better. I think this Build actually is better than the original rough draft that I did anyway, so I'm very happy with that. All right, everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 72. Constructing the Central Pillar for Stability: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, let's think now, if I press Control one and we'll bring in our Bolts, well, this one's gonna be around Bolts. What we'll do is we'll bring gain, a UV sphere. And again, UVs me is one of those things when you bring them in there, absolutely massive amount of polygons. So we really need to turn these down. We don't really need a lot on this. So let's try something like 12. And let's try something like ten. And let's see For can actually get away with that. So I'm going to do, he's going to pull it out. I'm going to actually put it on to object mode. That's gonna give me an idea in Akron, really see what that looks like. I'm going to press all on X 90, just spinning around the right way. And then I'm going to look where I need these two. Probably going to need it up to the halfway point. You can see it's still got a lot polygons and bought, like I said, in Unreal, we can bring in as many polygons is we want, so we haven't got that problem. It's just if you send this through to another game's Engine, you probably want to reduce the polygons a little bit on things like this. Or you want to make it as a baked part of the mouth. While the moment we're not really going to worry about that, what we're gonna do is you're gonna come in and delete this left-hand side of the center. So this is the center, left-hand side, Alt Shift and click delete faces. This with Alt Delete versus just make sure we get rid of all those empties. And then we're going to grab it. We're going to press S and Y and pull it in just to make a little bit flying, you should end up with something like this. Now normally with things like this, you shouldn't have to actually mark and it seems so that's a good point. So let's press S, bringing it in like so. And we're gonna make it a little bit smaller, like so I'm going to pull it up. This is going to be holding in our puddle, so I'm going to pull it back into place now, something like that. And then pull it down a little bit and then press Shift D. And I might make you less a little bit smaller. This one, I'm going to press S. So I've got one big bowl and one smaller bold in the mall. Think actually that looks quite nice. I'm just making sure that they're in place. I'm also going to make sure this one's in place. Now in which there isn't went to smooth them off. So shapes move like so. Now let's put this back on Material, and let's then bring in all material for these. So first of all though Control a or transforms right-click its origins geometry, even though I'm going to move it, I'm just in the habit of actually doing that. Now. Click down arrow and dark metal. Now, do we want dark metal or do we want the light metal? So let's look at light metal instead. And I think actually the light Mel looks just a ton better actually on the double-tap, the a sub. Look at that. Yeah, it looks at Tombow. I'm actually going to look at these ones here and see if I click. Instead of that, I'll click the down arrow and put it on light metal. Look at that. I don't think it looks bad. I think the light mountain just looks at on that. So I'm going to actually use the light mouse. So I'm going to come to these now. Right-click set origin to 3D cursor, press Control one. Now again, around every single one. So the other thing of course, is we just stopped this on did we own the UV, unwrap those? I don't even think we did, so I'm gonna impress you. I'm sorry, you unwrap. And then we go and they have them wrapped absolutely fine. As you can see, probably a little bit bag on the UV map, but we'll find that out once we've actually put these all the way around. So I'm going to press Control one, and of course don't forget you have to mirror it on the other side as well. So what we'll do, first of all, we'll press shift D and then all and why I think it is and 22.5. And then just keep going around. So Shift D 0 Y 22.5 D. I think this is the last tedious Paul. This part? I think. So. Don't hold me to that, but I'm sure it is 22.5. I'm sure I've forgotten something and then we're like, Oh, no, we have to do that bit and it's a little bit tedious. But I think this is the tedious part of the actual wheel. And I'm going to say the rest of the build because they're all the tedious parts, like the stairs, for instance, near the door on the other side. Now I can get a bit tedious because it's a lot of building, trying to get an intricate, trying to get it look like it actually all goes together. Like so. All right, so now let's grab all of these and you can see, we can see the pretty much look in the same because they are cost sharing the same UV space and we don't really want that. So let's just call them round, grabbed them all. Like so. And I'm going to press Control J, join them altogether. I'm going to grab them, all them with a. Let's head over to our UV Editing. We will see that these things are huge. Let's press dot, zoom into them, can't see anything. So we'll press Question malt bring everything back And then what we'll do is we'll grab all of these UV and Pack islands and then we go, It's going to make mole Smaller Paros. And now let's go back to Modeling. Let's double-tap the a and just have a look at those. Alright, so they look really, really nice. I'm really happy with those now. Let's put those on the other side. So what we'll do is now we've got already in the center. So all we need to do now is come over to our little spanner, add, modify it, and let's bring in a mirror and swap it to the why, turn off the eggs. Double-tap be and you shouldn't end up with something like that, which looks perfect. Now let's press Control a, and let's now join these with the rest. So Control J, join them altogether, just to make sure it's all join on. There we go. We're nearly there on this bet. So now we've just got this Paul here. I want to press question mark just to isolate this out. When a comb to this part here where I said I wanted probably a little bit of a metal part on this part. So what I'm going to do is I'm going to press Control law, bringing this pole here, and then I'm going to pull this out a little bit. So Alt, Shift and click, repress E, pull it out like so. And I'm going to grab these going this way and this way. And I'm going to press E again and then pull it out. And there we go. We've got metal bit on that male going all the way along. And I think a thing I'll looks really nice. Let's move it off. So shapes move, bringing on autos move and see what that looks like. It's smoothed off really nice and that's what I'm hoping for because we brought that in. It's 16, if you remember. So 16 is smooths off near enough perfect, not using too many polygons on there. Now we do need to bring in a bevel is going to increase it a fair bit, but let's see where it looks like. So, so Control a or transforms, right-click set origin to geometry. And then let's come in and now bring in our bevel. And the other thing is I want to put this on angle like so. We just want a slight, slight bevel. Sometimes I'm Complex, things like this, you will get a slight bevel even though it's set a nought 0.1, I think actually it looks really nice as it, So that's really good. Alright, so we might as well just actually apply this. So Control lay like so. Now let's come to all, Let's do come to our cube first and we'll do, we'll press the question mark again. And you can see that didn't work. So now I'm going to press question mark. I'm going to press Shift H and then that's going to isolate it out that way. It's going to make it a little bit easier. Then we're going to do is Alt Shift and play around both of these sides and then come to the bottom right-click and marketing. I think on this again, we'll do is I'll just go round all of the size, actually, Moctezuma and all of them like so. So that's that now other way. Now if I press Alt H and bring everything back and hide this, so L out the way like so. Okay, you can see as well that we do have a problem in, we've got some angles, so we'll fix those. So first of all though, let's Alt Shift and click. Right-click. Mock Seam will also put it on face, right-click and triangulate faces. And let's say if we can put it on clipping stage to make it a little bit prettier. Now, let's come to the yield will do the same thing. So hold, Shift, click, right-click, mock Seam, Face, Select, grab this face, triangulated faces. Clip on. There we go. Okay, so now we need to work our way along. So I'm going to come up to it, right-click and where's it? Mock Seam. And then we've got metal here. So I'm going to call them underneath, right in here, right-click. Mock seen them round to this box, which is roundabout there I think oxime and then just work your way along. So this is all gonna be weird, but this is gonna be going over so the other way. So probably two here, right-click MSG, and then can we see in there? So I need to get in there somehow. So I'm thinking when a mock Seam here, right-click Maxime, I also want to Seam and the inside of here, right-click most Seam, following it all the way around. So Alt Shift and click now. And then this Paul, I'm just looking at this. We want this probably would do on metal. They're probably here. I would say here. And then here, right-click mob scene. And then going around to the inside, which is definitely here. And then this is the actual world. So right-click, I'm oxy. Now finally, we just want to stop all these infinite loop. So we're going to pull one at the top on here. Let's zoom in a little bit. And you can see that not great also, I'm going to grab this one, grabbed this one right-click mock Seam. And then now we need the Bottoms of here, making sure there's no infinite loops of course. So I'm going to come to the bottom of here. I'm going to grab the bottom of here. And I'm going to try and go because I need to go all the way round. I need to press Control seven. And if I press Control It's showed market Seam then going all the way along here. So right-click mob scene. And that should, because it's all round. We need stuff, all these infinite loops going there. So there's not really any paces except this part here. Then I'm just going to come in minus that off. So placing, making sure that's cleared, come around to here then, and then play with Seam as well. So placing, now they should unwrap perfectly well. Let's press Alt H and then on the next lesson where we'll do is we'll unwrap these and actually see how these turn now, but I'm sure they're going to turn out pretty nice. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks. Bye bye. 73. Creating the Stone Opening in the Design: Welcome back everyone to Blender to Unreal Engine five. And this where we left off, right. Let's press Alt H, make sure we've got everything here. Let's now grab everything. Let's press U on, on their app. And now the moment of truth, Let's bring in all material which is gonna be wet wood. Is that going the wrong way? That's the question. Doesn't wanna be going that way. I'm not sure. I think it needs to be turned around and I think we have a problem with this part here. Don't think because unwrapped actually correctly, because let's have a look. I'm looking I think of gross see missing there. Yes, I have looked a little Seam there. And it's really messed up this bar here. So let's also press question mark. I'll teach. Yeah, let's do it that way. So what we'll do now, I'll grab all of this. In fact, we know one, I'll grab this piece of wood and I'll hide our way. Now I've got really, really good idea what that looks like. You can see that's really messed up there. So what we'll do now is we'll probably all will press U on the Ramp and now it's unwrapped. Absolutely fine. Now, let's go in and let's change some of these round changed some of these Materials. I'm also going to come in and bring him adult mental just so I'm ready. Alright, so this here as well, it looks way, way too chunky, will come in to our UVs. It's him. We also need to do the backend of this. I need to do that after this. So this needs some probably metal parts just going up to here, so we'll see what this looks like anyway. So I'm going to grab it all. What I'm gonna do is I'm going to grab these two parts first, so L, L and a, spin them around. So all 90, it's been around, pull them back into place and let's have a lot, what that looks like now, now looks a lot more realistic as you can see, a lot more realistic like that. Now let's come into our metal parts. So this Paul here, one Window is, I'm going to assign dot metal, like that, knowing the command. So each of these parts, so all, all, all and assign my dark metal. Because that now again, you can say it looks really nice. I'm going to come to these parts. I'm going to make them a lot bigger. So S pull them out and then look much, much bad. I'm looking just to make sure it all looks like he goes together and yeah, I think I'm happy with that so far. Alright, so now I need those bits in the backroom, Just looking around here, just making sure all looks right. I'm also looking at this mountain making sure that all kinda goes together. Some bands on there isn't enough to hold in place. That's why I'm looking at now, I'm going to press Alt H, bring back the wheel that can double-tap the a and have a look at that thing. Yeah, I think it looks really nice. Now the thing is do I want to put some work on the back? No one's going to see it. Do I really need to do that? Probably not actually. What I'm thinking though, as well as a probably I'm just wondering if I need some more Bolts in here. And these parts here or not. I think I'm probably overthinking it. I think actually it looks it looks pretty nice. I think one needs to do is I need to bring this bar in a little bit. So this one in. So what I'll do is I'll grab all of these, not that way. I'm going this way, this way and along Route rhythm rap there. So I'm going to press Control one. I'm going to come in, I'm gonna press S and bring those in. Like so let's have a little bit that looks like now. And I'm saying needs to read them Ramp this so I'm going to press out, you unwrap a S, make it a little bit smaller. Like so. The other thing is I'm going to actually check if it looks bad again on the light metal. And yes, it does. It just goes with it so much bad. Don't know why, but it just looks better on this than the actual dollar amount. Alright, so there we go. Let's go back to Modeling. And let's have a look at this. From the standpoint. Let's also turn off my ground. So I've got a really good idea where it's going to look like. And yeah, it looks tones bad. The more male than one look like actually. Now, the one thing I probably do need to do is put a hole in here just in case you're looking from the side. I don't think it looks right from there. So I've still got my cursor in the center here. So I'm going to do is I'm going to press Shift a and I'm going to bring in a cylinder. And I'm going to put the cylinder up to something like let's try, Let's try 12 a thing and get away with 12. So I'm going to rotate this round now. So all eggs 90. I need to make this a little bit smaller, but I need to make it slightly bigger than this end here. So if I bring this in, first of all, I need to make it hopes to grab it again. Like so, make it smaller. So S just comes past this, like so something like that. And then one Windsor is I'm gonna grab my building now, come to my Modifiers, add, modify it, and we're going to bring in a Boolean. And we're going to select this As that. And then Nolan went to do is I'm going to apply this Boolean. And then I'm going to hide this other way, just 1 s. And you'll see now it actually goes into the wall. Now the other thing is, I want press Alt H and I want to hide this part now. I want to hide this in front tomatoes will join it altogether. So I'm going to join all of this, the width Control J. And then I can hide it all out the way. I'm just left with this. I'm actually going to use this. So I'm going to do is I'm going to pull it out. So S and wireless pull it out a little bit so we won't yeah, probably something like that thickness. And then what I'll do is I'll come in now. What wanna do is I want to create these parts here. So I just want this outside. So Alt Shift and click Shift D. And to pull it out a little bit, grab this now, I'll delete. That says like so we can see that this is the inside of it, but we're not going to see that we don't need to worry about it. Now the one thing we do need to worry about though, is this face here is never gonna be right. So why needs designing to now come in, grab both of these and right-click and triangulate faces, and just fix that out. And you can see we keep the same UVs anyway. You can see we've got a fair few points going into these. They all fall and I said Stay away from that, but it's a flat face so we should be able to get away without no problem. Now I'm going to press Control one or more wants to do is first of all grab this, then control one. Once, press Z, then and go to wireframe. And now it can actually see this. And we'll wanna do is I want to bring this in now. Like so because I want my stones to actually go just over there. So I'm gonna pull it out just a tiny bit. So that just actually over there. Now we're going to do is we're actually going to create these as actual Stone. I'm going to press, go back to Solid. And now I'm going to press Tab. And I'm going to come in and I think grab each one of these. So grabbing each one like so. I'm actually wondering if it's easier doing it like that. Once I've split these up, the thing is it will pull them out in a really weird way. Actually, probably not the best way. So I'm gonna do is I'm going to press Control ALL transforms right-click. So origins geometry. And we'll just use a Solid advice. So let's bring out a solidifying and we'll put that out a little bit. Let's just pull it back into place to have a lot what is going to look like? Let's press Alt H So we have a good idea once our wheels in that, I want to still to have a little bit of a gout, which you can see there is a little bit of gap. So that's nice. Is that quite a one? Now I'm going to hide my wheel out the way and come back to my Stones. I'm going to make sure even thicknesses on. I'm going to apply my solidify. And now I'm going to do is I've pretty much selected all these so I can press Y, G, split them all up, and then compress a. I can bring them in with individual. So S Now bring them in. And then one Wednesday is going to come to Mesh, clean up and fill holes, and that should fill all of those holes. And finally, now let's come over and bring in another modifier. And this time we'll bring in a Bevel. And I'm going to pull it on angle and then turn this down to something like several of what looks more Stone like. So naught point. Yeah. So they actually look like Stone, so that'll be fine. Now I'm to do is press a, bringing them together, like so, so they're actually narrowing of touching. And then we go, I think that'll look good. Now let's press Control late. Let's isolate them out. So impressed, Shift H, isolate everything now I now need to do is just mark some seams. Again. I can probably get away with marking seams on the inside and then going round the back. So I'll do it that way so it'll hide the stonework a little bit fast. So I'm going to grab all of these H for height, and now just come in, grab each of these faces. I know it's a little bit more work and I know it's probably not needed. But if you can see through that wheel, I think this just adds a little bit more realism to it. So that's why we're doing it. So controlling Maxime, let's come round the back now. And then what we'll do is I'll grab, whoops, these going from here. And why I'm not shifts selecting is again, you know, if you try that, It's just gonna go old way around to the front. So that's the only reason I'm not actually doing that. Someone is going to come in, grab all of these, going round. The same on this one. Like so, right-click and mock same. I don't know, I always start off from the outside and then go to the inside. It always happens that way. Never mind. So I'll teach, let's say now hide all of these. So L on each of these, high them out away. And again, come round to each of these one is faces. So this one here. I get that one. No, I didn't. Okay. Right-click and controlling instead is face-like after all. And then finally, let's come in now and grab each one of these. Let say if I can actually do the outside and not calm to the inside. Like I just keep doing that. I don't know why I'm doing that, but we'll just keep going Now this I think this is where it change over. One. This one here. I'm still on the outside, so that's good. So let's do the outside on here. Yeah, I'm here, right-click and marketing. Alright, so what we'll do that on the next lesson as well, bring in our Stone. And then finally we can start way back on the actual Support under where the waves and things like that. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks. Bye bye. 74. Mastering Arched Support Structures in 3D Modeling: Welcome back everyone to Blender to Unreal Engine five, and that's where we left off. Now let's press Alt H, bring everything back. I'm not sure why all teachers working there we go. Eight, grab everything, you Let's unwrap them. Let's bring in now all Stone, which is this one here. Let's put it back on material. That is what it looks like. Now, let's press Alt H and see if everything appears bark, which it should do. Let's see inside the wall. Let's double-tap the a and Avalon what we're looking at and that you can say looks really, really cool how that all comes together now. So we're really, really happy with that. I might as well join my Stone up. I'm just making sure I've got no modifies on with my actual building. So Control J. Now we can actually work on these Supports coming out of here. So what we're gonna do now is we've got our cursor right bang in the sense. So I might as well use that to create the first Support. So I'm going to do is going to press Shift a cool man, bringing a cube S, make it smaller polytope. And obviously it needs to be way, way centred the more it. So essence add like so. And let's pull it up to where it needs to go, which I think for see if I pull it up, you can see it's just disappear in there. I need to pull it out a little bit. And now we need to decide how thick we actually want this. I think this is a little bit too thick the moment, so I'm going to press S and X, bringing in like so then when it come to the back of it and then pull this into the wall and it should just fit under there. And you can see now it's really like coming together and this is how it should be actually supported in real life. So you can see actually kind of comes over here as well. Now let's press Control one and we can see now we'd probably need one Supporting here, one Supporting here because we've got a natural support in these posts on each side. While there's all press L, I'll press Shift D and then our vlog. So if a bar over here, well that is that too much of a gap over there or couldn't get away with it. Literally like there instead, I think actually it looks bad and it's more realistic there as well. So I'm going to put it there. Instead. I'm going to put this one roundabout that I know they might not be exactly right, but I feel like, yeah, I think they look pretty good like that. Now we need to think about the supports that come up from here. So we could, There are many, many ways of doing this, but I think the easiest way is probably just to bring in a cylinder and use that. So I'm going to bring in a cylinder and it's going to come right in the center here. So I'm going to press Shift day. I'm going to bring in a cylinder and I'm thinking 16 while it's on 12 of the moment, is that a little bit low? I want to prey on 18. I'm going to try 18. And then I'm going to spin this around. So our X and 90 spinning around that when you can say is definitely the wrong way round, I need a halfway point as well. So I need to turn this around. So all 90, like so then I need to think where this has got to come up to. And this should come all probably roundabout to maybe here to actually support the rest of this. So that's where I'm thinking. I know the halfway point on here. Is this here as you can see. So I'm looking to put that roundabout then and now this needs planning now. And I also know that this now needs to come back to here. So what we'll do now is I'll press S and Y, and we're just going to pull it out a little bit and just try and get that nice flow going round and down into here. So I'll think I'm happy with that so far. What I'll do now is delete both of these sides. So delete faces. Then I'll grab the whole thing and I'm going to squish it in. So S XX in an immediate slightly thinner than this, see it. And walk can do now is I can grab this one here. And I can grab this one here. So this one just below there, because that is the halfway point. You can see this go straight down and you can see this one we can bring straight out. So that's good. So I'll press Delete basis and then L delete. That says, now, let's pull this down a little bit of the way. So we're going to grab this. I'm going to press E and Z, pull it down, probably to something like that. So then we can support it along here with another piece of wood in here and then something to support that. So we'll worry about that in a minute. Now let the moment, let's see if we can just straighten this up. So I'm going to press Control three, I'm going to bring this out just a little bit more. So it's got nice flow to it. I'm also going to bring this one out. So I'm going to press Control three again. I'm going to straighten this off a little bit like so it doesn't have to be perfect or anything like that, just something that we can actually wear. And I think That is enough there to where with, so now we can do is we can grab this. We can probably pull it down a little bit, pull it out a little bit. And now we can come in, we need to reset actually the orientations. So I'm going to press P selection just separate out from the rest of it, make you a bit easier to control al transforms, right-click, origins, geometry, add modifier and solidify even thickness. And then let's go back the other way. And you can see there how far I need to go. And that's way, way too much. So let's bring it back down the other way and see what the thickness is like going around. They're probably not thinking of you for money. So I'm gonna pull it down a little bit. I'm going to make it a little bit thicker now, going into there. And that is probably thinking of right there. So and then Unwin's pull it back into the wall. And I need to make it a little bit thinner as well. So S and X make it a little bit thinner, just so it looks a little bit more realistic. Yeah, Not logs. Absolutely perfect now. Alright, so I'm really happy with that. Now before I'll print on both sides, I might as well add in a bevel to all of these and apply my solidifies. Let's press Control J. Let's join them altogether. So Control J, Let's now reset all the transforms. Right-click origins Geometry, right-click shapes move and will bring in toes move as well, just for when we add it altogether. You can see now, it's because we picked 18. It's kind of smooth. You can see it's a little bit jagged, but Wood would be like that anyway on these pause, there won't be perfectly smooth or anything like that. So I'm really happy actually without That's turnout. Now, let's come in and we'll add in our level. So a lot of new bevel and Wipro naught point naught one. Let's try that. Yeah, nothing that bevel looks absolutely perfect. So Control Alt H, sorry, Shift H and hide everything else. And now let's bring in all seams. So Alt, Shift and click. Thank you can actually get this one going around there, around the bomb. Mm, round each one of these right-click mob scene. And now let's think about where I want to market Seam on here. So I'm gonna grab it in there. So I want to grab it. And now when I grow it in the top, so I'm gonna do is I'm gonna grab this one hot out the way. And let's just do this one first. I want to grab it from here, go all the way down then to here. Right-click on moccasin. Now the thing is if, if EMOC to seams on here, it's probably going to be easier to actually own route this. So I think I will, I'll grab the inner part because we won't melt. See that anyway, mock scene. And now finally, let's grab the top parts of these because no one will be able to see those anyway, right-click on methoxy. Let's press Alt H and we'll just democracy him on this one as well. So right-click mocked Seam, grab the whole thing now and let's unwrap. And that's also bring in all material which will be, or would mean, okay, let's lower that looks like in C, they're going all of their own weight. So we need to fix those, will come in and grab all of those going round. Let's now go to our UV editing. A 90 spinning around that's printed a different place. They look like. So I'm just looking now. I'm looking at that, want to make sure it looks right. And then finally Wall Window is I want to press question mark or alternate bring everything back so then I still can actually bring everything back. So why is that? There we go, Question mark. Now, let's hide out, but we'll minute Let's look at this ward. I'm just checking to make sure that the ward, for instance, is going the right way along here, which it is, and also that it's Supporting and it's not too far up. So you can see it's just the bomber that don't want it sticking through all the ones to make sure that is. And also then looks the same kind of green as this, which equals. Now what we can do is we can come in and we can grab this, all of it. I can press Control, Shift D, pull it over this one here, and then ship date, and then pull it over to this one here. And then finally wall can do is I can grab all of this one, a G. Let's move it over here. And then grab this one, a G, move it over here. And now they should look very different from each other, which they do. Alright, let's double-tap the a. Now we need this ball here, so I might as well use this sentence. I've got this, I'm going to press out. I'm going to press shift D. I'm going to bring it up now into the ball mob here. So that's actually Supporting those. You can say I can't really go any further. So I just need to put it on the just the bottom of here. And I know these are a bit out on there. And I guess we could put in some piece of wood here, but I don't think that'd be realistic. I think we would actually stick out of there, so yeah, I think that would be fine. Alright, so what we're doing, the next one is them will work a little bit more on getting all of these parts in, will also change the material on here because I think we should have this actual material on these parts here. I think that'll look a little bit better. Then finally then we can come round and probably start on our doors. I think there'll be a good idea to Stone that. Alright everyone, so actually it will save it out. Don't forget to do that. And I'll say on the next one. Thanks a lot. Bye bye. 75. Adding the Finishing Touches to the Balcony Supports: Welcome back everyone to Blender to Unreal Engine five and this where we left it off. Now, let's first of all go back to modelling. And let's now think about this part. Let's, let's come in Seoul this part out first. So I'm gonna do is I'm just going to grab all of these and I'm just going to change the material over Sue. I think it's this wall, so I'm going to press down arrow and Stonewall. There we go. Click Assign and let's look what that actually looks like. And I'm hoping it comes in. It's the same size as this one here, which it is actually, so that's really nice. Plots the same to all. Let's have a low. Now they don't, they don't quite follow each other around. So I can say I've got a tiny bit of work to do, nearly the nearly following each other around. So let's go quickly to our UV Editing. Press adult bone. Let's zoom in to this wall here. So we'll come to, whoops, not that one, this one here. So I'm going to grab this one. I'm going to press a and let's see which way. Yeah, G and X I think it is. Yep, there it is. So I'm going to pull that up to there and I want it, but they're basically fits in. Absolutely perfect. That's exactly what I want. So this one's also been perfect. This one it's been perfect and we just need to move this one. So G and X, move it over. Download. So press the tab bond. Now they're looking absolute perfect. Maybe this one wants to come down a little better thing. So G and X hold the Shift bond, mike. So there we go. Absolutely perfect. So that looks I think but there will be a ton bear like that. Yeah, I think I'm happy with that. Looks, it looks much, much better. Okay, so now let's go back to modelling, and now let's go on with the real work. So let's come in. We still got cursor, hopefully in the middle. So shipped day will bring in a cube, will move this up, press as Bone. I'm going to come from the top. So I'm going to bring it probably a little bit small maps. So from here, I want to pull it back. I want to make it thinner. So S MY pull it back into place from there. Maybe a little bit further out. Like so. I'm just making sure the assets actually touching the wall and then going to press Control one, I need to move it over to this side. It's halfway. Then I'm going to actually probably rotate it round. So all why rotates it around it and then put it into place. So I'm going to come like so, bring it into place. Like so. Now I'm going to grab this bottom here. So I'm going to press Tab face-like, grab this face control one again. I'm just going to pull it out. While among global, she'll be fine. So let's pull it into this corner now. Down into this corner, like so. And then I'm going to grab it all shifty, bring it over, I'm going to mirror it. So Mesh, mirror on, I think it's on the local Z. Let's try that. Note. That's not the way, so it shouldn't be the local X. Nope, it's gotta be the local. Why? No. I think it's trying to mirror it on itself so we could try the excellent, There we go together one time. Okay, so let's put that in place, like so. Alright, so I'm just going to save it out now. And then I'm going to come round to this side on each port, my other supports in to hold this bit here. So do I still, these parts here can now get away with stealing those little. Let's have a try. So I'm going to try and steal these Edge Select all, grab it, Shift D, and so let's pull it over and then it spin it round. So all 90. Let's see if we can get these ends plate. So think maybe down here, because I've got a thing that I need the support Main down to here, so we have to take that into account. So I think something like that actually. Now, what code do I need to pull it up a little bit first just to make sure it's in place. And I don't really want to stretch my words so I could just pull these back to here. Like so I do want them poking out a little bit as you can see. Like so actually maybe these ones wouldn't be quiet poking out as much. I don't think so. I'm going to pull it back just to Todd like so so they can't actually see that. Now we're going to press shift D, bring it over and I'm going to spin it around now. So all zed hundred and 80. And that means then that the world will look different. I know what to actually mess around with these render things. That's called. Now the next thing is probably don't want them coming down quite as far these, on these parts. So I'm going to bring in the next piece. So I'm going to press Shift a, bringing in a cube. And you can see the woods already come on, which can actually irritates me. I'd soon as they come in with no Materials and it's called abroad to in obviously where they're already in edit mode. So I'm going to press Control three and then went to make these a little bit bigger, like so. I'm going to pull these off now in place. You can see that Little bit too big now, so S pull it into the middle. Then I'm going to pull it back. I'm going to press S and X squishy in, pull it back to this point to the wall, just make sure it's in the wall. Like so. Grab this edge, pull this down. Now, I'm going to actually separate this off. So I want to press pay selection and I'm also going to grab it. And what I want to do is I just wanted to minus off that would like so, so now I can say, I don't need to UV unwrap, these are anything but I do need to with these. So I'm gonna pull this down probably at todd, like so I'm going to grab it out, shift D, then rotate it. So five press Control one now and I rotate it. So all on. Why rotates it around, pull it out, then pull it all into place, like so. And then finally S Y, pull it in. Okay, So is that strong enough to hold all that? I think it will be. So I'll grab both of these now with all should date. Bring him over, put them into place. Okay. Now let's bring up this one. I'm going to grab this one here and the press L D, bring this up. It's actually underneath it. You can see it needs to come out a lot more. So I'm going to come pull this phase out to here. And I'm also thinking it might be better. This is just sat actually on top of air. So I'm gonna join these altogether. So I'm gonna press Control J and then I can actually work on them a bit, a bit small separate thing, that one and not one. If they come up a little tiny bit, I can grab this one and pull that up so it sat on top of there. Just think it's going to look a little bit more realistic. So now I'm going to grab both of these, pull them up. Like so. Yeah. I think also that these are a little bit thick, so I'm going to pull them out. I don't want to pull them back all the way. I think something probably around about there. Yeah. They look a lot bound like that. Okay. So now I want I think two piece of wood. I also think at one spot, bottom piece on here as well. I think that'll make it look good. I'm just wondering where there was a bomb piece go all the way. I think definitely on this one, on this one will have a bottom piece on. What we'll do is we'll grab this one, press Alt Shift D, bring it down to roundabout that I think actually that's yeah, that is thick enough as well. And then I'll come around to this one. So I'll press L, Shift D and to bring it down, pulled by in the bottom of there, like so. And then finally, I'll grab this one here. I'll press your date. And I'm going to rotate it around. So Control three and then rotate to Arm the X. So let's rotate it on the X, put it into place and this corner, I'm going to have to pull it back a tiny bit, just a tiny bit like so. Grab this and press Control three again. And let's put it in this corner up here. Just so it looks like it's got some Support. Alright, that looks fantastic. Okay, so now we should join all of these altogether. So Control J, join them all up together. What we'll do now is we'll just actually bevel them all off. So control all transforms, right-click. So origins geometry, bringing up bevel again. So I'm devil will put it at naught point, naught. So let's try that first. I'm just making sure that it's the same as these. Maybe that's a little bit too high as you can see. I'm also going to make sure angles on. So let's try naught point, naught one. That looks just a Tombow like that. So I want to keep that, I'm going to actually apply that. And then the next one, what we'll do is then we'll actually Marco seams Again on Ramp these and then pretty much that is this part. All this side don't so it leaves us just this part and this part here. I'm sorry, I really gained done it now. So once we've done this, as I say, we'll start creating these doors and have a bit of rest bite from putting it in these pieces award. Alright everyone, I hope you enjoyed that and I'll see on the next one. Thanks. Bye bye. 76. Streamlining Door Creation with Easy Techniques: Welcome back everyone to Blender to Unreal Engine five. And this is where we left off. Now, let's hide all we allow the way and let's come to these pieces of wood here. First of all, let's make sure they're all joined up, which they are. So then we compress question mark, isolated them all out, and now we've already got all bevels actually put on. So what I'll do is we'll come in and add in. All seems like so. And you can imagine if we left all of these pieces of wood to the end, it would be probably too much trying to mark all of these Seams. It would take literally probably I was Small that one as well. So right-click oxime and I'm going to come round the back and I'm marker Seam in here because this is obviously the wall I need to Seam in here. Right-click and maxime. Let's just work our way up now. So right-click them oxime, and I can grab these now. So I'm going to grab both of these. I'm going to put them in the inside which is here. So right-click and mock Seam. And that's work our way around a comma, these ones, right-click Maxime, and then finally, all of these ones here. Alright, so that's that. Now we've got the two bottom ones I've missed. As you can see. There we go. Alright, let's actually unwrap them separately. So I'm going to grab this side first and alone Ramp them so you unwrap. Then I'll grab these. Women were up these. Next. You unwrap and let's bring in now the material Wood man. Alright, we can see we've got some guy in the wrong way. Let's, let's put it on Eevee so I can see what I'm doing. I think I'll probably have to not isolate out. So question mark and I can see what I'm doing from here. And I can just grab them all and thought I won't grab them all. I grabbed the ones that are going the wrong way so I can see that they're all going the right way. So it's just this one here that's going the wrong way. So I'll go to my UV Editing now, a 90, spin it round G. Let's put it into place. Alright, let's have a look what they look like. So I'm just comparing them again. Comparing them to these. They look absolutely fine. Let's join them all up now. So Control J, no reason why we can't do that. Now everything is, I noticed if a calm to this one here you can see is a little bit out. I'm going to grab this one with L. And you can say it's because it's going slightly over there. So I'm going to press S to shrink in a little bit, put it into place, and now that one is fixed, I can also say as well that we can see a little bit of the wool down here. I don't think a one that I'm going to do is I'm going to come in and I'm going to grab each one of these, and I'm just going to pop this to the actual brick as well. So I'll see if I can get away with it. A mine app to unwrap them all. So let's have a look. So we need Stonewall. Let's click Assign, press Tab. And I'm just looking to see if I can get away with it. And you can see that it doesn't actually look right. So I love to come in and grab them all and unwrap them. You can see that they're actually several Look, I can see they're actually joined virtually, so well, they're not on-ramp correctly. So I'm going to I think when I press Control zed and just go back and just grab them all together. And then 3D and wrap them all. The same time of thing. So I'm just a second. Yeah, there we go. Now let's read them, wrap them, make them the same size. So you unwrap. There we go. And they're looking perhaps a little bit smaller than these. So I'm going to press S, bring them out. Now. I'm going to bring them in, sorry. To make them round about the same size. And there we go. Then I'm just going to look at bringing them all down. So if I press I think is G and X. Yeah, there we go. I can bring them holding the Shift Bone joules right at the top of there and try and bring them to the bottom. We're going to press Tab and have a lot. So there we've got the Bottoms, as you can see, going all the way around the top. And that was actually quite easy to do that. So that fixed now and then look much, much better. It looks like it actually goes down to this point. Now, let's go back to modelling. And what we're gonna do now is actually work on our door. I'm going to pull out this here and this is one when you use obviously to work on my door, it might need shrinking in a bit because normally you would have some at least a top on this Door. Let's bring our mind over and I'm just going to check him out and see what sizes Door is. I'm going to press Control three. I'm gonna pull him over to the side. And I'm actually you can see we've got step here, so pick him up and see just what distance I've actually got on the top of that. So I've got a tiny bit of a sliver where it can pull probably a piece of wood. So I'm gonna do is I'm going to grab my block now. I'm going to grab the front of it. I'm going to press Shift D and to, and just pull it out. I'm going to delete this off. So L delete vertices, and now we can work on it. So I'm going to pull it back again. I'm going to press Control All and let's see, five. Yeah, five, that should be fine. So left-click, right-click. And each one of these is obviously going to be a plank of wood. Now, while I've got these amounts, will grab everything. Right-click Moccasin. And then what we'll do as well as will press control law. And we'll bring in some edge loops just ready. So left-click, right-click. So you can see I've got five edge loops going down and then warm red stairs want to grab each one of these individually, like so. I'm going to press Y G, make sure they're all split up and now compress a. And I can actually bring them out. So I'm going to bring them out first. So I'm going to press E, bring them out. Like so we don't need them not thick actually. And then come down to individual origins, control three, and then just bring them in, I think on the Y. So SY, bring them in, press tab and there you go. There's your HDL. Don't. The reason we added those Edge Loop sitting now is because of its domain. And I can put it on Proportional Editing. I can make sure we're on connected, sorry, OFF connected. And then when to move them out. Now you can see I can just slightly bend these out a little bit, making them look a little bit more realistic. Element needs vary slightly again. This one here, and pull this one back. There we go. Now you can say, look really, really nice. Now let's right-click Shade Smooth. Let's put all to its moving on. And now let's just come down to the bottom. Takeoff Proportional Editing. You can see if we're going Edit Mode actually it's on there. I didn't actually know that in object mode, It's like you have to actually turn it on separately, so that's circled center. Now let's come to Face Select and let's grab this bottom one. Hopefully it should be able to pull a few of these up, rotate them around. So our next I'm going to use this Door on the other side as well, so I might as well do that. Now the only thing is I do need a piece of wood going over the top. So I do probably if I press Control three needs to bring this down just very slightly. So I'm going to grab all of these. I'm going to press Control three again and just bring them down very slightly. Normally on things like this, it would probably stupid anyway. So now let's press top. We'll press Control a or transforms right-click set origin to geometry. And let's come over now. I'm bringing our bevel, so I'd modify it level and let's turn it down to naught point, naught. So let's try that too much, I think so let's turn it down one more. Yeah, Not looks about right. We've got a nice wood in there, an actual looks like adult. It may be a tiny bit too much I'm going to do is naught point, naught, naught eight. Let's try that now and that's probably better. Let's put this on angle as well. And let's apply this now. So that's done. Now will find there will come in and we'll add end up with, I didn't ask seams and you can see that there's a lot seams on here, so let's just get rid of those. So if you right-click control leak because we're in face select my layer, I'll seams off. And then what we'll do is we'll come up with Edge Select. I'm going to grab each one of these and then come down to the bottom. Do the same thing. We should be at this point, Masters at marking seams. So now let's come around to the bank, do the same thing. So I'm going to grab a scene here. I'm going to zoom out so I can get into this. I'm gonna grab Seam down to here. The next one, next one, then the next one. The next one, like so, right-click and mock Seam, a moment of truth. Let's see if they're all different. So whenever gram mole press U on Route bringing my material, which is going to be, I want it to be the light would the whiteboard here we are, can see only one of them is actually the wrong way round. So I'm going to grab this one. Uv editing a 90, spin it round back to modelling because I think these should be okay. Double-tap the a. And there we go. That looks really, really nice. Alright, so I'm not too concerned with what they look like on top. No one's ever going to see that. So they just for decoration. So now I can bring this into place and it's up to you. I fall back and bring it. I'm going to press adult years so I can actually get there. And you can see I've left that little bit sliver for a piece of what's gone. So I'm going to pull them back and see how far can get away with something like that to give it a little bit more depth. And then one way to do is I'm actually going to steal this piece of what they were in, press out Shift D and two. And then I'm going to shrink this down so S, pull it down and then pull it back over that piece or that would that just so it's nearly on top of them. So we still got a gap in there and that's exactly I'm looking for. And each stretch it out of it as you can see. So I'm going to press S and Y, bring it out a bit, pressed the top Bone. And there we go. It looks really, really nice. Now it's up to you whether you want a piece of wood on each side. I think I'm happy with how that looks a moment. Now I need to take this so Door so I'm going to press shift D. I'm going to bring it out. In fact, I might as well take the whole thing, so I'm just going to delete that a minute. I'm going to grab the door. I'm gonna grew up the top and you can see that it's fixed with these. I don't really want that summary. Split it off. So all in Edge Select, hey, selection, grabbed the top, grabbed the dog, press Control J, join them both together. And then one way to do is I'm then going to press shift D, bringing it out, spin it round. So all hundred and 80, like so, press three. And let's bring it down to our of a double-space which is run by here, I think might need to make this a little bit bigger with the looks of it, so when to pull it into place. So three again, you can see that the Door let's try and get into place first. How far back do we need to go with it? So he had and I need to come across a little bit as well as I can see. Probably actually go a little bit of room actually to put some wood in there. I'm not sure whether I want to do that yet. But one way to do is I'm probably, you can see, I might make this, this part here a bit bigger first, so I'm going to press S, bringing out a little bit, put it up against that. So let's have a look at what that looks like. So double-tap the a. Yeah, that looks actually really nice. I just need my Door probably then to be a little bit bigger. So I'll do is I'll come in and hopefully I can get away with stretching it that much. So I'm just going to press L on each other top of these. And I'll grab it up to the actual seams. And I'm just going to pull it up into place like that doesn't look like there's any stretching on their double-tap be. And then we go Let's put it on Material when I've got for you what that looks like in yeah, that looks really, really nice as you can say, can imagine like some outside of here, probably some barrels, awesome green sacks or something like that. Alright, let's save that out. Then what we'll do on the next one is we'll actually start work on this actual Door here. And then finally we'll make the Handles for the doors. And then pretty much we've just got some more words per hour. And we've got obviously are Complex war way along here and we're really starting to come together now. I hope you enjoyed that and I'll see on the next one, everyone. Thanks a lot. Bye bye. 77. Designing a Stone Arched Door for Realism: Welcome back everyone to Blender to Unreal Engine five on this where we left it off. Now, let's come in and think about building our actual Door here. So what we'll do first is we'll grab this, will press right-click origin to geometry, shift us bringing our cursor to select it. And then what we can do is we know where it needs to come down to. So it might as well leave this door here. So I'm gonna do is going to press Shift day Mesh and much bringing a cylinder. We'll keep this on 18. I think. Let's have a look actually, I'm gonna spin it around. I'm just going to check it out. So our Y 90 spin it round and then just have a look. I'm actually going to put the other material on. So I went to pot default material Arm. And what we're looking for is how these actual stone blocks are going to come see, you can see that we're going to have this many stone blocks actually going out. If this is on 800s, I think it's a little bit too many. So I'm going to do this again. So I'm going to do is going to pressure if day bringing a cylinder when it's spinning around. So all why 90? And actually I've done that wrong. I need to put this first of all on faulty and then spin it around all white 90 because don't forget if we move it. It actually takes away that menu for us. I'm going to put this on default now, and let's have a look at that. So we'll have 1 st block here, one here, one here going round. And I think that's about right. So I'm gonna do is I'm going to pull this out. I'm going to shrink it in. So S and X, let's shrink it in like so. Just to the right side of that, we actually want this going to pull it out then I think something like that should be fine. I'm just looking now at squishing it in. So S Y, squish it in a little bit. And this is where it's going to come down to, and then down to here. So let's have a look. Sepah, can we actually work with that? I'm going to actually, I think as well squish it in on the Z just to make it a little bit more rounded, the more it's so essence Ed, squish it in a little bit, pull it up now to where it's going to go, something like that. Now you can see is a really, really nice rounded piece. Alright, so let's come in and we'll grab the front of it, press Delete and faces. I'm going to grab the back of it, deletes and faces, and then walgreens doesn't want to come to the bottom. So this is the halfway point, so just below that, and actually delete these faces. So delete faces, grabbed the bottom of it. I'll delete vertices and you should be left with justice. Now what you can do is you can actually pull this out. So I'm gonna pull this out. And then Walgreen's there isn't going to come down to the bottom. In fact, I'm thinking that it's probably going to be easier if I make my door from this. That will probably be the easiest thing and then just split it off thing, we're gonna do that. So I'll make my dog beds and then I can shrink it in once I've got my stones on there. So I'm gonna come in, grab all of these going round. I'm going to press three on the number pad. I want to press E and pull them down. Joel's posterior, as you can see. So it comes down to here. And now you can see these will be a good way to actually make our wooden planks of wood. You can see that these are gonna be about the same size as the cell. Think about for that. So while there is, I'll make this one plank and then the others separate plants. Now I'm going stairs, I'm going to press S and Z. Now you can, there's a number of ways of doing this. You can either bisected across all you can press essence at and you can pull it up and just shrink it in. Now, you won't always get it perfectly flat, but we don't need it perfectly flat. But you can see from that it's done a pretty good job. Now you need to do is just pull it up like so to whereabouts you wanted to go, something like that. Now I can just come in, grab bonsai, control-click the other side, press Y, G, and just split it off. And then press P selection tab, grab it again, hide it out the way. So now we've got alright, scaling. So now all I need to do is just bring this down now. So I'm going to grab each one of these. I'm going to press three again. I'm going to press E and pull it down. You can just make out where they're going to go. So something like there, something like that. I think it's absolutely fine. Now obviously I need Stone blots going 90 because we don't want this to just be worn stone block. So I'm gonna do is I'm going to press Control all to bring it up nicely. I'm going to bring it and let's try three. So three edge loops, left-click, right-click, and then do the same on the other side. And of course, because we're left Linking and right-click and we know they're in exactly the right place. Alright, so this is the outline then for all stone blocks. Now, if I press three, you can see that if I bring them out with this, they're gonna be probably a little bit too big, sticking out here. So I need to bring these in a little bit and then measure up my Doric on legs. So I'm going to press S and I think it's why actually that's process and wind just bring them in just a tiny bit like so. And nothing I can actually work with this. Alright, so let's press Control eight, all transforms right-click. So origins, geometry and what will bring in now is an actual solidify. So let's bring in a solidify, put it on even thickness and bring it peeled away so it's going outwards like so. Let's check that out now. So for press three, you can see my Stone is just coming up around. So here I'm not then it's gonna make a good support for all Door thing. So we'll have that. I can get rid of this one now. I don't need it and then I can actually apply this now. So if I press Control, lay apply it and then walk into, as I can call me now, and break these stones up a little bit like we did for this one round here. So pretty much exactly the same thing. So I'm going to do is I'm going to press Alt, Shift and click going all the way up All the way around back to the beginning. I'm going to press Y, G, split them up, and then one went to those and we're going to delete these. The reason we're deleting those office because we're going to actually bring in phases anyway, let's make sure we're on individual origins a to grab everything S to bring them in and then come up to Mesh, clean up. That'll holes. And there we go. Now let's bevel these off. So we'll do that now. So I'll press the top control a again because we changed them a little bit or transforms right-click. So origins geometry, add modifier, bringing a bevel. Let's try naught point, naught two. And you can see that they're looking pretty much Stone like so thinking about Pillar, if I turn it down one, what will they look like? Well, they look any better. Let's move them off. And let's put in also smooth. I'm not sure. I think, I think these a lot better actually I naught point naught one. So I'm going to apply that thing. So control Layout, tab, and now let's bring in or seams. So again, I'm thinking on these ones probably better, grabbing all of the phases. Now let's see if we can actually grab the faces like this and then come in and select them. And if you look, you've got select similar. And we can select area. And there you go. You can select all of those then going up. And that then makes it really easy to actually select them all. Now if I press Control Lee, we can moccasin. Now it can do is we can just isolate it out with question mark calm around the back and we can mark a Seam going all the way up around the park. So you can see that there is another problem in that. If I grab this one, I wouldn't have to control click. And it's just a little bit slower as we know, because we've grabbed the inside faces or not this Seam going round here. So it just takes a little bit longer. And I know I have not started from the bottom, so I'm gonna have to go around to those. So I'm just going to press Control zed, run to this one. This one. So this one, and just keep working my way round. It's a little bit fiddly. I'm just literally pressing Control click just to grab all of these. Like so. Then like so. Now let's call them around to this one. In fact, I'm going to right-click and mop Seam. The moment to do is I'm going to come to this one, press adult bone and then I can move my orientation around here. So Control click on the inside. I think it's this inside. Let's see if it is when I reached the other one again. So we'll see it's this one here that I'm going for. Still don't see a Seam. So where did we start this? Probably the middle. Look, this one here. I can see now, it's so P, I normally do that. I'm going to actually restart this then because I've put it up here. I don't know why I always do that when I come to the next side, always start at the inner side. It's really strange that it's a bit confusing. So I'm just gonna go back in now and just go down the outside instead of starting there. Alright, so last one, right-click mock scene. Okay, so let's grab them all. Let's press U on Ramp and let's bring in all material, which is going to be all Stone. So where is it Stone? Here we go. And let's have a lot. What that looks like. Alright, that's looking really nice. Yeah, I think I'm happy with that. Alright, so let's now grab them all, press 3D and let's just make them pretty much torching. So we'll press S, bring them out. Joules so the near enough touch in line. So double-tap the eye. There we go. Now, let's press question mark and bring everything back. Let everything loaded up. Let's put these into place so we're going to put them into place. So Look against the wall at the end, the wall there they go. And then what we're gonna do is going to press Alt H and bring back our actual Door. As you can see, it's not quite the right size now, so we need to scale this. So all we did with the Stone is just press S and X, Y. And let's bring it in and it should fit into place now, like so, and it's a bit lower down and we don't want that. We actually want it probably a little bit higher actually. So I'm just going to come in, grab the bottom middle Alt Shift click and pull it into place roughly around there. And then one brand stairs I went to mark some Seams. Now I'm gonna press Alt Shift Plague, going all the way around, right-click Seam. And then I'm going to mark a Seam on each one of these, missing out these ones because I want those to be an actual plank of wood. So right-click marketing, alright, I think that's pretty much ready then for our door. So I need to bring my man over though first and just check out the size. Now, it's gonna be probably a little bit bigger this Door, but we don't mind not because we need it. It's the Main Door actually, so it should be a little bit bigger, albeit this is probably I would say a little bit too big, so I'm going to grab it all. I'm going to press S and I'm going to bring it down to where months feet were. Probably let's have a low S and X. Can we bring it in on the Y? Sorry, like so, something like that. I think that's a bit more manageable like that. So, alright, so that looks about right. And when we come back then what we'll do is we'll finish off this door and then we'll start making some Handles for the other doors. And then we can start actually working on maybe finishing this wall off and then this Walkway along here, which is a fairly complex part, but we're nearing the back-end now of the build. So that's great. Alright everyone. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 78. Crafting Door Handles Using Curves: Welcome back everyone to Blender to Unreal Engine five and this where we left off. Now, let's work on this Door. So what we'll do now is will come in and we'll split them up. So I'm going to press L on each of these, press the Y, G to split them up, a to grab them, and then let's extra them out. So E, pull them out like so, and then press three S and Y and bring them in like so. I don't think with this Door I'm actually going to bend them or anything like that. I think it would have it pretty much straight. The one thing I'm gonna do is just calmed down to the bottom and just pull this up, just make it a little bit uneven on the palm. So all acts like so pull it up a little bit. Like so something like that and it just adds a little bit to it. Now let's grab all of this I think, and get rid of all the same. So right-click. In fact, control leak because we're in Face Select and classy. Let's press top controlling or transforms. Right-click set origin to geometry. And now let's come in and bring in a Bevel. We're going to put this on naught point, naught one sub. Look at that. And that looks absolutely perfect. So we can press Control a ring press question mark twice, late it out. And now we can mark in our Seams. Now, It's a little bit different on this one because obviously we're going all the way around there. So I think I'm going to come in actually and see, can I get away with marking to Seam there? You see it's following it all the way around, which I'm just looking now, it's going to bend that probably not going to be bend. It's not going to bend correctly. I don't think so. If I press Alt Shift and click going around there, this one's just a little bit Complex on this side. Where do we want the woods come up to? I think I'm actually going to have my world coming up to there. So I'm gonna do that on that side that I'm not saying I'm also going to do it on the back as well. So Alt Shift and right-click and marketing. And now of course we've got the problem in that. We need to decide where it's going to come down to. And I think round here and probably round here, not that one. So hello. Yeah, this one here is probably the best place. So these two places, now it's going to come all the way up and round. And is that too long? It's gonna be fairly long, nuts. I think I'm also going to mark in a Seam on here and on here, like so right-click and marketing. Now these ones are fairly straightforward. So where do we want the word tomato? Probably the same as this one. So you can see that I'm better off. Let's have a look. I'm going to grab this face as if we're doing it that way. So you can see this matches than this. So I'm going to grab these faces, come to the bottom then and just grab the bottom faces like so, right-click. Sorry, control Late Miocene. And now we can come to the back, a market Seam on the back end. You can see you really have a lot choice is actually where you want to actually put your ward, how you want, you want to be. Just make sure that when you're doing Amy modelling, that you would follows the Wood Grain. It's not always obvious, actually. The wood grain and many, many people don't see it. So just make sure you do that and you model a lot wrong if it's, if it's not vulnerable, bring correctly. Now let's press a, let's press U on Ramp. Let's come to our Materials. Click the down arrow and let's put on Wood Main, not Ward when it's like what? We go press tab. And there we go. Really, really cool. And they're all going the right way, which is really great. I'm just checking around making sure that old-world grain is going sideways, which is okay. Question malt bring everything back, light load up. There we go. Now let's pull this door into place, like so then what we need to do its job needs probably make a little tiny bit smaller. So a tiny, tiny bit smaller. Press three. And then just, let's have a look. Actually just double-tap the eye now. And see, I'm thinking, is it small enough now can we see a little bit of a sliver? We need a little bit of shadow going down there. I'm going to grab it again. Press the S button. Press the S button, you get a little bit smaller. There. Donald Trump, the a now looks better. Now we can see a little bit of shadow down then that's exactly what one. Now we could put in some injuries and things like that on this dog that might be worth doing it. You can also see, I do need to move it back a little bit else's waste time building those Stone. So I thought let me go back. Publics or something like that. And that looks about right now. Maybe a little bit forward. Double-tap the eye. Have a look at that. Alright, so I'm happy with that. Now let's think about our actual Handles for these doors. Will just create one handle and put it on all the doors of thing. I think that'll look good. So what we'll do is we've got our cursor in the center. So I'm gonna bring in a curved. So I'm going to press Shift day comes over to curve and we'll just bring in a Bezier curve, pull it out, not that way. Pull out the other way. Then let's make it smaller. So S, and let's rotate it round. So RY 19, to spin it around that way you can see we've got this curve coming up here. So if I press three, move my man out the way, you can see that the curve is just going around. They should just be able to see them upright on object mode policy a bit like so. So we might as will spin this around the other way. So all zed 90, let's see which way round it's gone. It would have gone that way once it so are there on June at what I'm doing that is because it's already got a curve in there. So you can see that it's already starting to make that nice curve that we're looking for. Now, we've got actually ovine, like we did with the SVG. We've got our actual Curves panel. If we open up the geometry, then What we can actually do is we can actually extrude this out like so. So you can see it's actually extrude. And now and then we'll can also do is bring in a modifier which is a solidifying. And you'll see now that I showed be able to actually pull this out. This is really handy because it gives a real good idea of what this is going to look like. Even thickness on like. So I don't think though, yes we can, we can actually shaped plot as well, which is gonna give us an even better idea. Now let's come in and actually mess around this curve. So you'll notice we actually have Handles here. And if I pull this one obviously needs to press Shift Spacebar. And if you pull this up now you'll see that we can actually alter the curve. First of all, I'm going to grab the middle. What I wanted to do is actually wants to turn this into a kind of handles. So you can see that I need to pull this up just to make it a little bit more handled. Now you will notice that we've only got two. We've got one here and one here, and we probably need another one in the middle. So I'm going to do is I'm going to grab both of them, right-click and sub-divide. And now you'll see that we've actually got one in the middle. So now I can actually pull this around and make it a little bit more handled like, and then pull this one just back a little bit and rotate this round. Now I'm probably going to need another one in here. So I'm gonna right-click sub-divide. And now I should be able to grab this handle. So grab this handle here, pull it out like so. And then pull it into place, grabbing all this, like so and then pull this up. I'm probably going to need another bit on there because you can see it's bending a little bit funny now and we're losing the straightness of theta. Now it's no problem losing that straightness because if I press one you can see it's going a little bit misshapen. Don't worry about that yet. Let's just get the shape. But also I think I need to grab it and just move it up a little bit. It's a bit too long there. And then while there is, I'll pull this out. So I'm gonna pull it out is with extrude. So if I press E and X, you can see I can actually pull this out, albeit it's a little bit long as you can see. And now basically I want to pull this back into place and make it nice and smooth. So sometimes it takes a little bit fiddling around, as you can see, if I pull this back in place and sit bend in all over the place, we don't want that one I'm gonna do then is I'm going to delete this vertice out the way that's going to straighten that up a little bit for us. And then what I'm going to do is I'm going to pull this now back. So I'm gonna pull this back a little bit smaller, pick it up a little bit. So, and then pull this one back as well. And there's a pull this one back. Now you'll see, because I did it that way, that it should go into place. Now, let's pull this up. And you can see that I also showed rarely pull this back a little bit closer to that. And now I can actually work with it. So the further the out there, the more actual it'll try and bend it, the closer you are, the Smaller they actual bands will be. So now let's pull this up, grab the middle, grab this, hold it into place, like so. And there we go. Now we're actually starting to get somewhere. So it's probably OK. And Place. You can see here that this bend is a little bit Out, Mike. So, so let's twist it round now. This one here. There we go. Alright, so now we just need to make sure that we're happy with the actual handle. So it needs to be able to grip it. And you can see here that this obviously needs probably bringing down a little bit so it can actually grip it. So I'm going to do is I'm gonna grab both of them, pulled them down a little bit like so. Now we should be able to grip it. I think also, you can see we've got some like kind of artifacts in there. Don't worry too much about those because we easily, easily able to fix them. So I'm going to pull it out now. I'm going to probably pull this one down. So I want to pull this handle down. Just take your time with it. Like so. And then let's pull this back. So let's think now. So that's going to go into the Door. I need it though level. So if you can see if I press one on the number pad, I'm going to have to pull this all back a little bit like so. And you can see that I can't pull that back because I need to grab this one. Now I can pull it back. What I'm looking for is to basically make something that this part will go in. I'm looking for him to grab it by the handles so you can see this is way, way too thick at the moment. So all we need to do now come back and bring down our extrude a little bit to make it able to grab it. Now let's bring all mine in place because we need to check. So if I press all dead hundred and 80, spinning round three on the number pad, bringing them into place. And now we can actually get a good idea of pulling forward, press adult bone then to zoom in of how big this animal is going to be. And you can see it's way, way too big if I grab it now and make it a little bit smaller. Now you can see is able to grab that. So if we look at his hand, probably a little bit too small at this point. So I want to make it a little bit bigger, like so. And I'm also probably remember it needs some rounding off and things like that. So that's one thing to take into account. So before you actually finish this though, just make sure you actually happy with it. So if I press one on one of my iPad, I can see that I'm probably happy with this top bit. I'm not happy so much with this, but I think this needs to be a little bit more flat, so I'm going to grab this, pull it out. And I'm also thinking that I'm going to put one in here. So right-click divide, pull this out now, like so. And now it's going to make that bit flies. So I want to grab both these sub-divide. Pull this then just this one. So just this one here. Pull it. Don't worry about it making the alphabet that's no problem. What we're gonna do is just going to pull it to their, hopefully if I delete this now, it's going to flatten it out like so. And then we've just got those artifacts and we're gonna go in and fix those anyway. Now, this is looking good and all that apart from the edges, because the edges, this is way, way too big and I need to make it small. So to do that, what it can actually do is if I press S, you will see that that just makes this handle small and that's not a one. Now if I press all tests though, now I can actually squish it in so and make it thinner on this edge. And now when I turn this into an actual piece of Mesh, those parts will do that as well as bring it in like so. And then I'll also do that on the top. So all tests bring it in like so. And now it's starting to turn into an actual handle, which I'm happy with. This is gonna be against the wall. He's going to open it with this one or this one. So I'm thinking probably need to just bring this curve down now. So I'm going to bring it down like so. And then I'm thinking probably it's it's still a little bit too thick so I'm joined to come to my, where is it? My extrude, which is this one here. And let's bring it down just to Todd, like so and now that looks about right. I think you'd just needs to be a little bit bigger now so as bringing it out a little bit, like so, alright, we can mess around with this all day long. I think I'm happy with it. So what we're doing the next lesson, we'll carry on working on this. We'll get right, get it looking good. And then obviously we'll put that on the rest of the Door. Okay. Once hope you enjoyed that and I'll see on the next one. Thanks. Bye bye. 79. Finalizing the Door Handles for a Polished Look: Welcome back everyone to Blender to Unreal Engine five and this were elected. Now what we need to do is you need to turn down obviously the amount of polygons going round here. We don't want Not many. So if we turn this down, you'll notice as we turn this down, this becomes less and less Bolts. It gets chunkier and chunkier. So you need to take 9s cancel. I don't want to turn it down that much. I still want that nice round curve there and this curve down here, even though I'm going to get rid of some of these polygons, okay? I'll think not something that we can actually work with on that. So I'm gonna do now is I'm going to come up to Object, come down to convert Mesh one curve, and then my curve will disappear. And if I press Tab now, you'll see that's what we're actually lack with. Now let's get rid of one of these because I'm not happy about this. So Alt Shift and click, Delete and we're going to dissolve edges and that's going to get rid of that forest. And then I can actually smooth this out by just bringing it over just a slight bit like so. This bit here is why you can see is a mess. So I'm gonna do the same thing, delete, dissolve edges, and now you'll see it looks like that, still a bit of a mess. So what I wanted to do is actually wants smooth IS curve off. I want to grab just this back. I'm going to press 11. Wednesday is going to press three. And then I'm going to work on the inside. So one again, bring this one out this time, bring it up. There we go. We're starting to smooth that all. Nike still not happy with the smoothness of this. Just press Control or bring in an actual Edge Loop. Press one again and just bring it out. And then you'll see you can actually smooth it off even more. The other thing I'm not happy about is I want to, this one here is okay, but this one I want actually into a bit of a point. So what I'm going to do is I'm going to press it Control-S. And I want to put on Proportional Editing. What I want to prey on smooth, something like that. So let's press S and you'll notice it's bringing it all out. So I'm going to bring this in, press this button, maybe come up a little bit more. Soap to you how much you effects it. So something like that, I think. Look at that. Yeah, nothing, that's absolutely fine. Now we need a another part per handle. What we need is actually First of all, I'll fix this because we've messed that up a bit. So I'm going to take Proportional Editing off. And I'm gonna pull this back a little bit just to make that a little bit smoother. Like so. Now looks, that looks good now. Okay, so now we need actually a back on this go into here. So I'm going to press Shift S, cosets are selected, and then I'll keep it actually in edit mode. Shift a, bringing a cube, shrink my cube right now. Like so, bring my queue back then. So here, let's widen it. So S on why. Something like that, I think. And then let's come in and pull it up into place. Like so. And I can see it's actually become in adult handle. Alright, Something like that. Then finally what we'll do is we'll actually invert this. So what mean is will press I. And you can see that did it come in properly? I think while do is I'll split this off now. P selection, grab it again. And then while there is controlling all transforms, right-click origins geometry, and now come in and grab it and then we'll know it's coming in even which is what we want. And then we'll press E to bring it back, like so. And then finally we'll grab each, I'm thinking Actually, yeah, we'll grab each of these edges. Like so. I'm hoping that if a graph also, I'll give it a try. If I grab the inside edges, can I beveled those all the same time? And just round this off and just make it look a little bit different, a little bit more special. Alright, so let's grab those. Let's press Control. Be pulled them out not to fall. We don't want to actually, we just want these bits beveled. We can actually also come in and pull all segments up to two and that'll make it a little bit more round, like so. And yeah, the thing that looks a lot bear. And then I'll also press Control Law. And you'll see that I can't actually go through that. And that's because obviously we've got triangles on here. I'm thinking whether I want to stretch this out a little bell. Not all stretch these two parts out a little bit. Actually, I think I'm going to leave it like that. I think we can mess around again with one of these things all day long. I'm now going to grab both of them. I'm just going to see what it looks like when it's actually in. So I'm going to press three. Let's put it round about here. And let's pull it back now into place. So into place, something like that. Let's doubletons. They take a step back and yeah, that looks, that looks pretty good. Alright, so let's join them both together. So Control J. Let's also then smooth them off. So right-click Shade Smooth, and let's bring in auto smooth. There we go. Alright, it's up to you if you want to point any screws in or anything like that, but I think that's absolutely fine. Now let's press question mark. I'm what we'll do is we'll bring in all Seams now, will come in alt Shift and click Alt Shift, click through the same The back right-click moccasin. Now let's fix the back. So we'll go into face-like Control-V, sorry, right-click on triangulate faces. Let's also clean those up a little bit so I'll put it on clipping. Alright, that looks better. And then we'll also fix this space will mark all Seam first. So controlling Maxime, right-click, triangulate faces. Clip in. There we go. Now we can grab this with Edge Select. I'll hide all the way. And now let's come to these faces here. So this one, this one, actually, yeah, I think I'm going to split this off because I want to actually I'm going to do it separately. I'm just going to bevel it. I'm going to press Alt H because I did forget about that. It does look a little bit sharps, so we do need to bevel it off. So I'm gonna come in and I think I'll bevel these two edges off so Control be pulled them out. Like so there's bevel them off a little bit. Now I just need to think, do I need all these Seams? They're probably not. So get rid of this Seam around the outside. Probably this Seam here. So Alt Shift and click, right-click, and let's play soon. Alright, so that's still okay. One thing I did forget, of course, is I need to Seam at the bottom. So I'm going to mark a Seam in each of these sides. You can say I need to go up to here. So that's something to think about. Is this in the right place? I don't think so. I'm going to Alt Shift and click mock Seam, and then Alt Shift and click, right-click players Seam. And now we're going to put in a Seam. Here. I Seam in this corner as well, Right-click and mock scene. We also then need to Seam in the top because this is an infinite loop again. So here, here, right-click moccasin. Okay, so that now should be ready. Now we can actually hide the other way. Now, let's mark off first. I'll bevel it first. So I'll come in alt Shift and click on each of these signs. We don't need to do the ends because they're going to be hidden. Then what we can do is press Control B it out and just round it off slightly. And now you can sandwich better. That actually looks, you can see that we've got a bit of an artifact on here. So this kind of kinda needs pulling out a little bit just to get that smoothness right? So if I pull this out, Let's see now can see should be not game, they're like Rambo for these and see if I can actually smooth this off. Probably going to make a mess of this and I'll probably have to go back. Let's see. Now it's moved delta up to that. And then we've got this bit here. So let's grab both of those because I don't want that actual sharpness in there. So I'm going to see if I can smell this ossify, bring this up because I'm going to move it off. And there we go, that smoothed off, except this artifacts here. So I'll think all I need to do is grab this, kinda pull this out. So S and Y pull this out, like so. And there we go. Nice and smooth. Little bit there, but we never going to notice that. So I'm gonna leave it alone. Okay. So that's fine. Now, let's come in and mark, I'll seams on these. So we'll grab both of these, control Late Miocene, right-click and triangulate faces, flipping on like so. Now let's come in and do these edges here. So Alt, Shift and click around each of these corners that we pebbled off, not that one, middle, one. Same for this one, right-click and I'm oxime. And there we go. Now let's press Alt H, bring everything back a to grab everything you on-ramp. And let's come in and bringing all let's have look adult metal First. Let's put it on Material and see what that looks like. Let's press tab. Let's press IV the question mark or old age and bring everything back. I think it's question mark actually, I think everything's going button now. Let's double-tap the eye. There you go. Let's try light metal while we're here. Actually, again, I think the light metal looks better. Now, the only thing is I want this flux so you can see this part here. It's a bit, It's not very flat, so I'm going to flatten it out. So I'm gonna come in, grab this part here, come up to Mesh, and I'm looking for shading. Fly could right-click as well. It's saved shaped plot. There we go. I'm going to flatten out for me. Yes, it has. And then it's grabbed this one here, do the same thing. So Shader flat. And there we go. That looks, that looks better now. Alright, so I'm really happy with that. Now, you could make different Handles for these, but I really don't think it's worth it. I think you should just use this one. I'm going to bring you my Eevee actually, I'm just double of what actually looks like. I'm going to press Shift D and just put it into the light. So where is the light? Let's try here. When to stop. One must look at it, making sure that looks fine. Yes. And it does. So now let's press three and let's bring it over. Pull it down. Let's pull it into place now. I'm going to pull it all the way back and I'm going to press dots to zoom in and just put it where I want it. So in this pot, it can still reach it that yes, it can make, can show it still cow about, right. So something like that. I'm also going to grab my mom because I want to make sure that if I press three, it's the right height. So if I bring him down to here, is that gonna be the right eye? It looks a bit low actually, so I'm going to pull it up like so. And then one way to do now I'm going to press Shift D, ring it over, press the dot bonds, spin it round. So all zed hundred 90, press Control three. And then that's probably on this side now. So I'll put it on your proton this side here. I'm not saving get that in, so I'm going to pull it back all the way to the doll, then press the dot one. Now we can pull it into place. Like so, just making sure it's fit in. It's a bit too far over. Double-tap the eye. There we go. Now we've got all our doors on several. Look if I click on this window to get rid of that dot that was over that double-tap the eye. There we go. Alright, so that should look really, really cool in our actual games Engine. What we'll do now on the next lesson is I'll just pull a small window on here thinking this corner. I'm thinking I'm just looking at this window, might make this window a little bit smaller just before we go. So I'm just going to grab this Window, make it tiny bit smaller. You can see individual origins zone. So let's put it on medium point S, make it a little bit smaller. Like so it's pretty more into place. I'm just wondering if actually press shift D this time, bring it down, kind of get away with making it a smaller window without this bottom one. So I'm going to press L and font. I'm going to grab it because it's separate. Delete, grab it, press the S button and just see him get away with shrinking this in apprentice in this corner here, double-click the apes have a look at that. Yeah, and that's absolutely fine. Actually. I don't need to do anything except change on the next model is I'll just change around the UVs and things like that. I think basically what we're ready for now is actually starting work on this actual Ramp here. One of the hardest ramps to build ball after building this Ramp and the wheel and things like that, I think we should be absolutely fine. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 80. Initiating the Main Ramp Construction: Welcome back everyone to Blender to Unreal Engine five. And this way left it off. Now let's quickly just go in and change this window. So I'm going to grab all of the Window. In fact, I'm not going to grab all the Window one we're in series. I'm going to grab each of these first, saw the lead two sides when I go to my UV, grab them now and move them around. So move them, in fact won't move around. We'll just come to Mirror, mirror on the Y. Let's see what that looks like. Let's press Dr. Zoom is in blue brown and they should now look absolutely fine. Now let's grab all Window Pane. So Face Select, and I'm hoping I should just be able to move these on the X value all the same way and hopefully get them into play. So I'm going to grab them all with a G X. Let's see if we can just move them over one place that will move them over a 2D places, like so. And now they should look very different from these. I'm just checking them out on yes, they do. Alright, so let's now go back to modelling. And finally now we can make a start on this actual Ramp. So I'm going to bring my guy up making sure that it will be stored on there. So I'm gonna press three, put him into place. I'm gonna put this on Material and not Eevee. So I have a better view on what I'm looking at. First of all, I'm going to make a little bit of a gray box for the actual Walkway. We're gonna do is we're going to grab all guy might as well use them. So Shift S cursor to selected shift a. Let's bring in a. Can we bring in a plane or a cube? Let's bring in a plane that will make it easier for us. So if I put this underneath it, because we want this Stone to be sat on top of this, like so. Then what we need is our guy just sat on this plane, so it's not on my plane like that. And then we need to work out how far we going to have this. So let's first of all make this a little bit thinner. So S and X like so. And then I can stop pulling out. So it just goes onto then you can see it's probably way, way too wide. So we can say if we pull our guy out, this would be natural. And now if I spinning round, so all zed 90, you can see that this is probably way, way too far out. So I'm thinking I need to pull it back just a little bit and we grabbed my plane, grab this edge. I'm actually going to put this on default as well so I can actually see what I'm doing and then pull it back a little bit. Now we have got handrail where I've got a Posts, so that looks fine there. I want to pull this out too. This should I pull it out to those? What I'm thinking, I think a short out to here and then I can have a post on here with the handrail go into here. And now we're going to come to this one here. So if I bringing this to here, and then I'm going to go past there because it's going to go round the corner to here. I'm going to press three. And I can see that it needs to go up to probably around there. Then finally, I need to extrude this sample. First of all, obviously I need to have an edge loop in here. So control or left-click, bring it along. We won't it go in up to the walls. So if I pull that out now, so this see, if I pull this out on the X. So E annex, pull that up to the actual wall just to there. So you've got a little bit of a sliver of a gap. And then what we're looking for AB, we gotta get down there. How big is it not actually looks about right? So I'm happy with that. One thing is I need to make sure that I'm pulling this part out now because I want this up to here, like so because these planks of wood, they're gonna be going this way. So they should end roundabout here and then we're going to have a lot Support underneath. So basically what we're doing is we're just trying to get the main part of this in place. Now we've done that. We might as well create our planks. I want to pull this out just a tiny bit more to that. And I'm just looking on there. That's absolutely fine. The thing is on this one. I'm going to make it so that these are split up. So that's the first thing when there's someone to grab this one. And why G split up. And then one way to do is I'm going to have these, I'm not going to have that corner part that I've got on this part here. So you can see this part here. We've got a corner. I'm just going to have it straight Planes going the other way. Alright, so now we've done that. Let's press Control or let's bring in. I think that is the right size for plank. So I'm going to left-click, right-click. I'm going to try and get them round about the same size as these on this one. So Control or let's see, can we go away 1 mol, 1 mol. So left-click, right-click. And let's do the same on this one. So Control R and we want them round about the same. Left-click, right-click, and let's just check. Yeah, there around about the same as that. So that's a good stock. Now, we might as well grab everything. We mountains or press Control a and moccasin. Now it will do is we'll bring in some Edge Loop. So control law, let's bring in some for-each loops left-click, right-click and control or for-each loop, left-click, right-click. And now let's split them all off. So we'll come in all, grabbed them all. These split anyway, so that's good. Then we're just press Y, G, make sure they're all split, right-click, drop them back in place, and then finally a epipole them down. I just have to be careful that I know that it's going to invert the actual normal, so they're going to be on the inside. So that's just something to consider. The other thing, of course, is if I pull them down When I bring them in, they're not going to look right because I'm going to bringing them in from the bottom. So I might as well, first of all, pull them all down like so. Press one, see how thick the actual plank survey and you're going to say that the not probably not going to be thick enough, climb out. So I'm going to press E, now, extrude the molt. They come under the stonework there. And then I've looked to see how thick those planks Art and I think that about right now. The other thing is that I want to extrude them on the, shrink them in on individuals on the y-axis. And I can't really do that all live them so long run stairs, I'm going to come grab these first because I did moccasin, which is great because it means I'm just grabbing the top Look. And then what I'm going to do is I'm going to press S and Y, put it on individual origins, so S and Y bring them in like so. Now, before I do anything, I'll press top. If I come down to the left-hand side, you can see nought 0.978. So if I click this press Control C, and then I'll call them press tab. And let's have a look at what they look like. So are they in far enough? I think they are. Maybe we need a little bit more actually. The other thing is I'm thinking that I don't think these planets look right like that. I think the needs come in on the bottom as well, so I'm actually going to do that. So instead of doing that, I'm going to press Control Z. Just go back a minute. So before shrunk them in, there we go. I'm on Wednesdays now. I'm going to grab these. I'm going to pull actually default material on. And when to grab these in Edge Length, I'm going to grab the whole thing. In other words, I'm going to shrink them all in. I'm not just going to shrink in the top. So I'm going to grab them all. I'm going to press S and Y on individual origins, S and Y, shrink them in. So now we've got a little bit of a gap going through. Again, I'm gonna come over to left than sign. You'll see why I'm going to copy this a minute. So Control C and now press top. And now we've got a little bit of a gap down each one of those is what we want and now we want to do it on this one. So again, we're going to come in. This one is a different angle and that is why I couldn't do them both at the same time. But what I can do is if I press S annex, pull them in, and then come down to where it says X and press Control V. That then is going to paste exactly the same width on these ones as well. So now you'll end up with something like that and they look exactly the same. Now, do I need it got down there? Does that got me to be bigger? I think it does. So one Wednesdays I'm going to come and grab just this edge going around there. So I'm going to press, kinda grab it from there and press Control click to there, and then pull it across like so thing account. Alright, the other thing with this one is that should I have cut these out, should have done that. I think it probably should have done. So I think what about these ones though? I think just these ones will do just to make it look a little bit more realistic, we should cut these out a little bit. So why are we going to do that? Well, we'll come in and we'll grab each one of the ones we want to call out. So I'm going to grab this one Control click that one. Grabbed this one control-click not one, press Control plus. And then what I'm going to do is I'm just going to press Delete and faces and you'll end up with a plane, Zach. And I'm going to press seven to go over the top. I'm going to hide my building or kind of get away with it than that. No, I can't. So I'll have to come in and do this by eye. So what we'll do is we'll grab our Wood, will press the cable on, and then we'll come in and just cut it out around here. And to command press, Delete and faces. And I'm thinking also I should have probably want to Seam there. So right-click mixing, that's not one. Now let's do the next one. So I'm gonna come in with the K Again, this around here, up to here, and right-click MSG, delete basis. And then let's come round to this one. This one's a tiny little bit of a sliver. So it's up to you whether you cut the whole thing, probably better off Cornell thing. I can't imagine that leave a better word like that anyway, doesn't seem very realistic. So I'll come in and just cultic to that. And then I'll moccasin here, right-click democracy. And then I'll just get rid of that elite basis. Now, let's come in and grab each one of these. So L, L and L, and then express one. Now we can see how far these needs come out. It's going to press extrude. So E, pull it down and you can see now that we can pull them down to exactly the same as those. And don't worry if they're not exact because they don't really need to be. Because we urbanist now start making these look a little bit different by using the random Proportional Editing. Let's double-tap there and just have a quick look at that and that looks fantastic. That looks really realistic. Okay, everyone, I hope you enjoyed that. And on the next one then what we'll start is we'll start randomizing. These, will start getting on Materials and then hopefully we can start working on our stairs going down. Alright, I'll see you on the next number one. Thanks a lot. Bye bye. 81. Creating a Solid Base for the Ramp: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it all. Now, let's come in and actually randomize these a little bit to make them look realistic. So all these will come in. We'll put it on Proportional Editing and we'll turn this on two random. And then what we'll do, stop pulling these out a little bit. I'm going to bring out my so-called just a little bit. You can say that probably a little bit too much, something like that I think. And then randomize these ones a little bit. I'm going to grab it like so. Then like so. So I'm just pulling it all the same way as you can see. I'm going to pull this, this way too much. You really, really don't want to do it that much. Like so let's have a look at that. Alright, I think I'm happy with that. And then one way to do is I'm going to start pulling them up, pollen, some of them down. Pull this one. Nope. Pull this one down a little bit under the same now with these, with these. So some Look at that. Okay, you can see the little really nice already. Now, let's say bring these out a little bit because they needs to be different lens on here as well. I'll press Tab, I'll take a Proportional Editing. I'm going to come in now and just start pulling these back or forwards. I'm rotating, so all and rotate it. Pull this one back a little bit, just make them as one even as possible. Maybe pull this one out tiny bit and then pull this one back. Just a sliver. That's all you need to do again as well. We'll do the inside of here. These won't be exactly right. So grab this one on zed, like so. And then let's grab Stone and this one. So we're going to pull this back a little bit. Even every other warm still makes it look a lot more realistic than what it did before. I'm going to pull this one back on zed, rotate it round, like so I'm just saying probably rotated the other way on this one. So on zed, like soap, alright, there you go. Now they'll look really, really uneven. Now let's shade smooth. No spring in auto smooth. On. There we go. That's a really great start on these. Okay, so what we need to do now is we need to bevel these off. So we're going to press Control a or transforms right-click. So origins geometry, comb-over, basically the same as rinse and repeat it has been doing many times throughout this course. Let's beveled them off. Naught point, naught one. Let's try that. And that seems actually probably a little bit high. So naught point, naught, naught full. Let's try that. And that looks about right. Okay, let's press Control a, and let science lay these out with question mark. Let's press tab. We're all materials, so that's fine. You can see we've got a lot of actual seams on the answer. We might as well get rid of them. So control a place Seam and let's make fresh start on our actual Seam. Now, I'm thinking, let's come in and just grab each one of these edges. Like so. This one here is a bit iffy. So let's come back to that one. I'll just get the bulk of the other ones don't. So right-click and maxime and then of course I'm gonna go around the bottom now. I'm actually thinking I'll probably do this one next, so that'll make it easier. I'm also thinking that this is a angle on here, so I need to fix that. I'm trying to think how the best way to do this one rather than go all the way around a thing whenever you just press Control and go all the way down to there, you can see I've got a problem in these, so I just need to take these off. I don't want those in. So right-click MSG. And then I'm going to market Seam on from here to here, right-click mob scene. So that's that top bit. And then I'll do this bit here. So underneath it, exactly the same control click. You can see that because I've not got this side. I as it's done now, let's see. We'll go down to there. That looks fine. Mock Seam. And then finally the inside of this, all the way over to that Right-click monsoon. Now let's fix those angles. So what we'll do is we'll come in, grab this face, this face, press Control-V, not controlling, right-click and triangulate faces. Well, that's fixed. Those hopefully it'll go in. Yes, it is. Okay. That's fine. We'll have to fix. These are the ones as well. And now we need to do is just come on, There are more called Seams underneath. So I'm going to grab each one of these, just control clicking, going all the way along. And obviously these are going to unwrap like parcel. And just think of things like that when you tried to mark, it seems how are they going on Ramp, which is which is the easiest, most efficient way to unwrap them and taking into account what's going to look best or they're too long. Things like that should all be taken into account. Alright, so I've done this, now, I'm gonna do exactly the same. What did we, the other ones. So Alt Shift and click, right-click mock seams. So let's get this one out the way first. So I'm going to market Seam up here. So have a look on the bottom. Let's moccasin. Along here. Let's right-click magazine So then one went to those I need to Margaret Seam in here, in here, and in here. So right-click mock scene. So now we've got this bit is going to unwrap like so. They're going to come up to here and go all the way around. So I do think, yeah, gauzy mocked in here is just this end. I'm not happy with, I don't want all this. Mark, so I'm going to come in, take off this and I think I've got an issue on the bottom as well. So I'm going to grab all these. Yes, I have all these. Take them off. Right-click placing thing that will unwrap fine now. And obviously I need to fix this because it's an angle. So right-click on triangulate faces. Alright, that's not one. Now these ones are pretty much straightforward off to the N1, so Alt Shift and click. And obviously we're going to need to split these up to unwrap them, because otherwise there'll be too pixelated. Actually, this one's easy because it's actually straight, so that's nice. So let's just keep working our way down. Like so. Let's right-click and marketing. Now, let's come underneath again. And I'm going to move them from the inside of here. So I'm just going to control plague, keep going down like so. On. The other thing is you can see that it's again, it's really, really fast. Once you get the hang of it to malt these Seams. Now and let's right-click on mock seams. And I'm just making sure everything's don't. Now, let's come in. What we'll do is we'll try and wrap all these ones together. So I'm going to grab them all. I'm going to press U on Ramp and then I'll do these ones now, so L like that and you can hold down actually, and it will grab them. Then you can press U on the Ramp. And now let's bring in our material which is going to be click the down arrow. Would Main. Let's have a lot what we're looking at here, alright, so most of them are going the wrong way. These ones, Let's press top. They look really nice. Alright, Let's say we're all Material. Let's put it on Eevee and I'm Look at that. We aren't going sonnim here, that's the problem. So I'll press question mark, bring everything by a monomial to have a good local. What they actually looked like. You can see all of them are going the right way, except this just this top and bottom. So I don't want to turn around the ends of it. So I'm gonna press tab. I'm going to come in. I'm just grabbed this one here. So I'm going to come to this side. I can see they're all going the right way all along there, but I can't see every, whoops, let's press Control Z L, L, L, L, L, L, L. This one here is a mess. So this one here as an on-ramp properly, I'll have to come back to that one, a number Look why that as an unwrapped. So for now though, I'm going to call them UVs, spin these round, so eight or 90 G just put them in place. We don't have any issues. And now let's come to that one. What is wrong with this one? Let's have a look at this one so we can see it's all wrapped real mess. And I think I have not put Seam in the bottom. That's the reason why. So let's grab this. This going all the way. I'll right-click. I'm oxime L now and you on Ramp, and there you go. Now it's on route much, much better, albeit the wrong way round. So all 90, let's spin it around. But let's have a look at the edges. We can see we've got the edges going the wrong way around. I'm going to grab both of those, then spin them around. So all 90. And hopefully that should be about the same. Now let's go back to modelling and actually have a look at that. Let's double-tap the a. There we go. That's a god stop. Now one thing I'm not sure about is that this should not be exactly level with that. I think it should be a little bit out a little bit. So I'm going to come in, grab them from here to here, press Control. Plus that'll grab the next one up and just pull them in very, very slightly like so leaving a tiny little sliver of a gap. Now you can see just how real that looks because we did that tiny bit of work. You could see that we could probably could do it around these bits as well. And I'm thinking, yeah, maybe I should've done it round those, but I think I'm going to leave those bits. I think it looks good looking from these angles. Like so. If you want to go run and do those bits, then you're more than welcome, sir. Alright them. So what we'll do then on the next lesson as well, start thinking about how are we going to actually support these because they need Supporting underneath, exactly the same as this one up here. And then we'll think about bringing this out and then bring in our steps down. One thing I think actually before I continue and we just wondering if I can grab these. I've got my cursor in the sense that kinda make them a little bit thicker. So I'm just going to press S and Z and just pull them out tiny bit just to make them a little bit thicker. I'm not happy with a thickness. I think it needs to be just a sliver thickness and you can say as it did, it actually kept everything the same. And now they look just that little bit more support. So that's what I'm happy with now. Just make sure you also and it also needs to bring them down just a tiny bit, just so it's feet are actually on those. Double-tap the eye and just make sure that your dual for instances we can see here he's not really down far enough. Think some of you press three and then plot. I'm going to need to press essence ed and just pull it out just a little bit. And now double-tap the eye. Yeah, there we go. That looks Tom bat, so it just got those little things up there but we can't see, you know, from the wall to notice that there's anything, nothing behind there. Alright, so that looks really cool. Alright everyone, so I'll see you on the next one. Thanks a lot of I 82. Optimizing Workflow with Array Tools: Welcome back everyone to blend its own Unreal Engine five, and this is where we left off. Now, let's pull in all fair Support, which is gonna be going across here. So it's going to be supporting it from this wall, so all the way around you. So we've got our cursor in the center of our man. Let's press Shift day and we'll bring in a cube. Let's make this much, much smaller. Let's bring it down then. Let's press three. Let's pull it up into place. So just under there. Then let's pull it into the wall and decide how thick they access the date. And you can see if I pull it into that wall, pull it across. I needed to stake into that one went to do is I'm going to press top and I'm going to comb to face select, pull it back. Ends plays like so. I'm going to grab this face then pull it out to this into here. Then I'm going to press L, shifting, bring it over. Let's pull it from there. So I just wanted to into this here and you can see I do need another post in here that I've not actually kinda not thought about. And we do really need to post in this in a bit. So I want to grab this one here. The CIA, I want to press L on Edge, Select all shifting. Pull this back into place, into that crevice there. And also, I don't want this to look the same as that, although it doesn't look the same anyway, but I think I'm going to rotate it. So instead of just changing the UV, I'm just going to press Alt Z 180 and then that's going to spin it around and make it look different from that one. And that's exactly what one. Now, let's grab this one small. So I'm going to grab it with Al. I want to pull this into place. Where it's going to go is behind that. I don't want to come in this far over. I just wanted to in their Supporting this part here. So now great in place. Let's look how far is out. I'm going to put it into there. Then we grab this end here and pull this all the way over. So it goes into that. Then one wins. Do is finally grabbed this. I'm going to press Shift, dig, pull it out, and then spin it round. So all zed 90. And I'm just going to pull this into place and then pull it, oops, sorry, can see it this way into there. And there we go. Alright, so that's the first Support. Now let's think about our steps first, because better-off gain the steps in and then pouring old Posts and, and trans bring it altogether. So I could actually come in and grab a few of these 4k and just make a few more of these, probably better off just making a few more because then that gives me the chance to actually make all my steps as big as I want them, probably going to do it that way. So I'm gonna grab my mom. I want to pull him up here. And what you needs to do is when he goes down these steps, needs to be able to hold on to the handrail. So I need to first of all, lower this a little bit. So I'm going to pour him Joel spill over here and then we're going to have this kind of come into here, which would be a lot more realistic. You'll have a gap in here. We need them the same thicknesses that while do then I'll bring the first step in. So I'm going to press Shift S curve since it's selected shift a, bringing a cube, we'll start with a cube. It will make it a little bit easier for us and then bring it right now. I'm going to first of all, I think I'll leave it like that and then I'll bring it out. So S and X, Let's pull it out. See how thick that is. We want to go in up to here. So route to here. And then we're going to have a Support going along here. So just to support it. So I'm going to pull it just a little bit over. Now. I want to make sure that this is kind of the right size. So I think that is the right size. Wanting to do now is level it all with this one here. So I'm gonna press seven. I'm going over the top and your notes is a can't really see where this is level two. So I'm going to press Add, going to wireframe. And now I can see that this is where it should be level two. So I'm going to pull it out then, like so. And then while wants there is now I want to actually pull this back. So remember I said Solid again. Tab, grab just this face and pull it back. Like so. So something like that again, is Pete wanted to be all the way on it. So quite nice and flat when they actually Steps on it. And now let's see if we can actually get these into the right place. So we can see now if I press shift D, pull this over to here, and then Shift D again, pull this over to here. You can see it's a little bit out. And we don't really want that either because we want it to all kind of go together. So I'm probably going to grab all of these and can I shrink them in? So let's see if account. So I'm going to shrink them in medium point S and Y, bring them in a little bit and see if now I can level this up. So I'm going to move more into middle. And yeah, I think that is absolutely fine. That's nice and level now. And all this preparation I know is a lot of work just to get these rights. So one way to do now as well as I'm going to grab this one. I'm going to press shift D, bringing it all. I'm what I'm trying to do is get these now to be the same size. And you can say they're a little bit out. Why I've grabbed the mole is why I'm going scrub them all these now, because now I can do them on individual origins. So individual origins I compress essence at, shrink them down. And now I can get them exactly the same sizes that while keeping me a while actually not moving it is based what I'm saying. So now you can see that this one, if I grab it, pull it all. You can see that now is the same size, which means that these are also the same size as this, keeping everything consistent. Now I've got that can lead them out of the way. And now finally I can create my steps. So I'm going to do is I'm going to grab this one, press P selection tab, grabbed this control ape or transforms, write plates or origins geometry. Now finally, I can actually create my steps going down. So we've got this. What we're gonna do is we're gonna come over to our Modifiers, add modifier, and you're going to bring gain a little a. Where is it? Array? We're going to set this to zero, top one. Then it's going to put it back exactly where we need it wanted to do is I need to bring out this wire one-to-one, because then that will make it so that it's perfectly in line with that. And then finally the zed and then needs to bring this down so I can grab it and pull it across. And we look in to try and get the guide to look realistic when it actually walks down here. Is that too big of a step there? Is it too steep? It's probably a little bit too steep actually. So what we do want to take something into consideration that we want our Steps to probably come out to here. So ending out here, we've got to take that into account. So if I bring up my Steps, you'll see that go down. And you can see if I press three, that they're going to end way, way out here. So it means that I need to bring up the Z just a little bit like so, then I can increase the step. So if I go out now, you'll see that. The other thing is you can increase the length of the steps. So if I come into this one, for instance, I'm pulling out very slightly. You'll notice if I press three, the other pull this out, the actual steps actually expand like so, and that is what we want. So I want the last step to be probably either inline or posterior. So you can see that I'm going to have to pull it out a little bit more or increase or decrease the steepness. So if I pull this out, holding Shift, I'm thinking I want my last step probably to be round about that now. All they too thick. That's the question we need to ask ourselves. All can we increase all of these thickness? So if I grab this for instance, and pull this this way, you'll see again, we have the same problem in that it's, it's kinda pulling them back and we don't want that. So it's a very, very fine line. How far do you want it in front? I think at the moment, this step looks a bit too thick, so I'm gonna pull them back just a little bit. I'm going to press three. I think now that's a bit bet, which means that my last step kind of get away with the more I'm thinking. The knock that steep these. If I bring this up, you'll see that it's a long day. It's not very steep at all if I put it like that. So what I'm going to do is I think I'm gonna pull this back. I'm going to press three. I'm going to line that last step up. Then that last step is lined up here because it's not the bomb, so I'm gonna pull it back now. In fact, I'm going to pull merge that down a little bit. Summit last step will be not that one. Let's pull it back a little bit more. My last step should be on the bottom here to make it a little Realistic. And the last step is yellow. Actually, I think I'm going to align it with this. Again, I'm just checking to make sure that these, it looks slightly thicker as you can see. Kinda get away with making a little bit thinner. I know this is a lot of messing around, but getting these right is a really important thing. So I'm gonna pull up there and you can see now it's a little bit out, so I'm gonna pull it back to here. Yeah, I think I'm going to line it up with actually, I don't think a one-term. I did want them coming past a little bit and I might be able to get away with point a post on that. Let's see what that looks like. I think I'm happy with that. I need to just turn this down now one, because my last step shouldn't be on the floor. It should be above the floor because then obviously the step down onto the floor. So just take that into account. The other thing is I might as well bevel this and seams on this because we've got all these steps going down here and he's going to make it a real pain if they don't do that. Also don't want missteps a little bit bent and things like that. Yes. Ado, I'm going to press Control or let's bring in three edge loops. So left-click, right-click. Let's now press top. And let's come over to our bevel. So we're going to bevel it off. And we're going to set the bevel to naught point. Naught, naught four. There we go. That's bevel them off exactly the same as these now. And then I can apply just my bevel, not my array yet, like so. And then finally I can come in now I'm Mark in some seams. So what democracy here, Alt Shift and click, Alt Shift, click, right-click Maxime. And then let's come round to the back. And we'll grab this here, all the way up to here, right-click mock soon. Alright, so that looks really cool so far. Now, I think we're actually making a real good progress here on the next one, then we'll actually probably Mancala seams on these and then start just trying to build this bit out first before we actually get our posting. Because we're going to need a post on the hair. As you can see. Going on, we might put our bottom Posts on is what I'm saying. The bottom posts aren't connected to the top pulse. We also need all Supports going along here. So we need some Supports going up to here. And Main Supporting the things that I think what we'll do on the next lesson as well, get all Supports and it's gonna make it so much easier. We're going to leave the just applying the materials and things like that because it is a complex piece, so it's better probably just pouring all Supports and first. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 83. Building Complex Support Systems for Stability: Welcome back everyone to Blender to Unreal Engine five, and this is where I left it off. Now let's do what we said. We're going to bring in some Support. So I'm going to probably use, yeah, Let's grab one of these. So I'm gonna grab this, I'm going to press Shift S. Cosets are selected, tap shift a must bring in a cube. Let's make it smaller. So as we already have this support, we need a Support come in all the way up to this section. If I press Control seven, we need to support against the ear as well. So I'm gonna do that one first. What I'm gonna do is I'm going to get the rights size first. I'm going to pull this down to the cell of right-sized because if we actually bring this over here, we need another piece in there as well. So we're going to have a kind of Support comin against it underneath these steps, but it needs to fit against this bit here, in other words, is what I'm saying. So you can see that. Yeah, I'm just thinking how far these all down. I think I could probably get away. Subtle look at the gap in there. Yeah, actually, I'm happy with that gap. I'm just wondering if I can get these up to here. So what would that look right up to there and then my Support from these going underneath? Probably not. So probably this is to fix. I'll show you what I mean. So if I process and zed squishes and a little bit, I also need a support coming along here and then bend in and going down here. That is what I need to actually figure out because I need to have this going into the step. So think actually this thickness will be fine here. So I'm just going to pull it back just a little bit, just so it's kind of over. And then I'm going to press S and Y, pull this out just to the edges of here. Like so. Yeah, I think now up to their looks fine. Now let's think about this part under here because that then is gonna give us good idea how all this is going to come together. So I'm basically going to press shift D, pull this down. And I want this to fit under here and into this step. So in other words, I wanted to go into here, I want it to come out a little bit more. So I'm going to pull this out a little bit like so. And I'm thinking also to pull this down like that. Now let's even get this to go against the steps, the correct way, then splits you all. So I'm going to press eight, pull it out. And then I'm going to pull this down to here. And you can see now while I'm actually trying to do, you can see though that this show Calm down to the floor where there's gonna be a post. Let's press three and just make sure that's down to the floor. So something like that. It's pull it back a little bit down to there. And you can see that this needs make, basically making thicker now. So I'm gonna grab this, press three again, pull it down, like so. And now you can see we're actually starting to get somewhere where you can see that this needs probably coming down a little bit. So impressed three again, pull it down a little bit like so like that. And I think that's probably what we're going to go with. And don't forget on the other side, you're going to have a post in-between these as well. But I think actually if I grabbed now both of these and I press shift D and then I pull this out. This now as you can see, should be underneath, which means all of these steps should be a little bit in, as you can see, because the handrail and that's gonna be there. So I'm gonna do is I'm going to come in now, grab this. Or is it this one here? Press Control plus and I'm going to pull it back. Yeah, something like that. In fact, Emma, better off grabbing the mall? Or should I pull it from there? Because it's going to just make these a little bit weird. Also the bevel, as you can see, it's in fact, I'm going to do is I'm going to pull these all over because they're already on the array. So I might as well use that. You can also see that this doesn't look right now because it's not actually on top of there. We've also got that to consider with this top steps. So this top Steps probably going to be a little bit different from this. So I'm just trying to get it all lined open at the moment is caused me a little bit of an issue in this shouldn't be here at the top. So this top step should be a little bit open. Other words, all this bits should be a bit down, so I think I'll do that. So I've copied this over. I need to basically cut there, see it, and then pull it back a little bit smaller than what this top step is. But I do need all of these polynom. While there is, I'll come it now. I'm going to get rid of all of these. I'm going to press Delete and dissolve vertices. Whoops, dissolve edges, sorry, like so. Then we're going to press control law. And then let's bring in three left-click, right-click, like so. That's all those. And now basically, I'm thinking I could probably come in now and apply my array because I know all these are now in the right place. I'm just looking to make sure that these are wide enough. That's another thing that I just need to take into account. Now I've got this on all they actually wide enough for him to walk down there. Absolutely fine. I think they are. I'm just having a look round. I think maybe I need to bring these out a little bit. I think I'm going to I'm wondering if I can actually stretch them all. So if I press S X pulled them all out. Is it going to stretch them? It's stretching them individually. What I need to do is I need to I need to bring out missteps, so I'm going to come in, I'm going to grab this. I'm going to pull it out just one edge, like so. Here. The moment to do is when a comb into these two here, when to pull these out. So grab both of those, hold them out in its place. And you can see this is where the issue is. And then one Wednesday as and when to come to this before actually apply my array, when to pull them out to here. Then we're going to do is apply my array. So control ape. And then one going through his now pull this one out of control plus Pull it out to here. And finally than one went to do is I'm going to lower this bit down. Now the way I'm going to do that isn't wins grabbed this poll. I'm going to press Control Z or just three, just three, press Tab. I don't want this part in there, so I'm going to press P selection tab, grab it again, three, and now it can get just this bet. I'm going to press a, I'm going to come in now and bisected. So Mesh bisect right around this part here. So here, pull it down. Now if you want to make sure that that is absolutely straight comb-over to left unsigned. You'll see this is on naught point, naught, naught nine. If I set that to zero. Now it will actually straight to note, as well as that you can also pull those to wherever you want some now you can relearn it all pretty much perfectly along there. Now we've got that we can actually delete this part. So I'm going do is I'm going to clear the outer, like so. Now hopefully I should be able to pull this alone. So I want to press through it again. I'm going to press E and why that didn't work. Let's see if we can do that again. So I'm going to come in and then I'm going to press, whoops, going to grab all of these on the top 13 and then E, Y, pull it out. There we go. Nice work. Alright, and that's probably not known that as well with like sir. Alright, so that was a lot of work together a little bit dump. The other thing is I want to just pull these back just a little bit now. So this has not gone array. So I want to grab, I want to split this one off actually. So I'll Pete selection and then grab both of these two. So Control J, tab. Now let's come in. Let's grab control plus and then grab these two. I just want to pull them back just a slight bit, just so we can see that piece of wood on there that we've talked so long to actually create. Alright, so now is this coming into shape? Now you can see that this bit here needs probably this bit moving down now. So we can see that this needs probably moving into place to actually support that. I'm going to bring this down just so it's up on top of there. And then what I'm going to do now is I'm going to grab this with Alt Shift S cursor to select Shift D, duplicate it, and then our and zed and 90 bring it over. So Enter press Control seven to go over the top. And now we need to support this. So where do you want it? I want it basically over here. Like this. I'm going to pull it over here and then it should. So this is slotted into there. Obviously it needs to be a bit thinner. So S and like I said, this part here is very complex, so essence that it on first look, it looks simple, but then when you start actually building them, pulling it together, you can see how rarely Complex is so something like that. And then while there is now I'll bring that back to this post. So I'm going to come on, bring it back to this part here. And now let's grab this again. So L Shift D. And to pull it over now to something like that. Then we need to pull this back a little bit more. So I'm gonna try and grab this face which you can, and then pull it back into that. Alright, so let's now have a look. If a spin it round, wrong way like that. And then one looking at is the support mechanism for this, is it going Support all that is strong enough. Now once we've got all Posts in place, I think to support all of this now, all I need now is a couple more Supports going this way, like this one. So I will actually create those. So I'm going to press L, shift D, that 90, bring it over. So the first Support I'm going to bring in here, like so, I'm going to pull it over, get it into place here, and then pull it up to here, like so and actually have it sticking over a little bit. And then L grubby old Shift D. Bring it over now to here. Like so. Alright, so now with our posts in, this should actually be Supports it. Okay, So I think, I think I'm happy with that. Let's actually bring our Eevee back home and let's just have a quick look. Let it load up, double-tap the I think that's going to look absolutely fine. Now the other thing is when I do things like this, I normally, it's bad to say on material because then I can say at least where the ground plane is. But the other thing is, it's probably a bit easier if you just bring in a plane. So if I go up bringing in a plane, I'm going to put my plane right on the ground plane then so right here. And then one way to do is I'm going to make this plane bigger. So like that, I'm going to pull it over then. It's just at the end where the wheel would actually be going in the water, like so. And then I'm also going to pull my ground plane on Material default. And now can really see women steps are going to go. I'm actually going to make this default a little bit darker. Now can rarely see where they're going to go. Double-tap the a, and there you go. There's where your Steps is gonna go. This is how it's going to look at the moment. And I think I'm really happy with that. Alright everyone, I hope you enjoyed that on the next one. Then we're just gonna keep working alone trying to get all Posts and Supports and, and things like that. I think probably the better idea to actually create all Posts, because we can actually create the Supports quite easily with Posts are pretty much like these ones. Yeah, I might even still these put these in place just to keep it consistent. I think there'll be the best thing to do. Alright everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 84. Designing Sturdy Supporting Posts for the Ramp: Welcome back everyone to Blender to Unreal Engine five. And this where I left it off. Now let's come to this post here. We're going to actually use this because it's going to make it so much easier. So we'll come in and we'll grab this Posts will press out or pressure if Date enter. Let's come over and think where we're going to have these posts now. So I definitely want to, first of all put one post on here. So on one post on here. So let's zoom out a little bit. Bring it over. Try and put this into place. So like that, I'm hoping that it fits. So we'll bring it down. Whoops, that's not right on the blue. Bring it down and make sure that fits into place, which it does. So I'm going to move it over a little bit over that, like so. Alright, so they do fit. So I think the not quite as wide or as thick, is there a little bit thinner than these ones here, but you'd probably expect that actually with these ones down here. So that's fine. Now let's put the next post, either here or on this one. I'm going to approach it deep, bring it over. Nothing. I'm going to put it on there, like so. Now let's think about the next Posts and the next pose. A clear place to put it. It would be here. I won't probably three or four posts along here. So let's see what can get away with. I'm going to press shift D. I'm obviously it needs to spin this around as well. So all 90, spin it round. So something that I think will be absolutely fine. And then Shift D. Let's put this one on the end here and now think we need, we definitely need to in that I would say two, not three, sorry, two, not one. So if I put one here, Let's think kind of put one here, one here, several, Shift D, bringing another one. I'm going to put those two together actually. What kind of get away with print it in here? Let's have a low Isabelle to decide. Actually, I think there, I think that's gonna be fine. Something like that. Alright, now let's think about the underneath here. We're going to have some major Posts. And then along here we're going to have these Posts going down here. So these Posts probably going to be a little bit thicker. So let's bring this in first. Let's press shift D, like so and let's come to the halfway point. So if I press seven, I'm going to put it in. Don't want it lined up. No, I think it needs to go halfway. So the one problem you're going to have is that this part here needs to be a little bit out to make sure the handrail. So in other words, if I grabbed now the bottom of this, I'm going to come in, grab the ball comptroller, plus I'm going to put it on yeah, it's all Material. Bring it down. Now you can see the problem we have. This here is going a little bit to fall back. So does this post wants to be a little bit bigger than these? I think the answer is yes. So I'm going to come in and make these posts a little bit bigger. So L I'm going to come in and make sure it's on individual origins. I'm going to press S, pull it out. And then hopefully I should now be able to get away with that. One thing is obviously I want this to be the same height. So something like that. You can say it is a little bit bigger and now the handrail should go in here. Let's have a look from the bank or the front. Just this handrails while I'm looking at and I think now I need to bring this up. So I'm going to grab this with face, leg, press Control plus polytope through. So just lens through the floor like so. Alright, so that looks a little bit and I'm just wondering, I'll bring the next post in. So I'm going to press out with Edge Select. So all I'm going to also grabbed, this is really about on my eyes. I'm just gonna, I'm gonna, I'm thinking I'll join this all together. Actually. Control Jake, join it altogether and then put it on to the default. There we go. I'm also going to join this. Now think I'll put that on the pole but leave it not joined together. And bolsa goal that we've got bits of whatever we're basically so while we now we can see what we're doing, it looks so much bad and we can actually make out exactly what's going on here. Alright, so what we need to do now is we need to grab this one. I'm thinking yeah, I'll leave it that way. I'm going to press Shift D and then bring this one out to the top of the light. So now I'm thinking, is these probably a little bit wide? Unfortunately, I think I'm going to have to bring them in just a slight bit. I'm just going to grab both of these and look to see where my Posts should come. Do these needs to come down a little bit as well. So I'm going to pull them. So here. Like so. Does that look better? Do then I have to actually think that looks absolutely fine now, I brought them in a little bit and you can see the halfway between that and now they actually look good. So now we need to work out how many posts I won't go in down here where I want these final Posts. I think the answer is that I probably want at least two. If I come in, I'll grab this one. And why wind stairs, I'm gonna press shift D. I'm going to bring this one then to the end. So to the end of here. Do all will not pizza would sticking through that. I don't think so. So I think I want it roundabout here. Is that going to hold the step? Yeah, it probably is. So I'd probably want it roundabout there then I want won probably in the middle. So Shift D bring it to the middle here, probably around about that. And then I'm thinking this one here kinda get away with putting that in there and then just cutting off this part here. Does that, will that look bad or will it look better actually like that? Now I'm wondering if that I think I actually looks better. What I'm gonna do now is I'm going to bring my guy up. So you can see these post probably won't drop in down a little bit as well because there shouldn't be a little bit lower than that. But then of course you've got the problem in that the handrail needs to be lower on this bit. Now, I think that should be fine. We're just looking for Realism here. So I'm going to come in and I'm going to grab the tops of here. All of them might as well Control plus bringing it all the way down and then press minus. So then, you know, you've got everything. Press three more we're going to do is just bring them down. Just a little bit. Waste tight. So if it's turned him around again. So all that 93. So you can see that if it's hanging over yet, the handrail would be here, which is basically at waist height and that is what we're always looking for. So now if I bring him over to this step, again, we need in this coming down to roundabout here. That's the thing we need to think about. Now the easiest way to do that, it's First of all, bringing in a piece of wood because then that will give you a real clear idea of where you want this to. So that's what we're going to do. So let's bring in our handrail. So what we're going to do is steal this Unreal. So I'm gonna grab this one. Now. Shifting, bring it over. And don't worry, we're going to read them. Ramp these anyway. All said 93 on the number pad and let's pull it over into place. So this handrail should be the same on there. You can see it's just under there. So we want it just onto that. I want to pop this in place, pull it up just on that. And I also need to make sure that it's in the center. So as you can see, like there, something like that. And then one we're going to do now is I'm going to press Shift dig, bring it over. Like so. And I need to grab this end of it now so we can see that ends empty. And it's a good idea that we actually just build it up this way because it does make it a much, much easier. So now let's pull this down and then that's pulling out. Keep in hopefully the same size. So what we need to do now is make sure that this handrail is exactly at waist height as we go down. So I can see now, this is about waste as you can see him holding his hummed going all the way down. Now, the easiest way to check this to see where it needs to go is probably just to bring in another cube. So I'm going to press Shift day. They'll bring in a cube. And then what I'll do is I'll make this cube thinner. So S and why make it thinner? Bring it over. We're going to look at the halfway point whereabouts this is. So you can see here, if I put this on the step, don't worry, this is very, very temporary. Grabbed the top of it, press three again, pull it down, just wonder. So they just let you not. And then I can call to now this bottom step which is down here. Bring it over, pull it down. Like so, let's put it on the step. My, and now press three. And now I can say that this is near enough perfectly. I mean, it did that by I got lucky what I would do now if yours isn't grab the end up here, just make sure that you pull it down to his place here. Now one thing about this handrail for this part is it's really not thick enough to support all this because it is a major handrail. So you better off pulling this down then I'm making this much, much thicker than the handrail up there. That one is just to hold that on. Actually, I'm thinking that probably needs also making a little bit thick I think is a little bit too thin. So I'm going to come in actually fix that while I'm here. So I'm just going to grab each one underneath. I'm just going to pull it down a little bit, just make it a little bit thicker. Just looks a little bit flimsy now I'm looking at it. Grabbed each one and then just pull them down. Hopefully, I won't stretch that out too much. So if I pull them down, like so. Yeah, that looks alright. Now I'm going background near understanding. Look at this. Now I need to do is bring these pulse actually down. So easiest way to do that is if a comb to the tops. Press Control plus all the way I'm the two roundabout there while wants to do is have the same distance. So if I bring this down, can see there, then we'll do the same on this one. So controlled close all the way down and then Control minus Press Three, bring it down to roundabout, just underneath like this one. So that looks absolutely fine. Alright, let's get rid of this now because we don't need it. So in Edge Length, just to make sure we get rid of everything, delete that. Tab, double-tap the eye. Let's have a look at that. Still not sure about this bit here I think are probably going to have to cut this bit away. I'm not happy with that. So I think I'll call this one but leave this one. It just depends when I bring my actual posting, where I'm going to put them at and how it's all going to look. But anyway, that's looking really, really good for now. I'm really happy with that. I'm thinking whether this one should be here. I think it should actually or should it be more in the middle? Not sure, but that's all basically messing around and things like that, which we can do as we work along. Also, we might need to move this over here because we are going to have some major Posts going in this part here. All right, everyone, so I hope you enjoyed that on the next one then hopefully we should merely be able to get this finished. Okay. See on the next one. Thanks a lot. Bye bye. 85. Bringing All Elements Together for a Unified Design: Welcome back everyone to Blender to Unreal Engine five, and that's where I left it off. Now let's get all major at Posts. And so we'll create one of them. So let's crush it a, bringing a cube. I don't really care actually at this point where the Q is going to come in. Let's put it like here, what we need to do those things out thick, this is actually going to be, so we need to pull this over and we've got to think that this one here, so this one on the age is probably not going out to Stone in it because the bottom of it needs to be wider. So what I mean by that is I'm going to pull this part over first and I need to get this the right size and scale First of all, so I'm going to press S to make it the right size. I'm going to make sure that it's actually fits in. So I want to try hide my actual lead floor out the way. Now I can see what I'm doing. I'm going to come in, make sure that this fits so you can say it's a little bit too thick, so I'm gonna make a little bit smaller, like so. And then one way to do is now and when to pull this down. And it should fit kind of hope against this Posts. So if I pull this down now, like so should fit up against that. Now it's up to you whether you want to post this side or you want this and this side. And you can say that it shouldn't go this far over. In other words, it shouldn't be in like that. It should be a little bit to the left now, like leaning basically against this Walkway down here, then what we should be able to do is we should be able to now see if we can get this post in place because it should all be able to fit together nicely. So I'm going to grab this post Shift D. Let's ship this ship D. Pull it over and it should go in like that, which tells me this one needs to move over now, so that's fine. We don't mind that. Let's move it over to where it needs to go. So can we get in there? Will it look right or does it need to start there? But then you've got the problem or will that be supported? That's the problem you've got. And I think actually, if I put this like this isn't gonna be enough support there. Probably know, probably know. We've got to think of how we're going to actually do we want this post on it? I think premise Posts Dana is the right thing. I think what we're going to do is we're going to put these into place and then give it a try once we've got this a little bit further, what I need though is I need a Stone part on this, so I'm going to actually create that Stone parts. I'm going to come in, control or left-click. Bring this down. One way to do is I'm going to, yeah, I think my Stone part, if I press three, you can see this is way, way below, so I need to bring those up. So I'm going to do is I'm going to grab this ball mock Control plus three again, bring them all up so they're in the actual flow like so. And then my Stone Park should be this size, I think. Actually, yeah, I think that will be fine. Actually. What I'm going to do now is I'm going to press Alt Shift and click. I'm going to press E and S, bring it out, and then S and Z bring it down. And then finally, I'm going to see, now if I bring it down to their will that look nice? And yes, it will not send the right place. Now. Now the one thing is that I need a gap in here. So how do we do that? That's a little bit tricky. So I think I'll press Control or going around this way, bringing it up to here. And then we'll do is I'll just pull this up, like so. So the Stone actually comes up to this point, then it looks like it's actually joined. In other words, what I mean is it looks like the actual Wood is actually in here. That's what we're basically looking for. Rather than the, it looks like the stones part of the board. We don't want that. Alright, so that's not posting. Now. We need to post on the end. We probably got enough going round here and we need to walk on their air as well. So don't forget that one wins. There's going to grab this now when I press Shift date and pull it over because we know it's the right height and we're going to pull it over to the end of here and you can see it lines up perfectly. We just need to make sure that this here is in place and also this one here. So now I'm going to come in, grab this one. First of all, move it to the side now because we know that it can be up against this Stone. I'm Wood. I'm going to press Control seven to go over the top. Now I can see where it needs to go, so it's come over a little bit. So it's Tuczyn. Actually, that's a bit hard to make out. I need to pull it over here because I'm looking basically at this bit. That's not washer we're looking at. Alright, so that there and then wanted to do, now is I'm going to zoom into this parts. I'm going to press dots. That's gonna make it easy. I'm going to grab this one now. Hopefully. Yeah, I can't really see that. So I'm going to grab this part here, hide all the way. And now it should be able to get in and see this one here. That's what I'm looking for. So I'm going to come in and pull this back into here, like so. Now I'm probably going to need 1 mol at least. So let's say I'm going to grab my Stone again, shift date. And then let's bring it over to under this post here probably will be the right kind of a place to put it. I think something like that. Now we're just trying to figure out now Is this going to be strong enough to hold it or do we need some supports in here? And I'm thinking probably, yeah, do any one Support in here old enough. So I think I do I think any one Support in there holding it up because it's looks a little bit weak around here. So we'll actually do that. I know we haven't got that on the Main one. Sorry, the reference, sorry. But I think we need it. So Shift S, because to selected shift a, let's bring in a cube. Let's make the cube Smaller. Much put this just a quick kind of Support into here. Doesn't have to be big or anything like that, but I think we need just a Small Support. So I'm going to press S Y and then S X, like so. Play out a little bit. Pull it up now into place. So just so it fits on there S Y little bit thinner. Make sure it's actually in their life. So pull it down and then grab this L Shift D and then rotate to on the Y I think is no X rotate, note definitely white light. So S X, you can say I'm shrinking this in the wrong way. So something like that. Now let's have a look where I need this to be supported. So they're like so. And then probably 1 mol Support. So I'm going to grab it, shift D. Then one way to do is I'm going to pull this salt Yan. Is that a bit to where I'm going to actually rotate this round now. So why rotate it round and pull that into place like that. Grab this, put it on normal, and pull it back into place. Finally, grab it and then S and X make it a bit thinner. Like so, double-tap the thing that's a thing that's gonna be enough support for all the way along then. Yeah, I don't think I'm happy with that. We could have got this post and put this here. But then of course, you can't walk around here and people will be stored in barrels and things like that round here. So we need to have that support. Now. Do we need a, another Support in that? That's something that we need to think about. Could we, for instance, grabbed this friendship date and bring it over? So you can see, I need my origin to geometry. You can see that it's part of all there. So I've done is I've copied it all. So I'm going to press Delete and come in and grab just all of this part. I'm going of them press shift D and to bring it over. And you can say the common over the, all the wrong way. And that is because it means set this the global now can bring it over like so. Then I'm looking to see, would this be supported as well? I'm thinking actually would be supported like so I'm probably would have another piece of wood going down to the bottom there with a gap. So I'll do that. So shift that's because it's a selected shift a we just tried to make it as realistic as possible. Has to look realistic. Let's pull that in the while it is in the sense so I don't actually need to move it. What I need to do is I need to pull it back into the wall. I need to make it a little bit wider. So S Why pull it out a little bit. And then I need to pull it now to this word here. Polytope into that, grabbed the bottom of it and pulled up, down now into the floor. Like so. Not now. Looks a ton better. Alright, So the last thing now we just thinking, what else we need in here, is it supported well enough? For instance, is this part here Supports well enough? And I think it is. One thing I need is one more part in here. So I'm gonna grab this. I'm going to press Shift S because the selected tab shift a, let's bring in 1 mol cube and I think that'll do it. I'll probably look and miss something. I do need my Balcony. Anna do know that I'm going to press S and Y, sorry, S and X and bring this to the bottom up here. And I wanted I just wanted piece of wood in that I don't think I need a Balcony. Just need a piece of wood go into here. That's what I'm looking false. I'll think I'll bring you up and that'll make it pretty solid this. And now I should be able to grab the edge of it, pull it out into there, then probably pull it over just a little bit, just so it kinda lines over there without going too close. And now it looks like that's actually Supporting something. Now we can see that we've gone a little bit too far that, so I'm just going to go round and grab this, zoom in and then pull it back to that. And you can say it's just kind of get going in there. And I need to pull this edge, justice edge, like so. Now let's take stock. So what we're going to do is we're going to grab everything, finally, join it altogether. Not the guy all of this together. Press Control J thing, that's all a big Joints go five, press G. Now we can see we've still got a lot of joining to do on these parts. For instance, Control J, G. And there we go. That's what we need to actually sold out now on the next poll. So we can see that we've also got all of these and I didn't mean to do that. So while there is quickly before we finish, is I'll grab all of these now. So I'm going to press Add, wireframe, be grumble those pay selection top. Grabbed them again. Solid. Let's put it on Material actually. Now we'll Pratt, now we'll click on them, press G, and it should just be those coming away with those. Double-tap the I will just have a look around now. One last lobe. Then on the next lesson, I'm hoping that we should be able to, I'm looking out, think they are thinking maybe needs to be a tiny, tiny bit thicker on the, on this edge. So I'm going to just grab these just before we finishing, just make them a little bit thicker. Because then on the next lesson, we can actually focus on getting all the materials on. So if I process and why make them thicker, don't forget to be on individual origins, just going to really bring them up to there. Like so top doubled top of the eye. And yeah, they look a lot, lot there. Alright everyone. So I hope you enjoyed that. And I'll see on the next one and hopefully on the next one, we're about to get all of the materials on getting this Balcony Arm and finally, actually finish these steps off. Perhaps the most complicated part of the Build. Now keep saying that we do have another complicated part, which is the actual the Bay Window here I'm going to press Alt alternates, just bring everything back. The Bay Window on here and bought apart from that, I think that's the last complicated thing to do. Mainly now, it's just based on building that Window and then pouring all the other little piece of wood in there. Pretty straightforward. All right, everyone, so he enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 86. Fine-Tuning UV Maps for Enhanced Texturing: Welcome back everyone to Blender to Unreal Engine five. And this is where we left it off. Now, as we've been focusing on realism, I know you could take you a little bit further and pop culture in and things like that aid. But this is far as we're going to take it for now, because I think you can keep taking things further and fed. So just bear in mind, just keep trying to push you models further and further and try and get them more and more realistic. Now, what we need to do is we need to actually give all these materials Gamow, UV unwrapped and things like that. So I'm going do is first of all, I'm going to save it out because I don't wanna lose my work. And then one wins through is now work on these. In fact, I think I'll put in my Balcony first and then it's all done. And then finally I can bring him on materials. So I went to grab this Balcony. I'm going to press shift D. I'm going to pull it over to go with a top. Let's get this centered Out them. So I'm gonna pull it over. So that looks roughly in the sent to them. Maybe I need to pull it over a little bit this side, like so, I'm just going to grab this edge, Alt Shift and click and pull it into place. And then I'm just going to make sure if I press three actually, I want this a little bit higher up, a thing. I want this poor little bit higher up. But first of all, actually i'll, I'll ship date all zed 90, spin it round, and then I can put this to this one here, because this one obviously has to be a little bit lower. So Alt, Shift and click pull it over like that because he's going to step down there anyway. And then this one now I can pull up, so it's just under here. And it doesn't want to go there by the way because we're blocking off the entrance, so we just need to move it over now to this side, which I forgot bow and when actually starts over here because that'll be probably the right length. Yes, it is. Alright, so now I can grab this one. Shift D, pull it over into place. Now that actually nice. And then, and Shift D pull it over. And then S, Y, like so I'm going to actually bend this one a little bit, so on. And then I'll grab this one. Are all X tilde to Jill's to tiny fraction. I can add a little bit uneven, like so. Then I'll grab this one. Chip D. All zed 90, spin it round once, put it going this way now, so like that. So have a look, see if it's in the needs coming this way. A little bit of things like that. I made it. So it's the right height. Put it there. Alt Shift, click, rub it over. I'll shift D. Grabbed this one. I'm going to tilt this one as well. So I'm going to press S and X, pull it out. Then all why tilts it a little bit like so, and then I'll use this one. So L shift D. Bring it over to this one here. Let's make sure it's in the center. Like so I'm going to pull it over, make sure it fits, and that just fits. And then I wouldn't just tilt this up as well. So I'll Why? Because it looks then like it's kinda strain in on their press Tab, double-tap be and that's what you should end up with. And then we've got a nice Walkway this way. By the way, it would be here because there would be getting something from the storehouse down a pulling it open, taking it into here, and that's why it's there. You'd probably end up with their system on here, but we're not going to pull that in, but I just recommend if you read, I want to take this model a little bit further, putting in a Polished system, it's gonna look like it really fits and that's why it would be useful. Alright, so now what we might as well do, we split all these off. So these parts here, I'm rayon Ramp those separate from these parts down here because these pots or need them seams and things like that. So I'll do is I'll grab these. I'm going to press Tab moment there is. I'm going to come in and just grab them all. Like so split them all off. Then I can work on my other part. So these these and just looking around there. Yeah, that's absolutely fine. I'll press P selection. Grabbed them now tab. What we'll do now is first of all or gravel these because this will be easy. If I grab all these, I can just pack those islands, then you see that one's very long one. So I'm coming to UV Editing. I'm probably going to have to UV unwrap them again because they're small on some of these, I'm just going to depress you on Ramp. I'm just going to have a little what that actually looks like. I'm going to make sure they're all okay. You can see we have some major problems here. I'm not sure why that is the case, but that is not how it should be. So I'm just wondering why this one why is this one not on ramps are correctly why the tops of these not and Ramp correctly. I think I'm just going to come in I have a look why that is. So I'm just going to hide this post out of the way. Hide it. I'm just looking to make sure I've got my seams on. So if I grabbed this one, that one's actually on Ramp correctly. So press U on Ramp. Have a look at that now. I'm just looking to make sure why this one's on ramped the Way house. And I can see that it's something Ramp very weirdly. So I'm going to press U on route. And it's going the wrong way of things. So all night till spin it round, and there we go. Now you can see that the issue, you can also say that the issue is, this is way too small. And also I think I need to reset actually all of my transform. So let's try that control at all transforms right-click sergeants geometry. Now let's try them Ramp this. So you on. There we go. That was the problem. Okay? So we messed around with these so much we must though the transform. So let's come in and grab all these again. And hopefully now this should all on rap easily. I'm correct. So unwrap. Let's have a look at this one. Just looking around now making sure everything's on rock correctly, which it has. I just wanted to make sure as well. You can see here this one's a little bit out, so I need to think about spinning that one round. So all spin it into place. Pull it back a little bit, maybe, making sure it's not sticking out that side now. Alright, that's that. I'm looking actually at the word now on the top and comparing it to the ward on the bottom. So that actually looks fine. So now let's do these pulse. So let's press Alt H, bring back my other post. And then what we're going to do is I'm going to pack these islands. I also need to unwrap them. So let's help them Ramp the right way and we don't actually rotate them. So you on Ramp, Let's have a look. They all go and these are all going now the sum of these are going the wrong way as you can see. So I'm going to have to spin all those around. It's a bit of a pain. I know. We need to make sure these are going the right way. So you can see these are going the wrong way, these are going the right way. These are, these are, this one's the wrong way and wants this one. This one's also runway control plus grabbed them all or 90, spin them around and now they're all going the right way. Make sure that these are also going the correct way. So I'm looking at, can see this one here, for instance, is going the wrong way. And because we split these up, the thing is you're gonna have to go round and just make sure the post. So I'm just going one by one. I can see this one he is going the wrong way. And I'm looking at all of them. I'm just not working my way along, making sure they're all going the right way. So I think actually for some reason it's just that one. Let's go in the wrong way. So that's called because it's just one. So all 90, spin it round. And now we can see that a lot of these are also going the wrong way. So I'm going to have to check those as well. I'm going to press question mark or Shift H to isolate them out, put it on Material, and now come rarely see which ones grow in the wrong way. So I'm going to come to this one first. Then I can see that all of that except that side is going the wrong way. I'm just going to work my way along. Yes, I know it's very tedious, but we can't add the wood grain going that way. So just work your way along. It's just a small part of the actual bills, so it's not so much of a big deal. So I'll come in and spin these around and then come into this, spin this around, like so. And then come to this one. Can see that one's going the right way. Let's zoom in here. Let's spin this one around. As we can see, this one's going the wrong way on this one and this one, I have no idea why they're all going the wrong way, but either way, let's say spin them all round. So when I'm clicking on them, actually if I click on this, when you can see that one's going the right way. So you'll know if you click on one and it's gotten the wrong way at the right way anyway. So I'm just going to wet my way around. Like so. This won't this one. There we go. Now, let's spend them all round. So all 90. Let's have a little bit. They look like double-tap be just come in and just not a god log all around, making sure they'll look correct. Alright, so finally there. Now let's go back to modelling. These are already, if I press Alt H, bring everything back. These are already, as we can see, Don now, these adult. So all we have to work on now is all of these, we've beveled off these parts here. So these ones zero beveled off, I think several Look, these arms, so I'm going to actually be 4M this, I'm going to split these up. So all, split them up. Like so selection. And we showed, if we look at these, have all of the Seams mark Tom, one thing we should do before is I'll just come in and I'll just move them out a little bit and I'm going to turn on connected only and then just move them just a little bit. Like so. Just making them a little bit warped. Just a tiny, tiny bit as all it needs. The last one actually is probably the strongest ones, so don't do a lot with that. And there we go, there a little bit Warp now. Alright, so on the next one then we'll do these steps. First they are easy ones. And then we'll slowly work our way around babbling these edges off. And then hopefully by the next lesson we should have majority of this done. Then we're on to the, I guess the final stretch. Okay, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks. Bye bye. 87. Perfecting the Main Ramp Seams for Seamless Integration: Welcome back everyone to Blender, to Unreal Engine five. And this is where we left off. Now, we've got all these already unwrapped. So we might as well grab all these, press you, unwrap, and then you can see non-uniform scale. So let's press Control a whole transforms right-click origins geometry. And now let's try top you on-ramp and let's see what those on right like. So we'll bring in, well minus alcohol default in object mode. Of course, they're all going pretty much the wrong way. I think every single one of these is the wrong way except this one. We'll just I'll in this one as well. So we'll come in and grab all of these with Edge Select and spin them around. So all of them you read, it's in a 90 takeoff Proportional Editing. We don't want that arm, so all 90 G put them in place and let's have a look at those. Alright, so now they're all going the right way except now the signposts. So we need to come in. And I do want to make sure that these are also go in the correct way. So you can see this one here. It looks like it's going the right way. I'm just going to go in and then I'm going to grab the ones that are going wrong because I can't really see from here anyway. So I'm better off just grabbing a mole. Zoom in, rub this one here. Kind of grabbed that one. Yes, it can come in round. I can't actually see that one, so that one doesn't really matter. So now I want to do is just grab all of these in the wrong way round, which are all of these ones here. And you spin them around. So I'll spin them around. There we go. Now they're all going the right way round. Now I need to press Alt H, Just 1 s and just make sure that the word looks the same and consistent all the way along which it does. So now I can basically join these up together. So Control J, join them all, hide them out of the way. Now I'm going to just leave this one here minutes, so I didn't get the consistency right. I'm going to also join all of these up. So Control J, join them or low GI, making sure I've got everything so it can save a look underneath. Now. I'm going to put it onto Eevee just so you can see under there making sure that you can say I've got all of the pieces of wood including the Supports. That's what I'm looking for. Alright, so that's good. Now let's hide this part of the way and let's grab these. And let's press Shift and H, hide everything else, put it onto Material. And I can really see what I'm doing. Now, let's just pull this over until I've actually got all these done and as well operate on object mode. And then it can really see. Now one thing is that we know I'll put it back on Material just for now. Yeah. Might as well on-ramp all of these. Andalso I'm going to up to bevel these as well. So you can see that these needle wrap in any way the actual what is stretched. So what we'll do is Control a or transforms right-click sergeants geometry. Let's come in now and bring in a Bevel modifier, bevel. And let's try. Is that actually beveled is solvable. You can see some reason, oh, it's because of these. Sometimes that happens when you've got things like this on here, you'll see that the bevel doesn't weigh properly, or you need to do is you need to come to geometry and just take off the clump overlap. It'll make it go really, really weird. But now you can actually come down, bring this down, and you should be able to get a decent bevel that you're looking for. So let's try. No point, no-no vulnerable point, no mouthful. There we go. You've got your bevel.com. So that's a good way to override that. I think now they look absolutely fine. Now let's apply that. So control a, Let's now print an object mode. Let's press tab and let's start giving these seams. So Alt Shift and click will do this one first. And we'll work our way in words because we have a lot. So Shift-click, Shift-click, right-click, mock Seam, hide those other way, and just wait too long. I'm going to call them to this one now, alt Shift click. I'm going to think on the inside of here, inside top right-click Maxine. Hi, the aldehyde. Now let's come to this one. Hold Shift and click on a models. We'll also do this one at the same time, and I'll also point on the top. So right-click MSG, hide out of the way. Now, this one here, so Alt Shift and click and you can see here that I can't really see this. So I'm gonna do these last because I'm going to have to bring everything back. So Alt Shift and click. Now this one here, down here, you can see that I'm going to need a different material. So Along going to do is I want to come down to where I think the Stone should start thinking that the Stone should start the second one down. So that, for instance. And I'm also thinking that I'm going to probably marker Seam up this corner like so. Now you can see it's going all the way round, so that's not what I want. So I'm going to right-click mock scene. And what I'm gonna do now is I'm gonna grab this, come all the way down to sub below, down to the bottom. I'm going to need a one on the bottom as well. So down to here. And then click down to here with control, control, right-click mock scene. Let's have a look at that. So now it's going all the way up that that's basically what I want to do with the rest of them. So I'm going to do the rest of them first. I want to come in And Alt Shift click, Alt Shift click, come to the top. Alt Shift click right-click magazine, and then grab it from the bottom here, going all the way to the top here, right-click mom saying, alright, so that's the way I'm going to do these on this one. I'm going to do it on the inside of here just to make it harder to see like so. And then I'm going to come from here, control plane to here, and then Alt Shift click to here, right-click mom Seam. Again, very tedious for imagine trying to do this all in the hand. So I'm going to hide those other way. Now let's do these ones. So right-click mocked Seam. Now we'll do them in the top because obviously they can't see those are right-click MSG. Again, grab, mold them all the way. Now let's come to here. We see we're making very short work there anyway. So Alt Shift click. Let's put one in here, right-click monk Seam it all the way. Now let's work on these ones here. So Shift, click this one here. Yeah, I'm thinking this should be actually split up. This, we shouldn't be like that. So I'm thinking that this should join to this one going to do with these, instead of doing that than I actually thought I was going to press Control Z or Control a mock seams. So I've got them more down there. And then one we're going to do is I'm going to actually just split these up a bit. So I'm going to come in with face select Alt shifting plate, round both of these Delete and faces. And we should end up with something like that. We've got an actual part there. I think something they're not actually show where that actually has come from. So if I grabbed I'm just gonna hide this out the way a minute and just look, where is that going from. So I'm going to come in with my Edge leg and I'm gonna grab this. And this one here is you can see, I don't know where they're coming from, but they're there. So delete vertices unless, yeah, that's what they might be. Let's press Alt H just make yeah, There they go. Sometimes that happens. I don't know why, but I'm going to just hide the other way. There we go. Now that's bad. Now, while I wanted to do is I want to grab both of these. I don't want to just pull them back, like so. And then I want to press E, pull them to the Y. I'm going to pull them back to here. I'm going to make them a little bit smaller and that's then going to bevel them all. And then when I press Alt Tab and that's going to fill both for the little holes in before do that calls right-click magazine map, then I'll tech, join them together. Now we need to do the same thing with both of these now. So I'm going to come in, I'm going to press P, Y, pull them together, make them smaller. So S, like so. And then Alt. Yeah, and then right-click mark Seam and then alter. Now let's look well, they look like do the actual either Joints give it? Yes, they do. They look at Tombow. Alright, so now we just need to Seam on the inside of here. So I'm going to market Seam that and the inside of here, mock Seam that I'm sure somewhere along the line here, we will have messed up somewhere, but we'll see when we've got all Wooden. So now we can say that we've got these ones on the here and these ones along here. So let's do these ones here. Hold Shift and click on both of these. And let's come to the underside, here and here, right-click mock scene. And now we need, we've got these edges here. Don't. We just need the backends of these. So Alt, Shift and click, Shift-click. Now let's come to the inside again. I'm going to grab this one here, right-click mob scene. And then I know that I also need to press adult bone on this year, so I'm impressed dot zoom in. I'm going to market Seam there. And then I'm gonna go into the other side now on, I'm also going to grab this one here, press adults or can zoom in moccasin, they're not as all those done. Then finally, Walgreens do is I'm just going to hide these two are the way like so. And I'm going to also hide this Alloway. And then I can mark my seams on this one. This one on the bottom, then on the underneath, on the inside right-click mark seen. This one here. This one here, right-click monk Seam and then the back on the inside right-click mop Seam I'll take to bring everything back, hide these are the way now. And then finally, the last ones, which are these ones here. So Alt Shift and click like so. And then the top on the inside right-click mark soon. Okay, that was Along marking seams. Now, on the next one, actually we're not finished this one here. Let's mark it on the inside of that right-click moccasin. Alright, so what we'll do in the next one then is hotplate. Well, on route these the loan route perfectly, I'm sure about that. And they'll all be the right way round everything else. And then we'll bring in all materials and we'll get this eventually finished. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 88. Finishing Touches on the Side of the Windmill Structure: Welcome back everyone to Blender to Unreal Engine five in this where I left it off. Now, let's unwrap these separately. So I'm going to probably do it in 3D lot. So I'm thinking I'll grab, I'll just basically split you up. So I'm going to split you up from here. So I'm going to basically you on Ramp these, hide them all the way. I don't want to split these up, so I'm going to grab a few of these like so. And then you unwrap, hide them on the weight. And I'm going to do the same thing on this. I'll grab all of these. You Ramp, hide the mob away while not going to hide those lecture, I'm going to pull this over and just see what their unwrap them like. Say I've got a problem on this one. So now I'm going to do is I'm going to press Alt H, bring everything back and I can see where I've got problem and don't think any of the others have golf problem. I think kids. Let's have a look. One of these has got problems, so we're going to just go in this one here. So this one has a problem and it adds, let's have a look. I think there's a little bit of a Seam missing, which is this one here. And you can see that I think so all you unwrap and then we go maps perfectly. Now, let's put this onto Material. I'm going to pull it over this way, put this on Material. And then warm winds do is now the grab everything, come down to my material. I'm going to minus off the default, so it should all go toward, which is great. And now I need to do is look, first of all, making sure that the word all looks correct, which it pretty much dolls. I just need them to change it around. We can see one like here is a little bit blurred. So let's have a look why this is blurred. Probably a little bit too small. So I'm gonna do is I'm going to have a look at the whole thing. Yeah, I can say I've got all those in. I didn't really want all those in. So I'm going to grab the ones that look blurred, that'll be easier actually. This one, I'm just gonna make it a little bit bigger. I looked a lot, lot better. Now, why needs to do is I need to come in now and change the ward round. We're the ones that aren't going correctly. So look at this one actually. Yeah, that one's probably a little bit bloats. One we're gonna do is I'm going to come in, put it on Eevee, souvent, see anything. Probably know about the same. So I'm gonna come in, grab all of these. These all look okay. Actually, this one's also okay. This one's okay. Okay. Okay. And work my way around. So I'm gonna hide those all the way. You can see that this one here is the wrong way round. So I'll 90, spin it round up. Look at that now. Let's press top. Hide out the way. Let's grab this one. Dot, zoom in and that looks probably a little bit too small. So I'm going to bring it out a little bit like so. Now it looks bad. Now, hide out of the way. Now let's come sue this one here. So all 90 mi will print in the middle while now hide all the way. This one looks fine. So I can hide the other way. Alumnis fine, hide all the way these all the wrong way round. So I'm going to spin these round. You can see the bombs of them as well. I'm going to spend all of these rounds, so all 19 in fact, I'm just going to read on Ramp these and then spin them backgrounds. So all 90, then we can see now they look a ton better. Now we need to do the bombs or via change the materials. So I'm going to come in with all grabbing the bombs. I'm also going to grab the bomb parts of here, like so. And I'm going to press down arrow and bring in my Stone and then click Assign. And there we go with us, the Stone parts of those dumb. Now let's keep working our way across. So I'm going to hide these other way. So L, L and L, because we know those right now that one, the one on the end. So all those other way. Now we can see that this one is also wrong. So I'm going to spin it around. So all 90 G put it in place. It's not over there, then that one's correct. So let's hide this one. This one, and this one out of the way, they're all done. Let's look at these now, making sure that these are going the right way and they all look correct. So finally, I've got an issue with this one and the reason is the same as what we did on the other one. I think I just need to moccasin here. Right-click mob scene. You unwrap. There we go. That's all going right. And now finally the last 190 S, bring it out a little bit. Okay, Now let's go back to more limb. Let's press Alt H, bring everything back. Let everything low HDL. Now let's have a good look round. So I'm going to actually bring out one of my songs. So I'm going to press shift D because I really want to see what this looks like all and zed and just spin it round. So we've got direct sunlight on that. Now, I know we can see many, many songs on here. Now, what we can actually see exactly well, this is going to look like and festival we can actually see if we've got any blurriness on the ward if it's not the right consistency, resolution and things like that. We can also see under here how this has been supported if it's actually strong enough to be Support like that, I really do think it is now the last parts that we need to actually think about. So I'm thinking, do I want to name would in here? For this part, we could do that. I think it will do that. So will we now coming in and basically just fixing any any issues that we've got. So I'll do is I'll come in and they'll grab all of this. And I'm just going to shrink it in. So I'm going to press S and why it's going to shrink in on individual origins. I don't really want that. So why bringing in a little bit, bring my handle over a little bit just to break, beckons place, grab this piece of wood here. So I'm going to press shift D, spin it round. So all X 90, make it a little bit smaller, S. And then what we're gonna do is going to pull that now against that wall in here. So just going up to there as you can see, bring it down, slow in, in the top of there, and then come in and grab the bottom of it. I'm going to read them Ramp this so don't worry. So Control Plus bring it down now to the floor and then grab it again with Edge Select. And then Shift D and bring it over to the other side. Like so making sure it's Joel, stop to that. And then finally, let's have low what that looks like and that looks a lot barriers you can see. Now, I'm doing really need to unwrap these. I think it will do because I've got them ASR well, real route those. So grab both of these just so in case they're not stretching your take a nice close-up probably. I want to make sure it's right now. I'm just looking to make sure they look fine, which they do. Now we need some pieces of wood on the bottom of here. So what I'll do is we've already got these pieces of wood bevel. That's the best thing about it. So if I grabbed this piece of what you can see, it's already beveled so we might as well use it. So I'm going to press shift D. The problem is that when I do it like that, I'm going to shrink this bevel down. So actually that's a bad idea. So I'm going to do is I'm gonna press Delete that says, and I'm just going to bring in some new piece of wood roughly this side. So I'm gonna grab this size. One we're gonna do is I'm going to press shift in font. What I could do instead, it will make it a little bit easier actually is Alt Shift and click now press shift D. And now we don't need to worry the ends. I think let's have a look. Yeah, we've got the enzyme we don't need to worry about. Those are impress all 90. I can just minus this Wood off just for now. So in tab mode, splits it off. So P selection, grab it again, and let's just put it on now for the moment. Just to default. And the reason I'm doing that is of course, just so I can see which ones I need to fix. So S and why I think is a low bring it in. Like so. Let's move it over. While we can see I've made that right plank, origins geometry. There. S and Y been Along calls. There we go. Let's pull it out. Three. Let's pull this ends place. So S and Y, nice and thin. Let's pull it up into where it needs to go, which is just in there. You can see tiny sliver, which means probably need to bring this piece of wood out a little bit. So let's grab it with Edge Select, all, pull it out. It's making sure I don't want to go and pass there. So up to that is absolutely fine. Yeah, that's fine. And now I can bring this pop out a little bit more like so. And then I can bring it over. So Shift D, pull it over to here and then stretch it out a little bit. So S and Y pull it out. Like so. And in shifting it over, just making sure it's in doesn't matter if it's touching around the back of their ship date. All 90. Pull it out into place. Let me grab this edge. So Alt, Shift and click, pull it in. Like so. Grab this one again, ship date minus nine to this time, just so it's going back that way. Let's pull those into place. Let's grab this edge. So Alt Shift and click one. So pull it all the way over into this wall. And then L, Shift D, all that, 90, bring it over, selects the wrong one. Then that's shrinking essentially, it's a little bit on the axis, time and place, and we do need another post in there, so we might as well use this one. So I'm going to grab this Posts. So in Edge Select all Shift D and a well-written Ramp this as well. So I'm just going to grab it you on Ramp and now you can see it's different. I'm going to put that into place. Roundabout there. And yeah, that looks that looks about right. Actually, I'll pull it out a little bit and then I'll grab this one. So Alex or to grab the ship date, spin it round. So all 90. And again we need to grab another post. So I'm gonna pull this to here. Like so. And then I'll grab another post novel got Posts going down here of note, actually I post in here Main post. So I showed, I should grab this one again. So L and I won't be able to, I don't think about Cerium Ramp this. It will need it, we'll need some more Posts now these this is probably the biggest Posts going up there. We do have to consider that. We don't want it probably going up that fall. We probably want it coming up to here. So we can use this. In other words what I'm saying. So Shift D, bring it over to into here. Then we'll pull it off. And then we'll have a big post coming out of here. It's probably a little bit high as well, I'm saying. So I'll probably shrink it down. So as said, shrink it down and then put it in the floor. And then we'll have a major Posts coming out here. A thing with our Bay Window on here. Alright, so we'll see fold up fits together. So ship date, bring it over here now. And then we've got to decide if we want this coming from up here, or do we want it halfway in between? Other words, because the post needs to come from here, we can see we do have an issue in this bit. So if I bring you up, for instance, can I set my post on there and will it look natural? So if I press tap, double-tap the I, does that look natural light? I don't really think so. So if I bring it down though, will it look natural the other way? So I'm going to bring you up to that top double-tap. Be actually a thing that looks a lot more natural apart from this bit here. So, can I get away with Polynices back a little bit? I want to have a look save icon. So Alt, Shift and click. Pull this. Back into that. Again, we've got, yeah, we've got a problem in that. We need to pull this out. They'll way so one wins do is I'm going to instead I think I'll grab this one here and then water is, I'll press Control plus and F. So Control plus. And you can see that I don't want this coming, so Alt Shift and click. So now I should just stop this, be an assured, be able to pull this out in front of their life. So now that's looking at now a lot more natural the morning did before. And I've not really stretch to the word out, which is great. And now all I need to do is just make sure that this is about the same height as that might need to make those higher. Alright, so that's simple. This one, you can see now we just kind of trying to get the last bit done with all these parts and things like that, where you can see how now it's actually locks and now it's really starting to come together. Now, when we've got this Bay Window in, pretty much don't marinol. Few more lessons and then we should be done. Okay, everyone, I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 89. Planning and Layout of the Bay Window Greybox: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now what you wanna do is I think just build out this just a little bit. Karen building this round and basically get these pieces of wood in ready for that actual Bay Window. So I'm going to do is I'm going to come to the top here. I'm gonna grab the top of this post here. In a press Shift S goes to selected Tab Shift a, and let's bring in a cube. Let's make it smaller. Let's decide how far this needs come out. So slightly bigger than this poster. Think it's going to be a Main Supporting Posts. I'm just wondering whether to put it up probably to the same height as this. I'm just thinking. Yeah, you can see it's pretty much following all the way round. So where are the way it needs to be somewhere near that. So I'd say it's probably better off just going slightly up. So let's see what that actually looks like when we bring it in. So I'm gonna grab the bank. Napoleon's plays, like so. And I think I'll just bring it up just halfway and now and think it's gonna be fine and then unwell do is I'll just pull that out a little bit. Like so. Yeah, I'm happy with that. And then we'll do is I'll just press L ship date. Bring you over the other side. Let's fit that into place. Like so. And then we'll do is I'll grab now this one. I'm just going to grab this top of it. I think it's this here. Yes, it is. So Control plus polytope into place and it's not going to stretch the world that much. But you can see that I do need to grab this now and pull it a little bit further over. You can see, is it actually fitting in there? Yes, it is. Okay, that's fine. Now, let's think about is this going back far enough? Yes, it is. And now let's think about this piece of wood here that since place, so that's good. So now there's all grab this piece. So L shift D Enter on June at, spin it round and it's not underneath to solve zed 90, spin it round and let's make it a little bit smaller and pull it into place here. Like so. Just to hold this in place. Let's pull it back. There we go. Something like that. I think it's looking really nice. And then one needs to doesn't need the top parts coming up now. And also workaround another pattern here. So I'll come to this bomb actually grab this one, can see this one's already beveled off, so that's okay. So Shift D, bring it over. Men are 90. Let's pull it into place. Like so. So I want to pull it into that and then I'll come in, grab all of this edge and then pull it into place like, alright, so that's pretty nice. Now, I also wanted to come in from this edge here as well. So I might as well grab this one here. And then what I'll do is I'll grab this part here. So I'm going to press out on unneeded coming down basics. We're now I'm going to press Shift date. So I'll bring it down. And it's looking if I press I think it's walnuts envelope one looks like it'll fit it somewhere around there. And I can say I need to pull this back a little bit and I'm going to just make it a little bit fatter on the side of things. So essence that make it a little bit file-like. So I want my Bay Window actually to be in this bit. I want enough on the bottom of the probably to bring in just some little stripes down. So we'll have a look at that in a minute and see how big this Bay when it goes. Because I think actually the Bay Window shouldn't be as big as this thing that would be ridiculous. So I'm going to do is actually I'm going to make a Greybox for the gray, the Bay Window. I'm actually also thinking I could have brought in a reference, but I'm not gonna do that actually. I'm just going to not win get, but we're just going to try and get it to be the right size. So I'm going to bring my cursor to the center there. I'm gonna press tab and I'm going to separate this. So I'm going to bring in now a cube. I'm going to bring it up. And I'm going to bring them on over and look at how big this Bay Window would actually be. Because I want to press one. Let's pull him up. And there's just no way that Bay Window would be the size of him, to be honest. So it's probably going to be a little bit smaller is the Bay Window. So I'd say probably two-thirds the size of someone who is probably where it's going to be grabbed my cube again, I'm going to grab the bottom of it. I'm going to pull it up, something like that when the press one. And then I'm going to look how wide actually need this. So now I'm going to stretch it out. I'm going to press out on it. I'm going to press S and X. Let's just pull it out and see how big that is going to look. And then one we're going to do now is I'm going to bevel off this controlled BY Beverly off. And you can see that, that we've got two bubbles on them. We don't read the one that two segments, so I'm just going to turn it down to one. And you can see now that's wrong. So I'm going to press controls that I'm now in a Beverly off. It will just bevel it off in the way that we wanted. So something like that. We want it like that because this is, you can see that it's probably a little bit wide on here. So I'll probably need to bring this middle point out a little bit and maybe a double Bay Window actually on this. It seems a bit wider than the one I actually created. So I've got to take that into account. The other thing of course says, I have got water going in each of these woman to do is I'm going to grab the center of it. And I'm just going to press S and S and X. And you can say that grubs just the top of it because I needs to be in Face Select so S and X, pull it out. Like so. You can say that's located March, March bad. So we can see in here, this is where it's going to go. I think actually that is about the right size for my Bay Window. Now the other thing is as well, we're going to have a top on here, so I'll probably need to bring it down a bit, something like that. I think it's gonna be fine. I'm thinking that probably on this one, I'll actually support it going underneath because I'm thinking that's probably out a little bit to false. So I'm gonna do, first of all, I want to process and why and get this software. I think it should be something like that. Something like that. Think a lot, much, much, but it's not too far out. Now let's carry on working on the rest of it then. So what we'll do is we'll come into this part here. I'm going to grab it with all Shift D or X, I think it is. Why 90? Spin it round. And what we're gonna do is you're gonna probably make this a little bit fast. I want to press S like so it just fits in there. And it should just fit in the corner. You can say I need to pull it back a little bit like so. And I'm one which nodes are going to press essence. I just squish it in a little bit and then I'm going to pull it up into place so you can see it going through there. So essence add, pull it down and then probably going to pull it over just a little bit like so making it and even again, we don't want to even, and I'm going to grab this one. I'm going to pull this down into that and you can say it just actually comes through there and I don't really want that. So I'm gonna grab it, pull it back like so now let's bring this over to the other side. So I'm going to grab this when I press shift D, bring it over to this side. Hopefully, let's see if that actually fit sense. I'm looking underneath that actually fits in that. And looking out for it comes up to here. So thing went up to pull it a little bit more. I'm just making sure it's not going over there. Yeah, I'm very happy with. Now. Let's grab this bit. So L ship date, all 90. Let's spin it round and I'll do is I'll bring it out. So I want it then I'm going to pull it out to where I think it should go. So keep going, keep going. There we go. And then one went to there's going to make sure it's in the wall, which is, I'm going to grab this from, pull it back like so, grab this end, pull it back like so. And then grab this one. So elegant, should D are 90 degrees. Let's pull this one into place. Like so. And it showed just bets and I can see it going all the way along there. Then finally, Let's see now if I can change the warden here. So I'm just not the word sorry, the actual you can see I've not received on this one, it's only going through that, but this is to separate buildings. So you can say this part here. I need to bring you all. So I'm gonna do is I'm going to come in and Alt Shift and click where will that take me around to? I need to grab it all the way from here as you can see. I'm not sure because I can't really see it on here. So I'm gonna do is I'm going to actually see, can I grab all of this? So H hide out of the way? And now I have a much better view of where this needs to come. So I can say that's needs to come up on here. It's a bit lower on here as you can see. So I could have it. I've got a piece of wood here. So think from here, can I press control law and bring in another edge loop? And you can see that I can't. So I need, if we come around here, I need basically an edge loop going in from here. So following this, so if I press three, I'm going to press a lot is going to grab a lock. Then I'm going to put another edge loop in with Mesh and bicep. Let's come in with a bisect and that's called sit across here. Like so. Then that's come in, take-off declare out to, and what we're gonna do then is set this to zero and then it's going to make sure absolutely straight. And they would consider going all the way over. It's not affected my wall, which is great. I don't want it to, but it has made it so that now I think if I press Tab, press Alt H, bring back those pieces of wood. So I need it starts in here, so you can see here if I hide this again, let's go back with controls that gravel wall again, you can see here that I need another kind of loop in here. So I can't put one in as you can say, I can't put one actually in here. So I'm probably thinking that I'm just going to make cool thing. So I'll just press K. I'll grab the point here. Here is I'll grab it and then just make sure it's relatively straight and hopefully should be able to make a quote here like so. And you can see it's not actually working. Sometimes it doesn't if you're trying to cope along here. So let's try and caught along here. And let's have a look. White. It's not making that this is the thing these are enjoying near as you can see, I'm not actually making a cut there. Let's try and hide this one out of the wave. So I'm just going to hide this all the way. I'm hoping these two basically are two separate parts here. So now I'll do is I'll see if and command. I'll press K again and grab this part here. You can see it just tries to lock onto that. Let's see if unclick it and then move up. I'm going to try. I don't know why it won't let me do that actually, it's a bit. Let's try that. Finally. There we go. Alright, so let's press Alt H, press Tab Alt H again. And now I should be able to come in and let's just try it on one of them. So I'm gonna grab this one, this one life. So I'm Beta-1 going to do is I'm just going to see if I can put my Stone Wall. So Sign on there. Alright, that's exactly what I'm looking for. So finally we got that. On the next lesson. Then what we'll do is we'll change all of these to Stone. And then we will finish this part off here. And we'll put in some more parts along here. We'll put in another piece of wood along here. And then finally then I think we can actually start work on this Bay Window. And I'm still not sure about this Bay Window actually, if it's too small or too big, I think it needs something that I think he's going to have a double Window or something like that. But we'll say, okay, once I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 90. Applying Stone Wall Bottoms for a Solid Foundation: Welcome back everyone to blend into Unreal Engine five, and that's where we left it off. Now, let's come in and bringing our wall space. So I'm going stairs, I'm going to come in, I'm going to grab actually, all of these amounts will do them all at the same time. You can see, I can't grab all of those, but I can grab them all the way around it. I think I'm also going to grab these pots on here as well. So I'm going to also grab the inner part on each of these. Then what I'm going to do is I'm basically going to come in and Poland Stonewall. And then woman's downwind to actually go in now a look and make sure that growing older our way. And the other thing is, you can see that I've actually missed up some reasons. I'm just going to assign that Stonewall. There we go. Now, let's press tab. You can see that these as an unwrapped correctly. So I'm going to do is I'm going to grab it all and press U on rap. And now I'm going to spin it around. So I'm gonna go to my UV now. And I can see if I press dot and do have actual problem here, and I don't really want that. So I'm going to do is I'm going to press warm you. And we're going to Project From View instead. And that's gonna make it much better than all 90. Spin it round. And now we need to do is just lining up with these rocks here. We can record. Press Tab, grabbed this one, top again, and then instead, we'll just grab this one here. This one here. So we can say how big that is an African man and oppress see, I can grab all of this one and then grab that one in there. And then now I can come into this and grab the whole thing. And then I can I've got it the right way already wanted to do now is I need to see if I can actually scale it the same size as this one. So you can see here, it's a little bit out. Let's press the S button and go in. I don't actually think that's gonna help, is it really? Yeah, let's put it into something like that. I think that's going to help them much more actually. So G, X and let's pull it into place. So, and I can see a nice stretch it out a little bit. So S and X pull it out this way. Just so we've got the rocks in the top and then in the bomb, but now I've got something to work with. So that's one good thing. So if I come round now and I'll grab this one, for instance, you can see again all over the place. No idea why. What I'm going to do actually, I'm going to make sure I've got it all like so. I'm also thinking we need to change those around as well. I'm going to do these lists. Let's do one stage at a time. So I'll do is I'll press U. And let's try that again. I'll press U. You Project From View, spin it round. And then what we're going to do is you want to make sure I rotate it so our 90. Now hopefully, Let's seek now we can base it on this one here. So if I grew up now, this one, then I bring it to this one. Let's see if it's gonna be the right side. So you can see that the right size there, but they're definitely not that right size. So if I press S and X is not going to make them thinner. So then G, X ring wins Place. Now that the right size, now you can see they're actually fits in really nicely like the other ones. So that's great. Now let's do this one as well. One must be in on here, so that's fine. So let's see. Yeah, this one's already in on here. So that is absolutely fine. Now let's, let's check this one out. Is that one also looking good? Let's have a look. I'm looking at the size. I think they look absolutely fine. I'm all do now is I'll come to this one. This one. Let's have a look at the other side as well. We've got that out there. We don't really going to see that. So they both need spinning around. So I'm going to actually go to UV and I'm going to Pack islands. And I'm on Wednesday is when you spin them around now. So all 97 Look what they look now and see the need to be much, much smaller, like so tab and as long as they're roundabout the right size. So something like that and then maybe pick them up so Gy is pulled them not that way. So X, Let's see if I can pull them up. So let's press it out again. So G and X. So I'm just getting them into be right near enough the same size so they look about right is what I'm saying. You never going to tell that they're actually different. Alright, so now we've got this one to go. We're gonna do the same thing. So I'm going to come to this size and the end you can see here that this one actually is a little bit out and we don't really want that. So I'm thinking I'm going to have to bring in another edge loop, so I'm going to grab it all. I'm going to press walk. All three. I'm going to come in to Mesh, bisect and put in another five Side going across their life. So let's have a look. I need to set this to zero, of course. Now, I should be able to grab just that to that point that I'm going to grab both of these now. So I'm going to press Wall and I'm going to, again, you Project From View and that's going to project that was like that. And then when I press down arrow and we're going to pour in Stonewall. And then I'm going to assign these two. And then finally going to all 90. And now want them the same size as this one. So if I grab this and this Top and we're not a lot a lot with this I now, but I went to grab this one and this one. So I'm going to grab this, I'm going to grab this. And then one register is I'm going to try and grab this and see if I can get them to be the right side. So if I come now to these, these are both actually the same. So if I can grab them both, so I'm just going to press B, then press Control plus and grab them both. And then one way to do is I'm going to bring this cephalic. Yeah, it doesn't really make hello sentences. You can see, I've gotta, I've got to basically do this by eye. So I'm going to hover over it. I'm going to press one. And I'm just going to do it by I. So I'm going to press G and X, bring them down. You can see they're a little bit too big. So if I bring this out a little bit, now, bring this up. So G X holding Shift and they showed this should fit here now and you can see that they're not quite thin. So I'm going to press S and X and bring them the other way, like so and then G and X and just kinda fiddle around with them and holding Shift, get them just to fit in place and you can see tiny bit more. So S X holding Shift again, bringing them down. And I can say that pretty much the same. You'll never notice that there are any different. And now this one should already or sorry, let me pull my teeth became this one should be exactly the same as this one, which is great. Now, the final one which is this one here. So I'm going to grab this, I'm going to press three. And a moment to do is I'm going to press you Project From View again and assign this and then spin it around. So a 90, like so now it's just a question of getting these to be the same size as you can see these little bit bigger. So I'm going to press S, bringing out and then try now I think they're about the same size, so now compressed so G and X and just pulled out results holding shift on under there. And then obviously you can say I need to squish them in a little bit as well. So S and X squished this way, like so and then G NX and just move them up tiny bit. Like so I'm just trying to get them there like so so we can see that little bit cement then a little bit cement down there. So now let's look around at the handiwork. Let's press double-tap the a and let's have a look. Yeah, that's looking really nice. Now, let's come in and think about adding the word to these parts. So if I grab all of these parts, now, not 11 in there, the one in here, I think, follows it all the way around. So now I can just press Control J. Now compressed, top a, grab everything you on the Ramp. Let's zoom in a little bit. Let's now change the default to our, whereas it would mean unless of local. Which way around you can see most of these now, they look a little bit too small on the resolution. So let's press Tab. Grabbed them all. I'm going to press S. Yeah, bring them bigger. Let's have a look at bringing them bigger if that makes them look right doublets off the a and say that this one I'm not happy with. I'm going to grab this one on its own. And when you unwrap, and then I'm just going to try and bring it in an envelope. Yeah, that's way way too small, so I'm going to bring it out like so. And now it's looking more reasonable as you can see. Now this one here we can see is the wrong way round. So all, all 90. I can also say that the problem I've got is that while I didn't think about, I need to press Control lay all transforms right-click set origin to geometry. And now I'll grab the mall and try real and wrapping them again. So unwrap. Now let's have a low. You can see already that look just a ton better. So let's spend these around now. All 19, spin them around where my way across, like so. And you can see here that we've got these, these, and these are nine to spin them around. And then there's finally join everything up. So Control J, join these 4k Control J. And there we go. That's all I wouldn't parts if I had these now that's what we're left with and sometimes join them all up, just makes it a bit easy. We're going to join it all up in there in any way. It just makes it easier just to hide things out the way we double-tap the eight. Now you can see pretty much we've done with all that. Now. I'm the only things that we've got left realistically is just this from the Bay Window, and that's it. So pretty much just a few lessons now to complete the build. And then we'll Don't you've got the thing is while with Bay Window, it's ward, it's Glass. It's everything we've done before. It's a little bit more complex than the other Windows, for instance, but nothing that we shouldn't be able to do by now. Alright everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 91. Critical Analysis of the Windmill Build: Welcome back everyone to Blender to Unreal Engine five, and that's where I left it off. Now, I've been looking at this Bay Window and I'm not happy with the size. So think I'm going to press one, I'm going to press essence that and just pull it out a little bit more Windows and I'm just going to put it into a better place, something like that. I'm also a thing. Just pull it out a little tiny bit. And now if I look at that, I'm actually feeling that if my guy can see this ground here with walking along, the Bay Window would be like this. So size. Now if we put in a double Window and hear a thing that's going to look actually really nice on the original. It was just one Window, but I think we'll put a double Window in here. Then we can probably get away with making this a little bit wider. So let's have a look. Sns, probably making it a little bit wider like that. They one thing we want stairway from, we don't want it too big, we just want it big enough. So that's one thing I'm just trying to avoid. When I press one, I'm going to make sure it's even both sides. So yeah. Do I wanted that sort size of a deal? I'm going to have to have some support coming on the bottom. But yeah, I think that's going to look a lot better like that. Alright, so let's go with that now. Let's come in and we'll grab this Posts verse. So I'm going to press Alt Shift D and I'm going to bring it over like so. I'm just wondering, I think I want to put this a little bit back. Like so I also want to because I want a fair few of these lung here. I'm going to press P selection tab, grabbed this control lay, all transforms right-click origin to geometry. And then what I'm going to do now and went to just array across. So I'm going to come to my little modifier in an array and then just move this one out just a little bit like so. Remember, turn that off in a moment. I'm just going to press one and just make sure these are even so you can see it's a little bit close on this one. So if I pull this back holding shift a little bit, you can see now it's getting them all in place. Double-tap the eight and just have a lot. Well, that looks like I just wanna make sure that they actually in the wall, are they in the wool? I think there are several. The Way in the wool, that's fine. I'm happy with that. Now of course, we need to add in bevels and things like that. So while do now is I'll just start the spinal pain which is probably won't go into this corner and one going to Let's thing do we need one in there? Probably. Let's have a look. What that looks like. So what I'll do is I'll grab this one here. Think. So let's press shift D, all 90, spin it round. I'm going to make it a little bit smaller and a little bit thinner. So S and Y amendment to pull it down, press one on the number pad, bring it over there. I'm going to rotate it. So all why rotates it around? Let's just get it into this corner here is we normally do. When I'm done that, I'm going to pull it into the corner, making sure it's going past this piece of wood here like so. Then I'm going to grab the top of here, press one again. When the polytope, and then into this corner here, like so. And then finally I'm going to grab it on a thing. I'm going to pull it to the other side as well. So Shift D, pull it to the other side over here. Like so I'm just looking what that looks like. And yeah, I think have a look where that goes down to. Yeah, I think that's going to be absolutely fine that now let's make sure that these are all joined together. So everything is joined together except these ones here. So we'll unwrap these separately. So what I can do now some press Shift H and I shouldn't be left with all these parts. And now I can do is I can festival, pebble morph. So Control a or transforms takes the origins geometry and we're doing this all in the UV space. And it just shows you when you used to doing this, it doesn't really matter which species you're working. You can work in anything rarely. Let's put it on their materials. Let's add in a modifier bringing a bevel, and let's put it on naught point. Naught, naught. To strike that, maybe it's gonna be one. It's going to put on object mode just for now. And you should find that you really, really fast now, I need that naught point, naught two instead. That's a bit too high, so turn it down one naught point, naught one. That looks fine. Let's now press Control a, and let's come in. And basically we're gonna be doing some of the last ones we should be doing. I'm just going to commend, unlike say, this should be second nature to you now, it's been a lot of UV mapping. Just going to come in and mark as many seams as the can on the edges. Like so, like so. Like so. And now let's come round to that again. That one. Yes, I did. Let's come around. So this one like so not that one bomb of it. You can say that messed up and I really don't want to do that. So I'm gonna, I'm gonna grab everything again. I'm not going to do those again. So Maxine, now, I've got just this one here. Things have low. I'm going to hide the rest of the old Shift-click, Shift-click, and grab a Seam that right-click mocks him. And I will just show you actually, I think on this one, you can see how this is actually on ramps. And it's because basically this is how it would unwrap before you reset your transform. So you can actually see it that all of these are unwrapping actually the same way. So that's why, another reason why we do all the jumps homes. I think I also Need to hide these and do the these here. I'm going to come round that one. Hold Shift plate, right-click mob scene, inside of here. Now, right-click mocked Seam, all teach, bring these two back and then I'll do the bottom inside of here. So right-click Maxime on the inside of this one, on the inside of this one. So right-click mop Seam. This is facing the wall. This is facing the wall and this one here is facing the wall. So let's do that right-click mocked Seam. And I think if I press all teach that now is everything. So if I grab everything and now press you, everything should unwrapped really nicely. Now let's bring in our material, will put it back on Material. Click the down arrow on would mean, now let's see, any of these are going the wrong way. And it doesn't look like any off. So that's really good. Now let's press question mark. All I'll teach. You can see that needs press question mark again. And then I'm just going to wait for it to all too little. Then double-tap the a. There we go. That looks really nice. So now let's come to our array, and let's grab this one. And what we'll do is we'll press Shift H. I'd everything else out the way I'm going to come in and adding a modifier. So I'm going to add in a Bevel modifier. I'm going to put it on C naught point naught one. So hello, and that bevel looks fine. Then I'm going to apply that. So tab Object Mode Control a to apply it. Then that's Command grab the top, and then it's come round the back, right-click mop sink. And then what we can do is we can apply now array, so Control a, and now all of those should have exactly the same. Now you can press a you on Ramp should all unwrapped like that. Finally, down arrow, I'm bringing All Wood Main. Now let's say if they're all going right, let's press, in fact will go to modelling now. And we'll bring everything back. So I'm going to press Alt H, double-tap the a. There we go. Now looks beautiful. Now, the last thing, I'm just looking around now, just to make sure everything is in place. I think at this point I can pretty much get rid of the floor. I don't need the moment. So I'm gonna get rid of that and that lens is gonna give me a better idea of what things looked like, no shyness or anything like that. Now I'm doing is I'm just having a quick overall inspection of my bill. Does it do all the time when I finished something? I'm just looking, contemplate and what I can do right in my next Build. So basically something like this. For instance. Again, I'm always looking at things to think, how could do this bad? Could it have something a bit better going round here? Could have a rim on or something like that. And what it does is it tells me basically go away, do more research, more referencing, and then make this a little bit bad. Would it be like this? In other words, would it have a little spire on top, things like that, or maybe a north and south wind thing on there. Something like that is what I'm always doing and looking at. So I'm thinking as well about how I'm going to animate this as well. And these are all processes that you should be thinking about moving forward them with this. So we'll go around the Sign going backwards and forwards. If I did have that little wind thing on there, would it be turning slightly in the wind? These officer will be going round. Is this locking strong enough, for instance? Should it have a little bit more metal on there? Is the wheel, for instance, should it have some metal on the back? All people going to walk up to this Door seem to the back and then think, well, that doesn't look very strong or Realistic, things like that. I think it looks a lot there. You can also say as well, does this one here, for instance, I mean spin this around. So I want to press L, I'm gonna go to UV Editing, going to come around. I'm going to press all 90 spinning round. And that's another reason why we do that. I'm back to modelling now and that's where outweigh double-tap be inspecting all of these joists now, my control, they're all going the wrong way round at the same time. I recommend that you actually do that as well. I'm looking at my wall as well, making sure everything's on Route correctly. Because I've wants to take this into another game's engine or something. I column's actually, well, it's bad to fix it now rather than that. Now one thing I don't like is these ends coming down here. So if I press three, I can see, I don't like how they've comes along and series, I'm gonna grab both of these three again, and then one wins, there's going to come in. Mesh will bring you into bisect and we'll just cut them straight down here. I like to make sure the streets while there is, I'll set this to zero and then I'll clear the inner life. So shouldn't mess around with our UVs or anything like that. Five press Tab. Now, you can say if I double tap the, they look at Samba, do we need so my little Bolts in that it's going to hand a lot onto the actual polygon council. Do we need them? I think if I was doing this painting, this in substance or something like that, I would be point Bolts on there. There is that to take into consideration. And finally then I'm looking now at the supports and making sure is this supported enough? What is holding this up? Would this look realistic? How far will dislike mode here be enough? Is one thinking, would we have another Support? And probably from here back to the wall and we, to be honest, probably wouldn't do. It's probably a little bit flimsy this at the moment, the way it's supported, this is how it into the wall. So these commodity and then they land on the post. We've got these in here which you're all done, all these kind of joins together. But I'm thinking that these two here, maybe a little bit weak to hold a lot of weight on here. So this is not just to take into account. So another cross beam, probably on each one of these to pulsate going back here would be a little bit more realistic. Finally, nearly other way round. Yeah, I think apart from that, everything else is really, really nice. So what we'll do now on the next lesson as well, complete them will not complete. We'll actually start work on this Bay Window and hopefully get a lot of it actually constructed ready then to Start Animation. And if you, the other thing is, if you don't want to do the Animation, don't worry about it. You don't have to do it. You can send it through trauma without the animations. And the other thing is if you just want to render now for your portfolio, when we've finished this Bay Window, we will be rendering out a wheelchair you some nice settings. We can get a really nice render and hope to see you on the next one then. So thanks a lot. One 92. Beginning the Bay Window Construction: Welcome back everyone to Blender to Unreal Engine five. And this where I left it off. Now let's start with then on all actual Window. So we need to break this down into parts. So if I come to this Bay Window, make sure I'm clicked on it. You can see it goes way, way too back into the wall and I don't really want that. So I'm going to come in, zoom in. I'm going to try and grab the back of it so I can see the back of it is here. Let's come into face-like Europe, this back. And now I can pull it back just so it pop. So if I pull this back now, keep pulling, keep pulling, keep pulling, and there is, so I'm just going to poke it there. And then now I know this is a size that I'm working on. And then I can just grab it and just pull it out the way, put it onto Material a thing. It's going to make you a little bit easier. Then that's also put it on to default material. And now I've actually got something that can work with. Alright, so let's think about all of the little components. So let's think about the top and the bottom, and then we can work on these parts. So what I tend to do is I grabbed the top and bottom. In fact, I'll grab the top first. I'll press Shift date because the top can be the same as the bottom pretty much. And I'll work from there. I tend to leave actually this part here when I'm doing anything like this, just in case I need to come in and actually make a copy of it as well, because I don't want to get rid of this. So I'll grab this, I'll press L, I'll press Shift D. And to pull that all the way over there, then if I need another copy because I've actually destroyed the old one, I've got it there. Now let's come into this one. What we need to do is first of all, we need to get rid of this space. So I'm going to delete only faces and I'm going to come in and get rid of this edge. So delete edges and you should just be left them with this. I'm going to press L, I'm going to press one. And I'm going to basically bring this down now to here. And then we're gonna press and pull it up on the Z. And I notice it wobbles, so I'm going to press pull it all. And then this is going to be the top of this window. Now why did do it that way? Because that then means I compress pay selection and top grab it again, control Layout transforms right-click origins geometry. And let's bring in now offers modifier. And this time it's gonna be solidify even thickness. We're going to pull it out let way. Well notice that again, it's bending in a really weird way. And that is simply because I need to grab it with a press Shift N, and then we'll make sure that flow in the same way. Now I can grab it and you can see that it can actually put it on the outside of my Window. So something like that then you can see looks very nice already. And then we'll do is I'll press Tab, come over to my solidify. Do I need to do any to want this and yet, I don't think so because I might want to let it come out a little bit further as well. Do first, I'll press Shift date and I'll bring it then down to the bottom as well. So now we have this, unless, now the thing is about the bond. Do I want it a little bit bigger than the top or a little bit thinner or anything like that? I'm not sure yet. So that's why I'm going to keep my options open by leaving this solidified that way. Now, we need to work on our actual Window cells and this piece of wood here, so I could come in. And I think we'll do it this way. So what we'll do is we basically need to bring these in individually. Now, I do want an edge loop going down here, so I'm going to press Control or unsafe and put one in. Left-click, right-click. And then that gives me 1234. And the nearly the same size. I know these ones are a little bit bigger, but that's something I can actually work with. So now I need to do is I need to grab these. In fact, I'll split this off. So all selections but to all grab it, control Layout transforms, right-click. So origins geometry. Now when I press tab, I can come in and grab each one of these and I want them to come in, of course, individually. So if I press I, you'll notice the augment Together. We need to set this to individual. And there we go. And now I can press Control Z. And now I'm going to bring them all in individually. So if I press in now, you'll notice they all come in like so. Now all these thick enough, these windows here, there's not enough gap on long gear as you can see now is that because this needs pulling down a little bit further, Let's have a look. We'll go back to this one now. And I've looked at night can say it looks much, much bad, albeit they have come uneven. Been thinking that probably the easier need needs to be a little bit thicker. So I'm going to do is I'm going to process sunset and just pull them down just a little bit more, make those a little bit thicker, like so. Now the next problem we've got A's. If I extrude these, they're going to extrude a weird angle. So if you notice, if I press either, they're going to extrude back this way and that's a weird angle for these. So I've pressed, if I select sip and pull these back now let's see if that extrude is on. So I'm just going to press controls that you can see there's no extrude on there I'm gonna do is press Enter and then let's see if I can extra them on the y-axis. In other words, let's put this on normal. Let's put this on individual origins, and let's now press S and let's try X. So let's try X. Note, there we go. Is it the Zed? So can I press now G and pull them back? And there you go. That's exactly what I'm looking for. So G and Z, and then I pull them back and you can see now they all go back at the correct angle. Actually surprised myself with this because many times I've tried to do this and this is the first time that works out, the easiest way to do it. So that's perfect. Now, what we need to do is now we need to bring these out. So I'm going to press U to date. I'm going to bring them out. And you can see there that if I bring them out of that wave, can I put them back in that way? I need to remember that. I don't think I'm going to bring them out that way. Well thing on the dairies, put this on global. I'm going to change this then to medium point. And then I'm going to just bring them out like that and hopefully I can pop them back into place. So let's now think about putting in our actual pains and all that stuff. And actually the Way of dullness this time, it's made it so much easier in the way I normally do it because of that little one tip that now what we'll do is we'll come in to each of these. So I'm going to press Control Law. Left-click, right-click. I runs this side control law, left-click, right-click. And I'm going to come to these two middle ones. Control law, left-click, right-click. Now, how many balls do it? Once a Neil, let's have a look. So if I press Control Law, bring this soap 34, I'm thinking for in each one. So left-click, right-click. We'll do the same thing on this. So for left-click, right-click, and luckily froze there all the same as size anyway, because obviously they're roughly the same size, so that's great. So control law for left-click, right-click. Alright, so they look pretty good. Now I need to do is I need to make probably a copy of these to make my actual lead. So I think I'll do is I'll grab all of these. Like so. And then we'll do is I'll press Shift D and I'll pull these out. And then I'll use these to make my lead and a needs to actually make my actual Glass. So let's see when do these altogether. So what I want to do is I want to come in and I want to grab this going all the way around down there. And then just keep pressing Control, grabbing all of these. And then of course we want each one of the sides as well. We just basically don't want the outside, so maybe there's quick way of grabbing all this. Could have grabbed them all and then just deselect it all the outside thumb. I've been a little bit quicker, but actually grabbing all these doesn't have that long. So Let's see if we can do that. Now I'm going stairs. I went to come in. I'm going to press Control beat and hopefully she'll be able to pull all of these out to make my actual lead. So something like that. Now we are going to actually extrude these out. I'm thinking, should I cut, extrude them or record? Use the solidifying which minded bad because it'll mean that I can extra them are all in same direction. So I'll do now is I'll just come in and I'm going to take all of these away because we've got our glass panes which are back there. Like so like so all of those when I delete and faces. And then one Wednesday I was going to grab each one of these. Now. I'm going to press P selection, top, grabbed them again, control lay, all transforms, right-click origins, geometry. And then let's come over now. I'm going to modify it and solidify. We will pull even thickness on and then I'll spin it the way, like so, something like about that thickness. Alright, so that's that bit. Now let's come in and press Control eight. Apply that. Then let's come in now and grab each one of these. Now I'm wondering if I select two of them, kinda comp now and select similar by length, Let's have a look. He does select all the ones, but it also selects all the faces. Is that gonna be quicker for me? I'm thinking, yeah, it probably is actually going to be is it going to pick I'm going to try again. So select similar to try this one. Nope, it's not me not want select will try one more. Let's see. If I'm just looking at phase angle. Yeah, it's not going to, it's just not gonna do it. So I'm just going to come in and I'm going to select all the ones going down first. Like so Mike, so like so, like so and then all the ones going up underneath. And we're just going to do the hard way. So maybe there's a quicker way to do with that. I'm going to right-click No, No. Actually, I need to bevel these off so I could actually come in and make a virtue selection. I could do it that way. I think, I think I'm making it harder for myself, so I'm just going to come in and just select them all. Like so. Like so. Let's work our way down. And the law of your vast actually, if I can do short-term courses And the answer to that is, I've tried, I've tried to do show all courses and I've tried to write membranes thinking of something. But unless you're making something like a bucket or something like that, I don't think you're going to get a lot of value. I think just things like what would created here. Just take a long time, even if it wasn't recording this for you guys and showing you actually how to do this. It would still take me probably around 20 or 30 h, at least something like that. I mean, even the preparation that goes in, I've created now this Windmill full times just to create this actual course. And even then, knowing exactly what I'm doing. So there's very little downtime. It's still a very long course. So I think that unless I create just like a course with a few very, very small assets, I can't see actually how I can create course actually a lot smaller than this one. Obviously. The bigger my courses, all the more complex they are, things like this. You can see it's just one building. And I've done all the costs in the past where it's been a whole scene and things. But the models within that scene, I've been very, very simple. For instance, on the Ghibli, it was mainly based around simple models and then saw grass and things like that. And it was very relatively simple things, whereas this is an extremely complex belts. So unless a really simplify both aspects of that, I cannot see How can make calls, which is like 5 h long unless it's something like my well well, the thing is about the well is as well. It was a very simple well. So now, do I make a simple most simple thing for you guys? So you'll have to let me know in the comments what you think about that. Now I've got all these, so I'll do is I'll press Control Bay and I'll just pull these out. Like so hopefully I've got mom just check them around to make sure Gamow, which I have. Now, let's see if we can extrude these out and pull them in like we did on the others. So I'm going to grab all of these. Like so. I'm thinking on these, I need to bevel them out as well. So grabbed all of these. Now let's bring them in. So I'm going to press I bring them in very slowly, so like so. And then I need to pull them all out so I need to be on normal and I need it also on individual. And then I need to press E, enter, and then let's press G on. I think it'll be Zed again, so let's pull them out like so. And yeah, there we go. Now let's press S individually on them and we can bring them in and we should end up with something like that. Now we do need to mark some Seams around here. So I'm going to try this again. So I'm gonna come in shifting plague. And let's click Select, select similar by length and you can see it doesn't work again. So let's say I'm just looking at these select loops. No, that's all of the edge loops or select yeah, in a region edge loops like Seamless SSO, we can yeah, I can't see any anywhere can select these. I mean, even if picked direction, you can see those out. So we don't really want to do with that. So what I'm going to do is I also need to wear bevel these off as well. I only really needs bevel though the outside of these often don't. Yeah, the outside in these up. So what I'll do is we'll do rounding up first. So I'll come in. I think we'll bevel these, these off round here. So you can see, can I select the sharp edges? That's something I might be able to do. So let's have a look. So select sharp edges. There we go. And if we turn this, I think if we turn this up, then we should be able to get way where you can see I can nearly select them by, I've selected all the sharp edges there, as you can see, now I can do is I'm come in now. I can't, I can't change this to face lectures. It'll take them all off, so I'll have to leave it like that. Can I bevel just these off now? So let's try Control B and bevel these off. Like so just a little bit. So I'm holding Shift. I'm just going to bevel them all Like so. Yeah, nothing that looks fine. I don't think I'm going to mess around with the with the backs of and what I could do is come in and Bevel the backs of them. I'm just wondering the best way to do this because it's a lot of extra polygons along here. So while thing calderas are coming with marriage like now, and I'll press Alt, Shift and click. And that's going to take it actually all the way around. Right-click mocked Seam. And then I'll come in and I'll delete the back of them. So L delete faces like so. And that's cut down my polygon count, no end. So now we'll do that on the rest of these. So Alt, Shift and click going all the way round this one. This one here, right-click mock scene, and then come in. Select, grabbed the back of each one of these and delete basis. Alright, so that was a bear of a long one. So on the next one then we'll just carry on working on this. And hopefully over the next few lessons we'll get this all into place by hope you lead and a lot, and I hope you really enjoyed the course. So Paul, thanks everyone. I'll see you on the next one. Bye bye. 93. Troubleshooting Glass-related Challenges: Welcome back everyone to blend into Unreal Engine five, and that's where elected now with Goldbach Stone. Now, let's come in market Seam on the actual fronts. So we're going to come in and I'm wondering if I should mark Seam around this. Can I grab all those? That's the problem. I can grab all these going around. It's just gonna make it so much easier. So I think I'll do it that way instead. So I've just grabbed them, going all the way around here, right-click and mop soon. Alright, so now they're going to be going old way around. So I do need to moccasin now. I'm probably each of these now kinda get away with, with actually select and let's see, we can select similar area. Nope, doesn't even do that. So again, select similar polygons sides. That's going to select all those. Select by traits. Nope, it's not going to select any of those, so I don't think we can actually select them by that. So even polygon side Look, it's just fall polygons, so we're not going to get away with that. So I think I'm going to probably have to come in. And again, select all of these. Or I could come in and actually just delete these, that might be easier in the end. So I think I'll do that actually. I'm just going to select all of these and just delete them. And that's gonna make it much, much easier to actually own rap because we're not going to end up with no infinite loops because they're just going to come around each of these basically. And then we've also got the center parts to do. I'm just going to press Delete and faces. I'm gonna do this one here. Like so exactly the same way. And I know it looks a bit weird that we actually getting rid of all these spaces. Normally I would do on the probability entire Build just to bring down a polygon count. So you're actually learning how to get rid of phasors, the ones that are going to be hit in any way, so life, so it's got the top of that delete faces. Alright, so now we just need this central part. Now, we might be able to actually get away with this. Just mark in a Seam along there. They might actually unwrap absolutely fine. So we'll have to wait and see if we grab them, just run here, if they actually do that. Like so. And I wanted to keep these windows in the same style as the other Windows we created, albeit a lot more complex. And this one, I think we've achieve that so far. I want to grab this, this, and then the moment of truth is I'm actually going to try on, on Ramp these. So right-click mock Seam, grabbed them all you on the Ramp. Now let's see if they've unwraps. Okay, so I'll come to my Material and I'll put this on, lead, this one here, and then zoom in. I've logged in, I'm just looking at these ear, the local little bit blurred. These could try a thing and make them a little bit bigger. Let's have a look. So if I go in and grab each of these like so let's have look at UVA. Yeah, they're absolutely tiny on there. If I press dot just a zoomed to them and then unwrap them while I'm here. Now let's have a look of what they look like. Yeah, and you can see just a Tombow by doing that. So I'm actually going to do that. You can actually see as well that they've unwrapped pretty nicely actually for red metal. If the water, something like that, nobody would be like this bulb would probably put it in a few more seams just to make sure that they unwrap a little bit badness, but we can actually get away with mom wrapping like this, so that's fine. So I'm going to grab them all now, making sure I've got these ones. And I'm just going to press you unwrap, announced several, what they look like. Now you can see they rarely relevant, nice, and this actual metal looks really, really cool. Alright, so now we just need the actual glass panes. So if I grab each one of these, hopefully if I pull them forward, it's not with that arm. Let's turn off our global and turn this on to medium point. And hopefully she'll be able to then pull those into place. Like so. Now we need to actually split each of these up. So I'm gonna do is I'm going to press Control a and moccasin. And basically I do, I do want to split these up. So I'm thinking of the easiest way to actually unwrap all these normally you've seen me on map them a different way. So you can see, can I actually market seams? So I'm going to press, yeah, I'm going to need split them off first, so I'm going to grab each one of these. So L, L, L, L on trolley, sorry, selection, split them all, grab them again. Let's have a look around the back. So all of those are separate seams. And after grabbed them all pressure you you can see that they've unwrapped all over the place. And I'm not sure whether I'm happy about that because they all needs to be the same angle and that's one looking at. So if I press one and the other thing is you can actually press F4. So if I press one again, you can see acronym wrap these two. So ever come to these two here, I want to grab all of these And I'm going to wrap, but among running Ramp from Project From View. Now if I grab one of these, let's say if it works, you can see they're all still joined. If I press Control plus still going to join them altogether. And that is the problem that I've got that don't particularly want and sometimes that happens at anytime, wrap them all individually. So let's have a look. If we Small UV project well that unwrap them individually. And you can say that. So unwrap them at different sizes and things. Let's try Resetting all transforms, plates, the origins geometry. Let's try that again. So you smart UV project, Let's have a look. Still going to have the same problem. Let's try you unwrap. And then at least they're going to be now we're just going to have to I think it this way. I'm just going to have to see which ones need turning round as I move along. So what I'm gonna do is I'm going to press a G, move them over that and I'm going to bring one in, re-size that one, and hopefully it should re-size the others. Now, the problem I've got is that you can see that a lot of these are different. So what I mean is you can see that this ones these ones, they're all Yeah. Which one's the right way round and which ones are the wrong way round. You can see that this is a lot thinner than this one for instance. It's very hard to tell though that is the, the issue of goal. Very hard actually. This is a little bit of a pain actually. I'm going to actually look at which one's the right way round. I think all of these here are the right way. This is just gonna go through and pretty much look by a which ones are the right way round? I think actually all these are as well. So I'm going to pull these up. I'm going to make sure that the role the same size. I'm going to print over this and you can see they're the same side. I'm going to also put this one over. And then I'm going to make sure that the role of the same size. Now, I can see that these two here for instance, alright, I'm looking at these two here and I'm going to check these, animate these though all to me look wrong. I want to press G like so. And I'm going to look at these two here. I'm going to press G. Let's have a look. If they are and they're wrong, you can see they're a little bit thinner than those. So all of these all the wrong way round, so I'm going to grab them. And at least then we should have got somewhere. So all 90 spin them around and then I'm going to grab everything and I'm going to repackage so UV and Pack islands and then making sure that the rotate off and they should all be the same way. Now, did it rotate? This one here? Looks the wrong way round, so I'll think I just missed one ought to have a look. So L L, and let's put them over and you can see, yeah, there definitely the wrong way round. So that was so I'm going to rotate these around. So I'll 90 again. I'm gonna grab everything UV Pack islands. And I'm hoping they're all correct. Now, let's bring these out over here. And then what we'll do now is bringing All Glass. So I'm going to change this default to Glass. And you can see what a mess that is. But at least my glasses popped up, so that's one good thing. So we'll bring on the first one. We'll press G. We can see where this one is. And I'm going to grab the mole. And I'm going to look at this one here. So I'm going to make them smaller. So S and you can see there that when I've pulled them in, you can see the S goes to this here. You can actually move this. I don't think I think it will actually, I'll bring this to here. And then what I'll do is I'll put my movement to it as well. Wonder is click the little downwind side Wood space and V near the actual question molecule repress that. I can put it to the 2D cursor. Now you'll see when I press the S button is going to come in from here. Now as I move this one, we should be able to see if I move this one. So I've got this one. Which one is this one here that we're looking at? So I'm gonna put this Ryan middle of my screen. I'm going to try and move this to here. I've got these two corners. One wins, there's going to press S and Y, bring these in, the size in each to do. And then G and Y and move it down and then S and X. And let's bring it in a little bit as well. And then G and X, like so. Now you can see that, well, I didn't do that is grabbed the whole thing. So that was pretty silly. So let's put that back. Like so. Now we'll do that again. So I've brought this one, I'm going to move it into place. So it's this one as well. I'm gonna do then is press S. I'm just going to make sure it is this one. Is that several? Ok. So it should be this one here, so I'm going to grab it all. G is this one here. So now I'm going to grab everything. You press S and X, bring those in like so. And then G and X. I can say that this stops here going all the way around. So then S and Y. Let's make it a little bit smaller. And then finally G and wine. And just bring those up now to here, like so. And I'm thinking that is this not as dirty on that side? So I'm gonna move this one over just somewhere else. Yeah, that's bad. So now I know that all these lineup. So now let's come in and we will what we'll do on the next lesson in then we'll grab this one here, will move this into place and we'll just work our way down them, getting them all into places a bit tedious and now, but we've done a lot tedious things. And this is one of the last tedious things, so that's one good thing to know. All right, everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 94. Refining the Bay Window Frame: Welcome back everyone to Blender to Unreal Engine five and this were elected off. Now let's come to where this one first. So what we'll do is we'll bring it over and I'll try and put it in some place, like so. And hopefully it should fit even though this one looks a little bit too small. So I'm going to grab all of these. So I'll do these first. Because it might be the case that these are a little bit different on sides into the so I'll just take my time and grab both sides of these and work on this one here. Like so, I'll zoom in a little bit on what I need to do now is I need to make this a little bit. It's coming from that as you can see. So I'm going to take off in a minute. I'm going to try them and put it into place again. So something like that. Maybe a little bit smaller. I'll pull it out, put it into place. We can see we're going probably the wrong way there. I'm going to actually shift right-click and put it here instead. There we go. That's better. That's exactly what one, something like that. Alright, dialogue, circle. Now we've got these. So now let's press tab. Come to our next one, G, and save this one we can get to fit. I'm not one fits perfect. And then G, bringing it over, gonna love it too far over. Like so. And then G is put into place. Like so. They don't need to be perfect as you say just a little bit to around, want to now take this off so little the individual origins and then G mic so and just work your way through these like so. And I say, don't worry too much about there. We want it to log jaws organic. I'm just picking random places, put them and hoping that they come out. Okay, so like that one, then this one, G, not one's gone. Perfect. And now we'll come to this side because we know this one's also done. Hopefully. Yes, it is G. So like I said, this is pretty tedious. Think, look good when we've done it. So again, I'm not worried too much government a little bit out on some of them, not gonna worry about it. I'm just going to try and get them into the Main placing. See that one's a little bit out on that. Hopefully. The word and the metal will make them look. Actually, I'll come in and just move that one so I can press G on why I think it is G and X. There we go. Alright, amount as well. Fix it while I'm here. Does then it won't bulk me going into the rest of the built. So we'll put this on here. Look at that one. Yeah, No one's fine. Alright, so now just these middle ones. So let's see if these lineup which they should know they don't, they're a little bit small, so I'm going to grab them all. And I'm going to make sure I make them a little bit bigger. Again, I'm going to come to this one, which is this one here, as you can see. I'm then going to press a little V 2D cursor Shift, right-click, grab this, grab them all. Actually. Look at this one, which is this one here, and make it a little bit smaller. Like so. Now we know there, alright, little V again, individual origins. And now let's come to the next one, which is this one here, G and just bring them into place. Like so. I'm just thinking, probably need to put that one up a little bit, like so. Alright, so now let's work on the next one. So I'm just looking at a time on a vendor in this for about four or 5 min. So it's not as long as what you think is just pretty tedious. Go in getting these into place. And a probably well do next time is the glass. It's very hard to make Glass. That's actually going to be the right size because the pains are gonna be different sizes. So you just call that to take into account that I couldn't create Grasp Glass, which is the perfect size because there is no perfect size. So at least your learning from this, how to take your pains and use this bus actually in the future because you can use it and all the projects as well. So you'll know how to rescale it. So there we go. Let's try this one over in this corner. We don't use that one. Something like that. Alright, let's press the top. They are looking really good. The last ones, Let's again hold these into place. So let's try this one then, this one. So I'm probably a little bit far out on that one. And then finally, the last to thank you. I hate last one every year. Let's pull that in. This one. Alright, they look really cool. Now. We've got those, we've got the lead and I'm just looking, do I need to pull these out a little bit? I think could do everything. You need to just pull them just a little bit further forward, like so. And I think I can join all this, the ever so Control J, join it altogether. Now finally, let's CMM and I will actually delete these other way. I'm just going to delete faces. And then hopefully I should be able now to pull these all back into place where they're going to go. So I can keep polynom back pollen and back into that. Like so. Do we need to make these a little bit bigger? Probably. So can I grab them? Let's say if we compress a grabbed them all, make sure that I'm on. Where is it individual origins, which is don't wait, as on there. It's over here. Look individual origins. There we go. Now let's press one and let's say we make them bigger. So S, Yeah, there we go. We're made them just a tad bigger so that now, alright, so now we need to think about these parts of wood here. Now I can hide these. Both are the Way because I'm not going to need those for now. I can also as well think about these pieces of wood because we need to give them some and thickness. So you can see here they've got some thickness round here. I need to give them some thickness along here. Easiest way probably to do that is probably to get rid of these tops. So do I need them though? That's the thing I need to make world out there. But if you look, I can't really put an edge loop in there. We'll just won't go. So I might as well delete them. So delete faces. I'm going to delete the back face. I don't need that. And then I need to now create some solid notice from these parts here. In other words, one need, I need to create this as a solid piece of Mesh. Not then it's going to make it easier. So I think kinda do it from this is what I'm thinking. Kinda like bring all of these N. So let's see if we can. So what we'll do is I'm going to grab the top of here and the bottom of the year. And then one wins series is going to press E and S and bring them in like so. And then I'm also going to press seven, grow over the top. And I'm going to pull it back. So it's just kinda level as you can see that it doesn't need to be perfect, so don't worry too much about it. Something like that. Alright, I think I'm happy with that. Now, the other thing is, I'm thinking probably don't want these bits sticking out a little bit, I think. So I'm going to press control law on this one and controller on the other one. So left-click, right-click, and then one wins. Do is I'm going to grab these parts here. Like so. I'm going to pull these out. So I want to be on medium point, like so I'm going to press D to S and X and pull them out, not that way. The other way. I'm also going to hold the Shift button down. Like so. Yeah, that looks absolutely fine now. Okay, so now what we need to do is just split all of these pieces of wood, give them faces, things like that. That's the next hardest part, I guess. So if we come to these, so I'll split them up individually. So I'll do is I'll come to these two first and we're press Y and G, like so, and then hide them away. And then I'll come to these top ones. This one, this one, and this one, and then Y and G, H, I, the mother way. And then I'll do these to say that where it's split here, this is where you sometimes have a little few problems. So I went to press Y G, hide them out away, especially on these ones because it's very hard to form. Actually a Solid from this. Well, I'll show you how to do that. Well, belt Scale gone. So we're going to grab these two. These two. I'm just looking around here. This one here. So someone press Control Z. I want this split up, this one here. So when I press Y, G, and then I'm going to hide those out the way and we should be left with pretty much this one wins do now I'm going to grab this Alt Shift and click on, on the other side, Alt Shift and click and Y, G, right-click, hide them on the way. I'll teach, bring everything back. Now, everything should be splits off. So all we all need to do now is grab everything with a bringing it onto individual origins, press one on the number pad, and when I press S Now, it should shrink them all and just give us an idea where all of all wooden pieces are going to go. So now you can see how the old split off. Now, even this one is slope as you can say. And now you can see these are the parts that we actually need to fill in to make these wooden pieces look? Correct. You can also see that is this split up here. You can see that this year, for instance, needs to be pulled in a lot more, split them up. So I am going to accentuate it just to make just to kind of I'll probably bring these out separate is what I'm trying to say. So when I bring these out, then you can see that I need to pull them together like this. Now remember, these can be beveled so it will be able to see down them. But for now before we Babylon, we need to make them solid. And there are certain ways we can do that. One of them is using solidify and things like that, which is probably going to be the way that we're going to do this. So what we'll probably do is, is we'll probably get rid of all these, for instance, and just solidify these parts. That might be the easiest way. I'm not sure. Yeah, how are we going to do it for one way or another? We're gonna get it done. Okay, Once I hope you enjoyed that and I'll see you on the next one. Thanks. Bye bye. 95. Top and Bottom Enhancements for the Bay Window: Welcome back everyone to Blender. It's Unreal Engine five and this way left all. Now, I've been messing around while I've not been on that. I'm what I'm going to do is I'm just going to grab the front of these because I found another great way to actually do this. So all you need to do, just grab the front of all of these. Like so. We actually going to solidify them. So if you notice round here, I'm grabbing the front of this, the size of here, and the sides of vielleicht. So and same on the other side, I'm going to press Y G, just make sure they're all separated, hide them out of the way with H H to grab everything else. Delete and faces, delete them all the way. All teach, bringing everything back. You should end up with just those parts. Now. Now let's go quickly to modelling just so I can show you exactly what I'm doing because it's a little bit bigger and you can see a little bit beggar that I'm gonna do is I'm going to come to modifier. I didn't modify and let's bring in a solidifying. Let's put even thickness on and let's bring it backwards. That's the way we need to go, doesn't matter if they're overlapping a bit because this is going to be hit in any way. You can see already there looking pretty nice. And then one we're going to do is and when you press a one and I'm going to press S and pull these back together. So we're pulling them back together, like so. And then finally we're going to do is we're going to actually apply this. When I press tab control, lay apply it and modify it, come down and we'll have one that says Bevel. Let's put this on naught point. Naught, naught for like so. And you should end up with something like that. And now, if I press a again, you can see, now let's bring them out a little bit more like so, so a little bit closer. And now you can see they look really, really nice. You can see that they look as though all of these frames and beautiful joined together. If I press Alt H Now, I'll bring back the top part of my, of my Bay Window. And there we go. Really, really nice. Alright, so that is the easiest way to do that. Now let's just hide these other way just for now. In fact, no one will actually sort these out as well. So if I come to this top one, the problem is, we've got it too far over here for one thing, and it's not going far enough back. So in other words, it needs to be halfway. So if I come in and bring this offset down, say not only then does it bring it back this way. So if I bring this, keep going, keep going, keep going. So you can see now it looks more realistic and it's a lot further on the inside, which makes it again, look a lot more realistic. Now the bone one is probably gonna be out a lot further than the top one. So I think that one looks really realistic now with the top being slightly and this being slightly out. Okay, so now we need is the top of it to build this out. Now that's quite easy actually, what we'll do is we'll come to the top of AFI grabbed this press Shift S because it's a slight shift a, let's bring in now a plane. A moment to do now is I'm just going to set my plane. So it's just in there. I'm going to press S and X play out like so to the edge of these parts here. And then Walgreens do is I'm going to put this onto default so I can see what I'm doing. And then I'm going to pull it down to where I want my planks of wood. So something like that I think will be fine. Remember, I've got to pull them up, so actually probably a little bit further down. So something like that. I think it should be absolutely fine. Then we're going to do is now and when to grab my plane at the bank with Edge Select, pull it back to just passed here. I'm going to press control law. Then just scroll up looking at Omni plank. So what I need, so probably that many. So for me it's 123455 and click on it, you should say actually right-click nine planks. So non-planned is going that way. Then what I wanna do is press so seven to go over the top. And I think I'm just going to basically cut these planks out now, if I grab everything, press Z to go into wire-frame. And then I'm going to cut this along here. So I'm going to press K to bring him a little CO2 and CO2, this point here. So this one here, left-click Enter and then do the same on the other side. So I'm going to call this time though From can get away with this one in here again, as you can say. So I'm just going to come to the end of their Enter and then warrants there's going to come in now on, grab both of these delete faces. Now let's go back to Solid and you should end up with something like this. Now of course, these are flat planes and we need these to be beveled and we need them to be double dot, which is easy because we've done this many times we fall. So Control J, we will, moccasin, will grab each one of them. Like so. We'll press Y, G, make sure the split a, E, pull them up like so. And then finally, make sure we're on Individual origins, seven to go over the top. And then S and X, pull the band, and there we go. Now, one thing you might wanna do is make them a little bit uneven and things like that. I think though, I'm just going to leave mine actually alone. I'm just going to pull them down a little bit just to make them look a little bit more Realistic. And then what I'm going to do is I need to now mark all the Seams and then I can bring them down to the bottom. I also need to Belady itself, of course. So let's do that first. So again, control al transforms, right-click the origins geometry, little spanner add modifier. And let's bring in a Bevel. And let's turn this down to naught point naught two. Let's try that. And that's way, way too high. No point, no, no for Let's try that. That looks about right. So let's apply that. So controlling. Now we need to join. Yeah, I'm going to actually do this one first. So we'll do this first. So coming First of all a, and what we'll do it will clear the same. So control a clear Seam. I want to hide the rest of it all the way. I don't need that in the way at the moment. And all these had them just out loud the way. And then I'm free to work on this. Now let's come in and mark some seams. So Alt Shift and click Go and all the way down the backs of them, like so. So, so right-click and moccasin. Now let's come to this one. So Alt Shift and click, and then go all the way along. Like so, right-click and marketing. Now let's come underneath and just mark every other one going along. Like so. This one here on the inside, right-click and marketing. Now let's see if these actually unwraps. So a, you unwrap and let's bring in all material which will be the light would. And let's put it on materials so you can see what's actually happening. Now let's come around and actually changes the material around the right way. So L, L, L on all the ones that are going the wrong way, which of these fall? And then a all 90, spin them around. Press top, just make sure you're happy with those. You can see this one here is still the wrong way. So L a 90. There we go. I'll teach, bring everything back. And now finally I can bring this down. So I'm going to press Shift D and hopefully if I get the mirror right, it should spin it round for me so I can yeah, I need to spend those rounds. So let's come to I could actually just flip it over, so let's try that. So all why 180? Spin it round and then it should be able to just pull it opens place like so. Let's pull it a little bit lower, maybe. Something like that. Double-tap day I met several. Look it up. Alright, so that's looking really nice. Now, let's salts out these tubes. So I'm going to do is I'm again, I'm going to come to my modifier. I'm going to press Control a. I'm gonna do the same thing then on here. So Control a I'm wanting to do now is I really need to split these up as well. So I'll do that now. So I'll do is pretty much what we did with the other part. So Alt Shift and click going all the way around. I'll also want to join them both together, actually self-control Jake. And then I'll Alt Shift and click like so. And then Y, G split them up a to grab everything. And then we're going to press one. And what we're gonna do now is make them a tiny bit smaller. So I'm going to make sure that I'm on individual origins and then I'm going to press S, bring him in life. So Mesh, going to grab everything first, mops a grove within Mesh, clean up the holes, spilled all those. Top again, Control a or transforms right-click. So origins geometry of modifier, I'm bringing a bevel. We're going to put this on naught point, naught, naught for loop. So that looks like, and that locks. Absolutely fine. Let's apply that. So Control a, and now let's come in and bring in all of our seams. So we're gonna do same thing again. Alt, Shift and click will do the top first than the bottom. Like so. And then that's cool if I'll do those first. So right-click mumps Seam and then I'll come in with dots. Just so I've got a little bit more freedom on the movement. You can also say I need to get rid of the spaces on the back there. As we know when we split them, that always happens. So let's come in on mako Seams, right-click moccasin. Now let's get rid of all those. I'm going to just come in each of the parts of here and delete faces. Now let's grab the rest of it. Page, hide them out away. Will mark a seam on the inside of all these now, so I grabbed these, it's going to grab joe scoring all the way along. I'll do the top ones in a minute. So right-click MSG, come to the top. Those out the way. Grabbed these. And then the inner ones on here. Right-click moccasin. Alright, let's press Tab. I'll teach. Let's come back to these now. Grabbed them all as you unwrap. And now let's bring in our wood. So we'll call them to default and change that to what they look like. Double-tap the a, make sure they're all going the correct way, which they're not. These two aren't unless a lot around here. One isn't it? So select this one, this one on this one, a nine to spin them around. Make sure now the growing older our way. Tab again, a lawn, grab everything and now just bring them. I don't need to press one. I can bring them from here. Bring them into place just so that you can like, sir. Alright, so on the next lesson, we should be able to get this finished and get it back into place. And that will be then the last lesson for the actual bill. So that's pretty exciting. It's been a long journey guys. Well finally, not less than the last lesson for the Build. We can actually lead this. I don't need this, so I'm gonna delete it. We just need to put some supports him probably to support this on the next lesson as well. Okay, everyone, I hope you enjoyed that and I'll send the next one. Thanks a lot. Bye bye. 96. Completing the Final Stages of the Windmill Build: Welcome back everyone's Blender to Unreal Engine five, and this is where we left off. Now, let's come in. We'll just isolate these parts out. So we're going to come to these. They showed yeah, but they're beveled put on them. So I can just actually apply that with control Lake. I can then press Shift age, isolate everything out, and hopefully then she'll be able to come in and mark my seams. So I'm going to start marking seams. You can say a lot to be a little bit careful on these ones. I'm going to Seam around their right-click mob scene. I'm going to take my time just a little bit with these, just to make sure I grabbed them all. Like like so right-click mock scene, where my way around I'm going to grab this one as adults. I'm moving around it. Hold Shift, click Alt, Shift, click, hold Shift, plague. Let's come down to the bottom. I'm going to right-click mock Seam, zoom into these now, do the same thing. So Alt Shift, click around all of these Maxine and these two here. So the inside of each of these right-click mock scene. So let's come to this one. Right-click and moccasin. Now let's do tops of these right-click mock Seam. And finally the bottom of these. Very impressive, if we got them all first go. So now let's come in and I'm going to just look at where a mocking my Seam. Think the market on the inside of here. Think I'm getting a mole From there. I want to right-click mock scene and I'm going to try it on this one. I can see here that I do have to Seams missing there and on the bottom here. So right-click magazines have a low. Why of those not been done? So I've missed these here on the bottom here. So right-click mock scene like this. Then go in around on this bet, right-click mock Seam, and then finally on these ones here, right-click mock, same. Now let's say if these unwrapped so you on-ramp and it looks like the home route. Perfectly. I'm amazed by that, but there we go. Let's click the down arrow. Come down to Wood. Mean, let's press tab, and there we go. Okay, so let's press Alt H, bring everything back, double-tap the a on there is one Bay Window. Now let's say grab all of this and put it altogether. So Control J, G, Let's see what I'm missing. I'm missing the bottom and the lead. So Control J, G, right-click, Shade Smooth. Let's put in also smooth, like so. And then let's finally pulled back into place where it's going to go. Let's press dot and making sure that these pieces of wood here just stuck out of the wall life. So they're extra supports. Let's move on little MANOVA. And then what we need to do is just pull all Supports on. One Wooden says I'm going to grab the Bay Window. I'm going to press Shift S cursor to select it. I'm going to press Shift a then and bring in a cube. I'm going to press S, make it smaller. And I want this basically against the wall, like so coming down to this point there. So I'm going to press S, I'm going to press S and Y, pull it in, like so. And I want this SART probably, yeah, up to that, I want it probably coming out to here. So press one again, up to this point here. I think that's where it needs Supporting. So now we're going to press Tab. Man, grabbed the top of their press one, pull it up like so. Then a one to part coming out as well. So I want to grab this shift D or X, sorry, X 90, and then bring it in with S and X and pull it out. Like so, so that far out I think it's gonna be fine and then grab it should bring it down. Three, I think it is. Yes, it is. And then all X and let's rotate it, what it into place like. So you can see here that little bit too far out and then S and X bring it in. Alright, That should be a good enough support for that. So yeah, thing that will be fine. Now what we'll do is we'll actually poor or no bevel on this. So we'll press Control a or transforms Shift H and we'll just bevel this off. So I've modifier Bringing a, where's it gone? A bevel will play, no point. Don't know, bulk, like so. Apply that bevel and then Command Alt Shift, click on all of these. Then we'll get the one behind. So right-click mob scene, HIV, this one out the way our page grab this one, will do it on the inside bomb, right-click moccasin, high, this one out of the way. And then finally this one. And we'll do it on the inside of here, right-click mock Seam. I'll teach bring everything back. On route, will just bring in then all would mean make sure that Olga in the right way round which they are Alt H bring everything back, double-tap there. Finally then that's pressed. One, grab it, should dig. Shift, right-click set origin to geometry, and then just bring it over. So it's just the other side of this one. So you can see this is here. So if I bring this over, can see now that's bouton the right place. Something like that. I think actually that should be enough on that. Don't think we need anything else. Do we need one more? Let's have a look. You can get away warm also shift eight, bring it into the center. One, double-tap the eye. Actually, I think it looks bear with three. We'll come in and grab all three of these. So Control J, top. And one winch there is now and went to pack the islands. So UV by Collins takeoff rotation. And we should end up with something like that. So they're all different now. And now I can basically she'll be able to grab the whole thing and join it altogether. I'm going to actually move on out of here. I'm going to come in and basically see if I can join it altogether. I don't want any of these psalms and that's the thing. So I'm gonna do is I'm just going to come in, hide my mind, hide the songs out the way. And now it should be able to come in and grow it. And hopefully this should all go together correctly. So if I press Control J, join it altogether, press G, and there we go. Double-tap the a. Then want them to do is just make sure. My also smoothing is on 29.2 for some reason. Now what I'm going to do is I'm just going to go to modelling. We're just going to put this on object mode. And why are we doing that as we just check in the smoothness on there. So you can see on these rings for instance how smooth all these, you can see they're a little bit, I'm jagged on these edges here. So why needs does need to come to my move in turning up slightly. You can see that everything's kinda against smoothed up and that's not where it wants to have to be very careful here on how high we go. I'm going to turn it down. As it turn it down, everything starts to get flattened off. And this is one thing I'm always worried about when to do this, so I need to turn it down and get it going. It's flat as possible. There we go. So that's about 32.3. Now, can I come in and actually smooth this off? In other words, can I grab it all right-click and put it on faces and then right-click. Shade Smooth. Well that actually works. Sometimes it does, sometimes it doesn't. And as you can see, there are a little bit jagged. Now, one thing you could do is you could split all of these off. You could add Sharps on to all of the edges. That's something we can definitely do. If I like press a. Now, in fact, not a for double-tap the eight come in and select sharp edges, should select all of the sharp edges based on this now, so if I turn this over, you can see, gets rid of a lot of those. It should beyond 90 degrees. But you can see because we've got bevels on and things like that. It's actually not going to do that. So I'm not going to worry about too much if I come in now, put it onto Eevee and now have a look at it and go into that. You can't even see that they're actually Sharp or anything like that. So it's probably may worried about something that doesn't really need to worry about. So there we go everyone. So that is the Windmill actually completed, all joined together. And what we'll do then on the next couple of lessons is basically set up a nice, beautiful render because you can see this song on here shining through this Sign looks absolutely spectacular. As I say, well Sal panache Render to give you a nice idea of how to get a portfolio piece, you probably have to do some composite in, in Photoshop or something like that, but it will look good straight out of the box. After that. Then we're going to actually look at doing the actual animation. So the, the arms, the Sign moving backwards and forwards and the wheel. And then you'll have those as well in Blender. And then finally, I'll show you how to send them through to Unreal Engine five with all the animations and adding on all the textures. And basically it will be a Game Asset From that point. Alright everyone, so I hope you really enjoyed that. I hope you grow a lot out of it. I hope you learn a lot course. And if you did leave me a review, leave some comments or rear-end view is always better than just a few styles or something. And I'll see you in the next. And everyone, thanks a lot. Bye-bye. And the last thing before I go, actually, make sure you save out your work and see you next one. Bye bye. 97. Establishing a Sturdy Base for the Windmill Structure: Welcome back everyone to blend to Unreal Engine five, and this is where we left it off. Now the thing is now you can actually go in and if you want to give this thing a lot more character, for instance, we can click on one of these pieces of what? If we press top, we come in to this piece of wood here, for instance, we press control law. Let's bring three edge loops in, something like that. Right-click, drop them in place. And then let's put this onto connected only and we'll put it on smooth. And then if we come to one of these edge loops like this one for instance, and we just press G and we just move it very, very slightly. You can see now that actually if I bring it over like so, I can start now given this a lot more character by bending all of these round. Now that's one good way of actually doing this. I'm not actually going to do that. It's going to take a lot of work to actually do that. But I'm just telling you that is the way how you could actually come in and give this now Windmill a lot more character the more added before. So what we need to do now he's got a nice portfolio setup with Eevee. We'd Cycles. I'm gonna show you how to do both. So first of all, I'm going to play on Material. I'm one Wednesdays, I'm going to create a base because without base, it's going to look a bit lackluster. It's just going to look like it's subtle, nothing. So we're going to create a base. Now, first of all, I'm going to move this windmill into place. So I wonder is I want to press sevens, go over the top. I just wanted to make sure roughly it's in the right place. So I can see here, this is where the line comes down. I probably want this to be straight on. So I want basically the orientation of my windmill to be something like that. I also want to press one and make sure that the ground plane is actually here so that everything is through the bottom of it. You can see here is probably a little bit too low. Now, first of all, before I do that, while there is, I'll press Shift S because it's world origin. Right-click set origin to 3D cursor. And now actually I can come in and just move it up, Todd, like so still making sure everything's below the average, just gives this Stone a little bit more in depth to it. And then while there is, I'll right-click again, set origin to 3D cursor and you should end up with something like that. Alright, so now let's bring in our base. So what we'll do is we'll bring in a cube and it'll come right in the center, and that's exactly where I want it. Let's make it a little bit bigger. Let's pull it out so we'll press S and X, pull it out a little bit. I'm going to just put this onto my default just so it's not blind in my eyes. I'm going to click the down arrow, put it on default like so. And then I'm just going to pull it down into place just Along the actual ground plane. So I'm going to press one making sure that I can pull it down probably a little bit further than that, something like that. So it's joules right along there. And then what I'm going to do is I'm just looking now to see how far I needed to go with the back of it. I'm going to press top. I'm going to come in Face Select, grabbed the back of it. I'm going to pull it out basically as far as the kind of the embankment kind of thing. So the impact would probably come up to this point here. I'm gonna go around this side now. I'm actually going to pull this back a little bit. Just so anger, a ton of wasted space, we really don't want that. And then when I pull this out in a bit, like so, alright, so that's the first part of our base. Then I'm going to pull it out a little bit forward like so. And I'm looking at how that looks. Now I'm going to have some wooden parts going round here, so I'll probably need to pull them out just a little bit more, maybe a little bit more on this side. I'm thinking that I need some wooden parts on the back as well, so I'll pull it out just a tad more. Then I'm going to check out and see what that actually looks like. But I think we shouldn't be fine. Maybe just a little bit more on the back leg, sir. Alright, so now what I need to do is I need to pull it up just a little bit because we don't want it actually too thick. This is gonna be made of bricks. This is going to not have a nice top on it. And then we're going to have Wood going around the outside. So what we need to do now is we need to probably bring in some edge loops before we do anything else to actually split our model. So I'm going to do is I'm gonna press Control Law. And let's bring these up to something like that. Left-click, right-click and say I've got five of them. So each one of these will represent a piece of wood and then I'll go the other way as well. So control law, let's try five on that way, left-click, right-click. And I think that'll look good. Now we'll do is I'll grab each of these edges and I'm just going to bevel them in. So I'm going to press Control B, bevel the Main. And you can see that that's not beveling them in properly. So what I need stairs and age press Control a or transforms, right-click. So origins, Geometry tab again. And now let's see if the babbling, and you can see now the bevel in much more better. I'm not sure actually, if a bevel I'm like That will they actually go up to these points? I'm just going to grab one and just see now I'm going to press G. Yeah, you can see those points aren't Joints, so we need to join those. I'm going to do is I'm going to grab everything, mesh, cleanup, and then you'll have one merged by distance. Now when I click that or the bottom right-hand side, it will tell you how many of these little points have been merged. And that's important because I think we've got probably eight so for each side. So let's come to Mesh and clean up. Managed by distance. And you can see here eight vertices merged and that then if I grab this now press the G born, you can see all those emerge, and that is exactly what we want. Now we need to create these into pizza world. So the easiest way actually is to press Alt, Shift and click. I'm going to press Shift D and I'm going to pull it up like so. And you can see that I've not got the Greybox on which go back Alt Shift and Alt Shift D. And I'm going to press shift D, bring it up like so. Now I'm also going to mark a Seam around here. So Alt Shift and click, right-click and marketing I'm not saying, There we go. Now can grab all of this pink selection tab, grab it again, Control a or transforms, right-click set origin to geometry. And now I need stairs. I need to make this actually into a piece of wood. So what we'll do is we'll grab the whole thing in edit mode, press E and Z, and pull it up to the thickness that you actually want you would. So something like that, things should be absolutely fine. And then all we're going to do is we're going to bring in a modifiers. Let's bring in a solidifying. Let's pull it out a little bit to get the thickness of our Wood. I'm gonna go over the top now. I'm going to put even thickness on because you see it's bending in here. And then one wants to do is I want to set the offset jaws back a little bit. So bringing it up like so. And then that brings it in and you can see now that it's up they actual halfway point. So that's exactly what one. Let's now bring it down, not this one. So I'm going to press top, bring it down into place. I'm going to see now how fall that's actually hanging over, whether I'm actually happy with I think it's a little bit too high, so I'm going to bring it down a little bit like so. And then I'm just going to bring it back with my actual offsets over pull mouse that here you can see now it brings it in. And that to me, looks about perfect. And another reason is I don't want this bit hanging over too far as you can see, it's probably still hanging over a little bit too much going to bring it back a little tiny bit like so. Alright, so I'm happy with that. So I'm gonna do now is going to hover over my solidifying press Control J. Now let's start bringing in some materials so I'll come to the bottom. I really don't need the bump on. So Command Alt Shift and click on here, right-click MSG command face, select all and delete faces. The next thing is I really want to triangulate these, I think actually are they triangulate? Let's have a look. I think actually might be, so might not need to do that. 123, so it's three triangles on each one, so that's great. So let's just come in on what markers Seam on the back of here, right-click moccasin. Now let's bring in our first materials. So bringing our wall. So going round here, if I press one now I can press U on Ramp. I'm hoping that that's unwrap correctly. Let's just go to UV Editing, press Tab again. And I'm hoping that is actually right. So the only way to find out actually is bringing a materials. So we'll come to our Materials panel, click the down arrow. In fact, no, we won't. We'll click Plus because we don't want to change this material quite yet. Click the down arrow and we're going to look for Stone Wall. So let's bring it in. Let's click Assign and you should end up with something like that. Now what I'm looking for ways to make sure that it's roughly about the same height which it looks like it is. So now can make it much, much smaller, not quite small as this, I think I can get away with making it a little bit. I think it's bigger actually. Yeah, bring it out bigger, Something like that. And I can say that looks really, really nice going all the way around there. Alright, so we don't need to bevel this at all. I think that's the stonework actually don't. The one thing I actually have to do is just bring it up now so it's actually looking correct. So you can see here, it started in halfway. That's not the way we want it. So what we're gonna do is we're going to press G and X and bring it up a little bit and just make sure it all lines up so you can see now but a squishy and just so I've got these on the bottom, it actually looks right. There's no point doing this with the portfolio, putting all the work into the Windmill, and then just kind of how fast in this last bit. So I'm going to press S and X now and bring it out. And then G and X holding shift, like so and just making sure now, so S and X bring it in tiny bit like so. Press the Tab button. That looks really, really good now. Alright, so now we've got the top bit. So if I come into the top bit, press L. And then one way to do is I'm gonna click Plus and I'm going to click new because we need a new material and we're going to call this floor. You can see that I've got my caps lock on, so let's take those off line. So now the thing is when the floor, this is the only texture where we've not got a full Kate version of it. You can go and actually upgrade it if you need. So it's relatively easy spine something free online to double those old boy, you can do it in Photoshop or something like that. Now let's go to our shading panel. I'm going to press Control Shift and C, and then I'm going to come in. Let's click the up arrow and find a Windmill partridges here, textures, which is here. And you'll see one that's called floor. And you can also see that we've got no Unreal in here. And that is because there's no point taking this base through to Unreal. It's basically just so we can actually create our portfolio. Now knows I'm gonna click on all the way down, click principled, and bring it in. Let's have a look at all Material. And I just need to then press Tab. I'm actually assign. It looks something like that, which is crazy. It's not right. So let's come to our UV. I'm going to grab it. I'm going to first of all come to UV and I'm going to islands. And then we're going to do is I'm gonna make it a lot, lot smaller, a more manageable, so something like that. Alright, Now you can see if I press all tapes that we do have another problem in that this is way, way too shiny at the moment. So first of all, we'll go to shading, will put on our Eevee so it can actually see what we're doing. And then what we're gonna do is we'll bring in probably a gamma. Let's save and get away with just the gamma. So shift they come down to search GAM, bringing the gamma and drop that down. Now let's bring gopal gamma, make it much, much darker, like so. And he's talked to you whether you want to also bring in a hue and saturation as well. We can try that. So let's search you. And saturation dropped down in and then just bring goal, I think bringing up this value a little bit down, like so. And now you can see I'm holding the Shift button, and now we can see we're really starting to get somewhere. Do you want all these colors? I don't think so. So I'll bring it down tiny, tiny bit. Like so just get rid of that, wash it out a little bit basically a probably a look a little bit more actually, it was still probably a little bit too much. Let's bring it down. Not that far. I'm going to hold the Shift. Bring it down a little bit, like so. And there you go. That looks really, really nice. Okay, now we've got that. Let's go and salt the word out. So we'll come back to modelling First. I'm going to press Tab. And one way to do now is I'm going to split this up. So I'm going to come in festival. I think these two parts of joint and several know that no, I can grab this. So now we can go Alt Shift and click, going all the way around. And these are pretty much the skills that we've used all the way through the course so we know exactly what we're doing. It can actually see in there, There we go. That's that one. This one, this one, and this one. There we go. Now let's press Y G, splits it, Right-click, drop it back in place. Make sure we're on individual origins and an S and bring them in. So what we'll do that on the next lesson is we'll actually get this finished. And then we'll actually look at the options and how to actually use our HDRI and things like that on the next lesson. Alright everyone, so I hope you enjoyed that and I'll see you on the next one. Thanks a lot. 98. Setting up a Render for Portfolio Presentation: Welcome back everyone to Blender to Unreal Engine five, and this is where we left it up. Now, let's come in and actually Mesh and clean up. We're going to fill all those holes in like so that should have filled all of those in nice and even a. Now let's press Control a whole transforms right-click set origin to geometry. Let's save our work before I forget, and then let's come over. Now. I'm bringing in a Bevel and we'll put this on naught point, naught Walmart safe. That's what we need it on. No, naught point. Naught, naught one. Some reason, let's put that number Lacan, it's not actually naught point, naught one, like so. Alright, so I'm looking now to make sure they're okay, maybe a little bit high. So let's try one naught point. Naught two. Yeah, that looks a bit better for me. Alright, so let's put it on angle as well, and let's just apply that now. And then what we'll do is we'll mark all our seams. So exactly the same way. I'm going to actually isolate this out with Shift H, and then I can come in now and actually Alt, Shift and click. And you will notice that I think at this point that the way you actually do this, you know exactly what I'm doing. And you should be pretty fast that during any of this stuff. So okay, let's go all the way round back to the start. And then of course we'll do the inside low ones just so we can't see any of those Seams. Not want. I think this is actually the last part of the model we're actually going to Build. So this one we're working on right now is the last one. So after that, we don't have any more building today, which is great. And now let's come in to the bottom and we'll grab the inner ones on here. Go in all the way around. Like so. So like so, right-click moccasin. Alright, so now we're going to do is going to press a, I'm going to press seven just to go over the top. And then one way to do is I'm gonna pull these out now, make sure you're on individual origins, press the S Bowen and just pull them together like that. So you've got a little tiny sliver of a gap and now we can press a, you unwrap and let's bring in a material. So when I click the down arrow and we're going to put this on what Main? And there we go. Now, let's turn around the wrong ones that are the wrong way. So that is all of these makes sure you're in Edge leg just like normal. I'm just gonna go round now. All of the ones that are wrong way, so I can see them way round here. Let's look at the front. I think the front ones are okay. So let's go to UV Editing, grabbed them all a 90, spend them all round. And you should end up with something like that. Now, back to modelling. I'll teach, bring everything back, double-tap the a. Now what we're going to do is just going to make sure that our actual lighting looks good on this part before we do anything else, I'm just going to put it onto Eevee again, making sure that these pebbles look absolutely fine, which they do. Okay, so I'm really happy with how that looks. Now, the next thing we do, We don't want all the songs on. It's very, very confusing, especially if you're taking a Render. So what I prefer to do is just grab this song and then I'm going to delete all of these. So I'm going to shift blame. Each one of these, delete them out the way. And I can see we already have some better lighting. Now, let's bring in all lights. And actually, if I click on My son memorial, do is I'll turn it up a tiny bit like so we can say I'm making it brighter and I'm also going to put the color slightly on either blue or yellow. I find for medieval things, it just looks better if you've got it on one of those very slightly. If I bring this, you can save a bringing this all the way down to yell at those crazy. But if I bring it up, it brings a little bit of heat. If I bring it to the blue, you can see just a tiny bit of blue. And now it actually really brings out the Stone and things like that. So it's really up to you which way you want to go with this and think I'm going to bring just a little tiny bit of V. Just like that. And I can say it just really, really emphasizes what we're doing. Now the other thing is, you can see we've got our sum over here and we need to wait to move this HDRI round. We can't have it over there. And also we need to move our song to actually be roughly where the sun is of the HDRI. So you might want an image. Look in From here. Let's say, well, the problem is you might want you son actually delinked in through here. So that's something that we need to look out. So let's go over now to our shading panel. One Small and then boulders will just zoom out a little bit and we'll get it into place roughly where we want it. And then what we'll do is we'll change this over. So where it says object onto world. And you'll notice if I zoom out now, this is my HDRI. Now if I come to where it says day ear, so I'm press Control T, it will actually settle. So Mapping and texture coordinates for me now, it's not based on the UV or anything like that. So it does actually put it on generates an, and that's exactly what we need. Now if I tilt myself up a little bit, Let's look at this song The Sullivan is here and now I'll come down to the rotation and I go to zed. I can actually now turn round my HDRI, which is fantastic. Now if I put myself where I wanted it, so I want my HDRI all the way around here. So bring it round, like so, like so, and then it's up to you where you want it. So if I come in and put myself, like maybe here. And the other thing is you can see at the moment grow a lot, bloom on there. We'll fix that because I'm just going to show you how to actually fix this part. They have a thing, of course you can there you can actually move it all as long as you're very careful and you want to ship on, you can ship on moving up a little bit without getting too much stretching. If you really go and crank this up, you can say that really pulls it out so you can move it up like that. Now the thing is if you want to move it up with the rotation, you basically go into create problems yourself. In that. The, the more you tilt this up, the obviously, the more you tilt downwards the other side. So there is that it takes into account. The other thing, of course, is we can actually make this Smaller as long as we move it all to the same. So in other words, if I wanted to put this all on nought 0.8, then just top-down, Top-down, nought 0.8. And now you can see that song is a little bit smaller and you might actually want it like that. So I think at the moment and phi just move this over. Not that one was pulled out back. A little bit more, something like that. Alright, so I'll think I'm happy with that. Now what I'll do is I'll come in and I'm going to bring in a camera and set my camera up to where actually I want this. Now, there is, you can, when you really, really get into this and know exactly what you're doing, I recommend bringing in another light source probably at some point lives. What I would say as you can bring this sonnim, for instance, if you don't like how dark this is on the bank, just rotate it round. So all zed on June 19th, spin it round, but rarely crank this down. So turn this down, down, down, down, just to get a little bit of light on the back there. And if a pull that back now you can see a little bit of Glenn's enough there. It just adds to it with light bouncing off and things like that. So I think it always makes it just a little bit, but I forgot that. Also the Sign, as you can say, I might want to pull it out and just rotate it a little bit round, like so, and then just turn it down a little bit mole. So it gives that just that little bit of extra light. Now if I come in and actually hide the other way, you can see it's very, very subtle, but it's still there. And it's probably a little bit better than white walls. And of course you might want to put this a little bit then on the yellow light, so that just adds a bit. Let's have a look. It's actually try it on the blue instead. Think it might actually look. You can see it's very subtle. I'll think of my print on just a little tiny bit of blue light, so, alright, so I'm happy with that. Now, let's bring in our camera. While there is, I've got my cursor in the center. I'm going to press Shift a calm down your loved one that says camera, this one here, bringing in now sit your cell phone with your mouse of where you actually want this, so something like that. And then I'm going to move my son down, just get this all prepared before or do anything. So I think let's have a low which actual angle there once you're probably something like here. Now we've got everything in. We might as well bringing, I've also got money to hide as well. So I think something like here, so I'm gonna do now, now I've got my camera actually selected. I'm going to press Control Alt and zero. And that then is going to bring my camera into the place where I actually want it. Now you can see at the moment, now this camera needs to be set so you can see, whereas it let me just find the camera defaults, which are this one here. You can see here that we have a resolution at the moment of 1920 by ten at, I recommend if you can make this square, just make sure they're like Dumbledore. So always double up if you want to go bigger than this double diesel. So 2021 60, and then this will be nearly four K that will take you to 4k a than or go and put in something like 2048. 2048. And now you'll see that you've got the actual view of basically a square view of it. So I'm then going to come in and I need to move my camera. Now you will notice if I move around like this, I can't actually do anything with my camera, and that's not all one. So I'm going to press N, and that'll open this little panel up on the right-hand side, comb to view. And then you'll have one that says camera to view when I click that on. And now we're, it means is wherever I move my mouse, my camera will move and I can say I've got a really, really nice shot of that. Now that's sold out though. What needs to do now is move my HDRI. I'm going to click off cameras view, just saw, don't move this from the perfect view that I've found. This off. Come back to shading now, presses zero and then we'll zoom into the camera, zoom out a little bit, and now let's move our HDRI I round. So I'm going to come to my rotation and let's move it round. So where's my son? I think it's somewhere like that. I'm also going to then pull it down a little bit, holding shift, pull it down. And there's my son. I've got my soul now. And now let's move it around a little bit more Like so. You can see now, I shouldn't really have the light bouncing from this way. So a short, realistically turn this around so I can actually grab this and spin it round. So all zed, spin it round. Like so this is where this would be basically. So you can see here, it would literally be pointing down this way. Probably actually is tilted round yet route that way like so then what I tend to do is bring now my other son. So I'm going to rotate this and bring it just to like I said, bringing a little bit of light. So if I press Paul zed, tilt it round to here, and then just lights up this little bit just so it's not so much in the dark. I'll turn this up a little bit. Like so. Alright, so something like that. Let's press zero now and have a look. I'm going to just pull this down a little bit and just have a look. Well, that looks like yeah, that looks really, really nice shot with this coming through. Now, we are in Eevee. So if we come over now to Eevee render engine, this render here is how many samples you want to take. I'm actually going to go to modelling. Just say you've got a better view of that. So let's put it on Eevee, which is here. The thing is you want viewport deanonymize and on. What that basically does is help with the light bouncing and things like that. It makes sure that it basically takes every single sample and samples a little square blocks of this, reduces the amount of time that it takes to render. Alright, so that's that. Now the render is basically how many samples is. If you set this very low, you'll end up with a very, very grainy image. The highest set this, the higher it will actually take to render each of these little squares, and the longer it will take, you can also see that my bloom is probably set up a little bit too high on here, and we're going to find that out in a minute. Now everything else should stay the same from when we actually put this on. The one thing you do want on is the look and you want that on very high contrast. You can also see that what can mess around with the gamma, so we can bring all gamma up to make it much, much brighter. I don't actually want to do that at the moment. And you can also see that can mess around with the exposure to also bring that up to make it lighter or darker up to you. So think I'm just going to turn that down probably a little bit just to make it a little bit more realistic. So something like that. Now you need to do is you just need to come over to render. This will be fast as I say, because you will end up with a very small amount of samples. So what I'll do is actually able to call shadows. The other thing I forgot to say is, if I come in this, you'll see our shadows look like that. You can, if you've got lots and lots of parts. So these coming on here, for instance, you can improve the quality of this by turning all these but these ones here. So if I put this on 2048, I put this on 2048. You're going to increase the shadows a lot higher than what they were. I think if we put this on as well, I think that helps the high bit depth. Alright, so that looks good. Now let's give this a quick render and actually see what this looks like. So I'm gonna come over, click the random button, click Image, and it will be pretty fast. There you go. Now you can see that is exactly where it's going to look like. And you can see probably got a little bit too much on the bloom. So I need to turn that down a little bit, but we'll do that on the next lesson. Alright everyone. So on the next lesson, what we'll do is we'll show you a final render of an Eevee. And then I'll go into the Cycles render, which I think they'll probably give you a better render than this. You can compare and if you want as well. But I'm very happy already with how this has rendered out. All right, everyone. So I hope see on the next one. Thanks a lot. Bye bye. 99. Achieving High-Quality Renders with Eevee and Cycles: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now, let's do another render. We'll do this time is I'm going to press zero to hopefully go to my camera, my little man over here as well, if I'm rendering this out, I really don't want him rendered. So what I'll do is I'll come up and you love this little funnel icon here. Click it on it, and you'll see one if you hover over, it, says disabled in Renders, click that on, and then what you can do, and I can come in finding a little man and just turn him off in Renders. So he's still going to be there in the viewport when you rendering it anything. Now, he's actually not going to be there. And I feel about this option here, every time you load it up, it will disappear. So you just have to reset to own. Now, let's come to our bloom. I'm going to do is I'm going to turn it down a little bit. So it was on nought 0.8. Let's have a look. So nought 0.8, let's put it on, let's just put it on one and see what that looks like. It might be a little bit better. Maybe it needs to go a little bit higher, but what Lovelock, it's on 64 again, so it will be a faster render. So let's come in and Render Image. Let it load up, and let's look at that and not actually looking really, really nice. So actually, I'm really happy with how that looks now, the next thing you would do now, now you've got everything in is decide if you want a background on it. Now, if you come to down, you'll see one that says Fill here. And what you can actually do is turn off your background. And then if I render this out now, you'll see that we can render it out. And this is how we can composite this then into actual Photoshop so you can see it looks really, really beautiful. We still got our lighting on there, but now we can create our own actual background and things like this or make it fits into somewhere or something like that. Now let's close that off. I'm going to pull our transparent off a minute. And then what I'm going to do now is I'm going to just turn up the amount of samples. So I'm gonna put this on, let's say 500, something like that. And then let's come to render. It will still be pretty quick on Eevee, especially on the machine that I'm using and it is dependent on what actual them settle and rig you've actually got. So I'm now going to come across Render, Render Image. And you'll notice straightaway, it's talking a lot longer than what the, the first one did. But as I say, it's still on 500's, so one tip that long, but you can see already that it does actually look slightly better than the original. So what I'm saying is, don't try and go in stages on this. So we've turned up to 500. Have a look where it looks like, are you really gonna get anything more out of this on 10,000, on Eevee for instance, That's what you need to decide. So it does take a long time, so your lighting, so you shadows, set everything up ready. But now think this is looking really, really nice. So now we've done that. Let's now close that down. And let's also put this on to Material. And the reason I'm going to do that is because I'm now going to set this on Cycles. And Cycles is much, much slower than even if I now call them and put this onto our viewport Shader, you will see nothing's happening straight away. And that is because it has to take all those details and load them all. Now for you clicking on this, it might take five-minutes to actually do that, and it still might be very grainy. You can see here as I'm moving round that It's taken a farewell to actually do that. I think for now, I'm actually happy with how this looks. So what I need to do now is set up my Cycles render. Now the thing is you need to first of all comb-over to edit and come to preferences. And let's go to system. And you will notice that you have some options along here. And the one you want to say on, if you're able to, is the QDOT, because some graphics cards are able then to render with the CUDA Render Engine and it will make it much, much quicker. Now just make sure that you take both of these on. And then well, there is L, use both of your GPU annual CPU to render this out. Alright, so once you've done that, close it down and it's a shame if you've not able to do that, you might have to use just the processor. I'm not sure. It just depends again on what actual system you've actually got so close that down. And then you'll notice over here on the Cycles you allow supported and CPU set. Now I'm just going to proud material again, and I'm going to change this to experimental. And then I'm going to change this to GPU compute. Now what that's doing is it's actually rendering out now using my graphics card, which is a pretty hefty beast. So I know it's going to be much, much faster when I'm rendering this out. Now the thing to take into account when you actually rendering out on your GPU. So let's come to performance. That Tiles want to be low. So I'm going to set my towels to 32. 32. If you are rendering out on your CPU, which is your processor, makes sure that these are on 256 by 256 or 512 by 512. There don't actually a benchmark test on this and they've looked to see how much difference it actually makes. And you can see if you look this up on Google, that there's a huge difference in how big the sample towels ALL when using the CPU and GPU. And they found that the CPU needs much larger Tiles than the GPU, is basically what I'm trying to say. Alright, so I'm going to set this back on GPU. And now we're gonna do is we're gonna go through these options and change them and get themselves basically to create a really, really nice render. I actually think that Cycles render is actually Better than the Eevee Bolt EV is great straight out of the box. Not a lot setup or anything like that. So the first thing wanna do is set the render higher because on Cycles, something low, like hundred and 28 is gonna give you a really, really grainy image. And we don't really want that. So I'm gonna do is I'm going to set this to 500. And then basically I'm going to set this very high when we actually come to render this out. Now I'm going to say up high enough so that it takes an hour or 2 h or something like that. Because if you do say all pie like 10,000 samples or something, is going to take that long. I mean, I've known people who have said at one render is talk than 24 h and things like that. So it all depends on how high and how good-quality you actually want your actual Render. Now the thing is you can click on adaptive sampling. And when you click this on, it's actually going to reduce the time significantly. So even if I set this on 20,000 samples, if I've clicked on adaptive sampling, is going to reduce it really, really down. And what it does is it takes each sample and it tries to already workout the actual light bounces and things like that based on the other samples. So actually speeds, you'll, well, the thing is I've noticed this when I click this on, is that I don't get as good as image if I've got this set high when I've got this Arm. In other words, if you want a really, really high sample, are really, really clear. Hdr, HDR image or something like that. Don't click adaptive sampling on because you will get a much clearer image with it actually. Now the next option we want to work on is Diane and eyes in. And basically what this does is it, basically it'll render our sample and then it will go back and it'll get rid of all the graininess you do want this on because normally on lowest samples, so if we're rendering on 500 for instance, you're gonna get a lot of graininess. And to actually combat that, Blender has in-built summit, this Deanne D. Denoising, sorry, not demonizing, de-noising, in-built. And it basically takes all of the little pixels that you'll see. You'll notice when something is not rendered out very high sample, It's very pixelated and things like that. And what Blender does is try and do the best they can to blend that out a little bit and that's exactly it as work. I'm going to click both of those on and then you'll have a good idea of what it looks like as well in the viewport, as well as actually in the render. So let's now change the viewport as well. We'll put that on Open Image de-noise. And then that will just clean up a little bit for you when you've actually got this rendered in our actual viewport like that. So you'll see now I take my arm, it's going to take a little bit more time, but it will or should come out much, much clearer. So there we go, let it load up. Now you can see already it's looking much, much clearer than what it did before. Alright, so you can also say that, yeah, it looks, you can just see it just cleans it all up and he just looked so much better than where it did before. If I take this off, Let's see if we can actually do that mid flow. And now you'll just see how actual grainy and different actual looks. Alright, so let's put it back on Material. Let's pull that back on. Let's now click on the advanced on an ongoing series. I'm just preferred to set the light threshold just to zero. I just find that get a little bit. It's a little bit quicker when I'm actually rendering out. Now let's come to our light puffs and the only one wants to change gears just a volume and we'll put this on one. Now these are based on settings that other people have set them on. I am not an expert on setting up as Cycles and looking at renders and things like that in the slightest. But I do know the best options that I need to click on to actually get a pretty nice render straight out of the bag. So if you do want to really go in depth in this, what I'm basically trying to say is you will probably better off going away searching Google and spent people who do this for a living. I'm shots like this. They are professionals. They've done it for a long time and it's taught them a long time to actually get good at it. So just bear that in mind as well. So I'm gonna do now is come to indirect light and I'm going to set that to zero and I'm going to set the filter glossy also to zero. Now let's come down to where it says Fill and we'll just change the pixel filter to go Gausian occasion or however you want to pronounce it. And remember, you've also got the transparent, whether you want the actual HDR in the background or not. Now what we're also going to do just so we know, if you're doing an animation or anything like that, you probably going to be better off wanting a little bit of motion blades, especially good if you're moving, the camera is moving at high-speed or anything. It's a really good way actually to bring in some black, some blur and Realism to the actual scene. And the other thing is I find for a bit of a quicker rendering is changed the order and put that on center. And now I think that's pretty much everything. This freestyle, by the way, if you click the song, that is how you get a drawn image going all the way around that. We're not gonna go into that at the moment, boy, if you do want a costume jewelry look, then freestyle is what you need to look into. So now we've already set all of these on the right thing. So everything should we sell for as now an avid come over and click the Render Image button. Let's click that. I'm going to zoom out a little bit. And let's see. Now load open. You can see straight away, this is completely different to our Eevee works actually renders out each one of these. And you will notice that the de-noise Tiles are also going up. So we need to get to full thousand and 96 because that's what size I actually set this and basically then it needs to denoise them out. So at the moment you can see we've set this to 500 and we're still gain some really clear images of our Tiles. We still gotten the wood in there and things like that. The higher you actually set the renderer to the samples, to the mole of this, you'll actually get in there. And the actual clearer election law, that is basically what you're looking for. Something like this. It looks really nice. I think the highest I would probably go is around the 5,000 mole. Now of course, I'm not going to run that out now. It's just going to take a lot of time. And this part of the course is basically to show you how to actually render out for your portfolios and things like that. You can also say, I could probably spend some time actually lighten this up, maybe a little bit more. But apart from that, I think it looks really, really nice. Maybe this is too much in shadow. And then we'll take a lot longer, actually creates in that shoulder course image and things like that. Just so it looks really, really nice. But you can say it's really, really easy to actually now create a really nice render. And you can also see that these options I've set is probably gonna make a lot, lot quicker than just trying to render it straight out of the box. Alright everyone. So I'm going to close that down. And before I do that though, I will show you that you just want to image then going to save us and what you're going to make sure you do, you're going to put up your color debt to 16 and you're going to set this. If I hover over this, you'll see that naught equals no compression with phospholipids and 100 equals lossless. So basically you want to set this up all the way to 100 and then save it out. And that'll give you the best actual Save of a PNG possible because you notice it's saved as PNG as well. Now, on the next few lessons we're going to go through animations. So you're going to see how we actually animate something out if you want to. So I hope you enjoyed that. I hope you learned a lot and I'll say on the next one. So the next one is basically going to be Animation. So I will put it in the course description. And basically if you don't want to animate it, then just go onto the next part. And animation is where we take this Windmill out and we're basically bring it into Unreal Engine. And I'll show you how to actually set that up with all the materials as well as the animations as well. So I hope you enjoyed that, everyone. I'll see on the next one. Thanks a lot. Bye-bye. 100. Welcome to the World of Animation: Welcome back everyone to Blender to Unreal Engine five, and this is where we left off. Now what I recommend doing is actually making a new safe and folders. And the reason is that we need to get rid of some of these parts. We need to rename it, things like that. So I'm gonna go File, Save As, I'm going to save this one as Windmill calls on animation. Hopefully I've not been able to save like that animation, like so. And to enter, and there we go. Now you can see at the top, it's actually saved hours that now I can come in and I can actually delete my little man. So I want to press Delete button. I'm going to come in and also delete this base. I'm not going to need that, so delete the base, like so. And then one way to do is I don't need the camera either or anything like that. All the base or need is this actual women. Now I'm going to keep the lights and just so I can actually see what I'm doing, especially a material mode. You'll notice if I turn my songs off, so let's turn them off and you'll see it does alter the shadow. And I'd like to see that. The other thing is when we're actually doing the animation is better off. Actually, if you work in object mode, you will have a much better view of what you're doing. Now the next thing is once click on our windmill and wants to come across to the right-hand side, I want to rename it, so I'm just going to call it windmill. So then I'm just going to look what this cylinder is. And you can see there are a little dot here. If I press G and move that out. This is one of those I'm actually talking about. You can see here, it's not them, it's basically called an empty. And you might have a lot of these. So it's always best just checking down this right-hand sides and see what they all. Now if you press Delete, we can just delete that in the way because obviously it's not anything. And then we can come to this Windmill Part, this SVG. And again, this, if I press G is actually nothing. Again, I'm come up, right-click and come down and click Delete. And that is that now you can see that it's a really, really clean collection. You can also come in and rename your collection if you wish. So we can also call it windmill. And then when we actually, if we actually wanted to bring this in a collection, we can actually save it out. So the next thing we want to do is we want to come up to File. You want to go down to where it says external data and you want to ultimately plot pack into Blender file. And the reason fold up. The reason is that when now I come in in another blend file and I want to come to File, and I want to come down to where it says append. I will then be able to append this actual windmill. And it will come in with all of the materials and things like that. And that is why we're packing them in. So if I come up, you can see here and I'll go to external data, its ultimate, sorry, I get my words ultimately pack into a Blender file. Now with the Animation, It's very, very important that you follow me from this point, exactly as I do everything I do. Just make sure that you do because if you don't, you're going to end up with a lot of problems in the long run, even to the point where you might not even be able to bring in your animation into Unreal Engine five. So make sure you follow along exactly. Now the first things we're gonna do is a bit more tidy. Now, we're going to come to our actual model. We're going to come down and we're going to check our face orientation. So if I click my face orientations on, you can see now that there's a ton of them the wrong way round when we bring this into Unreal, all of these are basically going to be invisible. You'll be able to see through them. And that is not what we want. So I'm going to do is you want to press Tab? I'm going to press a, I'm going to press Shift M. And that's going to deal with a lot of them, but not all of them unfortunately. So now I need to come in and actually do them individually. So you can see here that we've got one for instance here I'm going to come in now with base. Let me grab this face. I'm going to press Shift N. And then you'll end up with re-calculating normals on the inside on this little menu that you can open up, click inside, and then that should fix that. Alright, so now let's work our way round. So I'm going to call them. I think the inside of here, I'm going to press L when it grabbed the other side L and the press Shift, and then we'll click inside. Like so. Now let's keep working our way along and check this Door out as well. I think the Door is actually okay. As you can see, them Walgreens stairs. I'm going to click on each of these, just Shift-click on them. Like so. And we'll do these ones first, then we'll press shift and shift them, not control them, and spin them around inside. There we go. Alright, so now let's, let's also put this in object mode because we are having a sorry, Object mode. There we go. We're on a few problems. Actually. It's a little bit slow, so I'm going to print an object more just to speed up a little bit because it's trying to do this with base of the Materials in the background. So Shift N, you'll see now it actually speeds you. So let's click it on. Now let's come to our next one. I'm just keep working your way down. And as I say, you don't really want to miss these, or she will see them in Unreal Engine. So let's click inside and I'm just checking all the way around here. And then I'm going to come to this part. I'm really, really trying to check things thoroughly. You can see here we are a lot of these parts that are also the wrong way round. So I'm gonna come in. Not, not want. Press Alt, Shift N inside Now let's come back to this Roof. Someone come in here. Here. Generally, Blender does do a good job of actually turning the normals around. For some occasions, for some reason, doesn't know which way they also shoot, then spin them around. Alright, so that's that. Now let's work our way around. So we're going to some of these Windows Shift M. Again, it doesn't make any sense as well. Why some of them at the wrong way round, some aren't, but that's the way things are. So let's come round now to this Window and then Shift N, spin them around. You can see that one got turnaround someone to just click on this one. Then inside, spin it round, like so. Now when I press the top, then it's going to enable bits March, March by a look of Walmart should do. And I'm just looking see if I've actually missed any old. And again, like I said, very important that you don't miss Sonny. Alright, so once that's done, let's come in now and turn off face orientation. And then what it wants to do now is we want to actually come over and create a light mom. And the reason we're Karina light map is I think that bringing just the Windmill and it should be fine. But when you start to bring in many parts into Unreal, it's really important that you've actually created your own light maps. So what is a lot my pay you say, well, if we come over to the right-hand side, you will see you got one that says UV map. And this is basically the UV map of the whole thing. Now, if we click the Plus button and we rename a unique new UV light map. And let's Sorry, you knew UV map to UV light map or light maps. So I'm just going to rename it and call it like map. And then if I go over now to the left-hand side, so if to come over to UV Editing, let it load up. There we go. Let's put it on object mode. We don't need it on that. And let's put it onto our UV map. Let's open it up, make sure that you actually on it. So we're going to press Tab to grab everything a, over this side. And what you wanna do is you want to pack these. So I'm gonna come down to UV and Pack islands. Now the thing is that we, before we actually pack them, need to make sure that these are the right size based on each other because it's not like reading materials on it. What this is for is basically so Unreal Engine knows how big each of these parts are and can bounce light of them accordingly. And that's why you need to do this. If you have them overlapping like this with a UV light map, it means that you will end up with really, really dark spots because basically it's trying to shine light on the UV map. Now, Unreal Engine does a good job of creating their own UV light maps, but I recommend current neuron just in case. So I'm going to create this one. So I went to do first when it comes to UV and went to Average Island Scale. Let it think about it and then UV. And what we're gonna do is Pack islands. Now, don't be afraid we've not lost all of the word that we did before is just that it's packed every single line. If I come back to my UV map now you'll see that is how the actual old one walls and this is the new one. You can actually click this on or flick it off. I'm going to click this one on the UV map. Now when I send this to Unreal do is it'll take the second UV map and use that as the light maps so you have no problem. As long as it's named like map, then you should be absolutely fine. Alright, so that's pretty much it for actually getting settled with where we need to be. So now we're settled. Let's make sure though that we've reset all of the transformation. So we're going to press Control a common noun or transforms. And then what I want to do is I want to place this now, this Windmill exactly where it wants it. Another words, if I bring in this Windmill, it will come in based on where the orientation is. Let's say, is that the orientation in the middle? That means when I bring it into Unreal, it's going to be down here somewhere. It's going to be actually in the floor and you won't be able to see this part of it here. We need to make sure that wherever replace it is just below this year. So this line here, and we also need to press seven to go over the top and make sure that wherever replacing it is roughly in the middle. So you can see here that this is kind of in the middle. If I move it this way a little bit than it is. And then what I'll do is I'll press Control light, all transforms. And you'll see that it puts it automatically into the center of our world. And now actually we're ready to start bringing in our actual bones and things like that. I'm starting to get this unmuted. Alright everyone. So it's important that we get all those things right before we start. The preparation before animation is probably the most important thing. And if you skip any of those pots out, you're going to end up with a lot of problems in the future. Okay, So I hope seeing the next one and hope you learned a lot. Thanks a lot. Bye bye. 101. Understanding the Animation Workflow: Welcome back everyone to Blender to Unreal Engine five. So this is where we left ourselves. Now, the first thing we're gonna do is bringing the bone that so if I press Shift eight in object mode, ship, they come down. You'll see there's an armature. Now I'm going to click my on and you won't see anything. I'm going to take this really, actually quite slow. And the reason is because most of you are probably not done any animation before. So I'm taking it at this point as though you're an actual novice at animation. So we brought in an armature. We can't see anything. So what we can do though, is come over to the right-hand side. And you'll see that if I click on viewpoint display that we've got one that says in front, and this is basically like x-ray pi. Click this on. Now, you can actually see all actual bone through the building. Now, this bone here is called a root bone. It's the first bone we actually Create. And it's called a root bone because it paisley is attached, well, all the other bones are actually attached to this one. And it helps with Unreal Engine understanding where in the world this actual object is attached to another words. It's routed to the floor. So I'm going to press S, I'm going to bring it out quite big. And then I'm going to press all on X 90 and spin it round, so then it's a front. Now the other thing I like to do is I like sodium from top once I've actually got that in place. So you can see, don't worry about poking through anything like that. You'll never be able to see these bones anyway, they won't interrupt with a world or anything like that. So you don't need to make them small. You just need to make them big enough so that you understand where these oh, okay. So now we've got that. The next thing we want to do is it's very, very important that we do this is over the right-hand side. You can say that we have the armature and this is this, and it's actually called armature. And we need to make sure that we rename this. Now. Before we do that, if I press shift D and two and I press J, you will see that we end up with another bone. And it's, again, it's called armature or want. Now, when we've joined all these together, they will just be called armature because we're going to join them all to the actual root bone. So we need to make sure that we changed that when we join them all together. The other thing is if we come over now to this side, we can say that we have bone and bone. And the reason they're called bone and bone is because this is a separate armatures, so it calls it just another bone. It's important that when we've done this, we renamed them so they all, they actual. That's the way we're going to do it basically. Now we need to move this bone ends place. So how are we gonna do that? We're going to call them to our actual windmill. We're going to press top. We're going to come in to edge select. And I'm going to select this one here because I know that this is central to this actual wheel. So when, if I'm moved it from this point, it will basically move the wheel nice and evenly forward. So I'm going to press Shift S because of the selected tab. And now I'm going to come to my bone. I want to press Shift S and then selection to cursor, keep offset. And now my Bone is going to be in there. Now let's spin it round. So our X hundred and 80 spin it round. I'm gonna make this bone a little bit smaller, like so. Then I'm going to leave it like that when I grab this bone now, hopefully it should turn this wheel round in the perfect center of it. Okay, so now let's come to our sign. Now when you're doing things is as important that you think about. Where are you actually going to animate this sign from? It's no point animating it with these links move in because that's not realistic because they're actually attached to this. It would be moving from this point here. That's how the sign would be moving in the wind. So we're going to actually come again to our windmill and ongoing series. I'm going to press Alt, Shift and click on each of those a couple of times, that same on this one. And then one way to do, I'm going to press Shift S cursor to select it. And that's going to put my cursor bank in the sense of that, which means that these should now move from here, which is kind of realistic. Now I'm going to do is I'm going to press top. I'm going to call them to my last Bone. I want to press Shift D and move my mouse over here. And then one way to do is I'm going to press Shift S, selection cursor. There you go. There's your next Bone. It doesn't matter the fact that we can't actually see the chain there, as long as this is going to move in the correct way that we want to. Okay, so 1 mol Bone left, and of course it's going to go in the center of this one. So I'm going to grab my windmill again. I'm going to come in, select this edge here, press the elbow and Shift S cursor to select it. Now we're going to grab my bone. So Shift D, same thing again, shift as selections cursor and then spin it round. So all X hundred and 80 spin it round like so. Alright, so they're all the bones actually put in place. And now we're going to do is you're gonna grab this bone, then this one, then this one and finally or root Bone. And then I'm just going to press Control J, join them altogether. And now we can see that we have a cold armature. This is where we need to change this. Now, there is a bug in Blender as I say, where if you send this to just as armature, it will not work. Unreal Engine won't recognize it. I don't know why that is. I'd not sure if it's the same with the Unity or not, but Unreal Engine certainly won't work. So I need to do It's an age comb-over, double-click it, and I'm just going to call it Windmill skeleton Like so, and now we have it renamed. Now we can come in, press the Tab button. I'll come to this Bone first and now you'll see that this is called bone, this is called Bono, O1 and O2 and O3. So let's come in and rename this. So this one I'm going to call roots Bone, like so this one I'm going to call Wheel Bone. And then the next one I'm going to call Sign Bone. This is also very important because it enables not only Blender to know where each of these individual bones are, but for you, so you know which bone you actually dealing with. If you're dealing with something like a Pixar complex scene or something like that. You rarely need to know like, right, this is the end of the finger bone. This is the knuckle bone, things like that. So it's really important that you get into habit of actually renaming all your bones. Now, let's come to the Arm Bone and what we'll call it that. So I'm just going to call it Arm Bone, like so. Alright, so that's all those renamed. Now the next parts important thing that we need to do is if I press tab, we of course needs a reset. All of the transforms of the bone, this is very important, so just make sure they actually reset all of the transforms. If you don't do that, sometimes you'll take this into Unreal and then be flying away into the distance because it won't understand where they actually bones are supposed to be located in regards to the center of the world. So let's press Control lay, calm down and press all transforms, and now they are reset. Now the next thing we need to do is we need to attach these bones to our actual windmill. Because if I come over and click on my windmill, you can say that we've got nothing attached on the modifiers. This is where the armature will always appear. So if there's no armature attached to the Windmill, you will not see anything here. Basically. Let's grab all windmill and then Shift select our bones. And then what you're going to do is you're going to press Control and P. And you're going to have a lot of options here. Now the ones we're interested in is these three here. These are the ones that you mainly, mainly going to use. Now if we're doing a character or something like that, you can understand that a Arm doesn't just bend right at the joint, actually bends a little bit further down and it gets less and less as the actual shoulder joint, for instance, moves. So another way is right where the soul, the shoulder joint is, you're going to end up with a lot of movement. And as the arm goes further down, it's gonna get less than less. So you need basically a different weight going down the arm from the actual joint. And that is why we use automatic waves. Now in something like a Windmill, we don't actually need to use automatic weights because everything bends mechanically. Another words, it bends at the point and there is no difference going all the way down. It's basically there for biological and creatures and things like that is when we'd want to use this. The next one is envelope weight. And what Blender will try and do that is just attach some weights to the actual bones. Normally, it's not it doesn't do a very good job actually. A normally I don't really use this. I Eevee use automatic weighting or I use with them to groups. And I myself then go in and actually weight this up. Now the thing is Weighting bones and things like that is actually very difficult. And it takes a lot of practice to actually get good at it. For now, we're going to use with them to groups because honestly, for this, we can actually go in and weight them very easily because as I say, anything mechanical that is just turning around or turned on Angular, anything like that, is very, very easy to weight. Alright, so let's click with them to groups. And now I've come over to my windmill. You will see we have an armature and it's called windmills skeleton. So far so good. We can also see if we come down to this three triangles here. Now we have new options here. So you can see we've got all of our bones that are already named and this is another reason why you want to name them. Because now I have a good idea of what's going to be weighted where. So on the next lesson, what we're going to do is we're actually going to weight these bones to parts of the Mesh on our actual windmill. So I hope you enjoyed that everyone and I hope to see on the next one. Thanks a lot. Bye bye. 102. Mastering Bone Weighting and Keyframes: Welcome back everyone to Blender to Unreal Engine five. And this way we left off. Now, let's come on Wait, top bunk. So the first thing we're gonna do is we're going to come into our actual windmill. We're going to press Tab. And when I press Tab, you'll see now that we have these options along here. So let's first of all comb to Wheel bone, which is this one here. I'm on Windows, I'm going to press three on the number pad and I'm gonna go into wireframe. So I'm going to press that, come into wire-frame, make sure you're on Edge Select. And then what you're going to do is you're going to use box select with beat and you're going to grab all of these. Now all you need to do is just grab them up to a certain points over gram mole there. I'm going to press Control plus then on the number pad, I'm going to then press G, just make sure that all of this comes away and it's the actual wheel. And that looks about right to me. There's nothing in there, that part in there is actually the Stone Wall, so I don't need that to come with it. And then just right-click, drop it back into place. Next of all one wanna do is I want to assign this, which is selected to this bone. So all I need to do is click Assign, like so. And then now that will actually be assigned to this. And I can test that out actually by clicking on deselect. And you'll see that it takes them all off. Select, actually selects them all and you can see which bones are attached. It's important when you've done that, just click deselect. And then what you can do now is got to your next bone which is assigned one. And actually select all these. If you don't, you'll end up with some of these parts actually selected. And then there'll be moving with this actual bone and we don't actually want that. Next of all them. What we wanna do is want to press B when it come down again, grab all these Control plus. And again, I'm going to grab them going up to these links here because I don't actually want these links to move. What I want them to move from is here, which is where the bonus. So wherever the bone is, that is where they're going to move from. And we know if position this bone right in the center of each one of these. So that's why we've done that. Now again, come over to the right-hand side. Click Assign, click, deselect, click Select. Alright, let's click the Select once more. And now we're going to come over to our Arm Bone. Now, same thing again. So what we're gonna do is going to press B when it comes from the top. I'm going to come all the way over making sure I'm not grabbing my Window or anything like that. Then I'm going to call them to the center and grab all of these all to this point. And then going to press Control. Plus, when I press G, pull them to the left, make sure that they're all coming with it. Right-click, drop them back in place. And now click Assign, then click Select, deselect, and there we go. Now let's test each of these out so we'll Bone select, Sign Bone, select, Arm Bone, select. And there you go, you can see they're actually all now attached to these bones. Let's double top a. Let's say now press the button and go back into Solid mode. Now this is the point where we actually have to start actually creating our animation. Now, I'm going to do is I'm actually just going to show you how we actually move all bones. So grab your bones, come over to the top left-hand side, you'll see where it says Object Mode. Click the down arrow and put it on polls. And you'll notice now when I click on each one of these extra term, this really nice blue. So if I grabbed the wheel for instance, and I press G, The only thing that should move around with it is this actual bone here. Now you can see that I do have a problem straight away in that that bone at the top left-hand side, you can see it there is actually also moving with it and I don't want that whatsoever. What needs to do an ICE needs to let them sign, put it on object mode, come back to my windmill. What I'm going to do is I'm just going to hide the bones out the way. Come back now to my windmill, press the Tab button and I want to come to the wheel Bone and click and click Select. And there you go. You can see there is the issue that we had a night is because I didn't double-tap the a before actually started. So I wanted to do now is I want to grab this one. I don't want to remove it from my whale bone. So click Remove and now double-tap the a. And now I'm going to do with my Wheel Bone is click select, and it should now just select that and nothing else should be selected. Alright, so it's a good job actually, I made that little area because now you get to see that I also mess up and that's how we actually fix it. So now let's press the top. Let's press Alt H. Bring back all Bone. Let's click on our Bone. Come over to object mode and put it on Pose. And now we can grab all. We'll press the G and nothing should move with it. Let's grab our sin and nothing should move with the Sign except those chain links that we've pulled in there. Let's grab our Arm, everything should be with it. And finally, let's grab our r2 and nothing should move with this. It should just be blank basically. Now, let's come to all we'll Bone and I'll show you exactly what else you can do. So if I press G and move it over here and left-click. And then what I want to do is I'll rotate it so I'll just press the Alt button and then I'll press the S button. And we can now, if we've made a mess and we want to reset it back to where it was. All I need to do is a press Alt and all that will reset them the rotation. I'll press Alt and S, That will then reset the scale. And I can press Alt G, and that also will reset the location of this. And that's also very, very important to actually know if you want to set things back the way they were a lot of times when you're working on characters, things like that. You'll make a mess of the hand, the fingers, and you'll want to reset it. This is how you do So now we've done that, let's come up and put it on object mode while we're in actually modelling. Now it's finally that time to actually create our animation. So what we need to do is you'll notice that over the top there is one that says animations, when I click this on, will end up with a completely new screen. And we'll end up with something like this. And it will always take you through to actual pose mode. So now we wanna do is at the moment we've got it on dope sheet, and that's not what we want. We actually want to click this down and put it on Action Editor. And this of course, is where the action is. Now let's pull this over. So you need to grab this blue box here and pull this over to the left-hand side and set it to warm. These basically are frames. So basically this is how Blender nodes whereabouts is wheel is going to be on each of the frames. And of course there's nothing actually on here at the moment. I can move this left and right and nothing will happen because we've not actually sent anything. So the next thing we need to do is think about how many frames you actually want this over. I don't want it onto hundred and 50. I actually want it onto wondered. What I'll do is I'll come over to the right-hand side where this little white printer at fingers. And you'll see here that we've got a frame start, a Frame end. This is why we're setting it to one. Because of Frame Store is on frame one, I find that the problem frame zero, you end up with a little bit of a stocks are actually from frame 200, if it's like and animation that's going random, random circle. It's important that you print Frame one, note on frame zero. So now let's put all end 200, like so. Now you'll see it cuts it down and this is where it's going to add. So if I come now and put this roundabout here, press the space-bar. And what that'll do is start the animation. You'll see it gets to 200 and then it restarts from frame zero. In other words, what we need to make sure is that all of the animations, basically, we want to go in a loop that they come to frame 200 and then they restart from the same point at frame zero. And then we'll get our looping animations and that's exactly what we want. Alright, let's press space-bar to stop our actual animation. Let's move it then over back to frame one. And now what we wanna do is we want to set that this Wheel on frame one is actually set like that. So I'm going to press Control one just to go to the back of it so I can see what I'm actually doing. I'm gonna actually move this out. So this will show me exactly I'm a windmills going to look when it's actually working, which is really nice and long going to do and always impose modes which it should be. Make sure you've got your bone actually selected. And one runs grades. I'm gonna press, I, come down and click location rotation scale. So what I does is actually insert a keyframe which is based on what we want. Because then we're telling Blender, right? This is where we want this Wheel to be on frame one at this moment in time. This is what the scale once it, this is what rotation want it, and this is where it wants it in space and time. Thanks ladies, what we're doing. So let's click location, rotation scale. And as soon as we've clicked that now we actually get to name our actual windmill. So you can see we're melt skeleton. I'm just going to change that. And what I'm going to do is I'm going to call it Windmill Animation. And it's important that we actually let Blender rename of openness. Because if you don't, you end up with 234 animations and then it gets really confusing when you're actually send them through to Unreal Engine if you have. So I put this down, are you can see there's only one here. If you have three or four. When you send it through to Unreal Engine, you'll end up with three or four different animations that are just basically garbage and you don't actually want it. And then what will happen is you'll actually have to end up deleting those before you actually can end up with the actual animation they actually want. So that's why we've done it that way. Alright, so now let's sorts out the animation. What I'm going to do is I'm gonna come down to this little born here. And what this little bond does is you can see it's auto key ring. So basically it saves me actually now, ovens press the I button and insert and actual keyframe. The only keyframe I need to insert when I do this now is basically the first one. If I come in and I click this, you'll see it goes blue. Now let's move this up to 25. And the reason I want this on 25 is because I want this wheel to go pretty fast. So the flow of the river dictates how fast this goes. Generally though, you will put the river around the actual part that you're pouring it. So I wanted to go that fast and it needs to be much, much faster actually than the actual loan. Alright, so how do we do that? Well, let's press all why? 90, spinning round and then you'll end up with a rotation of 90 degrees. So now if I pull this back to here, you can see that it's spinning around by 90 degrees. Of course, if you wanted to go the other way, you will put our Y -90. Alright everyone. So that's the basic introduction to where animation on the next one, then we'll start keying in all of the Animations for all of the different pulse. Alright, I hope you enjoyed that. Hope you learned a lot. And I'll say on the next one, Thanks a lot. Bye bye. 103. Setting Up Animations for the Windmill Model: Welcome back everyone to Blender, to Unreal Engine five. And this is where we left the off. So now if we go to 50, because what I'm trying to do, I'm trying to split this down all the way up to 2100. And then if I press all why 90, then we're gonna get another actual rotation. And if you see now we can go from one, move it up and you'll see it keeps turning, keeps turning and just keeps on turning. And that is exactly what I want. All the way back to this one here. Although we're going to do it twice, because we're basing this over 200, not 100. So if we go now to 75, like so now let's press off. Why 90 again? Let's press. I said we don't need to press is because we've got our automatic key rings in that 100, then make sure it's on 190, and then just keep working your way up to one to five. So it's every 25. So all why? 90, 90, 90, and then 290, like Sir. Now, if I put this to, let's say 100, press the space-bar. You will notice we do have a problem in that. It will get to the end, slowed down and then reinstall. We really don't want now, we actually wanted to keep spinning at the same consistent speed. What you need to do is first of all, you need to make sure if I come down to the left-hand side, double-tap there, you'll see all of these are de-selected and then it's the same as selecting anything in the main view port. If I press a, all of these are selected. Now if we click, right-click, come down and you'll have an option called interpolation mode. Go across the right-hand side. And what you wanna do is you want to set this to linear. You have many options here, but this linear is basically a linear constant speed. So if I click that on now, you'll see that we end up with all these balls going across a knife or press the Space bar, you'll see it's a constant speed. Even when we get to the end, you will just keep going. There's a little stuttered, but that is because obviously you're in Blender and it just takes a little bit of computer power to actually do that. So you might get a little bit of store. Alright, so there we go. You can see it keeps going round and round and I'm just going to view it from a different angle. Just making sure it's actually going Central, which is of course, there we go. That is our first animation, actually don't. So now let's put this back on one, and let's come to our sign. So we're going to click on our sign. Of course, you'll see that there's no animation in here. So what we need to do is of course, set this up. So if I press Control one, what I'm going to do is I'm going to rotate this and I'm gonna put it up to random out here. So if I press all why and pull this all to roundabout, just here, this corner here is where I'm trying to tame it. You'll say them, we do have our actual keyframe. And so to say here is because I've found that we don't really want to set it in the middle because in the middle then asked to it, we'll just move weird. So it would move from here and then two here, and then back to the middle again, stop. We don't really want that. So what I wanna do is we want to reach, set it to here. And then one way to do is I'm going to pull it over to 100 and I'm going to reset it to the other side. So all Y, pull it over to this side, like so. And the keyframe will actually go in there. And then one Wednesdays now I'm going to come down to left-hand side, select V. So left-click them and you'll notice that these get these lectures and these are both actually selected. Then I went into duplicate them. So I'm going to press shift D when to pull them over, pass this and you'll see then we'll put them onto hundred, which is here. And now we're basically done is recopied where this is. So if I move this over here, you'll see that these are in exactly the same position as here. And then save salts creating a keyframe over this side. Because if we did that, we might end up with a bit of stops it because we might not get them in exactly the same place. Now we know because we've duplicated them there in exactly the same place. Now the thing about the signage, I don't want to mess around with the interpolation mode because if we don't do that will actually end up with some weight to the Sign. In other words, if I press space bar now, you'll see it moves. There you go. You can see it actually looks like it's actually got some weight there. And it's very important that we actually do that because if something doesn't look like it's got weight to it, it doesn't look realistic. You will notice in things that look really great when they're animated, or things that look really poor when they're animated, it's all about the weight. So for instance, if you are animating a giant, you need him to look. You need the Animation to be much smaller and much more direct. It needs to be very sophisticated than looks like. He's actually got a lot of weight when is bring this foot down into the floor. Now, compare that to something like a hobby. If you're animating a hobbit, for instance, there needs to beat Sharps, small, agile, things like that. It's completely different animation to something, but it still needs to carry away. So you'll notice on something like a film like Black Panther. While the NCC probably didn't work as well as it could do is because they run out of time and they, the Animation didn't have any weight to it. So that's what it was down to it. So that's why some things like some in the Marvel movies, for instance, look absolutely amazing because they get spent a lot of time on the weights and things like that. So when hole punches something or is running, it actually looks like it's weighted very, very well. It looks like he's got real girth and real weight to him when he's actually planting the spots down. That's why it's so important. Alright, so that's enough of that token. I probably spoke a little bit too much there, but I'm sure now you get a good understanding of watch him talking about. Now, let's come to our actual Arm, set this to one, Let's press one. And that's now spin this around. So in fact, I'm not going to spin it round one and I'm just going to press on location rotation scale. And on this one, instead of being on 25, I'm actually going to bring you up to 50. And I'm going to rotate this by 90 degrees. So all why 90? Let's come up then to 100. And this then makes sure that this arm is spinning round slower than the actual wheel. So RY 90. All why? 90.290? Alright, so now let's right-click. Make sure you've got them all. Select interpolation mode, linear, press the space-bar, and let's see if that's actually working. So you can see now that the wheel is spinning much, much faster than the Arm. And that's exactly why one, we can see the Sign going backwards and forwards. And basically these are the three animations that we're going to send through now to actual Unreal. So let's press space bar. Let's come back men to modelling because we don't need to be anymore in here anymore. And now let's put this on actual object mode and you'll see it just pops back a little bit. So let's also come up now. Come down to File and save it out like so. Now the next part is very important. So what we need to do is we need to grab our bones. And then what we're gonna do is shift select the Windmill. So in that order, make sure is in the order so the bones than the Windmill. And then where you're gonna do is you going to compress a file and you're going to export out as an FBX. Unfortunately can't export this out as an OBJ because OBJ don't actually attach animations to them and we actually need animations at this point. So most of the time, I would say export it out as an FBX. Now, there are programs where if you export out as an OBJ, you will have less problems, especially Blender. So if we're exporting out Substance Painter, all ZBrush, I tend to export them out as an OBJ and that then seems to keep the right dimensions as based in Blender. If I export them out as an FBX do Substance Painter or ZBrush or something like that, I tend to lose the actual scaling, so I have to go in and scale them real or change the scaling actually on these options. So you can see here we've got scaling and Eevee. I probably normally have to make them much, much larger. Naught point naught one for instance, or with ZBrush, much bigger things like that. That's why I tend to do, but when I come to actually finishing the actual asset and send them search on real, I always use FBX because it's just much, much easier. We don't want as many problem. Now before I export it, I'm just going to actually shift select all of these and I'm actually going to delete them. So delete selected files. And now I can actually rename this. So I'm going to call it Windmill animation. I'm just making sure I've not gone now obviously I did a lot of testing before for this actual course on, we'll call it Windmill Game Asset, like so. Then I need to mess around now with some of these. First of all, I need to make sure it's only selected objects. I don't want to send through the whole scene. I don't want to try and send through cameras and things like that or, or songs or things because it will just mess around with it actually. Now to export this outline need to do is and each column and click on my armature because I actually want to export that. I want to shift select the Mesh because I actually want to export that as well. I need to come down now and I need to turn off apply unit. I don't want your one that on. And then I also want to come down to where it says armature. So click this open and you want to turn over, I believe, bonds. I don't want any actual bones adding to this. I want just a skeleton that I've actually created. Let's take that off. And then all we need to do now is click the Export button and now that's actually export it out. Finally, now I'm just going to save it once more. And it will take a little bit of time. He's got a lot of thinking about because it actually has to send through all of those animation. So File, Save, and there we go. Now we're gonna do on the next lesson as we're actually going to head on over to Unreal Engine five. I'll show you how to load up a new scene and things like that. And then we'll actually import listing. All right everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot of on 104. Introduction to Unreal Engine 5: Welcome back everyone to Blender. It's Unreal Engine five, so the moment of truth, now we've export everything out. All we need to do now is bring it into Unreal Engine five and bring it loads of materials and things like that. So what we're gonna do is going to pull down the blend file. We're going to open up all Epic Games launcher. And if you've downloaded Unreal Engine five at the moment, you will be great to black by this. Now, if I click on this, I'm actually going to just open up my blend file and I'm going to open 4k. Unreal now, a moment ago is now. And when I click where this launches, I'm going to right-click it and you'll see UE5 early access. Now, don't worry, everything we do in here is pretty much the same thing in YUI for. So don't worry if you've got UE for open, it will be absolutely fine. Click UE5 early access. And then where it's going to do when we click this now is actually launch it, this will disappear. You'll end up with this login screen. When it's completed, you'll end up with these. These are all your recent projects. It does take projects from Unreal Engine four. It will update them automatically. Now what we wanna do is we want to come over to our games and we want to click on one of these basically. Now the one I recommend just for testing this on is the first-person one. And you can see here you can ever read about where he says what it is. Now the next thing you wanna do is you want to actually name the project. So I'm going to call it Windmill cos. I don't think, yeah, Unreal doesn't like spaces. So I tend to do is I tend to put a little dash there instead. I'm going to put course like so. Next of all I need to actually say, where is this going to go? Someone's click on it. And you can see here in my windmill projects, I've actually got one called Unreal Engine five. And I'm going to actually select that folder if you've not just create a new folder with what you want it to be called. And then click Select Folder. Finally, now let's click Create and that will go away and actually create this new level, four rows. Alright, so here we are. Now you will see that we have new plug-ins available. I don't actually want to bring those in. That's not what this course is about. Plug-ins and things that have somewhere to dismiss both the project file is out of date. Would you like to update it? So just click update. I don't think they've got around yet to just updating the actual project file. Let's click Update. Windmill cause project was successfully updated. Now while wants to do is I actually want to just delete a few of these are the way. So all I'm going to do is just click, left-click, click Delete. And I'm just going to delete all of these things just how the way like so, like so. And then just get rid of them all. And now you'll notice if I press Play this big green button here, that we end up with something like this. We can move all guy around and we can actually fire out some balls as well. Sorry if that was a bit loud actually meets turn that down. Let's press Escape then, and then we can now come back to where we was. Now, let's get rid of these walls. I don't really want those on there, so I'm gonna select each of these walls, not these green lines. These green lines are basically how Unreal Engine is determined in lighting and things like that. So actually want those keeping their soon as this one. Finally come round, make sure that was deleted. And then finally one wins. Do is I'm probably going to make this a little bit bigger. You can see when I click on there, I actually get this gizmo when they're basically pretty much the same as Blender if a virus, the Ebola, and you'll see that we can actually rotate it. Let's press Control Z and just put that back. I never personally all bond. I can actually scale this up. So I'm going to do is I'm, Joel is going to scale it up a little bit on the red. The green just gives a little bit more room to actually wear. And then press W just to get my gizmo back home. Finally, you'll also see that minimum Unreal Engine five, we don't actually have an option where any actual files or anything. And the reason for that is because I've moved it. Now if you press control space ball, you will say that actually pops up. Now I don't like this. I wish I could darkness and I can't for the life of me find out how to actually don't miss it. So the moment I click off of it, it actually disappears. And sometimes I want this to stay here. Now, let's bring in our windmill Game Asset. So I'm gonna do on the left-hand side on screen, you can't see and file. Bring it over here so you can see it. Here it is. I want to grab my windmill Game Asset and I want to pull it and drop it in. High that file out the way. Now you'll end up with these options. Your options should be exactly the same as mine. Why don't wanna do is I want to make sure that this is on geometry and skinny weights, which it should be automatically. I want to also make sure that I've got no skeleton. So you'll want to make sure that this is on non or you hit the Clear button and then that should be correct. And now just scroll down and you'll see you on import animation and we want it to come in with animate the time. In other words, it's coming in with frames one to 200. And then the next thing we wanna do is we don't want Unreal Engine to create new materials because it always creates them as a bit of a mess. And we wanted to create our own unfortunate love it. If we brought all the materials and book, you've got to also consider that they look a mess because those materials that we created in Blender When designed for Unreal, they're completely separate. That's why we have two different materials. So the packs for Unreal are completely different. Now the other thing is it says import textures. So I'm going to click this off. First of all, do not create materials and I'm also not going to import textures because while happen is Unreal, will then bring in all of the textures that we have for Blender. And then we'll just delete them all because we need to bring in separate textures. I'm going to do is I'm going to click off impulse textures. And then there's simply come down and click Import. And it's going to take a bit of time, has to bring in all the animations as to bring in all of the UV mapping whereabouts it's all gonna go and things like that. So we just now have to wait for actually to bring it all in. You might be a little bit slower than this, so just give it a little bit of time, close that down. We didn't send it through with smoothing. You can send it through is an option on the FBX options just to send it through with smoothing. But we're not going above with that at the moment. We're just going to close this down. Then I'm going to press Control Spacebar. And you'll see now we've got a skeleton and three files. This is the one we want. If I double-click this now you'll see this is our windmill with all of the animations in all going up to 200 litigants to hundred. And you'll see it restarts and it looks perfect. Now let's come in. Click the X button, press Control Space bar, and that's dragging all actual windmill like so. And now if I press the spacebar, here we go, Let's turn ourselves around on a raise, our windmill, complete with all of the animations. And just make sure that the animations are looking nice. You can see that the Sign swinging very slowly in the ruined. It's very, very subtle and it looks really, really nice. I'm also checking to make sure that I've got no invisible places in here. If you've gone invisible place under this rule, for instance, just make sure you bring the inside of you Roof in a little bit. So I'm just going around having a good loop, making sure I looked really nice before we actually start bringing in all of them materials. And you can see the light shafts, they look really, really beautiful. Alright, so let's press a question. Sorry, escape bond. Let's say press Alt and Shift. And it's pretty much the same kind of movement around, like reward in Blender, albeit it's just the opposite way. There are ways of turning that round if you want to look them up at the moment, I'm going to leave them like that because this course is not about that. Now the next thing we need to do is actually start bringing in some materials. So let's start that. So I'm going to do is I'm going to zoom in a little bit so you can see what I'm doing, positioned myself nicely. And you've also got a details panel over here. You can actually have open where you can actually check your windmill, sizing, scaling, things like that. You can also say that this windmill is come in with all of these materials ready to be applied to it. So it has come in with all of these and not of course, is because when we actually export this out, it will have a material slot for each of them materials that we're actually going to put on it. So it actually recognizes that, which is also very, very nice here, all materials, so these are all the materials that we've been using. So let's think about first of all, we will bring in the Roof, so double-tap the Roof. Welcome to our 4k a textures. Well now I'm going to put this over the left-hand side, but the three I want to grab are always going to be the UE for one's, whether they're 2k a weather, therefore K doesn't really matter, so just bring them in. So I'm gonna put this on the left-hand side. Of course, if the full cave, they're going to look better than the two K1s because there's slightly higher resolution. So now let's drag this over to the left-hand side. And now you'll basically, whenever I pull some files over, I'm actually going to be pulling them in from my other screen. So I'm gonna do is I want to press Control Spacebar to open up, not that one. Control Spacebar again, open up this one. And then one we're going to do now is I'm going to bring in my first texture. So it's grabbed my textures, all three of them, bring them over like so. Let them load in. And then it says texture if for normal, as important as normal map. Yes, That's okay. Of course he wanted to be a normal maps, so just click Okay, again, like I said, this disappears Control Spacebar. And what I wanna do first of all, is I want to come to this actual texture. So this is the UE 4k texture where all of these textures are actually combined and then double-click it. And what you want to do is just turn off this sRGB. So you can see here, they should be checked if using an Alpha channel individually as mass. So we don't actually want this on someone's click that off, like so, and then this will happen. Let's now close that down. You can actually save it out first and then close it down. Now the next thing I need to do is what I forgot. I need to right-click and I need to create a new level. So I'm going to create a new level. I'm going to call this Windmill. Like so. Now if I come up to File, come down, we can go to Save old. You can also see as well, if I come in, I can also go to File and Save Current level. So now we've got level that we can actually save that level. Now why is this gold? It means I can create another level, for instance, one Support all the materials and I can duplicate, in other words, and then I can change the sky so we could have a night scene in here and a day Seam in there. And we can actually work on both independently and that's why we actually create an a level. Now, the thing is, at the moment, I don't need all of these and I don't I don't really want to do anything with them yet because I wanted to create this as an asset once I've got all the materials on. So I'll do on the next lesson is that will actually stop creating our materials and start throwing those on to our actual women. Okay, everyone, I hope you enjoyed that and I'll say on the next one. Thanks a lot. Bye bye. 105. Creating Materials in Unreal Engine 5: Welcome back everyone to Blender, to Unreal Engine five, and this is where we left it all. Now let's press Control Spacebar. Let's open that. Ok, Let's right-click. And you'll also notice if we right-click, we've got one that says materials. So and that's now nameless materials. So we'll call it Roof Windmill. Then if I do a search and I look for anything, windmill is going to actually come up. There we go, Roof windmill. And now let's double-click it. Again. It's kinda every time because now I need to press Control Spacebar to bring all those options open. Now I want to do is I want to grab all of these three textures, drag them over, and put them into place like so, I'm gonna make this bigger as well so we can see what we're doing. I'm also going to right-click hold it and drag it over to the right-hand side. And now I just want to place these out in the older they're going to go in. So always the actual main albedo or the color at the top, followed by the normal, followed by the mixed. And this makes these basically are ambient occlusion or roughness and are metallic. So now let's see if these plug-in. So RGB, we're going to plug into the base color. Then we're going to come down to our actual normal. So we're going to grab it with the RGB, plug it into our normal. You should notice now you get something happening and now we'll grab the red, plugged that into the ambient occlusion. Then we'll grab the green. I'm going to plug that into our roughness. And then finally we're going to grab the blue. I'm going to plug that into our metallic like so. And hopefully it should look really nice. Now, let's say save this out. So save it out. And then what we're going to do is now we're going to close this down. I'm going to press the little exponent, close that down. Like so. Now we're gonna do is going to press Control Space bar. I'm going to drag my Roof and actually put it on to my actual windmill. There you go. And you can see how nice that actually looks. Now if we press Play, Play now, sometimes it will probably be loading up all of these shaders. In other words, it will say actually load Nepal shaders. So just have a look round and just make sure that the First Material has gone on. Absolutely fine. You can see that it looks absolutely beautiful. Alright, so now we need to do is press question mark. What we'll do first of all is we'll put these into place. We'll save it out. So File, Save All, and then Control Space. And then what we're gonna do is now we're going to create a couple of new folders. So first of all, I'm going to create one for the Windmill. So I'm going to call this windmill. And I think I'll call it to green box. I know it's not a gray box, but that's what I'm going to call it. And you can see that it doesn't like the space. So I'm going to scroll back, press the Shift, little dash. There we go. I'm also going to change that color. So if a right-click it, I can say, whoops, that's renamed. Let's right-click it, set color. And this should open up. And again, Control Spacebar can do that. Nope, So I'm going to put it on yellow. I really hope they fix this. I'm not sure how they're gonna do it, but I'm going to put it on yellow. I'm going to click Okay, and hopefully by press Control Spacebar, there we go. It's actually yellow. So what I'm gonna do now is I'm going to grab all four of these. I want to grab them, drag them over and put them in to here, move here. Luxor, why I'm doing this is I'm going to tidy up as I'm going to work along. Next of all, one winter day is going to create another folder. I'm going to call this Materials. In fact, I'll call it Windmill Materials again so we can find it if we need to. Like so. And then I'm going to grab my material, I'm going to move it here. I'm going to also change the color of this. So let in fact we'll do, yeah, we'll change the colon. Now I'll put this on a nice, you can see here new color. Let's put it on to read. Let's press. Okay, so that's how materials control space. And there you go, It's a nice red color. Let's do one more than, we'll do this as textures, our windmill textures, like so, I'm going to grab all three of these, move them in here. Right-click and set color will do this as a new color and we'll have it a blue or something like that. Let's click Okay, Control Spacebar. And then we go, and now it's all actual tidy. Now, I just wanted to move myself around just so I can start getting all of these on. So I'm gonna go somewhere where it can actually see something like so we're not gonna mess around with lighting or anything like that. In this actual course. We're just I'm just showing you how to get everything set up and basically how to bring in this Game Asset and finally how to create the whole thing. So basically we can move this in, complete with all the materials and animations and things like that all in one go. So let's now bring in our next textures. So I'm gonna go over to my left hand side. The one I'm going to grab again for Kate textures are now going to work my way down them. So we've got I'm dolt metal, so I'm going to bring in the fall K of dark metal. Make sure you grab the Unreal Engine one. So I'm going to bring these ones in like so let's drag bring them in. You can see again Window. With this, you can see it's preparing the textures. Just click. Okay. Then we go and then control space, and we show up until space, end up with dark mental textures. And I'm just going to go to the next ones which are going to be my fabric. Someone's bringing. And because they're already named, that's really good because it means that we'll bring them in very nicely for me, I'm going to click, Okay, Let's do that. So there we go. Let's those broad tin. Again, like I said, I'm just wondering if I can actually bring them in, not in there, kinda bring them in the world outline. Let's have a look. What I'm looking for is to say, if I put that on top, this is the first-person. I'm looking to see if actually I can bring them an IEP because it would make it much, much nicer if I could bring them in and I don't see where I can actually bring it in. So I don't think that's actually, you can see this is on label. What I want is let's look at details. It's not that a base it wants to panel where it can actually open it up and have it open up all the time. You can see here for press control space that this is, you can see here it's on here where it says on starter content, it's on the nodes. Nodes, they're on their, on their own one. So I'm not sure if I can put those in. And then over the details panel, everything will come in narrow. Know, I'm not sure that actually might work. I'm not sure if that'll do it. So i'm I'm thinking can I this will shut down as well. That's the problem. So if I have this open, for instance, when I click on the middle, it's all going to shut down so I don't not to lock it. So I'm gonna do now is I'll bring in my fabric, which I've already brought in. So let's come over to grab a glass, sorry, for K. And I'm going to select all of my Glass, bring them over, drop them in. Let's press Okay. And unfortunately because there in each file, because we have to do it like that so that you'd understand where each of them all it's made a bit, a little bit harder. So what I'd probably do before bringing these in is just move all of the textures into one place. That's probably going to be the easier way. The thing is that once you've actually got them in, so you can see I'm just working on bringing them all in. It's actually not a problem. It's quite easy then I'm going to my life mouth open. I'm going to click Okay on this one. Press control space, like so, and then bring my light metal. So I've got a nice way of doing this now. So I'm gonna bring them over. Go back now to my textures like Wood. Double-click it. I'm double-clicking the for K. I'm going to come over now to this side. Click Okay, twice, click on it, Control Spacebar and now can bring in, my life would like so bring them in. Just the same thing again, there's not that many more actually to go, so I'm going to do the same thing. Click OK, Control Spacebar, the Main ward. Now. Then how many more we got? We've done the Roof already, so we need to Stone Supports. What was your ND? So now we've got the Stonewall. Again, always on the fall K is the ones I'm bringing in. Click OK, Control Space and bring in my Stone Wall. I think I've got two more left. One is the wall. Click, Okay, and control space. And now we're bringing in the wall. The wall is the other way around. Just remember it's three at the actual from not at the end. So bring those in. The last one now is the wet world. So 4k a wet wood. And again, the wet wood is the same there at the beginning of the file, not the end. Let's bring these three in to here. Okay, that was a bit of messing around. Click OK. Alright, so now let's press Control Spacebar. What we'll do now is we'll create all the materials. So we've got our fabric. So let's do the fabric first. I'm actually going to turn it this way. I want to zoom in a little bit control space. Let's now create a new material. New material. And we'll call this fabric slash windmill. So I'm going to double-click it. And I'm also then press Control Spacebar. Yes, it cancel. Let's bring in our three fabric ones, like so. Let's put them into position. So we'll grab the RGB, the normal. I need to double-click this one and you'll notice I'm going to pull this down just a little bit smaller Control Spacebar. I'm going to, in fact, I'll make it bigger so I can't actually see that. So Control Space bar, this is the fabric double-click. It just makes sure you take off your sRGB. I think actually the best thing to do is actually do that with every single one of them. So what I'll do now is I'll just save this out. We're going to save close that down. Would you like to apply changes? Yes, reward. And now we'll come up to File. Save or you can say it's a lot of extra things to say. So what we'll do when this has saved out is we'll end this lesson there. And on the next one will get all of those textures, first of all, changed over to sRGB, um, and then we'll actually carry on creating this materials. It is a bit of a pain actually creating all the materials for watching. That's the way we've got to do it. Once we've got them on, it'd be actually really, really well with it. And it's gonna take a lot of time actually to save these out because remember, we're dealing with for K textures it. All right everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 106. Applying and Testing Materials in UE5: Welcome back everyone to Blender to Unreal Engine five. And this where we left off. Now, let's command press Control Space bar. And let's now we've done the abdominus one that's up a little dark metal. Turn it off. Let it load up. Click the Save, click the X, and let's come to the next one. So we've got fabric, we've don Glass. Same thing again. Tick it off, let it load up, save it out, close it. Now, the good thing is about Unreal is as well. You can actually normally open up all of these. Let's see if you can actually do that. So I'm gonna click this one, this one, this one. Let's see if can actually open them all up. So save this one. Close it down. This one is light would close it down. Yeah, we can't do that either because that thing keeps closing. Really annoying, Unreal out, you actually get assaulted. So let's click the sRGB. Save. When that's finished. So let it save out, save it out, close it down, Control Spacebar. So we've done this, we need this one here doing its RGB. Let it prepare the texture, save it out, close it down, Control Spacebar, and we've done the light board. So let's move to the Main mode. Double-click, close it down. Let's come to the next one. So we're on Stone. And the reason we're doing this is that these channels should be mapped without the sRGB on Save, it should only be the color. Let's close it down. Okay, controls based on that one. And just three months ago now, so let's turn this off. Save. When the prepared textures is don't save it out. Close it down. Control space on just two months ago, alright. And textures. And don't worry if you feel like this Unreal is a little bit slower. I think that the performance will speed up a lot. The other thing is as well that remember with this new one real, you can literally bring in billions and billions of polygons. So there is that to consider. Alright, control plus, now I've got my fabric here ready, I'm going to double-click on it. I've already got these in, so all I need to do now is bring read, bringing this one. You'll see it's blank. And the reason it's blank is because Unreal actually changed it. So what I mean is I press control space because we changed it to the sRGB. Now I'm going to have to read, bring it in and now you'll see is that alright? So read always goes to ambient occlusion, green always goes to the roughness, and the blue always goes to the metallic. And you'll notice with this one, as I've said, this is too bright, so we need to actually fix that. So I'm going to save I'm going to close it down. And then I'm going to now throw on, this is here to my actual Windmill. Let it load up and you can see that these are two, Brian, as you can say, if I come around the bank, zoom in a little bit, we need to have these much, much CO2. So Control Plus, Let's now open up all actual fabric, like so. Now you can actually work on making this darker. So you can see here we've got brightness, we can turn our brightness down, like so. Let it load up. There you go. You can see it's much, much darker now, let's turn it down a little bit more. Nought, 0.3. There you go. Now thing that looks a lot, lot better. Now let's click Save. Now, click the X, and now we can see that they look much, much darker and that's exactly what I want. I really don't want them to be two lives, so yeah, that's looking much, much darker, also brings out those dark patches on them. Alright, so let's now press credit Control Spacebar again. And what we're going to do is I'm going to save all this out. So I need to go to File and we're going to save all and then Control Space. And you'll notice that there's no little star in here anymore. That's exactly right one, Let's move the material into our material. So move here and then let's grab the fabric. So these three here, and move those into our windmill textures here. Alright, so now let's do the actual Glass onwards, create a new material. So Material, and we'll call it Glass windmill. Like so. Let's double-click it. And then what we'll do is control space, bringing out all three Glass. And as you do this, obviously it's going to get much quicker and easier because you just rinse and repeat. So let's plug this now into Base Color. Let's plug this into normal. Lets plug our, whereas they are read into ambient occlusion. Let's plug our green into roughness and lets plug our metallic into our metallic Let's click Save and you can see the shine that we gave them that was less exactly what I wanted. Now let's close that down. And then what we're gonna do now I'm going to find a window and I'm going to press control space and bring him I Glass and hopefully drop it on that. On. There we go. Alright, so that's looking really, really cool. You can see that real nice light and now we've got that. Alright, so that's that. Now Control Spacebar, let's say pull this over to materials. So move here. Let's grab our Glass and pull that over to our textures. Move here, the reason I'm leaving the actual metal, I'm not sure where the metal goes yet, so That's why I'm leaving it. I'm hoping that went up all these materials on. I'll really be able to see actually where it is. You can also change the lit TEA so you can have it on let and you can see a little bit probably better off how things look. So you can see, we can really see those Materials now. You could have it all, not just put it back to LET or you can either have it into detail lighting like so when you can see now how the lighting is also bouncing off of the maps and things like that. So there's always those things to consider. What the moment I'm just going to run late. So I have a good idea why it looks like. Now let's press Control Spacebar. And the next one is lead, so we know where lead goes. So let's right-click and we'll create a new material. We'll call it led windmill. Like so. I'm gonna double-click it, press Control Spacebar, and bring in my lead. So draw all three of those there. And you can see now that we can work out fairly, fairly rapid pace. So let's plug these in. Wanting to normal, that's read in some beam occlusion green into roughness. And you'll notice that I can grab it as well. If you just pull up, it'll actually follow along, which is really great. Let's load them all. Let's save that out. Let's actually now close that down. And then same thing again, Control Spacebar, bringing your lead and try and put it on the lead where it's going to go, hopefully. Will it work? I'm sure actually if that's actually gone on. Yes, it is. I think. Zoom in a little bit more. Yep, that's the lead on, so actually guides. So that's great. Alright, Control Spacebar. Again, Let's move this into Windmill materials. Move here. Let's move our lead then into our textures. Move here and just keep working along. Alright, so which ones now this is the light metal which we know is definitely the change. So that's good. Wait, well print on the rest of it. So that's also good for holes. So I will come in and we'll call this light slash, metal slash windmill. Double-click it control space and bringing our metal like so. And then let's plug all of these in now so normal. Let's come to the red ambient occlusion. The green, it's going into Roof nurse and the blue is going to go into metallic. Now, let's save these out so you can see there that's what it's going to look like. Little legs, Control Spacebar. And let's bring over our metal now and put it on. Hopefully. There we go. And it showed as well gone on to these parts here, which hours. And it looks beautiful. So aldol metal is probably going to be this here. I know now which part is I'm going to press Control Spacebar materials. Move here and let's come to our metal. And let's put these textures in here. And now let's create the next one. And we'll create another material. And this one we'll call, you can see here dark metal, so we'll call it dark Mexico windmill. So I'm gonna double-click it. And of course we have to save everything out as well, which I'm gonna do on the next one. So I'm gonna grab all of these, Europe them into place. Like so. Base Color, normal, ambient occlusion, roughness, and metallic. Alright, there we go. Let's click Save. Let's close that down. Control spacebar, drag, drop. There we go. Yep, that looks really nice. Alright, so let's now press Control Spacebar will drop this into our materials. So move here. We'll grab all three of these then, and we'll put those in textures move here, and then plan will go to File and Save All, let it all save out. And then the next one we can get the Main Palace of this actually, and I'm hoping to get this finished. I'll not one or at least all the materials in Oh, we probably over that one, over the next one either way, this will get finished. I'm showing the next few lessons. Okay, everyone. I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 107. Final Lesson: Designing a Realistic Game Asset: Welcome back, everyone's blend to Unreal Engine five, and that's where I left it off now, but we do anything else. Let's come over to our weld outline and you'll see one that says skylight EOB underlying this. If this now open, just tick open, go to your skylight and double-click it, and that will zoom you to it. Thank like the Details panel, I'm going to zoom out a little bit just to show you what I'm going to do, you'll notice that this is quite dark at the moment. So if we click the Details panel, come down to where it says Intensity Scale. Click that on and just point to three. You'll notice now it really brightens everything and that's exactly what we want. Alright, so now we've done that. Let's just close out of the way, press Control Spacebar twice, and let's get on with the next one. So the next one we've got is our light. What so we're gonna do is same thing again, materials and we'll call this light slash, slash windmill. To double-click it Control Spacebar. And let's bring in our three light ward. And of course we should be very quick at doing this now. So let's plug this one in. Love normally, the ambient occlusion in, plug the roughness in and finally plugging the metallic, save it out the way. I want to save it, close it down and the light Ward is going to be going on our door. So I'm going to bring it over, throw it on the dock like that, and then put it into materials. So move here, light would all three of these into our textures. And you can just say how quickly we can do it. Now this is the main word. So the moment of true, That's exactly what we're looking for more than big sites and when we get to put these on.So Main slash, slash, windmill, like so. Then let's double-click it and control space. All three of these, bring them over, put them in place. Let's bring base color and the normal, then the occlusion, the roughness, and finally the metallic. And let's see what this looks like. Pretty sides. Let's get this on. Let's close that down. Control Spacebar, bringing my word. And there we go. Wow, that looks amazing. Okay, I'm very happy with that. Now, let's put this in materials and let's grab these three, put them into textures, like so. Now the Stone Supports that's Right-click, make a new material and we'll call those Stone slash, support slash windmill. Like so, double-click it and control space, bringing All three of these drag drop in place. And then let's bring this, the base this to the normal, this to the roughness, sorry, the ambiance. I'm trying to do this so fast. I'm actually getting my words model though. And let's click Save. Now this is the Stone Support, so this is this one down the bottom here. Let's bring it down, drag it down. Control Space, bring drag, drop. Didn't work. So let's try that again. There we go. Now I didn't think it will working for a second. Let's pull that I'm materials move here. Let's grab three of these, move them into Windmill textures, and now let's call them to our wall base. This is not the way it may. Well, this is actually those Stone Wall. So right-click Material, we'll call this Stone slash, Wall, slash windmill. Like so, double-click and control space and bring all three of these in. Let's plug this one in. Which mix it up a little bit. Just so we don't get too bored with bringing all these inner tend to do that. Just do a little bit different, test out if it suddenly quicker than the other way and try and get as efficient as this as possible. So there we go. Let's close that down. Control Space, drag, drop. There we go. And they look, they look beautiful actually. So now let's put it in Windmill Material. Let's drag all three of these into our textures. And now the last six to go, let's go. So Material, this one will have to change little. So we'll call it a wall, Main and windmill. Like so. And I'm going to, first of all, they'll bring it in. So I'm going to crush Control Space, bring all three of these in, drag, drop, and then I'll change the color of the wall a little bit. So ambient inclusion, roughness and metallic and save it out, close it down, and let's press control space and bring it in. Whoops, not that, we don't want that. So over here, Look, drop it in. There we go. And you can see way, way too bright at the moment. So I'm going to press control space. When I open up the color of it, bring it down, I'm going to bring this down then on the left-hand side, the brightness, Let's try nought 0.5. What that looks like. There we go and look much, much better at that. When I save it, I'll close this down now. Press Control Space bar, move my Material to materials, move my three textures in to textures. And finally the last one, which is the wet world. So right-click and let's bring in Material. And we'll call this wet slash would slash windmill, like so, and double-click it control space. And I'm going to actually bring that out a bit. Then I'll move that over first control space, bringing the ward. Let's just set them up on the last one. Finally, the last one. So let's bring that into Base Color. Let's bring this into normal. Let's bring this into ambient occlusion and the roughness. Finally, the metallic and let's click Save. Close that down. Comb round honchos space and bringing our wet would strap that on. There we go. Now let's press Control Space. Bring over our materials to move here. And then we'll bring over these three and we'll put them in Windmill textures. Move here, control space. Now, the last thing wants to do before pressing space bar is to come up to Build. And we want the lighting quality to be on production. So click it on production. And then what we need to do now is we need to come over to Build and we need to build lighting only. Well, this is going to do then it's going to build that line for is making sure it's actually correct. And then when this is done, we can actually press play and I have a log around my windmill. I'm also probably going to make this a little bit smaller, so bring it in just to make sure that's right, shouldn't be Ralph to it. So you can actually see what this would look like if it was hanging over a bit of a river or something like that, you can see the lights and is built already. So that didn't take long, but oh, so I'm gonna do now is I'm going to grab this. I'm going to pull it over to somewhere like that. And then hopefully my little magnesia, so now compressed the play board. Like so let's have a look. Our actual windmill. There you go. That is what it's going to look like. Now you can't see that we do have an issue in there where we can see there's a little bit of a gap of that. So we need to fix that because we're actually looking through that. So what we can do is you can come back into Blender and you can actually fix that. So it's got a little bit of a wall on there, so that's no problem. We can actually bring back that little piece of water as well. If you bring that back, that little piece of wood in Blender. And I'll show you actually how to do that before we finish. Let's say sold out first. I'm just going to move around like so. I'm going to come back to Blender now. So back to Blender. I'm going to come to that piece of wool. So in a column like so. And let's have a look where the issue is. And you can see here this is the issue. It needs to pull it back much, much further. So I'm going to do is I'm going to come in, hopefully, see around that. I'm gonna hide this other ways when it's kinda make it much easier. So what I'm going to do then is grab this, zoom in a little bit. I'm going to try and grab this one. This one over here. So this top here. That's a bit fiddly actually to get to. And then we're going to do is I'm going to pull those back. And you can see that that is the actual problem. And now is press S and Y just shrink men so they're hidden behind the actual like so. And that should make it actually, do we want to do it like I'm just wondering if it's going to make it look right or wrong. I'm just going to press Control zed. And I think Walgreens do is I'm actually going to pull this out a little bit instead, it's just gonna make it easier. So if I grab this one and this one, and then press E and X and just pull them out. Like so I think that's just gonna make it a much better. Alright, so I'm going to press Tab now, make sure you grab the bones and then you windmill file, export, FBX. Everything should already be the same. So just click Export now, then go back when it's actually load up. So go back now to Unreal. I'm just going to load it up. And then one words there isn't going to press Control Spacebar. I'm going to come to where is it, my Windmill Greybox. I'm going to right-click, I'm going to click re-import. There we go. Let's close that down. And now let's press the Play button again. And hopefully it's fixed as you can see now, we can't see. Yes, we can, we can see through that. So we need to just re-import the other part. So let's try it. Oh, there's one thing. Let's say it might be because where's it gone? There it is around here. This one here. So it might be course have a look. Thanks. Orientation. No, that's correct. So it might obviously is then because we just need to re-import the other pole. So I'm going to come to the Game Asset. I'm going to re-import this like so, so it's reimplement it. I also need to save it out. Man, take a bit of time to import that because it's transferring, put a lot of things there. There you go. Now it's fixed. So now let's save all that out. So sable, and you can see how easy is to fix things and just re-import things now. Alright everyone, so that's it. That's the actual end of the course. And I hope you've really enjoyed it. Let's just press play one small just so I can see our actual windmill. And I hope yours is turned out as well as mine. And now you can actually understand how to create not only a game's asset to a really, really high level, how to do all of the materials and how to bring it into an actual games engine, how to put it in there, how to do the lighting, everything basically. So now you should be able to go on and actually create your own assets. You should be able to bring in a little barrels rounding and things like that. And actually this actually paves the way that creating not only assets, but actual entire wells. So I hope you really enjoyed the course. If you did, please give me a review of what you thought could be improved or what you thought you liked about the course, anything like that? Please give a written review. If you can't, really helps to course, then get into more people's hands. Okay, everyone. So I hope you really enjoyed it. I hope you learned a lot on until the next time. Happy modelling everyone. Thanks a lot. Bye bye.