Prop Creation for Games: Medieval Well

1. Introduction: Hello, everybody. My name is Arash, and I'll be your instructor in this tutorial. Do you want to learn how to create high quality props for games. So I welcome you to next to prop creation for games. In this tutorial, just like any other creative process, we will take a look at references to get an idea of what we're going to do. Then based on that knowledge, we will create a blockout, see if our ideas are going to work fine. We will create a blockout. And test ideas. Then we will take that block out and bring it to Zbrush for hy poly sculpting. And the Zbrush is going to take most of the time in this course because it's very important to get a very high quality result. We will use iterative process for sculpting in Zbrush. First, we go for big details, the ones that are going to define the silhouette and then gradually move on to making medium details and small details. We will use a lot of custom made brushes to make sure that we get a very good result in a short amount of time. After sculpting in Zbrush, we will take the measures to blender. We will unwrap the lo pally bake in substance painter, and then the texturing process is just like the sculpting in Z brush. We start by iterations. First, we go for big shapes, the ones that really define the attributes of the surface, and then we will move on to smaller details when we move forward. And because this is a game related setup, we will make sure that we optimize a bit. For example, there's no need to sculpt a lot of wood. We might sculpt one wood and take it to the other side duplicated rotate. Symmetry to save tree. We will use methods to make sure that we get a bit of optimization in the result because that is going to be a game prop and we'll learn how to work optimize. Okay? If you are interested enough in taking this course, come join me. My name is Arash, and I'll be your instructor in the Storia. Okay. See you in the course. 2. Download Project Files: Low everybody. This is our final result, and just I wanted to show that there's this one that we are going to achieve. So there's one important note that you need to keep in mind, and that is this course is equipped with some project files. And if you open the project files folder, you are going to get these files. So the first one is some of the blender add ons that I use and for getting them, they're free, and you do not need to pay anything. Wherever you see a price tag or something just inter zero, and you should be fine downloading them. This is something credit to some of the reference images that I used. This is the Zbrush files. You can download them again for free, some of the Zbrush brushes that we use. Then some stan cels that we do not use a lot in this course, but you can use them just in the texturing phase, you're going to get these. Then the height map as well, we are going to use a lot of height maps for sculpting in Z brush. You're going to get these files. Whenever they are referenced in the Tutorial, for example, when sculpting wood, we use the Hight Map number one, you just select this and bring it to Zbrush. This is the final result that we are getting, just wanted to remind you that you can download the project files and use them along the way. See you in the creation process. 3. Blockout The Well: Here we are in blender, and we are going to start with the blockout because it's very important to start with the blockout. Because whenever you have the scale and everything just corrected, it would be a lot easier to decide on what you're going to create. Okay? And here's the human scale reference that I have. It's roughly about a bit close to 2 meters. If I bring in the default cube, which is 2 meters. You can see that it's roughly about the scale of 2 meters, and that is the scale that we're going to use, and that is to decide how the scale of the object is going to be. So let's take a look at references. Here's the reference board that I gathered. There are some of these images that are very important for the composition. For example, this is the overall look that we're going for. We are going to create something like this a kind like so, but the stones are going to be jagged and rough. And then there's going to be a roof. And that roof is going to be something like this one, which has some shingles. But since it's going to be old and really belonging to past times, there's going to be a lot of irregularities placed in there. For the roof, it's going to be something like this. And stones are going to be jagged like, so The overall composition is going to be something like this. It's going to be the stone piece. There is going to be a pavement that is going to be stone. We are going to have a couple of pillars holding this together. Then something like this, a structure, and a rope and that rope may be maybe, for example, a rope or a chain. Now let's take a look at the reference that I have for the stones. They're going to be something like this with some jagged stones stacked up like so and then a bit of mortar or cement holding them together. It's going to be something like this. The main one that I have in mind is something like this. These are for guide on how the stones are going to look like. Okay, then we are going to have a rope and that rope is going to be something like this. For example, you see it has the bucket connected to it. We might create the bucket or we might not because we create the wood, and you can use the same approach and create the bucket yourself. But for now, let's worry about wood, and the wood, you see is going to be something very rough. And these are the references that we have for the wood. Because it's going to be something belonging to old ages. We need to make sure that it's rough enough. Then for shingles, I have this one in mind, although it's not going to be something like this, but a bit close. If I combine it, for example, with such a look, it would be a great idea. And we are going to be creating that for game environments, and we're going to make sure that the optimization is there as well. For example, in case of creating these shingles e, so I'm not going to create maybe 100 shingles and sculpt them individually. That will take a lot of time and would waste a lot of resources. For example, tech surgeometry, whatever. And then we are going to create, for example, if we have 100 shingles in here, we're going to create maybe four or five, and then blend them together in a natural way to really make sure that the textile density is going to be much much better, and then it's going to be high resolution as well. For the stones as well, it's going to be the same thing. Let me bring this. For example, if this is composed of 100 stones, we're not going to create them individually because that would take a lot of time and really a lot of texture memory and a lot of really unique results that we are going to create. We are going to create maybe four or 5 stones and then blend them together. And then later on if we saw that there's a repetition, we will sculpt over those. So it would be much much easier to sculpt 100 of stones in a way that, for example, we create 5 stones and bring them to 70, 80% of completion, and then duplicate them and continue from there instead of creating 100 of stones from scratch. Okay? Here is what we need to know. Now, let's start creating by first defining the borders. I'm going to create something like this. Of course, it's going to be round. I'm not going to give it a shape or anything. It's going to be round. So let's bring in a cylinder, and we're comparing that against the scale of this human in here. Now, let me Bring in this. It's 2 meters. Let's go for 4 meters by 4 meters. Now, this is too much. Let's go for three by three. Let's see if the player is able to walk on this. A scale of three is good. Of course, there's going to be a bad geometry in here. Do not worry. We are going to fix that in Z brush. So it's going to be let me see 3 meters by 3 meters, and the height is now 10 centimeters. I do not want it. Let's go for 0.2 and 0.2 meters equals 20 centimeters. Now, let's shade smooth. For the look of it and then duplicate and bring it up. I wanted to have something like a staircase effect and then bring this to here. Then on top of this is going to be our main well placed this one. So let me bring in a cube, and then scale this cube to a place that we see fit, and it's going to be placed a long center. And one of these add ons that I provided the link to you is the interactive tool. And since this is not a beginner tutorial, you can really spend time and see what it looks like. So we created a shortcut for quick origin and edit origin. The quick origin has been set to lt. Alt S, if you remember, was the reset scale. I just remove that and set that to quick origin. Whenever I'm selecting, for example, this edge and Alt S. You see it brings the pivot to here. If I place Alt S in here, it's going to bring that to the center. If I select this face Alt S, it's going to bring the pivot to the center of this phase. That is this quick origin that belongs to the interactive tools. I place the pivot there. Now if I scale along Z, we are getting Now, let's go for z only. Now we are getting a sense of a scale of how this is going to be. Now, let's go for these two as well. Let's make sure that the foundation is strong enough. Now, I'm going to go for a mirror. So let's go to modifiers and look for mirror, and it's going to be along x. So let's select this one as the mirror object. Okay. Now, whatever change we do on this is going to be duplicated to that side as well. Let me select this and try to scale that a bit. Now you see the changes are getting reflected there as well because this is a mirror and I haven't collapsed the multiplier. Let's see, looks like it could be like then for the main round piece in here, let me duplicate this scale. Then let's first place the pivot in here, bring it up. And then scale it in z. Now, I believe that if I take this and bring it closer to here, if I compare that to the scale of the, let's bring that Then scale that a bit to match the proportions. Now, I'm saying that it's going to be all right. Now, let's do something. If I take this and bring it to the mix so that, for example, later on, we create something like this, that the stones really hold this wood together, then it's going to be a lot better. So now we are in a phase that we are heting the ideas. Now, for this, we are going to make sure that we have this inside piece corrected as well. So let's extrude and the scale to the side on the size of the stones. I'm liking that. Of course, if you want, you can go for different proportions. Now let me take this and scale that like and then make sure that it has a foundation as well. Let me create a vertex in here, and then along normal. Let me take this extrude along normals, so that the wood has a bit of foundation as well. Let me take these rows of vertices, bring that here and then create another and bring and then ext this along normal as well. Do not worry. We might have some geometry problems in here. Let's go into edit mode. If the geometry was problematic, we will turn back and try to fix it. Or it doesn't need fixing as well because it's going to be dynamised in Z brush, and that is going to solve a lot of those geometrical issues as well. So now, I decided to take this one and bring that down in Z a bit because I'm going to create a roof and that roof is going to have these pieces like so. So let's decide on how that is going to be. I'm really liking this one. You see, there's a vertical piece of wood, and then this one, let's try to create something like that. Let's first take this and duplicate separate by selection. Now, let's bring the pivot in here and then try to extrude that. And then rescale it so that it's something like a metal piece or basically whatever that we can place in here to hold the stones together. Let's duplicate and bring it to top and then make sure that it has roughly about the same scale as the foundation would. Now, I'm going to create this wooden piece in here, these shingles. But before that, we need to make sure that we have a strong foundation for it. Now, let me take this one, duplicate, rotate 90 degrees to make sure that it's perpendicular around the base, and now I'm going to create another mirror. Let's search for a mirror. And this time it's going to be a long y. And it's going to be a long y because I haven't really set the transform reset there. Of course, if I set a rotation to be changed, it might give us a different result. Now let's go for Y. The other one And let's see. It's going to be in z because we didn't set this one to be reset it. If I reset that by resetting the scale, if I express y, now it's going to be corrected. Now I'm saying that there's too much distance in here. It's too long because we are going to create something like this triangular piece there, and if I rotate like maybe 45 degrees and bring it to here, And then duplicate it to the other side. Let me create another mirror. L et's see Let's set the pivot to be this one. Now I'm saying that this one is too much. Let's first rescale and then rescale and take these triangular pieces and bring them to fit that scale. Okay. Now, very basic blackout done, but let's do something. I'm going to duplicate these and then rotate them like maybe 35 degrees or let's go for ten more. Let's go now it's 45 degrees, and then try to scale that based on local. From global to local so that it just rescales along that. Okay. But we need to bring that. And take this one rescale. I want that to have a purpose so that it's not loading randomly in decomposition. I want that, for example, later on to carve some information in here. Let's scale that in Z to bring it to here, and then another mirror. This one, let's go for the other direction. Let's set the pivot to be this one. Correct. Now we are deciding on really the rough blockout. Later on, we will fix these issues, for example, something like this that has some problems. Let me see. Now, let's do something. I'm going to pick this one and then rescale. But before that, take this shift to duplicate P separate by selection so that we have this one in place. And now apply all of these modifiers. Remove that. Bring this to the center, and then scale along x. Now you see this is going to be something like a blockout of the piece that we're going to create. Now, in this center as well. Let's do something. I'm going to scale that in y, and then create a cylindrical piece in here. I'm going to bring the pivot to here. Pivot to geometry. I'm going to bring this world center to here. So To select it. Now if I bring anything, for example, a cylinder, it's going to be spawned in here. Perfect. Let me rescale. This is going to be so now. Let me take this and bring that to the center, and I'm going to scale that just a bit. I'm taking a look at this and comparing that. So let's reset the rotation and scale that along x, like so shade smooth. Then a bit of more scaling. But before that, let me take this one and just now take this and make sure that we are selecting everything or extrude along normals. And then rescale like so. I want to make sure that it doesn't go beyond these borders. Now let's use the mirror to bring that to the other side. Take this face and in x, bring it to zero. Or let's use mirror. It's going to be fixing those issues and make sure that we set the pivot to be around this one. Okay. And then we are going to have this kind of a wheel that people use to bring the bucket up from the well. Okay? Again, because the pivot is in here, the origin, I'm going to bring in a cylinder, rotate that 90 degrees. And bring it to here, apply anything, shade smooth, and this is going to be the handle. Okay, but do not worry we are going to refine all of these later on. But now it's only making sure that the ideas are going to be fine. For example, now, I decided that I want to make this one rescale this one a bit because whenever I see, I'm saying that it needs a bit of rescaling. Then this one as well. Like so. So let's see if I'm going to place this one here. No, it's going to be too repetitive. You see the geometry is not correct at all. Do not worry. We are going to take care of that. And then you see whenever we're taking a look, there are some inner wood pieces in here as well, for example, these vertical ones. We could create them or we could duplicate the same pieces when we sculpted them and duplicate them to here because you see they're not going to be seen. So creating them would be a waste of resources. We will see what we're going to do later. For now, it's only thinking about constructing the good block cult. Now, I see that there's a vertical wood in here as well. This one. Again, I'm going to take the same thing, rotate. Let me rotate 90 degrees and just rescale that and place it here. Okay. Do not parish later on, we are going to create connections for these so that they look more natural. But for now, it's only a matter of really guessing the big shapes and see what we are going to create. Now, let me take this these vertices and just collapse. You can press M and collapse. Of course, I should have first created an inset, and then take these two M collapse like so. Then but before that, bring that here. And create some edges that. So let's do something. I'm going to select whatever I have here. So now, I'm just going to create one side and then duplicate it to the other side. But first, let me delete this half as well. Now, I'm going to just take these two, join, and then delete this one as well. Now, by creating half of it or one quarter, we are able to duplicate it over to the other side many times and create what we need. Let me just take all of the delete, take this two as well, let's bring the n and bring that. Now, we have one quarter and when we make sure that it's all right, we will mirror that to create other haps. Now, let me do something. I'm going to leave one. Of course, I'm going to leave these to B because there's a silhouette in here, and then let me remove these ones, leave one, or leave two. And move. Okay. Now we have something like that. We do not need to be exactly the same. We just need to be something that looks all right. So let's bring in the mirror and then it's going to be alongside y. Perfect, and now another mirror. This time, it's going to be a long Z. Perfect. Now we have this side created and we could even try to remove some of these. For example, let me take this one and remove and bring that. If this is something that you want, you can keep it. But I see that I here, we have four wheels, me four planks. In here, you see the planks are square. But in here, you see that the planks get thinner as they get to here. Let me remove this half and this half and remove what we have here in the center. That's a design choice. You could leave it or you could just Now let's mirror alongside y. Another mirror, this one along z. Another one, Perfect. Now we have this side created. Let's remove all of them. And then take these, go to loop tools, and there should be a bridge option. Perfect. Now this one as well, loop tools bridge. If you do not have loop tools, you can go edit preferences and in add ons, to search for loop tools activated, and you're going to get the loop tools activated for yourself. Now there's a silhouette in here, but we need to scale that along X just a bit. And then what we could do is just placing some squares in here. Let me bring in a cube, scale that. Let's rotate that. 35 degrees. Make sure that pivot is set to local. Then all you need to do is placing that here. So this is something that looks and then take rotate 90 degrees. I'm just looking to see if I like this design or not. Let's do something. Let's take these. I'm going to remove that and scale this more and duplicate 90 degrees. And just take a look because I do not want that to be so pronounced. So Then let's rescale this along to match with this here. So Let's take everything merged by distance. It's all right. Now let's take these insets, press I once more to make sure that it's one inset. So that all of them get in just like the same. Now, let's do something. Let's take this, bring that here. Maybe we could create some handles for here. Let me take this. I'm going to take this line, bring my origin to here to this edge and then create a cylinder that is going to be rescaled a lot to create something like a handle that people can get and try to basically rotate this to get the water and bucket, and those of maneuvers. So let's see if I can duplicate it here. I'm going to leave that be like so. Now, it's enough for this lesson. I'm going to pause. In the next one, we will go and try to refine this even more and maybe create shingles blackouts for them and see what is going on there. See you in the next one. 4. Finishing The Blockout: Okay, everybody. Now we are basically reaching to a place that the initial blockout is okay, and we need to go and refine that even more. So one thing that I didn't like about this is that you see the silhouette is so sharp. All of the lines are perfect 90 degree without anything, just like they have been created very by C. In order to make sure that they look more authentic, I'm going to just change the silett a bit. For example, let me duplicate remove and remove. Let's see what we have here. Let me rotate 90 degrees, bring that to the center. I'm going to apply anything. Now we need to scale that along x. H Okay, so that there's this one holding these shingles together. But now you see that's too much of sharp lines, and I do not like the way that it looks. So one way to fix some of these issues would be to create more vertices. Let me go into edit mode, add more vertices and use some of the deformation modifiers or even try to randomly deform that to create the shape that you want. Let me apply the rotation and the scale, and there should be a simple deform modifier. Okay. Let's go for such a value. Now let's duplicate that again. This time I'm going for bend. Let's bend it. It's good, but we need to rotate that to make sure that it's bent as well. But the bend isn't going to be too sharp or too strong. This way, the silhouette you see is broken. It has characteristics. It has some lines that are not just like CG lines. Because you see in here, there are a lot of the formation in the silhouette and we need to capture the a as possible. We need to make sure that we create the formation in ways that it really creates a good result. For something like this well, we are going to create rocks and then bring them. It's going to create deformation for this one and this one as well. It's going to cause deformation. Now, let's go for this wood, apply the rotation and the scale. Then let's do something. I'm going to bring a lot of edges. And these edges are to make sure that it's going to deform well. So let's go bring in the modifier, simple deform. But we need to make sure that we bring that before the mirrors so that it's going to affect all of them. If I bring that, it's going to take all of them as one mesh and deform them. But if I bring that to here, first, it's going to apply the deformation to here and then duplicate that with that. Let's bring the bend. Okay. Then rotate that. Scale that along X. So that we have a bent wood. Let's do something. I'm going to add a subdivision. Control one to add one level of subdivision, I need to bring that before the deformation happens. Make sure that it's simple. No. Let's see This way, the bend appears to be much more natural, let's disable the formation, global. Now let's apply the mirror and take a look at the silhouette. That's fine. So let's do something. I'm going to disable the mirror for now and scale that. Now it's better. So now, we have the silhouette and later on, we will carve the place for this one. For now, it's okay. Now let's see what else we could change to make the silhouette more interesting. Of course, a lot of it is going to be decided in Zp rush. But for now, let's do something. I'm going to take this. Let's see what we have. Apply this because I need to take this one as the pivot. Now whenever I try to rotate this, it's going to be around that pivot. So Of course we should have merged that. Let's go before applying the mirror. Then let's see what we have. Take this face, remove. Now if I apply a mirror, take this remove. It's done. There was a pace which was preventing us from having a good deformation. Now, let's see, I'm going to bring the pivot to here so that the deformation happens from that way. So let's go for mesh them or excuse me. I should have gone for simple. Now Okay. L et's go for pend first. Looks like we need to apply the rotation first so that the pend happens in the way that we want. Okay. Y. Now the band is there and we have much more interesting silhouette to work with. Of course, we will place the shingles in a way that they follow the same silhouette. Let's go for a more band and then duplicate, and let's go for twist on a very small number. O. If you want to affect all of them, without affecting one shingle and then duplicating, you can add simple deform after those mirror modifiers. Let's go for bend and you see now, it just changes all of them. Let's set the origin to be in the center Let's leave that be because later on we're going to fix that. So because now we need to apply a bit of more band. Then let's do something. I'm going to scale that in local. Let me just turn off the basically mirrors, and then scale that like so. But then we need to rescale that in directions that we do not want. I think. Now it's a lot better. Now, this is the same thing. Let me disable all of these mirrors, take this one removed so that when we merge that and apply, it's going to be well placed and merged. Let me remove that and this one as well, completely take all of the geometry and bring the good amount of edges to make sure that we are able to have a good deformation. Now, the simple deform, just a bit and then control the or shift the excuse me to duplicate and go for bend. Ap rotation. Let's rotate that. So let's rotate and apply rotation. I just want to make sure that this one is just following the same shape. Lighter rotation. Now, it's better. 90 degrees in here as well. But now the band is too strong. Let's go for. Not so twist. Okay. You see here by the forming the shapes, we are getting good results. Now Let's go for more deformation and in here, definitely, we need to Let's see. Let's remove that and take this one and bring it up. Scale it along Z to make sure that it reaches to this point. Okay. Now, then we have this one. Let's go re scale and rotate. Now, I see that we could let me zoom these woods need to be placed inside this holder, this metal holder for storytelling purposes. So let's just make sure that they are included in this parts. Perfect. Now let's see without those visualization errors, Now I'm going to mirror to this side to complete it. Mirror and let the pivot to be here. Perfect. Of course, if you just go and apply these rotation values, it's going to be deformed because we have used these simple deforms and we haven't applied those modifiers. If you apply them, you might need to go for another vector to go with. But for now, it's okay. So now, let's see what we need more. I'm just thinking about bringing this over to here. So let me bring that. And then we need to take these that have the modifier. So let's do something. Instead of that, I'm going to take all of them without that handle and then bring that over because that is using the modifier the mirror modifier, and then it's going to be all right. Let me just take this take these vertices, bring them to here, and then take this one and bring it back. And then these ones. Then I'm this one and try to rescale it. T This is going to be cement. We are going to duplicate the rocks here and there and then a sculpt on this to make sure that it's the cement that is just taking the stones together. Now, I'm happy with the blockout so far, and the only remaining thing that we have here is the shingles. This is what I'm going for. Such a look. For the shingles, let me bring in a cube, bring that to the center and just try to create some random shingles. Maybe we create some variations. Let's upl a rotation and the scale. And just right click, subdivide sometimes to make sure that whenever we deform this, it's going to work all right. Let me duplicate and then take these go four This one, which is proportional editing, and if I take and try to change, it's going to take the mesh as well. Use the mouse wheel to control the circle of influence and just try to form the surface of this one. Just make sure that you have variations of shingles. Maybe three or four or five we create, take all of them and then take this. I'm just trying to create some variations. When we make sure that they are sculpted and textured, we will return back and try to place them here in order to save geometry and texture. Now, let's create one that it's not affected too. These two are identical, five is enough, and later on, we will return back and try to array these. Now, for the rocks that we are going to create, I'm going to use a default blender add on to generate the basemh for us. If we go and try to generate the base smash in Zero sh, that would be v as well if, for example, some cubes or cylinders or whatever and bring them to zero sh and try to scululpt there. It's okay. But if you go to preference and for add ons, you can search for extra, and there's the extra object. If you enable that and shift A, go to MS, you are able to get rock generator. This way we are able to generate some basic shapes of rocks that we're going to place here. This is going to be the cement. We are generating the rocks and then placing them around in here and then fill that with cement in z brush. This one is going to be stone as well. We're going to completely sculpt this in Z brush. Let me expand this even more. And this one as well. The case that we have more rows of geometry. The sculpt. It's going to take more, but it's going to be more natural as well. So now, I'm going to bring the rock generator. L et me take all of these, bring them in a folder, call it blockout. And then remove that and bring this origin to the center. If I go in here, rock generator, see, it tries to create some rock shapes. Just go generate a couple of them, and change the scale. Okay. Now let's separate them. It has generated, you see, a very, very basic rock shapes stone shape. We could take some of them, for example, four or five, and then try to sculpt on them. This one has a lot of good planar changes. I'm going to take it. This one, let's take it. This one as well is very generic. This one is so obvious, I'm not going to take it. And this one is just like this one, let's remove. This one generic. We have five different stones that we could take and sculpt. Here they are. Let me just bring these to here and bring these as well. They are just on a greater scale. Let's bring the scale down and try to see if they could match here. This is the way that we're going to place rocks. We just create some stones, duplicate, mirror, whatever, to make sure that they are placed nicely and then sculpt in between on this mesh to make sure that it's looking like cement or mortar or basically whatever. Let me make sure that they are smaller, apply the modifiers So instead of that, let's go to edit preference and just search for modifier tools. It brings here. Take all of these apply all and now all of the modifiers are applied with little to no effort. So let's make sure that the scales are different. And then bring these here and these ones here. Here's the method that we are going for. But this is the blockout. We make sure that we sculpt on them, and these are the kits. And when we make sure that the kits are sculpted, we place them that they should be. But before that, let's do something, take all of these as well and apply modifier. Later on, when we, for example, bring this to Zi rush and try to split by parts, it's going to separate them so that we could go and try to sculpt on them. Now, I feel like the blockout part is done, and when we make sure that the sculpt is done, we will return back and try to basically whatever is needed to create it. So now, let me take these and bring them to blockout folder done. And then I'm going to select all of these and try to export using FBX or OBJ, doesn't matter. The only thing that matters is exporting them for Z brush. I'm going for OBJ because it has one option to triangulate these meses. Because for example, this one, if I take a look you see, there's an N go in here. If you bring that to Z brush, it might need some modifications. But if you triangulate them before basically exporting them. They are going to be no problems there. Let me take this one, bring it up, so that we have more of that wood present there. Now, let me take these. Of course, these ones are to export and import. You just need to go here to export and import, for example, the OBJ or FBX or whatever. Just right click and add to Quick favorite menu. Add to quick favorites and if you prosecute, it's going to be here. The first two ones are import and the second ones are export. Export, make sure that selected only so that it doesn't export this mannequin with them as well. So create a folder And then just name this whatever you want. Scale, let it be to all of these, and the important option is triangulate mesh. When you press this, it's going to first triangulate these using a modifier like so. Excuse me. Like, so, it will triangulate them and import them to Z brush so that they do not have any problems. Now, I'm going to pause now and see you in the next one where we import these to Z brush and try to sculpt them. See you there. 5. Intro To Zbrush: H. Now, here's the very basic blockout in place. Of course, it looks generic, but when we bring that to Zbrush, it's going to make a lot of more sense because we're going to sculpt a lot and then make sure that we have enough variation in place. We have many of these and we exported to an OBJ and made sure that the triangulation was activated. Now I'm going to bring the Zbrush and here's the user interface. Yours might be different than mine. Because I just did a bit of customization on the UI. Let's import the mesh Here it is. Then other than being faceted, and it means that there's not much geometry in here to work, it looks fine. You see, because we activated the triangulation, everything has been imported correctly. There's a bit of customization in here. You do not need to know all about it, except for the fact that for example, dynamic that I use a lot for distributing geometry all over the place is located in here in geometry tab and dynamics, and because I use that a lot I brought it to this UI. To bring that, you just go to this preference conf and then enable customization. Then whenever you have a button that you want to use a lot, you just hover over and then control like so and bring that to viewport. You are able to use that whenever you do not want something, just control Alt drag to the viewport to delete that. Then after making sure that it's going to look all right, sable the customization and a store config, so that every time you open Z brush, the same palette is going to load. So there are some buttons that I have brought in here. For example, one of them is split to parts, which I'm going to use right now. This split to part is in subtol stab, and then it's going to be under split and split to part, like so, and I have brought it here. If I press, it's going to pop up with an error, doesn't matter. Now you see It has been just divided into the creating kits. For example, now that I have rock separated, I could zoom on them using F and so on. For example, this one, we could use dynamis to activate the sculpting mode on a better mesh. And this is it. We have a lot of these. Let me see how many of them we have. We have something close to 40 sub tools to be sculpted. And we are going to sculpt the and make sure that they are not really just the same. We create as much variation as possible. So whenever I sell something, for example, these brushes that I have brought in here, I will explain. For example, one of the brushes that we use regularly is the trim Smooth border. But in order to find it, you want to go to light box and then brushes. And then in the brushes tap, you want to go for trim and trim Smooth border. In here. If you want to bring that to viewport, so that every time you load, you should copy that into the startup Zbrush folder. Let me just explain the process because there are some brushes, for example, these or brushes that we might use, for example, or a slash to bring some cuts into the wood. Let me de everything dynamic. On a bigger scale. Now, you see there's a bit of crack on the wood. So this does not exist in Z brush by default. So you want to install them. Let's see. There's a Z brush brushes text file in your project file, and then you need to download it from here, and they are free, and you do not need to pay anything. Whenever you saw a price tag, just go for 00, and you should be fine. Download these and you will get the Zip file. For example, for the brush pack, you just get these brushes. You want to take your brush pack folder or the existing content that exists in the Folder. And if you want them to be available every time you open Z brush, you want to go to Z start up here, and then brushes brush presets. Here they are the old brushes that I have pasted in here, Z start up brush presets. Just paste them here so that every time you load Z brush and press B, you are able to see them here. Then one more thing, if you just use a brush and you want to drag it into view port to here to use it, You want to select it from here and just using the customization, drag it to the viewport to use. For something like trim Smooth border that doesn't exist in the viewport by the fault in the start up folder, you want to go to your brushes, and this is the same as opening the lightbox. You see in here, we should go for brush folder, and then trim bind it in here, and it's the trim smooth border. Copy and go back to your start up folder. And then brush presets and paste it in here. So that every time you load Z brush, it's going to be available. Okay? The brushes that we use regularly are trim smooth border, Dam standard, these brushes, and you want to download these old brushes and install them the way that you just saw. Let me control Z to go back and see what we have here. These are the buttons that I use regularly. Whenever I wanted to use one of them, I just tell you where that exists and how you can grab it and bring it to viewport. For example, this back face mask, which we're going to use a lot is, let me go for dynamic. Whenever we drag Alpha, this is the method of drag Alpha. You see it has affected the back side. Sometimes you do not want that. You go for Ba face mask and drag Alpha, and now if you take a look, you see it's not affecting this back side. Of course, it's affecting in here. Because we were using that on a high intensity. But you see that it's not affecting the back side. So this back face mask exists in here, brush tab, auto masking, and then back face mask. Enable customization and bring that to viewport so that you can use it a lot, and that is a great brush to use. Great brush option, excuse me. Now, we are going to start sculpting and I feel like starting by one of these wooden pieces. Now, if I just go for dynamics on a resolution, and these are the buttons that exist with dynamic in the geometry tab. You see dynamic, resolution, polish, blur, and all of that. If I dynamic on this low resolution, you see, we're not getting a good silhouette. It just breaks the silhouette, as well as we do not have a lot of really good shapes to work with. Sometimes you need to bump up the intensity. For example, now, let's go for double of that. And you see now, it's much better, but still we need more. So let me now, you see, because we have enough geometry, it preserves the shapes. And if you just zoom on your geometry, you see, it's evenly distributed polygons, and we could go for a greater sculpting in here. So because the backface mask is activated, Okay? Now, in order to sculpt, we need the trim smooth border to chip some of these edges, but we are not going too far because not a lot of edges are so sharp. For example, even something that is manufactured in a company by machines, it's not having a lot of these sharp 90 degree edges, let alone for something like a wood that belongs to ages ago. So we need to chip the edges as much as we could to make that more interesting. And of course, we are going to use a lot of Alpha brushes as well. These Alpha brushes are downloaded. Of course, they were free images that are downloaded from Net and process them to be used as a height map. They will really help to get that realistic look because if you want to sculpt everything by hand, it's going to take a lot of time, and the result is not going to be that good because you need to put a lot of time. You want to go for standard brush, and this one is going to use Alpha and then imports an Alpha These are some of the brushes that I use regularly and whichever of them that I used, I will provide with the project files to you. They are, for example, wood brushes, whatever that you might use to create a good result. Now you see by using that and bringing that in here, we are able to get a very convincing result, but it needs a bit of processing. They were some free images that I downloaded from NT and just process them to be height maps. And we're going to use these in the process as well. If I bring that, you see, how good of a silhouette it changes. If I compare that to other pieces, you see, now it's looking a lot better. Let me Control Z to go back. The first maneuver that we're going to do is chipping the edges to make sure that they are not just like these 100% perfect angles. I really suggest you to start with lower resolution because it's a lot easier to manage the silhouette with the lower resolution. And as you go to details, just increase the resolution and go for millions and scope details. But for manipulating the big shapes, We need a lower resolution. Here's the way that we are going for, and you can go for an Alpha as well. Bring that. This will make sure that the sculpting is going to be rougher. Since we're going to sculpt wood, it's going to be rough. Now you see we are able to manipulate the edges like so, and you do not want all of the edges to be the basically height or you do not want to chip all of the edges just like the same because it really defeats the purpose. You do not want them to be like the same because it looks ugly and really not that okay. So you want to make sure that you have enough variation for them. Because if you just take all of the edges and just sculpt like, it's going to look not that okay, because you need variation. Using trim smooth border, you're able to add a lot of variation. Whenever you saw that you need to o and try to chip the edges like so. If you want to save more time, you can really take this as a symmetrical piece. For example, now that we sculpted, this, we could duplicate it over to here. Sculpting is good to be in passes. For example, we divide it in three main passes. Big shapes, medium shapes, and smaller shapes. For example, the big shapes are the ones that you are able to see from far away. The medium shapes are the shapes that you see from medium distances. The small end details are the ones that when you zoom on an object, you are able to see them. It's good first to go for big shapes. Big changes, and for big shapes, you want to be on lower resolution because that way, it's much much easier to manipulate the shape, and that would be a lot more manageable than increasing the resolution to something like millions and try to scalp like that. And then whenever you make sure that it's going to be okay, just go for medium and small shapes. A lot of times you could leave the tiny details for texturing phase in painter because there you are able to add a lot of fine details that would take a lot of time to sculpt by hand in Zbrush. You want to make sure to see what purpose you are sculpting for. Do you want to sculpt it all by hand, or do you want, for example, to leave a pass for painter for texturing? These are the ones that you want to make sure that you have in mind. You see how these go sculpt gives characteristics to the object. From what that looked really like manufactured object to something that is much more natural. Now let's go for these as well. And whenever you want to add using trim Smooth border, hold down lt, because trim Smooth border is a subtractive mesh. And if you try to paint with it, it's going to subtract from the mesh. So if you hold down lt, it's going to reverse that functionality. And now that It's a subtractive mesh. It's going to be additive. And whenever the brush is additive, it's going to convert it to subtractive. There are places that nobody ever is going to see. For example, this bottom piece in here. Nobody is going to see that. Why really taking time to sculpt that when nobody ever is going to see. These are what you need to consider when sculpting If the pace that you are sculpting is a generic one and it means that it's going to be repeated a lot in the scene, you do not want to have a lot of specific details. For example, something like this. If you are going to use this prop ten times in your scene and you have such a visible detail, it's going to look not that okay, because everybody is going to notice that you have used the same mesh over and over again. So if that is a unique prop, just add as much as unique details that you want. But if it's something that is not going to be unique and it's going to be repeated a lot of times. You just want to make sure that not a lot of unique details are present there. Let's take a look and I'm happy with this first pass of detail that we added in here. You see how good of silhouette change we have done here. Now let's go for someplace else. We could do something in order to save a bit of time, we could take these, for example, when we sculpt it fully, we will duplicate it to this side to make sure that we save much time as well. Then we will add details to that one as well. For example, bring this one to 70, 80% of completion, and then duplicate it here, remove some details, add details, so that we save a bit of time as well because this is for game development. In game development, you want to make sure that you use your resources. Now, I'm going to leave this for now with this silhouette change and go for sculpting these. Because I want them to be the same object, I'm going to damage them and that dynamesh will make sure that they are joined together and they are the same mesh. Let me see This is it. Now we need to merge them. There's a merged button in here. Merge visible is going to merge all of them, but merge down is going to merge the subtol that you have with the subtol that is connected to it. It's in here, merge, merge, similar or whatever. Then now let me see, I'm going to merge down. You see now it merge them together. Now let me take this one to see which one it is. That's here, merge down. Now these are the same object, and then this one as well. Let's merge them Now, let me see where this one is. Merge down, and just take a look and you see now this is one object. Now this looks faceted a bit, doesn't matter. Because if we press dynamic, you see it's going to merge all of them. Now this is one mesh. If I just bump up the intensity to tho, for example, And dam, it's going to preserve the shape a bit more. Now, you see, these are just like belonging together. If I try to sculpt here, it's going to affect all of the meshes. But the mesh is faceted a bit. Let's bump up the intensity a bit more and reams let's go back and go on a bigger resolution. It was needed because we need a perfect transition in here. Now these are part of the same me, and they are not a different object. There's a polish button in here as well, which you could press to polish the meh, which is it. And the polish is going to be found in here in deformation tab and polish. They are these polish brushes or polish options that I have placed from here to here. If you want you can just see what they do. And they look awesome. Now, let's re dynamic once more to redistribute the polygons a bit better. You see, we have different polygons in here. If this is something that you want, just keep it, but if it's not control, W to make sure that all of the poly groups are the same. Now it's time to go and try to This one is sculpted as well. So this polish has a couple of options. One is using this method and one is without it. So I I just use polish, say it tries to smooth the brush, excuse me, smooth the object. But if you use that too much, it's going to make it look like plastic. We just wanted something to really get that to a place that it's not that faceted. And then from this way, we are going for the trim smooth border and making sure that the object is going to look all right. For example, trying to work on these areas of transition because it looks like plastic. So we need to refine them. Then some edges sculpt is okay as well. And because the meshes are combined, it take a bit of time to rotate around them. But doesn't matter because the end result is going to be what's mattered. So now let's increase the brush scale. And first, we could smooth using shift, and then a bit of edge damage on the brush. On the mesh, excuse me. There's something that I noticed is that sometimes when you just for some unknown reasons, it might just be the case that the rotation around object gets a bit pucky. For fixing that, you could just go for transformation and activate and deactivate local transformation to see if that works for you or not. That worked for me and now I'm able to zoom on the object and try to sculpt on them. So let's go for trim smooth border again. Now It's much easier to sculpt in these tricky areas of transition. Later on, when we texture this, it's going to create ambient occlusion around here, cavity areas, and it's going to look a lot better than having separated the object. Now, because we used a bit of polish on this one, it's going to be looking like plastic, but do not worry, we're going to fix that. For such areas it could go additive as well. Now I'm holding down to add to these areas. Instead of subtracting. Whenever you see there is need to decrease the brush scale, just go for it and whenever you need to rescale the brush, you could simply go and sculpt. This is the first pass later on that we add the brushes, the Alpha brushes, and all of those. It will make sense a lot more. Now, let's go for edges a bit. Because we do not have that much resolution, it's blurry a bit, but it doesn't matter because we are going to add those alpha brushes later on and add more resolution for details. You could go for different mat caps as well. This one is okay. It shows some of the objects that you have sculpted. You can just take your bruh in and out to see wherever you need to sculpt more or less. A Since this is for game development, we learn some techniques to really save much more time when sculpting, including copying the object from halfway, just to make sure that we do not waste a lot of time only on a single object. Just like a canvas. And there's something to notice is that you want to elevate all of the objects together at the same time, because when you go and complete one object and return back and see there are more objects to complete, it's going to be a demotiva. So whenever you are, for example, just sculpting this one, just leave it and go elevate the others to the same level. Because you do not want to sculpt one put a lot of time and effort in sculpting that and then returning and seeing that you haven't sculpted the other parts. So take that as an elevator that you want to bring all of them together. This is the first pass I'm not really worrying about these changes because all of them could be later deleted or continued. And changing the silhouette will really sell that fill that we want. This is an old mechanism and the chances that it has been changed in silhouette are there. You want to make sure that the silhouette change is going to be there. Now, let's see, not too bad. It's good for the first pass. Now let's go for this one and looks like because of the symmetry that we didn't apply, these two are separated. Let me looks like they are. Merge down. Now this is one object. But if we try to sculpt, you see, If I try to sculpt, you see they are separated objects. So a quick dynamics, we'll fix that. Now you see it has merged and just closed the gap. Let's see, we are going to sculpt on areas that we are going to see. For example, area that is in here hidden doesn't actually need a lot of sculpting, rather we want areas that are visible to be sculpted. Let's try to re dynamic. Know that smooth was not a great option. For this one as well, we could take it sculpted halfway and then mirror that to the other side, depending on how unique or how generic you want your result to be. Sculpting takes a bit of time. It might be boring a bit of times, but it's a very important part of the process. You see dynamic distributes the polygons evenly across the surface. It's a great option to use it. But sometimes down the road when we are going for details, you just want to avoid dynamising from there because it takes the details and blurs them a bit. So we want to make sure that you really do not blur that. Let's go for a bit silhouette change because we do not want this to be exactly cylindrical and round. And there's, of course, the move brush in the brush palette. There should be around here and that is it brush. You could just move the silhouette with it a bit. We broke the silhouette. Let's take a look and compare that to before and compare it against this one. Now by breaking the silhouette, it's much more natural than having something that is really generic and not that okay. Okay, let's leave this one. Let's see what else needs to be sculpted. Because this lesson took a bit of time, I'm going to pause and return back to you in the next lesson by continuing to sculpt these brushes. These meshes, excuse me. Okay? See you there. 6. Finish First Wood Pass: Okay. And previous lesson, we took a beginning look at Z brush. Now it's time to continue to sculpt these wooden pieces. And we are going for the metal and stone pieces as well. And the metal, I believe it should be only this one that we have metallic in here. So just take one of these and then hide it. Then you want to go for dynamic to ring the resolution. So looks like we need to bring the resolution up, depending on the scale of your brush. Mh me. You want to have dynamic on a greater scale or on a smaller scale. Because these meshes are small, we need to push up the dynamic intensity. I'm not worrying about these faceted edges because later on, we are going for adding details. When we added details, we will just increase the intensity of dynamic and even add some resolutions ourselves. So I will compare that to the other ones in here to see how that looks and where needs to be sculpted. It's visible in here, so by a bit of sculpting, we will get rid of these sharp and unnatural edges. For areas like this which are not going to be seen, you could just leave that away. Let's take a look and you see it's hidden in here, so nobody is going to see that. Why just wasting a lot of time on some that is not going to be seen at all? These are considerations that you might want to have when sculpting. Or for example, later on, we might need to duplicate this over to other sites. That way we want to make sure that we have a sculpted there as much as we could. It really depends on your production, your time, your energy and a lot of things. Let's go for dynamic. And break these edges a bit. Because these 90 deg edges that are complete, they really break the authenticity, especially for something like this that belongs to older edges. Older edges, excuse me that there was not possibility of manufacturing these objects just like so perfect. Because this is wood, the wood is not that perfect 90 degree angle. You want to make sure that you break these edges This is the first pass because later on we will add Alpha brushes and more to complete these. For now just break the edges and the way that we are sculpting is iterative pass. Because whenever you just sculpt something completely and returned back to other pieces that you haven't sculpt, it's not a very good feeling because you spent a lot of time on that you could have spent on other places. See, we are moving to the way that we should. You can clearly compare these to these and see how silhouette changes are powerful. Let's go for this one. Then we need dynamic. And just break the edges and you're good to go. It might look repetitive. It might not be that interesting in the beginning ages. But this is necessary because later on that we want to add alpha brushes and those really unique details, we want to have a great base to go for. Now we are providing a base mesh in here so that later on we could have sculpt on it. We are sculpting the big details, the big shapes, the medium shapes and details in here, and then leaving the tiny ones those microscopic details for painter. Be sculpting them by hand would take a lot of time and procedurally generating them in painter would be a efficient. That way we have more control over the placement of them. Let's see. Now, let's go for this one. Again, we need dynamic. Resolution is not that much. Later on, we will add millions of polygons. But for now that we are working with these bigger shapes, it's better to just work with a smaller resolution. This way, it's more manageable when you're sculpting. And changing the silhouette is very important when you're sculpting. Now let's see. Whenever we're trying to take a look at this, you see, it's just like a computer generated graphics. It doesn't have any history. It's not carved in the object. This is something that we will do in the detailed lessons. That's why it's important to have a great base so that later on we could add a storytelling to it. To tell that, for example, that wood has been cut and this one placed So that's why we need to go iteration by iteration to make sure that details would fit perfectly. Okay. Now, For this one, we'll rely on hight maps. Half of the objects are done. Now these three are remaining from this composition. Now I'm going to do something because we're not going to sculpt these from the beginning and use these ones instead, bring them here and then continue from there. I'm going to take these and create a for now and try to sculpt on them. 70,000 polygons isn't really a great resolution for details, but because we are working on silhouette, it's all right. A lot of these decisions that we make right now are going to be changed later, or you could change them later. And when working on big details, you can just zoom out and see from there. And when looking for details you could in and see from close up to see what you are doing. The reason that I just hide those is that, for example, now that we have sculpted something on this, we brought it to a certain percentage of completion. For example, later on that we add Alpha and all of those brushes, we will bring that to 70, 80% of completion and then duplicate it over and continue from there instead of going and starting to start from ga sculpt resolution and all of that. We are not going to repeat that. Although you could go And repeat the same process, but since we are going to save a bit of time. We are going for duplicating these objects, bringing them to a certain percentage of completion and then continue from there. Looks like this was too much. Now, let's see. Let's bring these as well so that we can see them. But I'm not going to change anything about them. Now it's time for this one. And then bring the resolution dynamic. There are a lot of times when a detail could be added in painter. You do not want to add all of the details in Z brush because one it takes a lot of time and two, it's not going to be possible really for a lot of times. A. For most of the objects, we start with a bit of edges sculpted, for something like this that is a rough wood. It doesn't matter if we have so much of these noise generated around edges. But for something, for example, like a sci fi object, this is not something that you consider okay. You just want to see what is the object and see how much detail or noise you want to generate for that. Now let's see looks like these pieces are done, and now the only one remaining is this one. And because this is a piece that continues from left to right of the object, I'm not going to symmetry that or whatever. Because this piece needs to be its own piece, not duplicated. And we want to have special details on it. So we want to make sure that we keep that one specific alongside with that plank that holds the rope that we create later. Just a bit of edges sculpt and you're good to go. Then we have a decision to make, and that is to bring the stones to a certain place or to go for adding details on these woods. We'll make sure we make the good decision. But I believe that we could go for the stones and shingles Okay. Let's see. Now we have this one, this one, this one, and these stones and shingles. But because we are mostly sculpting on the wooden pieces and these shingles are made of wood. Let's keep the focus on these ones. So No too bad. Let's up the resolution because these meshes are small. We need to bring the higher amounts of dynamics. And I'm going to sculpt these ones from all sides because later on, we are going to rotate duplicate and use all sides of these. So we want to make sure that all of the sides are sculpted. This will make sure that we save more time by reusing the same pieces that we have been creating rather than making some unique pieces. So Later on, we will add some of the wood fibers. But for now, we keep the focus only on edges because adding edges is important and breaking the silhouettes as well. And the sculpting might be tedious a bit. But that is an important part. Later on, that we see the final result, we see that all of these efforts were important. So just compare them side by side and see what you could add and what you could. Okay? And these noises that add around the edges are okay as well. They will generate that extra level of noise that we expect from wood, and that is okay. So different levels of sculpt, Later we will add how to add some extra wood fibers that change the silhouette. But for now it's only the edges sculpt. For stones, as well, we could have just brought a basic cue in brush and tried to sculpt from there, but generating some primitive base meses we better for saving a lot of time. Now let's see compare them side by side, and hide everything else and try to sculpt on this. The reason that we are going iteration by iteration is that we do not want to sculpt one piece completely and returning back to s. We have a of sculpted details. So if you are in a hurry, you could increase the brush scale and work on like that. Because we are in beginning stages, it's okay. And a lot of these details that might be wrong could be refined later. Now, let's see, I believe there should be a couple of more wooden pieces remaining. Here they are. For now they look generic and not that okay. But later on that we're going to add those details, it's going to be fine. It's just like a continuous, not a print. You are going to get the result. Finally. But there's no hurry to get there. You want to get a good detail, so you want to spend a bit of time in sculpting. I know that you might expect to see perfect results from the beginning, but that is not really the case. You want to be a bit focused and really keeping your eyes on the final result rather than getting perfect results in the beginning stages. Okay? And finally, the final wood shingles, let's see. That was great. It adds a bit of primary noise here that is okay for composition. Just suppose that we wanted to sculpt all of those hundred wood shingles that we wanted to place there. It would take re days and months to create something like that. But that would not be really efficient because by mixing the creating kits and mixing those, you would save a lot of more time. You see, it's very boring trying to sculpt the same thing over and over again. Just suppose that you wanted to sculpt so many of these to create that roof of the well. This will save a lot of time and a lot of headache during the sculpting process. Looks like the wooden pieces are done. Now, what we have remaining are the stone pieces, which include these stones themselves, these two pathways, stairs, and this one. But this one is going to be something like, for example, mortar or something to hold the stones together, something like a mixture of concrete or something that blends the stone together and keeps them from falling away. Let's see if I could dynamic this let's bring the dynamic on a higher resolution. Now in order to get rid of these faceted edges, I'm going to go for a polish. It polishes that and really removes a lot of those faceted edges. But later on, we need to make sure that we sculpt on this to really remove this plastic look. Now, we know where we are going. Now I'm going to pause this lesson and in the next one, we will go and create a very base shape for these stones, these ones, these pathways, and we will see what happens. See you there. 7. Path Way Stones Blockout: Everybody. Now we created this stone path that leads to as well, and now we are ready to go for these rocks. For these ones, you see they already have a good shape, but the problem is that they are low poly for some really high quality details. We need to go for dynamic and you see dynamic because that is a very small mesh. We need to up the resolution a bit to get a bit of definition going. Okay. Now I'm going to define some planar changes. I want these to have sharp and defined edges and surfaces because I need to really create a lot of these planes. And see even by having a very small resolution, I'm able to get a good result. These planer changes are what really define the surface of a stone. And say because we have very very amounts of polygons, it's really easier to work with these. I'm going to just keep sculpting until we get something that looks all right. I just deactivated that Alpha because I do not want to have too much noise in the beginning. Now let's go for the others. Just take a look of the resolution dyna mesh because these are relatively smaller meshes. And just try to randomly create some planar changes. Later on, we will add alpha brushes that will really define the surface of the rocks, and we will add a lot of details. But for now, it's only about creating the surface. For example, I here, we needed to add to the surface rather than removing from that. I went and just hold down to add to the surface. Now let's go for the other ones. O pa resolution, dynamic. Let's go for the other ones as well. Activate the dynamics for all of them. And then go for sculpting one by one. We want to have sharp defined surfaces that will catch the normal map perfectly. I really like this one. So go around, see what you could create and what silhouette change you could place. You see, by going into different directions and sculpting, we are able to get so of good planar changes. Now, let's go for the other one, which is this one. Try to sculpt. After creating these planter changes, we will go and try to sculpt using the clay build up to add to the surface and then create really that defined surface. This is the first path of sculpting. Especially for these stones. So we do not need to have a lot of details. So looks like there's just this one remaining, and that is perfect for creating that planer changes. The reason that I created by variations was that by creating five variations and rotating them around, we are able to create a lot of variations. So that would be much more optimal than going and creating hundreds of variations. So let me go back. There should be a problem in here. So smooth and then dynamsh. A good planar change. Now this was the first pass of the rocks, and I'm going to now take them individually, bring the clay build up, and try to build up a form and then flatten that out. Now that we need more resolution, I'm going to up the resolution dynamic to bring that and then try to bring that plan, excuse me, that clay build up. This clay build up is in here. If you go to your details exhibit brush panel and search for clay, you get clay tubes, clay build up, and these brushes, and clay build up leaves here as well. It's one of the default brushes. Now, you see, it's just like clay. We have added a lot of these, so we need to go flatten them out to create surfaces. So dynamic and then go for trim smooth border and try to define the surfaces even more. This way, you see, we're able to go iteration by iteration and create very good results in no time. Of course, it takes time, but you know, when we add Alpha, it's going to be a lot faster. The reason that I'm not placing that Alpha in here is that I do not want to be so noisy in the beginning. Let's go for the next one. Let me see which that is. And just build up a form so that you can bring the trim smooth border. And you can opt the resolution as well. Since that is a small mesh, it's going to take a lot of resolution to create a good results. Now, trim smooth border and try to slatten the brush. This trim smooth border is very powerful. You could really sculpt a of details with it. So just take a look at one of the just on these orthographic views and try to sculpt from here. Like so, and you do not want to add a lot of resolution in the beginning because, you know, if you add too much resolution, it's going to really be noisy. And it's going to be difficult to handle that amount of resolution as well. Whenever you are going to work on details, just make the brush scale smaller. Now let's see what other meshes we have the sculpt. There are five meshes. Looks like this one was sculpted. Let me take this and isolate, and then I'm going to bring the clay build up and try to create a form around it. This clay up is awesome for creating forms and make sure that the directionality is in place because these stones are directional. Now we have something to work with, and then you could opt the resolution and just try to use the trim smooth border to try to sc. Just go and try to define the borders. And make sure that you have a lot of planar changes in the place. And by planar change, I mean something like this that the surface divide into different angles. Because these catch the light very well. And the reason that I didn't bring the Alpha was that I do not want to bring too much noise in the beginning. This is like just blurring the result. Okay Let's see, not too bad. Now this one and are the remaining ones that we're going to sculpt. Let me increase the brush scale, but not too much to deform the shape. Now let's isolate. It's just like sculpting in real life. You just add remove details to get your shape. Now trims border to define those borders. Now, see from different perspectives and from different orthographic views, and then try to slaten based on that view so that you get a lot of good planar changes. If you feel like the stones are small or, you could just add more to the form of the shapes. Because later on these are going to be mixed with clay or with mortar or something. I mean this one. First, we will add details, bring that to a certain degree of completion, and then go and try to sculpt the rest of them after duplicating them. I just might bring after the completion, I might just export these and ka them in blender. I mean, the stones and try to kah them in blender so that we could create the well itself, the stones, I mean, and then bring them to Z brush because I like the blender interface a bit better. It's your preference to what you're going to do, but I really choose Blender over Z brush for detailing, manipulating objects around. Okay. One quick fix. I was a sculpting this and I didn't like it. I removed that recording, and now I'm going to remove this file as well. Let me take these two because these are separated too much. It's going to take a lot of time for sculpting as well as being a bit low quality. I'm going to remove them like so. And now we need to reimport them once more from blender. Let's see, I'm going for the sub tool. Let me append a sub tool. For example, this sphere, now on top of this sphere, I'm going to go for import. But before that, we need to take these two and export them on OBJ. Make sure that you have selected objects, triangulate mesh. Now, import that should be OBJ five. Now you see it replaced that with that sphere. But problem is that it's just one object. We need to go split to parts. And now we get two objects. And from now on, we continue to sculpt. That was a quick fix that I saw we should discuss about. Now, about the fix, we are going to create these stones. The way that we are going for those stones is something like this. You see, it's just like one mesh, but with different levels of stones. Let me see where we have that, Something like this. We are going for a low frequency stone. So, in order to get that from this, it's easy. We need to take the mesh. Let me go for a dyna mesh on 512, for example, to have a bit of resolution to work with, and now we are going to carve a stone from this. And by carving, I mean, we are going to slice and upon that, apply dynamic to get different stones. What I mean by that is that we are going to use this dynam and this poly groups feature. So after applying the dynamic, go for poly groups feature, and in here in the brush palette, you want to go for slice. Now, let me bring in slice curve. It applies that to control shift. Now, divide this in half and you see how that divide this into two pieces of geometry. If you hold down Control click on one of these, you see that, you have different levels of planks and stones to sculpt. Now again, let me control shift click drag like so, and then re dynamic, having the poly groups feature activated with dynamics. It will create the lines necessary to create different measures based on that. This is the method that we are going for, and using this one, we are able to create very good stones. Let's bring that back. And I'm going to dynamic once more, drag lines, and it should be good to go. Just press Shift F to bring that For something like this, it doesn't matter because later on, we are going to remove these parts in the low poly. Dynamics. You see how great of a result we get. We are not going for too much of these because it takes a lot of time to sculpt and we do not want to waste so much time on sculpting the let's go back and enough. Now I'm going to create another row of these stones, and then I'm going to take these drag once more dynamics to get that stone created. Let's see. I'm going to make sure that they are visible in here. So this line When you control shift click on one of these poly groups, you see if I dynamic, and see that again. Let me activate dynamic with poly groups. And you can see how we are able to create those stones. I'm just going to be random on these. I do not want this one to be predictable. T shift. So let's see about this. And because it has too many sides. Dynamic really cannot decide on where to create that geometry, so, it creates that ugly seam. So dynamic from here, now that it has preserved that shape go and try to move on from there. And this way, it's a, a more natural and unpredictable. Okay. Let me take this dynamic. Just Control Shift click on these poly groups. Control Shift click again, Rami by control and you're able to create thee. I do not want to make these really like procedurally generated content. That's why I'm taking a bit of time to separate these Now these need a bit of separation as well. Dynamics, see the result. The reason that I'm not doing anything in here is that it's going to be deleted no matter what. Who cares on something that is going to be deleted? Looks like I'm happy with the stones that we created here. Now it's time to go for this one. Again, we are going for the same process. First, go for dynamic on a 512 scale. Then I'm going to bring the slice curve and try to cut from here. But I didn't activate the poly groups feature for dynamic. Again, let's go and re dynam perfect. Control Shift click to bring those back. Then dynamis Let's see and how many stones we should create y. So it's the same process. Just try to create some stones. And he should be good to go. Dyna then dynam once more. Okay? And I'm not worrying about these parts that are going to be deleted. So I'm continuing to follow the same process. Okay? Just go one at a time so that dynamic doesn't get buggy. The more stones you create, the more time it's going to take to sculpt. I believe it should be enough. A great thing about this workflow is that if you go to move brush, for example, to select one of these, if you just control shift click on one of these, you are able to take it as a different object, move, scale, rotate, and whatever to create a bit of form or the geometry, like so. And this is even part of the same object. It's not a separate geometry. Now I'm going to start to sculpt on these and let's see what happens. I'm starting with this one. Let's hide everything else. You already know that we do not need to do anything for these parts. Let's do something if I could delete them. Let's leave them. The sculpting process is going to be just like so. Let me go for a bigger scale. Dynamic. If you control shift click on one of these planks or stones, you are able to sculpt on them individually without affecting the neighboring pieces, and this is the great thing about that. These are just like stones all in one place. Like so. Just try to sculpt The reason that just resid that that was that it was too many stones in the previous iteration that I did. I decided to return back and fix some of these results. The process is going to be easy. Just take these brushes. These mee, I always mistaken with that. And sculpt to get variations. Let me first sculpt this outer shell. Like so. And later on, we will undulate these to create very good results. If you have free time or if you want to sculpt too much, you could divide this into many stones and try to sculpt from there. But since we are limited on time, we could go and really just bigger stones to save a bit of time. This one is just by itself. And it's a good one that we didn't really go for that much re on this because now this is a lot more random than the previous attempt that I was going for. Now, let's go for these and try to sculpt a bit of these edges. Then later on, we will return back and try to add more details to them. But for now it's only working on the edges. After correcting these edges, we will go for continuing on the woods. And maybe I duplicated this one on top for that other piece. I mean this one. Because it's going to take too much time sculpting that by hand manually. If you really want, it can take your time and trying to sculpt. Let's see what happens. We might go for a duplicate on there as well as other places. Okay? You see, we are getting variations. I just decided that we might need to duplicate this on top of the previous one. Let's bring everything back. And you see how much detail this one adds. Worse, we haven't added those tiny details that really make this one shine, but it's really awesome. I'm going to leave other pieces to be in the mix so that I can see what I'm sculpting and what I shouldn't sculpt because that is not visible. This is just the first pass of these sculpting. By finishing that, we have done only the first pass. Then we will go for sculpting those wooden pieces, and we will use a lot of Alpha. We will use a lot of details for storytelling and create a lot of good results. Just do not worry, we are going to take care of everything. As long as the time allows. This shift control click, define the borders, and then go for the other ones. You see, we do not need to go further with that sculpting. All we need to do is sculpting those edges, and we are getting somewhere. And looks like some few stones are remaining. Just control shift click. Let me see looks like there's a bug in here, a visual bug. Now this one. Of course, later on, we will do something to blend this with these pieces. For example, we might bring the clay build up and try to subtract from here to convey the message that they are placed on top of each other, like so. For now, we are only caring about those edge details, and later on we will fix those areas as well. This way the stones are much more natural and in place. The storytelling is very important in creating these objects. You want to really make sure about the functionality of what you place on how in real life it's going to be and so on. Now, let's take a look from the above And it looks like we have done a good job creating that. Okay? Let's do something now. 8. Finish Pathway Blockout: I'm going to duplicate this on this one. Let me just take that and duplicate and it exists in here in the sub Tool palette, and I just brought it here because I use that a lot, so go for duplicate. Let's go for move, and I'm going to bring that up like so. Then let's try to scale. Or let's bring the pivot to the center. From here and then rescale that until it fits like so. Then I'm going to take that one, the other one which is this one and then delete completely. There's one problem, and that is we need to rotate this to hide some of those issues caused by that duplicate process and a bit of scale. And a bit of matching in the center. Now, it's so it's okay, but we need to add a bit of more details. Let me go back and because we need to create different stones in here. I'm going to pause right now and in the next one, we will go and continue making the progress. Just copied this and brought it over to here, and now it's time to actually create some variations of this stone. So again, I'm going for the slice curve. It is applied to control shift. And we are able to sculpt. But before that, we need to create more variations for these because there needs to be more planks placed here. Let me return back. I just do not want to be that repetitive. Make sure that you place the stones on places that it makes sense. For example, it's hidden here, so we do not need to do anything for that stone. But here it's going to be seen. It's actually a good idea to place one seam there. Then after that, we can go add a bit of stones. And now let's take these and just try to create variations. Then it's time to go for the detailing pass on these stones, the first pass. Now I just got smooth border. Let's add those brushes, and then try to randomly sculpt on these. Add those details that we expect. It's going to take a while, but it's important for the later process. And this is not the end of it. Later on, we will just undulate some of these stones to make sure that it's going to be all right. So we are going to make sure that it looks natural as possible based on the time limitation that we have. So let's bring everything or edge damage. A lot of the details are going to be left for the texturing phase, where we go and painter and add details, for example, moss, ambient occlusion details, and so on. We want to make sure that you stay or later stages for completion because this is just like a long run rather than getting the results so quickly. Let's bring everything and now that I'm taking a look at this one so far so good. Now that we have done the first pass on everything in here, except for this metal and this concrete or mortar or whatever. 9. Wood Second Pass: Again, we are going for the same woods and start the new pass from here. Now, let me take that and see where that is. Here it is, and now we have not that amount of polygons. I'm going to bump up the intensity and re dynamic once more. Now we get something like 1 million polygons, which is okay for the next for the next phase, which is adding Alpha brushes and deciding on the silhouette. So now, of course, if you want, you can go back and bring those Alpha brushes right now because the Alpha brushes that we're going to add right now are going to be blurred. Having lower resolution will help So this is standard brush, rectangle and Alpha import. These are the brushes that I use. Every time I used one of them, I'm going to share them with you. Let's bring one of these that is good for silhouette. For example, this one, I drag in here, you see it tries to change the silhouette completely. So it's okay for this because we need to have a silhouette and later on, we will sculpt on this to get a very rough silhouette. But for now, if we apply that amount of resolution, and then add the one. You see now it's having more details. It really depends on you on how you want to use that. It's advisable to bring that and start to use it like on a lower resolution so that we sculpt on it and all of the details get blurred away right away. Now, let's start using this one. It already tries to give us a very good representation of silhouette. You see how it changes the silhouette based on our usage. But it's not the end of it later on, who will return back and try to sculpt on it. So let's take a look and compare that to the other pieces. Then you see now this is where it really shines. You see how amount of details it adds to the surface. It's great. But now, you see, I'm not happy with this because it's too noisy and it's not going to be readable. Now this is where we are going to increase the resolution, for example, to 28, and re dynamic once more. And now you see we have more resolution. This is where I'm going to bring the trim smooth border and try to flatten out a lot of these noises. I'm going to flatten in a way that we get only these big shapes. I do not want to have a lot of noise right now. It's only a matter of guessing the big shapes. And for example, in these parts, that it's I'm going to add and in those parts that it's subtracting, I'm going to subtract. And this is an iterative process. It takes a bit of time. Now we are adding those details. You see even by adding only one alpha brush, it's getting stronger and stronger. Right now we are not having a lot of resolution as well. Later on that we add those final details and final details. It's really going to shine. And it's going to be very good for composition. You see a very rough wood Then from here, and I have added this alpha brush so that we can add some noise to it as well. Just try to be directional with the wood because the wood is something directional, so you need to keep that in mind. Just try to separate these islands and introducing those plan changes on the surface of the wood. Not all of the woods are going to be the same. They're going to have their own characteristics, but for now, we are focusing on rough wood. This is a blackout for that rough wood. Later on, we will add enough details to work with that. L et's again try to go from here, and we are going pass by pass iteration by iteration to make sure that everything is going to be elevated together. As I said, just do not sculpt one piece completely and go to the other one because this way here are getting tired and you might not be able to finish the project. But if you elevate all of these together, you are going to have easier time sculpting because everything is on the same level. Trim smooth border is very powerful brush. And make sure that you have Alpha as well because this time we are going to generate some surface noise using that. Later on, we will add details again and try to subdivide the mesh to millions of polygons so that we could just add the details that we want. For example, in here, I went additive and just take a look, and now it's a very rough wood, and I'm happy with it because later on, we are able to add details to it. In here as well, let's decrease the brush scale and go directional in here as well. Later on as well, we will duplicate this to the other side and try to continue from there. Instead of going from zero, again, we will duplicate this and continue from a completed because that way we will get to the result sooner. Now, this would let me see and compare that. It's very good. And we are seeing the details right away and you can see how different that is from other pieces. Now let's go for this one, and this as well needs to be detailed. Let's go for 28. And since this is a smaller mesh, we are getting different levels of subdivision. So let's go to standard brush and this time again, instead of that brush, I'm going for another one because if we just use the same brush over and over again, it's going to be repetitive. Let me bring this. Make sure that back face mask is activated. This brush is already too noisy. So we need to make sure that we smooth that by a lot. And you see it adds a lot of good wood fibers. But it's a noisy brush and we need to sculpt on it. To get the second pass finished. For these areas that are not visible, we're not going to actually do anything because it's a waste of time. So now, let's take that and try to sculpt on these. But before that, let's re dynam once more to make sure that the geometry issues are fixed because sometimes using those alpha brushes too will cause a bit of distortion on the geometry. You want to make sure that you dynamic And solve some of those issues if they exist. Now, you see, using this brush, we are able to guess the big shapes from it. You can also increase the brush scale because we are working on big details this way you will get details faster. And I really like a sculpting woods. It's a great one. Now from here, just go directional with it. For now we add those generative details, and then if there was any special details, we will create them as well. But for now, only generic details. Including creating these wood, and so on. Just go directional and go for a bit of edge damage as well. And now let's continue. We just want to flatten these details to reveal the potentials of the surface. This flattening process is very It's a good one because you use Alpha and remove those noises from those Alpha brushes, and you will get the details. Now, let's take a look. And. Now, the next one are you see they are curved. For something like this, if I add the same amount of detail, for example, 2048, re dynamic and bring the rush. This one should be curved as well. It's just trying to follow in the same shape. And make sure that it follows the same contour. And in here as well. So now, this is a bit just like not that great of a wood. So or the flattening as well, I'm going curved on that to reveal some of that noise there. Okay? A very good brush. And whenever you are in a hurry, just increase the brush scale, and you're good to go. And just do not forget that this is the second pass, and it's not anywhere near completion. There's a lot of passes that we need to do in sculpting in texturing phase and so on. Okay? And now finally this part in here. And later on, we will return back and add more resolution, add other passes as well. That way we will get completed results. Okay? Now, let's just take a look at the composition. And you see how we are progressing. And even this is not the completion. It really there's a lot of more passes that we need to do. But you already see that there's progress that we are making. Again, let me go for this one. I want to make this one a different type of wood compared to the previous one. When we make sure that these are completed, we will duplicate them to the other side. Just make sure that the back face mask is activated. And for here and here. T smooth border, and then we are ready to laten these details. Just be careful because this is the medium details that we are adding. Later on on top of this, we are going to add those smaller details. Right now, even we do not have a lot of resolution. Let me bump up the intensity to 2048, re dynamic once more. Now we get a good amount of resolution for the second pass. It blurs, but it's not a problem because we are here for blurring these noises in this pass. And because the wood is curved, we are going curved on our sculpting as well. Okay? Now I believe it should be the final phase of this w in this past. Take a look. And now it's okay. Now it's time for this one. Let's add resolution dynamic once more. Then let me bring in another brush or another Alpha to make that one different. Let's bring this. I'm trying to see if that works or not. It's fine, but we need to make sure that we really sculpt on these details. Because that is too much geometry. And these alto brushes that I use, I'm going to share them with you so that you can use them for your work. We sculpt it too much now. It's time to dynamic and bring some of the geometry back together. Now you see it's curved a lot better. But in here there's areas that we can fix definitely. Now it's time to. Let's bring that brush again. T. Dynamic once more. Good result. I just wanted to make sure that we have enough variation of wood in this prop rough wood variations of rough wood that look different and not so identical. Now, let's go for this one in here. And just try to flatten out these details. Because it's directional and curved, you need to be following the same direction and curve. Now in here, I see, the result is blurry because we do not have a lot of resolution, and that resolution is going to be added later on. Okay? Now here the rough wood is something that you can guess by its sharp edges. So we want to make sure that those sharp edges exist in here as well. If you want to really make it look like that kind of rough wood. So let's go back. And see the result. Now we have three woods remaining. We are going to follow the same curvature, follow the same process, and then sculpt these woods as well plus this one. Now, we are going to continue with this. Let me hide it. 2048 for resolution of dynamic and re dynamic once more and bring that brush, and I'm going for this, this rough wood. Just make sure that the wood follows the curvature and he should be good to go. Here straight. And here directional directional in here as well. So now I'm going to dynamic once more to bring the geometry together. And then I can go and start to flatten these with the trim smooth border. Later on, we're going to use other brushes as well to generate wood fibers, to generate broken wood surface. This is an iterative process. You want to make sure that you have everything in mind and you know what you are doing when you're starting the process. Okay. Now, this one in here to finish this pass on this wood. Let's see. Awesome. Now finally this one and this one and this one. There's not much remaining from this pass. It's Let me go for 2048. And try to sculpt these details on a curvature. Dynamic once more to bring the geometry back together and then try to leen the result. No, not too much. We do not want to c that much into the surface, a bit of surface change. Okay. Now. It's time to sculpt here. And then here. Now, let's see what they have here, and when we make sure that they are okay, we will duplicate them to the other side. Now, this one and this one and this one looks like three ones remaining. Then let's go for 2048, and bring the standard brush with the same brush. And then dynamish, with the trim smooth border. I want this one to be a rough wood as well. And that was the reason that I wrote so much intense alpha on this. These are three images that I downloaded from Net processed to generate hight maps from. They really bring the sculpt to a new level. And if you wanted to hand the sculpt all of this, it would have taken weeks to complete and you wouldn't get that result like this as well. So using these alpha brushes is an amazing tool to have. And I'm sharing the brushes that I use with you so that they can use them on your work as well. Let's see. And now, this one, and this is going to be simple because it's going to be something that we hang the bucket from. So 2048 d. I just want to change the silhouette. R dynamic once more, so that the geometry is okay to sculpt, and then trim smooth border to clear these shapes. Because having that really curved lines will help the composition a lot. Because a lot of times when you're creating an object, the edges might be sharp, the silhouette might be not that interesting. So breaking these silhouette shapes will go a long way in creating a believable result. Right now we are removing those details and flattening them. Now for the final one, I'm going for this one. It might look a bit tricky because we have curvature, we have these areas of interaction, and it's more challenging than the previous ones. Though for this one as well, I'm not going to bring in too much detail because this one is not that rough of a wood. So let me bring in this one, no, not this one. Let's use this one. Then I'm going to follow this curvature with these alpha brushes. Okay? Now, this one, it might take more time than the previous ones sculpt, but it's going to be a good one because this is one of the pieces that is close to the player. And in composition, it's close to the camera. A we're going to dedicate more time and resources to this one. Now let's go for these and make sure that it follows the same curvature. For these ones as well. This side might not be visible to the player, but we're going to add those details that we want. Okay. Now here. It's all about following the curvature. Okay? And here, and then finally done the Alpha process, and then it's time to go and flatten some of these details. It's going to be the last one in this lesson. Just make sure that you follow the curvature and it should be good to go when sculpting because what is something directional and you want to have that directionality in mind. You see how realistic that gets when you flatten these noisy Alpha brushes. Later on that you go for texturing, it's going to be good as well because you add the details that you want and then it's going to be blended together really well with the textures. These silhouette breakups as well are amazing. Now, let me try to sculpt on this. Because that looks generic and really C G. Now we are going for these handles this really is, I with this. Now again, trying to slat in these areas and then going directional on these handles. Now here and again for handles as well. Now the rest of them. You know, the sculpting might be tedious a bit. You just want to make sure that you place details carefully, O detailing would cause the composition to look ugly. No detailing would cause it to be less detail. It's an iterative process. You want to make sure that you p enough time for it because if you do not sculpt, well, it's going to look not that great. So sculpting is an important part. If this was for an environment or something, I wouldn't have advised to put a lot of effort and time in only one piece. Especially if you are producing an environment by yourself, because if you just place a lot of time on something like this, the environment is going to be taking years to complete. Because this is a prop, and we have the focus on the prop, we place a bit of special details, but for Something. If this prop was for an environment, especially a generic prop that might be repeated over and over again, I wouldn't advise placing so much detail. And then directional. And finally, these outer edges because this is curved, it might be a bit tricky, the sculpt, but it's going to be worth it. Of course, there are some places in here as well, and it's going to be the last one in this series in this lesson. So by sculpting on these, we are changing the silhouette as well. And by breaking the silhouette, you are making that more realistic. Because now we do not have that geometry constraint that were present before, for example, in previous years. Now you could bring more geometry to your props in games. So you could spend a bit of more polygons for a better and greater looking silhouette to be more believable. Now, let me see about here. Then a bit in here. And finally, It's done, I believe. Let's take a look. I'm happy with it. You see how many details we added here. And now let's compare that. And you can already see how detailed this one gets compared to the previous one that we haven't detailed. So I'm going to pause now and in the next one, who will continue with this prop. Okay. See you there. 10. Wood Shingles Second Pass: Okay, everybody. Now we are getting to a point that the iteration on this one, the second iteration on these wood pieces is done, and now it's time to go for these shingles plus the stones. Now, because we were talking about wood, let's talk about shingles first, and then try to sculpt on them individually because we are going to sculpt all of the sites, because we're going to reuse them rotation and a lot of maneuvers to really make sure that they look unique and not repetitive. So Let me go for Drag Alpha and I'm going to bring an Alpha. Let's use one that we haven't used. For example, this one. It gives a very good silhouette change. Dynamics, and just make sure that the back face mask is activated. Then we make sure that these are directional as well. Just note that we haven't gone for really high resolution because we are still in the beginning stages, and we might just go for some regular low poly result for now. Let's just take the and drag Alpha as well. Then when we make sure that all of them are ing the Alpha read that they should, we will go and try to sculpt them. Okay? You see this is more rugged and rougher than the previous one. And I'm liking that result. Dynamic once more to make sure that it brings the geometry together. So let's take a look. Now this one. Let me see, let's go for 2048, re dynamic to get a bit of geometry. Then I'm going for another Alpha. Do not worry. I'm going to share this with you. This one is a smoother than the previous ones. It's just like silhouette. R dynamic once more. Two of them remaining good one. Let me see. I think I haven't dynamied this. I damised there. Let's go for another one. I feel like we have used this one before. Let's go for a two K resolution on dynamic. I was wrong directionally, Let's take a look. This step is mainly using Alpha brushes, these height maps, and then combination with trim smooth border. Later on, we will bring in, for example, the dam standard brush to use a lot of wood fibers and things like that. For this, let me bring another Alpha. For example, this one. But before that, we need to go on two K dynamic to get a better resolution. You see these wood fibers are really okay. You see, if we wanted to really sculpt these, for example, sculpt 100 shingles to be placed there. It would take so much time. Reusing the objects that you have created over and over again is a really good idea to really save a lot of time. Now, let's go for trim smooth water and try to define these shapes. The guest the shape from these. It's going to be the same process. Just like the previous ones, we try to flatten these to reveal the main wood shapes that we have. You see, by going and using trim smooth border and these, we are able to get those individual wood fibers. The height maps themselves were noisy. So in order to flatten that, we will flatten a lot of these. Okay. And then it will just reveal a lot of those secondary shapes. The shapes that are needed for a later use. You see, now, for example, in order to create some extra wood fibers, you can hold down ult using trim smooth border and try to flatten that using to create some of these wood fibers that you see on rough woods. If it's something that you want. You see, we are separating and you can go for dam standard brush and try to bring in So extra wood fibers in here. But we are going to leave this for a later stage, let's see what we have, what we create, and later on, we will return back and go for next iterations. There's never an end point to sculpting. There's always room for improvement. Whenever you see that, for example, sculpting doesn't elevate your object to a certain percentage. Just leave that and go for other stages, because, for example, the first or the stage one, two, and three in sculpting really elevate the design. But later on, for example, after sculpting, those, you go and sculpt more. That is not going to give you the result that you want. Or if it's going to give the result that you want, it's going to take a lot of time. And in that time, you can take that time and create other things. So just divide your time and use it widely For low pally creation, we might rely on Zbrush decimation. Let's see what happens. We'll decimate these to a reasonable number for creating the for unwrapping in blender. Okay? Now, still see that we are on a very, very low resolution. Later on that we wanted to add those finer details for baking on the mesh, we will create a lot of better results. So it's advised that in these beginner stages, you go with lower resolution because that is much more manageable than going, for example, on a higher resolution. So L et me see looks like this is done. Let's compare that to the other ones. You see, it's more defined. Let me bring that. It's more defined. It has some resting points, and it's much better than the previous ones. Now we are going for the next ones. And then try to create some resting points because we do not want these results to be all noisy. You just want to leave some resting points. Because if it's all noise, it's not going to be readable. So you want to just take a bit of time lightening these noises, So that we have some resting points. Because later on in painter, as well, we are going to create a lot of data there. For example, we are going to create wood fibers, basic wood surface attributes. So they will produce noise as well. If you make it to noise in here, then in painter we it's going to be noise on top of noise, so it's not going to be readable. Now, It's good for the side, and now let's go for here. And you see in here there are wood fibers go additive. Now I'm going additive and instead of subtracting, I'm adding to the surface. Whenever you see details just decrease the brush scale, and whenever you are seeing that you are working on big details, increase the brush scale to be more manageable. Whenever we bake these and make the low poly and baked and texture, we will kit bash them on the mesh itself. It means that we bring them to blender and try to kit bash them, create a roof that we saw in early references. First, we create the kit and then k to get the results. Here, and then here. So this is blurry as well. See by using that trim smooth border, we are able to define the surface. It's a process that you need to do. Be later on in the bake, it's going to be well read. And it creates a very good bake. Now the second one is done. Now let's go for this one, which is smoother than the previous ones. First, define those planar changes. A In here, we need to change the surface. Even teaching the sculpting might be boring because there's not much to say. All you need to do is telling repetitive points that you have been telling so far. So your word, I'm to but this is a process that is needed for getting a very good result. Okay. Just try to go directional on these shingles and remove the noise that is not necessary. Okay? They need to be flat because they are a bit round and leveled right now. I want them to be rough. The third one is done, and now there are two more remaining. And we just try to be as unique. So later on, we are going to repeat these to create a roof. We want to make sure that they are unique, and that was why we used different height maps on these to make sure that they are unique and we blend them, rotate them, rescale them, and do whatever we can to make sure that these are as unique as possible. If I was just to sculpt those 100 shingles, I would have placed a lot of unique details on all of these. But because this is a generic kit that needs to be repeated, we need to really make sure that there are not a lot of unique details. We want to make sure that they re generic. Now, let's go over here. And then try to sculpt these wood fibers. You're seeing that we are revealing the potential for later sculpt because we are, for example, defining the actual surface of the wood, how rough that is, how many wood shingles are going to be placed there, how many wood fibers me. This will really play a big role in defining the future manipulation on this wood. Now they're only the sides that need to be sculpted. The sides are not going to be seen. The most it phases are these ones. These are going to be seen. The sides are not in an equal important level than those top faces and bottom faces because they are going to be what the camera is going to be capturing. This one a bit more noisy than the previous ones. It's expected we need different levels of noise. Let me just hide those and then go for sculpting. Let's go for the sides now. Let's quickly start to sculpt the sides because there are So good parts on the top that need a bit more attention. For example, these ones in here could create good results. First, let's go for the sides and make sure that we create those initial laner changes there. Because the rough wood is going to be sharp, later on, we make sure that the edges are going to be sharp for a better read. Now here. Now let's go for here for the top base. First, it's worthy if we go on a greater dynamics because this needs to be a bit more high resolution. So in here, just take a look at this not. I'm going to continue with the same level of a sculpting. Now here I'm adding to that surface. And here, Again, you see I'm adding that surface based on contour of that not to create a basic wood knot on the surface of the wood. It was a good one. Let me decrease the brush scale and try to continue here to create some secondary shapes for that knot. I'm happy with it. You see now, we have added a bit of resolution and now the sculpt is taking shape. And do not try to flatten all of it because we need to have some form of detail and secondary shapes on the surface of these shingles. We're not going to remove everything. Just follow dyna mesh. And just take a look from far away to see how that reads because this is going to be far away from the player because it's on top of the well. It's the roof. And what matters is the big shapes, the ones that are visible from far away. So make sure that they read we as well. Now, these wood shingles are these are mostly okay. And I'm going to pause right now and go to the next I will pause in the next one, we will go for the stone path and undulate the stones sculpt a bit to make sure that they are not looking so CG generated. Okay. See you there. 11. Mud Plane And Stone Way: Okay, everybody. Now we sculpture these wooden shingles, and now it's time to go for the stone path in here. And because we have all of these as single stop tools or excuse me, single pogons. Single pot groups. I just taking, I don't know why. But there's a need to displace these. Because they are single poly groups. If you press control shift and click. It's going to isolate them. If you control shift click in here in viewport, it's going to bring them back. But if you go bring the move brush control shift click on these, it's going to mask all of those. Then you can just try to undulate these and give a bit of different level of change to these. For example, now, let me go select something else. You see now that looks a bit better in terms of having a bit of displacement. Then we will create mod the plane for this. It's going to be the same thing as this one. We're going to create something that resembles the form of this one. Then we will displace it to be able to sculpt d and between these stones. Just based on the images that we have here. For example, in here, you see that whatever we do not have those stones, it's mud in here. We're going to sculpt mud as well. But before that, we need to displace these a bit. Just easy process control shift click on these and try to di try to move and see what you can do to make that more interesting. But just do not worry It's going to be a good process. Now let me hide the other ones. I believe it should be this one. Now, control shift click when you have the move brush selected, and just try to undulate some of these to introduce a new level of really variation. And you do not want to change all of them because if you just change all of them, it's going to be really noisy and chaotic. Just make sure that you take some of them and displace them in a way that it creates a good result. Now you see we have better results, but of course, we are going to repeat the same process for these parts as well. So go for move brush and try to undulate these, try to move and put a bit of difference between these ones. This will make the Mud creation process a bit better because we are going to create a ud plane to scululpt that alongside with sculpting of these. After this lesson or maybe these two lessons, this one is going to be a lot better. Just select randomly and try to undulate so that they are not on the same level. And go for the ones that you see in the composition and not the ones that might not be visible. For example, these center ones are not really needed to change. Let's bring everything back. And take a look. Now you see these stones are a lot better and more natural. But of course, there's a way so that we can go up more. Let me just go a bit more. Just control shift click while selecting the move brush and just try to undulate these stones, the way that you like. Because this belongs to an old age. So the undulation would be a bit more than for example, a prop that has been created recently and with not a lot of undulation. Then it will create possibility for a bit of more sculpting because these sites in here are not a sculpted. So let me bring some of them. After that, we will go for this one as well. Okay I'm happy with it now. Let me take this and bring that to here. Now, let's go for this one. And this one needs a bit of change as well. Just click and try to change the randomly. Okay. There's an empty space in here, do not worry. It's going to be filled with mud, and we're creating something for the mod plane to work. After this, we will bring the mod plane, do not worry. We are going to create that. Then later on, all of them are going to be just optimized into one mesh for the low poly. I can rotate as well. This one needs a bit of more sculpting because it's very obvious that it's a Z brush sculpt. So we want to make sure that they are a bit more professional. Let's take a look at how it is. Not bad. There's definitely some of them that we could undulate a bit more. And then now it's time to bring in the mod plane. Let me deactivate the mask. And for the mod plane, we are going to reuse the same mesh that we created for for the blockout. We're going to blender and re export the mesh that we created for the so that we could use it on the Z rush for the plane. For now, I'm going to go let me disable the mask. I'm going to append a mesh Let me bring in just one mesh. Let's bring that and just select the one that you're going to replace with. Then here's the blockout I need these two meshes. Let me shift d to duplicate. Then I'm going to join them Control J. Then let me bring the pivot to the center. Then before that, I'm going to triangulate. Of course, you could triangulate upon export. It doesn't matter. I'm going to export an OBJ. Let me go here and just call it Md. Make sure that you export selected only and triangulate the mesh as well. Export. Then when selecting this one, I'm going to import, go to the directory where I have saved that and bring it. Now you see it brings that mod plane in here. It's just those two meshes, and I'm going to just dynam them together because I'm going to make sure that they are welded. If I press dynamic, see it weld, but the quality is not that okay. So again, let me go bring up the resolution. Dynamic. It preserves more, and now we are going to sculpt this to fill in a lot of these spaces. Let me select it and select in the center. Hold down and click here. Now I'm going to rescale the mesh. Until it hides. Now, we created a mud plane, but we need to sculpt. For sculpt, we are going for this clay build up. Why? Because when you try to sculpt with this, it's going to mask these areas that are visible. For example, now that I have this, just take that as a mud plane if I try to sculpt and hide. You see these areas that were hidden by that are not sculpted. Though, Let me just explain If I just go and try to sculpt and fill in these spaces, just take a look at what happens. If I try to sculpt here, nothing happens. You see only areas that are hidden, get masked. If I bring, you see, I'm able to sculpt with that plane. This is going to be our mode, and then I'm going to sculpt and go for sculpting of that. So that it creates another layer of material in here. Dyname dynama that on a greater scale. At. So now. Let me just fill in these spaces with mod. Of course, all of these are going to be later changed. Let me go back because I do not like this sculpt. Now we are ready to sculpt. I'm going to fill in these spaces. The reason that I didn't hide all of these meshes was that we are able to see and mask. It's important. I just hit those for optimization purposes. Whenever there's a problem, just dynamic, try to add subtract to get the result that you want. This is just for the blockht of the ud. Later on, we will add more details to it. But for now, it's only to reveal the mud in places that there's no stone. In here, let me try to sculpt negatively to reveal some of those stones. I believe that it should be a good one for sculpting mode in here. So that later on we add mod material to the mix as well. I believe it's going to be a good addition. So if I just try to select and see, you see only areas that were mask are not sculpted. Try to fill in these spaces. A blend of mud and a stone. And since this center part is going to be hidden, I'm not going to do anything with it. I just want to sculpt on places that the player is going to be seeing. Okay Let me bring that back. Md in here. Then I will bring some stone alpha rushes to start to sculpt and mod and the stones. There's this one in here. Let me do something. I'm going to sculpt and bring that here. Dynam to bring that the dam and try to sculpt Sometimes when you dynamis it might be tricky. But just have that in mind. Okay? I believe it should be enough for the mud for now. So let's dynam It's a bit tricky in here. Let me see because it's a simple plane and doesn't have a lot of of the mesh. So let me bring. Now I'm going to do something. I'm going to deactivate the dynamic first. Let me dynam then I'm going to deactivate dynamics and then control D to bring more subdivision in here. Now you see we are close to four millions of polygons, and now this is fairly tessellated for a high quality sculpt. You see now we are getting more details. Now I'm going to hide this for now. Go for these stones, try to bring some Alpha in here with a bit of more resolution, and then we will return back for the mud and fix it. Now, let's go for the standard brush set that to dry rectangle. I'm going for these rock Alpha brushes that I have. Before that, I'm going to set it to four k because that is a relatively bigger mesh compared to the other ones. So I'm going to dyna mesh and make sure that the poly groups feature is activated because if you do not activate it, I believe it's going to mix all of these and causing some other effects. Though it crashed, doesn't matter. We are taking this mesh. And instead of dynamis I'm going for the regular tessellation using divide. Using this method, if you go to geometry tab, you have this divide button less smooth. If you do not smooth, it's going to just subdivide without smoothing. But if you activate that, it's going to smooth it as well. But now I'm going to set divide or a shortcut for that is control D. Now we are getting a good amount of polygon for this sculpting. Let me bring it to drag rectangle and go for Alpha and select this and make sure that the back face mask is activated, this way, we're able to bring those stone Alpha in here and try to sculpt. Let me deactivate the dynamic, and you see this way. It adds that high frequency, high quality detail. A Now you see the effect of that is prominent. I'm just sculpting on these areas that are visible to the player and not concerning about that center part, which is not visible to the player. Let me. You see now, we have more detail and that detail really help us to get a high quality sculpt. And then I'm going to bring this one as well. And try to bring that Alpha on different directions because these are stones. I want to convey the meaning that they are different stones, not the same a stone with the same noise applied on top of it. Then we will return back to try to sculpt on it. So now for the for me. You see how many high quality details it add to here from something blurry to something really high quality. And now that you take a look you see, it's much better than having that really great result. Let me see. And this is the mix of that. Of course, without material, it's looking all right. So now, The next step is to start to remove some of these noises that we added because that is too much. I'm just focusing on that, I'm bringing trim smooth border and try to sculpt. Let me try to lat on some of that noise because later on, we're going to add another level of noise as well. Okay. And I'm just focusing on the parts that are visible to the player. And now that we are working on details, I just rescale the brush. So that we could sculpt on it better. A So this might take a bit of time, but it's really necessary for getting a very high quality result. And with only one Alpha, we were able to get a very good result. And this is not the focal point. This is not the actual point that the player is looking at. The main object is the well itself, not these stones. But for now, we are working on that as well. So let me bring to flatten that. Then I'm gradually sculpting on these. I might just spend the next lesson on these ones as well. L those other stones that we have for Kash. Remove some of the noise. Take a look and you see we are getting somewhere. And these details that we had are going to read very well. So one thing that I forgot is that I want to sculpt on the parts that the player is going to be seeing. So I just focus on these instead of sculpting those areas that are not going to be seen. This one, let me go for move brush, take that, and just bring that to composition. Go for draw and try to sculpt This is the way of sculpting by iteration. By going in iterations, you are able to elevate everything together. Let me bring in the Alpha brush as well so that we create more detail on these surfaces. And the good thing is that we are not actually wasting our time for the pieces that are not going to be seen. That is why we selected to show these other objects to make sure that we sculpted only on areas that the player is able to see. And that is an important factor to keep in mind. Whenever you're trying to sculpt, because the sculpting is going to take a lot of time. Just make sure that you sculpt on places that actually matter without sculpting areas that are not visible. Because the time is limited, you want to make sure that you use your time as best as possible. That's why we are masking these and seeing based on the other results. Okay? And then looks like we are reaching to a point that we could go for the other ones. Of course, for now for this iteration, the next iteration is remaining as well where we add a bit of crack to these stones and add secondary and details. Okay? It might take a bit of time, but trust me, it's necessary for getting a good result. And because we have sculpted too many of these, there are a lot of places where dynamic is going to ruin the result. Because there are a lot of planes closed. So we need to make sure that dynamic works all right or if it didn't, we are not going to use it. And instead rely on randomly smoothing by subdividing the mesh. Okay? Now, let me see there are some stones in here. Because they are not getting seen by the player that much, I'm not going to focus too much on them. Now I'm going for this one. Then again, once more, I'm focusing on the areas that are going to be seen. Let me bring this and this. So that we know where we are going to sculpt. And then I'm going directional on these. After this, we will finish this lesson. In the next one, we will go for the d and those stone kits to make sure that we sculpt those to the next iteration as well. So far, the only thing that we haven't sculpted yet was the metallic part that we have on those stone parts on those wooden parts, me. After that, after making sure that those wooden pieces are going to be okay and the formation is okay and there. We will focus on that as well. And we might add a bit of storytelling element as well. For example, we might break one of the woods and patch it with metal or a bit of storytelling because this is a, not an environment. So it's okay to add a bit of storytelling to the environment to the prop. Later on, we're going to mix that other stone pathway, this a stone, and the mud together in one mesh. And we will optimize that t and. And we are not going to use free measures differently for those. That way, it's going to be a lot more optimized and better for gameplay because the optimization is okay in general. Okay, looks like we are reaching to the other half control shift click on the meshes and then control shift click on the viewport to hide and unhide other meshes. Okay. Now, I feel like it's enough or now, t and let's go for a quick seeing how that will look The more amount of polygons you have the more it's going to take to render. Here's the result and I'm happy with it. You can check with different mat caps as well. For example, let me go for this one and try to render. You can see strengths and weaknesses of your object. Now in the next lesson, I'm going for these stones and that mod plane sculpt. See you there. 12. Stones Alpha Pass: Okay, everybody, we sculpted the stone pathways in previous lesson, and now it's time to go for the mud. As for the mud, we are only caring about those areas that are visible to the player just like the previous ones. Okay? Now let me just try to show these plus this one. So it tells us where we should have sculpt. Okay. Now I'm bringing the trim smooth border and try to flattening some of those noises because later on, we're going to add another Alpha on top of this. So for now, we make sure that we flatten some of those brushes. And the reason that we are not using the trim smooth border, excuse me, the dynamite is that sometimes it happens that you sculpted a plane and the plane really gets thinner. So that way, if you just dynamish, it's going to ruin the result. So if that mesh is crucial for your work, you want to go fix the issues. But for something like this, which is not that crucial for the composition, this plane is going to be later mixed with those two to generate the height map, the ground we're not going to focus on that too much. We just focus on areas that are important because we're going to save time. We do not have that amount of time to spend on places that are not that important. So after this, we will bring some other extra Alpha to add secondary and details. And the rest of it is going to be re for tea. Looks like we have gone one way ad. Now we are going to bring another Alpha. Something like this. Let's test it. Let me control D to add another level of subdivision. Let's bring the z intensity up as well. You see, it's adding a lot of cool details. Because that is from the scanned tures that I grabbed from net and processed to be height maps, we are getting good results, but we do not want that to be too noisy, so we will flatten some of that noise. But overall, good results. I'm happy with the amount of noise that we added. Now it's time to go and blend this more with the environment. What I mean by that is, for example, you see here, it's randomly in place. There's no indicator that it's blending with the a stone. For that, I'm going to bring the dam standard brush, make it smaller. On these areas that we have interaction, we could go and try to sculpt to indicate that there's interaction there. Or even by using that brush in here. This is secondary and tertiary details that we are adding. So now, I'm going to zoom on some of these areas. I'm working with the clay build up brush because it has the amount of noise that we need. Loss. It will take that mask and adds the mask to the calculations. H. Okay, you see, the blending is now much much more realistic than what we have here. Now the job is to go and create a blending between these in here. And the clay builder is an amazing brush to help us do that. Because we are getting in details details generally take more to sculpt because for example, when you are sculpting general shapes, it might not take that much, but details take too much because they need more details and they need more sculpting. And that one will help with the overall rock generation because it adds one level of realisticness or realism on top of your objects. After this one, I believe I'm not going to do anything with the mod because it's enough for the mod. Then we will go for the estone. For the etone kit. It's about going around and sculpting in areas which there's interaction between the mud and the stone. Now you see it's just like blended in the moss in the mud me. Because we are going to blend these three measures together to create the low poly. It actually is a good idea to blend them because if you want to create three measures, it's going to be not that realistic. And it will take a lot of resources. For example, you have more texture. You have to bring in It might take a bit of time, but it elevates the final result into something a lot better. Because we have details on here, based on that height map that we added, it's going to be good for the baking a later on for text. This will help a lot. So it looks like we have gone the first level, and now the second level is there to be sculpted, which is this one. Again, it's going to be the same thing just bring in the clay build up and try to blend the mud with other stones. As I said, there's not really a finish point to sculpt. Every time that you finish a sculpt, there's always possibility to improve that even more. Whenever you have sculpt, just decide on how important that is going to be. If that is going to be important and adding too much to the scene, just go and sculpt. But if that is not going to add that, for example, adding a lot of new to the composition. Just go for it. But it's not adding, just forget about it and go away because there's not a lot of there's not much time left. Okay? I believe that it's enough for the mod. First, we can bring in more details. But for now, I'm stopping and going for the stone kit. So he say, this is the mod plane that we added, and this is with the changes that we added. These are going to be blended together to create a result. Now we are going for the second iteration on the stones because the stones are the ones that we haven't sculpted anything yet on. Here we go with importing some of the Alpha brushes. I'm going to share these ones that I use with you. So now, let's use this one and see what possibilities creates. You see, it really changes the silhouette a bit. I'm going to deactivate the back face mask. We have a choice as well if you want to increase the resolution or work like so with limited resolution because we are working on big details. We are working to define the shapes, the actual shapes. You see this is before, and this is this is before, and this is after using that. You see, it gives us a lot of possibilities to define new eras in this one. So So I'm going to work with the same brush on a smaller resolution because we are defining the actual big shapes. Using this method, we are able to present a lot of good shapes on the stones. It doesn't matter if the topology goes wrong because we are going to dynamite it anyways. And these Alpha brushes that we produced are too noisy. Using them on a lower resolution will contribute to the silhouette rather than creating too much detail. Okay? Now, I'm going to use these ones as well. So this one is a bit lower resolution. You see, the Alpha doesn't exactly do what we want. So let me bring another Alpha. And let's bring this one that was a bit different than the previous one. You see, it contributes to the silhouette. But if we had too much resolution, it would have caused a lot of distortion. That's why we are using these alpha brushes on lower resolution to avoid over detailing. You see, we are introducing the other levels of noise on these stones. Then later on, we will return back and try to flatten a lot of these on a higher resolution. Because there we are able to increase the resolution. So let me see what we have here. The third one, let me bring another Alpha. For example, this one, it's so directional. I'm going to share these with you. So do not worry. It gives a very good contribution to the silhouette. We need to have more resolution. Dynamic So let it be directional. And to not worry, we will return back and try to fix a lot of these issues. So for this one, it's on a good resolution. So I'm randomly picking an Alpha to be used on this. Do not worry to dynamie after applying these because it brings the geometry back together and it prevents some of those issues from happening and it solves some of the geometry issues. Okay? Let me this one. So the first pass of Alpha on these rocks is finished. Now I'm going to start and try to flatten these results. But first, we need to re dynam to bring the geometry back together because there are a lot of issues and to redistribute the polygons, we need to dynamis. You see how great it changes the silhouette. Now we need to go and try to repurpose these alpha brushes and introduce the new se to the mix. There's nothing wrong with going to the maximum resolution and re dynam because from now on, we're adding details. So bringing that resolution up will help with distributing more resolution and getting a finer quality. Now I'm going to use this Dam Standard brush as well. It's available in your brush palette, go for D, and then Dam standard brush. You can bring that to viewport like so that I have done, and you could use the or crack brush as well. This is one of the brushes that we installed and the link is in the project files, you can go find it. I'm going to use this one instead. Just shift and click and It means that whenever you press shift, it's going to bring that instead of the smooth brush. We're not going to use the smooth brush, so I replace that with it. Now every time I press shift, I'm going to get that damn standard brush to define some of these cracks on the surface of the stone. This is the way that we're going to sculpt these stones. Define the new Silhouette, and maybe later on, we will bring some other alpha brushes as well to reintroduce more quality. But for now, it's okay. I'm removing a lot of that noise so that we have a good readability with not a lot of noise on the object. So let me bring detail to this one. Since we are going to really use these kid batch them on the well itself. We're going to sculpt all of the sites. It might just take one lesson or two, but it makes sure that we get what we want from all of these. Then later on that we brought these back to something like for example, 70% or 80% of completion, we will go Kiah them use them in the mix just like the one that we used for creating mud and the stones together. That way we will create the well itself. Then we will bring these to something like 70% or 80% of completion, and then kit bash them, place them around, and see what is going on, and see what needs to be done in order to prevent some of the problems with those. Then whenever we place those, we will bring in another detail pas so that we could even create more variation with these. The reason that I'm working on details is that we are now on the detail path. We need to zoom and try to work this way. Whenever I see a crack on the surface, I just increase and try to bring that more in the silhouette. In other areas, just go for removing details. It might take a lesson or two to sculpt these on the second pass, but it's going to be worth it because the well itself and these stones are the main vocal point that we have in mind, and the player is going to see that. It's going to be worth it if we put a bit of time and effort in sculpting these. Because all of these is going to be done returned back to composition and contributing to a very good composition on silhouette. Okay? Now, a good planar change in here is present. Let me introduce a bit of crack on the surface of this rock. And I'm just using the Alpha that we create or the Alpha that we added. Again, I need to tell that the photography of those Alpha brushes was not mine. I just download it free from Net, and then process them to create Alpha maps from them. So that's why I created them in a noisy manner so that we could add them to the mix without losing details. And then in here, when sculpting, we could go and try to figure out what we're going to do with the details. The reason that I used different alpha brushes on these was to create the maximum amount of variation because these rocks are going to be kid bashed. Using a lot of repetitive alpha brushes will result in a noisy composition. So whenever you see a possibility for a surface crack, add it. And I'm just following the possibilities that those Alpha brushes provide ing them to create the result that we want. Now here, it might take a bit of time, but it's going to be worth it because these are going to be the purpose of the well and we're going to mix them with something like concrete or mortar or whatever, just like what we did with the mud ground I. That's why we are investing a bit of time in sculpting of these to make sure that they're going to be fine. Later on that we kit batch them, we will increase the resolution and maybe do another detail pass on them. Maybe cut the surface, the resolution, bring in new alpha brushes to really make sure that they are as unique as they could be. And whenever you see, there's just tiny bits of details, just decrease the brush scale and go and try to sculpt there. Of course, I could bring in a slice brush and try to slice and cut from the surface of the stone, but I left that for later stages. If we need it, we will go and try to slice the surface of these stones to create even more variation. For example, to tell that, some of the stones are broken and so on. You can already guess what we're going to create. Just go around, see what you can find and flatten. Okay. Here. No, that one was not natural, so now we are adding cracks on the surface of the rocks. And then just try to flatten some of those noises that we added using that brush. You see, because we were on a lower scale, we didn't get too much noise, uh it's noisy, but it's not using that noise because we were on a lower resolution. So if you want to get less noise while using these brushes, just go for lower resolution when using them. But if you want to get ultimate noise or whatever reason you want, you want to go with a higher resolution. That's your choice if you want or based on the amount of noise that you want. Finally, I believe this stone would be enough just flattening some of these noises And I think it should be enough for this pass. We have enough detail here. We will sculpt one more of these stones in this lesson and leave the other ones for the later lesson. Now let's go for this one, and it definitely needs to be dynaed because you see the geometry is problematic because we use too much Alpha in here. You see the problem let me go for four K, R dynamic. It fixes some of those issues. Then now we are able to sculpt. Okay. I'm going to increase the brush scale and try to work on some of these areas to flatten them because we have already too much of these cracks on the surface of the stone. So we need to flatten them. And later on, we might return back and add more details. Who knows? When we mix them, we will bring them and try to use them. The reason that I'm sculpting on all of the sides is that later on, we will try to rotate these on all of the sides to make sure that there's not much repetition seen on the surface of the well, and we're going to mix them with that way, it will hide some of those issues as well. You see it gets a bit blurry and by using the trim smooth border by using this Alpha on that, we are adding a bit of noise as well. It's a good idea to use this brush with the Alpha to and add a bit of primary noise on the surface of the rocks. Now, just go around and see what you can flatten it depends on your choice. But it's a good idea to flatten some of these because over detailing will really hurt the composition sometimes, because if that is too much detail, nobody is going to notice that. So there are going to be some resting points that have no detail to add contrast to the areas that are so much detailed. So now, if you're going to use another alpha to add noise to it as well, it's valid. For example, instead of using this Alpha, go for something like this one, for example, or another one that has a bit of noise to it. It will add a bit of noise when you're sculpting as well. Let me bring that. Although it's not to visible, but if you increase the resolution, you will get it and it will provide you with a bit of noise. Because we are on a lower resolution, it's not going to be that prominent. But if you want to get a bit of noise, instead of this brush, you can bring another brush to help you with the noise and adding a bit of noise while sculpting and blurring. That's totally dependent on you and the project that you're working on. Looks like finally, we need to finish this lesson and go for the next ones and try to sculpt them. These two are okay. Now we have three more stones to be sculpted that we're going to sculpt in the next lesson. We might then mix them with this and try to sculpt this one as well. See you in the next one. 13. Finishing The Second Pass: We are sculpting stones in previous one, we sculpted 2 stones, and now it's time to go for the other ones. Definitely it needs a dynamic because the geometry needs to be fixed. Let's go and try to sculpt on it because We need to flatten a lot of these details. When sculpting, you can always zoom out and see how shapes are reading in distance because it's important to have a good read in distance as well. On the later on that we brought them and kit batched them, we will take a look to see how they look in distance and so on. See, I'm producing different planar changes? It's a good idea to sculpt all of the sites because we are limited on time. So instead of sculpting multiple stones, we sculpt one a stone in multiple directions. That way, by mixing, using composition, lighting, vertex painting, and a lot of those techniques, you can hide that repetition, or even by adding different variations of the same stone. For example, when we brought this and saw how it looks, we will maybe go for another detailed pass to add different variations. And for creating the low poly as well. We might unwrap that as a whole. For example, instead of unwrapping these stones individually, we might create them as a single mesh and wrap that there, like so. It's enough for this one. Let me go for this one as well. Definitely needs to be da. Then let's try to add a bit of details. It's really dependent on you and how much of these planar changes that you want, how close to the player that is, how important that is for the composition. All of these are important factors. A to decide how much detail you want to place there. If that is going to be a far away object in Vista that is never going to be seen up close, adding too much detail really is not a great idea because nobody is going to see that and that all of that would be lost. So always just try to place details on places that are most important. And the player is going to see from up close. Okay? Now, from here, I believe it should be only 1 stone left. And after that, I might go and try to mix them or let's see what happens. Every sculpt should have readability in big medium and small stages. For example, it should look okay from far away so that the player could tell that it's a rock or it's a stone or whatever that you are sculpting. For example, if it's a wood or something, you need to convey the message that it's that prop. Whenever they get close to the object, it should have a good readability as well. It should have surface attributions of a rock or wood or whatever you are sculpting. Okay? I'm liking this one. It's good. And it has very different silhouettes. So let's go for the last one. Now, this one let me dyna Macht. It has different planes as well. It has different levels of noise plus different levels of silhouette. You can see the silhouette in that plane over there. It's a good indicator to see how your silhouette is working. Or you can go into mat caps and bring another flat color to see how silhouette is working. Try to flatten these to get different silhouettes in medium distance. For example, the silhouette and big distance were the silhouette changes that we did in previous lessons. We started to use that clay build up alongside with trim smooth border to define the surface. Then we flattened them, and now we are working on silhouette changes in medium distance. For example, when the player is in medium distances, not so far away, not so close. When we ki bath them and brought them to blender. Of course, you can kit bash in Z brush itself if you want. But I prefer blender for kit bathing. When we sculpted the, we will export them with that so that we could kit batch them in blender and the reimport them to Z bruh. Then we will use that same method for sculpting the d and sculpt the mortar or concrete or whatever that is holding the stones together using that method. And the text string phase as well as important. A lot of the details that we're going to add are going to be added in the text sring phase. Now let me take a closer look at these and I'm happy with the second pass. And I believe that the second pass is done, the first pass was so it was first creating the blockout in blender. Then after that, we brought them to Zbrush and did a first sculpting pass. And that was creating a rough silhouette change around these objects. For example, changing the edges. Of course, we left these for later because when we Sculpted these to a 70 or 80% of completion, who will duplicate them here and create variations. But we brought them added the edge damage, and then brought some really rough alpha brushes to define the first surface attribute the big shapes, and then went for medium shapes that we have been sculpting on all of these. Now the second pass where we sculpted the medium details is okay. Done. Now it's time to take these and try to blend them with this to create the result that we want. You have options. You can just take these and try to ah them in Zbrush, or you can export them to Blender or whatever software that you have, and try to sculpt them there or try to keep bash them there. The choice is yours. So think like exporting these to to Blender me and try to keep bah them there. Let me make these ones that we want to export visible. These ones, and then it's going to be the clay. Let me bring this one as well, because this is going to be the divider. For example, when we place a stone in here, we want to make sure that a stone stops here and it's broken or whatever, and then continue from here. So we want to make sure that this one is present there. We are going to export to blender and try to keep patch them there. So you could go for Z plug in and then there's FBX import option, and then you want to make sure that you export visible subtols. T. If you want, you can triangulate them as well, and we want to go for smooth normals and export. It's going to export this visible subtols. Export and then just save it, and then it's going to take these and export them. I'm going to pause and return back when the export is done. And now we need to open blender and import these. Now here we are in our scene, and we could disable that blockout folder and import that file that we had. This is it. Of course, the scale is wrong, so we need to make sure that we rescale these. Just take one of them and you could go for search menu and clear scale it's in here. Now, it went back to the one that it was. Now let's select these and then clear a scale. Now we get something that matches the blockout as well. Now it's time to go and try to place these around to create the well. But first, we need to make sure that they have their own pivots in the center so that we can take them, rotate them, and whatever without problem. The method is going to be something like this. We just take the, bring them to the surface, and then take another one, for example, and then bring that here. And try to kit bash them, then bring that here. We could rotate in different directions, and then create a composition, make sure that it wraps around this, and then we will re export it back to Zbrush to continue from there. I'm going to pause and in the next one, we will kah to create our well. See you there. One quick note before wrapping up this lesson. The Kipsh process could be done in Z brush as well. What do I mean by that? We could create brushes from these meshes and then use them as kith using insert mesh option. How could we use such a maneuver? Because that is like taking this and try to stick it to the surface, and it would be much easier to work that way. Let me do something. You go to brush menu, and in here, there's an option, create insert Multi mesh option. So if you set that, it's going to create brushes from these meshes that you have created. That way, it converts them to brushes. Now, let me select this one as well. For example, this rock. You see every mesh that we have here is presented in a manner that we could select it and try to use it like a mesh. If I just bring that here, you see, I'm able to interactively try to bring these measures in here. That is going to be a good option. You could use the blender option or this one. Now, for example, if I try to use this, if I hold down shift, it's going to reverse that like so, if you hold down control, it's going to be using the proportions. Proportionally, basically, and then one more option is that if you go to brush menu, which I have in here and there should be in curve, no in depth. This is the place that it's going to place the brush. For example, if I bring it to here to zero, you see, it's going to place that just on the surface. But if I bring that up to 100, you see, it's not going to place that on the surface. Using this method, you could sync these in the geometry. Let me bring that to zero or you could go for negative as well. Let me bring that. You can see now it's much more inside the geometry, as you can see a bit of that here. This depth mask as well is an option. I believe that I'm going to use this method because it's more interactive than blender. We have these meses in here and for each of them, you need to specify that depth. Let me bring them all here and all you need to do is dragging each of these to create the result that you want. Now, let me try to start from here. This is the one that I'm going to start with. Let's place it here. Now you see it sinks that mesh into geometry. Of course, if you press ult, it's going to just invert it just like a Boolean piece. Now you can rotate them. For example, if you want the other side, you could hold down shift or control shift for reversing that and getting another variation. You see this way, we're able to stack the stones in a way that they are really interactive. Let me go for this one and try to place it here. Using this method, you see, we are able to stack the stones in a very natural manner. I'm going to use this method. I pick every stone, and then try to kid batch them here. Of course, the blender method is there, we could use it. But I found this one to be more interactive. Using this method, it's natural. You see, we have different variations. If you want, since these are part of the same mesh, you could go for move brush, control, shift click, and try to sync it into the mesh, and you can replace that as well. If you just select it and select a different brush from from the palette, it's going to replace it with it, which is a good option. Now, let me bring it here, and for example, select another one. You could just take it. It's totally valid, and then try to place it here. Then later on, we will make sure that we will sculpt this, just like the mud plane that we sculpted. Let's go for draw. Then using this method is a good one. You could go for the blender method. It's just valid. The one that you like really That is your choice. Okay. I'm going to pause, and in the next one, we will finish and create this kid patch. And the reason that we made these so low poly, for example, this one. This, for example, is not millions of polygons. And that was because we are kid patching these and having millions of polygons on these will result in something that is not so optimized and will It will produce some problems. So now, let me take this control shift click here. Just like the previous method, you can just move, scale, rotate, and do whatever to create the result that you want. I'm going to pause in the next one, we will kick batch this around and finish this well piece. See you there. 14. Well Stone Kitbashing: Okay, everybody. Now we are familiar with the concept of insert multi mesh. Now I was wrong about something because I needed to create a new layer or a new placeholder, and I was using that on this rock, and you see now it's part of the same with the others. I do not want this. So we could take the other ones and delete them. We could, for example, take this one, mask it, and then we have another option for hide and delete unmasked ones. Now that we have masked this, we could press Control Alt click to revert the mask, and now this one is masked, and these are not. We can go the geometry tab, and there should be in here, modified topology. Let me take a look. Delete hidden is here. But for the masking, we need to go for masking. Now, L et me see, visibility is in here as well. Hide unmasked. So now, it's a trick to remove geometry. Now we have this one, which is going to hide the unmasked object. So this one, and then using deletedn, which is available in here in this geometry tab delete hidden that are dragged in the viewport to use it. You could remove the others. You see the amount of polygons dropped, and now we deleted those and we get our stone back by removing those. Now I'm going to create a new insert brush by going to brush menu and create multi M to update those. Now we are back here, and you can save this, for example, to use it later on. If you want to. So now, I'm using these. Let me take this one. And I'm going to maybe create a new layer or I'm going to append and bring this. Then let's rescale Now, I should select this one. Let's rescale that a lot. It's in here. Now, whenever I'm trying to select this one, for example, or go for insert mesh and try to draw L et me select this. You should select this layer. Now it's going to append that to this layer. Now these two are part of the same later on, we will delete that. Or you can bring in another empty layer, I believe it should be valid as well. Now looks like again, we need to deal with the depth mask. Let's go in here for depth and bring those masks down to a reasonable value so that they spawn on the geometry. And then final one. Then after that, we have the ability to change them as well. Now I'm selecting this, and let's go select these and try to place one by one and try to keep bash and create our results. It might take a bit of time, but it's going to be worth it. So let me change for that. And then I'm taking these brushes one by one and placing them here and there to create our results. You see, the first level is done, and now let's go place that here. The good thing is that we have different levels of meshes, different levels of heights. Just make sure that you create enough variation Then I'm taking a look at different scales on different sides to see how that reads, and it's going to be all right. Now, I'm leaving a place for sculpt as well. Later on, we will use the process that we used to create the stone pathway to create the rest of them. So You see, I'm using them interchangeably to create my stone path. Excuse me, you see because we have different stones, it's looking all right. Later on that we add those mods that we placed, it's going to be much much better. We need to go around and create it and just take a look at the silhouette to see how well we have placed these. Now you see we are progressing. Whenever you want, you can hold down shift. You see, now we have five millions of polygons. I didn't like the scale because they were too far from the surface and the height was too much. Let me bring in an append and bring this again and try to scale it and place it somewhere here so that later on we could remove it. Okay? Now, I'm selecting this and let's bring these and we could just try to use the depth. Let's go for draw. Now they are better. With more depth because I do not want them to be too far off from the surface. This is it. I feel like this one is better. Let's go and try to change the depth, and now we hide other ones to save a bit of performance. Let me take a look at this one only and this one. Okay okay? Now, I'm looking at this like a visualizer for the e scale. Let's change the depth. It's a lot better. Now let me take this one, go to move brush and take this and try to bring that to the surface, go to draw mode. Now you see it's a lot better. Later on, we will just sculpt the plane so that to tell the story that these are blended using the concrete or moss or whatever. Okay? And I can vote it is as well. Later on that we add that concrete, it's going to look really fine. Now, this is too repetitive. So let's go for a move brush and try to sink that into the geometry. I was testing some ideas and now we are ready to go and start kbshing. Now when you make sure that when you press space bar, you're able to move. Then when you drag and hold down control, you're able to rotate that based on the correct scale. Then using control and space bar gain, you could just rotate it, pant it around, and use it. Then I'm using different brushes on different scales, to see how that works. But this one is not that great. So space bar, and then you can use transform tools by using and then to switch between these let's compare that against the scale of the others. It's not too bad. Now let's bring these two again and try to work this way because that way it causes some performance issues. I go to do and try to bring in these matches on different scales. And I can press M as well to select between different sub tools. Excuse me, different brushes if you want. I'm constantly changing between those. We could create here as well. But first, let's go for this part which is more important and then later we will do something about it. Now this one scale of that wasn't what I want. You see, it's really taking shape, and I believe that it should be something close to 100 millions of polygons if we want to fill both sides. Okay? Try to use on different rotation on different scales, and it should be good to go. I'm trying these ones to be a bit bigger than the other ones. Because they are base stones, so that makes a bit of sense if they are a bit bigger than the other ones. For optimization as well, we have that in mind. Later on, we will optimize it and we'll create low poly and high poly from it. Okay? Now, this is not okay. Can hold down control to rotate. Now let's take a look. Later on, we will add another pass for texturing this and sculpting that. Just hold. And then a space bar. And you can press a space bar for distributing that on the surface. For this side which is not going to be seen, I'm not going to do anything. We're just caring about the sides that are going to be seen. Let's be a bit faster with these and just make sure that they are well placed and with no visible variations. It just takes a bit of time to place these around. If we didn't like the scale later on, we will merge all of these and then scale them so that they're not so far away from the surface if you wanted to. Be if the measure is bigger, it's going to be taking more geometry and texture. Now it's close to 20 millions of polygons. Then all it takes is placing the to create your result. As I said, it's going to take shape when we sculpt this one because you see just with the case of Mud that we had using the Mud, we'll really try to blend all of these together. So now let's try to take these and rotate them around. Then take a look. I feel like I'm liking the scale. Now that I'm comparing that. I see that we like these. Later on, we will return back and try to fix this, but I'm really liking the result here. It's going to be natural. Let's hide everything except for this one, this one, and this one and try to place these randomly to get our job done. You see, we're not getting I was wrong, Let me Let's select this one instead because we wanted to merge them with. You see now, we're not getting a lot of repetition because we are rotating them using different variations and all of that. And that would be okay. Okay? Now, let's go continue with the rest of them. This needs to be just displaced because that one was too much. Let's go to draw mode, and then try to place them here because it's a bit of more polygons to render, it's going to be heavier for performance for now. Whenever we created this site, we will make that its own mesh, hide it, and then we will go for this inner part as well and this top part. There's an empty space in here, which we could feel. Then when we make sure that they are well placed, we will just rescale them in a bit because I believe they should be a bit scaled in order to look more natural. I'm using different measures. It looks like we are getting to a point that there's not much left actually. And using control in the space bar is a good idea to place these stones the way that you want. Now, there's another option that we could use, and that is dam all of these to make sure that the geometry is going to be all right and not that heavy for poor performance. Hey, let's place one in here. And there's not much left. D. I think doing such a maneuvering blender would have taken a lot more because that way, we would have needed to really be more careful with placement of these because we needed to snap those first to the vertices, create a snap system, and then from there, continue to move the, for example, different brushes. I think using Z brush was a better idea. Okay. Now, we are getting to a point that we are happy with this placement. Let's take a look. And there's a bit of more placement that we need to do. And let's start from here so that we could close the composition. Okay? And we will create interaction from this to this one as well. We might break the stones in here and half so that we could make more natural transition between the wood and a stone. There are only view stones left, and we could go for decimation as well to make sure that it's not that heavy, but the decimation will convert this to triangles, and the sculpt after that would not be that natural because we need perfect to be able to sculpt. We might leave decimation for later process when we make sure that we do not have more to sculpt on this. Now let's take a look and compare that with the other pieces in here. I'm totally happy with it, and it's reading really well. The scale of the stones is okay. Some of them need a bit of placement, but totally I'm happy with what we have been creating so far. You see, there's a very natural placement of stones, and I'm totally happy with what we have done so far. Okay, I'm going to pause now and in the next one, we will take care of these inner pieces and the stop piece as well to make sure that is much more natural, and then we will sculpt on this one as well. So now, let me pause and see you in the next one. 15. Finishing The Second Pass: Body, we created this wall, and now it's time to go and create the other one, which is this one in here. And then we will make sure that we create something like this mode that we see in here. To cover in between the stones. First, let me remove that to save a bit of performance. Now again, I'm going to create an insert multi brush to use on this one. Because we just saved the previous one by going in here, when you create and select going here, and you're going to save the brush and whenever you want, you can bring load brush. And use it. Now, let me just visualize only this one. And then I'm going to create a new subtol just like the previous one. Let me go for a pend selected, Let me just rescale a lot. Then I'm going to go to brush and select my insert brush, which are these ones, and then I only select this and this to be visualized and start placing the around. D mode, There's a bit trick in here and it looks like we need to go back and pix the curve as well. This time, excuse me. Again, we need to make sure that they have good depth according to the project that we want. We do not want these to be placed outside of the borders. We just want to make sure that they are well placed. Now, No. Just try to place these because this is not focus of the scene, I'm not caring about placement of these stones. Too much because nobody is going to see them, so we're not going to waste a lot of time. I just need something to create the syilhoette for. Okay. It's going to be an easy process. Especially for these that are on the bottom of the well. Okay? Now, very easy. All we need to do is placing these around And then on top, as well, we need to make another mesh. We might need to create one or mix it with this one, like the one that we have been doing here. So not this one. Let's try to just A. And try to keep bash. Then all of this will make sense if we later on try to blend them with that mass, excuse me, with the concrete or or whatever. Let's bring this one as well to visualize Okay. Now, this is going to be covered with the wood and in here, it's okay. So finally, it's we are reaching to the final stones that need to be placed and some random stones in here would do. So let me take a look. And let me bring the others as well. And see the composition. I'm happy with them. Very good. Now it's time to start sculpting that mud to blend these stones together. But first, I'm going to create some placeholders for these because now that you see these are a bit heavy for performance. I'm going to create a couple of optimized versions of these so that we could sculpt on it easier. You know what? I'm not liking these top stones that much because they need to be rescaled. Let me hide everything. Bring this and this. Before going for that operation, I'm going to take these stones and scale them. Place them around. Like so because they are too much. And they needed to be the same scale as the other stones, rescaling them would be a good idea. So let's see. They need to be mixed better. So that's why I'm taking those and bring down. Now I'm happier with these. Now I'm going to create a decimated version of these for reviewing and seeing how we could create the concrete and mode that is going to mix them. Now I'm going to take this one. Copy. I'm going to duplicate it. Now, this version is going to be decimated and decimate lives in here, Z plug in decimation master. First, you want to pre process and then decimate it to a certain percentage. Now it's going to be pre processed. It's going to take a bit of time depending on the complexity of the mesh, how many polygons you have, and some other actors, I'm going to pause and return back to you when the decimation process is done. I took something like 5 minutes to calculate this, now we need to decimate current. Now it's going to read the file and decimate it the best that it could to reduce the amount of polygons without actually losing anything. Now 80 million of polygons just went to something like 3 million of polygons without losing details. We need this process for later because for example, when we are going to try to sculpt this, We need light wave version of these meshes. It's optional, but if you're going to have easier time trying to sculpt that, it's a lot better because if you bring these meshes, all, it's going to be laggy a bit. So I just created a temporary lightw version of those. Of course, later on, we're going to repeat the same operation. But for now, it's just about optimizing for display. Now I'm going for this one as well. Let me duplicate. Then again, I'm going to preprocess this one as well. Preprocess. It's going to take longer, but it's going to be necessary. I will return back and see when it finished. This one got something like 9 minutes to calculate, and then I'm going to decimate. It's going to bring it to something like eight millions or so. Now, again, I'm going to bring this back to another level of decimation because we need to make sure that it's low poly to be sculpted. Once more, I'm going to pre process. This time it's going to take lesser amount of time because there's not much polygon. What decimation does is that on areas that you have sculpted and you have most changes, it's going to keep the polygons and on areas which you haven't sculpted, it's going to optimize them. This way, it will optimize the mesh a lot, but keep the details that you have sculpted. Later on, for creating high poly and low poly, we will use this decimation process. Because it really does a good job in optimizing the mesh. But for now we are only optimizing for viewport display, and maybe keeping that for a later usage. I don't know. I'm not going to delete that, but I'm going to keep it just on the bottom of the list. Maybe we could use it later on. Okay. It took 2 minutes. Now, let's go for decimation once more. And you see no visible change and now it's running a lot smoother in the viewport. Let's take this one know the decimated version. Let me take this. Bring it here. These two are the decimated ones. Now, let me do something. I'm going to pre process this one once more and then decimate it so that it's really smooth for sculpting. This is an optional step because I'm a bit limited on resources and I'm recording as well. So sculpting that would be not that smooth. So I need to reduce the amounts of polygon on these so that I can sculpt, and then I have these ones as a backup as well. So if you can sculpt without no problem, there's actually no need to optimize these measures and use them as placeholders. Okay? And now decimate once more. And now you see it's running a lot smoother. Let me take a look at this mesh. Then I'm trying to scalp to bring Some of the mod that we wanted to sculpt, let me take this and bring these two, these are going to be for placeholders. Let me take this. Now I can easily try to sculpt on this and create something like that mod like so. Whenever you sculpt just re dynamic to repurpose these polygons, now you see we're able to bring that. Let me just take this one and bring it close to these, now I'm able to start sculpting. Like so. Then dyna red damage. This is what it's going to sculpt. It's going to sculpt like this, but for now it's okay because later on, we're going to mix these meshes to get low poly. The only thing that matters is these ones that are going to be rendered. Now let me go back to the beginning of stage. Bring the. Then I'm going to da a bit for a better resolution so that we can sculpt and bring those d and concrete and reveal them. Just try to sculpt on these areas and try to bring that ud. And I'm just taking a look at here. I even by optimizing that we're getting a bit of performance issues. So let alone to having that much polygon or sculpting. It will take a lot of time. You see now they are showing in here in areas which there are mix of stone. And mod. First, I'm just bringing them to here. Then later on, we will add details. First, we need to bring them, reveal them, and make sure that you dynamise, because sometimes it brings the geometry but doesn't distribute polygons. When you dynamis it's going to redistribute the polygons a bit better. So that you do not have problems for later sculpting because this is the first pass. We are going to add more of those later. This one, let's bring that back. You see how bringing that will really elevate this to a new level. Now we have Mortar and Mud keeping these in place, and it has a purpose. It has a story telling. You want to think about these when you're creating props. You want to think about a storytelling. You want to think about functionality, and so on. Now I'm just revealing from that Md. I'm always mistaken. And then dynamics, and later on, we will detail that out. This one is not needed because it's going to be hidden on their wood. Now, I feel like it's a good one. Let's dynamic and go for this part in here. This one, as we know, doesn't need a lot of details because it's not going to be seen. I'm just trying to add a bit of detail, not that because it's not going to be seen by the player. So why wasting time on something that is not going to be seen? Okay. Now we have mod in here, and now you see it's looking all right. Now it's time to detail that a bit. Let me dynamite first, and now just like the previous mod, I'm going to bring in some of the alpha brushes and try to sculpt on it like so, and add a bit of detail. I'm going for one of these that are going to be detailed. Okay. Of course, we need to smooth some of these results because they are too much. They are too noisy and for avoiding over noise, we are going for smooth days using the trim smooth border. Using some of the extra alpha brushes to elevate the result to a new place. Now, the first Alpha is done. Let me dynamag, to bring everything back together. And now we need to bring the trim smooth border plus an Alpha brush to try to match the details with these ones. After that, we will bring in this clay build up and try to mix that with just like the one that we have been creating for the mud from previous lessons. Now I'm trying to smooth some of those results. And just go around and in areas that it needs a bit of a sculpting, just a sculpt and add the details or remove from the details that you want. And then later on, we will have a general look on how that looks and to see if we need to place more details or not. We will decide on it. But for now, it's the detail pass and removing some details. Let's take a look Okay, generally, I'm happy with it. Later on, we will also take a look at some of these areas and try to fix them. So far, we are going for a good direction. Let me just go for a better brush scale depending on the scale of the prop that we are working on. Then we will return back and try to fix these issues. Do not worry. Later on, we will mix these three meshes to create the low poly, because we need to make sure that it's one mesh for optimization purposes. Now, it has detail rather than being just like plastic. Especially these areas. I'm using smooth border on subtraction mode like here to scope the details that we want and to remove from those details because they are just too much of noise. Now I'm going for clay build up. Let me dynamic once more. Then I'm just going to blend these better. Like so. For example, on these areas, we could go and try to make sure that these are blended a bit better. This is for medium details on clay or concrete or mud or whatever material that you're working on. Sometimes you need to subtract, sometimes you need to add. Now you see, it's more like something that has been blended with it, like it has interaction with that. And then we will go for another detailed pass on these. But this one is poking out too much. Let me flatten that a bit. We could take a look at the overall composition. Let me deactivate these two. Okay. Now it's better for visualizing. I'm just taking a look and compare it to the overall composition to see what we are doing and what we need to do. Just when you and I'm going for zero blur so that I do not want to blur that. I want to keep the noise that we are creating here. Okay? Just make sure that you blend these after some time, just try to dynamic so that you distribute polygons better because we are displacing the polygons. So dyna machine will help to distribute those polygons. I'm comparing that to the scale of the environment. And I'm actually liking the direction that we are going for. So let me take a look. It's good for now. So I'm going to pause now and call the second pass done. Now the next one is going to be the third pass. We are going to start again from these wood pieces and add those and finer details and leave the rest of the detailing for painter. Then we're going to, for example, create blend for the woods, for example, in these areas that the woods have interaction, we're going to create blending. We might break some of these woods, create storytelling, and so on. These are going to be left for the third iteration, which we are going to start in the next lesson. I'm going to pause and see you in the next one where we go for the third and final pass. See you there. 16. Starting The Third Pass: Okay, everybody, welcome to the third pass, and here we are going for the final pass. We sculpted these and made sure that we have a good base to start with. This might be the final pass that we go for because for example, sculpting is never finished. There's always room for improvement. But since we are limited on time, we need to wrap this one up and make sure that it's finished. Now we are going for the third pass and this might be the final pass. The third pass might also include the detail pass as well. The detail pass is the one that, for example, we go for interaction areas, for example, this one in here and try to blend them together. For example, these two woods are just randomly in place. We make sure that there's a carving in here to tell the story that these have been in place, and this one has been cut. This one has been placed here and so on. So we have these two passes. We might go for both of them at the same time, or we might leave that for another one. Let's start with the wood. Again, I'm starting with this pillar and just take a look at it, and we have a good base in here. It has a bit of characteristics of wood, and it means that it's rough and it has also a good base to go for. Now I'm going to go for the final dynamic. In here, I'm going to just remove the blur. Now let me bring it to the four k resolution because this one is really the detailed path. In here, we need to have the maximum amount of resolution. It's going to be the same. We are bringing some Alpha brushes, drag them on the result and try to sculpt on them. But this one is going to be more detailed. The first path that we created in Blender or the initial path in Blender was creating the base shape. It didn't take, for example, just more than a minute. The first pass in Zbrush was creating these edge damages and changing the silhouette. That took something like 5 minutes. The second pass was creating these surface damages and wood fibers. That took something like 10 minutes. It means that whenever you are sculpting as you go through passes, it might increase the sculpting time as well because for example, for detailing, you need to really zoom on the result and try to sculpt like there, and it might take a bit of time. But since we are limited on time, we need to make sure that we wrap this faster. So, I'm going to select an Alpha. Okay. Let me see. I'm going for this one. It has the amount of range that we want plus, it has a bit of roughness. So let's test it. And it's so good that I'm going to keep it. It adds a lot of cool wood fibers, a lot of really cool shapes. So I just activated the back face mask so that it doesn't affect the others, and I'm going to set the or crack brush to the shift. So just select shift. And select, it's going to replace that smooth brush. Then you could also use the Dam standard brush if you do not have it, but the link for downloading these plus the instruction for installing these brushes are provided. The links are in the project files and instructions for how to install these external brushes are provided in first lessons. Now, let me go for here I do not really want these edges to be just like corners. I want them to have their own characteristics. Now, you see it's a bit noisy, but do not worry we are going to sculpt a lot of it. And make sure that you scalped in all directions to get the maximum variation. Okay? You could also use the other Alpha brushes that are provided with statutorial. But I like this one because it's rough and really resembles the shape of the wood that I wanted for this one. Now, let's think about these ones. Do we want these to look vertical or horizontal? That really depends on you. But since I want them to look the same, I'm going for vertical. Because I wanted to convey the meaning that they belong to the mi. They have been carved from the same tree and so on. KC because we are using a lot of alpha brushes, the geometry might be problematic in some cases. After this one again, we go for a final dynamic to bring the geometry back together. Then we will go for sculpting on the result. Let's take a look. Now you see it's too noisy and definitely it needs a bit of improvement. So just deactivate the blur dynamic, and now the geometry is back together, and we are ready to go for sculpting. I have the shift set to or crack brush and trim smooth border with the squa Alpha is going to help us have a good sculpt. Now, whenever I'm seeing these wood fibers, I reintroduce a bit of those wood fibers on the surface of the wood. On here, I'm going for lightening the result a bit because I want to change the silhouette. Now, it's again about flattening the result to make sure that we have enough detail to work with. Let me go back and try to compare these. You see, this one has a bit of more resting point, which is something that we want. There's also the planer brush which you could use to flatten some of these results that you want. We just notice that just like we discussed, the more passes you go through, the more details, you're going to sculpt and the more time it's going to get or sculpting. From now on, it's going to be sculpting on these. Later on for the low poly, we might, for example, remove this part from the low p because it's never going to be seen, who cares? Let me introduce some new wood fibers, and I want these to be visible from far away. As I said, sculpting could never be actually done because there's always room for improvements. Whenever you are sculpting just decide on a time frame and time scale. A. And be committed to that time frame and time scale that you set because for example, you can take days to sculpt something, but it's about gain that you get from that sculpting. Does it change the result dramatically, for example, 40% of completion, go for it. But if that is going to be something minimal and not that a lot, you could leave it and go for other props or whatever that is remaining from the project. I'm introducing these big wood fibers that are broken on the surface of the wood. I just said that the more you go to detail, the more sculpting there is to do. Also, there are a lot of fibers, a lot of details that are going to be added in painter, where we go for texturing. There's no hurry if we want to add a lot of details because a lot of them could be easily added procedurally inside painter. There's no need to go for adding those details here because it takes a lot of time to sculpt by hand, and it's not going to be that efficient because it's easier to add in painter procedurally. A bit of crack on the surface. Let me see where is that? This is it. I'm liking this one. Now let's add a bit of variation on the same surface. If you are on a hurry, you can just increase the brush scale and try to be faster on the sculpting. But since we are on details, I'm going to just be a bit worried about these details because the final result matters the most. Now I'm going additive in here the add a bit of extra wood fibers. I'm not going to remove all of the details because it's going to look blurry, but I'm going to flatten out a lot of the noise because we do not need to be over noisy because it's going to be bad for later on that we bake. It's going to be too noisy and the details that we add in painter are going to be there. So we need to make sure that we do not create a lot of details. So let me see that in the composition. It's taking a bit to render. And now let's go for the others. Isolate and try to sculpt. I'm seeing some of these wood fibers that could be added into the mix to make that mo interesting. T. Now, I'm going a bit faster on this because if we go and try to sculpt everything, it's going to take longer. So I changed my mind. I'm going a bit faster, so that later on, we add those finer details in painter. I We could also add another alpha pass after this to add a bit of finer details on these results if you want to. But that really depends on you if you want to the result for painter or adding that. So really finer woods and wood grain. So Also, there are special details that you can add in painter. For example, if there's any special texture detail that you want to add or whatever you could do texting inside painter. Now, let's take a look at how that looks. So let me take these two because these are containing most of the polygons in the scene. I'm going to hide them. Now it's better. Let's take a look. So we have those details, and then it's getting better in here. We have those big wood fibers that are going to be refined later. And we can also go and try to create some interaction point between these stones and the wood itself. Now, let me take a look. And then it's going to be the same process. Let me introduce some wood fibers. I just notice that if you decrease the brush scale, it's going to be sharper and matching more to the style of the wood that we're sculpting. I'm happy with it. Now it's time to flatten some of these results. And it could also go for these areas and try to sculpt more. Now I'm going additive for here to add a bit of contrast in between the surface. You see using these alpha brushes really gives us a great direction to go for. Whenever we want a direction, these Alpha brushes are going to help. And you can already see that how this pass is going to take longer than all of those previous passes. Because it's a detailed pass. And whenever you go for details, the detail is going to take longer to create. Ba you need to go all around the object, find the areas of interest, correct them, fix, and so on. And you do not need to be always subtracting. You can hold down out to add to the surface. Now it has more readability. You. Also, this is not an end point. You could also continue to sculpting even more and going for finer passes if you want to. So it remains to be sculpted in here and these base woods. This one was great. But you want to make sure that you do not have too many distinguishable details on your sculpting, because if you duplicate this mesh over and over again in one level, they're going to notice that you have used the same mesh over and over again and it's going to be bad for authenticity of the result that you are providing. Okay? Let's decorate some extra wood fibers. I'm not going to do anything for the top part because it's not going to be seen. So we're not going to care about it. Now, let's go for here and try to add or remove and flatten some of these details. Okay, let's break the wood into different chunks. And I'm saying that you could go for another pass in Zbrush for adding details. But since we are limited on time and we should wrap up, I'm not going to go for that right now. Instead, we go in painter, because the focus of this tutorial is to deliver a textured prop. It's not about delivering sculpt. It's about delivering something that is textured, a low polymag that is textured. If you go, and sculpt a lot of details that are going to be lost after the texturing, it's not going to be a good idea. So you just want to make sure that you know what you want from the mesh. If that is going to be a high poly sculpt, you can continue to sculpt. But if it's going to be something that is going to be presented in form of a low poly that is textured in painter. So you can leave a lot of those details to be painted in painter. You can already see that this pass got more time than the other passes combined for this wood. That is because when you go for detail, it's going to take longer because you always need to add details, remove them. You need to pay attention to all of the mesh. So whenever you have details, it's generally going to take longer to sculpt. Okay. The alpha brushes really added great amount of content to here. And they will look good in texturing as well. Later on, it's going to be baking really well. Let's take a look and let's compare that. Very fine. I'm happy with it. It has a lot of cool details. Let me go for a quick render. And you see how well it's mixing with the rest of the environment. Now we sculpted the base for this one, and now it's time to go and replace it with this in here. We could replace it right now or we could leave for another one. So let's leave that for another time. This time, we are going for these brushes, a. Then let me isolate. I'm going to go for the maximum dynamics without blur. Now it's time to bring in some of those alpha brushes and try to sculpt. Let's go for another one and see what we have here. Let's go for this one. It's noisy, but it's going to be a good one. Can make sure that you follow the curve. It has some amazing wood fibers. Okay? Now it's time to go for trim smooth border and try to go for sculpting. Let me first define a lot of wood fibers. There's something that we could do. Let me go for dynamic first to bring everything together and try to continue on these wood patterns that we see in here. If you want to get ultimate result, deactivate dynamic control D to add another layer of subdivision, and then you could go for more detail. And Let's just continue to focus on adding these details here. And I'm only focusing on areas that the player is going to see. And here and some of them here. We have good fibers in here. I Now it's time to go for flattening some of these results. But then before that, let me introduce some extra wood fibers, and then we could laten the result like so. Then after this, I believe we could wrap up this lesson and continue in the next one to go for more wood pieces. Then later on that we finish these, we will duplicate them to the other side, make a bit of variation so that they are not totally identical. And then go for another sculpting pas on them so that they are distinguishable, and they are not looking the same. You see in here, there's a possibility to add more wood fibers. It's a terrassing effect. I'm liking that result. Now, finally, we are going to go for the other sides and the reason that I'm not going for these ones is that they are not going to be seen because they are hidden by the other wood pieces. That's why we didn't take that much time for these parts. But if you want, you can just go and try to sculpt the best that you could. But as I said, it's about delivering anal low poly that is texture. So some of those are avoidable. Okay? Now, finally in here, and I believe that it should be done. If not, there's only one side left. You just see that I'm going directional on all of the sides. I believe that it's okay. Now, Let's take a look with the composition. And now we're getting more detail in here, which is okay. Now, I'm going to pause and in the next one, we will go continue the other pieces. See you there. 17. Wood Pillars Detailing: Everybody. Now, it's time to go for the other ones. One quick thing is that instead of sculpting this one completely, we could take this one duplicated, place it here, and then add a bit of variation so that they are not totally identical. I'm going to duplicate and then go for bruh because the pivot is in center, we could easily just take that, rotate, 90 degrees, I can hold down shift to snap too increments. Bring it here, and then replace it with this like so. Also add a bit of variation in rotation and all of that and delete that one. Now you see we have another sculpted piece in here, that is different because now we are looking at this side. But now we are looking at both of the sites. But in order to add a bit of variation, we could take this one, for example, let me bring one of the or brushes, for example, this orb slash and add a bit of broken chunks into the surface. So we should go for back face mask. Then just bring the trim smooth border and try to flatten some of these. If you want, you can add more details if you want to, but now let's take a look and you see a bit of primary detail we added. And you can go for a dam standard brush and try to randomly add some wear and tear. Then because these look blurry, you could bring trim smooth border and try to sharpen them a bit. Just to add a bit of variation on this wood. This is a lot better than sculpting one piece from scratch. L et's see, and I believe it's a good one. Now, it's time to go for this wood. Then let's bring the blur down, go for dynamic. Now it's time to bring the Alpha brushes and add those final details. So we could go for another Alpha. For example, this one. T It's too intense. Now, let's go bring another one. This is better. It's adding some really nice wood fibers and wood grain. Just go for the direction and you should be good to go. Now, it looks too noisy, and it means that we have lots of flattening to do. Okay R dynamic once more, but I do not need to add too much resolution. Now, let's try to flatten. But I'm not going to flatten that because we need some of these details to be present. For example, these wood fibers are amazing to be there. They are great secondary and treasury details that we have here. Normally, I say that leave the big details, medium details for Zbrush. If you have smaller and finer details, you could leave them for painter, for example. Or you could leave the small details for Z brush as well and then leave the tiny details for painter because those are easier to add procedurally. We could also have some wood fibers in that direction, but since these do not contribute to the silhouette, I'm not going to create that change. Okay. So now here first flatten because it's too noisy, so we couldn't add a lot of those wine wood grains. So first flatten a bit generally. And then those wood fibers could have more effect. And for low poly creation, also, it really depends on you on how low poly you want that to be. If you want that to be extremely low poly, you're not going to capture a lot of these silts well. But if you have more freedom in terms of topology and geometry, you're going to have easier time capturing these complex geometry details. No bad. In here, as well, let me just flatten a bit. And we have stones as well. We might need to sculpt on those stones for a final pass. Who knows? If you do not have the crack brush or brushes in general, you could use the damn standard brush. It's the same brush with the same effect. Now, there are two sides that are remaining. First a bit of general and we might duplicate this over to the other side. Now, this one is finished and looks like there's just one side remaining. No, it's all done. So now, let's go back and take a look. And now we have more details preserved here. So now, there are these two remaining plus this one plus these two center woods. That we are going to sculpt. So now we are left with these. Let me isolate. And since this one is one of the woods that contribute to the silhouette, I'm going to change the silhouette of a bit. So let me go for masking Here, let's go for Lasso, for example, and then bring the move brush here. First, we need to blur the mask, and that exists in here in masking, and we have these options for changing the mask, blur sharpen, shrink, and grow. Now I'm going to invert the mask by control clicking here, and then creating some extra silhouette change to this wood. First, dynamesh. Then let's go for draw mode and select some parts in here. Just blur the mask inverted. Now it's getting what we wanted. So blur invert the mask. But in order to make that sculptable, we need to dynam So that the polygon distribution becomes equal, so that we could go and try to sculpt on it. Now, let's take a look and it because this one contributes to the silhouette, I'm adding a bit of change to the surface of the wood. Then it's not over. We need to change that one of it because this one looks a bit blurry, and it needs a bit of more care and attention. First, Let me go for standard brush and bring one of those Alpha brushes that had a lot of contrast. Here you see now in here, we have more contrast before and after, clearly visible that dynamic to distribute the polygons. It's going to be a bit problematic for the low poly, but it's going to be worth it when we take a look at the final result. Okay, too much. Let's go for a reduced scale Now it becomes too noisy. So then we need to laten that. And since this detail is specific, I'm not sure if I want to copy the same meth to over all of those instances. Because we plan to go for symmetry. And I'm not sure that if I'm going to symmetry this one over because it's so specific. We might go for a change on the silhouette or R sculpt the other ones. First, let's go in here, dynamic on that scale. Let's control the to add a bit of resolution. It's three millions of polygons. No problem. First Let's re sculpt these ones a bit because they are now too. But definitely, you could go for more variation on the silhouette using that masking technique. Okay. Now, let's go for lightening some of these results. Introducing a bit of changes. Let me increase the brush scale. And try to bring more detail. A good separation between the wood fibers. And we are flattening those previous wood fibers to match them to the direction of the wood itself. So decrease the brush scale, and try to scalp these areas. We might just copy this detail over and change it a bit. But I'm not going to reuse the same one because it's too obvious. We need to make sure that we go for some changes on the surface of the wood. Let's add a couple of wood fibers that are not distinguishable, or that are distinguishable from the previous one. It's noisy in here. Let's go flat in that. It's important to keep these sharp edges because the edge of wood, especially these rough woods are sharp and you need to preserve that one in decomposition. That one for later text string phase is important as well. If you have strong edges, the masking inside painter is going to be more powerful and more distinguished results you will Now, let's go see. I'm happy with this. Now, let's do something. Again, I'm going to copy to this side and maybe change the silhouette a bit. I just duplicated this over to the other side, and now I could take this And now it's okay, except for this repetitive detail that we have here. So we need to take care of that. So let me take and I'm going to bring the slice brush or Lasso brush. Let's bring slice curve, control shift. We need to decide on the subdivision levels. We have two levels of subdivision. Let's do something. I'm going for geometry, delete lower. It's going to make this one the prominent geometry because now we have two levels of subdivision. If I bring this one here, it's going to be more optimized. Or this one depending on what you're going to use. Delete lower to make that one prominent and now The curve brush is going to change it into different poly groups. We do not want it. We could also use the masking and hiding. Instead of I'm going for the trim brushes. So we have trim curve and trim lasso. Let's use trim lasso. It's going to replace that shift click. And then remove the parts that you have decided to Okay, I was wrong, I should remove this one as well. So let me go back. And be sharp. Because we have a lot of polygons, it might take a while. Hey, I'm not liking this result. Let's go for another trim. Let's bring the trim curve. It's more direct. And it's more sharp as well. L et's bring that control shift. And this gradient should face the direction that you are moving. Now, it's better. But also we need to add a bit of detail to here. So, there's a gradient that you see this gradient now is facing up and it means that it's going to remove that top part. Now, let's try to No Okay. I was wrong. Let's remove this side. Now it's good, but we need to remove more to add a bit of more planer change. Okay. Now let's go for some more change. Now again, I'm going for dynamics on four K because we need to add a bit of sculpt. But here, you see, we do not have a good geometry. Control W to unite the poly groups, and then dynamic Let's see, although the geometry needs a bit of smoothing, so and control D for smooth. Then let's bring the Alpha brushes for sculpting. Again, I'm bringing this one that has a lot of contrast. Okay? And then smooth border to lessen that a bit. Okay. Also, we could go for masking. Let me go for so mask. And then try to add a bit of silt change to here. Lw mask and dynamic. Okay. And then stand out brush the sculpt on it. A. I'm happy with this. If later on, we need a change, we will return back and fix it. But for now, it's okay. But I feel like we need a bit of more sculpting on this side. It needs more direction. Like so. But then we need to bring the trim smooth border and try to flatten some of these. Now I feel like it's good for that one. And now we are left with this these two and this one. Finally, we are getting somewhere that we are happy with. Let me bring the Alpha bruh. Let me on with no blur. It's good for now. I'm going to just make sure that it's like the previous wood, and it has the same characteristics. Before that, B face mask. Now, time for sculpting. That's first dynamis We could also introduce a bit of more mediums to the mix. A and we're sculpting all of the side so that later on, we could duplicate it to the other side without any noticeable difference without any noticeable similarities, excuse me, with a lot of difference. If we need it and so that there might be to similar details, we might go for another pass and remove those similar details. But other than that, it should be okay. Because the wood is something that everybody knows. So if a wood is similar, it's because the wood type is the same. It's a good one to be able to change the silhouette of the woods. But for something like this, that the silhouette change is not going to be reflected. Why do we want to place our effort in that nobody is going to see. You could also bring the planer brush and try to use that. That is going to be a good one as well. It's just like the trim smooth border, but more aggressive. Now, take a look. And it's fine. So we're left with this one and this one to complete the wooden sculpting process, the third pass. Later on, we will add those details that we want. But for now, we are carrying about the details that are not repeated. So, dynamics on four K. Then from a smooth border and try to flatten the wood. K, by increasing the brush scale, we are able to get a lot of good wood fibers in here. And a lot of one are going to be added in painter as well. This one changes the silhouette as well, we might add a bit of change to the edges. First, let's see how it looks, and then we will go and add those changes if needed. So a bit of sculpt. I'm sure that the sculpting process might be a bit tedious and time consuming, but there's no way around it if you want to get a perfect result. Now you see this one is contributing to silhouette. Let's change something about it. Let's see f from where we are seeing that. The main composition is going to be from the site. Let me Duplicate from here. Then mask so invert the mask blur, and then bring it here. Then for this side, let's control Z to go back, deactivate the blur. Then for this side, let's go for masking. Then mask here as well. Okay? Now, let's see the changes reflected with other pieces. So the changes are okay, but upside down, we wanted the changes to look the other way. So let's do something. Let's take the side invert the mask and go for some changes like here. And then here as well. Invert the mask, pivot here, and then go for draw and try to add a bit of change on these areas we have changed. Okay? It depends on you if you want to add details to here, but let's add a bit of primary detail. Like so because I'm focusing on the areas which are going to be rendered. So first, that detail and then flattening out that detail. And make sure that the edges are sharp as well so that they look awesome in red. So let's see. I'm happy with it. Now we are left only with these two planks and the sh sh. Me. I'm going to pause and in the next lesson, we will take care of these and then go for the other ones. 18. Story Telling On Wood: Okay, everybody. Now, it's final listening, sculpting of woods. After this, we go for a bit of detailing pass. For example, adding some carves and start telling elements. But for now, it's for the woods and the shingles themselves are okay because they are going to be kid dashed and we make sure that we go for enough detail on them. I do not want to create radical changes on them. Of course, the techniques are there. If you want, you can just try to go for your own. Detail pass. Now, let me go for Alpha. First, I need to go for maximum resolution on dynamic and then start to detail this subject because I want to be directional. Then for Alpha, Let me bring this one. It has some cool shapes, and then back face mask. Okay? You can see the directionality in place. Of course, we should have smoothed that a bit, but it's okay. Let's be directional in here as well. So now, we need to go for trim smooth border with the same brush and try to flatten some of these because that is too noisy. After this, we will go for the detailing path for storytelling. After creating the metal as well, we will make sure that we carve that metal and we c these woods in the metal. Let's dynamic first. I decided that I wanted to copy one of these pillars over there and break that pillar to specify that more from the rest of the pieces. Okay, let's compare Now I'm happy with it. Now one thing, I'm going to take this one and duplicate it over to here and break it in half to add a bit of more storytelling in here. I'm going to duplicate go for move brush, and then let me bring the pivot to here to the center so that we could change it a bit better. Go for this unlock and try to bring the pivot to here to the center. Now, bring everything to be revealed, and then I'm going to place it here. Then let me take the other mesh from this menu, it should be this one. I'm going to just delete. Then now this has been replaced, and then we need to take and rotate 90 degrees so that both of them are not identical. Now, this is just like the same detail repeated over. B we have sculpted that differently, we can take this. Let me bring the pivot to the center. Then rotate that 90 degrees to get the other side displaced there. Now you see they are different. So now, I'm going to take this one and try to cut it in half to break it, and then to weld it by some metal piece. So for this maneuver, I'm going for the curve brush slice curve. It's going to be slice and then slice curve. Then just break it in this way. Now, you see it has been cut in half. Then I'm going to go for dynamic, making sure that the poly groups feature is activated so that it creates extra geometry in these parts that we do not have. So I'm going for dynamic Now we have enough geometry in here, and now we could take this, for example, and split it into another mesh. Let's see what happens. First, I'm going to sculpt some of these edges like so let me bring a trim smooth border and try to first differentiate between these edges, and we might just go for removing more from the geometry. I don't know what is going to happen, but the plan that I have is to make sure that this is different from the other pillar. That is for storytelling to tell that it has been cut off and somebody has welded using metal to leave that in place. You can just think about the storytelling possibilities. And create your own stories and then execute them using the tools that you have available to you. Now here, let's just flatten these edges, or even we could cut more from that geometry. Let me see that to see if that is visible enough or not. We could definitely try to cut more from this mesh. No, not in this direction. So in here, now we have this one separated. Let me take this and control, click on the same mesh to hide it, and then it's going to be delete hidden. You can find it in the geometry, modify topology and there should be a delete hidden option. It's here, let me delete the. Now if I try to bring that back, nothing is going to happen. I'm going to reams and now make sure that we are able to visit what is going on. Now this mesh has been cut off and we can really see that there's actual difference in here. We can wild this using a metal. We can create a metal, place it here, just for a bit of storytelling. If those stones were in the view, we will remove them as well. I saw that there was an extra stone preventing this story telling from being seen from that view that we had. We created the cap, and then we need to bring in an Alpha to try to sculpt even more in here. It's going to be the same Alpha as the other one. Standard brush. Let me see It's very good. It's just following the same silhouette and very good. Let me bring that back and use this one. Let me see the direction. It's good. Now it's time to flatten some of these. Let me bring the trim smooth border. Then I'm going to create these separation lines, these wood fibers. The more you care about the silhouette, the better the result is going to be. Okay? Now, I'm removing some of these noises. Later on, we will create a metal piece because we haven't created any metals yet. I wanted them to make sure that we create those metal pieces after establishing the composition and making sure that everything is in place, and then we carve those metals. We have been sculpting stone and wood, and now there's going to be metal as well. Let's bring that back. This one, L et's use that slash brush here from or crack or dam standard, it's going to be just having the same result. And create some extra wood fibers. Then we're going to flatten these to avoid that noisy detail. Because too much noise will cause distraction sometimes, and it will defeat the purpose of detailing because we want the details to be visible in order to make details visible, we need to contrast them against areas of rest areas that have no detail so that they could stand. But if you just over detail everything, nothing is going to stand, and a lot of those details are going to be lost in chaos. Now, let's see what happens. I'm happy with it. But we might go and try to remove this stone, for example, to be able to see that from here because what I have in mind is rendering this from this side, so we need to make sure that we are able to see this one. We will create metallic planes, place them here, like welding with metal and some other pieces. For the other ones, for example, for these wooden pieces, these ones, we will duplicate them over later on. The safe texture and geometry. We sculpt these site differently so that when we duplicate them to this side, it's going to be okay. Now, it's time to go and bring some detail on wood pieces, the story telling, the special pieces. Now let me take this and bring it with this one and this one. Now, I'm going to create the illusion that interaction of these stones and this wood has caused some damage to the surface of the wood. By going and creating another pass here, we are able to create that that really brings the sculpt to the new level. For example, the wood has been chipped away. It has been damaged by these stones, and so on. You can clearly see that how that one affects the authenticity of the scene, how storytelling elements are powerful for telling these stories, and even bringing texturing further. Try to go over these edges in these interaction parts, and you should be good to go. Okay? You could also bring more. You can bring Alpha brushes and any sort of Alpha to help ground that composition. Okay. Now, let's bring this and try to bring more detail more extra detail on these areas. Let's take a look from far away. You see now these stones look like causing trouble to this wood, and you could do the same thing here. But since the picture that we're going to take is going to be taken from this side, you could clearly ignore or if you want to create a complete piece. You can go and try to sculpt to this side as well. Like causing damages to the surface of the wood whenever it has interaction with other parts. You could use different brushes, but I'm using the clay build up because it has enough grunch to cause that extra damage on the surface of the wood. Now let's hide this one as well. This is the damage, but since it's going to be filtered and hidden behind these, this is going to be enough. Now, let's bring the others Then I feel like this is enough. I do not need to sculpt on this anymore, but now for the detail pass. Now I'm going for this one and try to sculpt on this. So let me bring the crag brush or you could use dam standard brush if you do not have that brush. We have this crag brush set to shift. Then you could just try to cut this wood. Like so. For example, to tell the story that it has cut the wood and there's more story behind it more than you have. Then with that Alpha, you could just try to flatten This is how you can how you are able to bring extra detail to these areas. Now just take a look and you see how this detail path is important to provide more storytelling elements. It will take your sculpt, texturing, your design to a new level. Make sure that whenever you have time, go for the story telling pas and add the details whenever you want. Then when we created the metal, we just make sure that there's going to be detail there as well by sculpting that metal. Now it's just not like a random piece of wood placed there. It has a story. It has character. It has reasons for it. And for text string, as well, it's going to be very fine when we place that. Let's take a look and now you see it really takes that to a new level. They have interaction. They have a point to be there. They're not just randomly sitting there for no reason. Now, for interaction of these two wood pieces, let me see, I'm going to sculpt on this. Now, L et's try to carve here. And carve on these areas of interaction. Okay. We have too many polygons in here, so the display is getting a bit slower. But we are going to go for this path because that is an important one. So L et's just create those extra details that are going to elevate your design to a new level. Now let's see, I'm going for this one. Let's go for Dam standard to see what that does. No, it's not that aggressive enough. Let's go for the same or brush. You know, by trying to carving these like, so we're telling that, for example, this wood has been cut, and this one has a story. It has purpose. It has the reason to be there and not sitting there randomly for no reason. This will be great for text string as well later on, with a text string phase, it's going to be very good. Let me bring this because that brush is more aggressive. Now I'm using the clay builder brush on subtract mode. It's more aggressive and I like this one better because it has that characteristics plus the amount of detail. Okay? Now, let's add that extra detail here. And then here. If you want to specify this detail even more, you can go and decrease or increase the brush scale. Se here by increasing the brush scale, I'm able to cause more damage. Later on for the low poly as well, we want to make sure that we capture these details and do not also go for a high polygon result. We want to make sure that we capture details as well as optimizing the result. He's going to be a detail as well. Like the wood has been chipped for this interaction. As I said, there's no stopping point for sculpting. Whenever there is detail it can basically sculpt infinitely on these. Because there's no point to tell that, for example, it's enough. You can always elevate your design to new levels. But since we are limited on time, we need to make sure that we place those details, going for optimizations and use our time wisely. And see how by going for the small details, we're able to add more storytelling, more character to the result. I believe we could go for the same thing here. Because later on we're going to duplicate those other pieces here. So first, let's carve the place for them because they are going to be simply duplicated here. F c the place, and then we place them here. Okay Let's see For example, we could go and carve this one in here. Let me take this. Se by simply adding such small details, we are able to add a lot of storytelling to the elements. Now, let's see Let's try to place those details here as well. Let's increase the brush scale and try to cut this wood, i it using these stones. That is going to be good for baking textures. Later on, the result is going to be very fine. Let's go for here and call this finish for for now with a bit of carving on this wood. See carving on this wood as well doesn't finish that because there's always details that you can add and there's no finishing point for sculpting because there's always details. Now I'm going to pause this lesson, call the wood creation finish. In the next one, we are going to carve this middle piece, this one that is going to hold these together. Then we might create a middle piece to hold this wood together because now it's standing here for no reason. We will create some middle pieces and I believe a bit of sculpt on the stones and call the sculpting finished finally. Okay. See you there in the next one. 19. Finishing Sculpting: Everybody. Now finally, it's time to go for sculpting the metal, and you see here, we have a very simple box that we need to sculpt on. But before that, we need to go for dynamic. So definitely we need more resolution, let's increase the resolution so that we get something. Now I'm going for sculpting the edges, and I'm not going to bring in the Alpha for now, because right now, I'm not caring about adding too much detail. For sculpting these edges for metal, trim dynamic would be a good idea. If you go to your brush palette and search for trim dynamic, it's in here, you can bring it and try to sculpt it with it. It just tries to affect these edges in a way that trims moth border might miss. First, changing some of these edges and greater scale on smaller scale, just like what we have been sculpting for those wood pieces or stones. Say it's try to melt everything. And sometimes you want to really sculpt and sometimes a bit less. Then for metal, as well, we are going to use some of those alpha brushes. Okay. Now, it's for starting. Now, we need to sculpt and bring a bit of noise on the surface. Let's go drag Alpha and bring one of the Alpha brushes that we have prepared for metals. It's noisy. But we need to go for a better resolution. This one's okay for adding those final details. But before that, let me bring this one. You see? It tries to add a lot of those cool off but we need to flatten that because we do not need that to be too noisy. But let's go and bring the back face mask go for all of the sides. And then we could go try to smooth to leave that silhouette change that we have. Now we have a bit of that rusty metal texture, Let's go for another pass. But this time, let it be smaller. These strokes need to be smaller. After that, we will smooth as well. But something that I do not like is the sharpness of the edges. I want the edges to preserve that metal to be distinguished from other pieces. Let me see if I could Separate those sharp edges burst. So there's a brush that is called pinch brush or planar as well you could use it. This pinch brings the polygons together, and if you use it on this edge, it's going to bring those edges together to create a sharp result. This way, we're able to preserve a lot of those sharp edges that we know exist on metallic surfaces. And then using another brush like so trim smooth or another brush we are able to carve those details on that surface. I want the edges to be sharp, so this is the way to go. Because we smooth it those edges, and now we need to preserve that shapes Okay. Now let's see what more edges are left. And then we could bring in another planer brush or the stri dynamic and try to slatten these edges a bit. Let's go for trim smooth border. And try to sculpt on these edges. So before that, da. Then I'm going to bring the planar brush this time. It in here, say it tries to really sharpen these edges. It will be good for the bake later because the edges are defined and sharp. Now, in here, we need to preserve these sharp edges. Now, let's go for these and try to I Latin these a bit. I'm going for trim smooth order without that so that we could sharpen these a bit. For the second pass of the metal sculpting. You see now we are getting that blobby shape that might exist on some of the rusty metals that you might see. I'm going directional as well since I want them to be directional. Now, if you want to preserve a bit of hammer shape, you could do that as well by bringing some of the brushes and go like a blacksmith and try to hammer the metal. The cage. Now let's see with the composition. Of course, there's more detail to be left. But also if you want it can add more details, but for now, it's time to carve in those details. Let me bring the clay build up. And then try to sculpt negatively in here. To tell that, for example, it has been carved and it's not just like a random piece set there, it has been cut and wood has been placed. Okay. Now it's too chaotic. If you want, you can go more straight on the surface of metal. Now, let's see. I'm happy with it. Now it's time to bring in this one. So let's go for here. Then first, I need to duplicate because I want to create a low poly version of this mesh because that is easier to export to blender. Let me go for decimation and go for a two k mesh or 20 k. It's going to preserve the shapes and be a bit easier to export to blender. You see? It just optimized the mesh. I just wanted a placeholder of the mesh. It's okay. Now let's activate the visible mode because I'm going to export it and just call it broken pillar. Here we are again in Blender, and I'm going to bring that OBJ the broken pillar. Now it's it. I'm going to create a couple of planes in here to create a blockout for that metal piece that we're going to sculpt. Then maybe another pass on the stone and call it finished. Now let me bring in a cube. Then this cube is going to be placed here. And maybe rotate that for a bit of more variation. Now duplicate because we want another one on this side. Now, let's see like they have been welded using these metal pieces. I'm happy with it. Now I'm going to export these two together to rush to be able to sculpt on them. Let's go for and make sure that it's selected on the object and it and then we could easily delete this place holder. For testing, I'm going to Bring a placeholder mesh and replace it with the ones that we created. Metal welding, good. Now let's delete that one, and now you see these are placed here easily. Now I'm going to take these two and try to sculpt on them. Let's increase the scale of dynamic. Let's bring the trim dynamic and go for the edges a bit. Of course, for easier process, you can divide them and sculpt on them individually. That way, the camera would work a lot better. Now here, and I'm not going to sculpt these sites because they are not going to be seen, so we're not going to sculpt them. Of course, we can take your time and try to sculpt them, but because we're limited on time, we're going to leave those completely. Now let's create the illusion that on the surface, there are some spikes as well so that they have been placed on these metal pieces. In order to do that, I'm going to bring in one of those insect meshes that has primitives. It's this one. Now let's bring in the fault sphere. If I try to bring that, let me go for depth. Okay. Now we need to damage these to weld them together. So let's bring the dynamis completely up and see the result. We do not need this one. But definitely these are okay. Let's do something. I'm going to go back and just try to randomly place here. I don't want them to look mechanical. One here, and it's okay. Now, let's go for dynamesh and try to welt them, now we're left with these to be sculpted. Very easy. Let me go for trim Smooth border, bring that Alpha because we need to sculpt on these to make sure that they look her metal, and they're not so la And he can bring the planer brush and use that one as well. Now it's time to bring in the damn standard and try to c a like they have been carved on the middle. Let's see. Now it's looking a lot better. Then let's bring some of those alpha brushes and go for smaller scale. Okay. Let's bring here because I believe these should be visible as well. Now we need to flatten them a bit. Let's remove the Alpha because I want to flatten and remove some of those details, not inserting new details. So I feel like we are in finishing a stage of sculpting in rush. After this, we will take care of the high poly and low poly, export them to blender. And we might also do some changes, if necessary. But overall, these are the finishing steps in the sculpt in Zbrush. I really wanted to create something like this. I believe you have learned something from it. Now let's try to see. Now in order to even go for more detailing, I'm going to go for this wood, and this one and try to carve that in here. Let me this one or the dam standard whichever you see fit, and try to c that here. In order to go for a bit of extra storytelling. Okay. And in here, let's go for another intensity. And then here, and finally in here. So Looks like there's here remaining as well, let's go for clay build up and try to sculpt negatively. This will help to blend the result for a better storytelling. Okay. Now, let's take a look and I feel like it's enough for sculpting. We have created the results that we wanted. Looks like there's something missing in here. That is lost that part. Because when I wanted to append, I just appended on that by mistake when I wanted to bring these metal pieces. It's not a problem because I have a backup in here that is the original sculpt. Now let me go for the other one, which is this one, delete. Okay. And then now sculpting is done. Of course, you can go bring in more details if you want to. Like I said before, there's never a stopping point for sculpting. You can always try to add more details. But it's about what you get from that sculpt. So far, I feel like it's enough we sculpt that stone wood and a bit of metal. And these parts are the ones that are going to be duplicated because we sculpted these on different sides. Later on, then we created low poly. We will duplicate these over and bring them rotate them to here to take the place of these so that we get a bit of texture saved because if we divide textures, for example, if we have ten pieces of wood texture. It's going to be more blurry than having, for example, five wood textures textured and then duplicate it over to here. We textured different sculpt it differently so that when we rotate the wood in different directions, we get different variations. These are going to be duplicated. I'm going to now call the sculpting lesson done. In the next one, we are in Zbrush again, but we're going to create the hypo, because this is like 100 millions of polygons. If we import this to Blender, it's going to really crash and not work all right. We need to create a decimated version for hypo and another more decimated version for Lp. See you in the next one where we go and try to sculpt me, not a sculpt, try to export these and before that decimation. See you there. 20. High Poly And Low Poly: Okay, everybody. Now the sculpting process is done. Of course, we can go try to sculpt more, but since time is limited here. We are going for optimization. So a lot of these are okay, but since we're going to import them to blender. We need to go for lower resolution so that we could just imported more easily to blender. Now, we're starting with these. Again, we need to pre process and then decimate to get different low poly result. First, we decimate them to 20% for hypo and then decimate that for low poly. It's going to have a bit of waiting time, but I'm not going to include that in the videos. I'm going to just pre process and then return back to you when it's done. Now go for decimate on 20%. Now it went to something like four millions of polygons and reducing the overall polygon for this object for the high poly. Now let's go for this one, which is the heaviest probably taking half of that polygon numbers. Again, pre process, it's going to take more to calculate because it's more complicated. And decimate on 20% doesn't remove the details. It only removes the unnecessary polygon numbers and keeping the details. Later for creating low poly as well, we will further reduce the amount of polygons. Now we need to decimate, and it, I believe we could even decimate it further even for a hy poly. Later on, we will return back and decide. So this is okay for a hypo. But we also we could decimate it even further without losing details. Just take a look and by decimating, now we are getting a bit of blurry in here. Let's not decimate these. These are on a good low poly budget. Let's keep them because these are kids, and they are important. Let's see about this. This is one millions of polygons. Let me pre process and then decimate. Not a very great change. I'm going to keep this. So here pre process. Let me zoom to see how much detail it will preserve. It removed a lot of those details. So I'm going to keep it like so. This one. Instead of 20, let's go for half of that number. And then decimate. It preserved the details. This one, great with no great loss of detail. Pre process and then decimate. Okay, great. Then I'm going to pre process decimate. Again, it's the same process until we get a reasonable amount for the hypo. Then when we make sure that the hypo is okay, we will go to deal with the. Then It's a good one. Again, it's repetitive. You can just make this visible. And then for all of these, you can go try to preprocess. It's going to preprocess all of these visible sub tools. It's going to process all of them. Now, I just decimated all of these and from something close to five something close to 100 millions of polygons, we went to something like 25, a quarter of that. So because this is subjective and yours might be different than mine, I went ahead and decimated these on different results. You might want to decimate more or less. That was the process of decimation. Now we have the hy poly created, and now we are ready to start create a low poly from it as well. Because this is no way close to something like low poly. We need to make sure that these are decimated further to create the low poly. For some of them, for example, like the well itself, these three. We are going to combine them to create the low pal. But for now, let's go for simpler objects and then try to create low poly for them. Let's start with these and start with simple ones. I'm going to duplicate and take this one and rename it to hypo. Then this one, let's rename it LP for lo pal. This is the naming convention that we are going for, and this means that it is the first piece, and then this one is the second one. Excuse me, for example, this one is the first one first one. Okay? For some of them, we rely on decimation. For some of them, we might go dynamic on lower resolution. For some of them, maybe we go for Z remeasure. I don't know, but let's see what happens. Let's go for decimation. This is low poly, and this is hypo. I'm not going to change that. I'm just going to take a look at this low poly. Preprocess and decimate. This is again hypo. Preprocess once more. Again hypo L et's pre process once more. Now this is something to consider as a good low pally. We could go even further if we want to. Let's go for half of that value. This is perfect. I'm going to keep this. If I just compare that, you see, it really captures all of those details. Of course, there's this project button that you could use. But I suggest that if that is not necessary, and the objects are close enough, do not use that because if you use project, it's going to push these vertices away and it will cause some issues to happen. Now this is something that I'm going to keep for the low poly. This one for well, these ones that we're going to later combine, I'm not going to do anything right now. First, I'm going to create a folder. O is going to be highly let me bring this to looks like we need to go create that folder again. And then take this one and create a new folder and call it low poly for better handling stuff. These one, I'm not going to do anything. Let's go for this one. This is going to be the hi, let me bring that. Then I'm going to rename it Then let me duplicate and bring that to the low poly folder. For this one, let's go see what decimation is going to provide us. Let me re tow Now, let's hide this one now. I'm going to preprocess. It's going to take a bit of time. Then so this is too much. I'm going to pre process to a point that it's well decimated for a lo pal. So this is too much. Let's go for 20%. Again too much. Of course, there's nothing wrong with using this, but since we're going to create an ultimate locally, we need to decimate it even more. So let's compare. That one is the high poly, and this one, the low poly. Let's see if we could decimate it to another number. This is good. It's going to capture those details plus being optimized as well. It also has that kind of sculpting that we provided. Also you can project details, but I'm not going to project. Let's go see what else we have. Let me rename this to and then I'm going to place it in the hy poly folder, and then create a duplicate, bring it here, and then rename to three LP. Again, I'm going to pre process. Let's go for 20%, too much. Again too much. This one is too much as well. This one looks all right. So it looks like we could go even further and try to reduce the amount This is enough. It's going to hold the silhouette p those details. Let me hide. Then again, we have these pieces to complete. It's going to be number four. And then duplicate and bring it in the low poly folder, excuse me, and then rename to Let's go for 10%. Again, and once more, you could even go decimate more. But I'm going to keep this. Later on, we might, for example, try to reduce these amounts in blender whenever we saw it. These are going to be combined. L et me take this one. For now, I'm not going to place them in folder, when I just corrected them, I will place them in their folders. Let me duplicate and this one is going to be low poly. Pre process, and we will look to see how that is going to look This is a smaller mesh so we could reduce the amount of polygon. This one is for the low poo. Of course, you can go even more, but I do not see fit. Let's see if that captures all of those details. Yes, perfect. This one is going for low poly folder, and then this one i poly folder. Now. Let's see about this. This is one of them that is going to be combined with others. Now these for the shingles. Let's rename them. Then I'm going to just rename and return back because rea is not something that is important for the tutorial. I just rename them and return back. Then pre process. Decimate It looks like we could even go one step further reprocess. And this time, let's go for very good value. It captures all of those details. Later on for baking, it's going to be perfect. But you see, because we have decimated too much. It has caused some issues in here. Later on, we will see what is going to happen. But for now, I'm happy with this. Now, this one, I'm going to duplicate and. Now pre process Oh. These are going to be low poly because we need to array these too much. But we need to make sure that they are low poly because they are going to be arrayed. Now this is a good number. This one, let me duplicate and this has a great silhouette, so we might go a bit to capture these details. I'll call you once more. And it's good, but we could go one step further to capture these details because you see there's a great silhouette there. I'm going to capture those and you see sometimes because we go too much. It will cause some issues on these surfaces. We'll see what we could do in blender to fix that. Now, this one, I just renamed now decimation Now, once more, let's go for 20% and. You could go even further if you want, but we see that in blender because there's something to be done in blender as well, so we're going to keep that. Di Now this is okay. So let's go for the next one, which is this one, so I'm going to duplicate and then renamed for a low poly. So Looks like it's enough because if we go it's going to cause some issues in the geometry. It captures the silhouette, it captures some details. Maybe some of these details, for example, that you see in here are going to be fixed later in the lender. Now let's go for this one. I'm really looking to convert this one to a quad mesh because we can go and try to go for a straight UV on this. Because if the UVs are Qd, it's easier to convert them to straight UVs rather than round UVs. So I think you are familiar with the concept. Instead of going for decimation, I'm going for dynamic. But I'm going to deactivate the project because there's a project by default enabled. So let me go for a very small amount of dynamic. So Now this is not the amount that I wanted. I wanted that to be more. So let's go for double of that number and then re dynamic. You see now, it's Qual But no, let's go back and try to pre process using dynamic. Using decimation master. And then decimate I think like one more level is going to be okay. Now, we have these details captured, and now let's go for this one, duplicate and then go for the. Now press to go for decimation. It looks like we could go one step further. Now it's okay. This one, let me duplicate. Then it should be decimated for lo. De looks like we could go even further. Once more. So you see going for decimation too much will cause some artifacts. Later on, we will fix results in blender if we saw that there was a problem or something. Let's go for decimate. Once more, so it's enough. Looks like we are reaching to those final levels. Where we had just a couple of more to decimate and then there are mixing of these to a new level with a new method. Now, let me duplicate that and then go for pre process. Decimate and then the process is going to be the same preprocess decimate until you're happy with the results. Now I'm happy with this. Let me go for this one, Duplicate and try to rename. Now, pre process and decimate until we get a proper result. Of, there are some presets in here that you could use, for example, if you set that, you're getting exactly the number that you place. This is a good number. Let's see about this area in here, which might be a bit tricky because there's a geometry issue in here. We will fix it later in Blender. Now, the last one that we are going to decimate because the other ones are going to be mix of decimation, maybe dynamic, and so on. And then decimate to get a proper result. And fix the issues later if there was an issue in blender. Now, these are okay, and now there's only those measures that need to be combined. I'm going to place in their own folders and return back to you. Now, I place them in their own folders. This is the hypolykit. And this is the low pally kit. Plus these ones that are going to be placeholders for a later use because we're going to, for example, take the low poly and duplicate it over here and use it. Then now it's time to go for those tricky ones. For example, let's start with the initial one, which is the d plus those concrete pieces. These three are going to be mixed into one geometry. Now, let me duplicate and then take this one duplicate as well and bring it here. Then now it's time for this one to be duplicated. Now, we have a kit in here that we could use. Let's hide these three. This is 12 and three. I'm going to combine these meshes together to create one low poly from them. How do we do that? We need to use the dynamic, but without project and set to a very low resolution. Let's go for dynamic. Now you see it tries to reduce the amount of resolution that you have to a very, very minimal number because we're going to create low poly. Again, let's go here, deactivate poly groups and project and go for a minimal value. And see what it does. So for this one, let's go deactivate the poly groups feature. Then in here, let's go for 512 and try to dynamish. It removed a lot of the polygons and a lot of those features, but later on we'll remove a lot more as well. Now, let's go for this one again, deactivate poly groups. Go four of 512. It closes a lot of those gaps, and then I'm going to take these three meshes and combine them together. There's the merge down option that you can find merged tab in here. Merge and merge. Okay. Now we have three pieces of geometry in here, which we're going to use dynamic again to mix them together. This is going to make sure that a lot of those issues are solved, and the geometry is mixed together. So re dynamic. And you see now, it's part of the same geometry. See we went from something like half a millions of polygons. Two half of that value. Okay? Now, let's deactivate blur and try to go for half of that number and then try to re dynamic to get even lower poly. Now, you see, this one is part of the same geometry. And that really depends on you on how much detail you want to preserve on the low poly. But I'm going for 128 and re dynamic once more. I'm seeing this value as a good one because we're not going to use all of that. There's a lot of geometry in here that could be deleted. This center part is going to be deleted. Then you can control W to unite all of those poly groups. Now let's bring these three up If you want, you can go try to project the details. Let me disable all of them. You see, this is the low poly that we got from that. Of course, we are going to reduce the amount of polygons even more. But since there's a lot of geometry to be captured, we need to preserve some of that geometry. It's good for now, but later on, we will fix a lot of those issues. We will remove a lot of them and see what happens. Now, call this one ground. And place that in our low poly folder, then these three are going for the poly. Now we're left with the well itself. So let me duplicate and this one, we have these three that need to be dealt with. Let's first go for this concrete. Then I'm going for dynamic on smaller scale without project and poly groups features. Let's go for 512 to reduce the am. Looks like we could go even further. Aa. I'm going to keep this. Now this one is going to take a bit of more time because it's more complicated than the others. Now let's go for such a value, try to dynamic. You see, it gives us a silhouette of that object while welding a lot of those geometry and closing those gaps. I'm happy with it. Now this one, let's again go for that value. Now, these three are going to be welded together. And because these have a lot of points in common, dynamic is going to remove what's in between. For example, the areas that are not visible, dynamic is going to remove them. Merge and merge. Now we have something more than a 100,000 polygons without project and poly group feature, let's re dynamic It welded them together. Now we have something that really captures that hy poly look, but we could also go one step further and try to reduce the amount. Let's go for 12028, and then re dynamic once more. This is something that I'm happy with. I'm going to keep this. Because it captures a lot of those details. You see it has removed whatever we cannot see by joining those geometry pieces together. Let's go back, instead of 128, let's go for 200 and re dynamic. There's a bit of problem in here. So, I'm going to keep this, later on, we will remove a lot of these here, those that are not going to be seen. Okay. Now we have Hip and Lopoly created. And the next thing is exporting them to blender for creating the and Hip and matching the objects together. But before that, let's do some Let me Bring these. You see now, they have only one single poly group. I do not want this because later on, it's necessary to have different poly groups on all of these objects. It's going to be good for creating ID mask to get different color on or material creation. These ones that we dealt with, let me I'm going to know it's not going to be mask, it's going to be poly group. Go for ato groups, and you see for each of these that is separated from the others, it's going to provide one poly group. You want to make sure that these are separated, and that was why we didn't use dynamic on these poly pieces. When we were trying to create the low poly. You have other options, but this one is the most reliable if you have separated geometry into one sub two. Let's do something. I'm going to enable customization and I'm going to bring this. Let's place it here. Store convic so that every time we load Zbrush, we get that button there. Now, let's go for the next one. Let's zoom. Now I'm going to set auto group to give each 11 poly group. That is going to be later necessary for creating variation mask for d of these stones because I want them to have different color so that not all of them are the same color. For a bit of color variation, it's okay. Now, this one, it's going to be one poly group, but this one let's set auto group, set the different part of that sub two. Then now let's go for this one as well. Let's see. Now we have different poly groups for these meshes. Now what we are going to do is exporting these to Blender for unwrapping. Of course, the low poly is going to be unwrapped. The hypo is there only for matching the material and so on. Let me bring these and that is going to be simple. All you need to do is setting their visibility and exporting them. Now these are set to visible. I'm going for FB X export and make sure that you have set that to triangles if you want. Now, let's deactivate triangles because these are ods, and we need ods for a better wrap, this one and this one. I'm going to, make sure that smooth normals is activated and export, and we're going to export let's set this one to be low poly. Then deactivate and make sure that we go select these ones. Then when exporting, this one doesn't matter if you triangulated, but make sure that smooth normals is activated, export, and then hypo. This is going to take a bit of time because there's a lot of geometry in here. But in the meantime, let's go to Blender and try to import the low poly and match it with the block code. This is the low poly. Now, all of these need to be set on different scale, and it's even the low poly is looking all right. There's this one as well, which we need to remove. What you need to do is bringing the s menu and you are going to use clear scale. Let's go back and you see it's matching with the blockout the best. It can. Then if we hide blockout, this is the result after all of that effort, and I'm really happy with it. We're getting good results. For now, we're not importing the hypo to blender because it's going to make it heavier for performance. In the next lessons, we are going to unwrap these, and then when we make sure that everything is unwrapped, and a lot of these are going to be removed as well. We are going to then bring the hypo match them, create materials, and then export them to blender for texturing process. Next lessons are going to be in Blender CU there. 21. Start Uv Unwrapping: Okay. Now it's time to go for unwrapping. But before that, I import the hypo, of course, scale is wrong. If you want to clear that, just go for clear transform and clear scale. To visualize that like so. Then compare that with the low poly, and you can already see that, high poly is going to work out right. Now I'm going to take that, remove it, and then bring the low poly and try to unwrap it. I'm going to start with smaller ones and simpler ones. Of course, there are optimization as well that we need to do. For example, this one that you see in here, this well itself, has a lot of polygons that are not going to be seen ever. So they're going to be hidden here, and this one as well has a lot of polygons that are not going to be seen. So we're going to have an extra level of subdivision, and you want to make sure that you bring the pace orientation menu. Let me ring that menu. Now you see everything is blue, and it means that the faces are facing the correct way, and there might be some very limited errors. For example, you see in here, this is a error caused by the decimation process. There are some places that need to be corrected. For example, if we take a look at here, you see, it's very minimal. But if you want to be perfect, you can go try to re, try to create new faces for it. And then call it done. Now, for phase orientation, it's okay. Now we need to start the unwrapping process. Us a bit of optimization. Let's start with these and let's bring the pivot in the center of all of them. First, let's make sure that all of these have the UV maps generated because they are not using that UV map. Now, I'm going to UV editor, and in here you see there's nothing because we need to unwrap it first. So let's bring the geometry, and the method that we are going for is selecting the edges that are sharp, for example, having that short transition, and then convert that to a Sam. So we're going to select these and you can hold down control for picking the shortest path to the point that you select, for example, this one, and then right click and you're going for Mark SM. Okay I just brought that to a quick favorite menu so that when you prosecute, you're getting the marked seam like so. And then whenever we see a sharp transition, we are going to convert that to a seam. This one and this one mark seam. We take it and select. Let's go to select these. Right click wrap. Then you get something like this wrapped completely. This is the process that we are going for. First, we create seams on areas which we feel need to be converted to seam. And in order to go for a faster selection, you can go for control select mark seam. Let's see, I'm going to select Shade Smooth. This is because of the material because we are in material view. If you go to shade mode, Let me bring the roughness The roughness is up, but let's not use metallic on it. Let's bring the color to a reasonable number. Now, I'm selecting these edges. Mark Sam. Mark Sam again and these two mark Seam. This one, we do not need to make seam, so clear Sam is available there as well. Control click. And then mark Sam until you close all of the gaps. Mark them. Looks like the first is done. I'm going to select all of them on wrap. And now you see that, you get perfect geometry represented in the UV island. We have these two UV islands and these two side. This is the process of UV creation. Of course, later on, we're going to combine them in one UV shell because we're going to optimize in UVs as well. Let me select this. First, I'm going to see if I could remove some of the geometry by merging by distance. It's fine. Now, I'm going to select these areas that look right to be converted to seams. Until here, these ones are the easiest ones in this lesson. We definitely have the ones that might be more challenging, but the process is going to be the same. Whenever you have sharp transitions. Mark them to be converted to seam and you're good to go. Then later we will convert these to be set to smoothing groups. For example, to separate these based on the smoothing groups to make sure that edges are going to be a bit sharper. Let's select from here and Control click to here, and then one way from here to here. Let me see, take a look around and it's okay. Let me select and perfect. We get the amount that we want it. Let's go back and try to go for this one. This one, you have the option if you want, you can make these their own UV shells. But I'm going to just keep them the same. Let's go for a bit of optimization. No, it doesn't. So let's try to select from here. Let's go to solid mode, and create a material for them. It's going to be underscore well for now. This way, we have more visualization on the UVs. Let's bring the color to a better color. Let's go to solid view because this provides a bit of guiding lines. And control, click your way. If it doesn't, just go back and try to select another path to be selected. It looks like there's a bit of geometry problem in here. That's so minimal. That is really your choice if you want to fix. Let's take and we could easily remove it. And then select your way by control clicking on these short edges. No, this is not a good selection. This is perfect. Let's isolate and there's a bit of tricky problem in here. Let's see what we could do about it. Let me select everything. If we could merge, it merged. And now those problems are gone. Sometimes merging, some of these will result in a better result. No notes from here. Let's go from here instead. Let's take this edge and continue from here. You just want to select the edges that you might see. Okay. This is a bit tricky because it's a bit rounder and those sharp defined edges are not present in here. So we could go and unwrap. I feel like we have probably Perfect. Now this one, this is easier because of the of polygons that it has, it's more optimized. More optimized means that it's going to be easier for P because it's basically on a lower resolution, and the selection is going to be easier. It is going to take order to select your polygons. But but having greater amount of poly B gon will result in easier selection, but it's going to take a bit of more time calculating. It really depends on your workflow, and to see what works for you. Here you see let me select I'm going to select all of them. Now that one is the last one from that shingled kit. You see because we do not have that amount of polygon to select, we need to select something that might be a bit off. But if you have greater amounts of polygons, it's going to be easier to select. Okay. Let me see. And generally, let's see if we could optimize that a bit. So okay? Now these are done. I can hide them and we can go for the other pieces. There's something in here that is the placeholder mesh that we created in Zbrush. Let me take that and remove it. Now we can go and try to continue. We will leave these two for later stages because they are going to be a bit tricky. Let me take and I believe that we could go for more optimizations on this one because It could be optimized a bit more, especially on these cavity areas. So let me select these and go for optimization. Let's go for that selection mode because I do not want to select the other meshes. Just go select these ones that you see in here because we do not need to make sure that we want to make sure that these are a bit more optimized. Now this one is better. For capturing those hypo details, it will look all right. Let me select these. Increase the selection, converted to point selection. Then let's take this, try to merge. It merged those vertices and now it's time to go for this one here. First, try to select these edges. Now select these outer edges as well, and then merge. Let's not merge that L, so Now this one is a lot better and more optimized. So let's take this and this one, and join. Now we are able to go and try to unwrap this. Mark them, that is an easy piece. Because the edges are so defined that we could easily select and mark Sam. F here to here, great. Now from here. If it doesn't just go back a couple of polygons and try to select from there, a couple of edges and select from there. Depending on how important the object is, based on the player's view, we decide on how much effort we place in creating a good UV shell. Let's create a UV map. Perfect. Then I'm going to take this and hide it. I think the unwrapping process might take two or three lessons depending on the workflow. So first, let's create a UV map as well. And select. First, let's go select the vertices, try to merge, not so this one is better. Now, we need to select these edges and try to sharp or mark seam. Because it has some cavity in here, I'm going to include them on the CUV shell. But if you want, you can separate that. But I'm not going to separate it because it doesn't matter. So there's this one let's remove, and we're good to go. Sometimes when you decimate too much, it might cause some. So we want to make sure that the decimation process is going to be taken care of. For example, in here, you see, there's a bit of problem there. We removed that. Then let's select easily here. Let's select that one and select this one instead. On wrapping process might not be everybody's favorite because that takes a bit of time. And it's not really that interesting compared to something like texturing or creating the object. On AP, let's see what we have. Looks like we could improve this one a bit. Instead, let me select from here, Mark Sam and the select these from the seam. Now, on AP, We will later deal with this to see if that needs to be dealt with or not. So Let's go for this one. It's the same thing, just like the previous one, a bit of primary optimization, and then looks like there's a bit of problem in geometry caused by that optimization. Just by manipulating that vertice, we were able to fix the issue. Now, looks like there's something in here as well, te and re, let's see what is going on here. That could easily be removed. Now let's select from here. I want this to be seam. So select these two j. It will create some extra vertices, but it's going to be good for selecting as a seam. Mark Sam and then this one as well. Know from here, and then I believe this should be the final one. Because these are organic shapes, for example, these are not a shape like a gun or a mechanical piece that needs to be on place when creating seams. It could be off by a couple of seams and having no problem. Okay. Let's continue. And I'm going to start with this. Let's see if we could optimize. Then we need to select caps. No, not from here. Let's select this. Then this one, cylinders are generally easier objects to because you need to the caps and then the body itself is going to be just one piece. But the more sides a mesh has, the more complex the unwrapping process is going to be. For example, It's a lot more complex to unwrap something like a cube than a cylinder because a cube is going to take longer and it's going to have more sits. Something for placing seams. Just make sure that you place seams on a place that nobody is going to see. For example, this bottom side here looks awesome place for placing that seam. You see, by placing only one seam, you are able to separate now, I just place the seams where they needed to be. And then let's select our way through here. Now select, and we need to create a UV map and perfect. So generally we get a good result. Now let's take that and no me. For now, we're only caring about wrapping them So then we will make sure that we place them on their own UV shells and on their own materials. We might create, for example, some materials depending on our workflow. So let's go for this one and try to unwrap from here. C cube is going to take a bit more because it has more sides to deal with. Then you need to make sure that those are going to be exactly on the same edges. I mean, the U V seems need to be placed wisely as well. That's why you need to care a bit more on something like a cube. For something like a cylinder, especially some a wood, which is going to be rough and organic. You do not need to that. Because you do not need to place a lot of seams, only separating the caps and the cylinder itself. Now, let's bring in the UV map and and it's going to be a good one. Later, we will just make sure that we do not have any UV problems. But now, it's only about creating wraps. So we could separate these from the But we could include them in the same UV shell as well. Let's see what happens. If there was too much distortion, we need to make sure that we do something for them. But if there was minimal to no distortion, we might just leave that to be in its own place. So converted to seam this one as well. Now one extra seam that we need to go vertically. Now this one If the shortest path didn't work a right, we can go back and try to reselect. Here as well, let's place a seam. Now it's all created. Let's create a UV map. Wrap, and it's perfect. We do not need to change anything. Let's take this one and hide it. You see, we are progressing more and more as we go. This one is easy as well because it's not so complex. Of, if you want, you can just try to optimize these if you want. That looks like there are a bit of problems, let's select and merge by distance, not that much. Because if you merge too much, you're going to have problems when selecting the seams. You want to make sure that you have enough geometry to go for sea creation. Okay Let's see perfect and now final seam in here. Looks like there's a problem in here. Let's take and remove done and looks like we could go for another and. Per Let's hide it. Then again, let's go here and try to unwrap and this part is not going to be seen. I'm going to take these and completely remove them. Now these are seams by themselves. Just make sure that you select the best option possible. If you have bigger options or more options, it's easier to select generally. But if we have not enough geometry, it's going to be a bit more difficult. Since what is something directional, we need to deal with that directionality as well. Let's remove that one. Because all of these UV shells need to be facing a correct way. We will deal with that as well. Let's take that and remove. Because these are hidden under the mud. Nobody really cares if we place them here. Or if we completely remove them. Now, is something like this is much more complicated than something like a simple cylindrical piece because it has more geometry to be to be dealing with and it has more complexity as well. Because there are a lot of sides that need to be converted to seams and then let's see what happens. Again, these need to be converted to seams because there are some kind of a racing effect and we need to take that into consideration. Now, one in here, and one in here and one here as well. Let's place our seams like, and this top part as well might be removed because nobody is going to see that, and that is hidden with that metallic piece. In order to save texture and geometry, we could easily hide it or remove it. Mark Sam, now, select this one, select linked and remove. Now let's create a UV map for it. Let's see about here. I could add seam lines in here because you see it's. If we some seams in here, it's going to convert that to simple U Vs rather than a square because a square takes more and it doesn't allow others to be placed in here, for example. But if we have something really like this one to be a sheet or something like that, it's going to be much easier. Let me select that once more. You see now, we have a better result there. In here, that part is not going to be seen, and this one is going to be hidden under metal. And finally, one, two, three, four, and these ones plus this one. The result is going to be the same. We need to place the seams and delete parts that might not be needed. For example, this part in here, let me go for this because nobody is going to see that remove, but this one is going to be there because we have that in view. These ones as well are going to be removed later when we unwrap these. We will symmetry them over and rotate them to make sure that we are facing the other direction. We will show these for these ones. Okay, I'm going to pause now and in the next lesson, we will finish the unwrapping process, or if we didn't, it's going to maybe take a couple of lessons to finish unwrapping. But I believe that there should be enough for half an hour to unwrap these. These remaining ones. See you in the next one, where we go for unwrapping the rest of the pieces and these ones as well. See you there. 22. Continuing The Uvs: A Okay. Now we are finally reaching to a point that we could maybe call this finished in this lesson. We are going to unwrap and maybe it finishes here. Let's see what happens. First, let's create a UV map. Then we're going to unwrap. This is going to be a complex one because it has a geometry. It has a lot of complexity. And it has different forms that need to be taken into consideration. I think like we're going to separate this handle from the main one, and one from here, and we can clearly see that there's a line that follows. After making sure that we have unwrapped all of them, we will place them in a UV sll and make sure that they are directional. For example, when later, we are going to create textures, we are going to create wood texture. You know that wood is something directional. It has a lot of directionality. For example, the wood fibers are going all in the same direction. If we want to preserve that, we need to make sure that we place them all in the same direction. We will explain when it's time to Now these could be separated as well. This is the most complex piece that we have been creating so far. It has a lot of complexity. Because it has a lot of shapes. Of course, we could have made these separated, for example, these handles, we could just make them a floating piece. But it wouldn't be that okay if we did that because we wanted to look authentic. So let me create a seam from here. No, let's place it on a place that nobody is going to see. These two could be removed. Then let's place the seam in here, in this diction. Then for the cap, Now, let's separate this side. I'm just thinking like, do we want this to be separated or do we want it to be included in the same just like the other ones? For example, we could place all of the wood textures in one UV shell. This way, it would be more optimized, but we're going to lose a bit of quality. We're going to take all of these in consideration. There are a lot of deciding factors that you need to make sure to keep in mind. Let's place a seam in here and looks like there's a geometry bug in here. Let's remove all of those by welding them. Then this one is going to be converted to seam. Let's go from this direction. No, this one is better. Now we are separating this. Let me just go around. For these handles themselves, we could just convert them just like other cube pieces that we had. We could divide them into pieces or we could go for something just like one regular seam. Let's see what happens. First, Then I believe this should be the most complex geometry that we have been unwrapping, because it is composed of many simple pieces combined together. It's just like going and trying to unwrap a lot of pieces at the same time. This one is not going to be seen. Let me see if I know, let's leave it before now. Later, we will decide if we want to keep that part or remove it. Because we do not have a lot of geometry in here, it might go off for a couple of polygons, but doesn't matter because the geometry itself is small, and that seam could be smaller as well. Let's place a seam in here, no. Let's place it on a place that nobody is going to see. This one in here, Let's go for initial wrap to see how that is going. Let me see this one. You see because we do not have seas in here vertical seams, I mean, Let's place the seam in here and test it. Then let's take rap. Let me see this. This is the wrap that it has done. Looks like we could go and try to place some extra seams in here. It's going to be easy because it's just a couple of polygons. And it's not going to take so long to create. Then these round pieces as well. There's small amounts of geometry so that could be a problem or something okay depending on the context. Because there's not much geometry to choose from you can find the geometry easier, but there's a limited amount of geometry that you can select. Let's take a look, go for another rap, and you see now they are looking a lot better. But these ones, we might go for some seams to make sure that they look because the more straight themes like these ones, the better it's going to be because something like this is not going to a lot of texture resolution because it's going to take a lot of texture from the U V. If the piece is going to be straight, it's going to be a lot better. Then up to here, Now the last one is this one. Mark Sam. So it looks like there's something up and we need to go manually select th here. And then this one, and finally this one. Now, let's check to see what happens. Mostly it's okay, except for these round pieces. This one, Let's place one seam in here. Looks like we need an extra seam to separate this part as what I forgot. Because here we have more geometry, it's easier to select through Now let's take one more. And now you see we have a better result, but it's going to be a couple of other seams needed here. So let's divide this one, mark Sam and wrap. You see, this is now better. It's going to form these. Of course, you can just if we had quod, you could go for something like follow active quod and convert it to a straight line just like this. But since it's triangulated, we do not have that option. Convert this one. And this one to seem unwrap, this one and this one separated and one from here to here, and one from here to here. Now we get something better, Let me see which one this belongs to. Okay. Let's continue the same to here. Let's go from here to here. And one from here. Then unwrap. Let me see which this one is. Now you see we get a more straight line there. This one is now okay. I'm going to hide it. Finally, four remaining wooden pieces that we need to consider, and we could call that done after that one. Now this one and it's going to be easy one, just like other wood pieces. It has caps, and of course, something like this, which makes it a bit more complicated, but generally it's going to be all right. So we have a great deal of polygons to choose from. Now, one in here as well, you can already see the cavity in place. And then select this one and this one, join it. And then from here to here. Then we need a couple of extra seams to separate that because there are some sharp lines in here. Let's go from here to here. Then gradually one by one. And there's one final in here done Unwrap perfect. So hide this one as well and go for this one. This is going to be less complicated than previous one because it's just a similar piece, but with amount of complexity. Looks like there's a problem in here. Let me take all of these merge. If that doesn't work just bring the thhold up, and it so work perfect. So let's take these as well merge, and now it's working. Sometimes you see problems caused by decimation. And you already have seen how to fix those issues, easy, just try to manipulate vertices, polygons, faces, and et cetera, and it should be good to go. Looks like we could place one seam here. If the selection didn't work, it can go back a couple of polygons and try to reselect from there, and it should be good to go. We could have also optimized this one a bit better or optimize that a bit more. And one last Now, let's test on wrap. It's not bad. Hide and now finally one of those last wooden pieces. There's a geometry in here to be fixed. Let's weld those ices. Then we need to go on these sharp edges to choose from. Then when we make sure that the unwrapping is done, we will make the UVs directional. Very easy process. We will just take the UVs, rotate them in a way that, for example, when we import a wood texture or something like that, we do not need to project that using t or like that. We get the texture exactly like it be. Looks like one seam in here and one Here, we will test it to see what happens. Looks like there's a bit of problem merge and then take this one remove. If you solve problems, you can easily solve those issues. Now it looks like there's a bit of problem in here as well caused by decimating too much. Okay. See by simple merge, we were able to remove a lot of those bad results. Let me take this pa. If we remove it, no, L et's unwrap to save the problem existed. We will return back to fix. D. Now, This one in here, we could optimize it a bit more. Let's take all of these merge. Let's keep it the way that it is. Because it's going to be hidden, and nobody is going to see that, again wasting time on something that nobody is going to see Okay. Now, one seem here, one here. It looks like there is one more unwrap of these elements that we need to do. Let's go for the first un wrap. It's not bad. Let's select these. These are joined, and it means that it has not been closed. There's an open seam. This is in here. Now it should be corrected. Perfect. Now later on, we will return back to see if there's any texture distortion or things of that sort to fix. Now, this is the last pillar, like the previous one, when to separated. But this is two pillars. So the process is the same. It might take longer to unwrap, but the process is generally the same. Now, a vertical seam is needed here. Now, later on, we will go for those horizontal seams as well. Until here, and then this one. Now we're going for those horizontal ones. Just to make sure that we get no texture distortion at all. But also make sure that was you close those gaps and leave no gap behind. Okay. Now this one and this one. So, let's see what happens. But first, there's one more horizontal seam that we could place in here. T. To distribute the texture better. But first, we need to take care of this one as well, and I believe that this part could be removed because it's hidden under that middle and nobody is going to see that. You see, if you spend a bit of time, you will be more professional at creating UVs this way with more dense geometry. So not too bad. Let's go from here, and then to here, and then finally, this vertical one, let's select A. Let's see about this. I didn't close this gap, Now it's a lot better. So let me go back and hide this one as well. Now we are left with these two pieces. But first, we need to optimize them or geometry, and then we will make sure that we unwrap them. So this one as you see, is hidden in here. Let me do something. I'm going to bring in a cube. Let's rescale and place it somewhere here. Okay. Then take these two. And I'm going to take this and this one first, let me go for Boll tool. Of course, I can go and bring the Boolean modifier, but it's easier if you go to preference and activate the bull tool. That is it. Then I'm going to take this and this one as the target control minus. No, I should have gone the other way. Let's take this one and this one as the target control minus. Now you see it has cut that geometry like so. Now let's go back and you see now, we have deleted that geometry without any problem. Let's take it, apply the modifier, but then we could Now, this one could be deleted plus this one so that we optimize the mesh a bit more. This was for the optimization of this one. Now let's go for here. Here you see if I take that cue and bring it to this level, all of this is going to be unnecessary. So let me take this one as well, and this one control minus end there and then activate Now, this one could be deleted plus these. Let me remove that to break the connection, and then take this, select link to geometry, and you should be able to remove that. And these ones as well. Now, I'm happy with this. So let's see what happens. Let's first remove that. Then also, there's the center part that is not going to be seen by anybody. Let me bring in a cylinder and just about the scale of that stone piece, and then take this one. And then try to ble in that one as well to remove some of that geometry. Perfect. Now let me take this one and delete. Now it's time to create UV for these ones as well. They already have a basic wrap. Let's do something because we need to place a couple of seams. Let's place the seam on somewhere that is hidden. Let's bring them back. Let's bring all of them back. I'm going to place the seam in here. Let me just take these, isolate, and I'm going to place the seam from here until here that nobody is going to see. One seam, and then another from here to a place that nobody is able to see. So let's go from here to here. Now, let's go for a basic wrap. There's definitely room for improvement because this one is nothing like a practical that is f. Let's go for others. I'm going to separate The side because we have a lot of geometry to choose from, it's very easy. All you need to do is selecting your way through and connecting the geometry. So one more wrap, and you see these two pieces are unwrapped better. Now, let's do something. Let's place a seam in here as well. Let's place it somewhere that is around these cavity parts and hidden so that it's more difficult for the players to see. I'm going for these cavity parts and these ambience or collision parts. So that it distracts people from seeing that result. Let's go again and connected to here. One more unwrap. Let's see where this one belongs to. This is here and looks like we didn't close that gap. There's an open seam in here. Let's see on this side. Now we get a better rap on that piece. Let me hide it. There's this one that we go for. Let's start from here. And then from here. Now, the first on wrap, let's see. It's okay. But we need to place a couple of more seams. This is for optimization. This is for making sure that. Let me see if I could use that because it has some ugly engons and triangles. It's not letting us to make that more optimized. So one seam here and one more seam here. Now unwrap. This is better. The best that it could. Now, we have unwrapped all of these pieces, and now it means that we need to place them in their UV shells to create the UVs. Let's take these all except for these ones that are going to be duplicated. I'm going to use the UV toolkit. I have provided the link. Let's apply a checker map to see how the texture resolution is working. If we see problems in UVs, we will be noticed by taking a look at the to see how the textures are looking. Of course, these should be also the same scale. This is not something optimized. This has more resolution. Each of these squares means more resolution. So we need to make sure that all of them go for something like the same resolution. Then we need to decide which ones to pack in the texture set, which ones are more important and these kind of results. 23. Final Uv Adjustments: H Everybody, we have done the unwrapping process. Then based on our references, we see that there's a rope that we might need to create. We decided that we wanted to go for a rope, but we can also create a chain or basically whatever similar prop based on the same technique. We're going to create a tiling mesh and texture that, and later on, we will return back and try to fix it, create geometry with it and et cetera. Here's going to be something like the one that we're going to create. Okay. But before unwrapping and correcting the UVs on these. Let's go and create our rope. The basic shape for that rope is going to be a circle. So we're not going for mesh, we're going for curve instead. Let's bring a circle, and then we could and try to bring the geometry resolution down. Let me see because we really do not need to go for a very detailed mesh. But since this one is going to be high poly, let's go for the same number, and let's try to rescale until it matches the proportions of what we're going to create. Now we're going to go for this one and create a shape with it. You see, it's just some ropes wrapped around in this fashion to create that result. I'm going to bring this here and depends on you on how much of those ropes you're going to create. I'm going for three. Then let me take this one again, duplicate and bring it over. Then I'm going to take all of them and control J to join, bring the pivot in the center. Now we have three circle curves connected. In order to create depth and dimensions for it, we need a modifier, which is called screw modifier. You see the icon suggests and how it's going to work. Now we need the amount to work. You see, now it's just trying to create that kind of a rope that we expected. Now, let's bring everything back so that we compare this with the dimensions of what we're going to create. It's not bad, but we could also try to reduce the scale later. But for now, it's okay. So now, let's go and try to create a mesh that is tiling. I'm going for maybe 2 meters of geometry. So I'm just taking a look at here. And I'm going to stop whenever I see, it reaches 2 meters, because I want that to be a tiling mesh. Now in order to create that wrap around format. We can go and try to use this. But now you see that it's on this number. If you want to be exact so that the mesh tiles perfectly, you want to go for double that number. Here it is. If you want, you can go even more. Let's go for double of that again. It's good, but we need to go for more geometry. Now it's looking a lot better with that resolution. Now, because this is not a geometry, right now, we're not able to guess the exact dimensions. So let's go in here, convert to mesh. And you see now only this instance is 100,000 polygons. So it's okay because later on we're going to change on the low poly file. Okay. Now let me Take that and bring it here. Then this saw is what we're going to export and use. So we are going to create low poly and high poly. When I take a look at here, you see there's a bit of off from that exact 2 meters. Just select the dimensions. Now you see if I write two, now it exactly spawns in here, which is perfect. Now this is going to be the base for our result. Let's go for a lower number, not like so then I'm going to duplicate that and increase the resolution for hy poly because this is what is going to be baked on top of these. Now, you could just export and bake them like so, but you already know that because these are geometry that have overlap, the bake might go wrong because there's overlap in the geometry. You can just bring these back and try to separate them from high **** low poly to make sure that they are three ropes separated and later on that the bake was fine, we will return back and try to fix them. For now, I'm going to apply the modifier. I doesn't let's go here and convert that to mesh. It already applied the geometry while correcting the result. This is the low poly, and this is the high poly. Let's explode this mesh. Just go in edit mode. P and by loose parts. It explodes the mesh to the consisting parts. Let's rename them for now. That is temporarily because we're going to rename them later. Now this one as well, by loose parts. This is going to be one, two, and three Now we have poly and low poly separated. Now the next thing that we need to do is unwrapping this one as well. And we want to make sure that the texture is going to tile as well. Let's do something. I'm going to take the and bring them to the low poly folder and hide these for now, and we're going to unwrap the. Let's see if they have UV map, Yes. So just make sure that you place the UV seams in a place that nobody is going to see. For example, here, Mark Sam and this one and this one in here. Now let's take all of them on wrap. Then because it's all quads, we can take the geometry and using the U V squares. We can just create straight UVs so that we can tile them correctly because it's needed for this process. Now, we just need to make sure that these are snapping perfectly though, let's place them here, and you want to make sure that the textures tile. This is like a trim sheet, and you are already familiar with the concept. You want to make sure that it tiles horizontally or vertically. So let's take this one and bring it to exact same place. And this one. You want to make sure that all of them are basing the same direction being tiled. Now that we make sure that these are exactly on the same line in here, we need to make sure that the tile in here as well, so that when we create the texture, they're going to tile perfectly, so that when we array, we have no texture seams. So let's take this one, for example. And then if we try to scale, it scales in all of directions causing these to go outside of the borders. So there's a good option in here. If you go the pivot point, there's this two dcursor. And this two dcursor is placed in here, and it means that it's aligned with all of these lines. Now if I take these and try to scale, you see, if I try to scale only in one direction, now because it's scaling from here on this stays in place while pushing this one to the boundaries. L et's take this one as well. Scale alongside x, because it's scaling from this line, it's going to stay in place and this one going for tiling. And this one again, scale in x. Now, let's take these, bring them up in y. Place a bit of distance so that there's no texture bleeding. Now to unwrap for these is done, and now we need to more data in that UV map. Because you see this is optimal. We have a lot of wasted UV space. It's nothing close to being optimal. The way that we're going for is placing these kits on the same UV, and we could also place these metal pieces as well so that we have all of these on the same texture and UV set. You want to make sure that the name of the UV map and the name of the material is going to be the same. Now, I'm going to take these then we could go for a pack. Also, this is a UV packer. I've included the install link in the project files. You can take it and try to use it. Let's go for a padding of one and set that to high quality and press pack. Se now it tries to pack them the best that it could in between the zero to one UV space. But there's a problem because wood is something directional. We want to make sure that all of these are facing the same direction. For example, when we apply a texture, we want to make sure that all of the wood fibers are going to the same direction, if they are vertical, or if they are horizontal. For test, I'm going to apply one material on these. Let's call it wood or whatever. And then bring in a directional wood texture. So base color image texture. There's an image that I wanted to use. Now you see the wood fibers are going in different directions. These are okay, but this one not because you see the V need to go in another direction to match the direction that we want. Now I'm going to take these. Let's scale them twice. This is because we have more idea on how the UVs are going to be directional. So let's see the direction of this one is okay. And then this one is okay as well. But this one isn't. Let's take the UVs and just try to rotate it 90 degrees and we need to go to bounding box so that it rotates around itself, and this one as well. Let's make that directional. This one is good. Let's see about these. This one definitely needs a 90 degrees rotation. Because we want them to all face the same direction because later on, we could also apply triplanar texture, but it's going to be blurry, but we are going to save ourselves a lot of trouble down the road. These are good and now let's go for these ones. This is something that needs to be rotated. This one is okay. And this one is okay and done. Now you see in here. So let's rotate that. This one is okay. This one needs a rotation. And this one needs to be rotated, and this one as well. Now, this one is cool. It looks like this one was correct with just rotate by mistake. This should base in this direction so that they match. No, this one should be basing this w. This one is okay. And this one as well, let's rotate. And the rest of it is okay. Now, let's go for this one. Here the rotation needs to change. And this one needs to change. Later when we wanted to pack these, we make sure that we disable the rotation factor. It's all facing the correct direction. We're going to repeat the same process for those other UVs as well, those that are wood. So this is facing the wrong direction. This one and everything is okay. When I got a final one in this kit, The more visible the object is, the more V, you want to apply for it because they're going to be seen the most though it's important to have the most details. Now, it's applied, and let's go for. So these are not directional. They're okay by themselves. And this one as well. It doesn't need directionality. Of course, you can just go for directionality, but it's going to be a waste of time. Now I'm going to place all of them in one UV map. So disable the pre rotate and set the rotation to zero so that they do not get rotated. And apply. It does a good job at placing those on the UV map. But it's something wrong. We need to take this one in consideration as well, because there's overlapping in here, and we need to take these and try to scale them uniformly. Or let's go try to scale by this UV. So there's a bit of waste that U V space in here. Let's see what we could pack to avoid some of that. So I'm going to take this one as well and try to pack it with these Looks like here we are, and now I'm going to take these first. Let's try to try to pack it by itself. Then I'm going to take this result and try to place it around here. So let's do something. Looks like I forgot to bring this one as well because this one was on the same U V. Now, let's see what we could do to prevent some of that result. I'm going to apply a two K map on these. If I just take them I said this way we're getting a more even distribution of those circles. I'm going to just those squares, excuse me. I'm going to scale them only alongside. Then bring them up. Now we can re a bit of space for the So let's see everything should be selected. D select these only select these ones and try to scale to use more of the UV space. Now, it's more optimal, and there's a bit of more UV space in here. I'm just thinking to bring something more to these UVs. Now, let's select that one to test instead. This one plus. Now, looks like we could place this in here. So Let's rescale because this is something that is on the top of the composition, and nobody is going to really see that from far away, close up, excuse me. We could place it here or Let me see. There shouldn't be overlap in here. So let's bring that here. It wouldn't be all right. Let's go back and bring these instead. Now I'm happy with this result. We could also try to reduce the UVs on these only vertically. Now let's bring them up like so, and then we have the ability to take these and try to scale them even more a bit. Let's go for two Dcursor, and now we get a better texture overall with more optimization. These are the ones that I'm going to create a material for hand call it M underscore kit. Because mainly these are going to be repeated objects. This one and this one, but we place to save a bit of texture. Whenever we brought the hy poly as well, we're going to rename those accordingly. So let's hide those. Now, let's start to place these. I'm going to place this 11 UV shell. So let me go for we pack and try to pack them. Looks like this is the best way that it can go. Let's try to select from here and try to create some vertical seams as well, horizontal seams. To see what we can do and optimizing that. D. So mark Sam, and now unwrap once more. See the more seams you place, the more optimized, it's going to be. So let's go ahead and try to create some more seams in here to be more optimal about that. Because by using more UV space, we are able to get better texture result when baking and texturing later in painting. Now, looks like there's a bit of more and make sure that they are connected and. Now you see it gets more optimal even more. And let's go and place some UV seams around here, it's going to take more to unwrap, but it's going to be crucial for unwrapping later. And for these, we might go and bring triplanar textures because we have a lot of seams in here and these might cause some artifacts while texturing. For this one and that stone piece, I mean the well itself, we might just Use triplanar texturing. No not from here, and we're going to use triplanar texturing because there's a lot of UV seams in here. Wrap. Looks like this is the best that it could and let's let's create a material for it. Underscore ground and hide it. Then this one, we could also It's already packed. Let's go for rotation. Now this is better. Let's bring that ground as well and pack with the rotation activated Now, this is not going to be something helpful. Now, let's create material for it and underscore stones, hide it. And now we could also place all of these in one U V texture, and we want to make sure that they are directional as well. Before that, let's apply that wood texture. It's crucial to make sure that they are facing the correct direction. D select these. Now, Let's first scale them twice so that we can see the directionality and start to work on these. Now, this one, this one, this one and this one need to be rotated. 90 degrees. Everything else looks fine. Let's go back, hi and try to work. This one needs to be rot. Everything else should be fine. So let's hide that as well. This one you see is facing a wrong direction. So let's take this. Try to rotate. This one needs to be rotated as well. And this one as well need to be rotated. And plus this one. Everything about this one needed to be rotated. Hide. Now everything in here needs to be rotated as well so that all of them face the correct direction. Plus this one plus this one. So it looks like there's a seam problem in here. Let me take Mark Sam. Okay. We're done. Wrap, and then rotate to this direction. De. Let's hide and go for this one. The most important one is this one in here. All of them are facing wrong direction. Now is the directionality present in here, perfect. Let's go back. Now very few of them are remaining. This one needs to be rotated. Let's go back and hide it. This one as well. All needs rotation. Plus this one. Everything about this one needs rotation. Hide and this one as well. Let's go for this one first. So in here and here, need to be rotated. These ones are okay, and this one could be deleted because nobody's going to see that. You see now they're facing the correct direction. Hight this one as well. And this one by the fault, it's okay. So now, I'm going to pack all of these in the same texture. Deactivate rotation, set it to zero, and then pack. It does its best job in packing those UVs in the same channel, and I'm happy with it. So I'm going to pause now and in the next one, we'll go back and go for some final adjustment. So before that, this is going to be called wood material. See you in the next one. 24. Baking The Meshes: Now, the unwrapping is done, and there's one more step that we need to do, and that is going for text tool, and this is an extra tool that I've provided the link. The link is in the project files. I can go and try to use it. I'm going to select all of these and go for move by UV islands. This will make sure that for every UV island, you get one smoothing groups. Press that, and you can see that now there are sharp lines everywhere that we had. Those UV shells. This is good for baking process as well. So this is one process, and now we need to import the hy poly mesh and try to match it with what we have here for the baking process. It's going to take a while to import. Here's the hypopile. Well, here they are. Let's just take all of them and go for clear scale. Now they are perfectly aligning. It looks like we need to take these three as well and bring them to the hypovolar. Now there's a bit of more, and that is matching the materials with the ones that we have on the low poly. Let's hide the low poly folder for now. Now we're only working with the high po. Let's take these. I'm going to apply kit material to this because it's just similar to the low poly. And this one as well. This is going to be kit material and hide. Plus this one and this one are going to go for kit material. Now let me see these are going to be using the ground material. Like so, and then hide. Then whatever in here needs to be stone material. This is to make sure that they are going to bake well inside painter. Lo by mistake, I selected this one as well. Let's select and hide these now all of these are going to be packed. Let's deselect that, and these are going to be wood material. I just brought all of them again, and we're going to export these to painter and bake there for a test. If we baked correct, we will go for the text sring phase. I'm going to take all of these and export them on a FP X file. Just make sure that you're using the limited to selected objects, and I'm going to call it we LP. And export. Now let's deselect everything and bring these the poly folder. Then this one on Hip. I just decided on a design change. Let me take this one. Instead of using that as a pillar. Later, we will use it as something else. Just make sure that you select both high poly and low poly together and then export them accordingly. Let me export on the low poly FBX. And then hide and then bring the hypo and re export on the same hypo with limit to selected objects. In the meantime, I just imported that to painter to test and you see now, everything in here is working all right, ground material kit. If I just disable them, you can see that we have those materials available. If you want to import, you can go to file new, and then from here from this file, select your object. Now it's working all right and everything is okay. We need to import the hypopile as well and see if the baking is working all right or not. Go to this texture settings in here and bring the bake mesh maps. In here, I'm going for only normal for now. For hypo mesh, you just want to go select your hypo, which is this one okay. Now, I see some problems in here. One of them is that this one is still in here. We needed to bring that to bake with this one. One of them is that the normals of these are wrong. We need to go correct the normals. One problem is that this mesh is just manipulated. We need to bring it to the other side. Other than that, everything is okay. Wherever you see that, the color is something like this, it means that it's wrong. It's wrong in here because we deleted the geometry. It's wrong in here because we deleted the geometry there. Let's go fix first. Let's go for phase orientation. You see here, both hypo and normal, hypo and poly are wrong. So I'm going into edit mode, take everything, shift and to recalculate the normals back. Now, looks like these do need to be recalculated again. We shouldn't see any normals facing outside. Now, the normals are correct for these then need to match with this one. The low poly is going not in the direction that it should be. Let me select all of it and try to match it here. Now it's better. We could also take this side Control L, let's limit that by Sam and try to bring that to match the silhouette of the hypo. Now they are. Let's select and Perfect. Now this fix those problems as well. I think it should be solving the problems. Now, let's hide the hy polyp now. Then I'm going to export these and overwrite on the previous files. And also to change in here, we could go to edit reimport mesh, and that you see fixed some of those issues brought this one here, which is okay. Now I'm going to go to bake mesh Maps, but before that, we need to re export that FP X, select everything, and I'm going to overwrite on the previous file. And let it load a bit. Let's select. So now, everything is working perfect. So again, let me just increase some of these baking parameters. I'm going to bake now and see if we see any errors or if we see the normal bake. So bake selected textures, it's going to bake for all of those. It crashed because I wanted to go and disable that normal or everything instead of normal for all of them. Here we go for baking. Now the bake is looking awesome. It has baked all of those details that we wanted. And it's okay. So now, we need to go and bake on higher resolution plus baking other maps as well. Because now we only have normal, and that normal is on a lower resolution as well. So let's do something. I'm going for bake. And I'm going to disable these as well and try to bake one by one so that it doesn't crash. Okay. Let's bring the world space normal. For ID, I'm not going to bake right now because that is one of the tricky ones. We need to make sure that those poly groups that we set in Zbrush are going to be taken into account. So AO curvature These are going to be okay, I'm going to bake. Let's go for common settings. I'm going to set it to four k, and it's going to be using more antializing. Then I'm going to bake for ground texture, which is this one. The baking is done for the ground. And you can already see that. We are getting a perfect bake and all of those details that we baked on and we painted in Zbrush are present here. Now for ID map, we need to generate a map to make sure that we get those bricks and separate them. Let's go to bake mesh maps, and now I'm going to bake only the ID map. The ID map. We need to set it to mesh ID or poly group. Let's set it to random, and bake and see for each of those meshes, we are getting one material ID. That one was Let me go to paint mode and go for ID. And this is the first mesh. This is the mod and this is the second mesh. So. But if you wanted to get proper variation for each of these bricks, you could go to blender and try to break that mesh into its part. But I do not see that necessary. So baking of this mesh is done. Let's go for the other ones. And I'm going to start with this one. So it's going to be material stones and baked mesh maps, only let's go for stone common settings. It's going to be four k. Then ID, let's set to the same thing, mesh ID and random, ambient occlusion curvature and all of those maps, and bake for stone material only. I'm going to return back when the baking process is done. Now the baking is done for this one as well. You can already see the material color that it produced. This is mud or concrete. This is another stone, and this is those other stones. Also, all of those are baked, and now I'm going to repeat the same process for all of these again because we already notice settings, so I'm going for wood and kit k? Let's enable those parameters that we wanted to for both of them. Now, the baking is done, and it means that all of these are getting good results. You see ambient occlusion getting effect, these places are darker. Let's go, for example, bring a test smart material and it on this wood kit. It's working. All of those details are getting calculated. Of course, we're not going to use these, we're going to create our own material. Let's test and you see they're working and they're working perfect. And ambient occlusion, those darker parts and anything is taking effect. Now I'm going to pause in the next one, we will go and try to texture all of these. The texturing process might take a bit of time because that is an important part of the process. Whatever we have been doing so far, what's to prepare textures prepare measures for texturing process. See you in the next one. It's going to take a few lessons, but it's going to be very amazing process. See you there. Another point before wrapping up the baking process is that, for example, let me go for the stone. In here, if we go to ID, we just plan to get different colors for different stones in here. That's just like the way that we set up these stones in Zbrush so that we can go for per instance color variation. For example, you see that, we created different poly groups for these by enabling by this auto feature. This will make sure that every instance of these measures is going to take one poly group. Then then we need to convert that information into vertex color so that we could bake it in geometry. I'm going now for poly paint, and we have option poly paint from poly groups. This is going to convert these to vertex color data just let it calculate, and you see each of these measures get different color. That is awesome for creating color maps later because we want stones to have different colors. For example, not exactly different color because they are the same, but for a bit of color variation. For example, one of them be darker, one of them to be brighter and so on. Because we have different poly groups for each of these, we just need to set poly group from poly paint and this one let's apply as well. It's going to be one. So we are going to activate and you see for each of these stones, we are getting one color. And now we are only going to export these for vertex color data. I'm only going to export this one. And it doesn't matter if you go and try to reduce the amount of polygons. There's an option as well use and keep poly paint. This is going to make sure that you are getting these calculated by Popaint. Now I'm going to export this again with the same process. Let's go to FP X import and export smooth normals. Make sure only visibles get exported. Then let me see, we have options. Now export, and just call it what you want. I'm going to call it Polypaint. And wait to calculate. Later we will open blender and try to match the materials and so on. And from there, we will export it to painter for creating the color data. So that later we could create a better color representation in here and use that color and use that color for a later color variation. We're going to now import that FPx file Here it is and we need to reset the scale because it's just missing the scale that we want. Just search for clear scale, and you should be good to go. Now if we compare that, it's okay, but we need to apply the material as well, because for baking process, we need to set the material to be correct. This one belongs to the ground material, which is this one. And then this one belongs to the ground material as well, and this one again. Then this one plus this this are going to be using the stone material. Then let's take and export all of them again after setting up the material. So poly paint final selected object, very good. If you just go in your material view, and for color, if you go to attribute, see this is the vertex color that it was generated. We're going to convert this to black and white data, the use later because the stones and the object that we're going to create is not going to be like so. We're going to convert this to black and white color, to use a technique that it's called gradients mapping. So here we are again, and now I'm going for the ground material and let me delete the ID mask. Then this one as well, I'm not going to use at all. Only the ground material, let me disable all of those, and then I'm going to import the hypo that has the color information with it. Poly paint final. Now let's go for ID because I only need to bake the ID map. And then now we need to go for color source. Let's set that to vertex color. Now bake You see it's baking those vertex color data perfectly. For each brick, we are getting separation, we're getting separation for that mod, and so on. This is the way that it looks there and we're going to use this for placing the materials where we want, for example, let me go to here, and let's say that we bring a simple material, like so. Then let's tell that we're going to apply this material to that model. I'm going to here add mask with color selection, color pick, and you see wherever we have the d, it's going to apply it there. This is important for the later process. Then the next one is going to be the stone, and for the stone as well, we are going to bake. Let's go to color ID. And see, it's similar to what we want. Remove that. Then bake mesh maps, the activate go for stones. I just want the ID, and then vertex color, let it load. Here it is. Now bake. And this is going to bake that map. And for each of those stones, we're getting different color. We get a single color for the mod. Then You see, we are getting a very good color for baking our results, and this one is going to be hidden. It's going to be here, so doesn't matter. Let's go for a demo on the stone. Let's say that we're going to use the color only. From this drop down menu, just search for mesh, and we're going to select one of these IDs. This is the one that we generated in painter in Blender and Zbrush. E me. Now we are going to apply it only on stones. I'm going to bring in a folder. Let's apply a white mask to the folder. Because applying a black mask will result in complete removal of that. Because I do not want to remove it, let's add a white mask. And then I'm going to subtract from that. Let's go for the white mask. It's not going to work right now. Let's go for color selection instead. So I'm going to take this. This is the mode, and I'm going to invert it because I do not want to affect this one. So after that, I'm going to bring in a fill This is the mask that it generated. I'm going to bring in a levels and invert that to get these masks presented. Now, whatever we do is going to apply only to these stones. Now here, let me bring in a filter because we are going to use this data to convert them to something like a black and white color. So filter from here, apply only to color, and let's choose a filter. There's a filter that is called gradient mapping. It converts that to color. Let's increase the amount of colors like so you can already apply a different color to it. Let's see. You see now, we have different variations of the black and white color. And you can bring, for example, a level to add contrast if you want. Then we have a base color, and let's say that we want these to be a color that is, for example, a light blue color. We bring this fill, and from here, let's choose a color that looks something like those. Let's say that we're going to set this to base color. We go for for example, one of these. Let's see which one of them works. Now you see we get different variations for each of these stones. You see this is the color that it presented. We could also go for multiply and get a very, very basic color variation for these so that it's not looking all the same. This was a demo of the process and it's a good one. 25. Wood Base Texturing: Now we have baked the high poly in the low poly and talked about the work flow pid. Now it's time to go and actually start the texturing process. But for texturing process, it's very important to have some images that are not affected by the light. I mean, PBR calibrated the colors or albedo colors. Bus, for example, if you're going to take color from something like this, for the stony this area of the image is too bright, and this area too dark. It has a lot of contrast, although the PBR values are the same, but since it's affected by the light, it appears to be brighter in here and darker in here. Same goes for all of these, for example, you've seen here for the image manipulation, it's too bright and here too dark. For picking up the best color, it's advised that you go get something that is PBR calibrated, and it's not affected by the light. Or if you do not have access to something like that, you can go for images like this, which are taken in overcast weather. We do not want a lot of light to be present in our photos basically. Now the same thing goes for texturing, we're going to start with the wood. Let me find it in here. We have wood, and let's start the texturing process. Of course, we can go and start to bring in layers, but I'm going to save a bit of time and find something in here that looks all right for our purpose. Let's see This one is okay. Let me take a look. It's very good. And no, not this one. This is perfect. The wood rug in here and wood plane are good ones to start with. But there's something wrong here, that is, because we have placed some seams in here. The texture is not showing correct. We need to correct that. How do we do that? We are going to use triplanar projection on this particular instance to make sure that the texture is going to be all right because you see we didn't flatten the UVs on this one, and there's a bit of seam projection in here that is going to be wrong. We are going to use a masking workflow. Let me go for we have white mask and black mask. Black mask is going to hide everything unless we paint something, and white mask is going to bring everything unless we remove something. Now we are going to bring a white mask. Whatever is white in here, for example, it's going to show this w. I'm going to go to our mask selection. In here, and I'm going to select the black color and set it to object. It deselects the one that we have here. You see now we do not have that wood present there. I'm going to now copy the same thing. But here, I'm going to add a black mask. And select this one. It didn't solve any issue because the projection is wrong. Now we have UV projection, and it means that it's going to project based on the UV placement, and that was why we went and made sure that all of these are going to the correct directions. For this one because we have some seams in here, I'm going to go for triplanar projection. You see it projects based on the real world and not on the object, not on the UVs. I'm liking about here, but here you see it's again the same thing. We could go and try to go to three D projection setting and try to rotate, for example, If I go for 90 degrees, no not here. Let's go. Z projection is the one. Let's go for 90 degrees. And you see here the projection gets all right, and I want these to look vertical, horizontal me instead of vertical. Now you see the fibers are going the correct way. Let's go for the tiling. Let's set the tiling to be two Not bad. But definitely the height needs to be changed. Let me hide this one for now and go manipulate the base for this one because we already have some of the base parameters in here that we could change. We have the seed. Of course, This defines how rough or how distorted or how smooth the result is going to be. E Depending on your workflow, I can pick something, but I like something in between, not too rough, not too smooth. This one is good. Now for wood color, let it stay in the same place. Wood color saturation. No. Let's go for a bit of a darker color. Perfect. No wood color. We will go for color variation later. So how many veins we want. So this is chaotic. If I bring it here, we're getting nothing, but if I bring it up, we are getting a lot of wood veins density. You see, it's going to be our right on the texture. There's a lot of manipulators that we are going to place. So Wood nuts here. We've done what a lot of won wood roughness, cracks, wood fibers. This is going to be a good base to start with. I'm going to set this one to the base color to the base of the texture. Let's go for tiling to see if we could tile it even more. It's good, but there's something. The height is too intense. Now in this layer, you are seeing the base color, and it means that whatever we manipulate is going to change the base color. I'm going to go to height. Now you see the percentage in here, if I bring it, you see height disappears, but if I bring that to something like here, see we have the height, but it's not too intense. Now this is a good starting point. Not bad. This one again, actually like that, it has the different color from all of this. But the height needs to be brought down. Because the texture is too intense. Very good. I'm actually liking the color contrast that we have here. It's not all the same. Now we are going to use the same data as AnchorPoint. What is Anchor Point AnchorPoint is something that you take from these and reference later on. For example, just like creating masks and real time masks because AnchorPoint is real time. I'm going to bring these two to folder because I'm going to take AnchorPoint from both of them. So right click, create Anchor Point. This is now base Anchor Point, and let me demonstrate what is that. Let's say that we are going to create something, a color variation. We go bring in a mask, and on this mask, we bring in a fill, and now instead of bringing masks or procedurals, we can go bring anchor points. This is the base anchor point that we have. Now let's select a mask. And this is the same thing as the base color that we had but desaturated. Or you can go, for example, reference channel, you can go for height, if you want or roughness. Or whatever you want. We could for example, take these as masks and try to manipulate them. For example, now that we have referenced the roughness. Let's go for base color, and this is what it gives and let's try to add a bit of contrast. Now you see a clear separation based on the image that we had referenced previously. This is amazing for creating a lot of results Based on what we created here. Okay. Let me delete that. And then now it's all about creating variations. We have the big shapes in place. Now it's time to go for creating a lot of variations. We're going to go for storytelling, and there's a lot of manipulation that we're going to do. And now let's do something. I'm going to manipulate the mesh in blender and reimport it to copy these to here. So, here's our lo poly, and I'm going to take these that we wanted to L et me de select that. I'm going to take this and duplicate them, bring them to here. So for now, let me bring the pivot to the center of all of them and make sure that the rotation is based on bounding box, center, shift, rotate, and I'm going to place them here. Now, we could go and try to remove these. Let me see where they are. Looks like I need to take this one and bring it to here as well. Shift the, bring it here and rotate to use the other side. Just like the other ones. Now I'm going to take the and remove. Now there's a bit of manipulation that we need to set, including displacing a bit. So it looks like? I just took these and manipulated them a bit, and now you see it's symmetrical. We have variations in both sides. I'm going to take all of these, and it's important to not change anything here. We do not want to change the name, the material, the placement of these, nothing. Of course, the placement is not that important, but you don't want to change anything from names and materials. Then I'm going to export to the FBX that we had. We could re import re export on the same file, or let's go for another one, name it selected object and export. Now we could go edit. If you export it on the same mesh, you could reimport the mesh, but since we need to import a new mesh, we are going for project configuration and select. Here's the new mesh that we're going to select. Open, and now you see it works perfect. Because we just duplicated these and rotated so that we get that information correct. And nobody is going to, for example, the player is not able to look the same time from here to here. So a lot of times it's going to be all right for something like this. Now, if I go for the wood material and bring in a layer, and let's say that we paint something on this side, You see no nothing happens on this side. But if you go here, you see it happens here because these two are duplicates. The same thing for this one as well. I see because the player is not able to look from here to here at the same time while playing, and they're going to be distracted by a lot of elements, for example, the nature around this. They are probably never going to notice such a thing. But you want to go for optimized result a bit. Later, when we went back for something like this, for these wood shingles, Later we will again try to manipulate the mesh and place them to see how the variations that we place are going to be all right. So now, again, because all of these are from the same material, I'm going to bring in a very, very slight color overlay on top of these. I don't want all of them to be just like looking the same material. So I'm going to bring in a filter. Let's go for color only because I want only for color. Now I'm going to bring ID mask from the mesh bakes. Let me go here to ID. They have different IDs that we baked previously. Let's go for mesh. If you write mesh, you are going to get that. Now we need to go for the wood the color bake from the wood material, which is this one. Now if I go to material as well, you see the color applied here. But then I'm going to go bring in a filter, and I'm going to use gradient mapping. But before that, let's go for HSL. To desaturate the colors to make them all black and white. Like so. And then I'm going to select this and bring in a filter, go for gradient mapping. Let me find it, it's here. Now we can select different colors based on different values in here. Or you can simply go and try to set this one to multiply, to make sure that the woods have different tones. Okay, let's go for something else. Something that provides the best color variation. Looks like this one is a good one. You see now, although they are the same color, but they are getting different colors. We could remove the gradients map as well. Now you see overall, we take different color variations and they are not exactly the same. Let's check before and after, you see it's going for a good one. Now, of course, you can just name it whatever you want, but since you do not want to name everything and just waste a lot of time renaming. We just let it be. Okay. Now let's go for variations. Let me take this and. Now, I'm going to bring in this because it has a of color changes. L et's go for base color. You see, it has a lot of great wood fibers. I'm going to use this, but I'm not going to use that completely because it has taken whatever we had created previously. So we need to measure to see what we need. Let's go Let's see if it could rotate that to 90 degrees. Now, the previous one was all right. And let's bring the wood roughness up because I do not want it to be so rough. Technical parameters, there should be a roughness. Let's take the roughness and So the wood roughness here. We want that to be rough, not shiny like a fresh wood. Good color radiation. This is how of those veins that we want. A. Do we want any nots no for now. It's all right. Now, we need to mask this. Of course, we could create masks from this, and we're going to use the base color for it to create the mask. I'm going to go create an anchor point. It's going to be wood plain anchor point. Now in here, I need to go reference the same Gradient for masking. I'm going for fill. In here again, instead of going to bring procedural or something, we are going to bring in anchor point and wood lane. If you take that, you see, this is the mask. So let's see before and after. I just need to bring in a huge saturation lightness on this. Let's go to filter here and I'm going to desaturate the colors a bit. And lighten them a bit as well to look more old. So this is the mask, and now we could go on top of that and try to bring more white to present that or remove that completely. Now, you see the effect of that is so prominent in here. We are getting those wood fibers here. The good thing is that the mask that we created using that anchor point is in real time. It means that whenever we go and try to change the mask es as well. A good one. I'm happy with this. But let's go instead of lighten, let's go for darken. It gives a very, very better color. But also, we need to go for mask because you see that is too much. Let's go remove some of that. Just change it. Before and after, you see, it brings those extra wood fibers here, which is amazing. This is the mask. Let's go. Bring in a filter because you see it's too procedural. I'm going to bring in a blur slope. It's going to break some of these so that they are not too procedural. This is the color. Of course, if you see that these two are the same, you can go for that color radiation to see what is going on. Let's go for ID. These two are looking the same if we flatten them. So Let's deactivate that. Instead of using that, let's go for one of these, for example, saturation. It uses only the saturation value instead of color. Let's go for tint. We do not want the tint of those colors. We do not want color. The value gives us the same result. So let's go for the same thing. Control Z to go back. And if you want, you can just try to take this one and change it. Later we'll see what we're going to do. Now, we are going to make the color variation even richer. This is the color. We are going to use the gradient mapping on a noise to make the base color richer even. I'm going to select the color only, and now I'm going for the procedurals that we have. And let's go for something really grungy. For example, these are going to be all right. So You see now, this is the amount of color that it adds. But now we are going to assign different colors to different of these black and white values. So I'm going to bring in a filter, and this filter, we are going to use gradient. So we have color quantity, let's go for five. Now, for example, we can say that wherever we have black in here, the color position zero means black. Go and make the color blue, for example. You see the same thing happens. Now, you see we have a variation of different colors. We can now go and try to bring in different colors on these. For example, wherever it's white, change the color to something else. This is a good technique to really add a lot of good variation in the base color. So I'm going to bring this and let's try to color pick from these. You see, because it's PBR calibrated, it's awesome. So L et's just try to pick colors. Later we will take care of those. Do not worry. Now, color position of this one is zero. Let's bring this one to 0.2. Now, let's bring this one because we have five colors. We need to set every 0.2 to carry a different color until it reaches 21. In here, we have 0.2, now here 0.4. 0.8. Now, this is a very, very rich base color that we can add on top of the result that we want. Let's go in here, add another filter, and I'm going for slope. Let's go for ten. I don't want a of slope Now you see very, very good base color applied, but we're not going to use this the same that it is. We could go use the mask stack to see which one is going to be the one that we are going to use. Looks like this one is a good one before or after and let's bring the mask down, and we're going to use a black mask. Then we are going to use these procedurals to blend that because you see now it's black and it means that we're not seeing that there. Let's go bring in a fill, and we can also use the gradient maps, me anchor points like these. So let's see what happens before or after. Let's go to mask and let's bring in a level. Now, you see a very good change in the base color. Now, we can go for different ones. For example, we can go add other fill layers as well. For example, let's bring fill and use that anchor point base. This is it. Let's set the mode to be adding. Add linear. Let's bring the intensity down. So it's not doing something. Let's go bring in a filter, slow blur. Okay. Now we are dealing with different colors here. So now let's add a bit of wood fibers that previously we talked about adding later in painter because adding those would be taking a lot of time in Zbrush. So I'm going to just name this because we are going to add an anchor point to it. So we need to make sure that it adds the same anchor point. It has the same me. So I'm going let's go for color and set it to a darker color. Now, black mask and we're going to use one of these procedurals that is directional. For example, this is good. Let's bring in a field and take this and bring it here. Now, let's see, first, we need to add a lot of tiling. Let's go for four. No eight should be okay, and then we need to go for 90 degrees of rotation to add those wood fibers. But then there's some we could go for non proportional tiling. For example, we could decrease the other tiling, for example, this one, you get more tiling here. Then for example, let's go here, and you see we get more tiling. Let's go for invert Se now, it presents a lot of good wood fibers. To see what we have done, let's go bring in height and bring the height down. You see this is the change that we have done. Let's go pick a color from here. Let's go for something of these tones. So let's see the mask. And this is the mask that it generated. Let's go see if we take this tiling to eight. It's now more jagged and rugged. You see it creates a lot of good wood fibers here. But they are big wood fibers. Later, we will add really tiny wood fibers, those really small wood veins later. For now, it's a good one, so let's bring in filter again, slope gray scale. Add a bit of Okay. Now let's go for color and bring hue saturation lightness. It's in here. I want to darken that just a bit. Bring the saturation. Up, you see, this is the wood fibers that we added. Let's go to material, but it washes the result. So let's go for half of that value. Then for the height. Let's bring the roughness as well because I want these to be rough. This is the roughness, and this is the result. I want them to be rough because a lot of dirt calculates in these areas, which makes that a perfect case for a high roughness value. Now, I'm going to pause and in the next one, we'll go and bring more details to here. See you there. 26. Adding Details To Wood: Okay, everybody. Now we are going further and even detail even more. Now, we have a lot of height values in here. If we go take a look at the height value, you see we have a lot of ranges, mix of these ones. So I'm going to use that height as a mask to inject a bit of color into these cavity areas. I'm going to bring in a black mask And then instead of using these masks, I'm going to bring in a compare mask. So you see it fills a bit of that because that has been set to height by default. Of course, you can use the manipulator if you want to or you can go for base color It's going to compare the height, for example, that you have here, the height in here is zero. It's going to compare it to the layers beneath. Now if I go try to increase that height, see if we get even more variation in these areas. A very good one for injecting a bit of random color variation. This is a mask. You see in here. So let's take a look. Now, let's see the mask. It's all right, but we need to bring some of these grounds to break that because you see it's too much, it's all over the place and we do not want it. So let's first deactivate the color or select a color from here for now. And bring the roughness up. Here's the mask that it provides. I'm going to bring in a fill and bring some of these procedurals like these, let's bring the tiling up, for example, to four, and let's set the mode to multiply, so that it breaks that previous one a bit. Here's that. Let me see what we have here. See a good change in values. So instead of using a single color, I'm going to bring one of these procedurals again. Basically, we could go and take this layer. Now, let's go. Bring another one. Let's take one of these noisy grunges that are provided. This one is very good. Then for each of these colors, we are going to go for gradient mapping and choose different colors. Let's go for five variations, this 1.0 0.25 0.50 0.75 and this 11. Let's bring this and try to pick up one of these more saturated colors. Now you see a very good random variation we added to here. Overall on some of these areas, which is good. So now, let's go for procedurally making some of the wood fibers. Again, but these are going to be smaller wood fibers, directional ones. But before that, let me go for a darker color. I'm going to use one of the anchor points that we created previously for darkening as a mask. Let's go for phil, and here I'm going to bring anchor point. Let's bring the base. Let's see if we could go for height. Now, Let's go for the other one. Let's go for wood plane. For height, for base color. This is good, but we need to refine it even more. Let me bring levels, invert, but we need to bring another level to limit data bit, and to add a bit of contrast to these areas. Now you see a bit of darkening of these areas is okay, so let's bring the roughness up because this is going to be rough. For the height, let's go negative, not that much. Then for the color, just take the color and use something like that to darken the result a bit. If you go here, you see now before, after it adds a lot of those darker wood fibers that we see on wood. But then again, I'm going to bring in a filter, and then let's bring in a warp because I want to warp that a bit. Okay. K. Let's see. Then again, because that is taking all over the place. I'm going to bring in a fill and bring one of these procedures to subtract from that. This is it. Let's go for triplanar and set it to a tiling of four and set it to multiply to really reduce some of that. You see it limits certain areas based on that mask. And so far, everything is looking all right. And now we're going to add a bit of edge damage to separate these. For example, you see it's having a good color, but it doesn't have that readability. We do not know the variation between these 90 degree surfaces. It looks flat, so we need to add a bit of edge damage to highlight a bit better. I'm going to bring a fill layer again. Let's call it edge. Again, I'm going to use the gradient mapping on this. Let's bring a procedural that has enough range. Let's bring this one and plug for the base color. Then of course, we need to go tile it a bit more. Let's go for triplanar. I'm going to tile it twice so that we get more range in the colors. So we're going to bring in a filter and in here a gradient map. Let's bring the value up to some seven to get a lot of ranges, and now L et's set this one to be zero. 0.1, and then 0.2. Later we will decide on how the colors are going to be. But now it's only distributing the colors. Let's b to use the full range. You see, now we choose different ranges from the color and say that, for example, wherever it's using gradient map of zero, use this color, wherever it's 0.1 in the gray scale, use this color. This process is called gradient mapping. For the edge, I'm going to pick up something that is a bit lighter. Let's pick up from these ranges and build up as we go. So again, we could add a bit of green as well to represent a bit of moss. Okay. Here we go. Let's pick something dark in here because I like that dark result. Now we created a base, let's see, a very sophisticated base color that we could add to the edges. For the roughness as well, instead of using a single value, I'm going to bring in the same grunge, plug it to roughness. Now let's see how that is. Later, we will take care of that. But for now, we need to mask it to make sure that it's present on the edges. Let's go to masks. In here, you want to find something that represents those edges. Let's bring something like this. Now, this is not okay. Let's bring something stronger. This looks all right. Let's see the mask. Now, we need to distribute a bit better. Although it's presenting a lot of good colors. Let's see, I'm going to keep it, then I will duplicate this layer for a better distribution. Let's see the unes and you see the roughness in here is not that ok. Now, it's a bit better. We don't want that to be too shiny, and we do not want that to be too rough, something in between. I'm going to copy the same thing, but remove the mask. This time, let's use edge. Now this is a lot better. Let's compare before and after, see it adds a lot of good readability one and we could go and bring the balance up alongside with the contrast to make it really contrasty. Let's go for roughness. Now let's see what happens. I'm going to go to the mask. Let's bring the contrast down, but bring the blur up. Not the blur the overall dirt. Let's see distribution that it has on the surface. It's okay. Also, we could bring some extra textures to help distribute that even better. Let's go bring in a fill. And I'm going to bring some of these procedurals to add subtract so that it's not so uniformly distributed. Let's bring this. We need to set the projection to triplanar to remove seams, and then let's bring the tiling up and set it to multiply. Now multiply was not, let's set it to subtract. But there's something that it's overall too strong. Let's go for the mask and bring the balance to here, and a bit of contrast. Let's see before and after So it's not too strong if we Let's add this to remove some of the results, to weaken some of those. Then of course, we could go add a huge saturation to this to color a bit better to separate even better between the edges. We want something like this, that is more contrasting to the base color. Let's bring lightness up. And then saturation down. Now, this is the effect that it has on the edges, separating them and adding good variation overall. So let's see, and to add more definition, we could go activate the height channel and try to add or subtract from the height. It looks like a good height read will help for better distribution. Let's see before and after it's a bit noisy, but Small value will take care of that. Now it's time to add a lot of those fine tuned small wood vibers that we were talking about in the Zbrush lessons. So let's bring the color to something really obvious. We see that the roughness in here needs to be changed. So let's remove that and just take care of roughness a bit. This one as well, let's remove that roughness and instead use a single value. It's better than using that high contrast. Let's call this fibers, small, then first, let's create a mask Let's add a fill and I'm going for something directional. Let's go for this, and let's see the mask. And we're going for a great tiling, for example, like ten. But you see there's not a lot of separation in between these wood fibers. Let's go and add the contrast to add to those wood fibers. Now let's see here. Looks like we could go for another noise. This is not a lot like what we want it. Let's go for another directional, for example, it has a better separation. Let's add a bit of contrast. Tiling of ten is okay, or we could go even better for 20 or something like that. Now, this is too repetitive. Now we could bring the balance to here to separate between them even more and add another fill, and let's bring a random procedural and set it to multiply to remove some of that effect. Before and after, but let's bring a height and these are going to be carved and with high roughness because these are the areas which a lot of d is going to collect. So let's see. Again, we could go for another wood fiber. Let's go for only color black mask. I had a fill. Let's pick up something directional from here. No, not these. Let's go for something like this. We need to go for f and then tile it a. Let's see what we have here. Definitely, we need to invert that grunge. Now, this is to overall strong. Let's add a bit of contrast. Now, let's bring the roughness up and as well a bit of height. Now, you see, this is really strong and we need to set the color to multiply. To add a darker color to be multiplied. Now, let's bring in another fill and try to subtract these procedurals from it. Trip on a tiling of ten and let's multiply. But yet we're able to see that pattern. You see, it's very procedural. I'm going to remove that and bring something else. Now this one is more chaotic and a lot better. But the height needs to be adjusted. Okay. Let's go for height and adjust the height a bit. Be now it's too noisy. If we go to the normal. You see now we have a lot of noise in these fibers. Let's see what is causing them. It's for the base. Here, let's go to the height and control the height a bit. To change the height a bit. See the height is getting too noisy. Let's bring a layer and set it to height adjustment. And then go to height. In here, instead of linear dodge, you want to set it to pass through so that it captures all of the height from the layers that appear before it. So let's activate only height and color to represent that height on a single monotone color. Later we could remove it. Then I'm going to add a level and in here on this drop down, you want to go to height. This way, you're able to change the height a bit, add noise or whatever. And remove a bit of noise that we have generated. Before changing the height after changing, and now we could remove the color Now we get better distribution of height on the surface. We don't want it to be too noisy because we're going to add a lot of details. Let's go let's end that a bit more. It's a lot better. This effect is too heavy handed. Let's bring another grunge from here, set the tiling to something and try to multiply that. Or we could go for subtract as well to be affect. So this is better. Now, you see, as we go along, we are able to create more sophisticated base color based on the workflow that we are going for. It's a layering. And for now we're only adding those generic details. Later, we will return back. And for example, if we needed to add manual damages, for example, to these areas, we will go for it. But for now it's only about adding generic details to all of these and later. We will go for a storytelling pass as well. For example, maybe we wanted to add a carving or something on like one of these woods and so on. But when you take a look at wood, there are a lot of carvings on the wood, and they appear randomly here and there in all of directions. So I'm going to replicate that. We're going to bring in a lot of scratches on the surface of the wood, a lot of random spots may be generated by accident or something. Let's set the color to something obvious. Just for the masking a later, we will return back and try to fix it. Let's bring in a fill, and I'm going to bring scratch generator. We have a lot of scratch generators in here. Let's use this instead. You see a lot of random carvings on the surface of the wood. And if I go bring in a height. You see now that adds another layer of carving on the wood. So for the color, we will do something, but for now, it's okay. Let's go see the mask. Okay, here it is. Let's bring the tiling up because I feel like they are too heavy. If I increase the tiling, we get more of those but with smaller scratches. But also, these are just like really straight lines. Let's go add a fill in here, not a fill that's bringing a filter, and I'm going to go for slopler to break these lines. Now you see they are stylized. But we need to go something like this to break these lines a bit more. Let's set it to min. This will make sure that it only chips away from these white parts. After you see the changes that it makes, and now let's add another fill, and let's bring some of these grunges. Contrast down. Triplanar projection. And a great tiling light ten. Now multiply that from the surface. You see it tries to remove a lot of that. But also we're able to see a lot of these scratches here and there. So for the color, let's go bring a dark color from here. And then for roughness as well, it's going to be rough. Okay Let's see if I set the base color to multiply, it would be darker. Let I just brought the value to something darker and see the effect in here. Let's add a level, add a bit of contrast. T Now these scratches are more prominent. If this is something that you want, you could just continue with this. But if that is not something that you want, you could remove the effect a bit. Now this is better and having more effect on the surface of the wood. Now let's go for another layer of scratches. These ones are going to be smaller, like smaller spots. Pill. Let's bring scratch generator again. No, not this one. Let's go for the other one. There's scratch width and length We just want really, small details. Now let's add a level to add even more contrast and remove those. Let's increase the ti to two. A. Now for these, let's bring the roughness up because they're going to be rough and for height as well, they're going to be negative because it's going to be carving. Now for base color, let's go for something lighter. From the same spectrum. This is better. Small change, but it's going to look all right. Okay. Now I'm going to pause this lesson. We have added those generic details that we wanted on this surface. Later, we will return back for storytelling paths and adding those mesh maps. Now for the next one, I'm going for maybe the stone or this pathway and continue t them. See you there. 27. Ground And Stones: Okay, everybody. Now we have textured the wood partially, only the generic details that later on will return back and try to manipulate. But now it's time to go for, for example, this ground. It has three material sets if I bring in or let's go take a look at the ID. You see that we have two materials. Excuse me, two materials, one for the mod and one for the stones, which is basically using a lot of colors. Now I'm going to create a folder and call it mod and create another folder and call this one stones. For the mod, let's go see which base we have here This ground natural mod looks like it's going to be a good base to start with at least providing a good base color. Let's tile it by a lot. Now, I'm going to mask this by using color selection, pick a color and pick this one. So you see in these areas that we have mod It's going to mask it. Now whatever we do on this folder, then it's going to be only on this folder based on this mask. Now let's go for the stone, and then I'm going to invert the mask. Let me go copy mask in here, so right click copy mask, and in here, go for a black mask and paste that mask. And just paste into mask. Now, this is the same mask as this one. So we need to add a level and inverted to go for the other one. If I just bring in a fill and change the color to something else. See it only affects these areas, which is okay. So now, as you remember, we had an ID that we wanted to assign different colors for these different stones. So let me bring in a fill layer and I'm going to call it base, and then only color. Let's go for roughness and bring rough value because these stones are going to be rough Then for base color, let's bring in the ID map. From the material, which is ground. This is it. Now you see different colors applied in here, which is not natural. We need to convert these to black and white textures and then using gradient mapping to apply colors on them. Again, I'm going for filter gradient mapping. Let's bring more colors. But before that, we can go for level, bring it here. Using this Instead, that's bring in a filter and use a contrast. Contrast luminosity, bring it here before the gradient. If I add more contrast, you see now, We get more variation in here. Let's add a level for adding even more variation to these. Now, let's go for gradient and we have already five to choose from. This is going to be zero. Let's set this 2.2, and this 1.4. Let's add even more looks like we could remove enough. Now we are able to select different base colors for these separate the base colors. Again, I'm going for these ones. You see, we have different colors in here, they are from the same spectrum, but they are different. Let's color pick from here. So later we will return and the fix. Okay? You see, now we have different base colors for these and they're not just only monotone colors. Okay, then, you can go for different colors. Let's select this one to be darker a bit. Now, you see, we have base color setup, and that is good that we have different colors for these. Although the color looks stylized a bit. Let's add a filter. Let's go for contrast, add a bit of contrast and remove from the luminosity. Of course, filter H S to change the a bit. By desaturating the colors a bit. We are able to get a good base. Now, this is the base color that we achieved here, Let's deactivate, and I'm going to bring a base from here. Let's bring this concrete material here. Let's choose the other one. Now this is more natural. I'm happy with this one more. Let's bring this. Now let's set it to multiply for base color. Now we have the base color plus a bit of readability on those colors. Now you see we have different colors in here from different spectrums, applied on that concrete material. Let's see if we could go for a different shade. Now, it's okay for now. Now it looks like we need to place this concrete in this folder instead of that. Of course, let's see if we could change different blending modes to see which one of them is more useful. This one is okay, because the concrete color is natural as well as going for a bit of color variation. I'm going for this one. Now that you take a legacy, we have different color variations for each of these concretes. Let's bring the color to something more controlled. Now, we could apply the same thing for this as well. Let's go see if we could apply the same thing for the stone material as well. Here we have two materials, one for stone, and one for the concrete in between, this one, the mortar. Let's create a folder, call it stone, and one this is going to be mortar. In here, let's add a very primary material, not something really complex. Triplanar tiling of pen. Now I'm going to mask based on color selection. I'm going to pick this. Now you see this is the mortar in between the stones. Then I'm going to just copy this mask. Add a black mask and right click paste into mask. Let's add another concrete material to this folder. Then of course, we need to go and invert this mask because it's the same like the previous mask. Okay? Now the blending of stone with the Now this looks stylized, Later that we add different colors, and of course, we will change this to something else. Let's go for something like mortar looking. But for now, let's go for later usage. Though let's do. I'm going for the ground material, and I'm going to just pick this space and paste that in the stone. Now you see we have the same color variation that we had there. But of course we could go for a darker color. Let's go for multiply because these need to be darker a bit. These are stones. There's definitely that separation, but we need to consider that even more. So I went through these and found out that this one is a good one. Now, the base is set up for ground and the stone, and now we are able to go and start to detail. We have a basic set up here. So now that we have the base setup. We are able to go and add those details. We can duplicate layers from this one to this one if we wanted to. So for the mod as well, let's go see. You see, there's a seam in here, and that is because the U V placement that we had. You can go to triplanar projection to remove that. And it's okay. So Let's try to add those variations that we want. Let's go for these procedurals. And then I'm going to bring those details. Manipulate them to see what we have and what we want. Let's go for color only and try to pick a color from these tones. No, not here. Before and after. So this is too strong. Let's go brewing the balance. There's something more controllable. And then roughness up and a bit of height. This is the way that we're creating the materials. We are going to layer a lot of details so that the base color gets richer and richer. Then later that we make sure that everything is okay. We will bring mesh maps to blend them even better. Again, let's try to layer on top of layer. Tiling of bu, and let's bring the balance down. Or instead of that, we could subtract a layer from that. Here's the mask and now we could go pick a color from here. You see, the more we progress, the better detailed, it's going to be. Now roughness and then a bit of height. Then it looks flat until later that we bring in those mesh details. Because that way it separates the ambient occlusion from the surface, separates the surface from all other parts so that we can see that better. Now let's add a bit of darker colors to it. For testing, let's see. And then a black mask plus these procedurals. I'm liking this the way that it is. It's so random. Let's go for roughness. And a bit of height added, because it looks like it's going to be something like dirt added in over time. Let's go select one of these darker colors from the same colors. I'm happy with it. There's a seam in here, doesn't matter because later we will add the edge details, so it will wash a lot of those. So I'm going to add all kinds of procedurals to add details. For a template, I'm going to pick this color. Control C while I have the color and a mask so that every time you do not need to create a layer, control V to paste, and you're good to go. So let's set it to try planer. Now for the color. Let's pick up from these. Now you see we are progressing and making the base color more random instead of being so stylized. First, later, we will do the same thing for all of these as well. Do not worry. We will cover those. Now, another layer. So this is too much balance down. The great thing is that it only applies on this folder mask. It's not applying on the d. Now, let's go for something. And the roughness as well, bring it up. Okay? But I feel like we could level this color a bit, something from these ranges. Now, let's go but something like this is not that natural. Something a bit desaturated and darker. Now it's all about creating variations. And you see now, we are going to a point that we get a lot of variation on these colors. Now, again, let me a layer Add a black mask, and I'm going to bring procedurals on top of it so that we could layer as much info as possible to make the color a lot better. Because the fuels color or albedo is one of the important channels to work with because this is the first thing that player is going to see. Okay. Now, let me bring that a good color. Then, of course, instead of using only monotone color, we could go bring a gradient map basically, or we could set it to some of these, for example, to tint to use the background channels as well, instead of applying only one color. It looks like tint is a good option. But it's a bit chaotic. Let me see if I disable that. Then I'm going to bring the intensity down. Now this is much more natural, a very subtle color change. For the roughness as well, the roughness around here. Then let's try to br of the here. Very good. Now let's pick up one of these darker areas. And then bring the color to be darker and a bit more saturated. Now let's set it again to something from these. These are very useful. No saturation isn't. Looks like color is going to be a good one. It injects that color here. And right now it looks flat because there's no separation in between these individual planks, individual stones. The edges are not separated just like the case about this wood. When we added those edge info, it brought it to a new level. Now, we are creating the very basic read for that. Though, let's set it to multiply instead. Now, it looks a lot better. Now, you see, as we go along, we are able to see that we are progressing in creating a good base. Let's bring the roughness to that point. L et me create a demo on how we are able to use these masks for us. For example, let's bring this one to the mask. Although this is too strong, Let's go the intensity down. You see, now it adds a bit of more readability to these edges. Although we could change it a bit, for example, bring the color to something more natural. You see it really adds that level of realism that we want. For now, it's only about adding those details that we want to make sure that the base color is going to be rich. Then later we will go for bringing those mesh maps and smart masks. So this one, let's set it to try planer on the tiling of two and then bring the balance down and set the color From these stones. Okay you see it adds a bit of light blue color. Let's pick up something from here. Very good. Then for the roughness as well, let's bring it up because the stone is going to be something really rough. Okay? You see, we are reaching to a point that there's a lot of storytelling on these stones. Let's bring this. And we could go for a color like so. But of course, let's change the mode to something else. This one is okay. It looks like the difference was darken, and then bring the balance down only to inject a bit of that color into the mix. The mud is brown, and it makes a bit of sense if we add a bit of brown to these edges as well. To tell that, for example, there's an injection from the d to the stone. Now, I feel like we have good information for the base color. Of course, you can go on top of everything in here, bring a layer that is not in these folders, and I'm going to just call this sharpen. This one is basically adding a sharpen effect to the base color to make that a bit. I'm going to just set it to pass through so that it samples everything in there and go to filter, and then in here, there should be a sharpen option. Now this is too much. Of course, we want to affect only the base color. Let's bring the intensity down. Now you see we are getting a lot more info on these colors before or after. You see it's really blurry until we add the sharpness. Now let's add a bit of carving to these edges. Let's set the color to be dark. Then I'm going to bring some of these scratches. Let's go to the mask at a fill, and I'm going to bring a couple of scratch generators on top of that. Let's see if we increase the amount with the tiling. Okay? Now, let me add a roughness and that is going to be high and for the height as well. To break some of these. Of course, we could bring the tiding down to something like two so that the scratches are bigger. And then we could bring in a filter and slope to hide and break some of these lines. So let's set it to men, so that it chips away from those colors, or we could set it to Mx. Now let's do something. I'm going to take all of the copy and bring them to stone. I'm going to apply them on here to see what happens. This is our stone material. Let's paste. You see it gets those color informations and injects them here for free. Then of course, there's a most material that we're going to add. But overall, I'm really happy with these amount of color details that we added here. You see the storytelling everything is the same, except for the main color. Okay. Now, let's go for ground and add a bit of change to the mud because I want the mud to look a bit darker. Darker and more saturated. Let differentiate between that and the rest of the materia. Let's bring the roughness up a bit because I don't want that to be so shiny. This is good. Now let's go change something about this mode because it's overall lat. If we take a look, it doesn't have a lot of change. We could add very subtle color variation in here. Only color for now. You see, there's a sharp line in here. Later, we will add ambient occion data in here to really hide a lot of these. So black mask and now, I'm going to bring something to add a bit of variation to the color of the mod. Whatever we bring here, we make sure that we set that to triplanar and tiling of war. Let's bring the contrast down. Now, let's pick up something from here. Of course, it's too saturated. Let's bring saturation to a more reasonable value. Then the roughness, add a bit of roughness change to that. Of course, we could go for height and add even more height variation to here. Because it's in the mix, I'm really liking this color. But also, we could bring another layer. Let's go for those black and white spots which have a lot of range. And remove the mask for now. This is it, so we need to set it to trib liner and really great tiling to add a lot of those fine details. Now we're going to use gradient map. So let's go pick up from these images. And then we need to mask that information. Add a black mask and bring one of these procedurals that has a lot of change to it. So try again, tiling of two, and you see a very subtle color change along the mod material. So far, I'm happy with this right now. In the next one, we will go and maybe go for the kit, texture these. Of course, we have a basic wood material to apply on them. But of course, we are going to apply a paint material on them as well so that they are painted. If we go and take a look on these, you see that they have a very subtle paint color on them. So I'm going to pause right now and in the next one, we'll go for these and we'll return back for others later. But before that, let me copy the sharpen and go to stone material and paste it on top before and after, and you see it add a lot of cool ranges to here. Of course, we're going to add moss here as well and make that color a bit more interesting, something like green material to represent the moss. See there. 28. Stone Details And Rope: It's now time to texture these kits. And of course, the kit material composed of three materials. One painted wood, and then this rope material and a bit of metal as well. Now we're going to start with the shingles that we have here. Of course, we have materials set up. Let me go to the wood material, which we are actually there, and control copy and then bring that here, create a folder, paste that here. So it's taking all of the results. So let's cote it shingles or wooden shingles. Then I'm going to create a black mask. Let's go to selection mode and go to object mode and select these and you're good to go. Now, the wood material is already set up, but we need to change its color to really differentiate between these. And then we will bring the paint material as well. Now, let's go here and I'm going to bring in a paint layer. And just call it he saturation lightness, set it to pass through. So that it samples whatever before it, and then filter, and I'm going to bring in saturation lightness to really saturate some of these so that they are different from the color of the main wood that we have. Now, something else, let's bring in filter, and then let's bring a contrast as well, add a bit of contrast. This is going to be the base for our work. I'm going to select all of these and create a folder for them. Now, let's create another folder and call it paint. Now I'm going to bring in a paint and just try to really go for a paint for these. Let's call it base. Then I'm going to bring in let's set it to color only. I'm going to bring in mesh maps and it should be it. Kit. Now, I'm going to add a filter and gradient mapping. But before that, actually we need to add a bit of contrast. Let's go bring in a filter. Contrast, bring it before that. A very subtle color change. Then let's go here to see what material we have here to apply for the paint material. Let's just s. So let's bring in a color only for color, and let's color pick from these areas. Now, this is not going to be a color that we are going to use. Let's set it to be darker. Now in here, set it to multiply or let's change the mode to something else. This one is good. I'm liking that, but we need to go for a different paint color. So this is okay, for some of them. Let's add a black mask. Go for mask selection and select these two. Now I'm going to add another color for these three. Again, I'm copying and pasting that. Let's go to the mask add a level invert. Then I'm going to select a different color like so, and then let's set it to which color is going to be the best option. So it's a great paint. But later we will change that bit because it's going to be masked, and we're going to bring a lot of dirt and grunge on top of it. And these are going to be placed in here. If we didn't like that, We could simply return back and try to change these. Now we have the paint. I'm going to add a black mask on the paint folder itself. Now, we are going to apply that paint on these using these masks, smart masks. Let's search for paint, and we have a lot of these paints. You see now, the blending is a lot more natural. We're getting the effect of the wood, as well as the paint on top of that. Of course, it's a good one. But we need to have not a lot of paint. And this is good as well. No, not this one. This one and this one are okay the mask because this is painted on top of wood. This really gives us that option to work with. Now, let's go here, bring another color only color, and I'm going to add a black mask and select this one because I want this to have different color. Let it have a very desaturated t. Color like this. To break the colors a bit so that there's a mix between blue and white, blue and red, and then this one for breaking the composition a bit. Now let's go for the mask which is here. Now let's bring the contrast up because the paint is not having a lot of these areas of really mid tone values. It is yes or no, so we need to bring the contrast up but also we could go and reduce the contrast just a bit. But overall, we need to have a lot of contrast. Now, we have established a base, and let's do something. I'm going to bring in a fill, and let's go for these procedurals to add them to the mix a bit. For example, this one, it has a lot of color patch like images, and let's add to contrast and then set it to multiply. Now, multiply, let's set it to subtract. Let's increase the tiling to something like two. Then of course, we could add a bit of slope blur to break these edges because now they are looking to procedural. So let's go here and a. Then again, we can bring a filter contrast and try to add the amount of contrast that we need. Of course, we have the site as well, which later on is going to be used. Now, this is going to be placed in here, but when I'm taking a look, they are a bit they actually need to be resized down. So let's do something. I'm going to open blender and try to just plan these in here and create that shingles that we want it. And then we will return back and see how many changes we want to apply. Here we are in a fresh blender scene. And I'm going to take this and try to plan it here. To tell the story that it holds the structure together. And because we have many sites sculpted, we have no problem if we just use that a lot. So let's rescale that like so. And it takes a bit of time, but it's going to be worth it. Again, let's bring that here, rotate to use the other side and again rotate like so, so that we have a base planted for these shingles. There's a bit of change in here. Then we could duplicate them to the other side because as I said, nobody's going to see these two sides together. So you have the option to go and try to make it unique. But since there's a bit of limitation in time in the tutorial, we save a bit of time. Now, you see that wood has been used as well. Let's see. We need to place these along here. First, let me just take these duplicate, and then I'm going to rescale them by 0.75 and now comparing them to here. Looks like we could go by 0.50 0.5, isn't that okay? Let's go by point Now we are able to place these along these rails. Let's scale them by 0.7. 0.7 looks like to be a great scale. Then I'm going to place them here and try to keep bash with them. This is the effect that we are getting. Now let's bring that to here. Now we're getting to a point that we are happy with these. Let's duplicate them, bring them here, and you can go instead of using Median point or bounding box. You can go for individual origins, and now if I try to rotate, these are getting rot based on their own pivots. Now, let's rotate them based on local, and now based on local z, we are able to rotate them to use the other side. Let's go for 180 degrees. Then I could take this and bring it to here. Okay? Now, take all of these duplicate bring to here. Then, of course, there's a bit of placement that we need to do. Now for rotation, again, I'm going to go for y. Now rotation in y based on 90 degrees, no. Let's go for x instead alongside local x, not global. So rotate Let's go for 180 degrees instead. Rotate 180 degrees. Now you see they are getting used in different variations. Let's keep this one away. Now we could take the duplicate them once more, bring them here. Let's go for bounding box center to rotate them all at the same time. Now, there needs a bit of manipulation that we need to do. Then again, I'm going for median points so that they get rotated around their own pivots. Let's go for individual origins, me. Then I'm going to rotate alongside by 180 degrees to use the other side. So Let me take these again. Looks like there's a bit of space in here, which we could fill using these. Now let's take this and then bring them here, rotate a and try to offset them a bit. Okay? Now, let's do something. I'm going to now take this one and export it and reimport it in painter to see how that is looking. If that was right, we will mirror that to this side. But if that was not all right, we will change something about it. Okay. Now FP X, and I'm going to select here export. And now we need to go to project configuration, select and select the newly created file open, and it should be good to go. So, now, they are losing that color. Let's go see if there's anything wrong in here. Let's go to Kit. Now we need to select these once more. Now you see, but it's only going for that color. Instead, let's go and try to select these I need a bit of selection. For this one here, and then for this, let's pick up So Let's see what happened. The reason that we are getting mixed colors is that we need to select the masks again. Now, let's see. Let's go for masking. Let's here and just try to remove these masks for now. Until we sort these. Remove mask, and then remove mask as well. Now we do not have anything applied in here. Let's go to Blender, because I'm actually happy with the placement of these. Let's take Let's take these as well because I want to apply a bit of random variation on these. Okay. But before that, let's do something. I'm going to deselect these rows. And now based on bounding box center and global. Just to make sure that there's this mosaic kind of effect here. And place these and let's select one of these because I'm going to bring it to here. Now, let's select all of these again, the ones that we do not want. Now let's create a folder for them so that we know a and then duplicate. Rotate 180 degrees and place them here to create the site as well. You already know that you could go and try to change them as you want. But since we're going to be a bit faster, I'm going to use these shortcuts. Now, let's do something. I'm going to bring the search menu and then there's a randomized transform. It's in here, and then you have the ability to randomize the ones that you have selected based on their pivots. We want to make sure that the pivots are in the center of all of those. The location, you see, this is applying a bit of location change, so that they're not all in the same place, and they have a bit of ups and downs as well. Then rotation you just don't want to go too far. And for scale, I'm not going to do anything. Sometimes it creates some visual bugs, then it could go and try to fix the result. For example, in here, But overall is going to be a good one. Now it looks like we could take this and overwrite it on the previous FBX, which was this one. Now, let's go reimport mesh. Now let's go to the Kit material. Then we need to mask these. Let's choose this one to be blue. So let's remove that to see what we're getting here. Okay? And then mask one of these to be using this color. Now let's apply this one black mask. And select, for example, this one, to use that neutral color. Then one of these is going to be this color. Let's select this one to be another color. This one. Now let's see the composition of those colors. And it's all right. Now, there's one more problem and that is we are getting a lot of noise in here. Let's go to the paint mask that you see, we have a lot of noise on I'm removing this. T. To reduce a bit of noise. You see it adds a lot of noise. And now we could go and try to add the detail pass. Let's bring in a simple layer. Just call it HS L because these colors are too saturated. So let's go for hue saturation and bring the saturation to a reasonable value. But before that, we need to set it to pass to sample all of those colors. Then again in here, let's desaturate these colors a bit. Looks like we're getting a good result in here. It's actually getting a bit of stylized in here because I do not want these to have a very significant color. I want them to be a similar tone to the main wood. Let's go and see if we could change Looks like this one is a good one. You see, we are getting those wooden shingles, and then we get a bit of color overlay on top of it. But also, you could go to normal and bring the intensity down to get such effect. Looks like this one is a better. Now let's go for that color mode Now you see we get different colors on these and that's actually in the same spectrum as other materials. Very good. Looks like we could bring that color to a more reasonable change because we don't want it to be so stylized. Now that we're working on kits, let's go for the rope. Let's create a new folder outside of the wood. And I'm just going to call it rope and we're going to create a basic fabric material for this. Here's going to be the material that we're going to look for. See the fabric is clearly there. Let's bring the fault material. Let's set the color to be something from these tones. But of course, it's going to be a bit desaturated because you see this is affected by the light. But before that, we need to go to mask with color selection. And select these. Or instead of that, we could go to mask selection object and select these three at the same time. Now, let's bring in the filter, and I'm going to desaturate it because the color is too saturated. So desaturate to get a much more natural color for the rope. Now let's go for the roughness because the rope is a rough material. Okay. Now for the height, we do not need to do anything because this is the base layer. And now we are going to add Those patterns that we know from rope and fabric material. Let me copy this, and then let's add a fill in here and go to procedurals to see what we will find for the fabric pattern. This is a good fabric, but we need to tile it a lot. First, let's go for a darker color. Then in here, we do not want to set it to triplanar because it breaks the tiling, as you remember, this one is tiling. If we go here, you see, we get a tiling rope from here to here. Now, let's increase the tiling to a greater number. Again, definitely we need to add the height Now this is going to be the base for our height. So the tiling looks to be a lot. Let's go decrease to something like five. No. Let's go something in between. Very good. Now let's take a look and you see that we have that fabric pattern, but we need to add a level to control the contrast a bit. Now let's go for the color and try to pick up something from here that has the same tone and bring the color to here, and then the roughness is going to be up because you know the rope is a rough material. Here's the base color. Now let's add something directional that goes in the same direction. Let's paste the mask. Now looks like you have something directional in here like this fur. Let's add it to here, so the direction needs to be changed. Let's pick up a color similar to that. So you see it's going in opposite direction. Let's go for 90 degrees of rotation. And then a great amount of tiling. And then bring a filter and then con, try to bring up a lot of contrast in here. Let's see, when it did make the color a bit. Or go for a different tone. For example, to present that there is a mass on the surface of the rope. Now, add a level and try to bring that up with a lot of contrast. Now, the color is too heavy. Let's bring the color to here, and then the roughness is going to be up plus, no, we do not want height. It gets too chaotic. Now that I'm taking a look, I see that this color is quite a jump from these. See the value is quite much. Let's add HS set it to pass through, add a filter, and then HS L to bring the saturation and lightness down. To match it with the rest of the materials, because they are old, and we don't want them to look that new. Because we're going to create a rope and wrap it around this wood, and it's going to take a moment. I'm going to pause this lesson. In the next one, we will go and create a rope and further texture that. See you there. 29. Texture Rope And Metal: Now it's time to go and relocate the rope on this side in here and maybe accompany that with a bit of texturing, to add a bit of rust where this rope is located. Let's go to blender. We have the rope. You see, because we wanted to get different ID maps for these, we just separated them. First thing, we need to join them so that they are one object. Now let's bring them to the center, and it's going to cause problems in the geometry because now we have new geometry. If we import the mesh, there might be some adjustments that we need to do. Now, bring it to the center, app the rotation and scale and everything and make sure that the pivot is set to the beginning right in the center of the world. Now the way that we're going to create our rope is to use the geometry alongside with the curve modifier and a ray modifier with some curves. Now if you do not have the curve option that we see in here, there are many curve options. You can go to edit preference and in this add on, just search for extra and there's extra curves and extra objects. You can use both of them. They're. Now, shift A after enabling that, we want to go to let's go and select spiral and this one. Now it's only a circle, but there's something first. Let's go for height, and this is determining the height value that we have. I just collapsed there. Let's see how it's going to work. We are going to take the mesh, bring array modifier, and now we are going for relative. Because relative is going to take the pivot and the length of the mesh in consideration. We want to offset that in Z, the mesh is tiding perfectly, and then we're going to bring in a curve modifier. And let's select this curve, and it should be in Z. Now you see this geometry is following that curve and the moment that I increase the amount here, it's going to follow exactly the same shape. This is how we are going to create our geometry, our rope, and it's a great technique to use for creating ropes. And so again, I'm going for bringing that curve spiral curve. And now let's increase the turn to something that really we want. For example, how many turns do we want the rope to take around this wood. Looks like this one is okay. And for the rest of the pieces, for example, radius, and all of these, you can try to test them, but I really like this one better. Let's go for seven. Now you see this is too much. It goes beyond the geometry even. First, let's do something. I'm going to bring the array modifier. Zero, and in z, we want one because we want that to be vertical. Then we want to bring the curve modifier. And then take this and set it to z. You see now it's following the same geometry and if we increase the amount, it's going to follow the same shape. Now, we know that our curve needs to be rotated 90 degrees and adjusted to the scale of this wood. How do we do that? Very simple. We're going to rotate that. But before that, let's deactivate the fiers. Now, rotate scale and try to place it on somewhere that you like really. For example, along this curve. Now if I apply that array modifier and curve, you see it becomes distorted because the mesh doesn't know about the changes of this spiral. We need to go to spiral, and then you can bring in the reset menu, reset rotation, and reset scale, and reset everything. Now you see it's revolving around that, which is okay. Then now you can take the spiral I mean, we are now using that spiral to manipulate. We are going for scale. Let's bring the pivot to the center or let's just try to scale and bring that to here and then apply the rotation scale and anything. And then looks like we need to decrease the amount. Now, you see the profile has been rescaled too much because we want our rope to be stronger in profile. How do we do that? We are going to take the spiral, not the mesh. We are going for a spiral. Let's go to edit mode while taking all of the points hold down so that you increase the profile of your geometry. Now, let's add a bit of more geometry, and then there's an option in here, which is merge. If you enable, it's going to merge these so that it's one piece of solid geometry. If we just take this, for example, let's say that we're happy with this. Let's take a backup, hide the backup for now and apply the geometry in here. Let me place the pivot right in here, so that we scale based on that. And then we could create something like this that has the rope. In such a maneuver. I Looks like this one could be improved a bit. Let's do something. I'm going to take this, bring the pivot to the center and bring the origin to select it. Now take this Pivot tours. Now the pivot is based on this one in here. If we go try to change it, it's going to rotate ad that. So for this, let's take these and go for proportional editing. What proportional editing does is that it has a fall of radius. Using that, you can manipulate the geometry. So scale based on. And Let's hide this in here. Then it looks to procedural. For example, we could go try to take some of these vertices, try to manipulate them, but of course, with a smaller fall off. Let me take that and just decrease the fall off. Something like that to really fine tune the shape of the geometry and make the rope more natural. So I here, there Now, let's do something. I'm going to take whatever we do not need from that mesh and remove which includes whatever in here, Now let's try to test that to see what happens. But I feel like we could take some of these and try to increase the scale but with a smaller follo so that it doesn't affect the other neighboring meshes. Now, let's try to test to see what happens. I'm going to take these and export. We could overwrite on top of this or we could create a new mesh. First, let's create a new mesh, and I'm going to go to project configuration and select and select a newly created mesh and test. This like expected, we are getting white material in here because this is not the geometry that we had here. It's altered. Let's go to Kit, and we only need to select a mask. Let's go to object mode and select and go to the material. And you see now the rope material is applying there perfectly. But there's something that we need to for example, wrap this one a bit because it's a bit procedural looking. Now, let's take this, bring it over. Now I'm going to bring the backup that we kept, which is here and now take that a spiral and place it a bit more wisely. Let's bring the period to the center. Then take that apply the rotation, and whatever. I feel like this one might be a bit better. First, let's apply and then take these and just try to offset them a bit. Because they're too procedural right now. I want just a bit of offset because the rope is not something really that procedural. Let's apply anything and then take the. Then again, I'm going to take a backup and hide it for now. Let's decrease the amount like so, and then I'm going to duplicate, apply the modifier, and a bit of scaling and rotating as well. Because I want to create the illusion that there's this rope wrapped up around here. Then let's take this one, increase the scale, and let's bring the pivot to the center exactly because we want the pivot to be there. Pivot, apply. And let's duplicate, apply the modifier and bring the Pivoty cursor. Then like always, we need to take this and using the proportional editing, just we want to center that a bit. Then let's hide this one for now as well. Then there are two types of geometry in here which we need to take. Now, let's take this and try to export it. I feel like again, we need to set a different geometry and different coloring because this one is not what I wanted. We could definitely perform better on that. Now, everything is fine. Except for such a visual bug, and that is not a very important. We could go and take this. And using the proportional editing, we could hide these in here. Let's just decrease the fall of I'll just point that here. Or we could take these CAP geometry converted to polygons and extend and delete in those areas, which are not visible. Now, take everything export, we're going to export on the same file. And then reimport mesh. It's fine, but we look like we could bring that to the center bit. I want this one to be more centered. Take these. Let's take the espiral and hide it and center this one a bit. Now place this in a just resembles a lot of geometry. Now you see different levels of geometry. Now, if I take this and using proportional editing, try to add a bit of randomness to here. It really looks more natural than actually not changing anything. Let's take this again. Now there's something because we have a lot of geometry in here, if we go take a look you see, there's a lot of geometry. So in order to optimize this a bit, we could really optimize it without actually reducing a lot of quality, just like what we've done with the decimation in Z. So decimate. The great thing is that it removes a lot from the geometry. It keeps a lot of detail in place. So let's go for 0.3, for example, and you see a great optimization, but it kept a lot of geometry in place. Since this one is a second handed mesh, and it's only for creating the illusion that the rope has actually more depth. We could even go further by 0.2 or 0.1, and try to optimize the geometry. Let's take this one as well, decimate. Let's go for 0.1. Let me see if I could bring that here. 0.05. This will really create the ill that there's a lot of geometry. Let's take this one and try to straighten that. Okay? Now it looks more like what we wanted. So now, let me take it and export on the same file. And then reimport the mesh. Again, because we changed the geometry, we need to go reselect. That is going to be easy. Just take the rope and it should be good to go. Now you see accompanied with these smaller ones that have been optimized. We are creating a good rope profile. It's a good one for creating optimized ropes. Of course, you can go and try to optimize this even more, and it's valid as well. And we need to add some details to these ropes because the color looks flat a bit. You see, we're not able to distinguish the differences. Now, let's bring layers. They're going to be probably darker layers because we're going to add a lot of mesh data details based on the mesh. Now, let's create a black mask and copy so that every time we do not need to go and recreate. So let's try to bring these and these are going to be the mesh based masks. Now the color is actually bright. Let's go pick up something from here, and then darken that. Darken and saturated a bit. So that you see the color is not so monotone. It has some details to it. Then it's not the end of it because we are going to add a lot of details. Now, let's add roughness, and then this one is going to be rough. Then there should be a lot of fabrics in here. Okay Let's place here, and then this is too strong. Let's go see what happens here, bring the balance down and contrast up. I already has a lot of scratches. So let's add a fill, and then bring a procedural from this menu. Something like this. And set it to multiply so that it washes all of that noise. Now again, this is going to be a darker tone roughness up and then maybe darker as well because I want to convey the message that this has been there for a long time, and there's a lot of dirt place. This one is perfect as well. Picku colors from here. And maybe a bit of green, a dark green to represent old mouse on the surface of this. Because the texture is tiling and we made the UVs go 0-1 UV space. We are getting tiling in here and because we have merged these in lender, the result is actually perfect and seamless, and there's no seam in these areas. But again, we need to add more details exactly in the cavity areas. Let's add that plane again, that plane the color. Let's add a cavity rust let's see. And that looks very good. But of course, we could go and try to pick a darker color plus a roughness value. But again, we need to add a fill and bring a directional procedural to subtract from that. Let's set it to t and like a tiling of four, and then multiply to remove a lot of that. Okay. Let's bring that multiply to a more reasonable number. Let's bring some occlusion data as well. This is very good for those areas. Then we need to bring a darker color. And you see this adds a lot of depth. Disease. Then it's going to be rough as well. Then let's add more cavity in here. Because we want to really bring a lot of those differences. So this is a good overall color change. But then we need to set it to color, and a color that has the same tone. But it's going to be darker because it's going to be an old one, older one. And of course, a bit of roughness and maybe a bit of height. Very, very slight height change because if you subtract too much height, then it's going to be really noisy. Again, let's paint with the This is overall too strong. Let's find something. It could be a darker color based on the tones that we have here. So let's bring the saturation up. Okay. And you can continue adding more details to there. And that is really dependent on you and how much detail you want to place there. So this is taking all of the mesh. So a bit of color swatches. Then a roughness value. I feel like for now, it's okay for the rope as well. We have textured these wooden shingles and the rope, and now the only thing remaining is the metal part. Let's create a folder again and just call it iron, it's going to be old as well. Let's bring in a fill. Again, that fill is going to be filtered L et's add a black mask to the folder. Again, using the mask control, we are able to select these. Let's go in here and bring a very rough metal base color. So this has already a lot of noise because we want these to be old. This is the first layer. But let's make the color darker a bit because they belong to older ages. And the way that they produced metal was different. They're not going to be that smooth. Instead, they're going to have some roughness value. A bit of grain, a bit of surface undulation as well. Okay now, you see, it looks like some kind of a hammered type of metal that existed in older ages. Now, let's add a bit of more surface change to that. Let's bring only the height for now, and then add a black mask accompanied with a fill. I'm going to bring some noises like, for example, the black and white spots. But before that, we need to go change the height a bit. You see now this is too much. First, we need to go bring the tiling to something like 0.5. No 0.25 is okay because we wanted big changes. And then this is too intense. We need to go bring in a fill, no not a fill. Let's bring in a filter, and then we're going to blur that. This is before blur. This is after blur, let's bring the blur up. Then of course, let's bring in filter and add a bit of contrast to the noise. We want to have difference between these areas. Let's see, this was before anything. We added the black and white spots, added a bit of contrast and then blur and you see this is the change that we get. Let's bring the blur down a bit. Then let's go bring the roughness. No This is the roughness. Let's go for color and make that darker a bit. Although, it doesn't affect a lot. So let's add that metallic value as well because this is going to be metal. No, let's not add the metal because we need to only undulate the surface. And Let's see here, let's bring the color to a more reasonable value. Then let's bring another layer only height, but this time we're going to add more high frequency noise. We're going for height add a black mask, and then we're going to bring something that has more noise. But this one looks all right. Let's bring this instead. Now, we need to tile this or set it to tri plan and tile because there's not much value in here. Let's go tile f eight now see it tries to break the surface even more. A and let's go for ten, and we could also increase the contrast or stronger effect. Now, this lesson is taking too long. I'm going to pause and see you in the next one where we go and continue texturing. I believe that it should take maybe a couple of lessons to finish this. See you there. 30. Detail Stones Texture: Okay, everybody, now we are progressing in final lessons, and now we are ready to go for metal. Now the metal just looks so flat. Why? Because we need to add a bit of edgeware to really shine on some of these edges. You see, there's a flat metal in here. Let's go I believe that there should be a t This is a rust material. Now, let's see what we could do. Let me go to smart masks, and I'm going to bring something that has that edge to it. This is not strong enough. This is highlighting some of those edges. When you take a look at here, you see the metal is just rusty. Now this looks procedural a bit. Let instead of bringing that rust, let's bring a metal. Now this is looking a lot better. By introducing a bit of metal on the edges to highlight them, it looks a lot better. Let's see what we have. This one is better than all of them, and this is the mask that it provides. Let's go see t. And bring the contrast down. And again, I'm going to bring a fill. Let's set it to multiply for now, and then in this menu, let's go find something. Some of these grunges look awesome. I this is for breaking those edges, and then let's bring the multiply to be more controlled. Now you see we have the metal in place. But also we need to bring the balance down just a bit. Now, let's take a look. Right now, I see that this metal that we have here, let me see the base color. We could actually change the color a bit by making that not so dark. Something that really shines in the composition. The previous one was a bit darker than what we wanted. Now let's go for this one and you see this edge detail that is working all right. And we might introduce a bit of rust to the mix as well. Then let's add a bit of scratches on the surface of metal. Phil, no, not here. Let's add a black mask first, and then add a fil copy. Then in here, let's for scratch. There should be some of these grungs that generate scratch. So Let's see. First, we need to invert that, to get some of those scratches showing, and then we need to increase the tiling to something like four. Now let's take a look after. But again, we need to bring the balance down a bit. Very good. In order to add a bit of realism to the surface, We are bringing color roughness. Let's set it to be rough. Then I'm going to bring the height and just add a bit of height. So we don't want to be that much. And Let's see if I add metallic. Now, let's not add metallic. Now, this is it. Let's bring levels because I'm going to bring the scratches to be more pronounced like so. But then again, we need to bring in filter, always bring in slopel to break some of those edges. Now, this looks stylize the bit and you see y. Now let's take a look. Of course, we are getting a good result. And then let's add a layer of rust on top of everything. Again, I'm going to bring that. Let's bring color only, and instead of color, let's go bring some of those really high frequency noises. For example, these black and white spots. Because I'm going to use the gradient mapping with some irregular colors to tell that, for example, it's using a lot of rust on the surface. Now, let's remove the mask for now. This is the effect. And then I'm going to bring gradient, let's bring a filter, and let's bring gradient. Let's try to add a bit of more colors, for example, five. And then displace the colors, for example, now, this one is going to 0.2, 0.4. And then later we will go and refine them a bit more. Now this one is going to be one. Now, now I just found some free images of metal and rust on the metal, and I'm going to pick colors from these. Now, it's easy to just go and pick colors that you like, and then later you can return back and try to recolor them and specify them on the gradient. Okay? Now, let's pick up from here. I'm picking up really irregular colors. And then let the latest one be green. Now, let's go and define the material attributes. Let's bring the roughness. I'm going to just make it a bit rough. Then it's not going to be metallic or anything. Then let's set it to trip projection because I wanted to remove those seams. So Let's see. You see there are really irregular colors to represent that rust that we're going to apply. Now let's add a black mask and then in here on the fill, I'm going to bring again that bring the contrast projection and the tiling of ten, for example. Okay Let's see the mask. And let's do something. I'm going to bring these and now let's just search for rust to see if they look better with the mask or something. This looks okay. This looks good as well because you see it adds a lot of rust to the mix. Let's see about this one. The same thing, not really different. So the rusty drips is okay. Then the surface No, that is not so powerful. Let's go and use this one int. Then I feel like instead of a lot of green, we can go pick up some more colors. For example, let's pick up from that. No, that's one Instead of some of these, let's pick up really irregular colors. Because you see there's a bit of brown in here, and it looks like it's wood or something like that. Let's see. Then I'm going to take that black and white spot, bring it on top and set it to multiply. And then let's bring the multiply down, only to remove some of those. Let's go for our gradient mapping. Let's bring the filter, and let's bring HS LTC if we could change the he to something more rusty. Hey. So I'm testing different values, to see which one is better. Then let's go for the roughness because that is going to be rough. The rust is going to be a rough one. Then there's something that I don't like, and that is that color that looks like wood. Let's go pick. I believe it should be that one. Let's see which one is that. Now, this is a lot better and more rugged and it doesn't look like wood a lot. Now, there's more details that we could add. Let's add a filter, excuse me, a fill, and let's add only color. Now, let's go bring in a mask, and let's see what we have in these procedurals in terms of metal. This galvanized metal galvanic. It's awesome. Let's select. Then let's choose a different hue from these. I'm going to go for completely opposite color. These are mainly darker colors. Let's see. Let's color pick to see which one works. So it looks like a bluish tone adds a lot to it. Let's see. Let's bring the mask to be triplanar projection, and then the tiling to something like eight, for example, then again, we need to limit that a. Let's add rut. This is it and let's set to multiply. Before after, you see, it adds a cool looking blue color. Let's bring the color down. I don't want it to be metal, because, for example, I don't want it to be metal. For so if we add a bit of roughness, it looks more like a rut or paint or something that has been dried there. So again, let's add a bit of random swatches here and there. So let's search for spot, and there should be a lot of these for random break up on the surface. The projection is okay because if you go and set it to triplanar, it's going to be continuous all over the metal, which is not actually that okay. It doesn't look that realistic. Now, let's go set it to something ty. Let me go for the color. Then it looks all right for something like a paint overlay. So let's do that. Instead of subtracting from the surface, let's act like this has been a paint overlay that has been really removed. Let us go for a roughness. Then for the height, instead of subtracting, I'm going to add to it. Now it looks like it has been added to the surface. Like a color or something. Let's take a look at these and I feel like we could go add more to that. Let's bring in a fill, and I'm going to bring some of these that look like colors. Let's set the tiding to two. And let's set the multiply to set the mode to add instead of multiply. Now we have different color swatches here and there that look like for example, this has been painted, and now the paint has been removed due to the passage of time. But in here, you see it's procedural, so we will take care of that. Do not worry. Let's add another fill, and let's bring these to the mix. Now the tiling to two, let's bring the balance up. Now we have a lot of those small, tiny points. Let's set it to add Now you see we have different color swatches of that tone, and it's okay. Let's see the base color. Then let's bring in a filter, and again, slope blur gray scale to really break some of those lines. It's amazing. And I'm liking the results so far. And it looks like a metal that has been there for a long time. We're adding detail on top of detail. They really progress. Here, instead of using a monotone color, let's go bring the rust material. It has more tone. Let's add a bit of color variation. And the roughness as well. But let's make the color a bit darker. Now if you take a look at the base color you see now, it's not a single monotone material. It has characteristics to it. It has different tones. Now, let's add a bit of mesh related masks in here. So let's bring in a paint. And Let's see what these masks offer. Now this is color for these darker areas. Definitely, we need to go and make it darker. To add a bit of depth, and let's set it to a multiply. Now this is really not that okay. So Let's control the darkness using that. If I go back, it adds a layer of depth on top of that metal. These are really fine for adding mesh related details. It's awesome. Let's add the roughness amount that we want for those areas. Now let's see the mask. This is it completely white in these areas. Let's bring in a fill. I'm going to bring something to break that. Triplanar and a tiling of eight, for example, and then set it to multiply to really break some of these straight lines, or subtract. And let's bring the effect. Okay. Then let's bring more of these. I'm not liking that. Let's bring something or a bit of random spots carved on the surface. Let's set the color to multiply because we want to darken that, and then roughness up and height. We're going to c that on the surface. Okay? Then let's add more detail. So it's not okay. Let's go for some ambience occlusion. No, this is not okay. This highlights these edges a bit. Let's keep that. But I'm going to change the color to something like that rust. Again, this is a lot more effective. Let's see what we could do about the height. We don't want to be that much of. Now you can go and try to texture that more, but I feel like it's okay for metal. Now it's time to go for other pieces, for example, for stones, and this pathway maybe to add some mesh related details. Let's go for ground. Actually, before going for ground material, let's go in here for the stone I'm going to that mortar material, and let's bring our mud material, the same one that we used in here. But I'm going to change it a bit. Now let's keep the normal from this, but definitely deactivate the color. Now, let's see about the color. I'm going for something like a dark concrete or something, that we could apply mass as well. So first, let's bring the roughness up. Because that is going to be rough. And then let's choose a basic dark material because I want to be able to see the difference between this and the stones. Let's reselect that again, but bring the roughness up. Looks like it's a good material. Then let's do something. I'm going for the ground and just take this material and bring the value down a bit. And take this one as well. Bring the value down to make it a bit darker. Filter saturation, lightness after that, and then bring the lightness down to really differentiate between these ds and the mod in here because this one is going to be using a lot of moss. So let's go for the stone, and in here, I'm going to bring in a fill. Let's bring color only. And then first, let's go for the mask because I'm going to first see the mask. I'm going to bring in a fill, and let's bring some of these. These ones to bring a bit of moss looking materials here. Okay? Now, let's add another fil. I'm just seeing what we could add here. So triplanar projection, a great tiling and set it to overlay. No, not overlay, let's set it to add. Here's going to be our mask for the moss on the surface for now, let's bring another field because I want that to be using more of those. This one is good as well. Let's set it to triplanar and then set it to add. Now the moss is taking a lot more. Let's bring in the color I'm going to bring the, for example, No, let's bring something that has a lot more range. For example, this one. Now, I'm going to bring moss by gradient mapping. Let's bring in a filter, and I'm going to bring in a gradient and in here, I'm going to apply some green colors. Let's pick up them from here. Dark green, light green, and so on. Okay, let's go for a darker one. Let's bring the balance up. Then definitely, we need to check for the mask. Let's add a level because I want to increase the mask more. Now, the mass is getting placed here, and see we are getting different colors there. But then it looks right if we just changed the color to be a bit darker. Let's see about the roughness. Now, later that we add those mesh masks, it really looks a lot better. Let's do something. I'm going to bring in. Of course, we have a sharpen as well. It sharpens the effect. After this, I'm going to bring in a fill. Now a filter, and let's use slope to mix these colors a bit more. I say it's blending a lot better. So mass should be a rough material probably. Not that rough, but it's going to be blocking the light a bit. Okay. Now, let's see. L et's set it to for a bit of breakup. Now we could add a bit of height as well because, for example, to tell that they have been added on the surface. Not that but a bit Okay. Now let's do something. I'm going to take this mask as a mass mask and create an anchor point. And let's just call it moss. Because later on we're going to reference that. Let's duplicate the layer because I don't want to reuse the same thing. After overlay, after the gradient, excuse me, I'm going to bring in a filter, and then HS L, I'm going to bring this more towards those warmer colors. For example, something like this. Very small changes. Okay? A bit of older moss. Then we could simply delete all of these because I'm going to bring in a fill, and then on this fill, let's bring moss. Now it's using the same moss mask, but I'm going to limit that to some of these areas. Let's bring in a fill and bring something to break that up. Bring that again as well. This is it. Let's set it to multiplier. Now you see we get a mix between different moss levels. But again, let's bring in a level and try to limit that a bit. Let's get different colors for the moss. Later as well, we will add the moss overlay on top of everything to blend together. I'm going to take the, for example, let me just take it. I'm going to bring it outside of these folders. Let me bring it here. As overlay. So this is it. Let me create a folder. Let's call the folder moss, and I'm going to place that here, so that everything we do on this folder is going to be applied anywhere. We could do something. Let me add a level in here after that because I'm going to now this is a prominent mask Ms material everywhere. Now, I'm going to add a black mask here. Then I'm going to bring some of these mass. Let's apply that here, and it's going to blend between these two layers. Now you see it's blended, but again, there's a bit of height change that we need to apply because there's too much height in here. Just select the folder, go to height channel, and you could just bring the height to a more reasonable value. Now let's see before and after. You see, it just tries to blend these as best as possible. Let's go to color. I'm going to add paint layer, not a field layer. It's going to be using a filter only for color, hue saturation lightness, and I'm going to make this a bit darker. To tell that, for example, it's a older type of moss being in here. Then again, let's go back to the moss material in here and go for the height and try to make it a bit more active. Now we have different levels of moss, the dark one, these middle ones and the brightest ones. Now, you see, after adding these masks, it really adds a lot to it. Let's see about this mass from above. No, I'm not liking that. Let's and go and try to use some of these edge manipulators on these results. The stone looks like there's a problem in here. We, this white color is because, for example, in here, we have mask, and we have mask in here as well. If we apply a base material before everything, it should solve the problem, I believe. No, it didn't. Let's bring that before the stone folder. No. T. Now let's do something. I'm going to take this and blur that a bit. By decreasing the contrast. Because if we add too much contrast, it's going to look not that okay. Then a bit of these get affected by the mass as well. Let's bring a bit of contrast, but just a bit. Now, let's go to our stone folder. Here And then after this, I'm going to bring in some color impo on the edges and on cavity on ambient occlusion on dust, on surface, and whatever. So let's bring a chaotic edge. This is the mask. Definitely we need to bring the level down. Only to highlight some of these edges. But definitely, we need to change the color to something else. Let's set it to pass through for the color only, and then let's add a filter. Let's bring H S L. Instead, let's add a paint layer instead of that. Set it to pass through, add a filter only color and then HS L. And then set it. Then if I go and try to change that HSL, for example, lighten, it's going to lighten only these colors, not adding only a simple color on top of everything. We need to go bring and a bit of contrast, it's more effective than bringing a simple color. Let's bring filter, a paint layer, set it to pass through and with a filter of S L, I'm going to copy the same setup because we're going to bring that and use it a lot. Let's see about these edges. Now, you see, it's using the same data instead of reusing the new color. And you see the base color is really getting rich. Now let's see the mask. Definitely, we need to bring the balance down. Before and after, see it adds a good edge to these surfaces. Using this setup, you're able to reuse the same thing. Let's bring the lightness up, and then I'm going to bring this is fiber. I do not want it. Let's bring rust or something, for example. Before or after. Let's create a darker color this time. No, a bit saturated air a bit of these warmer colors. But not that much. Let's control the color a bit. Looks like this lesson is taking too long again, and I feel like the next lesson or couple of next lessons should be the latest ones in this text string. I'm going to pause and see you in the next one where we go and refine and the wood a bit and add a bit of more details to the mesh. See you there. 31. Finalize Texturing Details: Okay, everybody. Now we are progressing in texturing and just like sculpting, it's never actually a stop point for texturing. You can always continue and add textures even more. So because we're limited on time, we are showing some techniques, and then you can go and try to create your own results. In previous one, we were on texturing on these stones. So let's go to those stones because I'm going to pick these layers that we created, these layers of extra color. A cake? I'm going to copy them and bring them to the wood material because they already have a good color information. I'm going to paste, just let it calculate a bit. Then now you see it has a bit of effect on the wood overall. But then we need to change the color. For example, for this one, I need to just go for something like desaturated wooden color instead of the orange like color. Let me take that. Then lightness. You see, it looks like the wood has been worn out, it would be a lot better if we go for example, on this layer at a fill, because on this fill, we're able to reduce height channel. For example, if we go for the height channel and try to c the wood in like so, we are able to get a bit of height channel in there as well. You see it just looks like a bit of desaturated wood color. So. But then if you bring that to a more controlled value, you see now, the wood is not that monotone. It has different colors. Now let's see about this one. It's a mask for the edges, but I do not want that to be too strong. First, let's go to the color and just bring that to a certain value to highlight these edges a bit. Then this one highlights these areas a bit more. Then this one as well, let's not make that so pronounced. Now it's time to go and add more details in these areas. Again, I'm going to bring in a layer fill layer, excuse me, a paint layer, and then add a filter HSL on a darker color so that we see the effect immediately. Set it to pass through so that it darkens the effect a bit. Then I'm going to copy so that every time you do not need to create the same setup. Now let's go for some of these cavity areas to highlight them a bit. You see on these cavity areas, it just tries to bring that color to add a darker color in these areas. You see a good one. Again, I'm going to copy that. But of course, we could go and try to control how dark We want the color to be. Of course, we could just go for something like this to make the wood, really old. I'm actually liking this effect, but I do not want it to be so strong. Let's go to mask editor, global balance just a bit. This is taking all of the geometry You see it just takes effect on these cavity areas on these ones. I'm actually liking that. I'm going to keep it. Now let's go for this one and just try to see what those provide for us. Now let's go to see if we could go for a lighter color on this. Or maybe a more saturated color. You see it adds a cool warm color to the wood. And I'm actually liking the result. You see using these, you're able to add a lot of cool colors in the mix. You see how rich the diffuse color and base color is getting. Of course, we didn't do anything for the ground. But overall, I'm happy with the result that we're getting so far. It looks lived in. It looks just fine actually. Now let's paste that once more and see what effect it has. No, I do not like that one. Let's go back. And I'm going to test these to see which one is going to produce the best result. This is not I'm testing different ones and I will return back if I like something. This dirt overall was a good one. But let's go for the color because I just brought the lightness down and go for something more reasonable. For example, we could go for something green to represent the moss or you could go for a different color. Now, it looks like a moss. Now a warm color. We added You see without adding these, these mesh masks, it looks flat. But after adding these, it looks really fine, and then those details would be presented. For example, in here, you see these areas of carving wood are now getting affect these areas that we sculpted in Zbrush are getting affected, and it's really a good one. Let's do something. I'm going to take these layers all I believe there should be from here, control C, and I'm going to go to Kit and add them to these wooden shingles. This is iron wooden shingles. It's here. Then after this one paste. Actually, I'm not liking these. Let's create a folder for them because we could go place them in this folder. We need to create a mask before that. Let's add a white mask. Of course, we should set the folder to pass through as well for these to take effect, especially for the base color. Now, let's remove the white mask. Let's remove the mask completely. It doesn't matter. Then let's create a filter here. I'm going to bring the saturation lightness to darken these a bit. It's not a good one. Let's bring the fill in here and use that one instead. So pass through and then filter Hue saturation lightness. And this overall is a good one. Now let's go back to our wood, and also it could add more detail. So after all of these, I'm going to go and manually try to paint on these areas that are not included in the ba. So these areas do just look fine because it's just a floating geometry. Now, let me see. Let's go to our wood material, and then bring another hat layer, set it to pass through at a fill heal saturation lightness, and I'm going to set it to a bright color for testing. Now, after that, I'm going to test different masks. It's affecting some of these cavity areas, which is okay. So let's go for the color. And if we go for something of a warm tone, it would be all right. So I'm not liking that. So let's remove all of that. This one is adding a lot of cool color changes. A good overall surface change. Then I'm going to add another one. Let's go see. I'm going to test different ones to see which one is going to be all right. So let's add this one. This looks special because you see it only appears in here and some other places. Let me go. Let's just try to add more saturation, and we could change the he to something. Okay, you see how rich the base color is getting. And then let's add another layer. And let's see. Okay. This one adds a cool overall surface change. So let me take the base color. Looks like we could go and try to strengthen the effect. Now, let's go see if we could bring a very subtle green color. But just bring the color to something more controlled. Now, something for the edge and I'm going to call it done, and maybe something for ambient occlusion as well. This is not okay. Let's bring something that really highlights these edges like this one, because I want the edges to be sharp and pronounced. Not so sharp, but really very, very subtle. This becomes a bit of stylized. So I'm just going to reduce the effect a bit. Now let's see if we could add a bit of A O and call this one done. So very strong. Let's change the color just a bit. No, it doesn't. And for a final last minute, we are going for let me see. I'm going to bring an a sencil and try to use that. What is ancil? Stencil is basically black and white image just like a mask. You could import them and try to use them like stancil painting. These are free images that I downloaded from Net and just converted them to stacil. I'm going to provide these in the project files, so that you could use them in your project. Since we're going to work on wood, I'm going to use this one. And this one. In your project files, there should be some of these. I'm going to add them like Alpha, or texture doesn't matter. Then I'm going to use this for some last minute changes. Let's do something. I'm going to bring in a paint because I'm going to use painting on it. Set it to pass and then I'm going to add a filter, add a huge saturation lightness and bring the lightness up. Like so, later we'll return back and try to fix that. But now we are only going to use these for painting. I'm going to start with this here. And now I'm going to select this and bring the paint properties, and in here, there's a stancil. You want to take one of these that you're going to use. Of course, if you click on it, it's going to be replaced with the Alpha, you just want to click and bring it to Stencil. Now you see this appears in here. To control that, you hold down S, and then it allows you to use right mouse Zoom in and out to use that ancil now I'm going to use this as a mask to paint. Now you see now that I'm trying to paint, It just tries to use that atencil as a mask to paint. And now let's take a look and see no longer I'm able to paint in other areas, only on that mask. Now let's do something. I'm going to disable that stencil at a fill. Because I'm going to use roughness. I'm going to just use high roughness value, and then a bit of height. Of course, in order to use that you want to go to that HSL and activate a height as well. Now, this allows to paint using the atensil. Now let's go I need to go for a different setup. Let's remove all of that. Then let's bring the eraser and try to erase whatever we painted, because I'm not going to paint on this layer. I'm going to bring in a paint and try to paint on this instead. So let's take that and then bring the filter and saturation lightness. Let's bring this paint on top of that and set it to multiply. Why? Because the paint is going to be a black and white. So let me do something. If I bring the hue and set the paint to multiply. Of course, before that, we need to go to black mask and then add a paint here. This will be a lot better. Now I'm able to go and try to paint on this manually. Now, let's go and just leave a mark, and then I'm going to return back and try to fix that just like a very rough wood. Let's go to something of a darker tone. Then if you press x, you are able to delete. If you press x once more, you are able to paint with that. But I'm going to paint on this paint, not on the main mask. Let's try to paint, and then let's return back to fix the material a bit. So I'm going to just make something like a warn wood. Or instead we could bring in a material. Let me see if I bring in a rough wood material, I think it should be okay. Let's remove that. Of course, we could remove this one as well. Let's go bring in a rough wood. Then I'm going to try to tile it a. For example, four, Then I'm going to add a black mask. Then on that, I'm going to bring in a paint, and then we have the estensil in here. We are able to try to paint manually like so, or we are able to go to Alpha brushes, and they should be in here. Woo. Load one of them in the esencial tab. Then we are able to hint with it. So I'm not actually liking this result in here. Let's go to paint and try to remove everything. It just takes a bit of triol and error to see which one works. So let's bring the extensil once more. This way, using S and left mouse, you're able to pan the mouse. So now, I'm taking that and let's go for height channel, and just try to decrease that a bit. This is a small change that we applied, but you can already guess that, how you could use that. Let's go pick up a grunge brush like then I'm going to just try to paint along these areas to create the effect that, for example, there has been wood cut off in here. Okay? Something extra. And the good thing about this workflow is that the mask stack is available to you. Okay? Again, I'm painting on that mask. I should have painted on this one instead. Now, we could bring filter, and for example, add a slope blur gray scale to really fine tune that. So. Then for this side as well, it could go and try to paint. But then again, we need to go for the ground. Let's go for the stone material because I'm going to pick up the masking that we placed for these stones. It should be from here. Control C, and then I'm going to bring that and paste it in here. I just took those and let's paste. We need to this let's remove the sharp and that we have here, the moss material. So let me take the mud material and bring that up. Because I want that to be like so. But let's bring it to here. So that it gets affected by the moss as well. So blend that a bit better. There is a bit of white mask in here. Let me take this and bring it on top of moss to highlight these edges a bit. But overall, it's getting too noisy in here. We need to remove some of the layers that we added. This one could be removed. I'm going to remove some of these white tones. This one as well. And you see reusing the same data over and over again will save a lot of time. Then you only need to this one as well. No. This was the one that is driving a lot of that white. Let's take and we could bring the intensity down. Let's go to base color because that is set to pass through. And the desaturated color Okay. So I believe that it's enough for text sing. And finally, we have reached to a point that I can conclude the tutorial and see you in the next and final video. 32. Thank You: A. We finally finished this, it's really a point that we could stop texturing and call it done. Of course, just like sculpting, it's never an ending point to texturing because there's always more detail that you can add. But since there's a time limit for this tutorial, I'm going to finish right now. We started with a blockout. We went for sculpting and Zbrush. We used a lot of free images that were scanned from net and processed to height Map, and then use those for sculpting the height map, and we had the optimization in mind as well. Now that you have this one established, you can go back to blender and try to just like the ropes that we decimated, you can decimate the well itself and this stones to optimize the result a bit more. And we just went and textured and started with really base results, and then gradually built on top of everything to go for a final result. And we used a lot of the materials to save time. So it's a point that I can really conclude this lesson, and you could go and try to continue adding details, but I feel like it's enough for a prop. So I'm just going to finish right now, and goodbye.