Transcripts
1. Sculpting for Game Environments in Zbrush: Welcome to Sculpting
for game Environments. If you want to create
environments for games in real, you want to learn how to sculpt, then this course is for you. We will learn how to detail game environments
using Cebush. My name is Mao, and I've
been in the industry for over 13 years where I
work for AA Studios. And in this course, I
will show you my secrets on how to detail
assets on Cebush. So we will go from
the very beginning from importing our assets from unreal to C brush, we will go through basic
sculpting techniques. We will go through
different brushes, and I will share with you
all my tips that I have to just create a very
detailed environment. So by the end of this course, you will be able to import
that asset into Unreal engine and have a game ready asset that you can use in your games. So with that set,
let's get started.
2. Exporting our asset from UE5: So once you put
something in your game, you want to make
sure it looks nice. And this asset here, it's the one we're
going to export to rush to add all the detail. And if you see very closely, you have these sharp edges here, and it's very low poly. It actually has very nice forms, which is the most
important part. But it lacks some detail. If I check another asset
just like this one, you can see that I have a lot of detail that I can
put just by using nanite so I want
to take advantage of Nant to add the same
detail to my asset. So the first thing we need to
do is to export this asset, and I'm going to
click here or you can either Control B to find
it in the content browser, and then right click
and then sport. Once you do that, let's just
put it like column four, the settings just like this, remove the collision
and then export, and then you are ready to go. And if you're wondering
how I got this asset, I just got it from the art
station marketplace here, and I got it from this
person, Jasmine Bernice. So it has a lot of
assets, actually, and I highly
recommend you to grab those to kick start
your game projects. If you don't need to
model everything if you find something you want
such as these columns, and I will put a link in the description so you can get them. For a very cheap price, you can just add these
columns to your game, and you can create
some unique things, for example, like this one, it's a collection of
duplicated columns, so I can create my unique
column for myself. And this one I just
use like that. And modify it a little bit. But other than that, I think it's a great way to
add models to your game. So I will put a link in the description in case
you are interested. Now that we have our asset, let's move back to brush.
3. Importing our column to zbrush: So now that we open brush, we need to import our
asset so we can sculpt it. Now, if you're
really new to brush, this might look a little
bit intimidating. So what you have here
is the viewpoort here. So, for example, if I click
on the cylinder here, nothing will show up, but
if I track this, okay? I'm in the draw mode, which means that I can
keep drawing cylinders. Okay? If I don't like this, I just click Control N. This
is just like a two D canvas. But if I want to
edit the cylinder, I can just track it again. Then click on Edit or press T. Okay, now that I have this, I can just go to my brush and I can select which kind
of brush I want to use. For example, I want
to use the MV brush. I can either find it like this or I can press the
letter of the brush. M, and then I will have a collection of
different hot keys. In this case, move is with V. I will just
choose it like that. And now that I have this,
I can just modify my acid. And notice that when you
want to sculpt this acid, you need to convert
this to a poms treat. Otherwise, it won't let you. So what you need to do is
to go here to your right, make polymstD and now you can start sculpting your
acid if you want. Okay. So we will go through different sculpting
techniques with our mesh. So what we need to do is to
basically import something. So it doesn't matter
what you have here. You can just import
and go to the desktop. And here I will have a
column that I export. So I will click on this one. And once I have this, I will have FVXimport options. Then I could just put
import Amax polygroups, but just like that, let's just put it okay. And just by doing that,
you have your column here. Now, it looks black, and the reason is maybe
it's having vertex colors. So what you need to do is if
you go here to your Subtool, you will see here a brush that
basically puts the color. And our color it's basically
not allowing us to see it. It's just a black color. So what we need to
do is to check this. Okay. And now we have our acid. Now, you will see that I
created a new tool here. So I have different tools. I can just browse between different tools or
I can create a new one. In my case, I have
my asset here. So how do you navigate here? The first thing is with
Alt and left mouse click, you can move it. Or with left mouse
click, you can rotate. Okay. Now you can
press F to focus, and out and then leave out and press the left mouse
click to zoom in and out. And that's it. That's
what you need to do. And if you don't have a tablet, then I highly recommend you to get one. I'm using one now. So if you want to
sculpt with mouse, it's possible, but I highly recommend you to use a tablet. It's definitely
something different. So just by doing this, just move it around. At, click. And zoom, zoom out, and that's all you need to do. Okay. So I will do
one last thing. I can change the
material of this. For example, I can put the
basic material if I want it. I find that this material is very good to see the highlights. So just choose a
material you want. Okay? And then I will
save this as a tool, and I will just save it in
the desto and I will call it my column C brush,
something like that. Okay? So now that we have this, we are ready to start sculpting.
4. Adding dynamesh: So now that I have my column, I need to start sculpting. So the first thing I'm going to do is to duplicate
to have a backup. And this will be I'm going to going to my Subtool
and then click Duplicate, and this will give
me another subt. And then I will rename this
as my column. Hi pool. Okay. And then what I need
to do is to make sure I'm focusing on this one because they look
exactly the same. I can just click on the eye here and I won't
be able to see it. So just by doing that, we
have our mesh here. Okay? Now, what I want
you to take a look at it at the edges of this mesh. Why this column
looks very low poly if I choose rock the mouse with left mouse click
and click Shift, you will see that I have
a very straight edge, for example, let me throw it. You can see the edge here
extremely straight like this. Okay? And in real life, these edges aren't they
don't exist in real life. We don't have anything
super exact in real life. So what we need to do is to
sculpt these edges first. And the way we're going to
do it is go to geometry. And here in geometry, you will see a tab
called Dynamesh. What Dynamesh will
do is to re mesh. If I click Chief F, you will see my polygon found here and you can see
I have a bunch of quads. If I try to sculpt, for example, let's go to B, S, so I can look for my
standard brush and then press T. If I try
to sculpt here, I cannot sculpt anything. And the reason is I don't
have enough geometry. So the easiest way to have geometry is just by
adding some dynamesh. So you will see here that you
have a resolution setting, if I just click here, looks like nothing has happened, but now if I check
my wire frame, everything has more polygons. Now, this resolution
it's a little bit low. So I'm having this artifacts
here, which I don't want. So what I'm going
to do is to put something like 256
to start with. Okay, let's control again, and let's put
something like 112. And let's remove the blue. Okay, now our mesh
looks very high poly. We can start sculpting here. If I go here, grab my tablet and with, I can change the brush
size here just like this. I can just start
sculpting in my mesh. So. Now that we have this, we're ready to start
sculpting the edges.
5. Trim edges: So the way we're going
to add detail to this mesh is by using
some trim brush. So if I go to my
standard brush here, I can have a look at
the trim brushes here. So I can use press D
to find a trim brush, and you will see that I
have a bunch of those. I will choose a Trim dynamic, which is D. I can
either click here or press D. And the trin dynamic already will give me
a really nice result. So what I can do before putting my train dynamic is
to make my morph target. What my morph target will do
it to store a morph target. Okay? And then
let's say I want to sculpt this mesh and I'm very aggressive and I do
something like this, Okay And I really
don't want that. So what I can do is to go to
my morph brush, pressing B, then M, and then
you can press O, I believe, or look
for the morph target. To be around here.
It's more target, eh? There you go. Morph
here, just like that. Now that you have your
morph, you can just click here and you will
go back to normal. So with that in place, we can just sculpt very freely without any fear that we
will destroy or mesh. Let's go back to BTD to
do the train dynamic, and I will just sculpt
here in my orders. Just by doing this,
what I'm doing here is basically removing this
straight edge we have here. And by adding this
train dynamic, I can make my mesh look more high poly and I
can do something like this. Okay. And if you want to add some destruction or
something like this, go to your brush and
press C and then B. This will select
the clay buildup. So what you can do
is pressing out, you can sculpt
something like this, and you can have something
with more detail here. It's out here, BTD
as you can see, Crush is basically
a hot key program. So it's a good idea to have hot keys for all the things
you have in C brush. Otherwise, it's going to take a while to select
all the options. Okay? So now that you have this, now you can see that my mesh
is starting to look better, but I want to show you another technique to
make these trims. So if you go here and press T, you will see that I have
some different trims, okay, trim circle, trim
curve, and anything. So if I go to my light box, you will see that I
have a brush tab here. And here I can go to trims. And this will allow me to select any other kind of
trim that is not this one. One trim that is very good
for doing this kind of destruction for architecture is the trim smooth border,
which is this one. I will just click on this one, and I will have it
here, rimmood border. Basically, T, B, and I get it. And what I will do is to change the Alpha to have a square here. And now look what will
happen if I go here. Let's go to this part. I put the trim and it's
much more stronger. Just like this. Super strong. And I can break the
mesh, even if I want it. Just by doing
something like this. It's very sharp and it gives really nice edges
and nice contrast. Okay? Just like that, you can keep sculpting
your mesh here. This was a little bit too much. Be careful to sculpt in the concave areas
which are like this. Basically, sculpt
only in these ones, and you want to smooth
these areas a little bit. Okay? Just by holding shift, you will select the wood brrush just by using the
trim smooth border, you will at the
edges for the mese. So what I will do is
speed up this process. And let's see the
final result after.
6. Sculpting using Trim brushes: So I will speed up
the process here so that you don't see mis
sculpting the hallway. The idea here is just to use the same technique that I
show you the trim smooth border with a brush Alpha and just start chipping
edges, like all of them. You can see that we have
a lot of edges here. And this is a very
boring process, to be honest, but it will
pay off. It will pay off. Like in games, in general, you don't want to have
perfectly straight edge. Even for surfaces that are
not as damaged as this one, you still want to give
some edge treatment. So you can see I'm
increasing the resolution of the dynamesh just because I
want to go into more details. And I'm just masking here with Control click and Control
again to apply the dynamesh. And after that's done, you have more polygons to work with. I in environments,
you don't necessarily need to re apologize things because things look
a little bit chaotic. So when you start chipping edges and
everything, actually, I recommend you not to re apologize at all
just because it will try to smooth your borders and you don't really want
to have smooth surface. You just want to chip the edges. So as you can see in
the top left corner, I have my silhouette, and this silhouette, has
a very straight line, and it's a good idea
to always check it. Because we can always
change the silhouette. Now, you don't want to
change it that much so that you don't
recognize your object. But it's always nice to
break that straight line that naturally any
blockout give you. So just by trimming these edges, you will be able to just, you know, just make your
environment look better. Now, this process, obviously, it's very easy. It's very easy. That's why I speed up, but
it does take a lot of time, especially the
bigger your asset, the longer it will take. Like, this is speed
up like two times. So basically, it took me like maybe 20 minutes
in total. So not bad. Not bad, to be honest,
like 20 minutes in asset creation time, it's something that
you really want to you really want to
have it's a good time. So obviously, just go with the trim smooth
border as much as you can and start
breaking things. Like the way I like to see those things these
assets are each phase, every angle that
you see an asset, it's like a different asset that you can use in your game. It's not like one asset. It's like this asset has six, sorry, four different phases. Six if you really on the top, but I don't think we're going to use this asset on the top. But if you always
look at the site, you want to have different sites depending on where
you're looking at. So some areas may be a little bit more
damage than others, and it's always nice
to zoom in like this so that you can see how it
looks like from distance. And it's always better to
exaggerate a little bit. Sometimes when you sculpt too little, it's almost
unnoticeable. So you don't really need this to go all over
the top with this, but you also don't want to you don't want to
sculpt very little. You want to add as much
detail as possible. And some areas,
like I was saying, every phase is different. Some phases will
have more damage. So faces will have less damage so that when you rotate
your asset in your game, because you are going to use it like in different situations, you will be noticing that it's not the same asset that you are duplicating
because in games, we have limited number of
assets that we can use, and every unique asset, as you can see, takes
a long time to make. So the idea behind this is that every
phase that you make, it is a different asset. So typically how I like
to work with this, I tend to do a
very generic pass. Like I just put a train smooth border on
all the edges that I can. And then after I have all
my edges that I need, I tend to go into each individual phase
so that every phase, you know, just looks different. So even when you
get to this stage where you are sculpting very thin surfaces,
it does pay off. Like every detail matter, every detail will be compounded. As you can see, I
change my material for the red wax material, and I'm changing
the light here just so I can take a look
at the shadows better. Sometimes the default
material is not a really good representation of how the light is going
to look on your object, which is the main topic on
this sculpting process. Every rush stroke that you make, it's changing the lining, right? It's changing how
the light reacts. And you can see that I have
a very uniform light there. I'm trying to break it by being a little bit
more aggressive. As you can see,
we're getting into the stage of this column where I will actually just go and be
a little bit over the top. I was a little bit like having those trim smooth
borders on the edges, but nothing too exaggerated. And then I tend to zoom
out a little bit to have a bigger
overview of the acid. Be careful having those you
don't want to lose the form. Like, for example, here, when
you have a very big brush, you may lose the shape. You don't want to
do that. You do want to change the
lining so that it's more it doesn't look like a straight shadow
when the light hits. That's you know, that's
pretty much this process. You just need to go
through all the edges. You just need to
sculpt here and there, and some areas you
will have more damage. Obviously, you can still use some references that will help. Try to you know, just try to break
the surface even. Obviously, at this point,
we're not really worried about the details
of the surface. Those details can
be added later, but it can also be added by textures and
materials on our game asset. We're mostly interested on
the main forms of this one. As you can see, we're
actually having quite a big difference
in this side, like, it's a little bit more
destroyed than others, and the other side is
a little bit cleaner, so that when we
duplicate our acid, it will start looking it will
start looking really nice. So just keep that in mind, keep sculpting, keep adding
damage here and there. Don't worry too much about
those intersections here. You can always make some concave shapes where you
sculpt inside like this. And for this, I like to
use a clay build up brush. It's kind of nice, give me that kind of broken concrete feeling that I don't get with the trim brush. It's kind of like chipped areas. And I tend to use
the brush alpha, the I can change
the brush alpha as well to have different results
to have the square one. You can see that it
really does help a lot. It does add a lot of noise, and it just makes
our acid just look much much more natural after
we have the trim edge, we can start adding
some variation on some of the surfaces here. And it is just that. Like the main point of this is that never
have straight edges, always avoid this kind
of CG feeling that you get from modeling something
with a very straight edge, like with very low polygons,
it does help a lot. And, you can use a clay
build up to to, you know, just break the surface even just between those two brushes, and it's going to look great. So with that, we will
continue on the next one.
7. Sculpting tips for damage details: So after 20 minutes of
sculpting, this is the result. And as you can
see, it looks much better compared to
our previous version. What we're going to
do now is I'm going to give you some tips here. For example, here, I forgot
to put the train brush. So you just need to do something
like this very quickly. Okay. And the idea is to
add some damage here. So the way to do this
is you go to B, C, B to open your clay Buildup, and then you just out click and you will add some
damage like this. And you can do the same
here just like that. Okay. And when you're adding damage, make sure your mesh, when it's rotated, it looks different from one
side to another. For example, here, I have some
damage here in the middle, and here I don't, which is good. Here I have some, and here I have
something different. So what you can do is to put
that clay built up here, S. Until you sculpt it
to add some damage. Another thing you can
do is to go to B, D S just to check
the dam standard. And once you do that, you can add some cracks here
just like this. And usually we'll have a shape like this, something like that. I have some cracks. Have it a
little bit nicer like that. Yeah. Just make
sure it's waving. I like this. Okay,
just like that. And so that way you
can add some cracks. Okay, and continue to
use the clay buildup. You can just add some damage
here, just like this. Okay. So now that we have this, let's delete the morph
target and store nema. So another thing we can do is to add some concrete damage. So if I go to F, you will see that
I have something called flakes, which is great. So what I can do here is basically put the flakes
here just like this. And this will do great to
show the concrete damage, and then you can go to
your train dynamic to make it Latin, just like this. Okay? This can help. And if you don't like it, just go to your morph target
MG and just paint it again. So the flakes are a great
brush to add some damage here. For example, like
in these parts, you want to add
some small damage. They have a little bit
of noise here and there. So the flake brush is
really good for that. You can see that it adds a
little bit of small noise. And I can continue to add the flakes here to
add some layers here to my bricks
so that they have been chipped out and you
can see the inside of it. And then with my brush
when it's smaller, I can just come here and just sculpt this
again just like this. Okay. Okay, so this will give me a much
more realistic result. So I'm just going to keep
doing this using flakes and I will show you how it
looks like after I sculpt it.
8. Using the Flakes brush: So now we're going to be
sculpting the surface detail, and the flakes brush just
works wonders for us. If you use the flakes brush, it's kind of like a
like undercover brush. A lot of people don't use it, but it's extremely useful for adding details
to your surface. Now, the way you add this, you can use sculpt or holding out to just sculpt
on the negative way. So it will add a lot of detail to the surface without
actually breaking the forms. Like, it will give you this
kind of concrete feeling. I like to use this brush
a lot when when I'm doing some kind of concrete or
these type of surfaces, where they have a lot of
chips here and there, like, a lot of irregularities, and it just adds a lot. Now, you don't want
to put it everywhere. Like, everything,
you just want to add some damage here and there, maybe some areas with
more damage than others, some areas without
any damage at all. Like this kind of thing is
just really works really well, especially when you increase
the brush size like this. You can just start, you know, especially on surfaces that are, like, really flat like this, like the top, you
can start adding, like, a lot of breaking
the surface a little bit. And this is going to add a lot. It's not like that
trim brush where it's going to change
your silhouette, but it's going to change
the surface treatment. Now, you can always add these kind of details
with the textures. My recommendation is that you
can add them here as well, but do not overdo it. You can see that I'm having some areas where I'm having
quite a lot of noise. Like, I really like that. And maybe this one, for example, I'm not so sure about this, but we'll just go
for it, I think. Just keep using the flax brush. Flex brush obviously very, very good with concrete
type of surfaces. Is going to add a lot of
detail to your architecture, especially when you want
to sell this old and used feeling that is very popular
in nothing is entirely new. Nothing is perfect. So this kind of imperfections add
a lot to your work. So when you add this flex
brush into your sculpt, you will feel like, you know, it's taking it to
the next level. So the reason I'm showing you the
flex is because a lot of people don't
know about it. They know about
the clay buildup. They know about the train
brushes, the standard brush. And the flax looks
like something that you almost never use. But in this case,
for architecture, and you want to have
kind of use filling, like a little bit
old and everything. It adds a lot of
a lot of detail. You can see this flat
surface just by adding the flakes and add CAD and CSAP. It just adds a lot of value. So by just clicking here, just breaking the surface. I will help your asset
to look very nice. Remember, every
detail will count to make our asset look better, so just keep that in mind. D not underestimate the
power of small details.
9. Sculpting with alphas: Oh, now that I add my flex, you can see I add much
more detail to my mesh. Now, if I compare
to the other one, for example, like this one,
I can just click here. You can see the difference
that adding the damage give. For example, I want
to see it from here. If I put it like this,
it looks very clean. But if I put this one,
it looks much better. So the next thing
I want to do is to sculpt with some Alphas. So I'm going to store
a new morph target. I'm going to delete and
store a new ones like that. And what I want to do is
to import some brushes. So I have some from
my art station here. I will put a link
into ascription. This one is free. Example, you can get some
brushes for your alphas. So, this one is great. Another one that is great is this one is the
ornament kit tach. If you want to put ornaments
in your environments. This one is not free, I believe, but it's very cheap. Everything inside, Art
station is very affordable. It's not the final solution, but it has some really
great resources there. So now that you
can download this, I already download it
and I will put it here. So I will be ST to track my sunder brush and
then track rectangle. And now I need an Alpha. So if I put something like this, for example, you will
see what it does. I can just grab this one and I will have
the Alpha of this. So very simply, I will just import the ones I just download, and it comes with
a bunch of those. Let me see maybe I
can try this one. For example, or
maybe the plaster. The plaster can be a nice one. So let's try the plaster. And now, if we put it here. Now, you will see this
will give a lot of detail. So there is something
we need to do. The first thing is, of course, we want to decrease
the intensity, and we do that by changing
that Z intensity. Let's put something like two, for example, and then
let's drag it again. Okay, you cannot really see it, so let's put something like ten. Okay, here you can see
it a little bit, okay? So that's one thing. But the problem
with this is that we're adding noise everywhere. So this is where our morph
target will come into play. So let's say I want to
add some detail here, what I can do is to drag this
like this, just like this. And then I can go with my
morph brush with M and G, and I can just paint here which areas I don't want my detail. For example, I only
want it in the bottom, so I can just leave
it like this. I can just paint it slowly, and this will add
a lot more detail. So let's go to our
standard brush again with BST and let's track
something like this, and then maybe something here, and then with our more brush, we will select which parts
we want to have or detail. And here, we don't want to have I everything
has a lot of detail, then our mesh will
become very noisy. So let's import another one. I believe this was the we can try it up
plaster, too, I think. Okay, it looks very different. So let's put
something like five. And just like that, we can add some micro detail here
with something like this. We can put something like 15. I will add a lot of
detail, actually. So make sure you don't break
the can add here if we want, but I don't think
we're going to use it, but just in case we can
then use morph target here. You can see it's
very heavy this one. So you're aware of it like that, add some etl here. Like that, Let's put the
intensity back to seven. Then with a morph target, paint with the intensity. This is only to add
some micro detail. Let's go to another
one to play with it, BST, and then here we will
import another Alpha. Let's just check
this one, the stone. Oh, this one is very
nice, actually. So what I'm going to do is to put something
maybe around here. Let's put the stone
in the bottom. Let's decrease the intensity,
something like eight. Okay. Something like
that, that will help. Here we can also put it. I can also be very extreme and change the intensity here
to something like 29, and you can see what
it does actually. So if I press down, I will have a small hole, and then I can go
to my morph target to fix this, go to standard. Back the intensity like this. Just want to add some
detail whenever you can. Okay. Just like that. So by doing this, we have control over where we want to put the less details, and just by using some Alphas, we can add a lot more detail. Another thing you can do, and I'm not sure if I'm
going to do this, but if I click Import, let's go to another Alpha
I download, this one. And we can check, for
example, something like this. It's one of the art
station assets. I I shared. So if we do this, we can put it like this. If we want to put
some ornaments here, we definitely can like
this and we can rotate. So this will add a
really nice detail. But before adding
those, I want to check how it looks like
in our wheel engine. So the next thing we're going
to do is to export this and replace the one we have
already in our game label.
10. Importing our column to Unreal Engine 5: So how are we going to export
this asset is very simple. We just need to
export this here. We can either do it like
this or we can go to our plugins and only
export the visible parts. In our case, we only
have one subtle. This one we don't really use, only this one is the
one that is visible. So if we go here to see plugin, then I go to FBX. I can use export
visible subtols. FBF 2014 is fine. Then click Export and I
will choose my column high polyhe and you're good to go. Your file is exported. So now that it's exported, we just need to go to unreal and we need to
replace this asset. So the way we're going to
do that, it's very simple. First, let's import our asset. So here we will import
desktop and let's select our column hide poly Okay. And we can build a
nanite if we want. And then do not create material. Everything should be okay. Like, import, and it
will take a while to load because it's also building the nanite
mesh of this one. And it's a really heavy asset. Like, if we take a
look at the file size, let's go to here, export will be my
column high poly. It's 46 megabytes versus
the low poly one. It's this one. It's
200 kilobytes. So it's very, very heavy. So it's important the
column, weight a little bit. And this is the thing about
working with nan acids. You know, you gain a lot of performance and a
lot of memory after, but importing still an issue
because they are very heavy and you really want to think twice if you want to
have the nanide workflow. For us, it works. So now that we have this,
we just need to put our mesh here. And that's it. Now, this mesh is bigger. So we need to copy the
scale and maybe paste it, dismiss this, paste the scale, and there you go. Now we have our nande acid here. So what I need to do
now it to texture this. So we're going to do that next.
11. UV Mapping our asset inside Unreal Engine 5: Okay. So now that we
have our column here, we just need to texture this. And we're going to do
a very simple texture. I already have a material here. So before doing that, what I want to do
is to go here and go to my activate
modeling editing mode. So basically what
this will do is to give me a bunch of
modeling operations I can do inside real, and I can model, I can scope, I can change the UVs
and a bunch of options. If you're interested
in learning this, make sure you check our
complete tutorial on how to model inside and real so you can be a master
using these tools. For now, let's go to Edit to
plug ins and go to modeling. Make sure you have this enable. Once you enable this, you
just need to restart. And once it's restart, then you will have
this option here. So if I click Shift
seven or click here, I will have a bunch of options. Now, what I want
to do is to make sure this one is the
real size for my column. Because for B game, this is the size I will use. But now, if I drag this
column again, for example, here, you will see that
it's extremely small, and that's not
really what I want. So I will delete this. And what I will do is I will use the modeling tools to make sure this scale is the one
I'm going to use. So very simple, I just
go to transform and then go to bake scale
rotation and accept. And just by doing that, I will change the scale value, the default scale value
because right now it is 2.3, and every time I drag the acid, I don't want to
change the values. I know this is the scale I want, and I don't have
any UVs for now, so I don't really need
to worry about those, but we will create them later. So let's just wait for this. And it's going to take a while because it's a nanite asset. Okay. Now, it's long. Now, if I want to drag
another mesh, for example, this one, I can just put it
here and I will have my mesh. Okay? Now, what I'm going to do is to put
this material here. So I'm going to here, and then when I click
here to put the material. And actually, it's not working. What you can see
is just the color, and all the detail is
my sculpting detail. So to do a very quick UVs, I will just go to UV mode. And then click on wrap. Sorry, and click on project. Once we project the
details, it will load. You can see we have
our mesh here. And if you want to check
how it looks like, go to material
mode checkerboard, looks like it's a
little bit stretch. So I'm going to put
this to 0.5 maybe. And this looks much better. Everything looks very unified. So let's check our mature. So everything looks
really nice, actually. And the nature of
this acid, of course, allow us to use the box
projection to texture this acid. So once you're happy with
this, just click Okay. And it will take a while again to change the mesh because
it's a very heavy one. But once you do that,
we are finished. Okay, so now that
this is finished, you can see we have our
column here that it has more detail and also is
using that it's having UV, so I can apply my material, and I could apply any material I want like this one
or any other one, and it will just look nice.
12. Wrap up: So this concludes our course for Cash for environments and
bringing our acid into real. You can really check here like our difference
between these two assets. One doesn't have sculpting
detail, another one has. You can check the silhouette. You can check all the
details that we sculpt, and it really does
make a difference. So you will see now in a
second where I put a light. So you can see the
details of the normals. So if I press L and click, you will see I have
my light here. And I can just put it there
and you can see the shadows. You can see all the details
that we add on brush. They are actually helping us
here when we put the light. Unlike this asset where
we put the light here, and you know, we don't
have a interesting shadow. So that's it for me, guys. I hope you enjoy this course. If you want to
learn more from me, make sure to check
my other courses. And I will see you
in the next one. Bye and take care. And I
hope to see your work there.
Mao Mao
