Today, I have an evil plan. An evil plan to teach YOU how to
make your own procedural stylized base material that you can save as
an asset, and then use on anything in Blender, and any project in Blender. Remember this? You get one, and you get
one, and you get one! And not only will I teach you how to make
the material and save it as an asset, I'll teach you how to model a low-poly rock,
and then use our base material to turn it into a finished product fairly quickly. And the best part is, you don't need this. *screams of terror* You just need this. *wow~* This is Ucupaint, the amazing
free add-on by ucupumar. It enables us to texture paint with
layers in Blender, which is amazing. If you'd like some help installing it
and learning the basics, check out this video where I go over all of that and we
learn to make this cute little Voltorb. Now, if this video helps you out
or you like the content, smash like and subscribe so I can make more. You can grab the blend file with
this material and real-time video of me making it on my Patreon. Material Creation! Okay, to start this project,
all we need is a UV sphere. So let's add one by pressing
Shift A, going to Mesh, here, and selecting UV Sphere, here. I'm also gonna right-click on the
sphere and select Shade Smooth, here. So let's select our UV Sphere and
switch to Texture Painting Mode. You may notice this *Tool 'builtin'
error down at the bottom, here. All that means is that we don't have
a Texture Painting tool selected. So go to the left side Tool Panel
and select the Draw Brush, here. Just a heads up, for the sake of time,
I'll only call out an action, like adding a new layer, with an arrow the
first time I do it, since every time afterward, the process will be identical. Next, we'll find our Ucupaint
panel on the right, here. Remember to press N if
you can't see this panel. And we'll click on Quick
Ucupaint Node Setup, here. This time, for the type, we're going
to select Emission and press OK. Selecting Emission as our shader
type means that the layers we create will be visible even if there's
no light in our scene, which is fairly common for this style. Let's add a new layer by
clicking this plus (+) icon, here, then selecting Solid Color, here. I'm going to pick a fairly
dark and desaturated blue. Um, something like this, maybe? Yeah. And I'll switch to Material Preview
Mode by holding Z and dragging down so we can see our layers. I'll also shut off some of these
overlays for a clearer view. Okay, let's go back to the Add Layer
button and add a new solid color layer. I'll pick the same color, just a
little bit lighter, and press OK. Now, we need to talk about Masks! Alright, to explain what masks
do, I'm gonna open up a new Krita file and add a red paint layer. Now I'm gonna use the magic of
masks to make part of this red layer disappear so we can see
the white background underneath. To do that, I'll navigate to the plus sign (+), here,
and I'll select Add Transparency Mask here. This type of mask works exactly the
same way as the ones we'll be using in Blender, so it's a good example. Next, I'm gonna go up to the color
wheel, here, and I'll change my color to fully black, because drawing on my
mask with 100% black will hide 100% of the red pixels. This is because drawing black on
my mask tells the program I want to hide that part of this layer. By leaving the mask white, I'm
telling the program I want this part of the layer to be shown. And masks work with grey values
in between black and white, so you can get different opacities. To make this as clear as
possible, I'm going to add a new layer underneath our red layer. I'm going to make it a light
blue color, and then I will turn the red layer back on. And you'll see that the mask on
our red layer is making it so that the area I drew in black is
revealing the blue layer underneath. So basically, masks allow us to
choose what we want to show, and what we want to hide between layers. Now we took that detour about
masks so that you'll understand what we're going to do next. Let's add a new mask to this layer by
navigating to the Add Mask button here, and taking a look at the Generated Mask section. Generated masks are procedural, meaning
you can change them at any time. And because we can change the way
that they're mapped, we don't need to rely on UVs for them to work. And this is exactly why you can use
this as a base material on any object. Because the material is using generated
maps, it references the geometry and its position to know where to map
the texture, rather than the UVs. So from the Generated Mask list,
let's select the Musgrave texture, here. The Vector option. here, is what allows us to
choose the type of mapping we want to use. Since we don't want to use UVs,
we're going to switch it to Object, here. When we press OK, you'll see that
some of our lighter layer is showing through, while parts of it are hidden. Next, I'm going to add a ramp, here. A ramp allows us to fine-tune where
the white and the black are on the mask, and you'll see that in a second. Get used to adding these, because
you'll be using them a lot. And as I play with the sliders
on this ramp, you can see how the texture on our sphere is changing. And here's where we closed the loop
on our mask example from earlier. I'm going to select my mask, here. If I go to
the Preview Options, here, and select Specific Mask/Overrride from the dropdown, here,
and then click on the preview button, here, we can see what our mask looks like. Where the black is, we see
the darker layer underneath. And where the grey and white are, we see
the lighter color of our current layer. Exactly like we saw in Krita. And this will also further exemplify
how the ramp is changing our mask. Now let's exit Preview Mode and
play around with our layer a bit. We can change the scale of our
musgrave texture by opening the source dialog, here, and adjusting the scale value, here. This will change how large the
noise appears on our texture. I'd like this layer to be darker
to imitate indentations, so I'm going to change the Blend Mode to
Multiply, here, and adjust the Opacity some, here. When it's dialed in, it starts
to look like pockmarks in stone. Next, I'll add another solid color
layer, and change the color a little. I'll add a mask to this layer, but this
time I'll select Voronoi, here, and double check that the vector is set to Object. I'll tweak the scale a little bit... set the Blend Mode to Multiply,
and increase the opacity. Just like before, I'll add a ramp
for some finer control of our mask. I'm going to play with the slider until
it looks like I have some big rock cracks. Then I'll fine-tune the
color to look like shadow. Okay, it's looking good. I want another layer just like this
one, but rather than remaking it from scratch, I'll go to the Layer
Options, here, and select Duplicate Layer, here. This will create an exact copy
of this layer that we can tweak. I want the exact same layer because
I need to tighten up the cracks and make them a little darker to
simulate deeper recesses, which I can do with the ramp and the opacity. Once again, I'm going to duplicate the
layer, and I'll set it to a lighter color so I can see what I'm doing. I'll set the Blend Mode to Mix because
I want to add light instead of shadows. And right now the light color is where
the cracks are, but I can flip the toggles on the ramp, here, to invert the mask, forcing
the light color to be outside the cracks. This will let me brighten up the parts
of the rocks that aren't in the cracks. For the next little bit, I'll just
be using the tools we've already covered to tweak the layers until I'm
happy, so I'm gonna speed it up a bit. I've included timestamps if you want
to skip to when we do something new. You can follow what I'm doing step
by step if you like, but I also encourage you to experiment and
see what you can create, because that's the best way for us to learn. Alright, I'll be back when
we're taking a new step. Timelapse! [Playing music by eveneyes] Alright, I should probably point out that
it's really easy to rename your layers, just double-click them in the layer stack. Now I'm going to make a new layer
strictly for color variation, which is really important when
you're doing stylized stuff. It's something that's often overlooked
by beginners, and it adds a lot of visual interest to your texture. And I'll do this on more than one layer
to build up a nice, rich body of color. Once again, we're only using tools
that I've already shown you, so I'm going to speed up the footage a
little bit, and I'll have a timestamp for when we're done tweaking. [Music] Alright, we are going to do
something new on this next layer. I'm going to add a new solid color layer
and I'm going to make it green because I want to add some moss on top of the stone. As usual, we're going to add a mask, but
this time we're going to select Gradient, here, and I'll make sure that the
vector is set to Object. Then I'll open the Mask Options, here
navigate to Vector, here, and under Rotation, select the middle option. I want our moss to appear on top
of our stone, so I need to rotate it by 90 degrees on the Y axis. In Blender, the axes are always
presented from top to bottom as X, Y, Z. So, to rotate our gradient by 90 degrees
on the Y axis, I'll select the middle one, which is the Y, and type in 90. Now that our gradient is oriented in the
correct direction, we can add another mask to it to get some mossy texture. And it's important for me to point
out here that masks are cumulative. Right now, we have one mask, this
gradient, that's allowing the green to show through on top. When I add another mask to
this, it'll add its effects onto the mask that's already there. And I'll show you what I mean. Watch what happens when I add a new
Musgrave Mask under the Gradient Mask. As you can see, the gradient
is still applied because our moss is only showing up on top. In addition to that, the Musgrave
Mask is blocking out noisy chunks of our moss, which will
help land it some mossy texture. Stacking and modifying these masks is
how we achieve procedural textures. And now that I've shown you how
the gradient works, I'm gonna go back to tweaking until I'm happy. This is a time consuming process
and I'm gonna jump back and forth between the layers a bunch, so
I'm gonna speed the footage up. But again, there will be timestamps
for when we do something new. [Music] Okay, I think I'm happy with
the base material as it is. In order to save this base
material as an asset for later use, we need to go to the Material
Properties tab, here, and give it a name. It's best to be descriptive
so you know what it is later. Then, we can right-click the
material and select Mark as Asset, here. In order for this to work and actually
save our material though, you need to have a folder set up for your asset library. You can assign a folder for this by
navigating to Edit, here, Preferences, here, File Paths, here, and locating the Asset
Library's directory, here. To add a folder to the asset
directory, click this plus (+) icon, here, and choose the folder you want to use. Then go to the Preferences option, here,
and Save Preferences, here. Now this is important, VERY
important, because the way Blender handles assets is kind of weird. The only way to save something as an asset
is to save the project's blend file in the folder you just assigned, saving the
blend-file to your asset library folder lets Blender find things that
you have marked as an asset like we did with our material a moment ago. So I'll go to File, Save As, navigate to my Blender Resources Library
folder, because that's where I keep all of my assets, and save the blend file there. Now, because I marked the material as an
asset, and I've saved the blend file to the correct asset folder, I can use this
material on anything I want in the future. One caveat though, Blender's asset
library is still a little buggy and has prevented me from reopening
some files, so I'll teach you another way to access your material. A special thanks to arsa for
solving this problem for me. Start a brand new file, then go
to "File" here, "Append" here, navigate to the blend file with your material, and
double-click it, then navigate to "Materials" here, and select your material. It'll now be available in
your current Blender file. This is why it's important to save often. As long as you save your blend
file, it'll be easily recoverable. To show you how this works, I'll
start a brand new blend file, and I'll use Blender's built-in
rock generator to make a rock. If you don't see Rock Generator
in your mesh list, It's included by default in Blender. So just go to the Add-ons options, search for
Add Mesh: Extra Objects, and enable it. This will also enable a host
of other interesting meshes, so it's fun to play around with. To add a rock, I'll hit Shift-A, go to
Mesh, go to Rock Generator, here, and the basic rock will work for our purposes. So I'm just gonna click in
the viewport to confirm. By default, it'll have a lot of modifiers
turned on, which you can see, here, and I wanna apply all of those at once. To do that, I'll navigate to
"Object" here, "Apply" here, and select "Visual Geometry" to Mesh here. Next, I'll drag up from the
bottom-left of the viewport, here, go to the Window Selector, here,
navigate to Asset Browser, here. From the list on the left, I'll select
the folder where I keep my assets (in my case it's my Blender resource library), and
then I'll find the material I just saved. I will drag and drop it onto the rock, and
then switch to Material Preview Mode, and voila, our texture is applied to the rock. Now I'll show you why
procedural textures are so cool. I'm gonna go into Sculpt Mode and make
changes to this mesh, and you'll see that the texture updates in real time. I can do any kind of sculpting or
modeling operation to this and it'll still map the texture this way. And what's even cooler than
that is that all of these layers are still completely editable. Nothing is set in stone yet.
*badum-tss* Here's an example of me
changing the colors on a scene I threw together very quickly. Now you should learn how to
use this base material on a project from start to finish. For this, we're gonna need
to model a low poly rock. Low Poly Rock! Let's add a cube by hitting Shift-A,
going to mesh, and selecting cube. Select the cube and go into Edit
Mode, hit 3 on your keyboard, not your numpad, to go into Face Select
Mode, or hit this button right here. I'm gonna make some basic adjustments
to make this more rock-like. I'll select the bottom face, then
I'll hit E to extrude the face. By default, the extrusion will
go in the same direction as the face is normal, uh, right. We should talk about Normals! I tried to think of a very simple
way to explain a face normal and the best they could come up with is this. A face normal is the direction
the face is looking, like, imagine the face had eyes that could
only look straightforward like this. It would be looking in this direction. The actual definition of a
face normal is the axis exactly perpendicular to the plane of the face. And you can visualize these for your
object by selecting the object, going into Edit Mode, navigating to the Mesh Edit Mode Overlays options, here, and selecting Display Normals, here. To get a better picture, we can
increase the size of the normal display, here. All that to say that when we hit E
to extrude on this bottom face, it'll extrude along the path it's facing. Now I'm gonna make sure I'm in Edit
Mode, then I'm gonna hit A to select all. I'll hit S to scale, and then Z to
constrain that scale to the Z axis. I'll select the bottom face and
scale it up just a little bit, by pressing S to scale and then
moving my mouse to the right. Then I'll hit E to extrude and
bring it down a little bit. I'll select the bottom face again and
scale it down just a bit, and that's good. Now that I've made the basic shape of my
rock, it's time to do some rock carving. So let's go over to our toolbar,
here, and find the Knife Tool. Any one of these tools that has this
tiny triangle, here, has more than one mode, so you can hold in your
mouse click to bring up more tools. So let's click the Knife Tool
and hold it for a second until you see this panel pop up. We want to pick the Bisect
Tool for our rock carving. The Bisect Tool uses a plane to
cut objects and split them apart, something like this. In order to use the
Bisect Tool, we need to make sure that our entire object is selected
every time we want to make a cut. The Selection Mode (Vertex, Edge,
or Face), here, doesn't matter. Just make sure you hit A to select
your entire object every single time you want to make a cut. Next, we want to drag out a line
where we want to cut away the rock. Drag from the outside, and then
through the rock, like so, and once you do, a few things will happen. You'll notice this blue
circle with an arrow appears. This is important because it shows
us the front of our cutting plane. You'll also notice the Bisect Tool
Context Menu appear, here, and this is where we will decide how we want to cut a rock. Knowing where the front of our cutting
plane is matters because of these options, here. For our purposes, we
always want Fill checked. This just fills in the cut we made. If we don't fill it
in, it looks like this. So just make sure to
check Fill every time. Clear Inner, here, will remove geometry
behind the plane, meaning on the side opposite of the arrow. Clear Outer will remove geometry
on the same side as the arrow. It helps me to think of the
cutting plane like a lid for a pot. I can cut what's under the lid and inside
the pot using Clear Inner, and I can cut what's above the lid with Clear Outer. I don't know if that explanation's
actually gonna help anybody. Give me a break, I'm a giant gemstone. Now we just go around our
object making cuts until we're happy with the final look. I'm just using Clear Inner and Clear
Outer and always keeping it filled. It's totally fine if your rock
looks different from mine, just play around with it until you're happy. And to get it where I want
it, it takes a minute, so I'll speed it up just a little bit. [Playing music by eveneyes[] And voila! We've made a very fast, super
low poly, stylized rock. Now we can drag and drop the material
we made earlier directly onto this low poly rock, and it'll work just
fine, with all of our procedural layers intact, and no need for UVs. But, if we want to customize this
particular rock, we'll want to take advantage of Ucupaint's baking tools. And for that, we need UVs. We could just go into edit mode,
select all by pressing A, hit U on our keyboard, and select Smart UV Project, here, and that would work just fine. But we have some wonky faces on our mesh. Generally speaking, we want quads
when we're modeling, so that we get clean shading results
and can animate more easily. You'll notice, however, that we
have some faces with five or more vertices, which could lead to shading
and fading problems down the road. And I'll probably go over ways to
properly fix topology in another video. But today, we're gonna use a
quick trick to get Blender to do the heavy lifting for us. I'll show you what I mean. If we go into Edit Mode, we can see
that right now our faces have all sorts of different vertex counts. This one has 5, this
one has a billion, oof. So let's go back into Object Mode,
select our rock, then go to the Modifiers tab, here, click Add Modifier, here,
select Search, and type in triangulate. Select it, and click Apply, here. When we go back into Edit Mode,
we can see that all of our faces have been turned into triangles. And honestly, you could just UV
unwrap this and use it for the kind of painting we are going to do, since we're not planning
to animate anything. But if you do want quads, you can
hit A on your keyboard to select all, then go to Face, here, and select
Tris to Quads, here, and boom! We have quads! There'll probably be some triangles
leftover that Blender couldn't resolve, but that's totally fine. A few are okay. Now let's get Blender to unwrap our UVs. Once again, make sure everything
is selected by pressing A on your keyboard, then hit U to
bring up the UV Context Menu. Select Smart UV Project, here, set the
Island Margin to 0.01, and then select OK. If we go to our UV Editing Workspace,
here, and click in the right viewport, here, then hit A to select all again, we can
see how Blender has unwrapped our UVs. These aren't great UVs, but they'll
work for what we want to do. And now we need to talk about Baked Maps! Unlike generative masks, which use
geometry and position for mapping, baked images rely on UV data to
know where to map the texture. Here's an example of a baked image
we're going to use as a mask to highlight the edges of our rock. Notice how the white part of the
mask follows the edges on our UVs. Baking one of these maps creates an image
that is mapped to our UVs like you can see here, which means the image is locked
to the current shape of our object. We can't adjust its scale or pattern
like we did with procedural masks. However, because baking produced an image,
we can use the regular texture painting tools to modify that image to our liking. I'll show you what I mean in a minute. First, let's select our low poly rock. Then let's apply the procedural material
we created earlier to it by going to the Material Properties tab, here,
clicking the Materials List button, here, and selecting our material. If you've made the rock in a
different blender file, just append it like I showed you earlier. Now let's go into Material Preview Mode,
and we can see the texture on our object. Let's quickly make a duplicate
of this material and give it a unique name so that we don't
confuse it with our base material. To do that, go to the Material Properties
tab, make sure the material is selected, here, and then select the New Material button, here. This will make a duplicate of
the material with the suffix .001. Double-click it and give it
a name that fits your object. You'll notice that a red button has
appeared on our Ucupaint interface, here, that says Fix Multi-User Ucupaint Node. Click it and select OK. Now we have a unique version
of the material that we can use to finish our rock. We want a unique material for our
rock because if we make changes to the base material itself, it will
apply to all objects that have the base material applied to it,
like in this clip from earlier. Okay, so we have a unique version
of our material applied to our rock. The scale looks a little funny though, and
there's two ways that we can change our base material to better fit our object. The first, and faster way, is to edit the
scale and position of a rock in Edit Mode. Remember that procedural maps rely
on geometry and position data to know where to map the texture. That means if we change the
geometry or position data, the texture will look different. We need to make these changes in Edit
Mode though, because if we make them in Object Mode, like so, we are only
changing what we see in the viewport. To change the actual geometry and
position data, we need to be in Edit Mode. Let's go into Edit Mode, hit A to select
all, and change the size of our rock. Notice that once again, the
texture is changing in real time. This works for the scale of our
rock, as well as the position in the X, Y, and Z axes. So let's shrink our rock by hitting
A to select all, then hitting S, and moving our mouse to the left until
the texture looks more fitting. There we go. Once again, let's make sure the
entire object is selected by hitting A on our keyboard, then move it
upward by hitting G to move, followed by Z to move it in the vertical. Notice that as we move our rock
up, we're getting more moss. You can use this method to tweak the
look of your object to your liking before committing to any bakes. The second method to tweak our base
material, and the one I'll show you here, is to modify the procedural
maps in the layer stack, just like we did when we were creating it. I'll speed this part up while I tweak
these, because we've done this already. [Music] Now I want to add some highlights
to the edges of our rock, but I want them to lie underneath the moss. So I'll select the layer underneath
where the moss layers are, in my case it's "color variation 2", and
I'll add a new solid color layer. I'm going to pick the light
stone color for now, but we can also change the color later. I'll let that load in and then
I'll go to the Add Mask section. And it's here that we take
our first foray into baking. We're going to use the Bevel Grayscale
bake option, here, to help us highlight the edges of our low poly rock. We can use this baking option to
highlight our edges because the Bevel Grayscale option calculates changes
in the relative angles between planes, and creates an image that shows where
those changes in angle take place. So let's select Bevel
Grayscale from the list. Now most of these settings are fine,
but because we're gonna want to smooth and blur the resulting image using our
texture painting tools, we want a bit more resolution to our baked image. So let's set the image size to
2048x2048, leave everything else as is, and press OK. It'll take a moment for it to
update since it's now processing a 2K image and calculating
where the edges are on our rock. Once it's done, you can see that
the light color of our current layer is being shown where the edges are. Congrats, you just made
your first baked map. I'm gonna add a ramp to it quickly,
and we'll come back to that in a sec. I'll go into our UV Editing Workspace
once again, then go to the window selector on the left side, here, and
change it to the Image Editor, here. Then, to see the image we just baked,
I'll go to the Image Selection option, here, and I'll select the one named "bevel grayscale", here. Now we can see the mask image
that was created when we baked the bevel grayscale map. The white shows the changes
in angle I mentioned earlier. And like all the other masks we've
used, the black areas hide our current layer, and the white areas let it
show through, which is why the lighter color is appearing on our edges. Now let's go back to our Layout tab, here, and I'm gonna slide the white
slider on our ramp to the left to widen these edges out. And I'll set the Blend Mode to Screen,
which will result in a brighter image. And I'll turn down the Opacity. Now these edge highlights
won't do at all, as they are. They are nowhere near subtle enough. To fix that, I'm gonna use the
Texture Painting tools to blur and smudge them into submission. So I'll switch to Texture Painting
mode, select the Blur tool, Nyah. Bring the brush size down to avoid lag. Uh, the blur brush is
always laggy, for everyone. Because it's making a lot of calculations. So a smaller brush is better
when you can manage it. And I'll start blurring all of the edges. I'll speed this up since I'm only
going to blur for the next little bit. [Music] I want to blur the top as well,
but I can't see it, so I'll go to the Visibility options for the
moss layers, here, and shut them off. You can do this quickly by clicking
and dragging over them too. Like dis. Then I'll resume blurring. Might look a bit crap right now, but
a bit of smudging will go a long way. So once they're all blurred, I'll
switch to the Smudge Tool, here, and reduce the strength a bit by holding Shift+F and dragging my mouse to the left. Somewhere around 30% should be good. And I'll start smudging the lines
until they almost disappear. I'm gonna do this for the whole
rock, so I'll speed it up once again. [Music] Once I'm done smudging, I'm
gonna change the color to something a little more fitting. We can still change the color, even though
we used a baked mask in UVs, because we're using the baked image as a mask. And the color of the layer that
we are letting come through that mask is still adjustable. Very handy. And I'll tweak the opacity
a little bit more as well. Now, as I toggle this layer on and off,
you'll see that it's not much of an effect, but it does add a little more
definition and variation, which is good. Once I'm satisfied, I'll
turn back on the moss layers. And now for the finishing touches. It's common to add saturated
gradients that simulate lighting to stylized objects. So let's do that. To do this, we're going to use
the same gradient tools we used when we first made the material. Let's start with the shadow on the bottom. Once again, I want this layer
underneath the moss layers, so I'll add a new solid
color layer underneath them using the purple rock color. I'll set the Blend Mode to
Multiply, then add a gradient mask just like before, making sure
that the vector is set to Object. The only difference is that this
time, I want the shadow gradient to be on the bottom of my object, so I'll
change the gradient's rotation value on the Y axis to -90, and
it'll cover the bottom of my object. I want a nice smooth blend, so
I'll go to the Blur option, here, turn it on, and then set it to 100. Then I'll lower the opacity a bit. until it looks a little better. It's a little high up, so I'm
gonna bring the X axis offset, here, down a little to position the gradient
more towards the bottom of my rock. Then I'll tweak it until I'm
happy by using those options. Finally, I want to add some fake
sunlight, so I'll add a new solid color layer at the very top of my layer
stack and set it to a bright yellow. I'll set the blend mode to
overlay so that some of the color underneath still comes through. Once again, I want this gradient on
the top of my object, so I'll rotate it on the Y axis by 90 degrees... blur it... and adjust the opacity
and offset until it looks alright. And there we go, this one's good enough. And now for the final piece of the puzzle. We want to export this entire layer stack
as a single texture, that we can use for this rock, if we want to use it in another
file, or bring it into a game engine. So here's how we Export! To save out our texture for this rock, all
we need to do is go to the Ucupaint's special menu, here, and click Bake All Channels, here. Once we do, the entire layer stack
will be converted into a single image that's mapped to our rock's UVs. You can then save by hitting
CTRL-S to save your file. Ucupaint automatically
saves and packs images for us, so we don't lose them. It's the best. Alternatively, you can go to the *Baked
Color Layer Options, here, and select Save Image to save it wherever you like. If we go back to our Image Editor in the
UV Editing Workspace, we can see, oh my, our edges are looking rather rock-like. heh. We can navigate to our exported image
and see what it looks like. How cool is that? We're done! Well, that's it for this one. It was a wild ride. We covered a lot in this video,
and I really hope it'll help you with your creative projects. All my love goes to my patrons, without
whom I could not create these videos. Thank you so, so much for your support. And a huge thanks to the Deuces
Club members who always stick around to the end of my videos. If you're still here,
then you're in the club! So comment Deuces down below, and
I'll add you to the members list that I pin to each and every video. I hope this helps you make some cool
stuff, and I will see you in the next one. Deuces <3
