Learn to Create a Game-Ready Katana in Blender and Substance Painter - Full Course #b3d #substance

in this chapter we're going to be setting up our blender project so go ahead and start a new file and go ahead and delete everything in the scene we don't need the cube we don't need the light and we don't need the camera i'm going to go ahead and turn on my screen cassie so you can see right down here whenever i press a keystroke and then go up to edit preferences and here in the search bar make sure you have node wrangler activated as well as loop tools and i'm going to go ahead and disable a few add-ons that aren't relevant to this course and then you also need to enable import images as planes now we're going to be using those three add-ons to help us later in the course you can go ahead and close out of this window and we can bring in our reference image so in the course material that i provided you can go ahead and download that and then you're going to want to navigate to it and then just simply drag and drop it in before we drag and drop it in though come back into your blender project press one on your number pad to go to front orthographic view and then drag and drop it into the project and then once you have the plane selected press n on your keyboard go up to item and then simply just zero that out zero zero zero and it will be in the center of the scene then you can press g to move and then y to lock it to the y axis and move it back so it's out of our way all right now we need to save this project so just navigate to wherever wherever you want it i'm going to call mine katana of course and then save the blender file and that's it we're done in the next chapter we're going to work on blocking out the blade alright welcome to chapter two in this chapter we're going to focus on the blade before we get started let's go ahead and rename our reference image to reference image and just drag that to the scene collection and then rename this collection katana and now i also want to rotate this reference image by 90 degrees if you're in front orthographic view it'll automatically constrain it to the z-axis when you rotate so let's go ahead and move it up to match where our 3d cursor is in the center of the viewport and rotate it just a little bit about like so all right now we're ready to begin working on the blade we're going to start with a plane but let's go ahead and ensure by pressing shift c that our 3d cursor is in the center of the viewport this will ensure whatever we add is also in the center so go ahead and press shift a and add in a plane and then we're going to rotate this by 90 degrees along the x-axis so you press r 90 and then x and then we're in object mode right now if we press tab we'll go into edit mode and then we can scale this down scale it down to about so and then hold down z and go into wireframe mode and then we can start lining this up just about like that that looks good so now if you double tap a you'll deselect everything and then you can press c come into circle select and just click and drag the vertices you'd like to select let's select these top two and then drag these up to about there and we'll also move it along the x-axis here to line up with our reference image now we're going to extrude these again by pressing e dragging up about right there we want to try to keep these pretty even so be mindful of that all right we're going to do the same just go up another about that long as your other segments and rotate it just a little bit and continue doing this all the way up the reference image now we can even move this in a little bit as well as moving this one in just a little bit and we will continue doing this until we're at right about here it's where we'll stop now i'm going to go ahead and add in a loop cut by pressing ctrl r and then clicking and then moving it to about there where it matches up with our image and this is going to be the thickest part of the blade on either side of this it sort of tapers inward this is the blade down here and this is the top of the blade all right so once we've got that we can also add in another loop cut where our edge is going to be right about i'd say there all right let's uh focus in on our object by pressing delete on your numpad and it'll focus in the 3d scene what i'm going to go ahead and do here is uh hop into top orthographic view by pressing 7 on the numpad and making sure that i have this edge loop selected you can do that by alt and then right click on an edge come into top view here and just drag it out along the y-axis about right there and then we can take this one and do the same but this time let's go a little further and then take this one and do the same but not go quite as far as that we did with this one and now we have a profile of a belt like this we can go ahead and add in a mirror modifier and do that along the z axis and we can see the blade starting to take shape alright now let's go ahead and block in the tip of our blade here so we're going to just deselect everything by double tapping a and press c and come in and select these two vertices and we're going to extrude these up to match the curvature of the blade and end at the point here so holding down left control and then clicking it'll automatically extrude out and also match the rotation that we want it to so i'm going to go ahead and undo all that and we can extrude it to about there let's do let's see how many we need one two three four five six seven eight so it took us eight to get there i'm going to go ahead and come into edge select mode by pressing two you can also do it up here and select this edge and just double tap g to slide these down make them a little more even than what they are right now oh make sure to select the right edge there we go awesome and now we can select these two vertices and rotate them about like so to match a reference image just like that we have the tip of the blade so now we need to connect all this up in a way that makes sense and maintains good topology so you wouldn't want to just start you know facing things up because this creates an in-game it's going to have a lot of problems what we're going to do is uh take this vertice right here and just also shift select this one to select both and then press f to face those and since we have uh since we made eight extrusions to get here when we have seven vertices that need a home we need to press ctrl r and add in seven loop cuts here once you have seven you can click and then right click to freeze where they are and then come down here and select this set and just start pressing f and they will face themselves in now let's go ahead and do the same thing right here let's face that and add in seven cuts and face those up just like so and there we go we have our uh the tip of the blade it's coming along quite nicely and now we can do is uh come into edge mode and alt right click this edge and then we can extrude this but before we do that we need to enable clipping on our mirror modifier so it'll weld together i'll go ahead and show you what what would happen without clipping you see these are not connected if we turn clipping on whatever vertices are in the center will be welded together to the other side so with clipping on let's go ahead and extrude this along the y-axis and then press a to select everything and then search for merge by distance and then press enter and you can see down here at the bottom it removed one vertices successfully all right looking good now we can come down here and if you are ever having issues navigating your 3d space and things start to get slow and eventually stop moving altogether you want to select a vertices or a face and then press delete on your numpad right next to the zero and you'll focus in on that and then you won't have any problems scrolling again let's go ahead and face all this in right now well let's think here let's just extrude this along the y-axis to where it meets the center there and then select this edge face it to that edge and then face all that together and there we go we're done boxing out the low poly version of our blade we'll go ahead and come up here in the outliner and just rename the plane to blade all right in the next part we're going to continue work on the blade and work on the high poly asset all right welcome back in this chapter we're going to continue work on the blade so let's go ahead and come in here and uh i want to change the shape of of this curve right here in fact it isn't a curve right now i want to make it a curve so let's select that vertice and just double tap g and we can use edge slide on all of these to sort of build out our own curvature and just kind of make it slowly start curving in to the tip now something about that i think looks pretty good now let's go ahead and add in a bevel modifier and turn off clamp over overlap and it'll freak out let's change the offset to something pretty low like 0.002 and bust the segments up to 3 and the profile to about 0.7 and then set smooth shading for the object let's go ahead and choose the limit method to weight so only edges that we've given a bevel weight to have the bevel modifier applied let's go ahead and come in here and i'll show you which edges need to be weighted anything on an exterior edge looks really good with the bevel modifier for this blade so i'm just gonna go into edge mode and then alt right click this edge here to select this little edge loop and come up here to in the in menu up to item and then increase the mean bevel weight from 0 to 1. we're also going to do that for the tip right there and this edge loop as well and also this edge loop as well then we're going to come down to the bottom and all the edges down here are also going to receive the same treatment so we can click on one control right click and it it picks the shortest path in between them and then we can just increase the bevel weight there and just like that the bevel modifier is only applied to the parts we want it to be applied to now we're going to come in and add in another modifier a subdivision surface modifier you can press control 2 on your keyboard with the object selected to hotkey it and it'll add it in below the bevel modifier which is important if you added it in above the bevel modifier basically it would do the sub d and then try to bevel that and you don't want to do that because well let me go ahead and show you what subd looks like it adds in a lot of geometry that we're going to be using to bake in to the normal maps for our low poly version of the blade but we don't want all that for this game asset so let's move that below and then select this outer outer edge here and increase the mean crease weight to one and basically wherever the mean crease is subdivisions will not happen on those edges so it will maintain its its uh sharp aesthetic all right now with that done that's looking good for the beginnings of our high poly acid let's go ahead and shift d to duplicate this and right click to keep it in place and rename the top one to blade underscore low poly and this one here to blade underscore high poly let's go ahead and hide the high poly and in the low poly we want to delete all these modifiers besides the mirror modifier because we don't want to add all that extra information into the low poly version of the asset we want to keep this pretty low right now we're at a 74 total verts for the blade all right now we can hide the low poly and come into the high poly and work on adding in some more details now this reference image here doesn't have what we're about to add in but it is quite common for some katanas to have a sort of divot or groove going up the blade so we're going to go ahead and add that in so let's uh press shift c to center our 3d cursor and add in a circle and then down here we're given a menu we can open that and change the vertices to something about 12 and then come in here and rotate that 90 degrees along the x-axis and then rotate it by 15 degrees so it looks like a stop sign now these two vertices down here need to be flat with one another all right let's go ahead and pull this up actually we're going to start at the bottom of the blade here so we're going to go ahead and pull it down start scaling it down and pull it out from the from the model along the y-axis scale it down a little bit more come into front orthographic view keep scaling it down and we can start it about right here now we're going to go ahead and delete all these vertices here on the top and we can just duplicate these pull them up scale along the z axis negative one and now we can pull this duplicate up here to the top where we want this groove to end i think about right here would look good and rotate it to fit in with these lines here now we gotta we gotta make sure these match one another so we're gonna do is add in a shrink wrap modifier so it it's flush with this model right here so let's create the target as the blade and just like that these vertices are now projected onto the face of that object let's go before we apply that modifier we want to make sure there's no distortion happening you may have to move it around a little bit to get the effect you want let's come down here all right looking good so we're going to go ahead and apply that and then with our circle here selected press ctrl right click on the blade or no sorry shift right click on the blade and then on the high poly version of the blade and then press ctrl j and they will merge together and just like that they're now one and the same on the object and all the modifiers that the blade had are now applied to the circle you want to make sure you have the circle selected first before you join it to the blade or it'll be the opposite and the blade will lose all the spotifiers and inherent the ones on the circle which we're done all right so now what we're going to do is select that vertice come up come up here to the top shift right click on that one and face those together and then do the same for the other side face those together yep just like so and we want to we don't want it hanging off the edge here so what we want to do is let's see we have one two three four five points it needs to match to follow the curvature of the blade so on this edge we want to add in five cuts which down here in the bottom left as i do that you can see the number of cuts we have and then the same thing over here add in five cuts and then just right click to keep them in place then we can come into front orthographic and make sure we only have these two vertices selected and simply move them into place rotate them if needed and we're going to do the same thing for all of these points we're going to line them up with these other vertices make sure it follows the curvature of the blade just like so okay that's looking good uh so now basically what we're gonna do is we need to face these up into this face so it's not just a bunch of vertices sitting on top of already existing faces so we're going to add in two loop cuts here and just simply right click keep those in place let's go ahead and scroll up here to the top and see here we've created an ingot to fix that what we want to do is select these two and then press merge at center and that doesn't quite fix the problem of the n-gon but it doesn't really matter since it's on a flat surface it's not going to affect any of our shading or textures and since the tip of this won't be animated in and of itself the entire object will be animated it doesn't matter all right let's go ahead and we'll right click and select this edge and make sure we deselect these top three here come into front orthographic view double tap g and then slide it until it's past this vertice here something about there do the same thing for this one make sure you deselect anything else up here it tries to select and double tap g drag it on over awesome now we're going to need to add in some more loop cuts to support this right here so press control r and pull that up about to where it matches with that vertice and then add another one right about there and another one right about there now we're going to do the same thing for the bottom and add one there add one there and add one there and now we can come in and select these faces starting uh with this one right here where this sort of intersects into it we don't want to delete this one down here and come up here to the top and ctrl right click and delete those faces now we can start facing all this in so select this vertice and this vertice and join them together with f and the same there and then we can come into edge select face those together and then just hold down f and it'll actually face everything so it's gone around the entire way and faced everything up that's starting to look good now we can all right click and select this entire edge loop face it together and it will create an end gone but that's okay we'll delete it soon and then come into front orthographic view and wireframe here press i to inset give that an inset to about right there and then do it again and then we can uh move this along the y-axis to give it a little bit of depth i don't want to go too crazy here just to just a little bit to give it some detail okay that didn't do what i wanted to do so yeah something about like that and then press i to inset it again well let's make sure oh let's make sure we come into wireframe here and we can see what we're doing press i didn't see that again about like so and then we can delete that in-gun come in here and select this top edge and hold down f and face all that in so now we have a bunch of quads and just like that we've added in uh some pretty good looking detail to the blade it's got this groove moving along the entirety of it it matches the curvature it's all quants the topology is good this will look really nice when it's baked onto our low poly asset all right i'll see you in the next chapter all right welcome back in this sub chapter we're going to do one more thing to our blade before we move on let's go ahead and come into our low poly asset press tab this is one thing i forgot to do let's select this vertices up here and come down to the bottom select that one down there and we're going to move this out a little bit along the x-axis to about right there and do the same thing with this and match match it up in fact let's just also go ahead and select that and then bring that out to about there well before we do that we want to make sure we remember the value that we actually moved it so up here in the top left you can see it's about .005 so i'm going to type in .005 move that .005 units along the x-axis and then since we change the mesh on one version of our blade we also have to do it on the other so let's come into the high poly uh select that there and then g and then x and then .005 and there we go it's given our blade a little bit more definition on this side so we don't just have a flat edge that'll help with some texturing later on down the road and there we go we're done with the blade for now we can move on to some other parts of the katana in the next chapter all right welcome back in this chapter we're going to block out the rest of the katana so go ahead and press shift c to ensure that your 3d cursor is centered in the viewport and we're going to add in a cube we're going to make the rain guard which is this portion of the blade right here all right let's go ahead and scale this down come into front orthographic view continue scaling it down get it to about right there scale it along the the y axis and i'm going to pop in the low poly version of the blade so we can look at that all right something [Music] like that let's make sure we're not okay we're good on that i actually just noticed a problem we have uh at least a problem i have with my high poly blade let me look here it's not present on the low poly just the high poly i didn't pull out these vertices like i should have so i'm going to go ahead and fix that by turning on snapping to vertex and pull that along the x-axis and hover over that vertice to make that even so there we go i just didn't select all the way down uh in the last sub chapter we did all right let's bring back in the low poly and the rain guard we're going to go ahead and call this rain guard underscore low poly and let's go ahead and add in a loop cut and line it up about right there with our blade and then we can scale this along the y-axis a little bit to bring it out and we can scale this along the y-axis to bring it in as well as this one and now if we add in a loop cut and pull it down here and then instead of double tapping g press g and then x and it will maintain its uh its curvature bringing about right there actually we're going to scale that out a little bit to about right there then we can control b and bevel it and it'll uh it'll make that smooth we can do the same thing here pull that in maybe not that far bevel that and now we have some have a nice profile we can play with of course we're going to shade this smooth later and give it some more geometry let's see let's even bring this in a little bit as well as this one just a tad okay yeah i think that looks fine for the low poly let's go ahead and press shift c again to center our 3d cursor and add in a cylinder with 24 vertices you can scale that down along the z axis move it down scale it down even more and this is going to be our cross guard we can set that about there and then i want to add a loop cut on the side because we are going to delete in wireframe mode all of the bottom vertices and apply a mirror modifier along the z axis and turn on clipping so we only have to model half of this what i'm going to do is come into face mode press i to inset and come down as far as i can but not passing the rain guard so something about like that right there maybe just a little bit uh bigger than that so i'll scale it back up and now we can add in some loop cuts here i think about four will do and then we can come in select that middle face and turn on proportional editing up here and then if we rotate along the x-axis you can see that it's affecting the entire mesh and you can scroll up and down to get a larger smaller area of proportional editing so i'm going to scale up to about there and rotate it just about like so then we can come in and uh right click control click to select along the shortest path and then shift click control click and just skip one we're going to select every other row here as we go out until we've covered the entire thing and then we can extrude down along the z-axis and then delete all of those faces and then if we select this outer edge loop here let's uh i'm just trying to there we go you have to all right click and hit it in the right spot sometimes we can extrude this and then alt s after we turn off proportional editing and bring it out about there and then grab this edge loop all tests and bring it out about there and that is the low poly version of our cross guard done so we can name it cross guard underscore low poly and you see we've got this cool spiral effect going on pretty pretty quickly and pretty easily now we can go ahead and add in just shift c again add in our grip so we're going to use a cylinder for this uh 24 vertices is fine we're going to scale it down bring it up oh and pull it down to about there and we don't have to worry about the curvature right now or we're going to do that later probably with a lattice modifier okay pull that up to sit inside just barely and then we can scale it along the y-axis to about right there and we can even come in here and shade smooth and kind of see the the look we're gonna have okay well we've uh we've blocked out we need to rename this guard underscore low poly we've blocked out the the rest of the katana the low poly portions we're going to work on the idle wrapping later when we work on the rest of the grip and we're going to continue working on the high poly assets of the rain guard and cross guard in the next chapter all right welcome back to chapter five in this chapter we're going to focus on the high poly rain guard and cross guard before we begin i've tried recording this several times already i kept running into an issue with a bevel modifier we're going to work with later and i just want to go ahead and say if you had any problems applying a bevel modifier to your blade you need to make sure that you press ctrl a and apply specifically the scale transform but it wouldn't hurt to apply all the transforms i'll go ahead and show you on this rain guard here the example of what i'm talking about so let's press forward slash on our numpad to isolate this and we can go ahead and duplicate it hide the low poly and then rename the duplicate to high poly now we're going to add in a bevel modifier but first let's go ahead and do a few things let's shade this smooth and then come down here into the object data properties panel and go to normals and then turn on auto smooth at 45 degrees and then add in a bevel modifier let's do an offset of point zero zero two segments of three turn off clamp overlap put the profile to point seven put the outer miter type to arc and the limit method to angle and you can see we really don't have an effect here but if we apply all transforms now we do so if you've been running into any issues with bevel modifiers i'll try to add in a note on the early video earlier video but if you still have a stirring into those issues make sure you've applied the scale that is very important and it took me a while to figure out why this was messing up and this is the thing about 3d modeling this serves as an important lesson you're going to run into issues you don't know what's happening you're following a video tutorial or maybe you're not and it takes some playing around with in tinkering with your you're going to run into hardships no matter how long you've been 3d modeling and it's important to uh to persevere and eventually you figure it out so awesome we have a better bevel modifier here now on our rain guard high poly let's go ahead and add in a subsurf modifier of two and then let's add in some detail so let's add in a a loop cut here and pull it up to about there and then ctrl b to bevel it make it about that big then press e and then right click to keep it in place and then alt s to scale it along the normals and bring it in to about hold down shift to get finer control bring it into about there and you want to make sure you're not running into any beveling issues like we are a little bit here you may have to play with the offset a little bit increase it to maybe oop not up let's try .001 that looks a little bit better so that's looking good actually i'm gonna bump that up to about where we had it again and then uh select this and scale it in just a little bit more i do like that bevel profile all right sweet now we have we've got i don't know what you would call that but i mean i think it looks cool and you can do that if you want even more you could add another one down here just the same way really easy way to add in some variation i don't think it looks good down there so i'm gonna delete that and really that's all we're doing for the high poly version of the rain guard uh later in the texturing process we're going to add some markings here to make it interesting some to look at but that's it for now before we hop on over to the cross guard let's come up to the blade and apply auto smooth as well and we'll try an angle of 45. let's come up here and see exactly what that did so if we turn it off we see there's uh little more of a bevel on the edge and if you don't it's going to be a lot sharper so i'm going to stick with the the auto smooth because this is going to help us later when we're baking some normal maps but it's kind of user preference at this point up to you as the artist so you can choose what you think looks best all right let's come down to the cross guard and start working on the high poly version of that mesh all right we're gonna go ahead and apply a bevel modifier let's give it a similar offset of 0.002 and turn off clamp overlap overlap turn the segments up to three put that to arc and then angle 30. let's go ahead and control a and apply all transforms you can see it's already kind of really changed quite a lot but since we had the mirror modifier applied didn't quite do what we wanted since we were mirroring mirroring along the z-axis let's only apply scale yeah that's the only one that really matters for this and we're be mindful that we're still working on the low poly version the cross guard i'll duplicate this and then delete the modifiers later let's instate this inset this face a little bit and then inset it one more time and then press m and merge center so all those shading issues go away and let's apply a subdivision surface modifier of two in fact let's just make that one of three more geometry we can get in there the better and look at that it's really looking clean yeah really cleaned itself up quite a bit there let's scale that in a little bit maybe yeah about like that let's apply the scale again you know what i'm happy with the thickness of how it was so all right and really that's it for the uh high poly version of the cross card we're going to add in a lot of detail in the texturing process so we can go ahead and shifty to duplicate that call it high poly and then under the low poly we can delete the bevel modifier and the subsurf modifier and we're left with what we had except for the new addition of these faces here in the center and of course we're using the mirror modifier so it it is applied to the other side as well all right that's it for the high poly version of the cross guard and the rain guard in the next one we're going to start working on the grip and we'll probably add in another piece here pretty soon to connect this all together i think it'll look better all right i'll see you in the next one all right welcome back in this chapter we're going to work on the grip and add in the idle wrapping i'll show you what that is in a second so let's go ahead and rename our grip to grip low poly for some reason i called it guard low poly which it's not a guard so if that was confusing you earlier i apologize the idle wrapping is the katana signature wrap that goes around the wooden grip so we're going to work on that right now let's go ahead and isolate everything else by pressing forward slash on our key number pad there and take this top face shift d to duplicate press p to separate by selection and we can rename this idle wrap low poly all right and now if we come into object mode and only select that let's go ahead and delete let's come into edit mode and delete these top vertices here for some reason my screencast keys aren't on so let me turn those on for you all right there we go and now we can come into object mode and pull that down to about there so we can work on it let's add in a mirror modifier along the y-axis there and let's turn on clipping come into edit mode and then extrude down along the z-axis to about there we can edit all these values later in fact let's come down just a little bit further okay now let's select this vertice and this vertice and turn on proportional editing and then scale it along the z-axis and move this in so you're only fact affecting these vertices right here select everything and scale it up a little bit more keep playing with this until we get a result about like so now let's come into object mode and add in a solidify modifier let's make the thickness about 0.05 and shade this smooth and then add in a subdivision surface modifier with control 2. let's maybe make this a little bit thicker we can play around with this thickness if you click and drag on this and hold down shift you can really fine tune the thickness and if you start bringing it out you'll notice that it sort of separates itself from the mesh let's turn the offset not to zero but let's play around with it to where it doesn't separate itself too much and we're still getting uh we're not getting any clipping and we're getting a result that we like so something about there looks good to me for now now let's scale this up a little bit let's turn off proportional editing and scale this up just a little bit and add in some loop cuts uh to help us define the edges of this wrap something about like that now let's come in and add in a array modifier okay let's do a relative offset of negative one on the z axis and then zero on everything else let's drag this up to about right there for now and then we can increase the counts just to run down the grip here to about there for now we can kind of visualize what this is going to look like and this specific auto wrap i have in mind to be kind of leathery uh some of them are more fabric but i think leather would look pretty good so i've included some reference images of idle wraps and the course material you free to look at those and maybe go your own way on this if you're feeling like it depends on what your game needs this is a game asset after all so we can make this more aggressive by scaling these in along the z-axis but i want them to be pretty uniform so let's just let's think about what we want to do here let's come into wireframe and select these turn back on proportional editing and we can decrease our sphere of influence and see what this may look like i think something like that looks pretty good so let's go ahead and let's move this up and keep that for now let's go ahead and at the top of the grip and the bottom we're going to need a way to basically cap this off in a way that looks good and makes sense so let's go ahead and shift d to duplicate this and we'll call this idle wrap and low poly we're going to join these together at the end but for now let's just keep them as separate objects and delete all the modifiers well we can keep the solidify modifier and honestly the subdivision surface modifier we made let's just get rid of the array and then deactivate solidify and subdivision surface for now and then we can come in here in scale turn off proportional editing and scale all of these to a value of zero along the z axis so s z zero do this for all of these and this will flatten all of them and then let's turn back on our modifiers so we can visualize what we're seeing and add in the other part of the auto wrap and we can move this up to where it matches about so all right come into edit mode and we can shift d to duplicate and drag this down to the bottom and also match it up to where it's touching okay and now we can even come in on our grip and just simply extend the face to about the end there we don't have to be exact because this won't be visible it's just for our reference okay and that's looking good let's go ahead and take our grip and shade it smooth then we'll duplicate it and start working with a higher poly version of actually before we do that before we do that let's uh go ahead and select this face and then the face on the bottom press i to inset actually select them press i to inset bring it to about there either inset again then select the top face individually merge center and the same thing for the bottom m merge center and now we can duplicate it and rename the duplicate high poly and then add in a subdivision surface modifier and add in some supporting edge loops on the top and bottom so it's flat about like so okay that's looking good let's make sure we just apply scale on all these things we're working on oh so you want to apply scale before you utilize the solidify modifier so let's let's uh see this is a mistake i made i'm going to keep it in just because i think it's important that you see mistakes are made during this process so let's go ahead and delete the solidify and the subdivision modifier and turn off the array modifier for now on both of these um apply the scale there and there and then come back in and add in a solidify modifier and a subdivision surface modifier and then play with the thickness maybe about zero zero seven play with the offset just a little bit bring it in so it hugs nicely and then we're going to copy these values over to a solidify modifier on the other one let's move the array modifier to the bottom so it's out of our way so we can just copy and paste these values for the thickness and offset onto this one and then also add in another subdivision surface modifier and then we can turn back on our array modifier all right looking good looking good that's the uh the auto wrap done and told uh i don't know if that made any sense but we're done with it sort of um we are going to mess with the thickness of the top and bottom pieces later in fact since we already have it flush at the bottom you just grab the top ones and then pull them down it's not so important right now because we don't really know how thick they need to be or what looks good yet but these values aren't set in stone so we can we can mess with that later now let's go ahead and add in our pommel the low poly version of that so let's come in here to let's come into the grip low poly um i want to isolate that from everything and just select these faces and then press control plus on your number pad to expand your selection expand your selection shift d to duplicates and then p to separate by selection if your cursor ever gets stuck in circle select mode you just come up hold down left click and go to tweak that'll fix that and then we can rename this pommel underscore low poly let's come into object mode and select only our pommel and then we can shift nope we don't want to shift d we want to uh well first let's go ahead and dissolve that edge actually let's not dissolve that edge let's just simply extrude this down to about let's bring back our reference image if we can yeah we accident past our reference image which is fine so we're just gonna eyeball it for this let's uh isolate our grip and pommel come down here extrude one more time and then yeah this is really causing issues down here so let's dissolve let's delete that vertices and just face that with an n gone for now i also want to do that for the top just delete those vertices here face that with an ingot we can worry about cleaning up the topology later alright now let's come back in grab our grip and isolate those and extrude this down and give it a bevel with ctrl b to get something about like that let's um inset that and then press m to merge the center actually let's inset that again and then him to merge it center we're getting some shading issues here but once we add in some modifiers it should clean those up let's isolate this and come into face select and set them and set them again merge center now this is going to be our pommel and in the texturing process we can really liven this up and we're also going to add in some further details in another chapter and connect this up with our grip more but now i actually do want to scale this pommel up a little bit so let's go ahead and set the origin in object mode origin to geometry so the geometry isn't way up there and then we can scale this out just a little bit along our axises axes i guess would be plural and bring down this uh end of the wrap here we kind of want to make this flush with our wrap at least look that way it doesn't need to be exact but it needs to look good so something about like that i think looks pretty good now we can move this down here to about there let's go check the top looking good still awesome everything's looking good so let's go ahead and select all of this in object mode move this down to about there and then come in here and we're going to do we're going to do the same thing we're going to select these shift d separate by selection and for this i don't really know what this would be called we'll just call it connector low poly for lack of a better name and then let's set the origin to the geometry and we can come back in here and uh do the same thing we did actually in edit mode where we delete this vertice delete those vertices and just fill that as a face now we can come in edit mode scale that up we can use uh snapping mode so it'll snap to those vertices turn snapping mode off shade smooth and now we need to do work some magic to get all of uh our wraps to line up so we want to bring this up to the top actually let's come in edit mode and do it so we're not moving both the end and the front and then let's scale this up again so it matches we're scaling along specific axises axes okay that's looking pretty good so in order to get this to to fill correctly we're either going to have to scale up our scale along the z-axis this until it fits pretty well which i actually think might be an acceptable solution here so let's go ahead and do that otherwise we could extend the grip here we actually need to scale it down to where it it fits just like that and i think that looks really good our katana is really starting to come together we're going to continue adding more detail of course let's go ahead and add some more detail and create the connector high poly before we do that though i always get ahead of myself let's just face this up correctly so we can press eye to inset i didn't set again merge at center do the same for the bottom merge is center and then we can duplicate this call this connector high poly let's add in a bevel modifier to start this out let's make sure to apply the scale though turn off clamp overlap turn the offset down to 0.002 let's turn on autosmooth turn the segments up to three profile to 0.7 and the outer miter type to arc and then add in a well let's also limit the method to angles so it's not beveling every angle we have only angles that are at least 30 degrees and then added in a subdivision surface modifier then we can also add a loop cut here bevel it with one bevel extrude and right click to keep in place and then alt s to scale down along the normals and there we go we've got some detail on that connector there and that'll look pretty good in the uh after we texture it as well so all right i think that's all we're going to do for this chapter in the next chapter we're going to focus on the rest of we're really just going to probably do another pass add some more details down to this connect it up in a way that looks good just do some more final passes on our mesh before we start the uv unwrapping process and everything that entails i'll see you in the next chapter welcome back to chapter 7. in this chapter we're going to use a lattice modifier to deform our grip and all these other pieces so they have a bit of curvature but first let's go ahead and work on some organization within our scene up here in the outliner we have all of our objects just kind of thrown in here and it's not very pleasing to the eye so click on the katana collection and then add in two new collections we're going to call one low poly and then one high poly let's drag all of our high poly assets make sure my screencast keys are on into the high poly group and then all of the low poly assets into the low poly group awesome now we can go ahead and hide all of those assets there and we're going to work on everything from the connector down to the pommel let's come into our low poly grip and isolate that and we need to add some supporting edge loops here so lattice my lattice modifier can work properly let's add in about five of them and then on the grip high poly as well we need to add in oh about five of those let's see all right let's bring in the grip high poly uh connector high poly and then the grip low poly connector low poly the idle wrap end and idle wrap low poly and then the pommel everything down here high and low quality we need in for this lattice modifier so let's go ahead and press shift c and then add in a lattice modifier and then drag it down and scale it along the x-axis to where it fits in just about there and then we can scale along the [Music] x-axis here sorry we were scaling it along the z axis in the beginning there okay let's come into our lattice tab here and change the resolution up to three three and three actually let's change the w to about eight and then we're going to select by holding down or pressing b and then selecting everything we have all of our objects here and then we're going to deselect the lattice modifier select it again so it's the last selected and press control p and then do lattice deform and that adds a lattice modifier to all of those objects at once let's just come in here to our lattice in edit mode turn on proportional editing let's go ahead and bring in our reference image so we can kind of see the curvature and grab these bottom vertices and increase our sphere of influence and just slightly bring it out like so something about there i think looks really good let's go ahead and hide our lattice modifier and then hide all of our let's hide the grip the connector high poly and check out the low poly assets those are looking good those are looking really good it's uh actually i do want to change one thing on the lattice modifier i think it might need some rotation here at the bottom so let's just slightly rotate it to about there all right looking good let's hide the lattice i think that looks good it's a nice subtle curve it's not too extreme let's bring back everything so we can visualize what this will look like i think that looks good and you can play around with that lattice modifier to get whatever sort of curvature you want you could have also done this on the blade uh in the beginning there so that's another method of creating the blade if you just wanted to create a straight one and then use a lattice modifier to add in some smooth curvature and lattice modifier is very powerful and i encourage you to play around with it so now let's go ahead and come in here to our idle wrap and we need to work on a few things let's go ahead and apply the lattice modifier oop now we can't apply these yet it's going to have to be the last thing that's applied that's okay though let's go ahead and come in here and isolate that and apply the mirror modifier and the solidify modifier and we need to decrease our overall poly count for this mesh the wrap here is adding in a lot of geometry and we want to reduce this wherever possible so we're going to delete all the faces that we're not going to see in the final result let's go ahead and disable our subdivision surface modifier so we can see better and then select this edge loop and press control plus in your numpad and then delete all those interior faces and that deleted about 50 or so 54 vertices and then with the array modifier i mean that'll add up quickly with uh everything we've added in we can go ahead and turn back on the sub d modifier and do the same thing on the idle wrap end so let's go ahead and apply the mirror and solidify modifier disable the sub d increase our selection delete those delete those turn back on the sub d and there we go let's go ahead and disable our subd here and here and make sure only our low poly assets are in the scene so right now we are at and forty 6346 tries which is is looking good that's a good number to have uh before we deleted those interior faces we were at about eight thousand so we got a rid of about sixteen hundred to two k tries and about 3000 verts there so that's good so i'm looking around on the model right now and i see that we have some intersection here i'm not sure what caused that this may only be on my end i may have fat fingered a key so i'm going to go ahead and fix that by isolating these two parts of the model disabling the lattice modifier for now coming into edit mode on the end piece and selecting all of these and dragging down to about right there and actually that may have been due to uh when the sub d modifier was on there being some discrepancies between the high poly and low poly which can be a problem so you do want to always double check by disabling uh any sub d modifiers you have and just making sure there's not any crazy intersection there's actually a little bit up here too so let's just go ahead and pull these up you're all you're always going to have to double check because really you want it to line up in the the low poly view most of all because that's actually going to be the geometry used in the game asset okay that's looking good so that's everything for this chapter i will see you in the next one welcome back everyone in this chapter we're going to prepare a few things before we begin uv unwrapping in the next chapter so first i want to move this lattice modifier outside of the high poly collection into just the main scene collection because if you have it in a collection with objects it is parented to those objects get thrown in under the lattice itself i don't quite like how that looks it's kind of confusing in some ways so we'll move it down here and it still contains a reference to each object that is parented to it then we can just minimize that right here so there are a few things that i i do want to change about the low poly mesh here after a day or two of thinking about it uh for one i want to delete the rain guard and connector from the low poly collection and then bring in the connector and rain guard from the high poly collection and drag them into the low poly collection and we can re rename these low poly the reason i'm doing this is because there's actually profile differences between the high poly and the low poly let's go ahead and delete these modifiers then i can show you exactly what i'm talking about if we look at it from a side view or front view here the profile indents inward previously on the low poly version it was just flat where the profile changes i like to keep the profile uh the same on the high poly and low poly for baking because where it changes so drastically like that in the high poly and the low poly is just flat it can cause a lot of issues now where that won't cause a problem is the blade because whereas we do have some extra geometry here extruding inward it's not affecting the profile or the silhouette of the blade so let's go ahead and hide our high poly assets and come in here back to the low poly now we have a few things here in our low poly collection that aren't in our high poly because we haven't duplicated them over yet such as the auto wrap and the auto wrap end and the pommel so let's go ahead and shift d to duplicate that drag those down to our high poly collection and then we can rename them high poly appropriately also i want to ensure that everything has a uniform scale of one so let's just select everything ctrl a and apply the scale and then do the same thing for the high poly collection select everything ctrl a and apply the scale i have just noticed an error we have going on here with the high poly version of the grip so since we know the low poly is good instead of trying to line that back up let's just delete the high poly and then duplicate in the low poly i'm not really sure where that discrepancy came from on your end it may be fine i probably again fat fingered something earlier in the process so we'll call that grip high poly isolate it and then give it a sub d modifier above the lattice modifier and we'll just add in some some edge loops here to make those edges a little more crisp let's go ahead and add a subdivision surface modifier to pommel i am noticing a discrepancy here so let's pull this down first of all we can set the origin of this object so it's actually the origin is inside the geometry and let's line this up a little better and duplicate it bring it over to our low poly collection delete our pommel low poly and rename that duplicate low poly that fits a whole lot better now we can delete that sub d modifier on the low poly that is this stage i'm really just inspecting the mesh making sure everything is up to par everything looks good and it's in place properly before we start uv mapping everything all right everything's looking good that's all for this chapter in the next chapter we're going to begin the uv mapping process welcome back to everyone's most favorite chapter uv unwrapping no i'm just kidding everyone hates this for some reason and sometimes it can be a little frustrating and rage inducing but we're going to get through it together and hopefully it won't be that bad let's start in the high poly collection and unwrap the idle wrap high poly so let's come into the uv editing layout for some reason i've already got some uvs already laid out here you may or may not but that's okay because we're not going to use these at all let's go ahead and come in here and alt right click let me turn my screencast keys on alt right click there and there and really just all the way down here on each auto wrap object all the way down to the bottom and then ctrl e and mark seam now if we give this an unwrap we're going to get a result that looks like this now if you're not seeing this blue overlap here this blue display you need to press in go into view and then turn on stretching you'll probably have an initial view that looks like this just turn on stretching and we're aiming for dark to light blue here the darker the better but if you're having any greens or oranges or yellows or reds that means you have a lot of stretching going on and stretching is a no no we want to avoid that at all cost otherwise the textures are going to look all stretched and horrible so this is looking real good right here so we're done with the auto wrap for now now we can come into the idle wrap end and do something very similar just select that edge and that edge and mark a seam and then unwrap and we have a very similar result so that's good right there now let's come in and work on the pommel so right now we are having a lot of stretching here we don't want to see colors like that let's select this top edge loop and mark a seam there and perhaps one right about there mark a seam there do an unwrap and see what this looks like it's not quite looking like how i would like it to so let's uh let's add another seam here from that edge to that edge mark a seam and see what it looks like that's looking a whole lot better so basically it's taking this series of edge loops all the way around all the way up to here and that's what these are that's what that selection is that uv island and then it has uh one of these spheres is down here and then one of these spheres is up here if you were to add in a seam across the entire edge loop you would get a result that looks about like that and that looks fine too but that's a lot of seams and that could be visible so you want to keep seams down to a minimum so there aren't too many seams in the textures but you also want to avoid stretching and you want to strategically place them in places that hopefully go pretty unnoticed so i'm going to go ahead and clear this seam and try moving it down even more maybe another one and add another seam there and just see what this looks like okay i'm quite liking that the same may be less visible down there all right let's come in to our connector add in an edge loop at the top right there mark those seams and then maybe these edges right there let's see what that looks like that's looking good we're getting a little bit in here so let's come in make sure we have a uv sync selection turned on come into face select mode and select one of these lighter faces and see where the stretching is occurring so it looks like the stretching is occurring on the other side so if we add in another seam here yeah that that's helped a little bit there's still a little bit of stretching but since these are on these faces i mean these aren't going to be visible faces at all and that's not too much stretching so that is an acceptable concession in my mind go ahead and uh keep it there for now let's come into our grip itself work on uv unwrapping this so we'll add an edge loop there and there mark the seam and then another one along the side just do it right there let's make sure we're on the same edge i believe it's that one yes it is mark the same and then unwrap and we're left with a very similar result as to what it just automatically gives you which is fine that's what we want there's not any stretching going on in this one so that looks good now let's come into our cross guard and add a seam going along this edge loop let's go ahead and give that an unwrap let's take a look at it so this would be good actually if it wasn't for all this green and this stretching so we're going to add edge loops around every cutout we have you want to make sure you're only selecting those edges sometimes it's helpful to even disable these bevel and subdivision surface modifiers while you do this you can see exactly what edges you're selecting and go ahead and select all of these and add a seam around them all right once you've added a seam to all those go ahead and give it another unwrap and you'll have a result looking about like this now there's still a lot of stretching going on in these interior faces i went ahead into substance painter and baked this to see how it would look and the result looks fine so we're going to keep this as is and move on to the next part which is the rain guard so let's go ahead and add in seams along these bottom edges a seam there and there and then a seam along these top edges give that an unwrap and see what it looks like and that looks horrible so let's go ahead and add in maybe an edge loop there and mark a seam and unwrap it there and that looks alright there's a little bit of stretching but again these are probably going to be yeah some vertical faces there okay so that's good we want to we added in an edge loop and then marked that as a seam to basically just cut it down the middle now we're going to come into our blade high poly and we're going to add a seam along this entire exterior edge loop mark a seam and then unwrap and then we also want to add in seams down here mark a seam there and then we're going to add a seam around this edge loop right here we'll get a result looks about like that now there's something to note here if you want to have details on both side of the blades that are unique from one another you have to apply the mirror modifier before you unwrap otherwise basically the same this uh uv unwrap is gonna be for both sides so both sides will be identical so i'm gonna go ahead and apply the mirror modifier and then unwrap it here so we can have unique details along both sides i'm going to go ahead and drag this up out of this uv window this is called our zero one space anything inside this is basically where we're defining uh what textures will be applied to where now i believe we have everything uv unwrapped so let's take everything and independently just drag it somewhere outside of here so we can start combining them in a way that makes sense just pull that over there hold that there all right now let's select everything and see what else we have so this is let's come into face select and press l this is the connector let's drag the connector over there let's go ahead and hide our reference image from the scene we don't need it right now now everything has its own place so let's start dragging things back in now the blade we want to have a lot of real estate in our uv zero to one space because it's going to be one of the most detailed parts of the model so we're gonna just move it diagonally here and scale it up a bit then here we have these end pieces we can just select those with l and rotate them give them a home let's scale them up a little bit and give them a home about right there oh let's come back in and select everything again and we also want to give our auto wrap a decent amount of space as well and this is our auto wrap end piece so we're going to move these to be side by side let's give it as much as we can so something about like that we don't want to get too close to these otherwise we may have some texture overlap something about there's good now for our grip well i keep on isolating things we want to have everything selected come into edit mode so for our grip let's scale this down quite a bit it's going to be mostly occluded by the the wrap and move that to about right there we can take these and even scale these up just a little bit let's see and i keep keep doing that all right you want to stay in this view actually let's come into our cross guard and move that down here so it's not overlapping anything let's move our cross guard details our uvs up here scale it down we want to give our cross guard a decent amount of texture space as well so something about like that then we can come in and select all of these guys with l let's just select those four for now well actually let's move those up there select these guys kind of get them all in a row there we go now we're going to select all these and scale them down uniformly so they all have the same size and just start fitting them in where we can this is probably one of the areas or some of the uvs with the least priority in terms of of size is you're not going to be very detailed in those or even large in those interior faces there we still want to make sure that they're nice and they have a home but these are the ones i would sacrifice first if you know i had to make a sacrifice let's move those up here and these two guys down here for now we can always move these later if we find the uvs aren't working out this should be our pommel yep let's uh scale these down and up and we'll fit those in right there let's see what is this this is our connector so this is also kind of a low priority so we can scale this down and squeeze that at the end this is our rain guard which i do want to give enough texture space so we really do need to find this at home i'm gonna have to rethink about how i fit some of this in here we could put it right there or right here i think we're gonna put it right there so we're gonna come in here to the grip and scale this down just a little bit and move it up and move these above it and now we've got all this space to fit this in here let's get it as big as we can without getting it too close to anything and come in here with our pommel and we may have to separate these a little bit so we'll take these guys scale them down fit them in right there and take this guy scale it down just a little bit and put it right there and there we go we have our high poly model uv unwrapped everything has a home i think this is going to work out really nicely so instead of redoing all that work for the low poly version we only have to redo a little bit of it mainly the blade everything else we should be able to simply copy and paste over so let's come into our low poly collection and really we're going to delete everything so it's gone come into our besides the blade come in here to our high poly duplicate everything drag it into the low poly and we're gonna rename everything low poly again to save some time we can copy and paste that underscore low poly just come in here start pasting it in alternatively you could have started with the low poly and then uh done this but then you'd have to apply all those modifiers again so let's go ahead and delete all these modifiers that we don't want subdivision surfaces bevels keep the mirror modifiers oh i want to delete the subdivision surface 2 the bevel sub d all right that's all gone let's do it on the connector as well that's looking good as well also on the grip now let's come into uv editing window again and go ahead and mark a seam for our blade and unwrap it we also want to do it along the bottom here there we go now we'll move that out bring everything else back in let's go ahead and apply the mirror modifier on our blade and then give it another unwrap select everything now we can just take our blade and fit it into this already existing slot scale it up as much as we can much as we can afford take these guys turn on face select take these guys move them down here and scale them up just a little bit and there we go we're done with the uv unwrapping process that wasn't too painful now was it so now we can move on in the next chapter getting ready to export out to substance painter welcome back in this chapter we're going to work on our id maps we're going to create a cage and we're going to clean up the mesh a little bit so let's start with the mesh and come into our auto wrap high poly and come into edit mode and double tap a to select everything and then merge by distance we have a lot of duplicate vertices sitting on top of each other so that will help a little bit let's come into the low poly and do the exact same thing merge by distance removes 260 vertices from both both counts and then let us select everything in the low poly collection and come into edit mode select everything and recalculate the normals and then let us do the same thing on the high poly version of the blade select everything recalculate normals we want to make sure all of our normals are facing the right way let's come into the high poly portion of the blade and start doing something called id mapping with vertex painting this is going to allow us to apply certain textures to certain parts of the mesh and substance painter so select the blade high poly to start go to vertex paint then come up here to this color palette and pick a color any color it doesn't really matter and then press shift and k and it will apply that color to all those vertices of the blade object come back into object mode and it'll disappear now it's important that if you want to share any materials and that you know ahead of time you want to share to basically remember this hex value or write it down or copy and paste it so you can use that same color on different objects i'm not going to be doing that though except for the the idle wrap and i'll show you how i do that now let's come into the rain guard do the same thing let's pick a yellowish color press shift k come back into object mode come into the cross guard pick a pink color doesn't really matter what these colors are they just need to be different in fact they could be different by a such a small value you know super small but i like uh opposing colors so it's just a contrast i guess you can easily see they're different so now for here we want to come in on the auto wrap end and let's pick a brownish color apply it there and then just come into the idle wrap and just press shift k and we'll use the exact same color for those now let's select the grip high poly come into vertex paint and make an even darker brown for that one now for the pommel we'll just select i don't know uh a red and we'll pop that on there so now we have our id maps created i'll show you how to bake those in once we get into the substance painter part of this course now we need to build our cage and essentially what a cage is is a mesh that is slightly bigger than our low poly mesh that defines the bounds of where light will bake in to the normal maps i'm going to show you and once we really get into it you'll understand how it works but let me go ahead and hide everything and i'll actually just make a little explanation here so let's create a cube and let's say this is our low poly mesh we'll duplicate it and we'll hide that cube and let's say this is our high poly mesh with some bevels let's uh duplicate the low poly cube again you don't have to do any of this you can watch and slightly scale it up to be slightly larger than the low poly cube whenever we're baking our information in substance painter it'll use the cage to define the parameters basically the out of bounds limit anything inside the cube is where the light will be restrained to so this really helps in the baking process you can try to do it without it and you really have to at least with this specific model be really it's really finicky and this may change on a per model basis on how useful it is but i found for this katana it is extremely useful so let's go ahead and duplicate all of the low poly assets and bump them into their own collection and then just hide the low poly and high poly we'll call this cage let's make sure we apply all the modifiers that are pending here once we've done that we can select all these objects and press ctrl j to join them make sure we shade the object flat we don't need any shading for this and recalculate the normals so we can make sure all the normals are facing the correct direction and we can rename this object cage now we want to bring back in the low poly and select the cage and press alt s to scale along the normals let's do this in edit mode and we just need to do it just a little bit so maybe just something like that when we come into wireframe mode we can see it is slightly larger i'm going to make it just a little bit larger something right about there okay so now we can go ahead and export out this cage as an fbx so select the cage go up to file export f fbx and then navigate to a place where you want to export it to i'm going to go to documents udemy tonic horse and i will call this cage.fbx now we're going to limit this to the only the objects we have selected and the object types to mesh we're going to keep all these settings the same come into geometry make sure apply modifiers is checked we don't have any modifiers right now and then you can go ahead and export that as an fbx now we can hide the cage and come into the low poly and select all of our objects now we can go export fbx we'll call this katana lp for low poly and make sure that apply modifiers is turned on and we can do the same thing for a high poly select everything export fbx we'll call this katana high poly and we'll export that as an fpx and this may take a second since it has so much more geometry all right that concludes the blender part of the course now we can move into substance painter in the next chapter and begin baking in our normal maps and then move on to texturing the katana welcome back everyone to the next chapter the next section of this course we're going into substance painter i'm super excited to be in substance painter i love texturing models it's when you can truly i think be creative and breathe life into the 3d model that you've made it's amazing i love it ah man i just love it okay let's get going let's go up to file and then new and here on the file type select and bring in the katana low poly fbx that we exported from blender for the document resolution use 4096 we're going to make this a 4k texture set and then press ok and here we go first we want to start by examining our model and making sure all of the normals are facing in the right direction if anything looks half invisible or you can see through some faces you need to go recalculate your normals back in blender and re-export but everything is looking good here so now we can go to texture set settings and go to bake mesh maps and we can begin baking in all of our high poly information let's go ahead and uncheck ambient occlusion because we're going to do that after we bake all of this so for the output size let's pick 4096 and then for our high definition mess mesh excuse me let's choose the katana high poly we're going to use a cage since we created a cage if we had not created a cage we would need to max mess with the max frontal and max rear distances and if you don't want to use a cage you can play around with those values you're really just going to have to troubleshoot it and see what works and what doesn't typically i go for low values like point zero zero zero one but let's go ahead and take use cage and then bring in our cage.fbx now let's scroll down here and all of that looks good feel free to turn on some two by two or four by four or even eight by eight anti-a listing i'm gonna go ahead and check that you don't have to i haven't uh in my test turned it on at all and it looks fine but i'm gonna go ahead and turn it on come down here to our id mesh map and make sure the color source is set set to vertex color since that's how we apply the uv maps and then go ahead and bake the mesh maps this may take a minute depending on your computer but i'll get back to you once it's done all right we're done so we can press ok and let's come back into bake mesh maps and uncheck everything besides zombie inclusion and the thing we're going to change here is we're going to bump up the min occluder distance all the way to 0.1 and then use low poly mesh as high poly mesh let's go ahead and bake that all right that's done baking now we can take a look at all the nice information that's come in here it's really transformed what's going on uh with all this baking it looks so much better we can see the detail from our blade that previously wasn't there and just all the curvature this low poly model now has in its texture sets all right let's go ahead and save this as i'm going to save mine is katana course and save it somewhere that you won't delete it and in the next chapter we can begin texturing everything now i am going to be using some smart materials and we're going to make some materials from scratch substance painter has a lot of smart materials out of the box but there's this website called substance 3d.com share.substance3d.com substance share and people create brushes filters smart materials smart masks all these cool things and they share them for free so this is a great website you can go on and browse around and maybe find something you want to add in for a future project or even this project i'm going to include every single smart material i use in the course material so you can go ahead and download that and move it into your substance painter directory welcome back in this chapter i'm going to show you how to import smart materials into substance painter so navigate to your course directory so your course materials if you want to bring in the ones i have given you we'll go ahead and just do this leather stylized drag and drop it into the shelf in substance painter and you get a window that says import and it asks what type of resource it is it actually automatically detects that it's a smart material and then you can just either import it into the current session the project or the shelf shelf i would do the main shelf and press import and that's it that's how you import them in fairly easy so in the next chapter we can start texturing welcome back we're going to start texturing the blade first in this chapter so let's go ahead and create a new fill there just delete that other layer and we'll call this albedo albedo albedo it just means base color we'll create a folder and then drag it into that and we'll call this blade now here under the color properties we can tweak the color maybe put it a little darker and bump the metallic up to one and then for now let's bring the roughness down to about there and we can tweak that later now let's right click on this and add a black mask and then up here under add effects we can add a color selection and this is where our id map is going to come into play so now we can press pick color and then just click on the blade and now this material everything inside um under albedo there is applied to only only those polygons and those vertices let's actually delete that and delete that mask and move it up to the folder add a black mask and then let's see add color selection pick the color and now anything in this folder will only be applied to here awesome now let's go ahead and create oh we'll just duplicate the albedo layer and then call this one edgewear and let's only bring over we don't want metallic we don't want color yeah we do want color okay so we'll get rid of the metallic because we're not going to change that let's bump this up to be a slightly brighter color just very slightly and then bump the roughness up a little bit now if we create a black mask for this we can right click on the mask and then add in a generator and substance painter already has a built-in metal edge wear generator that we can utilize and just like that it detects where the edges are and it actually is adding in that color and any other properties we tell it to so let's increase the height just a little bit actually let's decrease the height just a little bit because edgeware would be chipping away at the blade let's see let's maybe do it to a point .005 let's see what that looks like that is way too much .0005 perhaps yeah that's looking good and then we can also play with these colors and the overall metallic value let's come back down to the albedo and bump up the roughness of the overall blade actually let's bring it to a 0.9 for now and this one to 0.15 we'll keep that there for now we may tweak that later now let's go ahead and add in some let's see what some dirt could potentially look like so if we add another fill there and this one we're not going to change the metallic value either we can play with our color wheels here until we get a dark well we actually do want to change the metallic value here because the metallic value on the dirt is going to be zero it's going to have no uh metallicness to it we'll call this dirt and then we will add in a black mask to that and a generator and there should be a dirt generator here there is that's it's kind of a lot so let's bring this dirt level on the generator properties way down scroll a little bit out here so we can see the overall effect it's having the dirt contrast we can increase and decrease and tweak the uh grunge amount give it less or more grunge make it really grungy if we want to grunge scale default value is fine i'm gonna tweak it up to six for now you just kind of play around with these values until you get someone you like let's come into the dirt and increase the height slightly on this because dirt would be sitting off of the blade let's come back in here and bring the dirt level down we don't want a ton of it and the cool thing about this is it's it's all procedural so so far we haven't done anything by hand just kind of playing around with the values here and that's looking real good let's make a new layer bring that into our blade collection move it above the dirt and we're going to call this engravings now in the course material i provided some alphas um here i'm going to use the japanese symbol for music and i picked this one and you can create your own alphas in photoshop if you don't like these i don't know because i have a music and harmony alpha i don't know i just think it kind of counterfeits uh the music of the blade the harmony i don't know i just looked for some cool japanese symbols to be honest now if we paint those there what we can do is if we take grab the harmony alpha and we come in and paint it on the other side we can come into the engravings if i can now let's undo that and actually create a fill there and call it engravings and then add in a black mask and then do that again so bring in harmony put harmony there and music right back here in about the same spot now we can come into the engravings panel here and i don't want to bring in color or metallic or roughness but i do want to affect the normals and the height so if we decrease the height and that'll be engraved into the blade and you could you know go up the entire blade if you wanted to with cool markings you could just keep painting these grab other ones i have a couple other alphas i've thrown in the pack that we're going to use down here but we also want to do something else we want to give this on the black mask an anchor an anchor point and we'll just call it engravings mask then under metal edgeware we want to come down and make sure we have under micro details micro normal to true and then come down to the micro height let's drag that under there then under micro normal make sure we're using the engravings mask and that will apply the edgewear generator to the engravings as well we can also do this with the dirt we'll add in an anchor point and make sure under micro details we're using micro normal and that'll make sure that'll ensure that basically these generators are also affecting that it's a really cool way to add engravings and keep detail it's really really cool we could even take this a step further if we wanted to and also add in under texture set settings add another channel an emissive channel and then come in to the engravings and give it an emissive value let's say if you wanted this to sort of emanate power you know have it be like magical runes inscribed in the katana you could have an emissive value here and then in unreal engine or unity your blender you can crank up this emissive power to to be really really cool and have it sort of have glare and be glowing you could even animate it but for this we're not going to be doing any of that we're just going to disable the emissive value there and keep it as is sort of be a little more realistic with this blend and i'm not really digging the amount of metallic we have in her the yeah the kind of roughness we have in right now so i'm going to decrease the roughness all right sorry increase it to 0.2 and then under edgeware make sure we're a little higher than that and under dirt as well yeah we're pretty good on the dirt and for now that's going to be it we're going to do on the blade we're going to come back to this later perhaps and tweak it as we start flushing out the rest of the textures we can see how it sort of sort of works with everything else i'll see in the next chapter alright welcome back in this chapter we're going to work on the rain guard and the cross guard perhaps the connector as well so we're going to add in a smart material for this and if you don't have the bronze armor smart material i've included it in the course material and you can import it like i showed you let's go ahead and just drag it out and hold down left control when we do so and we can apply it to the cross guard and then with this bronze armor folder selected we can also drag it to the rain guard as well as i want it on the connector and then i also want it on the pommel so there we go we've got uh it's just added all these selections to the black mask here now we can start playing around with some of these values so for the base metal we can change really everything let's change the color to make this a kind of a blackish blue it's got a tint of kind of a dark blue but it's still pretty black pull it up just a little bit put it right about there then under the mask editor for the edges damage we can tweak the global balance i really like it right there around point four i really love this uh this look i think it fits in really well especially once we have everything else on there it's going to look really good check down here at the pommel um not really crazy about how the pommel's looking so almost tempted to delete that color selection and add it back in under effects add color selection and pick our colors pick that one pick that one and that one again and then we can create a separate uh smart material group for the pommel we'll go ahead and do that we'll just select our blade and then bring out the bronze armor smart material again apply it there and it'll create a new folder with a new mask and we can tweak these individually so let's come back to our other one we'll call this the guards and then this one the pommel so under our guards here let's make sure we copy that hex value and there's a way to do that and the way we're going to do that is come down to i want to invert it so for edges damaged i want the base color to match the base metal for up here and that way the edges are going to be that dark blue instead of vice versa how it is in the cards so now we come into our edges damages uh mask editor we can play with these values i think something like that's looking good you can also play with the filtering mode see what looks best i really think what it was on to begin with does look the best which is linear dodge it's coming to the dirt i don't really see any of the dirt being applied let's change the color of it okay there's a little bit of it happening we'll change this to more of a brownish color just a little bit of it right there yeah i had a little bit more in all right that's looking good that's looking good we can add in some engravings down here as well so let's go ahead and do that let's come in here down to our alphas and scroll down i think i want to use this flower right here or maybe this one down here on the pommel so let's make sure we're in our pommel we are let's create a new fill there and move it right above the base metal we don't want to change the color the emissive value the metallic we just want to really change the height so let's add a black mask to that and then under the black mask we'll take this flower decal we'll scale it down and make sure that under the material properties we change the height to be in the negative somewhere or we could even make it positive we could make it extruding outward in fact i kind of like that so let's go ahead and clear that mask fat fingered it see what this one looks like yeah i like that one right there maybe this one ooh that one's looking good too all these are pretty decent i think i'm gonna use that one so if we hold down left control and then uh left mouse button up and down we can rotate our mask to get it to be straight here let's rotate it to where it is straight something about like that and then come in on the other side i need to rotate it again put one about right there see what they could look like potentially on the edges here i don't really like the look of that then we come in and just call this flower engravings and add a anchor point then here on the mass generator for the dirt make sure we're using micro details micro normals come down to micro height and do the flower engravings oh yeah also on the micro normals there and there we go we can see the dirt being applied to that let's also come up to the edges dan or it yeah edges damages and do the same thing flower engravings micro details micro normal oh that's looking kind of intense let's come in here and decrease the global balance it's kind of kind of a lot there we go now if we come into our flower engravings we can increase the height if we feel like we need to or even decrease it i think something about point one looks looking good there we go i think that looks really good i mean that's just uh that's mimicking 3d detail in a 2d space looking good now in the guards we're also going to add in some engravings so if we come into guards create a fill layer just like we have been bring it right above the base metal call this cravings add a black mask and then we don't want to change again the color metal the roughness or the emissive just the height values and you can use the the day show alphas i hope i said that right day show it means something and what it means is probably going to butcher this but in the japanese samurai culture the day show engraving stands for big little and it's it's basically represents a set of katanas that samurais would use and the day show katanas it literally just means big little that one katana would be big and then there's smaller ones now and that's again i just think they look cool when they add something so we're not going to get too far into like the detail and if it actually sort of makes sense historically but it probably doesn't if you want those sort of things feel free to make your own alphas and add in your own sort of historical meaning i just think they look cool so sue me i guess all right let's come in here before we apply that and change the height and decrease that put that one there and then we can use the other day show on the other side and put that there maybe a little bit yeah right there now let's add in an anchor point and under surface details or where are we yeah surface sorry none of the dirt we want to use the mask editor here to have a micro height of well let's rename this anchor point to rain guard engravings mass so we can differentiate under the mask editor make sure we have rain guard engravings masks like that and we're okay that was the dirt so let's also do that for the edges make sure under micro details we turn on micro normals and do that for the dirt as well i don't think i did let's come back into the edges mass generator and under micro details let's play with the curvature intensity the height details intensity that's not really doing anything not what i was planning all right so i figured it out again we're gonna uh under the engravings on the rain guard uh remove the height value and i like to look at this a whole lot better this is actually what i was going for and i was like why is it why isn't this working so you got to play around with it um yeah if you get rid of that height value just sort of almost like paints it on there i think it's it's really really cool how it doesn't doesn't even really include the whole thing i don't know it's cool it's a cool effect i like it so that's it for this chapter uh we've done the rain guard the cross guard the connector there and the pommel in the next chapter we're going to work on the rest all right welcome back in this chapter let's start off by working on the wood grip so in our smart materials here in the course material i provided a wood walnut material if you don't already have it feel free to import it from the course material hold down left control and apply it to the grip there and we're going to keep it like that for now until we can visualize how it will look with the auto wrapping so we'll just rename this to grip and then let's come and grab a leather stylized material and apply that to the idle wrap you can kind of see how the katana has come together and i think it's looking really good we're going to make it look a little better here though so let's go ahead and under leather stylize we'll just call this wrap and come down to the base color let's change it i want it to be more of a reddish black something kind of like that just a dark red and for the curvature we're going to pick the color start from there make it a little brighter along the edges or we can make it darker i think just a tad brighter just a tad brighter along those edges or would it make sense to have it darker so what if we brighten up the base color we can see what that looks like i think it makes sense to make the base color just a little brighter and bring the light over here and see what we're working on that may be a little too bright i want it to be subtle subtlety is the way to go okay that's looking good so i noticed that there was this weird white bleeding around the grip and i'm going to show you how to fix that so come back into bake mesh maps and then we're going to bake everything again besides the ambient occlusion make sure you don't have use low poly mesh's high poly mesh checked ignore back face and then match by mesh name and then make sure the suffixes are how we had them set up in blender so mine was underscore low poly to underscore high poly and then we're going to bake again and that should remove that bleeding effect i didn't notice that before until we had the materials on there so that was my bad but it's an easy fix let's go ahead and let this bake and i'll be back with you beautiful beautiful beautiful beautiful the problem is gone looking so much better all right where were we let's come into the grip here and under the base color first of all i'm not a big fan of this red that we were working on let's change the base color to thinking more of a black and the curvature can bring that down to be an even darker black now let's come into the grip and i want to change the wood color to be more of a a cherry wood or a reddish a reddish color really liking reds today for some reason it's a little too intense let's desaturate that no not desaturate but move the color slider a little bit something about like that i think looks good let's uh maybe add in some scratches to the grip i don't know if leather can exactly take scratches and this may not look good but let's experiment with something here just for the fun of it let's add this above all the grunge passes okay sorry i wanted to add that on the wrap not the wood so let's add fill layer up here move it to the top move it below the ao cavity and the curvature and we'll pick a color about like that we'll call this scratches we don't want to mess with anything besides the color the roughness and the height decrease the height a little bit and then add a black mask and then add a generator and this can be some metal edge wear as well i don't know if this will look good oh you know i actually kind of like that i think it adds it adds up i think we have something interesting here we can play with let's move that above the curvature above the ao cavity okay that doesn't change anything let's move it up here and then mess around with this generator a little bit maybe bring the wear level down play with the contrast yeah bring the contrast down want it to kind of fade into it and get to this uh more worn look i'm kind of digging it yeah increase the scale [Music] and increase the scale so the details are smaller curvature weight we can put that about point seven seven point seven five oh yeah that adds a lot now now that i'm adding in these details i'm not a fan of the color of the wood so i changed it for no reason really let's come back in and tweak that one more time it's a lot of playing around and i mean this is probably the most artistic part of the process where you have really a lot of freedom just to experiment around with different looks and like in more the color we had in the beginning there man that looks good i'm i'm happy with this i'm happy with this let's see just kind of looking over the model seeing what could be better i think this kind of comes off as an empty spot unused could really be better so let's go into the guards and where we had the engravings how about we see if we have any alphas that would look good in here let's see what substance painter has for us okay so i found this medieval what is this uh medieval spiral here and we can rotate it uh by holding it off control and then left mouse up and down and then right mouse up and down we can scale it i think that looks kind of cool it may work so let's uh fit it in here about right there i think that well i think that looks cool so let's not change the scale like i just did let's add that one back in so the scales are the same scale it down just a little bit more pop that in there and then rotate it we can also come in here to rotate it if we bring this up exactly 270 degrees sweet pop that in there i don't know now that i see it i'm not crazy about it so i'll remove that go look for something else all right so i ended up going with the other medieval spirals and then just simply adding in the other engraving on either side i think that kind of plays off on another big little or big little i don't know which symbol means what to be honest but i think that's looking cool so we got either music or harmony on the other side the big little it's got some cool engravings on yeah i think uh for me this is about this is about uh pretty much done with the texturing process um feel free to keep playing around with it and do what you want i'm liking the look of the blade so i'm going to go ahead and save it which substance painter at least on my machine tends to take a while to do that all right now we can go ahead and come up to file and export textures whenever we're done for padding do no padding pass through and then navigate to where you want to save this to so i'm going to go to udemy guitar course i'll call this create a folder called textures come in here and select that folder and export and it'll export a base color metallic roughness normal height the missive normal opengl and mixed ao we don't have anything in our emissive value because i turned on that channel but didn't do anything with it so if you have anything you can use that later but if not i mean you can just turn off that channel setting if you don't want one of those maps generated also we have a bunch of settings here output templates if you're taking this to unreal or unity or or whatever sketch fab there's a ton of presets in here you know feel free to look around and experiment with different output settings but for me that's about it in the next video we're going to be going over to blender to apply these materials i will see you in the next one welcome back to the final chapter of this course i do hope you have learned something and enjoyed it in this chapter we're going to be applying the material in blender so in the low poly let's go ahead and apply all the modifiers we have remaining and control a and it's helpful before you do this to have a backup either a different save file or just copy or duplicate these assets into a different collection and press ctrl j to join them together let me turn my screencast keys on come in here to shading and then in your material with the node wrangler add-on that you've hopefully enabled by now press ctrl shift t and then navigate to wherever you save those textures to and bring in all of them besides emissive and then normal we're using the normal opengl and you can tell because the file size is much larger so bring those in and node wrangler will automatically set them up and then the material preview we can see some weird uh stuff going on here let's shade flat shade smooth and turn on auto smooth there we go you shouldn't have those problems when you import it into unreal or whatever but our materials are in and and it's looking snazzy looking snazzy so now i mean it's ready to import it into unreal engine unity godot your game engine of choice our total vert count is 3551 and our tries are 6600 which is excellent i mean that's that is a a great game assets everything's looking really good i'm i'm happy with it i hope you learned something i've enjoyed having you here even though i've really only been talking to myself this whole time so yeah this is where we part ways i uh if you have any questions ask away uh if you've completed this course show me what you did post about it link me to it post it in the you know review this course just share your work that you've created through watching this and if i make any more courses i hope you join me on those adventures as well this has been my first udemy course my first foray into making something this expansive i have a few youtube tutorials but those are typically no longer than 10 minutes and just talking about a process instead of showing you every step of the way which has proven to me to be a bigger challenge than i thought it would be but also pretty rewarding so again i hope you've enjoyed uh have a great day good luck with your katana good luck with your game and your future ventures as a 3d artist

Channel: Talamander

Views: 12,879

Rating: 4.9854279 out of 5

Keywords: 3D modelling, blender, 3d art, game dev, substance painter, game ready assets, tutorial, texturing, katana, game-ready, assets, modelling, substance, course, free course, full course, beginner, intermediate, advanced

Id: Y-wBqS1dUAs

Length: 126min 59sec (7619 seconds)

Published: Mon May 10 2021