STYLISED BARREL Game Asset (FULL VERSION) -Maya-Zbrush-Substance Painter

[Music] in this tutorial we're going to be looking at how to make a stylized barrel asset now the first thing I've done is gather some reference so I've just gone on Google and got together a few different references of real barrels now as this isn't going to be a stylized barrel a few things we need to consider is if we're going for a style like overwatch dot fortnight is that it so basically a reduction in the detail of an asset the amount of detail in the wood grain and the amount of pieces of assets so we look at this barrel here you can see there's many many sections and one way you can stylize something like this is to just reduce that now I've taken these from Google and I put them in this program which is pure f you see I use this on most of my videos this is just a real great way of keeping your references on-screen and just drag this to make it smaller here and move the window into the corner and right click this and go to mold and it's always on top we can go to Mayer here and this is just gonna stay on top and as use this as reference now obviously I've not got any concept art for this piece because this takes they I want this to be quite a quick job and I don't think I'll need concept art for everything that I do one of the first things I do because this is most likely gonna go into you fall for me I just dragged the mannequin from you four into a mayor scene and I can use this as quick guide for the scale so the first thing I want to do is drag out the basic shape of the barrel so I know what I'm gonna be doing so I've just grabbed the cylinder here from poly modeling and if you've not done it already if you got to create and go to polygon primatives and down at the bottom there just make sure interactive creation is selected if this isn't selected and you click one of the polygon models it's just going to create that polygon model in the center of the screen and that is fine but when you've got quite a lot going on and you want to draw so far in a specific place it's much easier to go to create polygon primitives and interactive creation this way we can drag this out anywhere on the screen that we want so if we have got like quite a big model and we're working right over here on a specific part of that model we can just drag that out in place let's have a look at these parallels ok then so I'm pretty happy with that so let's make the curve at to the side so what I do is go to edges right click edges and then I'm going to select all them and then I want a right-click shift right click and go to connect all so we connected in midler and then just gonna hit any key to accept that and then I'm just going to scale this up slightly okay and then I want to make this a nice smooth curve so then I'm going to shift right click with that edge selected and hit bevel edge and then I'm going to change the segment's to two so you can see that adds a nice curve now if we increase in that segments we're going to get a smoother curve so we turns you up to four and then increase the fraction now if this fraction is moving too fast you can hold shift you can hold ctrl and drag that and it will move that fraction by a smaller amount making it easy to adjust okay and I'm happy with that okay so at this stage I'm going to duplicate this and just save it off to the side because there's a potential to use this as a REIT apologize ation mesh later I can also move this fellow other way as well so the next step is to kind of place him where I want these bums to be and so they generally seem to be one at the top and bottom and then two or even four I'm just going to go for two in the middle actually so simple way of doing that would be to go to the multi cut tool and hold ctrl and just place him where I want to put them so because this is gonna be stylized what we want to do is just overemphasize all the assets or attributes that we make on this asset so we want to make it thick enough and I'm gonna place one kind of here but I'm gonna make it slightly thicker so I'm gonna put a line either side okay then what I'm going to do is go to face and just slap one phase shift and double click the next one and do the same there okay and then I'm going to shift and right click and go to duplicate phases okay and then hit any key to accept that okay so now I've got these two separate assets so we can just select them and I'm just going to go to isolation mode at the moment so if we just got to here and click this little box everything else will disappear apart from the ones I want to work on and then I'm going to go to edges again and double click the edges and ctrl backspace and that will delete the edge and the vertex as well again on this one we'll click that edge now we hit just backspace and then it because a vertex here you can see that it leaves the vertex behind I don't know why you don't want to do that but there you go if we go to edges double click that edge and hold ctrl and backspace it deletes the vertex as well now let's have a little look at these okay this one is a little bit too thin so I'm just going to grab the bottom edge then pull it down a little bit until it kind of matches that top one so then we can go back to our barrel asset slap that bass like that again and then we can remove them edges we put in previously because we don't need them anymore right back onto the buns again and isolate them and this time we're going to select the faces actually we should probably merge these together so set them both and go to combine and then I'm going to go to face and shift right click extrude and just extrude them out a little bit again I'm emphasizing everything here and back out of isolation and now I'm just going to scale them in a little bit just because I want them to intersect with the actual wood of the barrel now we want these on the bottom as well so with the selected I'm going to go to mirror and select the correct axis and move them up alright so looking at the concepts looking at the reference some of them have got little studs in them I do like that I don't want so many as this looks a little bit crowded so I think I will put a few in let's see we could do them as bolts I guess so we can reduce these down to twelve actually it might better to do them as kind of rivets instead so what I'm doing here is just rounding the top off I could listen just on this with a cylinder but as we've also already drawn this out it doesn't really matter as long as we get something close okay and then I want to drag that up and put that in place I'm gonna snap the top off this so if we select that middle vert and go control f11 to select all the faces around that vert and then shift right click and go to duplicate face so we've got this face here I can just move this out of the way for now and then I'm going to set this barrel again and isolate it so what I want to do is in ZBrush I want to be able to sculpt each individual plunks separately so what we could do is keep it as one and then start to try and carve out the different blanks but it makes it kind of difficult to add chips and stuff to the edges so I'll find it much easier to actually just separate these pieces and then we'll bake them down into a single piece once the sculpting is done so to do that I just want to separate one side this so we've got face and select all these and then shift right click extract now I've got these separate here so we can just go an isolate them and then faces select them all and extrude this time we want to extrude inwards so you don't want to make the barrel any wider so I want to make this plenty thick enough so that we don't end up going through it when we ZBrush it also we want it nice and chunky anyway okay that should do and then we want to reverse faces because we've extruded this inwards it's gone black so the normals are facing the wrong way so we've got to mesh display and reverse this sugaring goes back to normal okay and then with this selected I'm going to select all the edges around the sides so I'm just going to do triple click these edges to select them and the ones on the top bottom okay just make sure I haven't selected any of the others nope that's fine and then shift click bevel bevel in this obviously because it looks better but also because in ZBrush we're going to subdivide it and if we don't have these bevels then the whole piece is going to start to smooth too much actually I'm going to increase the segments just to make sure that the smoothing in ZBrush it doesn't affect it too much again if your whole control while dragging fraction or any of these sliders it will move much slower so now we've got this and we need to duplicate it so that it is makes makes upper barrel again a complete barrel so we hit W I've got to move we can see that the pivot is directly in the center if we go to a top-down view we can see let's put the wireframe on we can see that the pivot is directly in the center of your barrel because we snapped it off we extracted it from the barrel so it will keep its current pivot for now okay so what we can do is we hit ctrl deep did you placate that and go to rotation and then the go to snap rotate but it learned relative we've got a calculator we've got this set on 16 I think it was so we got a 360 divided by 16 we've got twenty two point five so we put this on twenty two point five and then we rotate that that should snap into place and again duplicate rotate and we can see now we have got the barrel made out of separate pieces so we can easily select these pieces to sculpt in ZBrush without deforming the pieces next one so this makes it just much easier to work with so the main things I'm thinking about while trying to model this is how I'm going to sculpt this so how I'm going to take this into the next application and sculpt it and then from there how I'm going to finish it ready for actually placing into an engine so I need to think about what I'm going to do about read apologize ation how many Polly's I want overall like how dense I want this to be but also I'm trying to think of how to make this more useful so if I make a barrel that can be used as a barrel so already I've made it a size that can be made smaller or bigger with hopefully not too much distortion or make it so that the grain doesn't look too fine or dense or something like that but also I'm trying to think about how I can pack more into this asset make it a bit more modular so what I'm gonna do is make the top piece separate so that it can be removed and I'm gonna place a plane on the inside here and I won't scope to anything into that plane but I will allow it to be a separate material so we can take any kind of tile and texture and place it onto that plane and make it look like it's filled with all different things depending on where this barrel is placed within the gaming world say like a substance designer material that might have tiling apples or a liquid beer or water or something like that anything can be placed on this surface and therefore you've got a barrel that can be used in many different places the other thing I want to do is make a wooden top as well so it can be sealed so that you don't have to have it open that way the barrels can place on the sides and also I want to do a tap so that we can have some barrels that have been tapped and some that haven't and I also want to if I can fit some legs on this so that it looks like we have a little stand so yeah like like we've got here this barrel that has a little stand and you know this is really simple or moral it won't take up too much to space at all so yeah having these options should allow me to make much better use out of this asset once a contact and place it into the engine okay so let's make the top of this barrel so what I'm going to do is take this top that we snapped off go to faces and extrude it and I want to take there the top surface a little bit wedge shape because another thing we can do as well as having this just in the barrel we can take this off and place at the side we can use this as a secondary prop now I'm just gonna bevel those edges so that we can subdivide this cleanly so I'm going to change the segment's to two and what I'll probably end up doing with this is coming back and just removing that Center edge are those two outer edges yeah probably Center edge because I want this to have a slight bevel in the actual game we don't need to worry too much about poly counts being ridiculously fast running because this is only going to be a very small game that this is going towards and it won't be on mobile or anything that so we don't really have super restrictions on poly counts so let's have a test fit that I'm going to do is just hit D and to go to pivot control and then I'm also going to hold V as well so that we can snap this pivot to a vertex so I'll just grab the center of this and snap it to the top of this vertex so that's now in place on that barrel lid move this down and we want it to be slightly smaller than that okay so when it habit summit like this so we can either place this in like that or all the way in like that depending on the look we're going for and I'm eventually when are we getting this in this into ZBrush I'm going to make these uneven so I'm going to pull some of these out so that this top edge is a little bit less neat I want it to be exaggerated because this is cartoony after all and I'm also going to just duplicate that and flip it to be the bottom of this barrel as well it's not need to put a bottom on it so if some of these barrels I've noticed have like these plugs in them so I'm gonna do a little plug burr and I think what I can do is actually take this go but you placate this and holding J if you've not got a snap on so if we go to the tool menu for spin here we can see for a rotate we can see that you've got snaps learn that set to relative and it's going at 20 to 50 which is what we said before normally I bet on like 15 or something and that'll just mean it'll snap to an angle as you rotate it but if this is off and you don't want to have to go to the tool menu to turn this back on again what you can do is just at the moment it's on free rotate you can just hold J on the keyboard and that will turn the snap step on while you hold J when you let go it will go back off again you okay so next thing I want to do is bevel the edges of these okay so I'm just going to move this barrel talk to one side so we need the plane at the bottom and I'm just gonna snap the top of this for that so again f11 start the top shift right click and duplicate faces don't know extract because that will delete the original faces we just want to duplicate then select that and move that down and then DV and snap the vert the pivot to the vert and then move that in place I'm just gonna make this a little bit bigger because I want to be able to intersect the inside of that barrel so let's just put on wireframe so we can see where that is doing it sticking out but we want it to be well and truly in there okay and I don't want it completely flat because I think it will not look quite as good as it comes up to the edges here because we won't have any ambient occlusion Bayt since this because this will just be entirely texture so what I'm gonna do is just scale that down again actually select those outer edges and shift and scale back up and then I'll extrude the edges out so again wireframe make sure that it is well intersected okay and then I'm going to go back to wireframe shaded I'm gonna select this edge remove it in okay and then I'm gonna cut a new edge around there and then select this edge and bring it up scale it out bring it up and slightly outer edge again because I want this to basically just took down a little bit so that causes just a little bit of shadow at the edge and that kind of intersection it's just hidden ever so slightly this is really finicky I mean this probably won't make any difference to an actual game and it might not actually work it's not like I've done this before but you know this is just something that I'm thinking about you know I don't want it to be if this is full of apples or something like I don't want it to look really flat the edges so this might help the normal map just kind of fool it into looking like there's a bit more detail in here what I'm going to do is it could raise this up a little bit as well and kind of sinking in a little bit in the middle maybe just a slight curve to the whole thing make it look a little bit more interesting so we turned that wireframe off you can see it just loose a softness up a little bit much display soften edges there we go say you can just get a little bit even like without any texture on there you can see just a little bit shadow makes it look like there's more of an object in the rather than just a flat plane cutting through so I don't before do these tutorials I mean they're not really tutorials as such I don't practice this before because I only really make these videos for my own entertainment and you know I like to help people out but I don't practice them beforehand I just think of something that I'd like to make and then I film myself making it and I try and talk through what I'm doing and that keeps it fun for me if I had to practice it first and make like this perfect tutorial where I did everything right and I knew what was going to happen as I was doing it then it would be come on fun for me because no one really likes doing stuff multiple times so this is kind of like my process to go through this and I think about what I want to do this case I've got no concept sketches it might work out it might not so and I think it's important to know that you know you model and you just kind of try your best try and think of something that might work oftentimes it doesn't work out maybe someone you've got in your head doesn't kind of pan out maybe even a concept art looks great in 2d but in 3d it just doesn't work and that's something you've got to get used to as a 3d modeler is trying to make reality of out of something imaginary so the next thing I want to do is create a little tap so for now probably up the tack went out the top piece here I'm just gonna model it coming out of here soon as I've already got this cylinder in place so I like to use what I've already got in the scene if I had to draw out if I can avoid it I'll avoid drawing out a new primitive to start from because that means moving into place and scaling it if I got something that kind of represents the the starting area what I want then I'll just use that straight way so example I want it tap and I might move it to the top but I kind of want something like this yeah a bit more like this bit simple so I want to just use this face here so go to vertex again my favorite thing after 11 slap that face shift right click and duplicate face okay and then just select that face and I'm going to center pivot and you can do that by going to modify and center pivot but I've got a shot caught up on here as well and then I'm just going to move this forward a little bit and then just select all the faces that and extrude it you okay so what I want to do is make this Bend I want to curve the the bounce of this tap down so I'm going to shift and right click and it's struck these faces duplicate these faces and send to the pivot and then move these away a little bit and then select all the faces strew that out a little bit and then I'm going to place this where I want it to end so this is going to be the tip of the tap tip at the top so I want to place it say [Music] so I'm imagining the curb between this and that and then I'm going to leave the back faces on this again vertex after 11 delete and the same on this one vertex Fe 11 delete and then I'm going to combine these two objects and this is the best way of doing tubes in my opinion it's just the easiest and then go to edges still click that select all images and then ones and then shift right click and bridge and then what we can do is go down to the bottom here which says curb type and change that to blend and then open the divisions we should get some sort of blend in the side there now probably not move these away from each other enough so it's struggling getting a nice blender but it's pretty close and you've got few other things here like twist and stuff like depending on what you're actually trying to make I'll do you me [Music] [Music] simply gonna go round this with the multi-cut tool and just add two edges to wherever I want it to stay sharp so a moment if we just undo that if we just grab this and so divide it in mayor we can kind of see what's going to happen so we've got this model here we sort about this it's gone really soft and smooth now you might want this look I mean it looks cool if you especially if you want it to be like cast-iron but I want it to stay kind of a lot sharper than this so that it well some of them had edges will come across so you can see what the handle has gone really really like smooth I don't want that I want to keep some of these nice and machined edges in here so if we then come in here and we'll add some hard edges to this so ever put restraints there and there and there and then smooth this you can see those edges are now much sharper because they're restraining edges are just stopping the algorithm from smoothing this so much so we look at the wireframe now you can see it gets more dense towards those edges and keeps them nice and sharp and the closer you get these edges the sharper the smoothing will be so if I do these quite far away by port well straighteners there and there and then smooth this you can see it will stay a little bit sharper but is it's moved much much more than previously so to go back again I want to keep these relatively kursk's I want it quite sharp so we'll go the and I'm just going around this whole thing and do it to every edge that I want to keep in the model also this is an open face so I will put one there as well just to stop that shrinking too much because it tends to shrink in ZBrush and you can restrain those edges illogical it's just easier while I'm doing this to add that Australian edge in there you okay so the last thing I need to do on here is the barrel legs so what I'm gonna do is just grab this barrel shape that I made earlier just duplicate it and move it across so the way the other things and I'm gonna rotate it snap it to a rotation then I'm gonna use the faces along the bottom to actually snap the legs off so grab these bottom three that should be far enough out of it and shift right click and extrude alright sorry did you poke it and then select them I'm gonna Center the pivot as well okay and then I'm gonna start the faces and extrude down [Music] [Music] [Music] [Music] [Music] okay so at this point I've got all the different pieces I've got my inner malade my actual barrel wood all the little details and the extra pieces as well I want to help add variation so I've attached this all together and I've moved it to the center of the world because what I want to do is separate this into separate sub tools at once it's in ZBrush so save this and then we can export it as an obj you can evoke spot it as an obj or an FBX and then import this into ZBrush once you've imported your model into ZBrush it's time for the fun bit what we want to do I have imparted this all as one object so now I can just go to my sub tool here and I can split two parts and okay and that should split into every separate piece of mesh so the first thing I'm going to do is clean this up a little bit and I'm just gonna go to my bolts here and I'm just going to merge them down so I can go to merge down and I'm just going to click always skip so I can merge these down and with these planks they are separate polygroups so I can just shift ctrl click each one some of them are the same polygroups so I'm just going to go down to poly groups and our tour group and we can see now they're separate groups so if i click if I hold shift and ctrl and click one of them it will just show that one if I click it twice it will just hide that one and then I can hide as many as I want and I can go up from that way and that just makes it a lot easier so now we have all our pieces separated and I'm going to gonna merge the tap together as well a thing so now we can start to subdivide this model now with the main planks these are going to be read apologize these aren't coming into the game as separate pieces and because of the distribution of Polly's if I subdivide this now so if I divide five times for example which is normally what I want to go to us for six six we can see that the just do some dance on it there you see it's so very faceted so there's not really enough resolution now for detail but divide it again we've got two one a million and they're still not really sharp enough you can see the poly is very clearly there maybe ever gone to a different material so I like to sculpt in sculpey that's alright but it's not perfect we divide it again now we're on to 7.4 million which is quite high for one piece and it is still quite faceted it mean it's not perfect if we want to do some small details here you know you've still got a lot of facets sir so what I'm gonna do at this point is I'm gonna go to about five so it's nice and smooth around the edges and I'm gonna deal it below I delete the higher and I'm going to dynamesh this just to even out the Polly's book and don't want these to attach together so when devoured I know my but I want to keep groups on and I want to change blur to zero I'm gonna change the resolution up to about 300 just to test this first dynamesh that and so we can see there's a bit more of an even distribution of Polly's now so I'm actually going to turn this up so I'm gonna go back to 128 on dynamesh that I'm gonna turn Chen Chen blurt off again and change the resolution to about 800 dynamesh that they take a second oh I've not seen what I've not done those turn groups off because when I undid this it turned all my settings back off so now they've all grouped together as one mesh so I don't want to do that so undo that again this time I'm gonna put player on zero change the resolution up to about 800 and I'm gonna make sure groups it on and then I'm gonna hit don't go back to zero and to the and then hit dynamesh so now this is 2.8 million so a lot less than originally let's see well actually slightly sharper and we still got quite a lot there we can even turn this up to 1,200 and we dynamesh that then let's have a look at the detail yeah that's nice and sharp now that's what I'm kind of going for I mean I'm probably that's probably a bit overkill it doesn't really need to be that sharp for what it is once it's textured and everything you know I could probably get away of a lot less than that well this will do for now so we can see that poly groups are still on there and if we control shift we can select them one at a time so we'll leave that for now and we'll go around to the other stuff so if I alt and click on the object it will jump to a sub tool so that's a good little trick for you not many people seem to know that but yeah you don't have to just go through your sub tool menu to cite the right sub tool you can just alt hold alt and click on what you want and that will select it and you can see how those restraining edges have kept everything nice and shop okay so first of all I'm going to do the most interesting part this barrel which is the actual wood of the barrel and I'm going to grab the move tool make a big actually I'm going to grab the move to palsy tool because I want to be able to move each plank individually and I'm gonna make a big brush and I'm just going to select the top and just start to make these a bit more uneven just by gently pulling them in and out how are we careful how much I bring it in there I don't want to open up any gaps between these blanks because that could cause errors in baking possibly and same in the bottom so this is definitely the fun part I mean this is where you start to get to be able to see your ideas come together and see whether it's actually going to work or not so oftentimes I'll get to this point and think actually you know this isn't working or should have done this so I'd have to go back to Meir and make some changes don't be afraid of doing that you know the quicker you can make them decisions the quicker you can avoid wasted time I see a lot of people struggling with an asset that just isn't working and you know sometimes you can you can manage to get it to work if you throw enough hours at it but more often than not if you just go back to the drawing board or just go back to an earlier version and make some small changes you can save yourself a lot of time don't be Precious about your work obviously put the time and effort in to get a really good piece on you can't just do a piece really fast without some proper time and effort being put in but also don't don't allow yourself to be sidetracked by trying to force them it's a work that's just not gonna work so here I'm just gonna go around and make the size of the barrel little and even you know a realistic barrel like a real barrel would not be uneven you know very well made if you've ever watched any kind of documentary on our barrels are made you can see that that very precise and really really strong tight and last for you know years if not hundreds of years so you know unless one's been taken apart and put back together it's not gonna be quite so wobbly but this is a fantasy barrel you know this isn't real this is meant to be exaggerated and every possible way and you know and this one this style I'm not even doing it that crazy you know if you if you want something really stylize you know this you can go a lot further with it well that's completely up to you and well you're out director I guess are you client okay it's already it's got a lot of character I mean I could probably just bake this as is straight now and I'd be fairly happy with it in-game but we've got a lot of detail left to do on this so the first thing I want to do is add some more character to these plans so I'm gonna go solo mode here so I've just got the planks up and if I control shift and click one of these planks we can get it off by itself and I want to stop with the nice sharp edges in at the moment so what we could do is go around these edges with trim adaptive or trim dynamic go around the edge like this and put some edges in I don't want to be too aggressive with this that I don't want to make it look too messy or clay like so first thing we'll do is a whole controlled shift it gets selection up so a selection rectangle will do this but I don't want this one off if we hold ctrl and shift and go and click that brush you get a few other options here and the one I want is clip curve and click curve if a hold ctrl and shift and drag out will give me this now while holding ctrl and shift if I also hit alt just once and let go you know add a corner to this and that is like a Bezier corner so it'll curve as I move or if I control shift hold alt and then hit alt again it'll create a hard corner and this is really good for doing nice shapes so the gray gradient the black gradient on this line anything beyond that will be clipped towards the model so if I go like that you can see that'll take a chunk out the would that take a chunk out of the wood so what I'm gonna do is go around the edge of this world with this click tool and just make some small Clips out of it and I'm just trying to make this board a little bit uneven and I want to put a little bit extra attention up at the top because the top bit of the barrel is exposed and I don't have to worry about the inside not really gonna say that do a little bit at the bottom as well okay so shift click anywhere outside to bring back the office pieces and I'm gonna go round this now and just do this for every single one [Music] [Music] [Music] [Music] [Music] okay now what I'm going to do is just go around all those other edges with the trim dynamic on small and just feather out some of those remaining edges so when you do in stylize stuff it's very easy to get like lost in the details so I could keep on working on this and eventually I find that I've got a chunky what started out as a chunky stylized pieces actually come become quite overly detailed and realistic and it's especially so when you're at the start of a project where you're kind of our direction isn't completely solidified yet you've not practiced it at all and it's it's just a hard tightrope to balance so when you're doing this I mean it's absolutely up to you kind of what you want to do I mean there's a I'm doing a stylized barrel here and I'm showing you what I would do for the stylized barrel but the amount of stylization of the type of stylization is absolutely up to me there's a thousand different ways of doing it you know you just go and look at stylized wood I'll go and look at a few pages of outstation you'll see that there's no one way of doing it and even if you do in a style that you know someone else has done it doesn't mean you have to do it in the same way like use the same tools or the same technique because there is like ten different ways of doing just sculpting the same thing you know it's whatever whatever is fastest for one person won't necessarily be the same won't be as easy for you so take what I'm showing you with I guess a slight pinch of salt you know it's not necessarily gonna be your best way when I worked in a studio with several other modelers you know we were doing the same project we're all using different tools not even often the same program to get the same result this whatever you used to whatever you're comfortable to do in you now sometimes when I'm modeling and doing stuff even for my students oh I'll be doing stuff and they'll be like you know there's a shortcut for that and I maybe didn't know about that shortcut but I haven't so used to doing it one way maybe it's a long way of doing it that it's actually more difficult for me to try and switch at this point because the weeks it'll take me accidentally getting it wrong or whatever you know it's really is why what you're used to but saying that you know it's always good to keep an open mind and learn new techniques else you'll stagnate and not move forwards and other people will overtake you especially nowadays you know modeling has become so much faster new programs like blender are really kind of pushing the boundaries like blender and modo and some of us really sped up what you can do modeling you know especially when it comes to billions and hard surface modeling stuff that would want to take a couple of weeks in mayor or maxes now now can be done with within a few hours complex hard surface model illness really really changed okay so now we've got all those initial details in its time to actually at the book green so again this is entirely up to the amount sterilization you go in here and there is so many different ways of actually going about putting the details in you could just leave it like this and let the details come from the texture it depends how busy you want it and how noisy it look I want a little bit of detail this well again is here also the type of would you want to go for so what I'm gonna do is just hide the rest of the barrel I just have one slot up and different types of wood grain you could go for if you want it something really rough and rugged you could do like masks and in each one of these masks you could say make the sharper little bit sharper here kind of draw in your wood grain detail and have like raised areas and flattened them off a little bit kind of pull this out and start to really build up the kind of like woodchips like a really stylized kind of bark like textured in front of this but I don't want to go for that kind of style so you could also sculpt some pattern into the wood like this go for like swirls and then using the clay polish tools on the geometry get like a sharp edge to those patterns if you want it to be more like tree like and bark like but the most common thing to do isn't it probably to use either damn standard I'm a small brush with a large focal saying to get a wood grain type shape or even better than that I think is the old cracks brush and I know this is meant to be for rocks and stuff but it's very commonly used for this kind of thing and the old cracks just make a nice shape with a nice sharp edge and I think this is really good for doing stylized wood and even realistic wood in used in combination with like surface noise and things like that you know and speaking of surface noise if you've never messed around with a before it is really good to just have a little look at this in the surface noise you could make an all over pattern if you played around with this for long enough you could make something that could end up looking like wood grain or at least looking like pox wood or something and then you can just apply that directly to the mesh all that is a little bit too noisy for I want I want something pretty simple have like a potentially a fakie a fake painting Lee look to this when I come to texture it so I just want a little bit of detail just to represent the direction of the wood what I'm gonna do is use the or cracks brush and I'm gonna set my lazy radius up so at the moment if you draw on this you can see there's a slight little line behind the mouse so you kind of drag the mouse along now if we set lady radius up and you can do this by going to the stroke and lady lazy radius here and I've just put it on here as a shortcut we can turn this right off I'm going to turn it up to 150 and you can see this just evens out the stroke and I want to set it to a quiet large brush size and I might change the focal shift as well okay so what this is gonna do is just allow me to gently draw across the surface of this wood and also because I'm using a pen tablet it'll allow me to change or adjust the pressure so what I'll do is adjust the depth of the cut that way I can get kind of a wood grain and I'm even wood grain as I draw across the surface of this so that's something to make a little bit bigger I'm just gonna play around with a focus a little bit so I get something that I like let's try the office away so yeah I like the focus to be hired because it gives me a sharp result and I'm just going to draw some initial shapes into this and I also want to just lower the size down and I'm going to do is trying to a circular piece here as well so I need to lower the radius for that and I'm just going to neat and 1/2 with the smooth tool and then I want to lower the radius even further down and just work into this a little bit so if you've got any edges that kind of peter out like this sometimes you can see that brush stroke so you can just kind of work into that a little bit to make it deeper in areas now the other thing you can do like I've done a circle here I'm just going to leave a thing you can do as well to make it look more cartoony you can do swirls it depends how kind of Disney you want this to look like I'm gonna leave that cuz I want it to be I want it to be stylized but I don't want it to be cartoony as such the game that's going into is a little bit more gritty stylized book gritty so don't want to look too fantastical it's just a case of going over the wood actually what I'm going to do is just subdivide this because that'll take it up to the next subdivision level math 11 million I don't really like to go more than that some people will be on 28 million or whatever when they're doing this kind of stuff but just for the sake of my system and speed I like to keep it over lower than that [Music] [Music] [Music] okay and the last thing I want to do on the surface of the wood here is just a few little Nick's and like holes in the wood like wormholes in order and to do that I'm just going to go with they can you pretty much anything here so I think I'll just use standard and I'm gonna change the shift focal shift up and I'm going to do is just drill some little holes and the surface of the one like this you and the last thing I want to do is scratches and scrapes now you can use if you download the ARBs pack you get quite a few different brushes they're really brilliant so I suggest anybody get some you can get ones like ARB slash and these are drag slash brushes so we can just click on here and we can track one out you can change the intensity as well and you can kind of do like these cuts and slashes in the surface of your models and the very kind of cartoony and really nice actually you might have seen these on other people's models and they're quite distinctive but really there isn't much better for really doing a quick job of cuts and slashes and I'm just going to draw out a few like scratch marks in the surface okay I'm happy for that with that there and so that pretty much the wood barrel done and what I want to do is go around the rest of the wooden pieces cluding the barrel top and just do the same techniques to them [Music] [Music] [Music] okay so the last thing we need to do is to create the swirls of wood at the end so the angering of the wood and I'm going to try a technique of making my own alpha to do this so first of all I'm just gonna go to my sub tools and I'm going to append a plane okay and then I'm going to slap that plane so all the weight and then on here I'm going to sculpt some swirls for that wood so first of all we need to sort about this okay we've got a 4.8 million that should be plenty so I'm just going to go to our cracks actually I'm going to first of all make some layers in masking and then I'm just got to polish this a little bit in defamation and then with our cracks brush I'm just going to start layering up some finer detail nests and then the same going from the center outwards then I want to go over it with the trim dynamic and honestly I've just made this up as I've gone along do you could use all sorts techniques to do this you can make it a lot more simple you could use a real texture reference you can even find got brushes and Alpha's online other people have made already and there's no nothing wrong with using enough for that people have given away for free I mean there's nothing wrong with speeding up your process you know don't just do something for the sake of it if you can get it done faster and cleaner you know don't obviously don't claim other people to work for yourself but don't be afraid of using stuff that people are going away free to improve your workflow much like with the brushes you know a lot of people use them it's quite a common common brush now to use and that was made by someone unaffiliated with the ZBrush and there's nothing wrong at all with using them and I'm happy with that so what I'm going to do is I'm going to fill the canvas with this and I'm going to go to the alpha panel here I'm going to grab the dock and you can see we've got this alpha here now so let's give this a little girl first of all we need to change the radius of the Alpha done so we've got two alpha and then go down to modify and we want to find the radial fade and just turn that up and you can see that will fade off the edges of this so let's just drag it out and give it a little girl we want to change so I put it on dynamically I'm just going to turn it off there I want to go and I'm just gonna place it on my standard brush and I'm gonna put it on there just cause the grab dock to change the Alpha to radial fade and then go to dots and turn it to drug and then have a drug that out here you can see we've got this like n green that we can use on various parts of our model okay so we can hide this now have we go to our wooden box and hide the other one we can just get the end here now we could mass the top off but we might be able to just drag it out without any masking so I see what that looks like there you go that looks pretty good it's got a little bit of a fade you can see some of it has dragged down a little bit but it's faster than masking each one off for now so I'm gonna go around and just place that on each one of these in different locations so I want it to be slightly off-center on this one so for here I wanna mask it you can do that by drug musk and then just soften that up a little bit with the masking tools and blow mask invert it and then drag that out there perfect there we got some nice end grain detail [Music] okay so that's the would done and the next step is to do the metal and this is going to be pretty simple I don't want to go into too much detail this I want it to look like maybe slightly hammered cold rolled steel and I just want it to look like it's been kind of handmade rather than by machine so I want to select the rings around the side first of all and I'm just going to go around these with the trim dynamic which like the wood and this time I'm just concerned knock up all the surface just to give it a little bit of surface detail and at the same time I'm gonna knock back some of them rounded edges on the corners but I don't want to go too over-the-top with us so if I was doing maybe to make a little bit more medieval I would probably go like this and get all the edges co-op but I don't want it to look that handmade maybe like it's gone through a some sort of roller and then being finally hammered into place I don't want to let my cast iron more steel when modeling anything like this it's important to think about the material it's made out of don't just go in the detail when you've not really thought about you know how this is gonna be however it is you know does what does weathering mean it doesn't just mean it's dirty it means that it's been maybe oxidized rusted maybe it's been cleaned after it's been rusted maybe it's pitted you know you've got to think a lot about these kind of issues you want to get something that ends up resembling real material so when we do texturing we always say to the students like the question you've got to ask yourself is can you tell what material are supposed to be you could make something really nice you could texture up the whole asset make the colors really nice and I have a result that is really well textured and really nice but if the you can't tell what the materials are then it's not really working and okay there's some cases where you can't tell what material is you know some solves is it plastic or is it painted you know there is areas like that but generally you should be able to tell if this brass is this plastic is this wood or is this metal and I think you need to make sure you try and stick to that it's easy to get lost and then it'll make it something isin isn't quite what you initially decided I'm doing because you just like the colour of stuff and it's even more harder to do that when you're doing stylize stuff because you can't rely as heavily on PBR well yeah that's a good question to ask yourself when you're doing texture nor anything like can I actually tell what this is made out of I'm just going to go around and just put some small chips in certain areas but again I don't want to go over the top here and then again as with the wood I'm going to go to the standard just turn the Alpha back to normal and then change the focal shift of that and I want to do some small fitted bits okay and then at this stage what you could do is you could go to the surface section go on noise here and make like a nice pitted metal and this would really help if you wanted to get that kind of rusted surface grime and that looks really nice but for me for this one I want to avoid any kind of granular detail so any kind of noisiness because that will move away from the type of stylization I want I want to get any kind of dirt come through on the texture rather then in like the ambient occlusion or the bottom up you know I'd like the surface to be quite smooth so what I'm going to do is go around the other metal pieces and just do the same for them you okay so once we've done this we are ready to make the low poly mesh and first of all we need to just make sure that all the pieces separate away from each other so I'm gonna make the lid over here so this is gonna be my meshes basically I'm gonna make one mesh for that one mesh for the barrel and a mesh each for the other little pieces so we can they say all together easily Levin million polities and this is gonna be our high poly baked mesh so merges all together and decimate it and then I'm going to go to Zee plug-in and decimation master and then I'm going to pre-process the current so once that's pre-processed you can go back to Zee plugin now we can set the percentage of the decimation and then just hit decimate current and we can tell that's done by looking up here the active point so now we've gone down to three million and basically you want to do it until you can see no visible reduction in detail and we can check that loose all right by going to poly F as well so you can see it's kind of remesh to all this with the detail and that should be fine for a your high poly bake in substance painter so once you're happy with that we can export that out as a high poly so now we need to go into mayer and recreate our low poly from this but before i do that actually to make it a little bit easier because it's good if we can open this up in Mayer I'm also going to export a second high poly one but this time I'm really going to reduce the decimation to about two right so now we can see this is three hundred thousand Polly's so that should be easy to handle in Mayer okay then so back in Mayer what we want to do is add all our models to a new layer just to keep things neat so I'm going to do is select these models I'll saw these ones as well and I'm going to go to layers and then create a new layer right click that and add selected objects and I'm going to rename that as well locally and then I want to create a new layer and then I'm just going to impart the stuff that we just exported in ZBrush so I want the my HP my high poly my low high poly and this will be used as a get a reference guide for rematching this or and hide the low poly here and I can select this high poly up just imported and I can add selected objects earlier that way I can hide them really easily so what I need to do here what we need to do is to reach apologize this now normally with a lot of things that you make in ZBrush you would have to hand reach pologize it but as we haven't strayed too far from our original mesh we should be able to use a lot of the stuff that we've already got as the low poly so I can delete these barrel pieces okay and I can also delete B studs and I can delete the inner faces of these barrel pieces as well so I'm going to just separate this actually this make a little easier so I'm a little to mesh separate and then select just these pieces and combine them back together and then isolate just them and then I want to delete the inner edges inner faces of these okay and I want to grow that selection a little bit so again just shift and greater than and then delete them all right now we get the high poly up go back out of isolation we're going to do is select just the high poly and the barrel edges then hide everything else okay so what we need to do is basically get this barrel to encompass all this high poly so I'm going to connect all the center pieces [Music] [Music] [Music] and then we've got this for the N piece that's fine I'm just going to move it up a little bit to interact and set with that and I want to delete the center line that we put in previously and ctrl backspace to get rid of the vertexes as well so here's a difficult part we need to get the chocolate to conform it up upon an even edge I'd say at the bottom as well so we can set that outer edge and then shift to move up to extrude that and then shift and scale in and then shift and extrude down and then keep all this bottom edge and just scale out a little bit so it conforms with the barrel now these are all at different heights so when I move them around so I'll get something pretty close and looks like the edge in edge kind of dips down a little bit as well so I'm just going to move that term so there's some bits that stick out quite a lot so all I do is grab them and extrude them out and just make sure that they line up and press they come so I'm just gonna go around the rest at the top of this and do the same okay so now I've got my barrel that roughly represents the high poly now poly counts aren't something that I'm so worried about but there is a point where you know I've got to rein it back in and that brings me to these guys so these stood the good the the wise thing to do would be to bake them directly into the map and not have a physical object but I do want that extra little bit of detail so I'm gonna make a reduced version of these and use them as the low poly [Music] [Music] [Music] okay so we've got our low poly in high poly and these like to be matching up quite well and the true test will be when it bakes hopefully we will get too many errors with this although I do expect we'll get a few and that's kind of inevitable but before we can do that we need to unwrap it so I'm just going to simply unwrap it in mayor and my very simple technique on wrapping is to just go to UV editor and first of all I'm just going to grab all these crate and do a camera base so I can see them on here and then I'm going to start cutting into these so for example with the lid here I'm just going to select the edges I want to put the cut on and then shift right click and cut and then I'm gonna stitch one edge of this stitch together and then I'm gonna set that UV she'll go to unfold fold it and then just put it to one side once I'm happy with that and then I'll just go over the rest and do the same [Music] [Music] [Music] okay so now we've got the low-poly ready we've already got you out our high poly exported from ZBrush with the detail we want and we've not moved the high poly at all in here so we shouldn't need to do anything else but first before we export this ready for substance painter we need to just make sure of a couple of things the first thing is we want everything to have the same section set so I want to right-click this and go down to a design existing material and I'm going to sign a Lambert now this has the same material when it comes to the substance painter it should all be want texture set and then the second thing I'm going to do is I don't want any information baking from this down to the low poly so all these hard edges all this surface all these normal information I want to get rid of and to do that I'm just going to go set this and go to mesh display and then go to soften edges and now this has no real normal information it's all soft edges so I also want to delete the history as well and just freeze transformations on it make sure it's nice and clean okay so this is now ready to go into substance painter we can start a new document now I'm going to use unity 5 and normally use unreal and whatever I'm most likely going to be using this in so unity 5 is fine so I'm 2k and then we can select the mesh barrel alone okay and then yet one shader group and I'll attack Polly you v's look fine so now we can test bake this to do that we're going to go to texture set settings and go to bake mesh maps what we're gonna do in high definition wishes is find our high poly mesh so barrel all HP and I'm also going to go into curvature and turn off the seams and under common I'm gonna set this long and set it to about 512 because this is just a test bake we don't want to be doing this for too long so I'm just going to set to 512 I'm gonna keep the anti-aliasing on none and this is just so we can quickly do a bake and waste no time at there's some errors okay so once that's done we can go around this model and just check for any obvious errors so everything actually looks pretty good on this there's no big black spots or obvious areas that it's missed so we can then ramp up the settings of this and do another bake so I'm going to set this to 2k and I'm going to set the anti-alias into 4 by 4 and then bake that again so that's baked at full resolution so I'm just going to check over this and see if there's any errors so this has come out way better than I thought it would actually because because I didn't read apologize it from scratch I've just kind of used the mesh that we initially did I thought would be a lot more errors there's some areas like this were there's a separation and that's because we have this is a floating mesh on here and the actual the the high poly mesh has got a little bit distortion so it's just skinned a little bit but honestly I don't think that will be visible once it's textured so I'm not so concerned about that there's no black spots or errors in the UV so that's pretty good there's some areas here where it's flattened out basically I think the difference between the low poly and the high poly the the gap between whether low poly is and what the hype layers which will be writing it down in this divot is too far for the making mesh to reach so what we can do so the same here as well I think if that is too much of an issue which I actually don't think it is I really don't think that's so much of an issue again once that's got texture in it and it's got some dirt in it I don't think that's going to actually show up things like this wheel absolutely fine no splits in the mesh at all yeah so I don't know if it's worthwhile changing out I think I'm just going to leave it that really doesn't bother me at all and what I would do if it was a bit more of an issue is come here and just adjust these front and rear distance of the cage so this is the envelope that goes around the mesh and projects down so anything caught inside that mesh we projected onto the low poly and at that point though it's just not quite catching the detail but like I say it doesn't doesn't really bother me that I think that's just fine for what this is so now we've actually got this old bait and there's no errors and we're happy with it all I mean we're pretty much on the last step and that is to texture this and really see all our hard work come to fruition okay so first up with this I'm just going to get my base color set right on all the different materials that we have here so I'll just create a couple of folders and I'll name them wood metal I think that's everything we need for this and then in the wood file I'm going to create a new material layer fill and this can just be the base so I'm gonna set a color here to a nice wood ish color obviously there's a lot of different types of wood you can use for this I'm gonna go for quite a dark I think I've got something like that for now and then I want to set the roughness so you say we don't it's too rough it could be like a waxed or varnish layer I guess on top I think I look off somewhat like this and then I'm gonna go and in metal do the same again so put a fill layer in there and what I could do it instead of this is just go to materials here and just pick one of these nightmares here but I want to keep it pretty simple so I'm just gonna just let this and go for a darkest color and I want not metallic and I want the roughness to be quite low on it as well I don't it too shiny make it a little bit lighter so like that okay and now we need to put these on the right parts of the model so because I put these in layers I can just mask the entire folder so for the metal if I just right-click this layer and add a black mask we'll end up with this like that so we can see it's a wood and then while this black mask is selected what I can do is come over here to polygon fulfill and in polygon fill we've got a few different options we've got we've got triangle we've got polygon fill we've got mesh fill and we've got UV fill and as soon as all these are on a separate UVs I could just use that one and I just click the part of the objects I want to expose with that musk so I can go around and I can select each one of these and just mix a little bit easier I'm going to go to 3d 2d view I'm just going to drag select these because it can be a little bit fiddly to select in the 3d view and then I also want to select all these as well so now we have the barrel the wood the metal so we can start layering this up now and give it a little bit more interest on that wood duplicate this wood layer and make a lighter version and I want to keep this relatively simple I don't want to over texture this and what I want to do now that's a little bit lighter maybe just make it a little bit lighter than that go to the smart masks and I want a nice edge so I want to go for edges strong and just drag that and drop it onto that lighter wood layer and now I'll highlight those edges and now I just need to soften this out a little bit so I'm gonna delete sharpen and I'm going to go into that mask editor and I'm just gonna play around with some of the balances on here we'll play around with this until I've got something that looks quite nice and then I don't stand out quite so much so I'm gonna go to this here and I'm just gonna lower the archetype acetate got the base color in total and when you met when you're doing these textures as well make sure to hit shift and right click in the background or just turn the lights around the model so that you can see it properly in our lighting conditions just keep it light in one place might trick you into thinking that you've done it the way you want when you actually haven't so I want to fake a painterly look to this but I don't want to spend the time I actually painting it up so what I'm going to do on this wood layer is I'm gonna add in another empty layer and then how to filter this right and then in this fill what I want to do is in Photoshop I've made this tiling kind of paint texture and it's just got a few wood colors in here and also a little bit of blue I'm just going to drop this into substance painter a texture and just for this project and I'm gonna drop that into the base color of this fill and I'm going to change the projection to try planar so it just projects from all sides and what this will do is just I mean I'm not on the time to paint this by hand but this is just gonna break up some of the colors on this wood and just make it a little bit more interesting so that doesn't just look so quite so flat I do this quite often when I want to get a bit more a painting look but I don't want to spend too much time on it so I can just turn the opacity down of this and then I want to drop it underneath those edge highlights as well and just turn them edge highlights back up a little bit and I can adjust the saturation of this as well so on the spill if I right-click and add a filter in the filters we can do stuff like color balance and color correction to get some bring some of the nice colors out in that texture so I want to push this to the blue side a little bit so we've got some nice dark areas here and some lighter areas as well there we go the cost you can change the scale as well if you want it to look a little bit less mottled like ours let's just change up a little bit and then we can duplicate that top layout and just to leave that mask and just make this even lighter and then in this black mask our to paint layer and then in that paint layer with a nice soft brush I'll try this artistic one what we can do is this paint should automatically be set to white and we can just what lighten up those edge grains a little bit to make them stand out just a bit more maybe set the stroke pasty down a little bit you and then as a final layer when I duplicate that bottom one bring it to the top and I'm going to turn everything off book color and then I want to set this to darker and then in these smart Musk's again and I always try and use a smart must first before I generate my own because if it's here then it just saves me a bit of time I'm going to use the dust good dust dust occlusion and drop that on there and then grab the dirt I'm not so happy with that so I'm gonna do is delete that dirt and in the black mask on the right click that and add a generator and then in generators I'm going to select a mask editor and in mask editor I'm going to go into curvature and it where it says edges I want to go for cavities that's better and then these will affect the size of the cavities that might be filled with this and so we just hide on how that you can see the biggest the big difference that makes to the detail that we sculpted in I'm just gonna lower that edge again okay so I'm fairly happy with that with that next thing is the metal and it's just going to be exactly the same thing I'm just gonna highlight the edge of the metal and that should be enough for that I don't want too much detail on it okay and as a final layer to this I'm going to do is above everything else I'm going to add a material and I think I'll go for the mortal wall and just drag that over the top of everything else and then I want to grab a smart mask and either soft dirt yeah what I love a softer and just drop that on there and I'm going to change the water wall I get rid of the normal and I want to change the color to something much darker and what this will do is just kind of bring everything together so super-clean a little bit of dirt on there and then again when a lot of the positive that overalls I don't want it so strong okay and the final thing I want to do is a little low goal that I can paste on top of this wood here to make it stand out something more interesting [Music] okay and then what I want to do is create another layer create a folder and type in paint and I want to put fill layer in there and up that's white and then draw a line paint and then add a black mask and a paint so what we can either do is drop this in as a texture and move it so we got a fill layer and go to our grayscale here and we can find that logo and drop it into the grayscale slot and change it to try planar and then we can just move this or we can even just go playing a projection and rotate that into place and then I just want to mask it to just this part of the model so I'm going to do is actually create another folder drop that in there and then add a black mask to that folder and then just select the lid and then we can grunge this up a little bit so we need a little bit of height on this make it stick here don't turn everything else off have some roughness and I'm gonna make it a little bit more matte and then I'm gonna for the high top just a tie a little bit and then we need some had a black mask to this and not a little bit of grunge to it okay and that brings us pretty much to the end of the texturing process for this so we can say about these textures and then rebuild this low poly model in mayor so put the lid on and put it in place and then render it in whatever program you want and that's about it for making an asset such as this

Channel: RobotArmy

Views: 48,415

Rating: 4.9744849 out of 5

Keywords: Stylised, Zbrush, Substance Painter, Barrel, Game Asset, 3D, CG, Maya, Sculpting, Wood, Pixologic, Autodesk, Algorithmic

Id: uy6b4cicSik

Length: 101min 48sec (6108 seconds)

Published: Wed Mar 25 2020

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[u/TinkerTyler8]

I need so many more of these texturing tutorials!