and now beginning segment two masters neon here so this is the continuation of part one I was modeling I’ll do a little bit more modeling and then I’ll jump on over to texturing so right here I’m just trying to make like a wing I decided to maybe add on a little bit more to it just to have more stuff to mess with so instead extrude delete the instead and that gives me an offset dragon in a plane added on some circular decal for ink wrapping it to fit exactly on to the plane it really there’s not a lot to this it’s just basic modeling extruding scaling right here try to flat out the face and there we go we got some sort of Wayne now I’ve built the smaller portion of that we’ll just merge that bring it out separate it scale it to fit maybe put a bevel on top and these are just same kind of wings you see popular and like manga manga concept me manga mechs just you know with the little modules on the wings that dictate the direction of the thrust you know all that cool stuff plus mirrors mirror on the cube apply the location I mean the rotation so it mayor’s correctly and now from here I can just rotate it to fit and get to fit however it’s supposed to so for something like this it wasn’t part of the original idea but who knows maybe I’ll keep it maybe I’ll try it out that’s all this is especially for concept nyet blender is just trying it out but the important thing is with assets like this like little things that you build knickknacks you probably want to hold on to it or something so you don’t have to model it again or you could try it somewhere else where it may fit better who knows it all depends on your workflow in a way that you go about these things so I think right here I’m beginning to make sure everything is has a subdivision level of at least one it’s in that way the viewports not completely lacked up with everything being so heavily modified it quelled around this and that and what am I making here yes the back module to hold the weight start off with a simple sphere it’s going to be subdivided a large amount of time so might as well just keep it six instead of eight that way whatever its / – it’s just 24 instead of 48 like it usually would just killing the piece make it fit scale on

the Z to make it wider and just plug that in and so I’m gonna have to make some modifications to the cloth to make it fit correct around it but it’s actually no worries we’ve got my 10 tools pinned and it’s built that way but who knows who’s looking at the back I am so that’s why I closed the array all right so as you can see still the same old tricks as last video ho I’ve just subdivided and setting I decided at the last minute I wanted to add a panel right here to be underneath it not too thick by just using all of us I’m able to scale it to at least be above the surface at a sitting on it which is good because otherwise it would have been partially clipped inside of the mash had a little extrude on the outer edges just for no reason and I still get this ring might as well just add another one down here can’t have too many ropes I mean can’t have too many cables surrounding it rewrapping it added another circle extrude it up at a subdivision we control one now I’m just gonna create a little pull to just go in the middle of this little I’ll call it a drag modulator there’s no name for it like I said it’s just a random piece I decided to just add kinda at the last minute to make it look like a I don’t know robotic angel who knows no render for a moment however with these textures it is looking rather bland so let’s get to work and tightening it up I just used the

inset to do so however for stuff like this you would also you know just add double edge loops but you know using in said it’s like adding two loops on both sides which is something you’d be doing if you were trying to tighten up the form anyways so keep that in mind and just make sure that you’re pressing that I key all the time if it’s a vulture used to just like good you know control B for bevel just playing around with that tool I was goofing off with making some rocks the other day and found that it has gotten pretty good now compared to the way it used to be so I added another cog so divisions are a bit high I could see that even from here looks like 32 around the inside let’s kill it so it looks like there’s teeth and all we’re doing is just create some wills and use that turntable rotation to try to get these things organized looking decent and the view is quite a pain hence my mention in the previous videos about you know keeping that local rotation as long as you can I realize that there’s some mirrors that just need to be applied and you know maybe if I had a couple more tubes I can connect that to that you know make more sense except that being so off does it make any sense so I just straighten it all back up skeleton the wide subdivide smooth and by setting the 3d cursor what period to mean by setting the rotation point or the median point to the 3d cursor so I’m able to rotate in place instead of by its origin point so these are all useful shortcuts that you know you should know by now so now I’m just making sure I grabbed all the components of the helmet – the trim of course oh sorry hold something I’ll just jam it out to Deftones all right so you know right here I’m actually just taking all the small parts and UV unwrapping them so this part is kind of a pain you’ve been rapping complex objects to something at me and my roommate’s are always discussing complex objects can be quite a pain makes you just want to slap some generic textures on it in a lot of the 3d magazines I read they always talk about how they just use cue projected textures and then they just use a clever array of stencils and just overlay methods to get it all to look convincing and you know that would work if this was you know building or a rock or something insignificant but this is actually the star character so of course we need some dedicated to UVs and decent UV is and decent UVs I don’t make here so I went ahead and used a smart UV project on that piece to just get it to unwrap and it worked out smart you feat protect here I just want to make sure everything gets some amount of space this part looks horrible so I had a cut I mean add a slice there I had a seam there I mean yeah add a seam now we got that unwrapped so for it hat me for the helmet itself how to unwrap that we’ll dice it down the middle I guess the most important thing about UVs is at least making sure it if you’re

using this method that I’m using of just smart UV protect and you know you want to at least make sure that you’re giving the right amount of volume of your texture map to the prominent stuff like the helmet you see it’s underneath all these dingo and go knickknacks so you know it’s not going to need such a large dominating area of the whole map you know right they’re almost deleted half of it because you can do the lazy way of texturing about texture in half but if I do that then it’ll be a symmetrical looking model and even the texture looks symmetrical and that’s where stuff takes away to personal touch I think of making a model is when you try to take the shortcuts because if you take a shortcut people see it if you let a rock texture stretch you know a 3d person’s gonna see it and be like you know with that rock or you know if you just decide to use one low poly rock brick texture on a wall you know you notice that stuff and so you don’t want to cut those kind of corners your cell and so with that I’m just killing up UVs making them fit I make a couple of mistakes through to UV process but they’re easily corrected just by painting it but now all of that spin so the helmet has its own UV and of course 2048 since I used smart UV project you wouldn’t want to use 1024 1024 on a smart UV project this complex because it wouldn’t give any real pixel room for any of the stuff to have any complexity so I found the 2048 is the minimal to get decent results and plus I use CG textures as well to just kind of add some variety to the textures I used as well so that kind of adds to it so right here I create a shadeless material an able vertex paint and I just make a cavity material I went in the vertex mode and chose to dirty two vertex colors after dirty in the vertex I had a cavity map or a cavity polypaint job done and with that polypaint i actually baked it to the UV texture but it takes forever look at this is baking eternally long enough for me to sit here and explain y’all all the stuff that happened in a blink of an eye but basically you want to duplicate the object apply all the subdivisions bake the dirty vertex and then make that out as a map so that way you have just two cavities has a another level of control that you have towards making your Maps more personal because I could slap this with metal and call it a day I could slap it with some CG textures painted wall or something call it a day but it wouldn’t be a day it’d be a day of a new bit look horrible but by at least multiplying by ambient occlusion map on it or my cavity map because the AO bakes kind of bad as you’ll see right here it actually is baking horribly that looks horrible but you know that might work so I actually decided to keep it to try it out is that zoom did all those really black areas are just areas that are actually covered up and maybe using a color ramp I can pull those values towards ranges that are more workable but that’s just my thought when I’m seeing something like that I see ranges you know it looks really black really really black really gray not much use but you put in a color ramp you can choose on one end if you want that black to be black and if you want that other end to be white or if you want it to be that same gray and then pull those levels to clamp it and get it to be exactly on the edges or exactly on the holes but that’s my mini rant I guess on it’s just text Tran so right here I create a bunch of shadeless materials s1 through s4 all of them are shade list they have no specularity and i just apply it to just certain edges little accents no rings here and there and this is one of my favorite parts however depending on how you get it to look it could either look like a hell or you can make your character look like a police officer or an emergency medical specialist which you’ll see what I mean once I come out of it look it starting to look kinda like EMS or at least that’s how it looked to me but basically as you see my texturing process involves me baking the cavity map which is done by duplicating to mash applying the subdivisions and set vertex colors and then just going to bake a full render if you bake a full render with shadeless cavity you only get the cavity map with no lighting information and that’s what

you want you want just the information of the cavity not nothing to do with the lighting because the lighting is subject to change you could rotate light the character could move his head move anything but you know I’m just ranting but you know it’s been a while since I talked to one of these videos and you know beats silence so more isolations colorization I realized that one half of the head looks very much more complex and other half of the head but I’ll take care of that just in the very end it’s lonely without those little pads happening alright so now I’m baking out the shadeless texture map for this one it’s for some reason bakes out all the white and then it makes a lude and bakes out all the orange so I was actually looking at the stake in that this may tell me something more about the blender internal render engine and how it works that maybe it bakes it on a per material bassist and modulates it all together at the end which then gives me a flashback to some time I ever heard saying that it does modulate all the materials and in compositing together on a per material basis but that goes in a little more deeper to I guess how render engines work so as you can see the little insects on the top did not get UV coordinates this is one mistakes I was talking about because I made a mistake with that that doesn’t actually get any advanced colorization or any advanced texturing to it so that’s something I could attach and make a separate object later on or I can just live with it however for this piece I decided that I’m just going to give it a really small color map and so I just inserted in the space make it fit alright so baking it out again and I’ll have this little color area so hopefully that’s enough space for me to get the point across but the colorization not look too chagi which is why you would want to give the prominent features a ample amount of size in the UV space but as you can see it looks like it came out fairly decent so i just save all of these whenever it comes to whenever it comes to dealing with the engine in a way that it handles the textures that you baked you want to make sure that when you add because I’m using the same UV map space helmet UV helmet Tut UV I baked a cavity is there saved it as an image baked a shadeless material there save that as an image because when I signed something back test but it’s gonna be some random space it might even revert back to the UV grid so the little textures that you make up just know that there’s some sort of placeholders or something I wish I explained a little bit better than that but I’ve lost my fair share of textures just messing around with it so I got the helmet isolated rendering while I set up the material for it and maybe lower my threads so the computer isn’t raped turn on these options these options don’t help very much at all as you can see now after turning on the use natural shifts is taking an incredibly long time for me to just see my geometry for the render might as well save it because that’s the first step before it crashes is strange and is happening and then right here I realize I could set up drivers on the threads of my processors if I’d want a driver to animate that value so I load up my images and the UV imitator and and dropped him on to the I dropped him on to the node editor where they’re they become image texture nodes that I began dropping them so I used the emission to see what it is I’m messing with in real time kind of like the previews fair if you were you know if the preview sphere if you were in internal so right here I’m just using a color ramp to make the facing value strictly edging and so I

applied it glossy color colorization to the diffuse color as they shown and then use the make shader as a mediator between the two so I just play with the values I get something looks right one of my favorite nodes is the layer weight which is similar to how I mess with normals in the compositing stages however this one’s a lot simpler and as you can see I was able to just hook up the layer weight to a color ramp so I bring back out in a mission I take a look at this other material and it looks the cavity looks like that so throw in a color ramp as you can see the black area is where it Feld in an area and I just clamped the values till I get chesty edges or you know just what I want so my goal here is to make take what’s black and make what’s black only scratches or splatter or take what’s white and make that only scratched paint or splatter so you see the the workflow for it is pretty pretty straightforward for something like this I’ve always had an obsession I guess with the materials of scratch paint stuff like that because you can make stuff shiny all day pull up the you know an internal just make a ward I associate or crank up the hardness and turn on mirror and you got metal but when it comes to making dirty metal it looks more beautiful to the eye or at least to me it does it shows more complexity more life to it that has been used but I guess that’s one of the things that happens as a 3d person so I’m on CG textures I’m just downloading particular pictures and just dropping them in my text tutorial textures directory and then from here I’ll go ahead and drop that in as well and let’s see what we got so I connect that up and it looks alright and so I used a color ramp to begin clamping to values because I’m only in blacks and whites right now because I’m making mass so it doesn’t even matter what it’s a picture of and now you use a multiply multiply the first mask and second mask and what do I get I get that now that is where just Blatter is going to be hit so we bring in another mix shader’ because now we got to make something else in there to be the splat with the splat so we’re all splatting so for diffuse map Mina for displacement maps I’m not an authority on it but let me tell you this basic psychology that I use when I make my displacement maps using this method here so – psychology or at least a psychology I tell myself of displacement maps is middle gray 50% gray does nothing white raises black lowers so what I want to do is color wrap my splatter layer to be mid gray pretty everywhere that’s white and then be white or darker gray for everywhere that’s the opposite and then flip-flop until they flip so right here you see another this placement that is offset in from the surface pretty nice and so we just add that in and what do we get when we change this to render no sorry so for the rendering you have to give it a moment before it shows you exactly how much the displacement is affecting it which kind of drives me a little crazy this particular tutorial is for a contest which if I win you win which means that you win me coming back talking about cycles a lot more with a much better card because all the bought a graphics card which I desperately need because right now I’m running AMD and while I don’t really care about graphics cards I do care about the blender running the best it possibly can and it’s not running well I’m using an i-5 in my computer struggles I mean I kind of kill it I am running a lot of applications at our back and you know

I’m rendering videos at the same time that I’m rendering a render in the render so you know these kind of things are taxing the resources on the computer I mean I could go under sampling options and lower down the bounces which they’re already at – so that’s horrible right there but you know in the end we’ll clamp those back up and see what we come up with now as you can see the paint splatters actually looking pretty nice if I wanted to fine-tune it I would somehow use the internal series to make a texture of this bake it to a map then use texture painting to adjust where the splatters are going which is what we probably want to do in the end I’m really digging the black that you see on the inside of that particular panel that’s facing us but if you look on the circle on the edge though it actually looks horrible this largest circle that’s over in the back of the helmet it’s not bringing a dirt texture and I would decide that I’m gonna try to texture up the dirt but first I need to scale the texture well that nodes not going to do it so I import a texture coordinate so I can plug up you fee to a mapping and then after plug it and then face it that changes that automatically connects it as generated won’t do cut connect UV that looks a little better looks like it’s made of sand and that looks worse as you can see because the uneven size of the texture coordinates in the coordinate space that the texture looks strange it it just looks stretched in some places as you can see right here I mean if I wanted the dirt to work right here I probably could have made it work I could have scaled the texture I could have also made that there also assists with the deformation on the displacement but instead I realized that I don’t want it to be splattered with dirt in the concept it wasn’t dirt it was just paint but a glossy shader to sharpen a background that’s bleeding over from the layer weight as you can see is was looking fairly good in the render now in the end I believe well like I said use the light box to light the scene because as a blender user the best thing about our community is the amount of stuff that is shared and given out which means that materials something that doesn’t have to be a mystery because you can download all the materials that brilliant people make and tear them apart and you don’t have to figure out all the model and stuff because there’s brilliant people out there uploading brilliant models every day on blend swap that you’re able to disassemble yourself and figure out how they did it and this stuff is important it tells you a lot about blender a lot of my knowledge I get I mainly well I watch tutorials like it’s television but in addition to that I also disassemble quite a few plan files to study study the amassed errs there are some fantastic 100 users out there and they all share their files so I mean if you don’t know about blend swap definitely check it out and begin building yourself organized asset very of things that are useful like materials and just small doohickey so you can build a scene from scratch and not have to oh god I have to put in a ground and then I have to build a bench and then I have to build a streetlight and I think once I get over that particular part I’ll be cranking out stuff every day my goal is to be an animator I don’t know about you guys and so I went in texture painting on the UV I found out that there is no longer the option under image of the UV editor to go on an image painting now let’s say another option that you choose where in the same area where you choose to go under two masking to now paint on a UV which is kind of strange but whatever it’s just something you gotta remember I thought they took it out for the walk is for about two versions but they did it so this version I’m using here of blender is 2.65 however it is the latest version as built by the blender pillbot but strangely it doesn’t have cycles hair rendering which my older version of this did but I don’t like having to use like

three different versions of blender I like to stick with just one wish I had cycles hair because this person would have some hair maybe there’s not a whole lot exposed to put hair on and I know you don’t want me to you know make boob hair so right here I’m making a texture right I’m going on Google just looking at cloth you know I’m still a texture I’m just snip it borrow piece of it hey put on this shirt and I choose this one kind of a hideous texture retrospect but whatever it works so I was originally going to come in snip it select the square of it and then go in Photoshop and use a perspective warp to get it right but in the end I realized that too slap it on there does the job so go in my textures and this will be my cloth or fabric because you know for the shirt to look decent it can’t be you can’t just slap a velvet on it leave it and call it a day because will look bad I don’t know how to use develop it and not get it to look bad but I’m getting better every day so we make a new texture shirt now in this version you also see I got the cycles preview render on the left side is so awesome to have it except it’s as slow as the viewport when it comes to rendering the previews so I don’t get a whole lot of that enhance enhanced feedback then all you and video users get to get I know every time I render with cycles I complain about this but you know if you’re watching my videos you’re thinking about going into blender Nvidia just save yourself trouble don’t even bother waiting so I’m just gonna scale it scale the UV coordinates same way as before generated seems to work alright but I do see a little bit of stretching and once I go over to UV is it looks even worse I might go back to actually generate it there we go so UV unwrap it I get a proper unwrap and then right here just kill our values waiting for it to get less Brewery so I could see it better and we’ll add in a RGB curve RGB curve will allow me to change the color just go over to red just tilt the color it’s like when you still it’s like when you were kids and you’d still bike since very paint them so they wouldn’t recognize it you know go and change the color yellow was pretty ugly I was just judging the complexity of the fabric so of course I gotta try to make a displacement out of this I could go into crazy pump since I have it on the computer but that’s just another program to open and deal with and make like eight textures and deal with those and it’s just easier stick with the notes just make a specialized texture for justice one asset but believe me my new year’s resolution for this year is to make all my assets renew reusable so everything that I make has full intentions of being index later renamed properly and then set up in a way that I can grab from it in a future along with some way of knowing what’s in the file to get I think if I did that I could just really just slap together a whole block of buildings a street full of characters and throw a bunch of vehicles and just go from there but it has nothing to even do it we’re even looking at so let’s focus so we let this render for a minute so we can admire how nice the fabric looks I did make a displacement map out of it but most of the displacement is the shadowing that’s being leveled to be a depression so this isn’t necessarily the best way to go about making it render and having accurate displacement maps but just know that it’s the way that I went for mine and if you can get away with the then maybe you should try to get away with it now this part I hate whenever I look at the UV map in the viewport it shows me the the full aspect ratio of the UV map and that just makes me groan because I wish I could look at a textured view of cycles and it looked

similar to the render that I have set up and it looked nice but it doesn’t might get back to you on that in the future but just know that just rat and you know been in this 40 minutes been talking for a while now alright so I didn’t I’m not gonna go over the texture painting of the body in this because there’s nothing impressive I just simply front projected it and mapped into a reference image I had and then painted it and cloned it and then multiplied the cavity on it and that was a call to today and that really is what I did so you know if you want me to if you want to see it just picture the armor but as a person so time to UV unwrap these shoulder pads and this little lifesaver can’t have a robot drowning they should circuit before drowning no and I’m pretty sure a hat would kill her anyways that is a pretty big character flaw how’d my character make it out of water well I’ll get back to you on that so I’d leave those interior phases that made it a lot easier to UV unwrap however the sighting since I cut it actually came out really ugly so I decided to not do that right here I also get to trimming and UV unwrapping now most of stuff I’m able to just unwrap since it since it doesn’t have the back faces it unwrapped very simply and so that’s the same kind of thing you’d be able to keep in mind if you were making a unified mesh just cut it where you think that you can get away with it where it just be dark edges and then whenever it comes to putting it all together maybe you don’t have to go back over your texture map and expand your pixels one or two pass their boundaries just so when you subdivide it actually looks correct so 2048 by something that didn’t look right will make another one and like I said keep in mind that the images that I’m making over here our placeholders so I’m just gonna bake stuff to it and then save them as real images but body med armor who knows what that picture actually is and that’s just something that you got to keep in mind cuz like I said you will lose images so I go over that every now and then just press f3 save it that’s something you might want to commit to memory f3 will save whatever image is in the image editor whether it’s a render or just a UV dirty – vertex colors now we’re cooking and right here I noticed that I’m into blender internal but it’s still showing me the cycles preview that may be a glitch of the program but I see a time but it does correct itself so baking the textures bake bake bake sit sit sit so this part takes a while I think it’s because I actually have environment lighting and ambient occlusion turned on from cycle settings that switched over back to blender render because with this process also experimented with jumping back and forth between the internal and cycles like I do cycles to just do all the materials in that project itself but I jump over to the internal where I had a diffused texture that was overriding everything in the render settings and then from there I was able to well after having it override and the texture settings everything that rendered out came out diffused without me having actually changed materials so it allowed me to go to render easy however when I rendered in cycles I found out that the render layer still modifies it but it just gives it an ugly standard diffuse map since the blender internal doesn’t convert over unless you use notes and choose to so bake bake bake but it’s a nice bake however look at all that a news UV countryside I should have applied the mirror then unwrapped it then packed them then done this so I could have had a different on both sides but now this will be lacking unless I go in and just redo it spoiler alert I

don’t so continuing on so we got the cavity mat I think I take a break here to rant about something and then I’m back so for this part I try to make the ambient occlusion map and as you can see those stars and the galaxies in the back that’s not stars that’s the ambient occlusion trying to come through however I think I need to actually set up some lining on the scene or something so it doesn’t come out frank in fractions like it is like it comes out triangulated in pieces without anything truly showing and i think that’s because the ambient occlusion takes the lighting into account as well and just waiting on that in this video sped up by three times so keep in mind that this is this was taking a long time in fact look at it was taking a long time but the texturing as you can see is pretty fast once you get your workflow set up and you just do it all in a linear order and have your linear workflow it’s pretty straightforward but you can jump around as well like me I like to render render render look at a preview preview while I’m doing I’m trying to I’ve gotten better you know I don’t preview it as the cube anymore I’ll wait until it starts to look like something and my same process of giving it the SH or nope that was from the original no come on you’re doing it wrong I realized I’m doing it wrong I’m right here I switch hips s1 s2 s3 I don’t even need us for but I know I need to get on and give this the pulleys paint job blue and orange but yeah I don’t want to paint that thing get that thing out of here well add that that one’s low poly duplicated hide the one had the original underneath and just modify and bake off of this that way we’re not baking off of the original so that’s another thing is all the stuff that you seem to take a local mode I always duplicate it and hide the originals so that way the original just stays untainted and I’m just coming back to it with a bunch of textures that’s been baked from well-managed versions of it which are more high poly but you know I’m probably explained all this wrong select face and assign hold alt to select an edge loop press L to select a entire island that’s why I hide the pieces so I can just select islands but right here it’s really random and here we go with the complete paint job nope still got more work to do let’s get that out of here and bake him so for the texturing on the color I could have done it a ton of different ways I chose to stick with the edge loops because it gives me this particular look that I’m going for but I could have just as easily have been projecting from view painting from just exporting it out to photoshop and hinges having a fill so for the texture and I’m just choosing this way because of the end result that I’m going for but you know if I didn’t want to have stripes they had to follow the particular edge flow and was from just a particular view then yeah I’d want to export out the Photoshop and blender actually has some very good texture painting tools that make exporting to external image editors a snap in fact you just control out you go under image preferences and I believe under system you can set your image header to be their camp or Photoshop or my pain or CorelDraw or ac/dc or MS pain or whatever kids are using nowadays we go ahead and save that as a color and

let’s see what we got so I have the special viewport being this screen layout set up just to make cycles materials the same thing always clamping with the cavity I try to clamp in Photoshop in a and edges there’s more dialog boxes it’s easier just clamp it up in here you know sometimes I just open the compositor blender and I use it like in my own personal image editor start hitting it with curves and multiplies and Clair’s and just overlay and it add them on top of each other and it’s just something you never see like I never see anyone else composite their textures using the actual compositor by multiplying the skin on top of the epidermal and subdermal maps and stuff like that you know now in the video we’re just adding the various images clamping it making the cavity map effect II I guess the amount of gloss that comes over it try to position the camera don’t want to dominate a look but don’t want to Hey look at me kind of look my view put my viewport ends right short of the wing so I should just shift B and expand that but I probably don’t do it for a minute and this concludes part two so leaving the state render it will gradually look better and better because that’s how cycles works using an i-5 that process takes several Maps matches of halo sometimes a small pizza or a mill and some tea

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