Blender 2.8 Stylised 3D Game Model Complete Beginners Guide

In this video, I will be introducing a brand-new course that just arrived in the 3D Tudor course library. For the first time, I have launched a course about a stylised 3D art asset. This course features a medieval cannon in stylized cartoon-like design. Learning outcomes will include learn a multitude of skills and techniques about modelling, sculpting, texturing, lighting, and rendering within three different software types: Blender 2.83, Zbrush, Substance Painter, and Marmoset Toolbag 3.

In this lesson, we will go over the main key commands (i.e., shortcut keys) involved in the different parts of this course as far as Blender 2.83 is concerned. This lesson is specifically aimed at beginners, and as part of the lesson, we will build the base for the 3D wheels of our stylised medieval cannon model.  You will find Animations and information on everything we do to make following along a breeze.

In this lesson, we will work on the log axels and pins to hold the medieval cannon wheels in place. These processes are part of quality assurance since we will be making sure that the wheels look realistic and suit the cartoon-like stylized art style at the same time.

Here, we will be working on finishing building our wheels within Blender 2.83. We will work on the wheel grips and shading to add more stylised art elements to our medieval cannon structure, looks, and aesthetics.

In lesson 4, we will work on setting up the first materials we will be working with within Blender 2.83. We will also be going over how the Blender bevel modifier works in the 2.83 update. I will show you how the bevel modifier can help us achieve a more stylised art look for our 3D medieval cannon model as well.

We will be working on the basic modelling of our medieval cannon’s barrel, laying the foundations for future modelling lessons in Blender 2.83. In addition, we will also work on adding seams and sharps to make the UV unwrapping process more streamlined and time efficient.

In this lesson, we will develop the rope igniter using curves in Blender 2.83. I will also show you how to turn curves into meshes – a skill that is very useful for you to have whether you are creating a stylised art model or a model with a historical realism style.

As part of lesson 7, we will create the porthole. To learn more about Blender 2.83 functionalities and software modifiers, we will use a wireframe modifier together with proportional edit bit to create the porthole mesh.

We will be adding materials to the cannon barrel within Blender 2.8. This will include several aspects of our stylised medieval cannon model, including the cannon bulges, porthole, rope, and aim stick.

In this lesson, we will create the wooden block sides of the stylised medieval cannon we are modelling. Afterwards, we will use the Boolean modifier and solidify in Blender 2.83 to create the curve gap for our handle.

In lesson 10, we will create the metal bands for our stylized medieval cannon model. We will also add sharps and seams to the round metal band to give it the appearance of smooth, round edges. This adds to the aesthetic look of the model and further complements the overall all stylised art design.

As part of this lesson, we will be working on the medieval cannon’s chain links using the primitive Taurus tool in Blender 2.83.

In this lesson, we will add materials to the sides, the mental bands, and the chain links of our stylized medieval cannon model. Like all lessons up till now, we are still working within Blender 2.83, using its unique software functionalities to our advantage.

As part of lesson 13, we will be focusing on modelling details of the stylized medieval cannon model once more. We will be modelling the handle and the metal strap using a mixture of cylinders and extrusion – all done within Blender 2.83.

We will be complete the medieval cannon handle build. Then, we will mirror the handle using the Blender 2.83 mirror modifier, and finally, we will add materials to it.

This lesson will allow us to make a start on the wooden base of our medieval cannon model. We will also create the wooden support block on which the cannon will sit on. In effect, lesson 15 is essential to maintaining the integrity of our stylised model’s design.

To not make our medieval cannon bottom base too uniform, we pull parts out, bend them, and add edge loops in using Blender 2.83 functionalities and modifiers. This will allow you to add more elements of the stylized art design to your medieval cannon model in three different ways.

In lesson 17, we will finish modelling the wooden base of our stylised medieval cannon in Blender 2.83. Then, we add sharps, seams, bolts, and materials to the bottom wooden base to complement its stylized design and art style.

In this lesson, we will go over how to create the cannon balls using spheres and curves within Blender 2.83.

Lesson 19 will be an introductory lesson into UV mapping using the newest software capabilities within Blender 2.83. We will be utilising the resolution texture that comes with the course resources to check for seam stretching in the medieval cannon 3D mesh. Again, this is for the purpose of quality assurance it will help you come away with a professionally designed 3D model of a stylised medieval cannon, just as planned.

We will make a start on UV mapping the cannon’s wooden bottom base within Blender 2.8. As part of this lesson, you will also learn how to UV map bolts. This is a useful skill to have for future projects due to the unique shape of bolts and the measures you need to take to ensure they are unwrapped well.

As part of lesson 21, we will remain in Blender 2.83 to UV map the cannon balls. We will also learn how to mark seams on spheres to get a good unwrap when we texture them later on outside Blender 2.83 (i.e., in Substance Painter).

In this lesson, we will UV map the medieval cannon’s handle. This lesson will be focused on troubleshooting issues due to the cannon handle model, and we will be fixing issues that have come up through effective problem solving in Blender 2.83.

We will be UV mapping the wheels, the wooden axels, the pins, and the grippers. To save time, I will also show you how to use the Blender 2.8 mirror modifier effectively for 3D model sub-parts such as these.

As part of lesson 24, we will be UV unwrapping the stylized medieval cannon base sides. We will be UV unwrapping the metal band and metal holder within Blender 2.83 as well.

In this lesson, we will create the material ids for Zbrushpolygroups. This process will make it easier to separate and sculpt our model after export from Blender 2.83 into Zbrush.

In lesson 26, we will set up our model and begin sculpting our cannon barrel within Zbrush. We will also work on creating weld points to ensure that the band looks as if it is welded onto the barrel rather than just placed there. This improves our 3D model’s overall aesthetic quality and stylised art design.

We will be going over how to import custom brushes into Zbrush. Afterwards, through sculpting, we will be creating our metal finish on the stylized medieval cannon barrel.

In this lesson, we will be finishing up on the cannon barrel.  We will look at all aspects including the porthole, igniter and the aim stick.

In this lesson, we will start sculpting the cannon handle and leather holder within Zbrush. We will be accentuating the grooves in the leather holder to add more stylized art details to the design of our medieval cannon model.

As part of this lesson, we will start sculpting our cannon balls. We will work towards giving them a hammered metal finish for additional realism and aesthetic quality using Zbrush sculpting functionalities.

We will be working on our stylised medieval cannon’s metal wheel grippers. Using Zbrush brushes and functions, we will be giving our metal wheel grippers a weathered and damaged look.

In this lesson, we will finish sculpting our stylised medieval cannon’s wheels. We will be using all the sculpting skills that we have learned within Zbrush so far, including wood grain and metal.

As part of this lesson, we will start sculpting the wooden block sides of our stylized medieval cannon. Our process will involve sculpting wood grain and damaged edges into the model to add to its stylised art style and overall 3D model cohesiveness. The entire process will take place within Zbrush.

In this lesson we continue on with the cannon sides and focus are efforts on the metalwork that holds the blocks together.

This lesson we finish up the cannon sides and add in the final touches to the chain links and top bolts.

In this lesson, we will start working on the stylised medieval cannon wooden base within Zbrush. This lesson incorporates a lot of troubleshooting content as we will come across problems with our mesh.

In this lesson, we will start working on the stylised medieval cannon wooden base within Zbrush. This lesson incorporates a lot of troubleshooting content as we will come across problems with our mesh. You will learn how to fix issues such as these within Zbrush using the zmodeller brush, thereby strengthening your problem-solving repertoire.

In this lesson, we will be working on preparing our Zbrush sculpted model for export into Substance Painter. To do this, we will be using the Zbrush decimation master function.

We will import our sculpted model into Substance Painter. To improve our 3D model’s quality, we will complete the import process via high- and low-poly suffixes. We will use a great technique to bake extremely good maps onto models without the use of a cage all within Substance Painter.

As part of this lesson, we will create our first and simplest stylized material within Substance Painter: leather. This leather material will be applied to our stylised medieval cannon’s handles. Material creation will take place via the layer system in Substance Painter.

This lesson is the first part of the stylised wood material creation process within Substance Painter. This is more complex than the leather material. To ensure stylised material quality, we will spend this lesson building up the first few layers of the wood material in the first instance.

We will be finishing off our stylized wood material in Substance Painter. We will be adding more layers to the original wood material we began creating in lesson 40. This is the first lesson in which we will be looking at roughness maps.

We will be finishing off our stylized wood material in Substance Painter. We will be adding more layers to the original wood material we began creating in lesson 40. This is the first lesson in which we will be looking at roughness maps.

This lesson will cover the purpose, functionalities, and ways to use roughness maps in Substance Painter. Our purpose will be to make the model look professional and stylised. We will also be building up the next few layers of our metal material which we started in the previous lesson.

As part of this lesson, we will be adding all our materials to our stylised medieval cannon model, via the polygon fill technique in Substance Painter. The polygon fill technique in Substance Painter removes the necessity in using ID maps. By not using ID maps, we will be employing a time saving technique. Finally, this lesson will also involve finalising our metal material through its last few layers.

In lesson 46, we will be completing the texturing process for the main build of our stylized medieval cannon model. We will also be fixing things like making the chain link darker and adding depth to the porthole using Substance Painter techniques and functionalities.

In this lesson, we will be adding the skull decals to our stylized 3D medieval cannon design. You will also be learning how to use alphas as brushes in Substance Painter. We will also be exporting texture maps from Substance Painter, ready to be imported into Marmoset Toolbag 3.