 So, you have never low-poly modeled before. Not a problem. All you gotta do is break things down into the fundamental shape. Shapes have personality. You might not be an artistic expert, but I guarantee that you get a different feeling from all three of these designs. And low-poly is about capturing that feeling. This 3D technique takes its roots from its 2D cousin called minimalism. Now, you've probably heard the name Picasso. Because Picasso was an artistic genius. If someone ever asks you, what's your favorite artist? And you have no idea, but you don't want to look like a f***ing idiot. Just say Picasso. And if they ask why? Just say. I just really admire his ability to capture complex ideas with simple shapes. Here's a story for you. One day, someone had the balls to challenge Picasso. And told him, I bet you can't draw a woman in less than three lines. And in that sexy Spanish accent, Picasso responded, Challenge accepted. Then turned around and drew the following picture. This is why Picasso was a legend. The lightning fast ability to simplify things into the raw basic form so that anyone can understand is what separates the geniuses from the casuals. And this technique is what you will strive to achieve as a low-poly modeler. The good training exercise is to look up random cool things on Google and visually break them down shape by shape. And ask yourself, if you were to try create those shapes in 3D, where would you put the points? Do this a couple times and then find something that you'd like to create. For this tutorial, I will be recreating the missile launcher from Armored Corps 2 because it's one of my childhood favorite games and it's a great example. So like all modeling projects, phase one is collecting concepts, gather pictures, find any and all patterns between them and plan your model. Luckily, Armored Corps was a mid-poly game so the models aren't too complicated to begin with. And it looks like the main object here has about seven angles. There's a lower part here, a box here and the latches themselves that cover the missiles. Once you have broken down the shapes, we are in phase two, which means it's time to model. Now I'm going to do the main shape first. I'm seeing a flat bottom, flat top and flat sides. So it's really just a square that's been cut and slanted. So we're going to start with a square. We're going to loop cut down here and since it only has one edge here and not here, instead of the loop tool, we are going to use the knife tool. Go to the back view, left click out here, hold C and make a perfectly flat cut to the other side. Then slanted. Make another square for the bottom and in this picture, you can't see it. But if we look at another picture, you can tell that it's actually got a slant this way and there's one more square over here for the roof. Now the easiest way to get this shape is probably to click here, inset faces, extrude them out and shrink the size until the roof is aligned. All right. So that's phase two. Now that we've blocked out the basic shape, I know it doesn't look like much, but remember awesome texture maps and cool animation are going to make your low poly model look five times as good later. Now phase three is the fun part. You never want to copy something a hundred percent because that's illegal. And that's why in phase three, we improvise and build off the base design and change it to make something unique and different from the original. The easiest way to do this is to go back online and find images of things or concepts that you would like to mix together. At this point, it's important to think about how the model is intended to function. For example, I know this part is going to go on the back of X's shoulders. The same way that you see the weapons in Gundam, Armored Core or Starship Troopers. I've already built the mechanism for it, which looks like this and the area that the weapon mounts onto is a circle. So I'm going to start by making some sort of circular attachment part that goes at the bottom of the connection. So here's the next rule of low poly. Anytime you want to create something round, the best way to do that is with a smooth shaded hexagon. Or if you want to really push the poly count, an octagon. The trick is in the texture map. The shading and the texture are going to be round, which will give the illusion of an actually round cylinder. Now we are going to be bold and use an octagon instead. So shift A, mesh cylinder, type in eight. And just because I think it'll look cool, we are going to put a hexagon inside. So same thing, but make it smaller, longer and place it down here with our new joint. The next thing that I would change is making the joints for the missile latches a little more pronounced. You can't really see the joints in the original, but I want the player to be able to see them. So to keep it simple, I'm going to make these joints out of a square and just so that it's not totally a square, I'm going to take my knife tool, start a line here, press C and make a flat cut here and just make a tiny little angle right there. Add a mirror modifier and place it on the sides over here. And let's put some up here too. Why not? All right. Now something else that I found was this picture right here. I really like this shape and I want to put it on the back of my launcher. It basically looks like an L Tetris piece. So start with a square, stretch it, make a few cuts, make a few extrusions and get the shape kind of like this and just jam it in there so it looks a little less boring. Last, I'm not really digging this empty space back here. So I'm going to fill it up with another square and use our knife trick one more time for a touch of detail. Now in phase three, you can add or change as many things as you want. Really just make sure that you add and subtract new basic shapes until you were happy with what you see. Awesome. Now in phase four and five, you would UV and texture map it, which is not what this tutorial is about. You can check out my UV and texture map in series if you want to know how to do that stuff. So we are just going to skip to phase six, which is export in the model wherever it's supposed to go. You can animate it and export it as an FBX if you want, but I think you have a lot more control over it in the game engine. So we are just going to export it as an OBJ and I will do all the animation in Unity. Now when you export things out of blender, you have to be really careful about the origins of your objects. Blender does not export pivot points correctly, which means that if you export this to Unity right now, you see how each latch has a proper origin point that it rotates from. Yeah, well, that gets lost because if we go to the actual game engine, you can see that every single object's origin point is now whatever the center of the scene was in blender, which is completely useless. Now I have been told by the stack exchange that the supposed way to fix this is to set your origins to the 3D Corsair and then change the global mode in Unity to pivot. But that doesn't work because when you set mode to pivot, it does that for every single object in the game, not just the one that you're trying to control, which you probably don't want to do. But more importantly, when you program the animation and rotations, it always uses the true origin of your object, the best workaround that I've found, which is still dumb and hopefully blender will fix. But until then, it's to manually place each object in your scene so that the origin is where you want the joints to bend from and rotate in your game. At a minimum, your object's rotation point will be in the correct position. So that was the entire process for a low-poly game asset. I hope that shed some light on what the workflow for these kind of projects look like. If you enjoyed the video, please don't forget to ring that bell or follow me on Twitter. Those are the best ways to know when I upload new stuff. And as always, I hope you have a fantastic day and I'll see you around.