Beginners Guide To Texture Painting In Blender | Joe Baily | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Beginners Guide To Texture Painting In Blender

teacher avatar Joe Baily

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

23 Lessons (1h 35m)
    • 1. Welcome To The Class

    • 2. An Overview Of The Required Workspaces

    • 3. Basics Of UV Maps

    • 4. Making Sure We Have A Material For Our Object

    • 5. Creating A Blank Canvas For Our Texture

    • 6. Adding A Texture To Our Material

    • 7. A Second Way Of Adding A Texture To A Material

    • 8. Paint Basics

    • 9. Using The EyeDropper

    • 10. Fitting The Map To A Texture

    • 11. Using The Other Brushes

    • 12. The Fill Tool

    • 13. Make Sure To Save Your Image

    • 14. Moving On To Our Example Scene

    • 15. Smart UV Projection

    • 16. Adding Materials To Our Scene

    • 17. Connecting The Base Textures

    • 18. Giving The Tree Some Colour

    • 19. Using Masks For Painting

    • 20. Blend Types And Gradients

    • 21. Improving Our Textures

    • 22. Creating A Procedural Brush

    • 23. End Of Class Challenge

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Are you interested in learning how to paint textures onto 3D objects for use in your own personal projects?

Texture painting is a skill that relates to the process of priming a 3D object for texture application, and then using a variety of brushes and tools to custom paint our own textures and patterns. Many video game assets use textures that have been created for those specific assets, and in some cases even follow a very specific art style.

If the art of texture painting sounds like a skill that you would like to pick up, then this course will get you started. Using Blender 3D, a free open source software, you can begin creating textures of your own unique design.

Not only do we teach you how to use The texture paint tools but we also cover the steps requires to set up 3D objects so that we can prep them for our textures. We focus on...

  • Creating UV maps so that we can control where our textures will be placed
  • Assign materials so that our textures can be rendered onto the surfaces of the objects
  • Connect the textures to the assigned materials
  • Use basic tools like the draw and fill brush
  • Create a procedural brush for more detailed texturing

The class resources are attached to the class project

Get started today learning about the process of painting 3D objects in Blender!

Meet Your Teacher

Teacher Profile Image

Joe Baily


My name is Joe Baily and I am an instructor for 2D and 3D design. I specialise in 3D modelling using software platforms such as blender and 3DS max to create virtual models and assets for video games and animations.

My alternative job involves teaching sport and PE in schools and so I have 1000's of hours teaching experience in multiple various fields. My goal here is that I always find great instructors in websites like youtube who are great but never give out enough content to really satisfy my own hunger for learning. Therefore, my goal on skillshare is to provide comprehensive quality teaching on any subjects that I cover, such as blender 3D.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Welcome To The Class: Do you want to learn how you can paint your own textures onto three-dimensional models using Blender. If side. This is the coach figure. Hi guys, My name is Joe Bailey, form a design and I am the chin for this class on learning how to use the texture paint tools in Blender. The goal of this class is to teach you as the students, how to use lenders for royalty of texture painting tools to design your own custom layer textures in Blender by using the image editor or even before UDP ports. There are two main methods to texture painting. The first is the 2D method. This involves creating a UV map or a three-dimensional objects and projecting that map onto an image. You can then paint on the different areas of the UV map, painful texture onto the model. But we also teach in this class how to paint directly onto the free BIM model itself. We focus on the texture paint tool sets in the 3D view port, which allows you to perform many different options of brushes to create your own textures in the 3D view port itself. Here is this course, for, this course is for potential artists who want to create their own unique textures in Blender using a suite of painting tools. It's ideal per dose who prefer a more creative approach to designing 3D models and sings. Texture painting is also a great way of creating 3D game assets. It allows to use up to create very unique materials and textures for their game assets before exporting them to game engines such as Unity and Unreal Engine. This course can be taken by pretty much anyone as many of the tools that we will be learning in this class are relatively simple to learn. And non previous knowledge of Blender is really required. However, it is recommended. A basic understanding of how the blender interface works so that you know where to access all the tools. Although we will be showing all of this in the class itself. What are the requirements of this course? Well, the latest version of Blender is always going to be recommended. As with each new version of Blender, a whole host of new tools are added. Lender gets bigger and better with each version. So we recommend using the most recent one possible. While not a requirement, it is recommended that you have a graphics tablet of some kinds. Graphics tablets are a great Why of being able to sculpt and paint textures onto your free dimensional models. It makes the process much more intuitive than using the traditional mouse method. However, that's not to say that it is impossible to create your textures using the mouse. It is entirely possible to do that as well. Throughout this course, we will be learning how to perform actions such as creating simple uv maps and how to set blender up for the process or texture painting. How to use texture paint brushes in our image editor, and also how to use them in viewports. We will also be learning how to attach our textures to our materials using the shading workspace as well. Creating our own workflow towards designing our customer made textures and materials in blend up for our 3D objects. So join me now in learning how to get started with texture painting in Blender. 2. An Overview Of The Required Workspaces: In this video, we're going to be providing a brief overview of the workspaces that we will be using, boats extra painting. Now in addition to the process of painting textures itself, we also have to set up our 3D objects so that we can begin applying those textures. This means we will be using three different workspaces. The first workspace that we will be using will be the UV Editing Workspace. It's located up here as the fourth tab on this list. If we left-click to go into our UV Editing Workspace, we can see we have four editors. We have the YUV image editor, we have the 3D view ports. We have our outline a panel, and we also have our properties panel. While in the YUV image editor, we will be looking at creating or using UV maps. A UV map is a 2D projection of a 3D object. For example, we have our cube objects here. So in the 3D view port, we can see this as a three-dimensional shape. Blender does, is it Marx seems across certain edges of our object and cuts it out onto a 2D surface. This cuts out is what you see here in the UV editor. Without a UV map blend up will not know exactly how you want to apply your textures onto your faces. In Blender, we can choose to texture paint both on a 2D image and also on the 3D objects itself. However, regardless of whatever method you choose, you will require a UBI map to begin with. Then we have the shading workspace. We'll be touching on the shading workspace briefly as it relates to the material associated to an object. Textures are added to materials to provide a specific patterns. When we come back to the shading workspace, we're going to be making sure that we have our painted texture as a part of this setup that you see here. So this is our no tree for the covenant material. We use a variety of what are known as nodes to create various different materials and also to apply textures to those materials as well. Then we have the most important workspace, the texture paint workspace. This is where we're going to be spending the majority of our time in this course. You can see that it is very similar to the UV Editing Workspace. We have, first of all, our image editor located here. Our 3D viewports outline a panel and properties panel. In the image editor. We can't create a base image. And you can actually see we have the outline of our currently selected UV map. So we can use this to begin painting on the UV map. Or we can use the texture paint mode in the 3D viewport as a means of painting on the 3D object itself. In addition to that, we can also access many of the blushed holes located up here in our image editor, up here in our 3D view port, and also he in our Properties panel. So there are different areas in our interface to access the same tools. This means that we can use several different workflows when it comes to texture painting. 3. Basics Of UV Maps: In this video, we're going to be focusing on the UV Editing Workspace, which is going to provide a brief overview as to how you can create a UV map for your objects. So let's go over to the UV Editing Workspace. And you can see here that for our cube, we already have a default UV map applied to it. This is true for all of the objects that we can create by going to the Add menu. So if we temporarily goes to the layout workspace and hit Shift a, you can see we have a variety of objects here. Each of these objects is going to have its own UV map. So if we add in our monkey object and go to our UV editor, you can see that we already have a UV map that's creative. This is only really true though. For the unedited primitive objects. If we were to make any changes, then we would need to create a UV map ourselves. There are a couple of ways in which we can generate uv maps. If we press U on our keyboard, while in our 3D view ports, it brings up the UV mapping menu. Note that this appears when we are in edit mode. If we are in object mode and press Q, nothing will happen. So make sure you are in edit mode for your 3D viewports. Also notes that if you're in object mode, the UV map disappears from the UV editor. So if we press U, we get a variety of different methods for creating uv maps. For example, I could choose Project From View. This will actually map out our UV map based on our view in the viewport. So I could go, you project from view. And you can see that the layout is very similar to the view in the viewport. Now in this example, it's not a very good use case, but an example where you would use this would be in a still vendor where you would only view and objects form a specific angle. So then you would project your UV map from that angle, and then you would apply the textures based on that view. Alternatively, we have many other options as well. We won't go through all of them. But another useful one is the smart UV projects option. So we can use this and then we can set these parameters. For example, we can set the island margin, which is the gap in-between the individual islands of the faces. We could also scale to bounds. So we can take that as well. And if we click, Okay, what this does is it breaks up our objects into a variety of smaller islands. And island is a collection of faces. Our disconnected from the rest of the UV map or model. Now, this example of a UV map is not that beneficial for those who want to create a painted texture into the space. It is still effective though. If you are going to create your textures in the 3D view port itself, and you're going to understand why a little bit later on. But now let's actually look at one other method and that is to use seems to create our uv maps. So if I press on this unwrap button as it is, you can see that we have free islands here. Now these two represent the eyes of our objects. This one here represents the rest of the face. But you can see that it's not mapped out very well. So actually this area here, I think, is the actual face area. And then the larger faces represent the back area of our object. Now what we can do is we can begin creating our own seams. And that we'll remap our UV map that we have created here. So to do this, we can go into Edge Select, and let's just select a few of these faces or edges. So I'm going to hold down Shift and select these four edges here. Then I'm going to hit you and select mark seen. So here we've created a scene. That means that when we create our UV map, these two faces here, for example, are not going to be attached to each other based on this edge. They're going to be separate. The same applies that these two here. So because we have a scene in between them, these two faces will not be connected. When we unwrap the objects. I'm going to hit a again because you need to have all of your geometry selected. If you want to unwrap your home model. He knew, and then select unwrap. You can see that one change has made a notable difference to our map. It's still not perfect though. But what you could do is you could go through this ad seems and continue to create more islands for your UV map, as many as you need or as few as you need. So for example, let's add a few more of these edges. Going down at the base of the head to about here. Hit you and select mark seam. Then select your objects again with I. Then press U and select unwrap bit by bit. You can see that we're gradually creating our UV map for our object. If I wanted to, for example, isolate the face, I might look to select these loops here. Perhaps creates a scene. Using these. Then hit i, then you then unwrap. And that's starting to take a bit more shape. Where you position your seams is going to be important because seams can be visible on your final texture. So for example, positioning seems down HE, with regards to our Suzanne object, is a good idea because you generally won't be focused on this area of the objects. Adding seams here, which we've just done with our face, might not be as suitable. If you don't want any seems to appear in these areas. However, we can't deal with this issue anyway with texture painting in 3D space. So for whatever objects you have, make sure that it has a decent UV map. And then you'll be ready to create your first texture. For now though, what we're going to be doing just to keep things as simple as possible. In this beginner's class is we're just kind of be focused on the basic cube object, which already has a suitable UV map applied to it. But you don't have to use the cube. You can use any object that you want for this class. 4. Making Sure We Have A Material For Our Object: An important distinction to make is the difference between a material and a texture. When we're talking about materials, we're talking about how a face of an object with spawns, when it is hit by a source of light, is it reflective? Does it have a rough surface? What is the basic color? Is there any transmission or subsurface scattering where the light passes through the surface of the object, et cetera. When we talk about textures, we are talking about the actual pattern that we see on the surfaces of our objects. Textures, in order to be rendered successfully, must be applied to a specific material. It must also, as stated in the previous lecture, be applied with a UV map if possible. There are other examples where we don't need uv maps for our materials or textures. But when using textures with texture painting, the UV map is the best approach. So what we're going to do is we're going to ensure that our objects have a material applied to them. The best way to do this is to go to your shading workspace located here. Now, in a previous video, we deleted your original cube, replaced it with a Suzanne object, and then deleted that and ended up with another cube instead. Because of this, we don't have any material associated with this new queue. If you want to add a new material, just click on this button here. This will add a material to our cube objects. Now, in my project, a material that has the name of material already exists. We can find it by clicking on this button here. So we have material and we have material got 000 001. We can name this anything we want. So I'm just going to name it. Texture paints. What you see below are the basic notes we have the material output. So this node here is required for outputting this material to the surface of our object. And we also have the principled BST F shader. This is the shader that will be used to determine many of the properties of our material, such as the subsurface level, subsurface color, whether it is a metallic object or a dielectric object, which is anything that is not a metal. The specularity, roughness, index of refraction transmission, and even if the object's ability to emit its own source of rights. So all of these are possible thanks to this node. The way this is going to work with regards to our texture is we are eventually going to have an additional texture node he. And we're going to plug it into the base color. Right now though, all we need to know is that this is the general setup for pretty much any PBR materials. Pbr is photo-based realism, and it allows us to create a wide variety of realistic looking materials that were spawned accurately to sources of lights. We can easily change many of these properties using our principal BSD of shader. So for example, we're able to change the base color here. We can determine whether or not it's metallic, how rough it is, et cetera. 5. Creating A Blank Canvas For Our Texture: By this point, your object should have two things. It should have a UV map and it should have a material applied to the surface. Our next step is going to be creating a base image that we can use for our image texture. So to create this image, go to the texture paint workspace. You can see that we have a map of our UVs, but they're kind of blurred out if we compare it to the UV editor. And this is because these lines only provide a guideline as to where the object is on our texture map. You can also see that we aren't using texture paint mode for our selected object. So our cube is currently this purplish magenta color. What we're going to do is we're going to click on this New button right here. This allows us to create a new image. I'm going to name this as texts or texts, paints and press Enter. Then I'm going to define the resolution of this image. The higher the resolution, the better the final result on your objects. For this, I'm just going to set these to double their current resolution. So 2048 pixels by width and by heights. We can also define it, the base color. Now, I am going to use a pure white color for my cube just to start off with. You can also change the generated time to UV grid and color grid. These are more useful for when you are looking to bring in external textures form things like websites like And you want to assess your UV map to see if there would be any stretching. But since we are going to be creating our own maps or our own textures, we can just keep do with the blank option. You can choose a couple of other options here we have all knots use a fifth 32 bit float or a tiled texture. We're not going to have either these ticks. At the moment, we have everything we need, and all we need to do now is just click, Okay. And what this does is it creates an image using the parameters that we assign previously. So I'm just going to show you again by creating a second texture and also show you how to switch between your textures. In detect sharp pains workspace, we can unlink the data block, which is the texture paint itself, by clicking on this button here. You can we access it by clicking on this menu. I'm going to texture paint. Let's click New. Let's name this as second texture. And this time we're going to change the color to red. If we click on, Okay, then we create a new texture map labeled as second texture. And we can see it's a nice bright red. But neither of these textures have been applied to our 3D objects. There's yet, even though we're using our UV map of our cube as a baseline. So the next step is going to be to connect the texture 2D object itself. 6. Adding A Texture To Our Material: In this video, we're going to be going back over to our shading workspace so that we can assign our image texture to our material. Currently the two disconnected. So what we need to do is go to the shading workspace. And we're going to add a new node to this setup. Hit Shift. And I go to where it says texture. And you will have a variety of different textures that you can add. The one that we want to use is the image, texture node, left-click and position about he. Then we're going to take this color output from our image texture node, click and drag and connected to the base color of our principal BSD f node, then release. At this point, the cube appears black. This indicates that we have an image texture node connected. But we don't have anything assigned to the image texture itself. What we can do is we can click on this browse menu and choose the texture that we want. So for example, I'm going to choose the text paint option. Now, our cube appears whites, which is actually the same color as this texture. If I go with the second detector option here, it becomes weird because it's now using the second texture. We're going to go with the text pane option. And if we go back to the texture paint workspace, you can see that that is the one that is now being used here. If we were to change this in the texture paint workspace to second texture, it doesn't actually change what's own our cube in the 3D view port, as we can only make this change with the material itself. If we just swap between the two, you can see it reverts back to whichever is selective with the material. So I'm going to show you that again. If I go second texture as the commons active texture in this workspace here, go back to shading, then texture paint again, and you can see it basically switches back to the appropriate texture that is being used with the material. 7. A Second Way Of Adding A Texture To A Material: In this video, I'm going to be showing you a second workflow for creating a texture and applying it to your material. If we take a look in the properties panel under the workspace settings, you can see that we have some data with regards to our current texture. We can see the current texture map that we are using, the text panes map. Well, I'm going to do very quickly is I'm just going to delete this image texture. So select it and delete it. This deletes it from the material, but it does not delete it for our project. We can see though in our Properties panel, that we no longer have any textures assigned to the cube. If this is the case, what you can do from here is click on this plus button. This will add a texture to one of the many different slots associated to our principle, be SDF shader. So we can assign a texture for the roughness, for the metallic values, for the bump, displacement, etc. But for now, let's just go with base color. From here. We can give it a name. I'm happy to call it as texture paint, base color. I'm going to increase my resolution DO because it needs to be 2000 pixels on the width and height so much the others. And this time let's just change the color to a light ish blue. Click. Okay. And now it applies this new texture to our material in the 3D viewports. But it doesn't seem to make any changes in our image editor. If we go to our browser Image menu, you can see that we have it right here. So we can left-click to go to that new texture. And if we go to the shading workspace, you will see that we actually have an entire node that has been created as a result of us creating the texture in the settings here. 8. Paint Basics: In this video, we're going to be demonstrating the basics of actually painting on our image textures. We're going to be looking at how we can change the color of our main brush, how we can adjust the radius, and how we can adjust the strength. So we're going to return to our texture paint workspace. And for this, we're going to be working in our image editor. Currently, we are in view mode, so we don't have any access to our paint brushes. What we need to do is change this from view to paint. Now if you look at our tool shelf, we have more options. The first option is to draw brush, so left-click. And that will bring up the options for the draw blush in the header menu of our image texture. There are many different things that we can cover, but the most important free are the base color of the brush, the radius, and the strength. So starting with the base color, at the moment, it's set to white. So I'm going to do, is I'm just going to draw a circle in one of these squares. So I'm going to press down, create a circular motion and create a really bad looking circle. Now if you take a look in our 3D view port, you can see that this has been applied to the object as well. Remember that this texture is being edited in real-time. And the texture is attached to the material, which is also attached to the object. So anything that we see in the image editor will be visible in our 3D view port as well. The next option that we have is the brush radius. The radius is the size of the circle that surrounds the cursor. The larger the radius, the more space we will be able to cover in single strokes. For example, we can increase the radius by clicking and dragging to increase the pixel count. If we move our cursor down here, you can see that the circle is now much larger. So again, if I decide to paint in another square, Let's create a circle. And you can see that it's a much larger circle, even though we have basically the same circular motion. Another method of changing the radius is to press the F key while your cursor is in the image editor. If we press F and then move our mouse, we can adjust the size of our radius so I can make it as big as 500 pixels. Left-click. And you can see up here that the radius is set to 500. I can press F again and make it smaller. And you can see in the top corner the covalent radius size just above the paintbrush tool in the tool shelf. So we can set this to be really loud, say 30. And then we can't begins create some smaller lines. So I can draw a square, for example. Now you may notice that the square root of we have just drawn here is much brighter than the circles we created previously. The reason why is because the circles what actually drawn using white graphics tablet. But the square he was drawn using the mouse. There's an important thing to know about the difference between a graphics tablet and a mouse. And that is this button here and this button here. So these represents the sensitivity of the tools when using the graphics tablet. Currently, we don't have this set for the radius, but we do have it set for the strength. With this option in AI enabled. What happens when we use our graphics tablet is we define the strength value based on how, how we push down on the tablet. So if by just generally create a shape, you can see that it's a very light shade of whites there has been painted on to our texture. But if I was to press down much harder on my tablet and create a similar circle. You can see it's much brighter. It's much more reminiscent of the color that we selected. This option here does not apply to using the mouse. If you left-click and drag with the mouse, you just get the maximum strength of the brush. That is both an advantage and disadvantage of using the graphics tablet. If you want to just use a singular color, like so. Without any variations, then this is one of those few occasions where you would probably prefer to use a mouse over the graphics tablet. However, if you want to enable this option up here, then you can do so and have complete control over how much you want your paintbrush to affect your current texture. I'm just going to hit Control and Z a few times to get rid of those shapes. We were to turn this option off. Then use our graphics tablet to again draw a circle. This time we just get a blind circle. And I only gently created the circle with my pen. I didn't press down as hard as I did before. I always like to have this option turned on and this option turned off. But you can have it as the reverse. So if we use this option to determine the radius by the pressure sensitivity, what we can do is we can lightly press to create a very thin circle. And then we can press down much harder to increase the radius of the brush. And this is based on whatever setting we have here. And it's the same as with the strength as well. So if we increase this value to free a 111, and then just very gently create a circle here. You can see we're still able to create that circle. But I'm having to press down very gently to avoid it really covering the area. But if I press down here, you get the idea. So again, I'm just going to hit Control Z several times to undo that. And that pretty much covers the use of the color, radius and strength for defining your paint brush. One last thing I want to demonstrate is that you can use the white mouse button to bring up your color wheel for your active plush. You can also adjust the radius and strength values from here. I'm going to use this to reset so that the strength pressure is what's going to be determined. My a graphics tablet, I'm going to keep the radius at a default value. So let's go with something like 70 just for the moment. And we can also change our color here if we wish as well. 9. Using The EyeDropper: Let's say you're not happy with what you created. And you basically, once you revert things back to the way they were before, using the same color for your entire texture. Well, an easy way of doing this is to come up to your current brush tools, color setting, and then come down to this eyedropper option. We left-click on the eyedropper option and the cursor changes. We're able to now use any color that we can find in our interface. So I'm going to use the light blue color that provides the background of our texture. Left-click. And it changes the color of the brush to the same color as our background. Now, if I click and drag, you can see we're basically erasing the shapes that we created earlier. It's not technically a raising them. It's just that we're painting over with the same color as the background. This is a really quick way of being able to reset your image textures back to what they were when you first created them. 10. Fitting The Map To A Texture: When using a UV map as the basis for your image texture, It's important to note that you can always reposition your UV map on your texture. To do this, we need to go back to our UV Editing Workspace. So let's do an example here. Let's say I wanted to create some shapes. And I'm going to create some red shapes. And I'm going to do so probably he, he, he, he. And here just as an example. So at the moment, only one of these red shapes is visible on our texture. And the reason why is because it's the only one within the confines of the generalized UV map. What I can do here is I can go to my UV Editing Workspace. And I can press a to select my entire UV map. In the EV image editor, we can use the transform tools to grab, rotate, and scale our uv maps. So I can hit G to move my UV map around my image texture. I can also press R to rotate and S to scale. Now at the moment, if we take a look in our free dV poor, we can't even see the texture. If I press the Tab key to go back into object mode, it doesn't even appear to have been applied anymore. The reason why is because in the texture pane workspace, we were always working in text paint mode. So if you want to still be able to view this in the editor, you could go to the texture paint workspace. But because we're in texture paint mode, instead of edit mode, we can no longer see the UV map. So in this example, we would need to keep it in edit mode. However, another thing we can do is we can change our view port shading from solid to material preview. This way, we'll be able to preview our textures in the 3D viewports, even though we're not in texture paint mode. And this allows us to see in real-time the changes being made to our texture as we move our UV map. So I can rotate this reposition and even scale it up if I wish. So then I can begin remapping my UV map to fit the texture that I have created. And you can see the result here in the 3D view ports. 11. Using The Other Brushes: In this video, we're going to be taking a look at a couple of the other brushes that we can use for painting textures. I'm just going to hit Control and Z a few times so that we can reset our UV map, then hit back to the texture paint workspace. And I just want to reset this again. So I'm going to use the eyedropper. Then I'm going to increase the radius with F. Click and drag to get rid of all of the shapes that we created. By the way, if you want you adjust the strength value. You can hold Shift and F. And that brings up the strength value, which you can use your mouse to determine HE. So I could make my string value really small. And it changes the value up here. So now if I was to change my color and then just create my shape, and this time I'm actually using the mouse for this. You can see it's an extremely light shade compared to a full strength one. Now, what we want to do here is we want to take a look at some of these other options. So we have soft and smear, clone fill, mask, et cetera. So let's first of all creates a shape with digital brush, same as before. And I'm just going to left-click in the center. That just creates a circle. And now I'm going to change to the softened brush. So if we just zoom in on our texture and click and drag to create a softening effect. We can see that not much is happening. And that's because the softened brush is actually designed to focus on the edges of what we have painted. So it's expected to soften up any hard edges. But because these are very soft edges anyway, it doesn't appear to be making too much of a difference. So I'm going to do instead, and I've press Control-C one too many times. So I'm just going to correct that very quickly. What I'm going to do instead now is I'm going to go to fall off located here in my Header Menu. And at the moment is set to custom. But we can change it to a variety of different options. One of them is this preset here. So this is our constant preset. And if I just zoom in and left-click on this area here, nothing happens because we have forgotten to change the color. So let's go back. Change the color. And this time left-click. And you can see that we have a much harder edge going around our circle. We can do this in multiple faces and you can see it's the same each time. So with this, if we wanted to soften these edges, we could then use these softened brush. Here, I'm going to use the radius. And now if I just click and drag, it might be difficult to spot. But you should be able to see if I zoom in on the area that I've just covered, that the edges are beginning to soften. Compare that to the areas that have not received the softened brush. You can see they're still hard edges and are actually quite pixelated when we seem to fall in. So with the soft brush, we are effectively able to create a transition of sorts, form one color to the next. Below that we have the smear brush, which is a more aggressive brush. So if I click and drag down HE, you can see we're actually able to push the texture in. So I can click and drag. So push the color of the red circle in towards the sensor. And this is actually a great way of creating some new custom shapes. So now we end up with a bit of a blob here. So let's try this in another square. Select Troy it here. I'm going to increase my radius. I'm going to choose my paintbrush or may sure do that first. And then left-click to create my circular shape. This time I'm going to use the smear brush. And I can also push out my brush as well. Think of the smear blush as a sort of grab tall, being able to grab colors instead of geometry. Not only could I take the red color that are generated and push it out, I can also take the blue and push it in. You know, is that if we just do a single stroke, it sort of fades off. So we zoom in. We get this smearing effects. But if you want to use the smear brush and avoid this smearing effect, you can just do it multiple times in the same area. So we can click and drag, click and drag multiple times. And that's just one way of just being able to sharpen up the area that's created. 12. The Fill Tool: The next brush that we're going to be looking at is the fill tool. Let's say we wanted to change the color of the background for our image texture, form blue to green. We can do this by going to our filter all located here. And then scrolling. And here we can see the active color of the fill tool and change it to whichever color we want. So for example, I want a nice light green. Then with the fill tool selected, all we have to do is left-click in the area where we want to feel. So say if we wanted to just fill in all of the blue, if we left-click here, we're able to fill in most of the areas where we had blue with the new green color. The only exception to this is going to be about here. This is treated as a different area because we have the rich shape that sort of covering all angles. So we can come in and left-click just a change that area as well. So green, the same as the rest of the texture. Again, like the paintbrush. We can choose any color we want. So we could also go with a purple color and change it to purple if we like as well. 13. Make Sure To Save Your Image: Let's say at this point, you wanted to save your work, turn off, and leave it for another day. It's very important to note that images are saved separately from the blend files by default. So one thing that you can do before you turn off is save the image. To do so, go to the Image menu located here, and then just come down to where it says save as left-click, and then choose to save your image. So at the moment we have texture, paint, base color, click Save Image. And that's all you really need to do to ensure that when you come back into Blender, the image will still be here. It's very important to note that the image is separate from the blend file. If you turn off your project without saving your image, then you risk losing the image texture. When you come back to Blender. 14. Moving On To Our Example Scene: We are now going to change gears just a little bit. And we are going to be looking at the process of texture painting, an actual scene that we have created. So at this point, we're going to no longer be playing about with the default keyboard jet. I'm just going to hide this from view. And then I'm going to bring in my sample scene. So I'm going to bring this into view. And you can see that we have ourselves a plane object for lock objects and the tree in the center. So over the next couple of videos, we're going to be setting this up for texture painting. 15. Smart UV Projection: Whereas for our cube object, we were using the texture paint tools inside of our image editor for more complex shapes. We're going to be using the 3D view port for our purposes of texture painting. We're going to start by creating uv maps for each of our objects, starting with the tree. So hit tab with the tree selected to go into edit mode. You can already see we have a part of the tree selected. And this is in fact visible here on our UV map. This is because each part of the tree created in this scene based on a primitive objects. So these three parts are the cones. And the base of the tree is in fact a cube that has been scaled down at the top. What we want to do though, is we want to create a new UV map with all of this geometry selected. I'm going to hit the UK and I'm going to select small hue the projects. This option is perfect for texture painting when you are going to be actually painting in the 3D view port and not in the image editor. If you choose to create your new textures in the image editor itself, then you're going to need to look at a different method of UV mapping. One that will allow you to get a good representation of your model in the UV map. Otherwise, you're not going to know which faces of four which parts of your object. But for us, just click on Smart UV project. I'm going to increase the iron and margin just a tad so that there's a little bit of space in between the islands that we create. And then I'm going to click OK. This, the voids up our different parts of the object that we have created onto our UV map. Let's now do the same thing for the plane object. If we hit Tab to go into edit mode for the plane object, we can hit you. And this time we can just go unwrap because there are only four vertices and a single phase for our plane. So all we need to do is press unwrap and it's going to create our UV map in this editor here. Now to get a better view of our uv maps, we can go to the UV Editing Workspace. And you can see that we have the map of our plane here. If I then select the tree and go back to that, you can see the UV map that has been created for the tree as well. Finally, let's create a UV map for the walks. Now because there are multiple of these objects and they're all going to have very similar textures. One thing that we can do is join these objects together by joining them together, and then creating a UV map. We can apply all of the geometry to a single map that we can use for texture painting. So select each of the rocks, hit Tab to go into edit mode. And you can see that these have modifiers applied to them. They're effectively spheres that have been edited with modifiers. If we hit U, then go smart UV project and OK. You can see that the UV map is actually pretty decent. We have created a load of individual islands that we can use for texture painting. So we're just going to hit Tab. And now we have everything set up in terms of their uv maps for texture painting. 16. Adding Materials To Our Scene: The next step is going to ensure that each of our objects has its own material. We're going to start with our plane object first. Make sure it's selected and go to our material tab. And click New. And this point, and that's all we need to do. We'll add the texture in a few minutes time. Next, move on to the tree and do the same thing. Create a new material. And actually let's name these now. So I'm going to name this as tree. I'm going to name this as grounds. And then I'm going to select one of the locks, click New. And from here we're going to choose block. From there. I want to make sure that each of these walks has the same material as this one, because they're all going to be using the same UV map for detector anyway. So I'm going to select one, change it to walk, change the next ones who walk, and then the last one. So come to these menus, selects walk. And now all four of these objects should have the same material. But if you'll remember, because of how we generated the UV map with each of these objects, they will each have their own space on our texture. So now we have all of the materials applied it to our objects. The next step is going to be to create the base of our textures. 17. Connecting The Base Textures: The next step is going to be to assign a texture to a material with our plane objects selected. Let's go up to the active tall and workspace settings. At the moment, we're not getting the options that we want because we're in the wrong mode in the 3D view port. So now we need to go from objects mode to texture paints for our ground objects. Then we're going to click on this plus button here to add a new texture paint slot and form this list. Choose base color. We're going to keep the name as is ground base color. We're going to increase the resolution by a factor of two, so that we have to 1000 pixels for the width and heights. Keep the color to white. And then select, Okay, that's the first object done. Let's choose the next one. So I'm going to go back into object mode, select the tree, then back into texture paints. And we're just going to repeat this process for each objects. Then we're going to do the same with the walks. So we're going to go into Dupain's look base color. Okay? And in this case, we have applied at the base color to a singular rock. Now, if we were to just undo this and then select each of our four objects, do you think we would be able to apply the same texture map to all four of these objects. Well, let's give it a try. So go Texture paints, add a new texture, base color, cool it, look base color and click. Okay. Now if we go into object mode and select one of these objects. So let's check this walk here. Go into texture paints. We get the log base color here. And if we go and select this one, it's extra pain. We get the same base color texture. So everything is now set up. And we can make double sure of this by going into the shading workspace and making sure that we have the appropriate node connected to the base color. So with this work objects, we have our base color texture connected to the base color of our principled node. 18. Giving The Tree Some Colour: Now let's begin painting in our 3D view ports. We're going to head back to our texture paint workspace. And what we want to do is we want to start off with the tree and then move on to the locks and finish with the plane. Now, at the moment, we are in texture paint view for one of our objects. The problem is if we select the tree object, it adds it to the selection of sorts, but we're still in texture paint PW for our walk. A workaround to this is the buttons that you will see to the side of our objects when in texture paint view. So currently we have this icon here which indicates that we're in texture painful loc dot 0, COO free. If we left-click on the little dots that's next to the tree objects. This will allow us to switch form our mock object to the tree object while staying in texture paint mode. If we select the ground objects by clicking on this option here, then we can move into texture paint view, bought the ground objects. So I'm just going to make sure we're working with the tree. And another thing that I want to do is I want to isolate my view port so that I can only see my tree. We can do this by going into local view. So if I go to the View menu, there's an option here for local view. And if we toggle the local view, which we can also do with numpad and then a forward slash. We focus on the selected objects. Now the reason why this is useful is because it hides all of the other objects in our scene and we only focus on the trait. So what we can do now is we can define our brush. So let's actually start with a fill brush. Define the color. Let's go with a dark green. And then hover our cursor over a part of the objects and left-click. And straight away, we have been able to fill in our entire objects with this green color. Now, as you can see in the image editor, by using the fill tool in the 3D view port, we only fill up the actual geometry. So now we can actually see the base color in behind the UV map. If by comparison, we were to fill in with the image editor itself, it would fill in the entire map, including the areas where we don't have any UVs. Now we can use this to our advantage. So we can, for example, change the base color. And then we can say, change it to a reddish brown and look to change this area here. So the base of the tree. Now if we attempt to do that in the 3D view port, you can see it will change the entire color. However, if we come over to the image editor, we can begin changing the individual islands to that color. And now you can see that the base of the tree has a different base color to the leaves. 19. Using Masks For Painting: Let's now look at how we can add some variation to our tree objects. What I want to do is I want to focus on this part of the object, the very top of the tree. I'm going to do this by creating a mask so that only the very top of the tree will be edited. When I begin painting. To do this, I must first of all, click on this option here, which will enable selection for masking. Now, the selection we make isn't actually made in this mode. Once we have ticked this button, we should go to Edit mode and then select the geometry that we want to paint. So for example, if I just left-click here to deselect everything, and then click on L to select the top parts of my tree. I can then go back into texture paints. And when I do, you'll see that the top part of the tree is the only parts that has any color. Wise effectively done is I have based my mask on whichever part of more objects are selected. Again, if we go back to edit mode, you can see which parts of the objects are selected. So now, if I was to, for example, change the color, which I think I'm going to do this time in my workspace settings. Creates a much brighter color. Let's actually create a whitish gray. Go to my draw blush. Need to remember to change the brush first and then change the color, and then begin just painting at the top. You can see that we're able to paint at the top. But if I was to attempt to, for example, paints down here, you would not be able to see any change on any of the other faces. Now perhaps why isn't the best color for this? So let's just go back to it and then just click and drag down here. And you can see we're able to edit the selection, but we are not able to edit what's underneath. So if I was to go back into edit mode and just select everything, go back into texture paints. You can see that the second cone use to create the tree has not been edited at all. So I'm going to hit Control Z a few times to undo that. And now we know how we can isolate parts of the objects for texture painting. So what we're going to do is we're going to just add a little bit more detail to each of the individual parts. So let's have it so that at the top of our cone we have a bit of a snowy look. So I'm just going to click Rotate and just generates what looks like snow at the top. Then we're going to come back into edit mode. Select the next part of our objects, go back into texture paints and just repeat the process. Just going to go around to create my snowy look. Then repeat the process one more time. At the bottom. Press L to select. Then go back into texture, pane view. Click and drag. Just move around like so, and create our texture. So that's a very, very, very quick example of being able to isolate the parts of your mesh for texture painting and then just creating a little bit of variation. And you can see the effect in real time in the image editor. 20. Blend Types And Gradients: In this video, I'm going to show you a couple of basic techniques to begin mixing up your color schemes for your textures. So far, we've effectively created a base color for our tree, which is this green color. And then we've created this sort of snowy look on each of the cones used to create the leaves. And this has allowed us to create something of a wintry tracing using this object. Now you can go much, much further than this in Blender. For example, you could manipulate the current blending mode. Up to this point, we've only been using the mix blend, but there are actually a load of options for you to choose here. For example, with the mix option, we have our base color. And if we try and just click and just move our pen or our mouse over that color with the same color that we have here, then we get no change in the 3D view port on our image texture. However, if we were to change this blend type to something else, for example, screen, then even without changing the color, we can change the behavior of the brush. So if I now click and drag, you can now see that as I continue to create more strokes, the saturation gets brighter. If I was to change the blend type again to something else. For example, let's go with AD and then go click and drag. We're effectively going to be adding to the brightness of the color with each stroke. Now this looks very similar to the screen option, but actually each of these works slightly differently. If I was to change my blend type once again, it says something like dark and for example, and then cover up my texture. You can actually see that No change this time is occurring on our texture because we can't dark and with the same color. So we need to change the color that we're using. For example, let's go with a yellowish color. Bring a little bit closer to black. Click and drag. You can see it's now beginning to darken the color of our tree. So what I want you to do at this point is to just experiment with the different blend types and see how they affect your brush when you are manipulating or textures in the 3D view port or in the image editor. But before we go, I want to demonstrate one more thing. If you look at the color picker in the workspace settings, you will see that you have the option of choosing a singular color or a gradients. So if we choose the gradient, you can see we get this color ramp going from black to white. Now this is going to be great for those of you who have tablets. So for example, with this black color stop here. I'm going to change this to be a sort of a yellowish color. And then with this one here, I'm going to change it to a sort of darkish green similar to what we have up here in our base color. Then I'm going to change the radius down to 20 and set the blend back to mix. Now if I lightly hover over my texture, you can see that the strokes on generating this sort of yellowish color. But the harder I press, the closer that color gets towards the green. So to make that easier to see, I am actually going to just go black and white because I think that will actually be easier for you guys to see in this example. And if I just tap lightly, you can see that we're getting a whitish color here. And if I press down, it gets a lot, lot brighter. And what we can do here is we can adjust the positioning of the color stops to adjust this behavior. So if I click and drag and bring this color stop in. And then lightly just go over. You can see the color is now much darker. If I really press down on the same stroke, it transitions to one. Now, in a practical use case with regards to our tree objects, what we can do here is we can at the find several different colors by clicking the plus button here to new color stops changing the colors. So we could, for example, start with a green color, then a transition to a yellowish color, and then even a reddish color down here. And here we have several different colors that are associated with leaves as we transition from sum up through to autumn. So now what you can do is you can potentially just create that little bit of extra variation. Your bronchi is potentially. Now this is a very basic example. But as you can see, we're using the gradient to gradually switched to texture over form, this sort of greenish color to this reddish color. So we're going to finish with a mini challenge. And for this mini challenge, if you are using a mouse, I want you to experiment with the blends types in particular, and see if you can create an effects where we start with a greenish color and transition down to a more reddish color towards the bottom. If you aren't using a tablet, then you can choose a different blend type and by all means do so if you wish. But also try and play about with this gradient option and see if you can use the pen on your tablet to try and create this sorts of effects going from the top area down to the bottom. Do that now and I will see you in the next video. 21. Improving Our Textures: So we've played about a bit at this point where the different blend modes, different colors, the Gradient option. And at the moment the tree looks a bit weird. There's a lot of this color banding going on in my example where I basically use the Gradient option to create this or greenish top and transition to the bottom where it's a lot redder. And even where we have the color for the snow overlapping with the color of the leaves. It's very sharp, very jagged edge. So what's the solution to this? Well, we've already covered the solution earlier on. And that is to switch to a different brush to soften brush. So at the southern blush, we're going to be able to soften the transition between our colors. So taking the top of our tree, for example, if we just click or just press down on our mouse and just hover over the areas we want to soften. Then they will gradually transition. And it will just make it you start little bit softer and easier on the eye. Now at the moment, I think my radius is a bit too low for this. So let's bring it right up. And then just click and drag. And that's your softens the loop just a little bit. Let's do the same on the other side. So just click and drag over our texture. You will notice using this softens hold it. There may be one or two performance issues. So that's not actually the video that linda itself just struggling a little bit as I go over my texture with my soften brush. But you can see as we continue to do so, especially where we have the source snowy area up here. The transition looks a little bit more easy on the eye. So just come around here one more time and gradually that should soften all of the areas around. Looks like we've got one more over here. Just soften that up a bit. And then you can repeat this process on the other parts of the tree as well if you wished. So for example, we could just come down here and just click and drag. And then that will just soften up the edges. And this is actually a better example. So you can see here how the transition is being softened going from the snow color to the leaves. We could perhaps do the same over here. So just click and drag. And you can just see the softening here. And just work our way around our texture. Just creating that better look. And if you want to, you can spend a lot more time on this. You can also use the smear tool if you wish to just grab some of the colors and sorts of reposition them as you see fit. The smears who does work really well with the softens Hall as well. So again, play about with the different brushes that you have learned so far. Try and create a look for your tree that is unique to you. And then I'll see you in the next video. 22. Creating A Procedural Brush: In this video, we're going to be learning how we can create our own customized brushes by using procedural textures in our Properties panel. First of all, make sure that you are currently using your drawer. Blush in your tool shelf. Left-click and make sure it's highlighted blue. And then select the texture tab located right at the bottom of this list in the Properties panel. The currents have would appear empty and you can choose between creating a brush and a blush mask. We're going to keep this setting on blush and click New. The first option here is the type, so we can change, form the image or movie type to something else. Now, image or movie is not procedural. It uses an external texture that you bring into Blender. But the other options are procedural. For example, we have blends, clouds, distorts it, noise, magic, marble, noise, born with wood, et cetera. The one we're going to choose for this is Clouds. We're going to create a texture where we can effectively paints the snow drops onto our tree. So we can create some more detail rather than it just being pure white and then into the greenish yellowish color of the leaves. Now, we have the different parameters associated with the texture type that we have selected. For example, we can change the noise basis, which is the method in which these clouds are being generated. So we change this to foreign way F1 for example. You can see we get a slight change in the way the texture will be applied. Based on this preview. We can go with any of these, and these will all change the way in which the clouds are being generated. So to volun, where crack or for example, looks like it could be a great choice for creating a drawing ground surface. For now though, we're just going to go back to Blender original. And the next option here is to type. So currently it's set to soft. And this represents the transition from the darker colors at the texture to the lighter colors. So a soft transition is gradual. But if we go with a hard transition, you can see that the darker colors appear much darker. And if anything, it probably looks a bit more like smaller cloud shapes now, it looks like it actually has some depth to it just by changing this type. We can also define whether or not we want to use grayscale or color for the texture itself. Now there are other ways in which we can control the color values. So we're going to keep this sets a grayscale border texture itself. Below that, we have the size of depth and nabla values. For now, all we care about really is the size. At the moment, the size is too large. If we were to increase this, it would increase the size of the pattern. But what we want to do is we want to go the other way. We want to decrease it so that we create lots of little noise. Now, we go all the way back down to 0. We actually get this sorts of repeatable pattern here. If we have the type set to hard, if we go back to soft, that person disappears. But we still get that texture. But we don't want to sit all the way to 0. We want it to be slightly larger than this. So we're going to set it to a value of about 0.04. We can choose either soft or hard, whichever we want. I'm going to go with soft just for the moment. And that sets up the texture brush. But what about the colors? Well, if you open up the color section down here, then you can see we can't manipulate the RG and B color channels, as well as the brightness, contrast and saturation. However, we're going to keep all of these as they are. Instead, we're going to get control over the colors using the color ramp. So left click where it says Color Ramp. So bring the color interview in the properties panel. Before we manipulate the colors, Let's test this out on our objects. I'm just going to reduce my radius down to something like 80 pixels. Zoom in on my objects. And let's just click and drag. So you can see here, we zoom in. We are indeed getting our noise texture. It is currently based on the color that we have up here. So if I was to just hit Control Z to undo and change this color to whites. Click and drag. And you can see that we have this sorts of overlay effects for our blush and its positioning, this no light texture over our leaves. Now to get a better idea of how this is working, Let's just very quickly manipulate the noise texture itself once again, or the clouds texture, I should say. I'm just going to hit Control and Z to undo that. And let's just increase the size. So we have the black and white values. And if we come down to the color ramp. You will see that with the blank values, we actually have this checkerboard pattern. This represents transparency. When it comes to the white-collar stop, which represents our snow. In this case, if we click it, you can see the bar is pure white, but it's actually divided up into two sections. So the first part of it represents the color that is selected, but the second part represents the alpha channel. If we manipulate this Alpha value, you can see the second half of this white bar becomes transparent. If we click and drag now, you won't actually be able to see anything on our object because both of the colors are displaying transparency. I'm just going to hit Control Z to undo that and resets the white-collar stock back to a value of one. So now if I click and drag and zoom in, we're not getting any black color on our leaves. Instead, that area is transparent. We see the white part of our color ramp because it doesn't have an alpha channel applied. It's currently set to a value of one. So one is no transparency for the Alpha and CFO is full transparency. With this, we can't make good use of our texture. So for example, we can increase our radius and use this to generate our snow texture onto our model. We can go as much as we want. So here, I've perhaps gone maybe a little bit too far. And what you can do here is you can add a little bit of transparency to the y channel. And that just makes it a little bit weaker on the brush. Or you could play about with the strength of the brush itself. So you could reduce the brush to a value of point 2, 8, for example, left-click in various places. And that just creates your little pockets of snow on your texture. Now you can also use actual colors here. So for example, we can take this color stop. We can make it a greenish color, so it's making a darkish green. And then we can't manipulate the Alpha value so that we can see the green. And if I up the strength and begins to left-click, you can see that we get the boat, the white color and also the green color on top as well. In order to make the green more prevalent, we can't manipulate the color stop. So we push it in and scroll up to where we have our preview. You can see we've got more green coming through. So if I push this color, stop all the way over here. You can now see that it's actually more green than it is white. If we try this on our texture, you can see the change that this has on our object. So what you can do here, for example, is you can't manipulate this texture so that you have more snow appearing towards the top. So you bring this color stop all the way to the end. And then you just click and drag at the top where you feel necessary to create your texture. And as you come down, you can adjust, bring this color stop in. And you'll see that we have a little bit of a transition in color. Now that doesn't look very good as it is, but don't forget, you can use things like the soften and smear brushes to transition and blend this altogether. You can also, if you wanted to manipulate things such as your blend types for your current brushes. 23. End Of Class Challenge: Congratulations, ladies and gentlemen, on completing the beginner's guide to texture painting in Blender, it is now time to finish with our end of class challenge. For this challenge, you must complete the following task. You are to texture paint all of the objects in your resources. Dot blend, projects file, wonder we've been working on throughout the class. Things to consider as you complete the challenge. What colors do you plan to use for the rocks and the ground plane? Are all of your models, uv maps, where we use any brushes and which brushes where we look to use to get the results that you are searching for. How can you combine these different tools, like the paint and smear tools to create your ideal look. Complete this challenge, to complete both your scene and the class. Thanks for joining me for this and I hope to see you next time. Hi guys. Just a quick final word for me. Thank you very much for taking part in this class. And I just want to let you know that we release new content each and every week. So if you want to continue to learn with us, be sure to check out our profile page to see the latest courses available from us. You can also type in at Joe Bailey in the search bar when you are searching for new courses. And that will display all the courses that are created by Bailey design. We have a variety of different topics available, mostly relating to Blender. With us, you can learn how to do things such as Scripting python, creating 3D models and scopes, building animations, designing procedural materials, using geometry nodes for procedural objects, texture painting and so much more. So once again, thanks for joining me in this class and I hope to see you in the future. Bye for now.