Complete Guide to Substance Painter 2022

1. Introduction: Do you want to learn texturing in substance painter from scratch? Then I welcome you to this new course, Complete Guide to Substance Painter 2022, where we will be going through the complete process of learning substance painter from a business perspective. And we will be also working on three complete projects. Hello everyone. My name is Andy Keith Robert, and I will be your instructor for this course. This course is divided into seven different sections and has over ten hours of video material. You will be provided with all the resource files that are required to proceed with the course, including the substance painter files, textures, alphas, everything. We will go over all the important tools and concepts and Substance Painter together and nothing will be skipped. This course is aimed at complete beginners. So the only thing you need for discourses, a copy of substance painter. Even if you do not have substance painter, instead of buying it, you can get an educational license if you're a student and get it completely for free. Or you can also get a trial version for 30 days to try it out. Before buying, we will go over each and every step in this course together and nothing will be skipped. The course does not have any kind of time lapses so that you can follow every step easily. In the first section, we will start by focusing on learning the basics of Substance Painter, like the UI basics and navigation. We will also learn about the different windows and functions. In the second section, we will learn how we can import our model from the 3D program to substance painter. Learn to set up a new project in Substance Painter. We will also learn to bake mesh maps. That is a very important part of substance painter. That 3D program that I will be using is Blender, but it is completely optional as you can do the same stuff with any other 3D modeling package like Maya or max, so you can use anything. Also, the course is created in such a way that you can avoid all this stuff directly and only focus on the texturing part in substance painter. Third section is the most important part of our course, as we will be learning all about the important tools and concepts of Substance Painter, we will go over the basics of painting, learn about several types of layers and tools. We will also learn things like masking, smart mask, generate a smart materials, several types of projections and a lot of cool stuff. In the fourth section, after we are comfortable with all the tools and options and Substance Painter, we will finally start working on a project that is our fire extinguisher model. We will learn to texture this model from start to finish. We will use the functions and concepts that we learned in Section three over here and apply it in, in an actual project, we will create several types of realistic materials like painted metal, iron, rubber, plastic, glass, etc. We will learn how we can add things like dust, dirt, color variation, etcetera, what textures. We will also learn about the opacity map that will help us in creating a glass material. At last, we will be learning to add stickers to our model to give it that final edition, fifth section, we will be learning to export the textures that we created from Substance Painter for different programs. In this course, I will be showing you how we can export textures from Painter, blender, and Unreal Engine. But the process remains pretty much the same for any other software. Also, I will also be showing you how we can set up those textures properly in Blender and Unreal Engine so that everything is up and running. In the sixth section of the course, like the fire extinguisher model. This time we will be completely texturing at real model from start to finish. We will be learning how we can use some of our materials and turn them into smart materials. We will also learn to apply symmetry on to our model and learn to paint height information. We will also create various materials and at the end, I had some alphas and stickers to finalize our textures. In the seventh section, that is the last section of our course. This section is for all the bonus content, we will learn to create a realistic wood material and texture. This table completely topics that I was unable to show you in the main course will be added to this section, like use of the MSF channel, anchor points, baking what prediction, etc. This section will be updated for awhile and I will keep on adding new reduced to this. I will also be open to suggestions from you all so that I can add even more stuff to this section that you want to learn. So we will be learning a lot of things. I hope to see you there in the course. 2. Viewport Basics: Hello and welcome. This lecture we will be going over the viewport and UI basics of socialist painter. So to start, let's close this welcome window. And if you are starting off substance painter for the first time, you will find all your windows placed like this. So for me personally first, I will just rearrange them quickly and show you how to do it. So it is pretty simple. You can just drag and drop all your windows whichever way you want. You can just select them and drag them and place them however you like. For me personally, I like to place the assets over here at the bottom, like this. And the properties I like to place over here. Yep, something like this. So that the layers and a texture sets settings are more together because we rarely use the texture sets settings. So it will be like this. Only layers and properties are the ones that are used the most than the shelf and texture set list we really don't need much space for, so I can just list them over here like this. And yeah, I think this layout works pretty well for me. So if you want to copy that or you can just follow all the steps that I did and have your layout, something like this. Or if you want to go for something else, you can definitely go for it. Also, if you feel like you have messed up your layout somehow, you then go over to Window and just select Reset UI and everything would be back to default. So yeah, so currently we don't have any models are predicting our substance painter. So just for the sake of learning, let's open up a sample project. So to open that, you need to go over to File and select Open Sample. And just open up this Mi'kmaq sampled reject. Don't worry, I will teach you how we can import our models and set up our projects and everything. But for now, just to go over all the viewport basics, I have opened up a sample project. As you can see now everything has popped up in our texture cyclists in our layers, and also in a property section. But we don't need to worry about these windows for now. We will go over them in the next videos. For now, let's focus on this 3D window. To move around this 3D window, it is pretty simple. You just need to hold Alt and use your mouse buttons. So to rotate your model in 3D window, hold Alt and use your left mouse button and drag it like this. Rotate your model. You can use your scroll wheel along with OIT to pan like this. And then you can use Alt and right-click to zoom in or out. Alternatively, you can also zoom in or out using your scroll wheel like this, just by dragging it up or down. And if you want to pan, you need to hold Alt and click with your scroll wheel like this, and then drag it. So early, these are the three main shortcuts that you need to learn to move around in Substance Painter window. So make sure to get comfortable with them. So just hold Alt and use your left mouse button to rotate. You can use scroll wheel, like right-click the scroll wheel to pan around your window and right-click to zoom. I rarely use the alt plus right-click. I just use my scroll wheel to zoom in or zoom out. Alright? The next thing is, if you are maybe lost in the window like this, you can just click f. And you can see we will focus over our model. Just hit F to focus. Alright, so the next thing is if you will hold Alt and Shift, then use your left mouse button. You will snap the camera in 90 degrees like this. So it is pretty helpful while working. So just hold Alt and Shift and use your left mouse button. Snap the camera while rotating. Also, if you would have noticed, if you will click any of the buttons, like if I hold Alt, you will see this small window over here which has all the shortcuts written related to oil. So alt plus left is camera rotate or plus middle is camera translate. Similar way if you hold Shift, you will find all these shortcuts that are related to shift. We will learn all these shortcuts like one-by-one as the course progresses. But for now, I'm just telling you all the shortcuts that you need to not overwhelm yourself. If you would like hold control, we will find all the shortcuts related to control. Alright, so now if we will press F1 on your keyboard, you will find a 2D window along with these 3D window, which is basically your UV map of the selected texture set. We can also like paint over this 3D window and also this 2D window. So if you have selected this layer and just select this paint tool, don't worry, we will go over all this in detail. But for now, just select this paint tool and paint like this. You can see we are painting over here in the 2D window. As soon as we paint over here in the 3D. Similarly, we can also paint over here, and it will show up over here on the 3D window. So you can print on both of them. The benefit of this 2D window is if you want to stamp something directly like a sticker on to the UVs or navy if you want to paint like a straight line, like this. If we want to know the shortcut for painting a straight line, we just need to hold Control and Shift. We will go over this later on. Definitely don't worry about that. If we will press F2 again, you will be back in the 3D window. So F1 is for 2D window, F2 is for 3D window. F3 is for just for the 2D window. If you have both opened up, you will press F4 to switch between both of them. Although I don't see the use for this, but yeah, it is there. Let's press F2 to come back to the 3D window. Alternatively, you can also access all these options from over here. As you can see over here, F1, F2, F3, and F4. You can also like if you want, maybe select 34, just the 2D window. Go over here and open 3D in a window like this. I think they use for this is if someone has a two different monitors, they can place the 2D window or the 3D window on a separate monitor and then work over it on there. I personally don't see a use for this as I just have a single monitor only. So I will close this, press F1. Also, as you can see, this particular model is divided up into three different texture sets. We will learn about texture sets in the next video. But just to show you guys, if you will select the body from here, you will see as soon as I selected, the UVs have changed to the body. And if I select the base, we will see the UVs are again change to the base. Now, if I select the body, this time, I can now paint over here like this. You see, if I select the base, then I can paint over here. Also one more thing, the same shortcuts work over here in the 2D window also, hold Alt and use your left mouse button, will rotate it like this. Again, you can hold Alt and Shift to snap them in proper 90-degree angles. I think that makes it easier. You can again hold Alt and use your middle mouse button. Just click it to pan around the window like this. And use your right-click to zoom in or zoom out, or just use the scroll wheel. The same shortcuts that work in the 3D window also work in the 2D window. I will select the texture set, head back again. Now press F2 to come back into 3D window. Alright, so the next thing that I want to show you guys is if you will click over here on this icon, you can switch between the perspective and orthographic view. Like this. Perspective view is the view that we will stay most of our time sin. But orthographic view is like a 2D view for the 3D view. So it sounds kind of confusing, but it is really not. Let me just demonstrate it to you. So hold Alt, shift to snap your camera like this. And now, if it will change from perspective to orthographic view, you will immediately see the difference. So this is the orthographic view and this one is the perspective. You can see the base over here. It looks kind of 3D, but as soon as I shift this to orthographic, it is now completely flat. The whole model is now completely flat. So the orthographic view is basically a 2D view for our 3D model. So now you can hold Alt and Shift and then snap like this. And you can see it is perfectly to D. If you change this into perspective, you will immediately see the difference between both of them. Again, orthographic view is like very useful when we're stamping stickers onto our model that requires a certain bit of accuracy. Perspective you can kind of get a little bit inaccurate. So whenever I am stamping stickers or something like that, I will just move on to the orthographic view. Also, you can switch between both of them by pressing F5, F6, like this. Alright? So the last thing that I want to show you is if you will hold Shift and then use your right-click, you can move the environment lighting like this. So this way you can view your model from all different angles and in a different bit of lighting while rotating, you can also see the roughness and everything properly. It is like a nice bit of a shortcut to remember. So just hold Shift and use your right-click. Move around the lighting this way. Alright, so yeah, I think this much is enough for the basics of the UI and the viewport. We will continue from here in the next lecture where we will learn more about all these windows that are over here. The sheriff, the properties, window layers, texture set, and the texture set list. We will go over everything one-by-one. Thank you for watching guys. I'll see you in the next one. 3. Texture Set List and Settings: Hello and welcome to this lecture. We will be going over texture secularists and Texas and settings in this video, these two windows. So what is the texture? Same texture set is basically the materials that are added by your models in the 3D program you're working like Blender, Maya Max, exit from the materials that are added by U300 models are converted to texture sets as soon as you import them into substance Beta. So to understand this a little bit more clearly, let me show you by an example. Alright, so here I have opened a blender and we have this fire extinguisher model that we will be texturing completely later on in this course. I will be using a little bit of blame NetFlow, these foods to show you a couple of things like how we can import or export from a 3D program. Who Substance Painter and things like preparing your model for Substance Painter. But you can use any 3D program of your choice, like Maya or math. It does not make a huge difference. Alright, so let's check this model. So this model currently has two different materials. If you select any object and click over here on the material properties, you will see this metal material. So this metal material has been applied to few objects over here. And if you select this pipeline thing, you will find this rubber and plastic material which is applied to these objects. So this model currently has two different materials, and let's import this model into substance binder. So you don't really have to follow my steps right now because I'm just doing this for explanation purposes. We will go over exporting models to Substance Painter and setting up projects in the next section in complete detail. But for now, let's just quickly see what happens. Alright, so I have created a new project in Substance Painter and important this fire extinguisher model into it. Otherwise, just quickly pausing the video because I forgot to mention the substance files I was using while I was recording this video. So I am adding this part of the video later on while eating. So to use the substance files that I did in this chapter, you just need to go into your resources files folder that was provided to you with the course. In here you will find every single thing related to the course that I'm using in these videos. So even if I forget to mention something while recording, like I did just now, so make sure to go through this folder and you will definitely find all the files that you were looking for. So for this chapter, if you go into the substance painter files, you will find these two substance files, fire extinguisher one and fire extinguisher do. These are the two substance files that we will be using in this video. Also, if you wish to check out the blender file we were working on earlier, you can also find it over here in the blender file folder. You will find all the files to the goals in the resources file folder. Make sure to go through it properly. All right, now, I have created a new project in Substance Painter and important this fire extinguisher model into it. And as soon as you see over here in the texture set list window, you will find this metal material and the rubber and plastic material that we added in Blender appearing as texture sets. It is pretty easy to understand that whichever material you add in new 3D program, they will be converted to the texture sets in Substance Painter. Alright, so let's look over this window now. You can turn on and off a particular texture set. If you want to work in isolation with this particular texture set only you can disable the metal one, or you can disable this one. Also conveniently you can just click over here. So this is the focus mode. If you select this metal texture set and click over here. All of the texture sets would be disabled automatically as we just have to. So this one is disabled. And if you click over it again, it appears back. Also there is a quick shortcut for this. You can press Alt plus Q. So that is the isolation mode for the texture set. As soon as you select this, you can see the other one disappeared. Alright? Also you can click on this icon. So basically if you have multiple texture sets and you want to just hide them all at once and maybe enabled just fixing a single one. Or if you want to just select, Show, you can select from over here. Also you can invert inverted. Basically if one is hidden and one is visible, if you invert it, it will just flip. These are the couple of settings over here. Also, if you double-click on the texture set, you can also change the name for it. Maybe we want to change the name to like painting method. We have updated at material or texture set to a painted metal so we can just double-click over it and change the name. Maybe we want to remove the eye and just name it rubber plastic. Fair, you can do these things. You can also go over here in the settings section and select the short descriptions. By doing this, you will see this node description written under your texture set. You can just double-click on it and give your texture set some description. So I'm just Writing anything, you can give it a description if you want, but I don't think it is that useful. We can just hide this. Alright, so one more thing that I want you guys to understand before adding materials or texture sets onto your own models is that every texture set has to be UV unwrapped separately. So what I mean by that is if you will just press F1, you will see the 2D view, that is the UVs of your selected texture sets. So currently we are in the painted metal texture sets. So these are the UVs for just the painted metal. If you will select the rubber and plastic one, you will see a different set of UVs, that is for these particular objects that have the rubber and plastic texture said. So make sure you always UV unwrapped all the objects separately that have separate Texas x. Alright, so let's take the example of this model only, although this model can be easily UV unwrapped on a single UE will lead. But because this model has two different texture sets, we need to UV unwrap them separately. So first began UV unwrap the objects that have the painted metal texture set. And then we need to UV unwrap the objects that have the rubber plastic texture same. So we need to UV unwrap them both separately. But let's see, this model only had a single material or a single texture set all over it. We can UV, unwrap it on a single UV only. So let's just quickly see how that would work out. I will move back to Blender. Here I have to click duplicate it, the old fire extinguisher to create a new one. The difference between both of them is one of them is the older one only with two different materials or texture sets, namely the metal and rubber and plastic one. And this other fire extinguisher only has a single material or texture set that is fire extinguisher applied to all of its objects. So let me just help you quickly visualize this. If I go over here in the Viewport Display and change the color of it. Now, these are the colors of the materials. So these all objects are purple. That means all of them have the same material. That is the fire extinguisher one. And this one is for the metal material. All these red objects have the metal material and all these green objects have the rubber and plastic. But now let's quickly import them into Substance Painter and let's see. Alright, so now we're here in Substance Painter and as you can see, we have three different texture sets. Now, if you enable and disable them, you can clearly see what all objects are, the texture sets applied to. Now, if you press F1 for the 2D view, you can clearly see that for the fire extinguisher texture sake, if I select the fire extinguisher texture set, all the UVs are unwrapped on the same UV layer. While for the metal and the robotics, you say they are each on different ones. So I hope my point is clear now, just remember to always UV unwrapped different texture sets on separate UV because different texture sets will have different textures at the end. Okay, so now onto the next thing. If you have like a lot of texture sets in your model and it is getting confusing to select them from the list. There's also a quick little shortcut to select the texture sets fast. So I will press F2 to come back in 3D view. So now to use the shortcut, you just need to press control and OIT. Use your right-click, as you can see over here also, that control plus Alt plus rightly is for texture, sex selection. So do use this, just hold Control and Alt and click over any object using a right-click like this. As soon as I do that, you can see the texture set is selected over here. If I select this object, you will see the metal texture set is selected, and so on and so forth. So this is a pretty handy shortcut that you can use when there are a lot of texture sex in your project. And it is getting kind of confusing. So you've been Buccleuch just hold Control and Alt and select the object that you want to currently paint on or texture like this. Alright, so the next thing is, let's move on to the texture sets settings window, if you will click on over here. There are three main tabs. The first one is the general properties. If you click over here, it is the channels and the mesh maps. Alright, so let's start by general properties. As the name suggests, these are the general properties for the particular texture sake, the name, the description, and the size. So size is pretty important. It is like the output resolution of your particular texture set. So to just quickly show you how this size option works, I will just drag and drop a very simple materials. So maybe we can drag and drop this one. Plastic cables branded drag and drop it over here. Like this. So currently, the texture sizes for k, you might have a different one, but for me it is foci I, if I will set this to a very low number, like 256, you will see as soon as I do that, the textures are really blurry because I've reduced the resolution size for this particular texture set. So now the textures appear to be very blurry. If I keep on increasing it, you will see the textures get more sharper as soon as I increase the size. This option is very handy. Sometimes if you're working in for K and your project is getting very sluggish or laggy. You can decrease the size for that particular texture set and Substance Painter will be like pretty smooth. Again, generally, I suggest you guys to work in maybe 1024 or 2048, only known painting. Forgive because it can get quite sharp in it. I generally like to work into kick. Also one more thing that I want to mention is you can use different texture sizes for different texture sets. So if I just drag and drop it over here, you will see for this metal texture set, the size is still forking. And for this one, I think it is reduced to five. You can have different texture sizes for different texture sets. Alright, so the next step is your channels. We have multiple various channels over here. So these are the, what channels are the texture map that will be your final textures that you can use it like Blender Maya or Unreal Engine. So we have the base color, the metallic roughness, normal and height. But as we go further down the coast, we'll be learning more about various specialized channels and learn how to add and use them. Like for example, if you want to make something look, then you can click this plus icon and add the MSF channel. Or maybe you want to make something or transparent or semi-transparent, then you will be using the opacity channel. There are different channels for specialized things, so we will be learning that later in the course. Also, there is this gear icon we can use to change the format of the particular channel. I don't really think we will be using that because the default values work just fine. So next you will see these couple of options that we will be going over at a later stage in the course because we really don't use them at early stages of learning Substance Painter. Alright, so the next is mesh maps. That is a really, really important part of Substance Painter. Whenever we create a new project, generally the first step that we need to do is start by baking your mesh maps before even starting the texturing process. Mesh maps are basically a set of maps that use receptions painter to perform various stuff like these. Maps will be used when we will be using some of the advanced features like smart mask, smart materials. Later on sections of the course, we start with the baking process. You just need to click on this big mesh maps button. And this window will pop up over here. So we will be going over the whole process of setting up your project in Substance Painter, starting in Blender and learning how to export your model into Substance Painter, then creating a new project and then finally making the mesh maps. So we will be covering all that in the next section. So don't worry, mesh maps are really important, but not that hard to bake. We just need to click a few buttons and we will be done. I think this much is enough for this lecture. We will be going over the layers tab or the Layers window in the next video. So thanks for watching. I'll see you in the next one. 4. Layers: Hello and welcome guys. Alright, so in this video we will be going over the Layers window. So let's fire up the sample project that we were working on earlier. So go over to File Open Sample. And again you will be using the Mi'kmaq project. So double-click on it to open it up. Okay. So before starting, you should know that substance painter works on a layer based system. That just means we stack layers on top of each other to keep on adding details to our material. Like we can start by adding a base layer, then we added dust or dirt layer on it. Then we can add a color variation layer and so on and so forth. It is very similar to Photoshop in that case. So there are a lot of things and options that are in there in the Layers window. Like if you click over here, you will see there are a lot of options that we can go through. So obviously we won't be going over everything that the Layer window has to offer right now. Because if we get really confusing, so we will learn everything in a bit by bit manner so that even understand everything properly. Alright, so let's start with some of the basics. First, let's select this already added basically, and just hit on this delete icon so that you can remove the layer. So basically we have two different types of layers. We have a fill layer and we have a paint layer to create a paint or a field, and you just need to click on any one of these icons. So this icon is for the fill layer, and this one is for a paint layer. If you will click on it, you will see as soon as you do that a fill layer, one is added. So let me show you the main difference between the fill layer and the layer. Alright, so as soon as you click over here, a layer is added to your layer stack. But you can notice nothing happened in a model. And the reason for this is the color and everything is same as the default. So that's why nothing happened. As you can see, we have currently in the hair texture set. I click over here and tried to change the color of the layer. You can see we can easily adjust the color of the hair texture set. Not only we can change the color, we can also increase the metallic value. One is for completely metal and 0 is for nonmetal. Also, we can increase the roughness. Roughness is how much light it reflects. So one is for no reflection and zeros for complete deflections. As you can see. If you hold Shift and use your right-click, you can rotate the light and you can see they are actually reflecting the environment light. Let's increase the roughness. And the next odd, normal and height, but we will go over them in a later onstage, not right now. Alright. So this was for failure. And let me show you what a paint layer does. I will select this layer and hit Delete. And let's add a paint layer this time. So now you can see as soon as you add into paint layer, there are a lot of properties over here that are related to the paint layer. If you will add the philia, the properties are completely different. Let's select the paint layer this time. And also I will delete the fill layer. Alright, so the main difference between a paint and affiliates, as soon as you select the base color and you tried to change the color of it, you can see nothing happens. And the reason for this is this is the paint layer. So what do we do with this red color or all the settings over here? So as soon as you make a change, maybe I said this to metallic, decrease the roughness. And from over here, select the paintbrush tool and try to paint over it. You can see this is the main difference between the branch layer and the familiar. With the philia, you will change the color or the properties of the complete layer at once. But with the paint layer, I can paint like this. Then maybe I want to change the color blue. And now I can paint with blue. I can change the color once again, the green maybe I want to change some of the properties like say, this non-metallic increase the roughness. Yeah, I can do that too. But with the failure, it is completely different. You can see this icon. You can enable or disable a layer from here. Let's disable this one. Again, I will add a fill layer and change the color to red. You can see the complete head is of red color. If I change it to blue, then the color of the complete layer changes. So this is the main basic difference between Fill and paint layer. Obviously, we will go over this in detail in the next sections. You can enable or disable the layers from over here. Let's delete this one. And the next thing that I wanted to show you is if you click over here on this 100 number. So this is the opacity of the layer. I think you understand it, which is pretty much as the name suggests. If you decrease the opacity of the layer will be transparent. And if you increase it to 100, the lead would still be completely visible. But you will notice as soon as I send this to 0, the layer does not completely disappear. Over here you can clearly see that the paint strokes are over here because this opacity channel or opacity, because this opacity thing over here works connected to this drop-down menu. So what is it exactly? So currently we are in the base color. So if I set this to 0, as you can see over here. Setting the opacity of 0 to the base color channel. So what I mean by that is basically only handles the color information. So if I set this to 0, the color information is 0. That's why the whole layer is black and white. But if I set this to, let's say a 100 again, and I change the channel from over here to metallic. And now if I degrees these two are 0, you will see the metallic properties of these paint strokes are being reduced to 0 and they are now nonmetal. If I set this to 0 and I go back to base color, and I sent this to 0 also. So now you can see the latest completely disappeared. But still if you see over here, you can see the roughness values are different. So if I go over here and the roughness channel and I degrees this to 0. So you can see the roughness is also disappeared over here. Like it is a pretty good thing to know that this opacity thing and this drop-down over here works connected to each other. So let's take them back to a 100 and the metallic also 200. Let me show you what is the use of this height thing over here. While selected this paint layer? Let's set the height value to 0.5. Maybe. Try painting. And you can clearly see that the paint strokes are looking as if they are elevated because of the height value we have provided. They are not like actually not elevated in real, but it is seeming as if they are elevated. If I set the height to a negative value. So it will give us an inverted effect as if our brushstrokes are going inwards into our model. It is like a really good thing to have. We can give heightened four to all our models using different stuff. Obviously, we are not only restricted to this pain restaurant or leak. We can go over here in the brushes section of our shelf. Obviously, this is a little bit out of topic for this video, but let me just quickly show you. I will change this default brush to brush. And you can see now I'm painting some kind of damage to our model. If I decrease the height to negative value, I will be doing it inwards. It is a pretty nice thing to have, but obviously I won't go more in detail because already we are a lot of off topic for this video. So let's come back to it. I will delete this layer and set the drop-down menu back to base color. Let's see. The next thing that I want to show you is if you have multiple layers. Obviously one more thing, if I change this color to red, you can see nothing happens because this layer is at the bottom. If you remember the substance, painter works on a stack based system. So if you move this to the top of the stack, then only this layer would be visible. Otherwise, any layer which is at the dog wouldn't be visible. Next thing if you want to group three layers, like these three layers, you want to group them into a single folder. You can select all three of them. And now there are three ways to do it. You can just hit right-click and then group layers. You can see this folder is created. So that makes it a little bit convenient and organized. You can rename this folder to anything. Another way to do it wouldn't be good. Just select all three of them and then press Control G, like this. And the last way would be to use this icon over here, just click on it. I had a group and now select all three of them and drag and drop them over here. This way you can create groups for multiple layers. Okay, So for the introductory video of the Layers window, I think this much is enough. Obviously, there are a lot of things that we need to discuss more about the Layers window, like you must be wondering, what does this drop-down menu didn't. So these are like the blending modes. If you have worked with Photoshop before, obviously you would know about them. They work in a similar way as the Photoshop ones. So we won't be going over these things are this menu or this menu right now, because this section is just for the introduction of all the main windows of the substance painter. In the third section, we will be going over all the tools and the functionality of substance B into in depth. In that section, we will be going all over these properties and everything related to the properties windows, the Layers window. For now I think this is enough. Let's delete this folder. And before ending the lecture, I just want to quickly show you one more thing. If you go into your sources folder and open up the substance painter files and open up this drill underscore final. Alright, so now it is opened up. So this is another one of the models that we will be completely texturing in this course. And the reason I wanted to show you in this video is because this substance painter file is the completed file for this particular model. And I'm done with all the textures. So if we will see you over here in the Layers window, I have properly organized all the layers into proper folders. Like this plastic glossy stain is for this. Material if you will just disabled it, wait for it to load. You can see we have to wait a lot so that the texture is set so that it is a little bit more faster. Yeah, I think now we wake up. So you can enable and disable it and see this yellow one is for this bottom folder. This folder is responsible for this material. Over here. It is the same plastic material, but it is a black color. So I made it in a different folder. The iron material over here on the drill and on all these nuts here, the rubber material for the grip and everything, and the height info. It is like a little bit of advanced stuff, but we can also paint all these grips and everything using our paint brushes. So yeah, that would be something to do when we shrink. This is pretty cool. And all these stickers and the alphas that I use. So you can see them over here. So as I was talking, the substance painter works on a layer based system. So let's dissect this particular material over here. I will disable all the layers. And you can just see how the layers work if I enable this base. So this is pretty much just the yellow color with a little bit of reflection, nothing else. Then what I did was I added a little bit of dust as you didn't see, deviate a little bit of more realistic feel. I did not rename this layer of leaves me with these two edges. Because if we enable this, you will see it is a little subtle, but still adds a lot to the material on all the edges, you will see a little bit of discoloration or fading away of the color over here. Then there is some kind of color variation over our model. Then for the next layer, I will just quickly zoom it in over here because this bumps layer is fairly certain, it will just click over here. You check the layer data. It just consists of height value and if you will enable it, I don't really see any change. Let's set the texture size two foci, the details on this layer are really subtle, so I think we will need a bigger texture size to showcase them properly. So I will take it two foci. Also. I don't really know if it would be visible to you in the video, but I'm pretty sure it wouldn't be visible to you in your own files. Alright, so I think it is pretty visible now. Enable and disable it. You will see these small bumps over the surface of the texture to give more detail to our texture. Obviously, they won't be visible from far away, but as soon as you zoom in, you can clearly see all these bumps all over our plastic material. Obviously that adds a lot. And the last layer is basically your first layer. Add a little bit of more dirt and some color variation. As you can see. We added different layers on top of each other to create a final realistic looking material. This is how stuff works in Substance Painter, you, if you want, you can dissect the rubber material, is disable everything. So this was the base, then a little bit of white overlay or white color to make it feel as if the rubber is used already. And this is like the sharpen filter which we will discuss later on. What are filters? This is roughness variation. So this, as you can see, adds a lot to the material. Before this, the whole roughness of the material was pretty much the same. But as soon as we add this layer, you can see it adds a lot to our material and it makes it look even more realistic. A little bit of edges, stuff over here as you can see some damage, some discoloration. And the last one, some more dirt and stuff just to make things a little bit more finalized. Yeah. I just wanted to show how things work. Obviously, we will be creating this complete texture or for this model. Furthermore, in our course, I hope to see you there. It will be a lot of fun. Okay, so thank you guys for watching. I'll see you in the next one. 5. Shelf and Properties: Hello and welcome guys. So in this lecture we will be going over the assets or the shelf window and the Properties window over here. So to start, let's open up the Mi'kmaq sample project. Once again, go over to File example DoubleClick. Alright, so this big window over here at the bottom is basically all your assets. This is all the stuff that substance has provided to you. We can share your models with. And trust me, there are a lot of cool things in here. But obviously it is not limited to that only you can add your own stuff over here like custom texture, brushes, materials, etc. We will go over that later on in this video only how you can import stuff into the shelf. But first, let's get to know the shelf window a little bit better. So if you see these icons over here, these are the different types of things that the shelf is divided into. So currently we are in the materials section or the base materials. The next one is smart materials. Then we have smart masks. And after this, we have filters. Then the brushes, alphas, textures. And the last one is environment. So you can go to the shelf display. It is divided into several different things like materials, smart materials. And yeah, if you will click once again on the selected I can, for example, we are currently in the smart materials section. I click on this icon once again. Now you can see the complete library all at once without any filters. So this is like all the stuff of the library, all these things in just a single window league. So just click on any of the icon once again to view that particular stuff. Like if I click over here, I will be back into waste materials section. Alright, so before getting into more about the shelf window, Let's get to know these things a little bit. So first, we have base material and smart material. You would think what is the main difference between the two? So it is very easy to understand. This material is basically just a single layer. So let's just drag and drop any one of these over here. Maybe I will draw this gold pure material. So as you can see, as soon as I drag this Goldberg material onto the head, now the complete Hades of gold Muskegon, and you can see this layer over here. Let's select this layer and delete this one. So we have this one single layer of gold with all the settings already done. You can change them if you want, however you may like. Alright, let's disable this now and check out the smart materials. In the smart materials section, we have this gold damaged smart material. Let's drag and drop this and see what happens. So as you can see, this one is a lot different from the earlier one. This one is like a complete folder with multiple different layers. So we have the base layer that is same as the gold pure, then we have some. If it's green, you can enable and disable it. We have roughness variation. We have all these different layers on top of this gold pure base material to make the material realistic. So the basic difference between the two is that the base material is just a single layer with no added effects over it, or adding layers of different types of things like edges, roughness, and et cetera. And smart materials is like a set of different layers that make the material look realistic. So let's just delete both of them and try something else. You can try any of the smart materials like this problem. You will see all these edges and everything make the material realistic. So this is like a smart material that has multiple different layers. If you go back in the base material, you can drop any layer you want. It will be just a single layer only. Alright, Next, let me just show you what a smart masks. So obviously you don't know about masks right now, but just to show you a little bit what all things you can do with Substance Painter. Let me just quickly show you. First I will go back to base material and let's add a goal. We all material again. So now let's say I want to add a little bit of dust in this gold pure materials. So what I will do is I will create a new fill layer. If you remember, we can create a fill layer from this icon. I will set the color to black. I would give it a pretty rough value. Next, I will go into the smart math section. You can see all these different smart mass like desktop illusion does. Lastly, the soft. So let's write this surface and drag and drop it over here like this. And as soon as we do that, you can see how this film is not dispersed into like dust all over the bold girl material. Like this. We can remove this mask and we can try something else, like the dust soft. See how this smart mass work. Obviously, as I said earlier, if you don't understand all this right now, it is completely okay because right now I'm just demonstrating the different capabilities of substance. We will go over all these functions and features in detail in upcoming sections. So let's move further. And the next we have filters over here. So let me quickly show you what we can do with these things. I will delete both of these previous layers, and I will show you the use of figures by maybe an example. So first, let's move back to base material. And I will drag and drop this one over here. Like this. Let's move back to filters now. I will use the blur filter. What this filter does is basically as the name suggests, it will bleed over your texture. So the userFilter, you just need to select the layer, click over here and select Add Filter. As soon as you do that, you will see this Properties Filter over here. Now you can drag and drop the filter like this. And you will see as soon as you drag and drop the blur filter. We have it over here and now our texture appears to be blurred. You can set this to 0 and keep on increasing it. This is how filters work. Let me show you by another example. If you just remove this filter and let's drag and drop this one. Hsl perceptive. Using this filter, we can change the color of our already added texture. So maybe we don't like this red color. You can change the hue, completely changed the color. We can also increase or decrease the saturation and lightness. That is the lightness or darkness. It, if you increase it, it will add whites and if you decrease it, it will add draft. Filters are really good way to enhance the texture even more, again, we have a lot of windows with us over here, but we cannot go over each and every one of them right now. But if you want, you can definitely experiment with this a little bit and try out different filters. I will move further and quickly go over the rest of the remaining ones. So let's delete this older layer. And the next, as you know, is brushes. I've already gone over this ones, but let's add a new paint layer. Scroll down and change the color to maybe glute. Now, as you remember, we can select any one of the brushes and you can just directly start painting. You need to just double-click on the brush and that particular brush would be selected. And you can see each bridge has a different feel to it. So you can again experiment with this and see how each and every workout. Obviously there are a lot of them which even I haven't used. I do have some of the go-to brushes like these dots. You can try out and see which one works best for you. Alright, let's move next with lead. To go back to your basic brush, you can select any one of these basic hard, basic soft. So we go back to basics soft. And let's move next to the alphas section. So alphas are pretty easy to understand. You can consider them as stickers. So the white parts get painted on and the black part gets ignored. The reason I'm telling you this is because if you want to create some of your own Alphas using Photoshop, you can easily do that, is makes sure to remember the white part gets tamped down or gets painted on, the black part gets ignored by the Substance Painter. To show this in action, the brush give it any color and just double-click on any of the alpha you want. So maybe let's select this one. And as soon as you do that, you will see over here, alpha is selected. Obviously, as I said, we will go over this in detail. But right now, you see over here, if I stamp this, I can paint this alpha and using my brush. If I want, I can change the color, give it roughness value, give it height, and again painted. And you can see, you can double-click on any other alpha. And you can see we are painting that particular alpha as a sticker. This is the basic use for it. Next, again, let's quickly move further. We have textures. So textures, obviously first I will delete this older layer. If you will scroll down in the texture section, you will find a lot of these black and white maps often named with grunge. There is like a really important use for this, which we cannot learn right now. First, we need to know what masks are. So after we have learned about masking, we will learn about all these grunge maps and how to add them. That is for later on part because it is quite advanced. But if you want to add some of your own texture, I can show you how to add them. Let's say you imported your texture into the shelf. You can just go ahead add a fill layer. And let's say we will drag and drop this one. You can just drag it and drop it on the base color. We have our texture. If you want, you can increase the tiling from over here or the rotation. So all these settings, these are pretty self-explanatory. But again, as I'm saying, again and again, we will go over this in detail in this section three of our course. So let's quickly delete this and move over to the last one, that is environments. So if you remember I told you about a shortcut, if you hold Shift and use your right-click, you can rotate the lighting. But if you want to change the lighting, you can come over here in the environment section and just drag and drop it like this. And you can see our environment lighting has completely changed. Hold Shift and use your right-click, rotate it. And you can just write any one of these. You can use any one of them, which you might like. I generally use the default one only because I think that one works the best. So I will just drag and drop this panorama. That is the default one over here once again. And yeah, alright, so now that we have learned all about the different sections in our shelf, Let's come back to the base material. So now let's learn how we can improve our own assets, like materials, brushes or textures and the shelf. So in Substance Painter, there are multiple ways through which you can import anything into the shelf. But by far the easiest one and the one I use the most would be to open that particular file in file explorer is going to your resources files folder. Double-click on it and you will find this Textures folder. Again, open it up and there are multiple textures that I've created to make it easier for you guys when you will be texturing our main projects, that is the fire extinguisher and the drill. Let's import any one of the texture. So I will select this devolve logo and drag and drop it on the shelf. So it is that easy. Just select the particular file and drag and drop it over here like this. As soon as you do that, we will see this window pop up. So now what we need to do is, as you can see, it is undefined written over here. So just click on it and make sure to select this as the texture because we are importing this particular file as a texture and not as the environment colored or Alpha I will select as texture. Next thing you need to do is you need to select where you want to embed your resources student over here. So here are three options. The first one is the current session. So let me tell you the difference between all three of them. So what current session does is it will import your file to your current session, then it needs that particular file will stay in the shelf for as long as this current session of Substance Painter goes on. If you will glow substance painter, the file would be removed from the shelf. The next time you, Leo Burnett, The next is you can invoke this file, this particular reject. That means despite would show up in the shelf for this project Totally and in art is that is this week my project. If you create any new project, then you won't find this file in the shelf. And the last one is you can invoke the asset to your own library of assets. That means this particular file will stay in the shelf forever and you can use it on any project that you may like. For this file, I will just select project and hit Import. As soon as you do that, you will see your file is imported over here in the texture section, because obviously we selected as textures. So now after importing, you will notice that you cannot see any other assets except the textures. If you click over here, you will see everything is blank. And the reason for this is because the literature search query applied over here, what you do is you can just click on this cross and remove this. Now you will see all back over here. Also I mentioned there are some other ways to import assets and Substance Painter. One of them is clicking on this plus icon over here. Click over here. Then you will see again this window pop up. Then you can click Add Resources from here and then navigate to your fine. So let's quickly do that. Maybe we can import something else. Let's import this alpha. This alpha makes sure to select Alpha over here. And I will import the resource to this particular project only leads to select project and then hit Import. Now you will see it over here. Now we have Alpha search query for this, remove this filter. When another way would be to just go over to file and hit import resources. But I rarely ever use this. The most easy one, we're going to just drag and drop all the fights. You can also do multiple files at once. Next thing is, you can click over here. So as you can see, currently it is all libraries. But if you will click on this arrow, you will see all the different options you can select project. So you can see there is nothing here because we haven't imported anything into the base material section for this particular project, but we haven't voted and alpha. And also these are all the big mesh map texture, so ignore them. We have this texture that we just imported began again, go over here, select Starter assets. So start our assets is basically only the substance acids removing all your own imported assets. These are only the assets that are provided to you by substance. And the last one is your assets. These are the assets that you have imported yourselves and will remain a part of your shelves permanently so that you can use them on any project you like. Alright, so let's come back to all liabilities and there are a few more things about the shelf that you must know. If you will look over here at the bottom, there are a couple of buttons over here, so let's talk about them now. One of them is this one filter by parts. So if you click over here, you see this list pop-up over here. So this list over here is kind of similar to all these options in here, but this list is a little bit more extensive in the number of sections. So right now you see most of the options are grayed out over here and only materials is visible. That is because we are currently in the materials section of the old libraries. So as I mentioned earlier, you just need to click on this icon once again to view the complete library all at once. Just click over this icon once. And now we can view the complete library all at once. And you will see all the options are now visible and you can easily select each one of them and respected things in it. So as I said, this list over here and these options are kind of the same. But you see, if you select alphas from over here, you can only view the Alphas. But in this particular list, even the alphas are divided into a lot more different sections like the basic brush settings, including, so you can easily go through them without having to search for a particular Alpha-2 much you can easily look for it from here. Even in the materials section, you can see there are a lot of different sections. This list is quite useful. To use it. You just need to click over here. And let's close this one. Come back to at all libraries over here and select all libraries from here. And here. Now we can disclose this. The next button over here is saved searches, so it is pretty handy one and very easy to use. Just click over here and you will see this pop-up. Currently, there are no searches over here, but here you can save a particular query that research often so that it's easier for you to come back to it. So let me just show you how we can do it. For example, let's say I search for food over here. And I want substance painter program to remember this particular query so that I can come back to it. So just click over here. And now you will see this all good option is over here. So now let's say I'm in my base materials. I quickly want to open up all the word related things. So I will just click over here and click on this. You see immediately this pops up and I can access all the wood related materials and everything. Yeah. So let's go with one more example. Let's search for plastic and live over here. And you will see this plastic problem over here. Now we can just easily go through all the Save Searches one-by-one. Say, I think this button is also pretty handy. The next ones are these three buttons over here. So this one we have already talked about, this one is for importing resources. This one is also kind of useful. Let's say I searched for something like, again, let's search for goods over here. But now I want this particular instance of shelves to open in a different tab. I will just click over here. Now you see we have this old word tab as a different tab and we have our original shelf next to move the search from over here, and we have a shelf over here. And this tab has a different tab. You can just pop it out of over here and basically be somewhere else. This way you have like maybe you use something quite a lot so you create a hidden in different dab for it so that you can access it very easily. But let's just close this for now. This way you can just open anything. Maybe you clicked on plastic, then click Go here. The plastic materials or a different tab so that you can easily access them. These buttons are useful and it is good to know about them. Last one is it just resets all your query. So maybe this is over here. You can just click over here and we'll reset everything and you will be back to your old libraries. So yeah, I think this is it about the shelf window. We are done with it. I will just turn this, save searches but then off because I rarely use it. Next is the Properties window. In my opinion, I think the properties window is the most important window in Substance Painter, but there isn't much to tell about it from an introduction point of view, because there isn't much to it except of this new learning. All the properties of different tools and layers, which we will be going over anyways in detail in the later sections, you can select any tool from over here, like the paint tool or the eraser tool, or the prediction blue maybe, or maybe you can select any layer from here. Maybe you added a fill layer. All the properties related to it would appear over here in the Properties window. So obviously we cannot go over each one of them in this video. So let's just go over some of the properties of the paint tool. I will add a paint layer over here and select the Paint tool. I will just be going over some of the basic ones. So the first one we have over here is size that is pretty self-explanatory. If you increase this, but you will increase the size of the brush over here. And if you decrease it, you will decrease the size. Right now if you paint, you can see we are painting nothing. The reason for this is the color of our brush is same as the color of the head. So let's just change it to red. Now we can easily paint like this, can increase the size and paint however you may like. Next, I think we have stroke obesity. So stroke opacity is basically the transparency of the stroke. You can see the preview over here. So if you set it to 0, you can see the rest stroke is invisible. Now, if you set it to 25 per cent, we are now painting at twenty-five percent opacity. We also have spacing. Spacing is basically, you will see the preview over here and you will understand what is it when you will increase the spacing, you will notice now the brushstrokes are spaced far away from each other. And as you keep on increasing the gate further and further, that is spacing, you can paint now a bunch of dots spaced evenly between each other. Because the spacing is 28 is so low that we do not even see the dots and the paint in a continuous motion. But if you increase the spacing, you will see all the specific dots like this. Next we have over here is angle. So if you try to change the value of angle, you will see nothing over here. And the reason for this, every single one of our brush stroke is just a single circle. And if you change the angle, nothing really happens because they are rotating among themselves and it is not really visible. So to visualize this particular property, Let's go over here in the alphas section. And I will select this particular arrow alpha. So double-click on it to select this. Now, if you increase the angle, you will see it is rotating over here. Pretty self-explanatory. Again, let's set this back to 0. And when cooled it, a property that we have over here is followed. But if you've enabled fall apart, you will see now if you start painting. So now you will notice that the Alpha is following the path of a brushstrokes, which I think is pretty cool and it is really useful in some use cases like when we are grading stitches for fabric. We can use it over here. Next we have jittered over here. So jitter is basically to add randomness. If you increase the Size Jitter, you will see now, some of, you will see now, some of you will see now that some of the alphas are too big. You will see now. You will see now that the size of all the alphas are, the arrows are different. And we have added a bit of randomness in the size. So that is Size Jitter. If you increase the angle jitter, now they're all at different random angles. If you increase the position. Now they are all at random positions. So yeah, it can be useful sometimes when we need to print something like dirt or dust. We also have flow, but it is kind of confusing to understand it first, let's remove this arrow from over here and select our old shape Alpha. Just type in shape over here. And select this shape Alpha, that is the default one. I will set this back to 0, angle back to 0 and position also, let's set the spacing to 20. So the flow and stroke opacity are kind of similar. But let me just show you if you degree the stroke opacity, you will see the stroke completely goes transparent as I set it to 0 slowly. But as I decrease the flow value, you will see that the brush stroke starts to get transparent at the edges first and then at the center. So I'm hoping that you are able to visualize this, how the flow value works. As soon as you decrease it, it starts to get a little bit transparent over the edges. And as we keep on moving, it moves towards the center. And then the brushstrokes gets completely failed. While in the case of stroke opacity, it is just uniform all over. And as you decrease the stroke opacity, it will get transparent as you set it to 0. But the whole stroke would get transparent as a whole. Whereas in the case of flow, it starts with the edges and then moves towards the center. So yeah, it is kind of a weird property to understand. I rarely use the flu, but it is nice to know what it does. So basically the flow Jitter, if you invest 200, you can see now that your brush stroke has different values of flow at different points. See how it works in this way. Let's see what we can go next. For now. I think these all properties are enough. The rest of them, these alignment back face and the alpha stencil. Everything remaining, we will go over it properly when we are studying about the paint tool as a whole. I think this much is enough for this video guys. Don't honestly, we can go on and on by checking out different levels and layers and all their properties. You can select each and every tool and it will have a different property over here. You can even select a different layer, like a fill layer, and it will have separate properties. We will go over each one of them in their respective sections. But for now I think this much is enough. Thank you for watching. I'll see you in the next one. 6. Display, Shader and History: Hello guys and welcome to the last lecture of this section. In this video, we will be going over the remaining windows, which are not quite visible at first. But if you look over here in the corner, you will find these four buttons. So these are for your display settings, shader settings, history, and logs. So to start off, let's just quickly open up the Mi'kmaq sample project file, open sample, and open up being quite alright. So to start off, we have the display settings. You can just click on this icon and you can just move this window anyway, you like if you want, you can dock it over here anyway you want. But I think it is better to just keep it over here only. The first thing is environments. So as I told you, we can change the environments from here in the shelf. You can just select them and drag and drop them like this. Wait for a second to load here, it is done, but also you can do it from here in the display settings. Just select the environment map from here. And now you can change the environment map lighting from over here. Also, we have a couple of more settings like you can increase the environment opacity so that now it is visible. The reason it is so blurred is because we have the environment blurred, set to 35, which we will set it to 0. So now we can see the environment that is currently being used by Substance Painter. If you change it over here, it will be visible. This is the environment blur and also we have exposure. So increasing the exposure will increase the brightness of the environment. But I suggest keeping it at default only. So next we have rotation, if we will increase the degree that you will rotate the environment, which can also be done by holding Shift and using your right-click like this. So now let's just set everything back to normal. I will select them line. I will select the environment map I spend Rama over here, set the opacity to 0. Exposure also to 0. The blood was at 0 only and rotation can be anything, it does not matter. Yeah, next two shadows over here. So if you will enable this, you will start to see shadows linear model, where it's self-explanatory. But I highly suggest you disable it at all times because it can mess up with your textures. Because let's say if you are texturing at the back of the head, you don't see anything because the shadow is covering everything. So you cannot paint properly, you cannot see your textures properly. It can mess up with your texturing process and cause them to look very weird. So let's just disable it at all times. You can maybe enable the shadows when you are done with the texturing to just see how the loop on your model, but rest of the times to disable it. You also have this competition mode that is for the quality of the shadows. If you increase it to intensive, the quality of the shadows would be better. And the last one is the opacity. You can increase or decrease the opacity of the shadow. Alright, so let's save it now. Next we have the camera settings. You can change things like focal length and field of view like this. That is about it. Next, we have post effects if you will enable both defect, there are a lot of stuff that you can do. Like you can enable their connection and increases or decreases saturation. I don't think it is quite visible. So let's first add a material to our model. Let's use, again. If I increase the saturation, you can see how it changes the contrast and all those kinds of things. Next, you can also add stuff like Vignette. Vignette is like darkening of the corners to create more focused in the center of the screen. There are lots of stuff. We also have glare. Glare is like the Blue Host effect. If you will rotate the light you can see over here. This is the glare effect. These effects are like just used to make the model look good. Then we have tone mapping to adjust the exposure and everything. So all these things add a second cause you to create disruptions in your texturing process. I highly suggest you rarely turn them on because I really don't see any use for them exactly. But we will be using tone mapping later on in the course to improve the colors of the substance painter even better, to make them more accurate for other programs. But that is a different thing. So I will disable the post effects now. Next is temporal anti-aliasing. So you can enable this one, because if you disable this, you will see all these jagged edges on the corners of your model, at the edges over here, over here, you can see all of them. If you will now enable this, you will see all of them have now disappeared. You can also increase the accumulations to improve the quality of anti-aliasing. But yeah, I think 16 is fine. It works perfectly. All right, next we're subsurface scattering. But to activate subsurface scattering, you need to have subsurface and new models. So subsurface scattering is like a scientific phenomena. I don't know the exact definitions, but it is like when light, when it creates two objects and kind of stays inside it and creates like a glue like effect, like for example, in candles or in human skin around the ears when light is around the ears or are in the leaves of trees. That is subsurface scattering. If you add that in your models, you can enable it from here to check that out. Next, we have color profile. Through here we can change the color profile of Substance Painter, if you will enable this, you can see everything goes. Readied up. But now you need to select the profile from here, like maybe we can say the ECS, because Substance Painter works in linear color space. So as soon as you do that, you can see how the colors are not very saturated and popping. You will disable this and you can see it looks really flat. So I will show you how to do this exactly how we can achieve the ECS color profile and Substance Painter. But for now, let's close this out and disable this. Alright, so at the bottom, if he will come over here, you have the Show Mesh wireframe. So now it will enable it. You will see the wireframe of your model like this on top of it. You can increase or decrease the opacity of it are also change the color. Lastly, we also have this grid enable this, you will see the grid on all different axes. Again, we have the opacity for it. But yeah, these settings are additional settings which are not really related to the texturing part of the substance painter. But yeah, they are good to know. Some of these I've skipped out because like this one, hide stencil when painting because like right now we don't even know what sensors are. So when we will be going over census, we will cover these settings. Alright, so I think this is it for the display settings. All right, So next we have the shader Settings tab. In this tab we have all different kinds of presets of shaders that are provided to us by substance. We have all these shaders over here, but I rarely ever use any of them. Like most of the times, I will just use the default one that is this ASM metal roof. And the only time I have to use a different shader is like when I have to use the opacity map because we cannot use opacity maps on the default one. So we have to change it to this one. This one over here, PBR metal roof with alpha blending. So this one over here has the support of opacity maps. So yeah, besides these two, I rarely ever use any one of these, like display or daughter to whatever it is. I just use the default one. And after that I sometimes use this one later on in the course when we will be texturing our fire extinguisher, we will use opacity maps. So for that we will use this shader PVR metal roof with alpha blending because we will be adding things like glass. So for the glass material to work, we need transparency. So you have we will be using opacity map. So yeah, besides that, I think it is best not to mess around with the options because I think they were best at the default value. Next, we have the History tab over here. So all our actions that we perform in substance painter would appear over here. Alright, so let's say I will disclose this for now, or maybe we can just move it over here. I will select this layer and start painting. And you can see as soon as you do that add stroke is written over here. We will do one small upstroke is written again. The reason we're not seeing our paint strokes or because the layer is at the bottom, so let's move it at the top. Yeah. As soon as you do that, you can see that over here move layers has appeared. So all the actions that you perform appear over here in the History tab, I think now it is very clear if you will add a fill layer, you see, if it will select any of the action. It will take Substance Painter to that particular step. As you can see. I think this is a very handy tap and that is the complete use for it. I will disclose it now. The last one we have is logs. Logs basically has all the important messages or errors related to substance painter. You can also right-click and clear all of this. Let's just close it for now. Alright, so with this, we are done with the first section of our course. In the next section, we will go over how we can do better model too important to Substance Painter and things like baking HashMaps and much more. So I will see you here. Thank you for watching. 7. Exporting your model into Substance Painter: Hello and welcome to the second section of this course. In this section, we will be learning how we can export our model from blender to Substance Painter. Then setting a project in substance being done and making the mesh maps and things like that. So as I mentioned before, that I will be using Blender as my main 3D program. But obviously you can use any one of your choice, like Maya or max, because the steps remain universal. Alright, so I've opened up my fire extinguisher underscore, start blend phi. So you will find this file in your resources folder. So just open it up in the blender files folder. You will find it over here. So just double-click to open it up. Alright, so as you remember, we were working earlier in this file. So we have these two different fire extinguisher models, but this second one I just created for demonstration purposes. So we don't really have to use this one. What you can do is you will find this collection over here. So just disable it. The fire extinguisher underscore test, we will be just using this collection. Alright, so now let's go over the complete process of exporting from blender to substance painter in a step-by-step manner. So obviously the very first step would be to complete the modeling of your assets. Because once you take the model into painter and start adding textures and everything, it can get difficult to make changes to your existing model or add something new in the modeling part. So make sure you are happy with the modeling before you start with the actual texturing process. For this course, obviously, I'm providing you with all the models so that we can put all our focus into texturing. And we don't have this banner time on modeling stuff. We can forget about the first step for now, but always remember it when you are creating your own assets to finish with the model first and then only start with the texturing process. Alright? So the next step would be to decide on the materials for your model. If you remember, I mentioned in the first video that the materials you add in your 3D program are converted into texture sets in Substance Painter. So make sure to add them efficiently. Also don't add a lot of materials because it would mean there would be do any texture sets in substance painter. And it basically means that there will be a lot of textures. So if you're working on something like a video game, it can cost you a lot of memory. So try to keep the materials to a minimum. For this particular model. As you already know, it has two different materials. We have already worked with this. So the red colored one is the metal material and then the green one is the rubber and plastic one. Also, I could have easily done the texturing of this complete model on a single material. But just for demonstration purposes, I have added two materials so that we have two different texture sets to work with in Substance Painter. Next step would be to UV unwrap your models. So again, if you remember, I mentioned that we need to you and wrap our models according to the datasets are materials. That means the objects with the same materials will be uv and wrapped together. And if they have different materials, they need to be UV unwrapped separate team. So as this course is not about UV unwrapping, I've already created the UVs for these models. So do check them out. Let's head over to the UV Editing tab. Also, if you don't know much about UV unwrapping and want to learn about it. You can find a lot of free tutorials on YouTube that can get you started on this topic, alright, to check out the UVs all at once first we need to select all of the objects with the same materials. So there is a shortcut for this in Blender. You just need to select one object. You need to press Shift plus l and this menu will appear. So just select material from over here. Now all the objects with the same material and be selected like this as you can see. So now press tab and you can see all the UV's over here. Next you can select this pipe, then redshift plus n, and then material. It could select all of the objects with the same material. Now press tab and you can see the UVs over here. These are the steps that you need to follow with all this out of the way, our models are ready for being exported to Substance Painter. So let's do that. We export something out of blender, you just need to select it. Just select all of the objects of this fire extinguisher. After selecting this, go over to File Export, and I will be exporting it as an FBX. And this window will pop up. So make sure to select selected objects and active selection so that only the objects that we have selected get exploited and nothing else get exported. And also make sure to select mesh because we do not want anything else to get exported like a camera or some lights or anything. Although there is nothing in this thing, but makes sure to just select mesh from over here. Next, what you can do is let's rename this to fire extinguisher. Find it. Because this will be a final export. And just hit export over here. Okay, Let's move back and open up the export folder. And I will export it over here. Alright, so now the export is just open UP. Substance Painter. Alright, so now substance painter has opened up. You can close this welcome screen. And to create a new project in substance break down, go to File New, and this window will pop up. So don't worry, We do not need to change much in this window. Just go to File and first select your model. So the Select button, and I will select this fire extinguisher underscore final model that we just exported right now. The next thing is you can change this document resolution to look in. Because working in for cake and get laggy and choppy. So just select two keyframes over here because we can always upscale and downscale substance only. You can set it to get from here. So next we have this normal map format. There are two different options that it takes and OpenGL. So both of them have exactly same capabilities. The only difference being that the green channel is inverted to one another. So we will be selecting a nominal lab format as OpenGL because Brenda supports OpenGL format for selecting any option here does not matter that much because we can always change it later on while exporting the texture. Let's just select OpenGL and rest of the settings. We can just leave them as they are because we aren't even using them. Then add default, and now let's hit Okay. So as soon as you do that, you will see your model is not exported into Substance Painter, let's press F2, fullscreen, the 3D view port. Now, let's check a model for some potential issues. And right away, you will notice that your main cylinder over here at the center is looking very weird. We can see through it. So this problem is caused because of incorrect normals. And this is something I did intentionally to show how we can fix this very easily. Also, your model won't have this issue because the resources file, I've added the correct one without any problems. So you can just watch the video to see how we can fix this. To fix this issue, we need to go back to Blender. And over here in the corner, click on this icon. You will find this option with the face orientation Britain, and just enable this checkbox. And you will see this blue color and this red color. So basically, you need to know that blue color means the object has correct normals and red means that it has red means that it has incorrect normals. So how we can fix this? Just select the object with the incorrect normals press tab. There's a to select everything. Then just remember the shortcut Shift plus n. So Shift plus n, you do that and normals are fixed. Let's select this object again, press Tab, press a to select everything. Redshift plus end. And now all the normals are fixed. So now what we need to do is first let's disable this from here. We need to export this model once again to select all of them over to File, Export. And Vx. I will again select this fire extinguisher underscore. Finding. The new file replaces the old one. So all the settings are already done. We just need to hit Export. Now come back to substance. We will create a new project now. So go over to File New. Select this one again and rest. Everything remains the same. The changes are already done, so just hit. Okay, now, let's say discard. Now the new model is important to substance painter and a new project has been created. You can look around your model to see for any kind of potential issues. But I think everything looks perfect now. We have successfully exported a model from Blender and imported it into Substance Painter. Now to end this lecture, let's just quickly save this substance painter fight, hit Control S. And I will just quickly move over to the directory. I want to save this act. Alright, so I will save it over here and let's name it as fire extinguisher underexposed start. So any of the people that do not have blender and just directly want to start with the texturing process. They will be using this flight in the lecture on sections. Then we will start with the texturing of this fire extinguisher project. Just open up this fire extinguisher underscore start. This will have everything ready for you. So you can just start with the texturing process. So now let's hit Save. And yeah, I think we are done for this lecture. I'll see you in the next one. And you're watching. 8. Baking Mesh Maps: Hello and welcome to this lecture everyone, where we will be going over the process of basing the mesh maps. So making mesh maps is an important part of any substance painter project and is needed to be done at the very beginning. Because if you don't pay your mesh map substance, won't be able to calculate many of the staff regarding your model, like edges, curvature, thickness, etcetera. And you won't be able to use features like smart masks as smart materials. So you're making HashMaps first is important. So let's start by opening up our project. I will go to file open racing. And let's select the first only. Alright, so before starting to make the mesh maps of first, let's see what happens if we don't make them. So I will just delete this older layer. Go over to the smart materials section. And as I said, if we don't pick them HashMaps, we won't be able to use smart materials. So I researched for steel. Here in the third section. You can find the steel painted one. Just drag and drop it over here like this. And you see it looks nothing like the icon over here. And the reason for this is because we haven't being done mesh maps. So that's why substance cannot calculate anything and the material appears to be this way. So now what I will do is I will just click on this icon and disabled the material for now. And let's start to being the mesh maps. I will go over here in this window texture set settings. And you can see this button over here, make mesh maps. So just click over it. And this huge window will pop up, which looks really intimidating at first. But don't worry, big image maps is like really, really easy with substance. Most of the stuff, you can leave it at default and there are only a couple of few changes that we have to make. Alright, so in the left side we have all the mesh maps that are going to be baked. You can select or deselect them by enabling or disabling this checkbox, I can. And in the right side we have all the parameters related to these mishmash. So there are two different types, meters. One of them is the common parameters. So over here, these parameters are common to all of the mesh maps. So if you change anything, it wouldn't be applied to all the HashMaps and other parameters are specific to each and every map. So as you can see over here, normal Baker parameters. So this particular mesh map has no parameters, but you can click over here to check for other maps. Like as you can see, all the different maps have different parameters. And if you want to go back to the common ones, you can just click on this common button and you will see all the common parameters over here. Alright, next thing that I want to address is that these three maps that you see over here at the bottom that are disabled by default are the new mesh math that I just added in this new update of Substance Painter. So if you do not see them, don't worry, you just need to update your substance painter and you will start seeing them over here. Although we won't be using them, because we do not need them right now. But we might discuss about them later on in the advanced section of the course when we will learn baking of high-quality details of a model onto a low-quality one, because two of these maps that are the height and opacity map need a high poly model, if you will, just hover over them, you can read the description over here. So this baker allows you to extract a height map from a high-definition map and over the opacity also at this beaker allows you to create opacity map using a hypokalemia. As our fire extinguisher model does not have a high polish to bake from. We cannot use this even if we wanted to. Alright, so now let's go over some of the properties that we need to change. So just click on this common button. And yet, first one that we need to go over is this output size. So this is the solution of all the mesh maps. So generally I think having two key as the resolution works fine. But for this project, I'm just going to move for for kids who have the highest quality, we can also move or aid kit, but I think that is overkill. Just select foci over here. Do remember that if you have a low NPC, It might take a little while to bake them at foci. So just go to here when cave that's the case. We had two girls who works best, but I will just go for, for K For this one. All right, Next we have applied effusion, which applies a kind of overlap between the different UVs by blurring out the edges. So we can enable this. Next, you will see this whole section over here. So from here we can add a high poly mesh with all the details that I was talking about earlier. Then what will happen is substance will use that high poly mesh and take all its details and bake it onto a normal map. And that normal map, we can use it without local image. So that way we get the nice details of a high-quality image onto the loop, all human. And that saves us a lot of memory. Also like if you don't understand all this right now, don't worry, you don't have to. Because this is all a bit advanced stuff, which we will be going over later on. But if we want to add a high polymerase, you can just click over here and then select that, and then you can add that. But right now as we don't have a high poly mesh with a fire extinguisher model, what we can do is we can just enable this option, use low poly mesh as the high polygon. So you're just enable that. And all these settings are related to that baking process only from high-volume, low poly. So yeah, let's just skip all this. And then we have anti-aliasing that reduces the jagged edges. So that's why it useful. I will just set this to four by four. Maybe that would work fine. And the rest remains the same. Everything works best at default values. That is, also, if you want, you can just click over these ambient occlusion curvature and the thickness. I think you can increase the secondary rays from over here. Right now they're at 64. But if you want better quality, you can increase them to 8000 protocol, which are also we have the secondary days and for the thickness, you have secondary days. But I will just keep it at default. But I'm just telling you if you want more quality video mishmash, you can increase the secondary rays from over here, but the rest just works best at default values and we do not need to change anything more than that. Now what we need to do is you can see this big metal and being selected textures over here, this big metal, we just pick the mesh math for this one single texture set. But obviously we don't want that. We want them to wait for all of them. So I'll just select baked, selected textures, just click on it. And now the beginning process has started. So now it might take a little while. What I will do is I will just fast-forward the video and meet you when the baking process is done. Check, check, check, check. Alright, So the biggest fish now, so click on the Okay button and let's look around a model for any potential big issues. So I don't think there are any. Are they came out pretty good and pretty clean. Alright, so now let's come back to the layer section and we can enable back this teal paint it smart material now and see how it looks. Now as you can see, it looks a lot better and lots of similar to how it looks in the preview image. You can see all these edges over here have the edge damage with the proper material. And yeah, so this is what I was exactly trying to explain. All those mesh maps helps us in sprinter to calculate all of these things like edges, thickness, curvature, etc. Now I will just delete this deeper into smart materials. You can use the Delete button on your keyboard to delete any layer. Alright? Also, if it will go in your diction set settings, you will notice that all the mesh maps that are appearing over here in their respective slots earlier everything was empty. And another thing, if you want to view your mesh maps onto your model, you can also do that. You see this little drop-down menu over here. You can do any kind of texture map from over here. If you scroll down, you will find the mesh map section and you can select any HashMap like word space normal, or ambient occlusion, curvature. You can view them on your model. You can do them on your model from this drop-down menu. Also, there is a quick little shortcut for this, you can press V on your keyboard to scroll through all the mathematics one-by-one. And now if you want to come back to your normal material, just press M and you will see what you did would appear over here and we are back to normal. So not only we can view the mesh maps from here, we can also view all the channels like the base color, metallic, roughness. But right now everything is currently empty because we do not have any kind of layer over here. So our material is also empty right now, if you press M back again to see the material. So to view all those channels, Let's quickly drag and drop a simple smart material are important to our model. So I will drag and drop this one this time. Alright, so the material is appearing over our model. And now let's check out the different channels, like base color, metallic, roughness, normal. And last one is height. So the channels which do not have any kind of information will appear empty like the height and the novel. They don't have any information right now in this particular smart material, so they are appearing MT, but the base color, metallic and roughness you can easily see. Also there is a shortcut for this one. The B shortcut is for all the mesh maps and there is a shortcut for all the channels like this. C is for all the channels like base color, metallic roughness, and B is for all the mesh maps, and M is for coming back to your material like this. Alright, so I hope this is clear now, I will delete this smart materials and I think this is enough for this lecture. I will see you in the next month. Thank you for watching. 9. Updating the Project: Hello everyone and welcome to the last lecture of this section. In this video, we will go over how we can update our project. What I mean by that is, let's say you imported your modelling, the substance painter bake the mesh maps and everything and started with the texturing process. Hathaway, utilize that a certain part of your model has messed up. Uvs are the normals are incorrect or something like that. So for stuff like these, you don't have to worry at all. You won't have to do all your texturing. Once again, we can just easily update the FBX file with the new woven. So we will be learning that in this video. So for this specific video, I have created an FBX file that has the same fire extinguisher model, but all the UVs are wrong. So you can find it over here in the exports folder. So this one over here, it has wronged written in its name so it is easier to identify. Alright, so we will create a new project with this FBX file and see how we can replace it. Alright, so now in Substance Painter go over to File New Project. And again in the file section, select this model, fire extinguisher, wrong, it open, and rest of the settings remain the same and now hit Okay. So now just to show you how bad UVs can affect your model, what we will do is first let's delete this layer. And I will just drag and drop this material onto my model like this. And over here also. So to make the problem more abrogate, click over here on the metallic texture sec, and select this layer and increase the tiling. Maybe something like 30. And you will see how bad the UVs actually are. So obviously we cannot work with something like this. And it is the same thing with the rubber and plastic one, if you will increase the tiling to 30, you will see how bad everything is. Alright, so to fix this issue, but we can do is go over to reject configuration. And this menu will pop up in the file section, go to select. And this time what I will do is instead of the wrong one, I will select the correct one. So that is fire extinguisher underscore final. Just select this f vx vy, and now hit Okay, make sure whenever you do this, this option is enabled, reserve strokes positions on mesh. That way your brushstrokes positions would be preserved by substance and it will be way easier for you. And now just hit Okay. And immediately you see everything is perfect. Now all the UVs are fine and the texture is showing up properly. Now, this is the usefulness of this command. You can just go over to Edit Project configuration and change the file with the correct FBX file and all your issues will be resolved. But obviously, this thing also has its limitations. You cannot just completely change your model and still expect this to hold up. Generally, you can do things like changing your UVs, changing normals. Also you can make little adjustments like moving any model up or down. You can also remove any parts of your model that won't cause any issues. But if you add anything to your model, then you have to pay caution because it can go wrong. So just make sure to make a copy of a project before you do that so that if anything goes wrong, you have a backup file to work with. But in my opinion, I would just avoid them. Next thing that I want to mention is if you change the UVs of your model and then update it in the project, you have to always be bake all the mesh maps. Makes sure to remember is anytime you change your UVs, just leaving the mesh maps. Alright, so I think this is it for this video. You can just close this project and not save it because I was using this project for demonstration purposes only. We really do not need to save this. And now we're done with the second section of our course. In the next section, we will go over all the tools and features that substance painter has to offer for us. That is the most interesting part. I think we will learn the most in the third section of the course. So I hope to see you there. Thank you for watching. 10. Paint and Eraser Tool: Hello guys. Welcome to section three of this course, where we will be going over the tools and features of Substance Painter. So in this video, we will be going over the paint tool and the eraser tool. Alright, so to learn these tools, Let's open up a substance file and I will just go in with my fire extinguisher one. So go to File, hit Open. And now I will just quickly head over to that file. Over here, this one fire extinguisher underscore. Start open this up. Alright? First thing that I want to do is, as you can see, all these jagged edges over here, you can go over to the display settings. And as we have learned earlier, we can enable temporal anti-aliasing, which you solve all these jagged edges and now our model abuse to be smooth. Alright, so to start, you can see all the tools are currently disabled right now because we do not have any layer over here. Now makes sure to select your metric texture set and just click on this icon to add a print layer. And you will see that all the tools are active right now. And we have selected the paint tool and we can easily paint over our model. You will notice that you cannot paint over these areas because obviously that are a part of the rubber and plastic picture sets. So that's why we cannot paint over them. We can just paint over the metric lecture set. Alright, to start, let's go over the options over here at the top first. So the first thing you see over here, if we hover over it, you can read that this is the brush outline goes up, basically right now we have selected this one. Brush outline goes up, but we can also select full preview because that just means it will show the color and everything of the brush. Let's say you go into the brushes section of our shelf and you select maybe this one. Now you can see we can easily see the brush if I change the color from over here in the base color section, you will see that also. So that is basically the youth for it. You can also change this to a processor Kazaa. And I think this one is the worst because we cannot really see how our brush looks like. So I will just set this back to brush outline goes up. I think this one works the best. Alright, so I will go back to my basic soft brush and let's set the color back to white. And the next thing is size. So size is pretty self-explanatory. We've already gone over these properties, ones. So you can change the size from over here also. But I think it is a bit tedious to grow over here and then change the size or go over here, change the size, then start painting again, change the size, then start painting. I think the better option would be to just use a shortcut. The shortcut for this is old control. And then hold your right leg down and move your mouse left and right, like this. Make sure to only move it left and right because for up and down there is a different shortcut. So let me go over this once again. Hold Control, old right-click and then go left and right with your mouse like this. And you will change the size of your cursor when easily. I think this is a really great shortcut. You can just hold Control, right-click on the fly. You can change the size of the brush. Start painting. Again, change the size of it. Start painting. I think that's really a lot better than going over here or here. I think that color right now is too similar to the model. Let's quickly change it back and keep it that way. I will change this to maybe blue so that it is easily noticeable. So I hope you understand this shortcut will control right-click and then move your mouse left and right. Alright, so the next thing you will see over here in this small icon. So let me just tell you first if you are like me and using the keyboard and mouse to use Substance Painter, you really don't have used for this option. But if you have a drawing tablet to work with Substance Painter, then you can use this one. So this option is called the pen pressure. So beneficial basically decides how thick or thin your brush stroke will be according to the force you apply on the stylus of your bank tablet. It tries to emulate real-world brush. If you have a drawing tablet with you to use with Substance Painter, That's great, but to be good at texturing, you really do not need a drawing tablet, so don't worry about getting it. I'm also using a mouse and keyboard, so, um, I'll just works fine. Amongst won't be able to emulate a paintbrush because it cannot, because it cannot calculate how much force your fingers are putting. But a stylist of a drawing tablet can easily do that. So if you have that, you can enable this option. I think it would be really great. So the next one is float. We have already gone overflow. But slow is basically if you decrease it, you can see the preview over here. You can also decrease it from over here. If you decrease, it will start to decrease the opacity of the edges first. And as you keep decreasing it, it will start to move towards the center. And if you set it to 0 or one, the paint stroke is completely faint now. So it is pretty easy to understand if you start decreasing it, it just gets a little bit soft at the edges as you keep going. Then it moves towards the center. In a similar way, the stroke opacity feature decreases the opacity of the whole stroke at once, like this. So you can see the difference between both of them. Flow starts with the edges and then move towards the center. And stroke opacity just goes full-on for the whole stroke. We also have this pen pressure option for the flu. But as I said, if you don't have a drawing tablet, you do not need to turn this on or off, leave in any way you want. And stroke opacity we have already discussed next we have spacing. Spacing also. We have discussed if you increase the spacing, you will see that your brushstrokes are now very much spaced out. And you can see all these dots. Because the spacing is set to a very low number, we cannot really see that our strokes are actually in the form of dots because they are too close to each other. But as we keep on increasing it, we can easily see that are strokes are in the form of a dot. Alright, next is angle. Angle also we have already discussed, but I will also tell you a quick little shortcut for angle. So first let's go over to the Alpha section and let's select maybe this one. Just select this one. You can see now we can easily paint this alpha using a brush. We do not want to discuss that right now. We are discussing angle. You see if you increase the angle, now you have rotated the Alpha this way. But as I was telling you, there is a quick shortcut for this, because I think for options like these, it is not very feasible to go over here and then change it and then come back over here. You can just hold Control. Now this time, hold your left leg and move up and down. You see you are rotating the alpha. Again. I will go over this once again. Control, left-click, and then move your mouse up and down like this. You can easily paint it at whatever angle you may like. What you can do is you can note all the shortcuts in some kind of notebook so that it is easier for you to remember them. And I suggest you that you try to learn these and try to incorporate them in your workflow because your work will get a whole lot faster if you learn all the shortcuts. All right, what I will do now is I will just delete this paint layer because it has gone too messy. Just delete this and let's add a new one. So now we have a fresh layer. I will set the angle that to 0. And next is fall apart. So if you enable fall apart and then try to draw, I think our spacing is too much right now, so I will decrease it to maybe 15. Let's try 50. So 50 is really close. Let's try maybe a 100. Now if you are painting, you can see that the Alpha is following your brushstroke in apart wherever you draw, it tries to follow you. So this command is also very useful and a good, alright, I will undo everything and let's turn off fall apart. Next is jitter. Jitter is basically randomness. If you increase this, first, I will set the Alpha back to our default one. So click on this empty slot over here and let's search for shape, because shape is the basic one. So over here, this one, alright, I will set the size jitter 200. And you can see now the size of a brushstrokes is very random. So get my point. Jitter is basically for randomness. If you set the size jitter 200, the size of a brushstrokes would be now random. If you increase the flow Jitter 200 now the flow would be random along with the size. And you can set all of them 200 to have a completely random brushstrokes. I think this is also sometimes useful, but yeah, this is a pretty useful command and we can use it in a workflow to create randomness within our textures. Also, one more thing that I forgot to mention is if you want to access your properties window, you can also do so by hitting right-click over the 3D window like this. We can appear anywhere. You can right-click and you can easily just change the settings from over here also. You see that it's quite handy. I would just control Z to undo. Alright, let's set the tutor back to 0. Next we have the alignment of a paintbrush. So if you click over here, there are four different types of alignment. Camera, tangent wrapped, anion, planar and UV. So Tangent grab and tangent planes are pretty similar to each other. And the tangent wrap one is the default one. And let me show you what it does. So as soon as you put your brush over the surface of the model, you can see the brush automatically rotates to it and tries to stick with the surface of the model. We will see as soon as they go out of the model. And as soon as I go in, it will immediately stick to the model like this. You see it rise to always stick to the surface of the model, no matter the curvature for it will always stick to the surface. It will rotate itself. You can see we can easily paint like this. First, let's set the spacing. As soon as I go on to the model, the brush with stick to the model. That is basically tangent wrap and tangent plane. They're both very similar to each other. Next we have is camera. Camera. You will see as soon as I go in, nothing really happens. Stays the same, the brush stays the same. You will see the difference now. As soon as they go in the model, we will see in tangent wrap, the brushstroke sticks to the surface of the model. But in camera, it stays according to the new board, like this. So now you can paint like this in our different kind of way. It can be useful sometimes when you have to pay it from a perspective. You can see we are painting in a different way. So this is the difference between Tangent grab and anion plaintiff. And the last one we have is uv. Uv. Let's set this back to tangent wrap first and press F1 on the keyboard to bring this menu. Now what I will do is I will zoom in over here and try to paint along this line. So I'm painting over here like this. Let's first increase the size of the brush a little bit. And now I'm painting like this. You will notice that when I'm painting paint strokes not only go over this thing, but also go over the top part of our model over here. But let's say we don't want that to happen. So now I will set this to UV. And now if I paint like this, it will paint on that particular UV said only and not on any other ones. You see it is pretty handy. If I set this back to anion wrap, you will see it is now painting on both of these UVs at the same time. Because it is considering it is a single brushstroke like this. But actually we want it to be just over here. So I will set this to UE. And now I can easily paint like this just on this thing that you received. This is the use for the UV alignment. And I hope I'm clear with all of them. So press F2 for 3D view. Now we have back face culling. For backfill swelling, we need to go back to tangent wrap. Alright, so by default back face culling is on. Let me show you what it does. First, I will decrease the size, very small, something like this. And also if you go over here, let me just show you there is a hardness option over here. So set the hardness option to a 100. So basically the hardness option, as you will see over here in the preview, the hardness of the alpha. There is also a quick little shortcut for this. You can hold that. And then right-click and then move your mouse up and down. You see now the hardness of the alpha is changing. This is 0 hardness and this is 100. So the difference between the two is you can just paint it and see for yourself. This brush stroke is kind of soft and this one is hard. If you remember, controlled plus right-click and left and right is for size increase, the brush size increase or decrease. And then up and down is for increasing or decreasing the hardness of the alpha like this. We will go over this more when we will cover this in the alphas section. But for now let's set the hardness 200 and set the brush size to be small like this. And now start painting over here. You will see at the back we see nothing over here. And that is because back face culling is on. But let's say we turn this off. And now you start painting over here. You'll see now that the brushstrokes are coming at the back also. So basically this is back face culling. Should turn this on. It will only paint on the front and not on the back faces. But if you turn this off, it will paint vote on front and the back. So that is basically back physically. I think turning it on at most times would work the best. But for some use cases you can turn it off. Alright, so the next one we have cyberspace. So currently it is set to texture because I was checking some things, but the default size spaces object. Let me show you what is the difference between object and viewport. First, set this to object. Let's set the size of the brush to something like this. And you paint a dot over here like this. And then you zoom in using your scroll wheel and then painted dot over here. And you can clearly see like both of them are the same size. But if you set this to viewport Alexa, you paint a dot over here like this. And then you zoom in. And then paint a dot. You can see the size of the brush stroke has changed. So the viewport is basically the size of your paintbrush will change according to your Zoom, according to a viewport position. So if it is very zoomed out, the brushstroke would be pretty large. And if you zoom in, it will be really small. I think it can be useful sometimes, but mostly I will just set it to Object totally because that is the most accurate. It will remain the same brush size at any kind of U-boats setting. So if I'm over here, then I will zoom in and it's still remains the same. So basically in the object size space, the size of a paintbrush remains related according to your object. As you can see in the viewport size space, the size of your paintbrush domains relative according to your viewport. And then we have a final one and the third one that is texture size space, which is honestly really similar to object size space. In this one, the size of a paintbrush remains relative to the 2D texture over here. So it will remain relative to that. So nicely it works in a similar way as the object size space. And as I said, I will be mostly using the object size space only. So now let's see back to the default object size. All right, Next we have Alphas, so we have already discussed, we have already discussed about them, but let me just go over it once again. If you go into the alphas section off the shelf, you will find here a lot of black and white images that are called alphas. Double-click on any one of them and you can simply stamp them on your model like this. But also any alpha you select, you will see some special properties over here that are specific to that certain alpha only liking this one. You can see if we changed some of the settings are alpha would be different according to them. You can also decrease the border width and you can see the preview over here. So you can see how we can create a whole lot of different Alphas just from a single one only. You can maybe select some simple ones. Let's search for Square and select this very simple square rectangle Alpha. Stamp it like this. You can easily see we can stamp a square over here, but also you can change the size of it like this. So yeah, that comes in pretty handy. We can also change the contrast if you set this to 0. Now you can see there's a little bit blurred out on the edges. There are a lot of things we can do with certain alphas. Obviously, each one of them has a specific property to it. You can just select any of them and try to work with it. So you can see we can create a whole lot of different types of shapes with only a single Alpha. But also the main properties of many alpha would be hardness, which I've already shown you. Like if you select this one. Right now, the paint stroke is kind of fade. But if you hold Control and then hold you right-click and then move it upwards. You can see over here the hardness is increasing. Now you paint it. You can see easily see the difference between the two. Now I've set the hardness to 0. So at 0 it just disappears completely. So I will increase it a little bit. And you can easily understand the difference between all of them. I think that is a pretty handy property. So just remember the shortcut hold Control, right-click and move your mouse up and down. And left and right is for size. Alright, now you can just go through and check some different Alphas. Let's see this one, stamp it like this. Let's change some settings over here and see how they react to it. I think you get my point. Each and every alpha has a certain set of properties to it that you can change and get very different results according to your needs. Yeah, I think this is it for the alphas section. Next we have stencils over here, but we will go over them later on when we will learn about the prediction tools. So we will learn about distances along with the prediction tool over here, this one. And at last we have these settings which we have already gone over, but let's go over them quickly. I will select shape over here. And let's quickly select this one. That is a very basic one. The first one is obviously for color. We can give you a paint strokes, any kind of color. And if you remember, this is a paint layer so you can change the color of your paint stroke and it won't affect the older one. As you can see, we can have both green colored and blue colored paint strokes in the same layer. We cannot do this with a field. If you remember. Now I think you get my point. Next is metallic. If you set this to one, now your brushstrokes will be metallic. And if you set this to 0, then they will be non-metallic. Let's set the hardness to one. Next we have roughness. Roughness would not reflect any light. There will be no reflections, but 0 would be a whole lot of reflection. We cannot see like this, but here you can see it this way. If you set metallic 21, I think it would be better visible. Yeah. You can see now the reflections along with the metallic property. So the normal channel doesn't really have anything to paint with. We can select some things, but we won't go over this right now. We will go over it later on. It is a different topic for a different video, we'll go over normal painting at a later on stage. But for now height, you already know if we increase, our paint strokes would look kind of elevated. And if we decrease it below 0, they will look as if they are going inside our model. You can change the brush to see it a little bit more evidence like this. I think you get my 0.1 more thing that I want to show you is you can also disable channels from over here. So let's say I only want to paint the color channels, so I will just click over here when my one and turn them off All. And now I'm just only painting color. If you change this to maybe blue. Now you see I'm only changing the blue color and not the metallic or the roughness properties. But if I turn back on the roughness and set it to one. And now along with color, I'm also painting the roughness, but not the metallic because metal is turned off so metal it is taking from the earlier paint stroke only. It is kind of confusing I think. But yeah, if you turn everything off, you will be just painting on a single channel and you can work according to your needs. Maybe you can turn off color and then you are painting only with the metallic. So now you see I'm painting metal is over here. This is non-metals. If I painted over here again, I will get the metal back. So I think you get my point. Now. Also, I think this is too messy, so I will just delete this layer, add a new 11 more thing that I want to show you is if all the channels are turned on and if you only want to select one, maybe like, let's say we just want to paint the roughness. You can hold Alt and then click on this channel. And now you see only roughness is selected. And now if you try to print it, you will see we are only painting deafness over here. Now the model appears to be very love to paint over here now you can see the reflection is gone. This way. You can just paint on a single channel only if you turn back on color. Now you are painting both color and roughness. Or if you turn back metal and roughness, you can paint in different combinations. I think you get my point now. You can maybe experiment with this a little bit to get the hang of it. Alright, so I think it is fine now we are done with the pin tool. And last thing that I want to mention is this video had to cover both the paint and the eraser tool. So if you just select the eraser, it is basically the same as the paint tool. All the properties are same over here. But the only difference is you can erase stuff now, like this. But as I said, similar to the Paint tool, you can also, it is certain channel. So let's say I turn off all the channels from over here. Now I'm only removing the color information and the height information still stays there. If you just press Control Z, now turn off the color channel and just enable the height channel. Now, I'm only moving the height information, but the color information stays there. So I think it is a pretty handy thing to know. It can give you a lot of control over your textures with what you can delete and what you cannot. Also, if you select a different kind of brush, you can, is it in a more organic way like this? You see also, if you use the shortcut once again, hold Alt and click over height once again. Now all the channels will be selected again. So basically hold Alt, Click on any channel. That channel will be selected and the rest would be disable it. If you hold Alt again and select this one. Now all of them are selected back again. I think this is it for this video. I will just delete this layer quickly, add a new one because I forgot to mention one last thing. So this is the last last thing for this video. Let's come back to the Paint tool. And one thing we forgot over here that is this Eigen lazy mouse. So I think that is quite useful. I must go over it. If you go into the brushes section and select the basic soft. If you remember, I was talking about pen tablet earlier and how we can use it with pen pressure and everything. But as I said, I'm on a mouse and keyboard. But let's say I want to emulate the effect of a drawing tablet. My best bet would be lazy mouse. So if you enable this, you will see that you will get a lot more control over your paintbrush. So let's say you want to make a precise true of creating an S shape. So first let's turn this off and I will try to create an S-shape. First, let's give it a proper color. I will turn off metal and let's turn everything back on. And let's set back metallic to 0, roughness to 0. Also, I will set the height to 0. And let's try painting an S shape. Now I will turn on lazy mouse and then tried to paint this S-shaped. Before that I will decrease this distance to maybe four. And now let's try painting. You can see with this I get a more precise and a smooth brushstroke. As compared to this S. This is looking like very shaky and wavy. But although this is also not a very perfect shape, but at least the brushstroke is very smooth. So I think you get my point. What lazy mouth does is if you increase this distance, you will get a little bit more controlled way a stroke. But keeping caution that if you keep on increasing this number, it will be harder and harder to control your stroke because now the diameter is too large. And you see now I cannot even pain probably say I tried to find a proper balance between this. I think value of five or six would be pretty good. So you see, I think this is very useful in emulating the effect of a drawing tablet. Obviously it is not as perfect, but I think it helps a lot when we have to paint something very precise, maybe like a curvy line or something that we cannot really do without this because we are getting very shaky and VV deserts. You see, I think this tool helps us a lot. It just needs a little bit practiced. So yeah, you can turn lazy mouth. You get a little bit more control with your brushstrokes. Alright, next over here we have some different profiles for our lazy mouth Only. You can just try them out and see what they do because I honestly don't really know what is the proper use for them or the difference between them. But you can try each one of them and get the feel for it. Alright, so the last three icons over here are four, mirror symmetry and radial symmetry. And they have a separate video of their own in this section only. So don't worry, we will be going over them in a later on video. So I think this is it for this video, guys. Thank you for watching. I'll see you in the next one. 11. Basic Material Settings: Hello and welcome everyone. In the last lecture, we learned about the pin tool and the paint layer. So in this video we will be going over the Fill Layer and some of the basic material settings related to it. Alright, so let's go over to File and open up our fire extinguisher start project. I will just quickly go ahead and display settings and again, enable this anti-aliasing. So to add a fill layer, you can just click over here on this icon and a fill layer would be added. So now you will see overhead. None of the tools are active because we cannot really paint over a failure. We can paint over a paint layer. But for a failure, it will just fill the complete texture set with its contents. As you can see, you can change the color over here. It will affect the whole texture set all at once. If you change the metallic value or you change the roughness value, it will affect your complete texture set and not just a single byte like in a paint layer, fill layer, as the name suggests, it will completely fill your model. If you add a paint layer on top of this and then try painting, you can see we can paint over the field layer because the paint layer is on top of the fill layer. If you will move this down, then you won't be able to see the paint layer. So I think you understand the difference between the paint layer and fill layer. By now, we have already gone over it so many times. Also, the paint layer won't retain the information on its strokes, like we have already painted with the white color. And now I've changed the color to purple or blue maybe. Then I paint over it and you can see we can find both the colors at the same time. So the paint layer does not retain any kind of information. You can change the color, metallic properties, toughness, anything of your paint strokes, and you won't see any change on your earliest strokes that you have already painted on, but this is not the case with a failure. I will just delete this paint layer now and we won't be discussing about it and we'll just discuss about the failure. So as I said, unlike the paint layer, if you will change the color, you will immediately see on your texture set. Anything you change, you will immediately see the effects. Alright, so all these basic settings that we can change the color, metallic roughness, we already know all these, so I will just quickly delete this failure. And let's come over here in the shelf. In the base materials section of the shelf, you can just click over this icon. On the very first, you will see all these different materials. So basically all these different materials or different kinds of filters, you can just drag and drop any one of these, like the brass pure, if you will drag and drop it, you can see it is just a fill layer with some predefined properties. You can change them if you want to, but then you will change the physically correct properties of brush. So I suggest you don't do that. The roughness, metallic, everything is perfectly set. But here you can change it a little bit to fit your needs. We will drag and drop the gold material. Then you will see it is just the same fill layer with some different properties, maybe the color or something. Then we have Ireland. Some of the very basic materials. You will see it is a little bit different over here, but basically it is the same thing. You can change the roughness. And there are some extra properties over here, like this roughness variation kind of thing you see over here. You can adjust it like even increase the scale of it or the brushing intensity. All this, this is basically a failure just with a little bit of more properties. You can also enable or disable any channel from overhead. Like if you don't want this roughness thing, you can just disable the roughness channel completely and the normal to remove all this information. So I think you get my point. Let's delete this layer. You can try some more of these. We have some more like this one. All these are basically fill layers but with some extra settings because these are provided to you by substance so you can change some of the things as you like. Let's see, we have Would. You can also use wooed over here. You can change the number of fibers to this. You will see closely fibers are increasing and decreasing. If you increase the layers. Also you can disable any channel you don't want. Like if you don't want this height information is disabled it from here. You can see the difference. Alright, so I think you get my point. Anybody here you want to use from over here, you can easily do that as a base material and then you can build upon over it. But let's say we want to add our own material that we have downloaded from somewhere, and we want to add that particular material onto our filters. So how can we do that? So let's see. I will open up Google and the Google search for ambient CG. So basically this is a free website where we can get lots of free textures. So just click on this first link and you will find this website is a pretty great website for different kinds of materials. Hdri is 3D models, everything is over here and everything is for free. You can even use them in your commercial projects. Acidic materials. You can see all these materials over here. So let's say you want to add some kind of material on your project. So you can select any one of the materials that you might like. I will just quickly go over here in the search bar and type in metal and search for all the metal materials. And maybe I will select this one. So click on it and I will download this into K. Wait for the download to finish. Now I will just quickly bring over my downloads directory. Right-click and let's cut this file and I will paste it in my tutorial directory. And I will just paste it in the basic folder. So if you don't want to download it from over here, you can also find it in your resources files. Now right-click and let's extracted over here. Alright, so now open up this folder. Now here're all the texture maps related to this material. We do not need to bring each one of them into Substance Painter. So I will just select the color. Then the displacement, displacement is basically the height map. Then select the metal and we have two normal map, normal map Derek texts and normal map OpenGL. So if you remember our predictors in OpenGL, so I will just bring this one. And last one is roughness. Now to bring them into Substance, Painter just drag and drop them onto the shelf like this. Now select all of them. You can just press Control a to select everything, or you can just drag your mouse like this. Select all of them. Now click over here and select Texture. And now all of the texture maps are selected as texture. I will import them to this particular project only and hit Import. Alright, so now all the maps are over here in our shelf. Now to add them to our model, we just need to go over here, add a fill layer. Alright, so how can we bring these texture maps into the fill layer? You select the base color, that is this one, and drag and drop it into the base color section like this. And you can see have the texture over here on our model. Next for the metallic, you can find a metallic map. So this one metal is drag and drop it onto the metallic. Next, let's drag and drop the displacement. Then we have the normal. And the last one. This one is roughness. So you see now all of the maps are over here and we have successfully imported a material from outside and brought it into Substance Painter and then created a filler material out of it. So you see how easy it was to do that. You can also view your model in a different lighting. You can just hold shift and right-click and rotate your environment lighting to just view your model from all different angles, in all kinds of angles of lighting. Alright, so now let's say you are feeling like this. Height map is looking like too much. The height information is like going to overboard and it is like in your face. And we don't want it to be this much. We want to tone down the height values a little bit. So what you can do is right now there is no light slider over here. But what you can do is you can go over here, click on the height. And now if you remember this opacity value, if you decrease it from over here, you will see if you set it to 0, the height value completely disappears. Let's give it a value of 50. Maybe. You see now the height information has been reduced to half. Again, further, tone this down to maybe ten. So that is very faint. Yeah, I think that looks pretty good. From over here, you can change the opacity of different channels, of different layers. Maybe you selling base color and then reduce the base color value. You will see now all the color information is gone. This way you can tone down or increase. So this way you can just tone down some of the channels that you feel like are getting too much. Alright, so next let's look over some of the settings through which we can adjust the material. Over here in the UV transformation settings, you can change things like tiling, rotation and offset. All these options are very self-explanatory, but let's see what they do. If you increase the tiling, you will see as you keep on increasing, the scale of the material decreases. And if we increase it to a very big number, you will see that our material is being repeated over and over again. So obviously, going for a large number for the tiling value is not a very good choice because people would be able to see your repeated textures over and over again. I think a value of somewhere around two or three would be pretty good, I think, because this way, no one would be able to notice that the texture is repeating and it looks pretty unique language. Next, if you disable this lock icon, what will happen is you can increase or decrease the tiling on the both x and the y axis. So you see now the texture is being stretched on the y-axis because the tiling is of different values on both axes. Honestly, I don't recommend doing this. I always keep this lock enabled so that I only have to change one value for the tiling, like this. Next is rotation. If you increase the rotation, your texture will start to rotate. This is sometimes useful for when you have good materials and you wonder would lead him to go this way or this way on your model. Then you can use rotation. Let me just quickly show you with an example. I will disable this fill layer. Let's remove this filter. Select the base materials, and let's again bringing this wood material, drag and drop it over here. If we set the rotation to 90. Now you will see all of these would linings are going like this on the y-axis and when it was at 0 level going on the x-axis. So you have this option is pretty useful for that. I will just delete this layer again and let's enable this back. Next is offset. So offset is basically moving the texture on the x and the y axis. So this one is for the x value. If you move this, you will see your texture will start to move on the x-axis. And this one is for the y. Okay, so these were some of the UV transformation that we can do from over here. I'll let, so let's go in a bit more depth in this because we have prediction filtering and UV map over here that we haven't gone through yet. We have different kinds of predictions and all these settings. To go over them, I will just quickly delete this villa or we can just turn this off for now. Okay, So one thing that I completely forgot to mention, if you will, just quickly press F1 on your keyboard to bring up this 2D view. All these settings that we did just now, tiling, rotation and offset. Everything you can do from over here also, you can do so by just using this transform tools. So if you want to move the texture, you can just do so by moving it like this. You can see the offset values are changing over here. Also, if you want to dial the texture, you can just scale it down or increase the scale of it like this. But right now as you can see, the scale is not uniform. It is scaling in both the axis and in a non-uniform way. To scale it uniformly, you need to hold Shift and control both at the same time. If you do that, you can see now the scaling uniformly. If you will just hold Control, you will see that whenever you scale anything, this pivot point won't change its position. So let's say you just do not use any key bind. You just use your mouse and tried to scale it. You can see whenever you scale it this way, the position of this pivot point is changing. Whenever you increase or decrease the scale, the pivot point is moving from its location. But if he will hold Control, you will see the pivot point is not changing its position. Now. If it will hold control, the pivot will not leave its position and you can scale it whichever way you like, but it is still not uniform. So if we want to make it uniform, we need to hold both Control and Shift at the same time. And you can scale in this book. And if you just hold Shift, you will scale it uniformity. But as you can see, the position of the pivot is changing. You see the position of pivot is changing. That's why our offset is also changing. But if we will hold both shift and control, the value of offset won't change, only the tiling will change. These are a couple of shortcuts that you must remember. Hold control to not change the position of the pivot and hold both control and shift the scaling uniformly. Alright, to rotate, you can just rotate it from over here. Like this. And if you will hold Shift while rotating, it will snap like this. At 45 degrees angles. That is pretty useful. I think. The next word you can do is you can also change the location of this pivot. Maybe you want to place it over here and now it will rotate it. You can see it is rotating from over here. Now. That is the use of this pivot. Also, there are a couple of tools over here. You can see this one if you will, just click over it. The transform tools are gone now. Go over it again, they are back. This one is just for the size of the icons. I think medium is fine or maybe small. This one is to flip it like this. And this one is to flip it vertically. So this one was horizontally and this one was vertically. Next one is to reset pivot point. As you see, we changed the location of the pivot point, but we want to again keep it at Center for we can just click over here. And the last one is reset. So all the changes that you have made over here to these values, if you click on this Reset button, everything would be say. So maybe you are feeling like you have gone too far with the editing and you want to set everything back to normal. You can just click over here and you can see all of the values are back to normal. Let's quickly hold Control and Shift again and I will scale it down. Maybe three times. Yeah, like this. Alright, so I think with this, let's move on. I will disable this layer and again, bringing this material. So drag and drop it over here. Now let's talk about the difference between the different kinds of projections. For me personally, the two most use predictions for me, or UV projection, and the next one is private in the predictions most of the times you will find using one of these two, and these two are the most used ones and most important. Alright, so let's go with a UV protection first. So this prediction is the default projection if it will just quickly best effort to bring this view back. So basically all these UV islands that you see over here, that texture is directly projected onto them. But the main problem with this type of prediction is, let's try and rotate our texture. As you're rotating, notice all the different pieces of the model or the different UEs to be precise as if the texture is specific to each one of them. You can see they're all rotating differently and a texture feeds like different for each model and it does not feel connected at all. You can see, for instance, while degrading, compare the rotation over here with this piece. You can see the difference. Another problem with UV protection is if will go at the back over here of our model, you will see this huge you receive over here. So these are UV seams that or something you have to add value or UV unwrapping. There is really no other way around it. You can add them smartly so they are not really visible, but there will be cases when they wouldn't be visible. So what can you do at that time? So for stuff like these, you can go with privacy in a mutation. Let's quickly change the prediction from over here and see what is it about. So as soon as you do that, you will notice that the whole texture has changed. This is rejection and this one is Dr. Nina. And now notice the texture on all the different parts of the model. As compared to the UE prediction is notice the dark part over here with the body. So this is in UV. All the different pieces and now this isn't trapped in them. Now the texture feels a bit more connected and it feels like the complete model is part of the same texture. If I try rotating it, let's set it at 90. You can see the texture feels very connected as if it's a single texture only. You can even increase the tiling and see that. So basically triclinium prediction, what it does is it tries to project the texture from three different planes, are three different axes that are the x, y, and z. The UV seams have increased in this type of position, but they are not really visible. And the reason for that is this hardness option over here. If it will increase this to one, you will see all these themes over here. You can see the texture is being projected from three different angle. And that's why these teams are visible. But we have option over here through which we can just kind of blurred them or merge them with the texture. If you set this to 0, you can see it is not even visible. All the seams are not really visible. And now, if you go at the back of them, audit will see no UVC over here, which was earlier in the human projection. This ugly thing, if we just remove it completely with Dr. Dana. And I think this looks a lot, lot better. Obviously, there will be cases where UV looks better and there will be cases when prepping it looks better. So the best thing to do would be to just experiment with your model and try different types of prediction to see what matches with your needs own model. And you will find it. Maybe some people like the UV prediction better. So he, obviously they can go for it. But right now, let's just set that to Dr. Lena and let's go over some of the properties of it. So I will now press F2, come back into 3D view. So the first setting is hardness. Hardness is basically you understand now, if we will increase it to one, all the scenes that are being caused because the texture is being projected from three different angles, wouldn't be visible if you set it at one. And if you sit here at 0, they will be merged with the texture by just blurring them out. And I think it does a pretty good job with it. Next over here is styling, which is the same as the UV one. It just styles your texture. You can set the rotation back to 0 to tile it this way. I think at 90 it looks much better. Alright, Next, if you will open this up, these are the 3D prediction setting. I rarely use them. But what you can do is you can move the texture like this on the x, on the y, and z. You can also rotate it on different angles. We just get the best look for texture. And obviously you can scale them. Scaling on a different axis does not really make sense because it will make your texture inconsistent. So the best option would be to just use the tiling feature from over here. One thing you might have noticed is if you increase the offset too much, protection just completely goes away from over here. So if you don't want that to happen, you can just change the shape crop from over here to projection, extends outside shape like this. This way, the texture would be infinite and you can do as much of setting you want on all of the axes. So yeah, let's get back to 0. And if we change this back to crop to shape, you can see it will just go away like this. This was basically trapped in a prediction and all the settings related to it. I think private and prediction is a pretty good option to go for if you have bag UVs, like if you're new resumes are really visible all throughout your model. In wrapping up, prediction would be your best bet because it can just magically make all the seams go away, which I think look very, very leave their visible in front of your model like this. I think Dr. Dina is a really great option to just remove all the UVs and to just make a texture feel a little bit more consistent. Alright, so now let's go over some of the other predictions. Alright, so we forgot to go over the options over here at the top. Let's quickly do that. Basically it is the same as the UV protection. All these options that we can change it over here. We can also do it from the 3D view. Like you can move the texture like this if you want to, you will see the values change over here. Next, you can rotate them. Also. You can just press W, E, and R for the shortcuts. W is for moving east for rotating, and Iris for scaling. These three items, move, rotate and scale. Let's quickly the set everything. Next, this one is just to flip the texture like this. You can see over here the scale goes to minus one. You can get a transformation in x by this, and you can meet a transformation in y by using this one. And this one is for z. As you can see over here. The last icon, as I told, is for resetting. And these two icons over here, this one is for turning on or off the transform tool, and this one is for a couple of settings. You can increase the manipulator size. The grid sepsis. Basically, if you move your texture like this and hold Shift, it will snap in 0.2 units. But if we will increase it, maybe to one, now it will snap in one units like this. Same is for angle, angles for rotation. So currently it is 45. If you press E and try to rotate it by holding Shift, it will rotate at 45 degree angles. Alright, so I think pretty self-explanatory. Let's restore the transformations now. Alright, let's check out the next projection now, if you go over here and then select planar projection. So try better prediction was basically projecting a texture from three different planes. And planar projection is basically projecting the texture from one single plane only as you can see over here. Alright, so let's go over some of the properties of planar projection. First, I will just disabled that calling for now. And you can see the single plane over here. Rest of the settings are pretty much the same, but let's go over them. First one is styling. You can increase the tiling like this. You can rotate the texture. Again, you can offset it. So next we have the 3D prediction settings. Over here, we can change things like the offset, the rotation, and scale of the plane that is projecting the texture. One thing that I want to mention is the difference between the UV transformation settings and 3D prediction settings is basically that. For this, let's just quickly enable it ethically. And I will increase the offset value to have this texture fading away like this. This is because of the depth colleague. I will explain this later on. Alright, so to show the difference between the UV transformation settings and the 3D projection settings, basically, you can try to rotate the texture like this. And you will see that the texture is rotating over here like this way. But if you try to rotate the texture from the 3D prediction settings, you will see that the complete orientation of the texture changes. If I set it at 90, you can see now the texture is from the top. You can adjust the offset like this. Now earlier it was facing this way but now displacing from the top side. So basically this is the difference between UV transformation and 3D prediction. 3d prediction settings only work for the texture only if you are changing the offset, we are just changing the offset of detection. But if we change the offset from over here, we are changing the offset of the plane that is projecting the texture onto our model. It is a completely different thing. Alright, so with that out of the way, let's just reset the transformation. We have everything back at normal. I will set the rotation back to 90. And yet now the 3D prediction settings are done scale and everything is pretty self-explanatory. It will scale up the size of the plane that is predicting the texture. Let's go over depth calling now that killing is basically used to create a fade away gradient, like you can see when I increase the Z value. This gradient that is being created over here that is because of the cooling. If you're disabled this, it will go away. That is basically you can increase the hardness value, will have a sharp like this. So basically this is depth calling and the next one is back face culling. So what we can do is let's just quickly disabled that's calling for now and enabled back face culling. So you can see as soon as I enabled back face culling, the texture got removed from all these places. So basically how you can understand is, let's say you're facing the model from over here like this in the front. And let's set it to orthographic view. So now you're facing the model from over here. All the feces that are not visible to you are your back faces. So basically all these faces that are not visible or the back face is basically so because they are not visible to you, the texture won't be appearing over there. Basically that is back physically. So the texture is facing over here from the front and all the faces that are not visible to you from the front side won't have that texture up here over them. You can see over here, basically that is back face culling. You can adjust this with the angle property. As you keep on increasing it, the texture will start to appear on all those faces. Because now the angle has exceeded 90 degrees, but if he will decrease it, it will start to go away. And hardness is basically the sharpness of the texture from over here, like this. One quick example of back face culling would be that let's just increase the hardness of from over here. And in the rotation settings of a 3D prediction settings, set this to minus 90. You will see it as kind of created a snowflake effect where the snow only false on the top faces and not on the back faces. So it can be used for effects like these, where you want to add like dust from only at the top of the model or things like snow moss. And yet for stuff like that, it can definitely be used. Alright, so let's just disable back face culling now and set the rotation back to 0. The plaintiff prediction works really well for models that are basically planar in shape, as you can see for models like these, it is really getting stretched over here. Well, let's say if we set the rotation back to 0, you can see. The planar projection is holding up pretty well for this model also. So you never know you can try out different predictions to see what fits your modern the best. And I think this one is looking pretty good this way, We do not see any kind of themes or stretching causing, caused because of the planar projection. Maybe a little bit over here. But that would be fine. I guess. Also the planar prediction is very useful for placing stickers onto your model. So let's quickly go over that also. I will just disabled this layer. Alright, so now let's just quickly open up our resources folder. And if we will go into the textures folder, you will find these fire extinguisher textures that I've added to use later on in the course. But let's just placing this one, I will just drag and drop it over here. And let's select it as texture and important this to the project. Hit Import. All right, so I will create a new layer, new fill layer. I will drag and drop it like this over here in the base color section. So now let's see in the prediction from UV planar. And you will not notice the texture does not quite look like how we want it to. So what we can do is you can see all these tools over here. We already discussed them in a private and a prediction. They are pretty much the same over here also. So let's just select the scaling tool from over here and scale the texture down like this. You can also use the shortcut that is the W, E R, R is for scaling. You can see the texture disappears from over here. But what we can do is press W and move it over here at the forward like this. And you can see the texture is repeating again and again. It is tiling texture, but we do not want that. So I think now is a nice time to discuss this UV wrap option. Right now it is set to repeat, but you can set it to none. And this way the texture won't be repeating. It will be just a single texture over here like this, and this is what we wanted. We can also set this to repeat horizontally like this, and repeat vertically like this. Let's just set this to none right now. Also this option works with all types of prediction. If you just disabled this layer for now and enabled this back on, select the word American Chetty layer. And let's set this back to none. And what you can do is decrease the tiling. And you can see now the texture is not repeating anymore. Even the word picture is over here like a sticker. And if you set this to repeat horizontally, it will repeat like this. And repeat vertically. It will repeat this way. If you set it to repeat the texture wood tile all over the model. I think it is a pretty handy command. Let's disable this back now and enabling this one, we can also rename the layer to sticker. Alright, so now we have easily placed us ticker like this over here. But there is one more tool over here at the top that was not in the tribe and a prediction that is this surface tool. So while selected this texture, just click on this surface tool and it will change to this. Basically you can just move your texture all over the model very easily with this surface tool. And this tool is pretty handy. You can see the texture. We're going to rotate it a little bit. Let's just control Z at everything. And you can make minor adjustments with this very easily. I think it is a particular tool. And planar projections can be very well used to stamp down stickers or any flat thing on the surface of your model. I think it works pretty well. Alright, so now I will just delete this layer and enable back the Buddha American Chery. Like this tool again translate tool so that the surface to lose the weight. Alright, so let's change the prediction from planar to spherical. So I think by now you get the point. Rest of the predictions are spherical and cylindrical and spherical is basically in the shape of a sphere. You can see the texture is kind of weird over here because it is in the shape of a spherical projection. This type of prediction works really well with obviously spherical objects. Not so much with this kind of model. But if we want to, we can make it work. We just need to make a lot of adjustments. And I don't think it is worth their time. In this kind of prediction would be really useful when something is spherical. And obviously all the settings over here at pretty much the same the tiling. You can see it is not repeating right now because the UV unwrap is set to none. So if you said to repeat, it may start to repeat. Now. We have the rotation, the offset, all the staples settings. We can change the offset of the fear that is projecting the texture. You can see if you increase the x value, the texture moves towards this way. Basically this is spherical projection and the next one is cylindrical projections. I think for this type of models for cylindrical projection would work very good because this model is basically a cylinder only. We have other pieces also, but we can separate them out and give them a different type of prediction. But I think it works really well. There is one new command over here, angle, as you can see, you can place your texture this way in the form of angles. I don't know The perfect use for it, but I think it would be useful for some type of things. With a cylindrical projection, you can decide the angle this way. And the rest of the settings are pretty much the same. We have the tiling rotation offset and then the 3D prediction settings. So yeah, I think with this all the predictions are done. The last rejection, that is, the walk projection is kind of a different one. And we will be covering this prediction in the bonus section of our course because I don't think it is really useful from a beginner's perspective view. It is a really great feature though, and we will definitely discuss it in the bonus section. Alright, so I think the last thing that is remaining is this filtering option that we did not discuss. So let's disable this layer back and enabled this one. But I will do is, if you remember, we decrease the opacity of the height channel from over here, I will set this back to 100. So makes sure all the channels are back at a 100 opacity. Alright, so now let's go filtering, in my opinion, filtering is not really that important. I've never ever change this from bi-linear HQ to anything else. But basically what it does is if it will change this to shop, you will notice this kind of texture changed over here. The texture is a little bit more sharper. Changes back to HQ. I don't know if it is noticeable in the video, but it wouldn't be noticeable in your substance painter, you can switch between both of them and just quickly see the difference. Basically the sharp one makes the texture a little bit more sharper. But I've never ever used this command. I've always said the filtering to HQ. And the last one that is nearest, basically it also does the same thing. It makes the texture look a little bit more grainy. You can see for yourself if you set this to nearest, you will see that the texture feels kind of grainy and a little bit more sharper than use with. As I said, I've never ever changed the filtering option and I don't recommend changing it. Bi-linear HQ is I think by far the best option and we can keep it at default only. Alright, so I think this is it for this video, guys. Thank you for watching. I'll see you in the next one. 12. Masking: Hello and welcome everyone. In this video, we will be going over masking, which is I think one of the most vital and useful part of Substance Painter. So if you are aware with masking in Photoshop, it is almost the same as that. So a mask and Substance Painter is basically a black and white image that decides whether a particular layer should be visible or not. In terms of masking, the black color means invisible and white means visible. So just make sure to remember this thing. It might not make sense right now, but it will, when I will show you how masks actually, well, so black leaves invisible and white means visible. Alright, so to start off, let's open up our fire extinguisher project and showcase how we can use masks. What I will do is first let's start by adding a fill layer onto our metal extra set like this. And also I will change it back to perspective in the last video, we set it to orthographic and I forgot to change it. Now I will set the color to red. Let's make it a little bit shiny and also give it a little bit of metallic value like this. Alright, so this is our paint layer. Let's rename this to paint. Next, I will create another layer and give this a dark color. And I will make this rough. Also, I will disable all the rest of the channels except the color and the roughness channel. Because we only need these two. Alright, so I will rename this to dust. So as you can see, we have our paint layer over here and then we have our dust layer. So obviously we do not want that does to appear over the paint layer like this. We only want to appear it in some of the places that we want. So how can we do that? In things like these, we always use masks because obviously we don't want this whole layer to be visible like this dust layer. We only want it visible to be in some areas to add a mass, what you can do is you can go over here In this icon and we have different types of things. We can add a white mask, a black mask or bitmap mass. But for now I will just add a black mask. And mostly we will be using this only add a black mask. Alright, so let's do that. As soon as you do that, you will see that your layer has completely disappeared from over here. So don't worry, the layer is still there. So basically what happened is if you remember, I told you that that means invisible and white means visible. So as we have added a black mask to this layer, this layer is invisible now and we cannot really see. So to make this particular black layer visible, what we can do is we can start by selecting our brush from over here and then click on this mask. And as you can see, the white color is selected right now. And if you try to paint over here, now the layer starts to become visible wherever we paint with a brush. So basically this is the way we use mask. As I'm painting with white. And I told you that white means visible and that is why the layer is appearing wherever I paint with the white color, if you will, just quickly press S1 in C over here, you can paint it this way. Also one more thing, if you go in this section. Over here, let's press F2, go over here and select the mask like this. You can see that wherever we paint with white, the dust layer will appear just to wet it. And now if you scroll down, so here you can see that you can only choose between two colors that are white and black. And that are the only two colors we need for painting on masks. Obviously, we have shades of black and white. If you will, paint with a little bit gray color, only some part of the layer would appear and restaurants stay invisible. So yeah, that is for later on. Let's set this back to black. And you will see now if I start to paint over with that, texture starts to disappear wherever I paint. And if I again select back white, now again, the deciliter would appear wherever I paint with white. So I hope I'm clear with masks with this type of demonstration. White means visible and black means basically invisible. You can basically it is the texture wherever you don't want that layer to appear by painting with black color. Alright, so let me just tell you a quick little shortcut to switch between these colors. You can just press X and you can see why it appeared over here now. And if you press X again, a black has appeared. So now what we can do is first let's right-click on this mask and I will just hit clear mask. So all this pain goes away. Now let's go over in the brush section. And I will select this dirt brush. And what you can do is to give this sort of a dirt effect. Let's scale this brush down and try to paint over here with white color. So press X to switch back to white color. Now if you paint over here with this brush, you can see we're giving it a dirt kind of effect like this by painting over here. This is the actual power of Substance Painter. We can now add different types of layers and add different mass to them and start painting on them to create various different layers of different kinds of details on the texture. And even just paint the dust wherever you want, like this. Maybe you want to change the brush. Obviously not this one. You can also do things like obviously all the brush settings that we have already gone over, like decreasing the hardness so that it is a little bit faint. Alright, so now you might think that we can do all this with basically a paint layer. Also select, say I disabled this dust layer and I will add a bent leg quickly, and I set the color to black. I will start painting over here with this brush to create some dirt effects. Now we can argue that what is the need for mass? We can basically use a paint layer and along with the paintbrush, we can easily dollar effects on the paint layer. But the main power of mosque is if you will just delete this paint layer and enable back the dust layer. So as we have added this mask on a fill layer, we can again select this fill layer. And whenever we want, we can change the color, color of this dust. However, we may like. We can also do things like increasing or decreasing the roughness. You can also do things like selecting the height channel and giving it a height later on, maybe later on, we think I want my desk to have a little bit of height values. We can easily do that. But all of these things we cannot really do with a paint layer. If you remember, if you just add a paint layer, you can paint something. But now if you change any values, if you change any value, the oldest strokes that you have already done won't get changed. But the new paint strokes that you make will have all these information. But as soon as you set it back to 0, you can change. Nothing really happens to these two integers for the next strokes that you make. So that is my paint layer basically cannot be used for these kinds of threat. So I will just delete this paint left quickly. Alright, so now we have our mask over here. And I hope I'm clear with this. If we are painting with the white color, we are making the layer appear over here like this. And if you are painting with the black color, Let's press X to switch back to black color. We are removing detection. So just a quick check to see if everything is clear. Let's create another layer. And you will see as soon as we do that, it will overlap all our other layers. Let's give this a completely different color. And let's rename this to yellow dust. Again, I will add a black mask. And you will see as soon as we added a black mask, layer completely disappeared. And now again, we can select a brush. And you can see we are currently painting with white. So if you paint over here, you can see the yellow color starts to appear. And if you press X and you are deleting the yellow color texture because we are painting with black and black meets invisible. Alright, so I hope I'm clear with the masking process. This is very, very important to make sure everything is clear to you. Next, let's just quickly delete both of these layers. Now let me show you what white mass does. Basically the same thing. It would be just inverted. So we'll create another layer. Let's keep it at white only. And this time let's add a white mask. So you can see as soon as we add a white mask, nothing really happens. Because if you remember, black means invisible and white means visible. Because we have added a white mask to this layer. This layer stays completely visible and nothing really disappears. And if you try to paint with white over here, nothing really happens. But if you paint with black, you will see wherever you paint with black, the layer beneath that is the paint layer will start to appear wherever you paint with. It is basically the same as the black mask only it is just inverted. So adding a white mask is sometimes useful. But most of the times we will be adding a black mask only. Alright? So let's quickly delete this layer now. Alright, so now let's go over another great use for masks. I will quickly delete this layer. And this time let's use a rubber and plastic texture set, because we have always been using the metal texture set. So this time let's use this one. Now we'll just quickly disable the magnetic sheet sets so it is easier to work with. So as you can see, there are three different objects in this texture set. One of them is this one, the other one is this. Also actually, there are four different models. One of them is this one, this one, this one. And this rubber bite. One thing that I want to mention it if you're wondering about this gray color over here. So basically this is the shadow of these models that are of the Mac at Texas Tech like this. So just don't worry about them. They are here because of the macro texture set. This piece and this piece over here. So that is why we are seeing these gray colored shadows like chemo here. Alright, so now let's say we want to have red color over this circular thing. We want the rubber pipe to be black. And these two models, we want them to be yellow. So how can we do stuff like this? So now let's add a fill layer, makes sure to select the rubber and plastic texture set. I will delete this older layer and add a new fill layer, give this a red color. And you can see now all of the pieces have the same red color. But let's say I only want it to appear over here. So till now we were using mask basically like we added redress layer. Then we added a mask and tried to paint over it on our model to give it a dance-like effect. But let's say I want this red color just over this circular thing and not over all of these rest of the objects. So you will think, I will add a black mask and just start to paint over this using my brush like this, all over it. But I think that process would be really tedious. So what tasks like this we have just the perfect tool to work with. If you see this one over here, the polygon tool for now just select it. So basically this tool, along with mass, work together perfectly. What we can use this for is you will see these four different modes over here. So the first one, let's just keep the first one for now, I will select this one polygon. So now you can see we can choose the color either white or black, as it is in the case of a mask. So I will choose a white color and I will select, I will click on this face like this. You can see as soon as they do that the red colored appeared over here. Basically what just happened is I painted this particular face with white color in this mask. So as you remember, white color means visible. So as soon as I painted it with why the red color started to appear over here. So you can just, you can see as soon as I select all the faces, the red color is starting to appear over them. And if I switch the color back to black, obviously you can use the shortcut over here also like this. Now, if I select them using the black color, the red color is disappearing faculty the second mode over here, that is this one polygon field basically selects one phase at a time. Make sure to set it back to white. Select one phase at a time. But if you select this first one, it will just select, I think, half a face at a time because it is a triangle field. So it divides a single-phase into two triangles. So it feels this way. I never really use this one because I don't think I've ever found a use case to fill just a single triangle and then fill another triangle. Basically the most used one is this one that the mesh will. So basically what it does is as soon as you click over here, we'll see now the whole model is off red color. So perfect. So this is exactly what we wanted. And I think this is a great, great use for mass. We just divide the layers into different pieces of model. Alright, so now I will add another color. This time I will add a green color. Let's say I want a green color to appear over here. You will notice that this circular ring is also green color because this layer is on top of the regular. If you move this under this, you can see the red color back. But don't worry, even if it stays on top of this, it won't really matter because as soon as we add a black mask, now the green color has completely disappeared. And we have already selected this tool and we are already in the mesh screen. So I will just quickly click over this and you can see we have easily selected the green color. So how easy was that? I will rename this to red, and let's rename this one to be. Let's quickly add a yellow color. Just to demonstrate everything properly. Rename this to yellow and add a black mask. And this time I want the yellow color will appear over this piece. So in this click on it. And you can see how we have created three different layers with three different colors on three different pieces of the model. So that is a great, great use for mask, along with adding effects like dirt, dust, roughness, variation, everything like that. Mass can be used for this purpose also will divide up the layers between different models. Let's quickly add a black colored layer also for our white cells, lack, add a black mass to this and now select this one. If you notice just click back on any of the mass from over here. Let's select this one, the yellow colored one, and now press F1 for the 2D view. You will see that I have skipped this last word of this tool, that is the UV chunk. What this basically does is I will just quickly Right-click and clear this mask. And now let's select the UV junk food. So what this basically does is it fills colors basically on the basis of the UV Islands over here. So you can see as soon as I click over here on the top, you will see just this top faces selected because in the UVs It was only this much like this. Then it has selected only disliked because in the UVs, It was still here only. So again, I rarely use this one, but definitely sometimes it is very useful. So you can select the faces on the basis of the UV islands like this. Let's just go back to Nashville and select it all at once, like this. Now press F2 to come out of the 3D view. There are also a couple of other commands that you can access related to mass by just right-click in the mask, like this, like this one over here, you can remove the mask completely or you can clear the virus. So clear mask will basically reset the mass and delete all its information. It will be back to your normal black mask. I will hit Control Z and then we have invert mask. Invert Mask, as the name suggests, the areas that are white will become black and the black areas will become white. You can see it over hills. So as soon as they inverted, you can see the white colors or non-black and the black ones are right. And over here, you can see the results of this. If you convert this mass, this piece was only a yellow. Now these two are yellow and this one is back to its original color. You can also visualize this by going over here in the mask function. And this one is currently black and all of them are white. And if I now invert this, basically, this is Invert Mask. Press M to come back to your material. Next, we can also copy and paste the mass using just right-click. Alright, so these were the couple of commands that are useful right now. Alright, so in this video we learned about mass, and we'll also learn how we can use this polygon tool. In the upcoming videos, we will be learning more and more about mass, like in the next video we will be starting with smart masks. So these are some predefined masks that are created by suggestions to help you with your texturing process. Then we will also be going over generators, mosque editors, and lots of different things. So right now we're just scratching the surface of masking. In the later on videos, we will go more in depth. Alright, so I hope to see you there and you watching. 13. Smart Masks: Hello and welcome everyone. So in the last lecture we discussed about mask, and in this video we'll be going over swat mask. So first let's open up our fire extinguisher project. Alright, so one thing that I wanted to mention before starting is I just forgot to tell this in the last video. We can use our mask with smart materials also, like we were using a mask for different failures and everything, but we can also use them with materials are smart materials provided to us in our shelves. Let me just quickly show you. Alright, so maybe we drag and drop this iron pure material onto over and make a texture set like this. Then we can use this rust material over here. Alright, so now I will go ahead and add a black mask to this rust. Now you can select a brush from over here. Select any type of brush like this dirt too, and you can just start to paint the rest effect onto your iron material. So basically you can do the same thing with all the smart materials also. Because smart materials is basically just a group of different layers. So the base materials are basically just fill layers with pre-defined settings. And if I will, just drag and drop smart material, let's say maybe we use this deal scratched. So basically this is just a folder with different filters over here. As you can see that it already has different types of layers and masks added to it. So therefore, we can see all of these effects over here on a model. So if you add something on top of this, let's just quickly add anything like maybe this bowl damaged material. Now we can add a mass to this complete folder like this is go over here and a black mask. Now, you can see in the gold material on your iron material like this. Basically you can mask with any type of layer, with a paint layer fill layer, or even with folders with all different layers like this also. This is what I wanted to show. So let's just now quickly delete this. And now I will be going over smart mass, which is the third section of our shelf. Alright, so again, let's drag and drop an iron material. And then I will drag and drop and rust material. Alright, so as you know, we can obviously add a black mass to this and then use a brush to start painting over our model. But let's say we don't want to do that because sometimes we have a UE model. We cannot just sit there bending on it for ours using our small brush going into each corner and Travis and just trying to paint it like this. So instead, we can just quickly use a smart mass, which will make our work very easy. You will just see for yourself, go over to smart mass and we will find a rust smart mask over here. Let's see. Alright, so we have these different risks. Smart mask over here, who search for rest. And let's see. I will use this normal rust smart mask and drag and drop it over here. And you can see as soon as we do that automatically this layer has been masked out and we already have effects on our model. Now, if you will click on this mask, you will see this mask editor over here. So basically this is a generator. All these smart masks are created using generators. So you can click on this generator and you will find all these different settings. Don't get overwhelmed by these settings. Basically, these are just different sliders, which you can easily understand by just moving them like this. You can see basically this is the global balance. If you will decrease this, the effect will start to slowly go away. And if we will increase, it, will start to increase. You can also use things like contrast. Make the effect of the cubic sharper. And it will decrease the contrast you can see now. We can also use blood over here, which is blurred, the effect like this. But I don't think it is useful in this type of case. So let's set it to 0 only. Also, there are loads and loads of different settings over here. We will go over them when we are discussing properly about mask editor. But you can just write now, turned down the sliders and see what happens. We'll see for yourself, we also have this global invert option over here. If we will set this to true, we will see now the complete mask is flipped. So that is also quite handy. Sometimes. Also you can visualize this mask by going over here and checking out the mask option. And you can see all the areas that are white currently have the effect, and the areas that are black do not have that effect. We can also view any mask by just holding Alt and clicking over it like this. And to go back to the material, you can just click over here. Click on the Fill layer. Alright, so now you can just go over the mask editor and try out some of these different settings. Move the sliders and see what happens. We just figured out some things for yourself, but don't worry. In the next video, we will be going over generators and different types of masks, editors. And through that, we will learn how we can create some of our own smart mass. If, let's say we don't want to use any of the smart mass from over here. We can also create some of our own by just going over here and adding a generator. But that is for the next video. For now, let's just use a couple of different other smart mass. So I will click on this X icon to remove the mask from over here. And let's drag and drop another one. So let's use this one stayed scratches. You can see all the different masks have different type of results. You can try out the different options and see what suits your needs the best. Again, every mask would have this mask and that you can use to edit the settings of the mask. Alright, so let's do something else. I will just delete this layer, and this time I will add a fill layer. Let's set this to black color and give it a enoughness of 0.8. I think. I, let's say I want this does to be added on the corners and the crevices of my model. So one mass that I use pretty frequently is this just occlusion one. So I will just drag and drop it over here like this. Now, if we will see closely over here, all our corners, crevices, edges have this dust mask over here. And it looks very organic and natural. And I think this mask is pretty good. We can just select it from over here. Now you can just select the mask from over here. And as you can see, this has a different type of generator. You can adjust the dirt level. So basically generators would be different but most of the properties would remain the same as this one has this dirt level, that contrast. This also has a invert option that you can flip. We also have Dr. Dana. So basically right now, this mask is using a UV projection, you can say, but if you enable Dr. Dana, it will use travelling a prediction. Also, we have this grungy amounts of brand is basically the dirt particles, if we will increase, you will see in the dirt is increasing. You can fine-tune these settings and find the perfect match for you. You can also adjust the grungy scale if you will increase this, the tiling of the dirt will increase like this. I think increasingly too much makes the effect very repetitive and obvious. Let's set it back to default. Yeah, we also have a masking over here. So if we will increase this property, you will see that the dust will start to go away from some of our edges. I don t think it is that noticeable, but you can see over here, if we set this to 0, the dirt is increased. But if you keep on increasing, this would start to go and bit by bit. Alright, so I think this mask is pretty good. We can also use a couple of other ones. Let's remove this one. We also have this dust soft, which will give us this type of effect. Again, you can edit it however you may like. Let's move this one and see what type of smart mouse you like the best. We also have the edges mask over here, like this, edge density will add a distinct damage towards your edges. All these masks and try them out. Sometimes you will also have a filter added to your smart class, like this one. This one will basically sharpen the effect of your mask. You can see as soon as they're disabling, the math gets a little bit blurry. But if I enable the sharpening effect, you can also increase the sharpening density like this one. These are some filters that you can add to your mass. If you remember, we added some filters to Ophelia. So basically you can add a filter to your mosque also for you just need to select like this and click over here. And then you can add a filter from over here to the mosque also. Alright, so now I will show you a very neat little trick that we can use to edit our mass even further and make our models look even better. Let's just rough this out and I will again add the desktop version. Let's increase the dirt level a little bit. Also, you can select this fill layer at anytime and you can change the color of the dirt layer and you can see it is updating right over here. Alright, so now let's select the mask. I will also rename the layer, does. Alright, so till now we know that if you want to add things like dust, dirt, roughness, variation or anything like that, we can just add a layer and then we can directly use smart mask. And we will have a nicely masked out there that we can easily edited using the sliders and everything that substance has provided us and other ways just to add a layer. And then we will manually painting using the paint brushes, which is obviously very time-consuming. Like if you wanted to add this, just like this, disabled this layer, add a new layer, a black color. And if you wanted to paint in manually, we need to add a black mask and just start painting it over here like this. And this is like very tedious and time-consuming. But let's say I wanted to use both of these methods at once. Like we have added a smart mask, but we want to edit it a little bit using our own brush. So if you're wondering if we can do that or not, we can definitely do it and it is really easy to do so right now, if you select this layer over here, you can easily paint over it using a brush. But let's delete this folder layer and enable that. This dust layer, which already has this smart mask over here, that is the desktop nutrients smart mass that we apply. And if you click over this mask and try to print it using a brush. You will see that nothing really happens. So how we can paint over it while having our mask still enabled. So we need to add a paint layer, this mask. So now to do that, we need to add a paint layer to this mask. So not a normal paint layer that we can add from over here like this, but a paint layer to the mask. So to do that, you just need to select your mask first. Go over here in the effects section and add up paint layer. As soon as you do that you will see a paint layer has appeared over here. And now if I try to paint over it, you can see we can easily paint over that model along with the smart mask effects that we can still see over here. The great thing about this is, so now let's say you are not liking this part of the smart mass that much. So you can to switch to the black color and you can just delete it like this. Very easy. So you see the rest of the smart must still stays there, but we have easily removed a part of the mass that we did not like that much. And we can easily remove the parts of the mass that we do not think that good. Or if the mask is just looking too much, we can remove some of the areas like this also manually. If you want to add some dust on your own, you can just press the X to flip the color to white. And now you can easily paint over your mask as you remember why it means visible. So now the dust is being visible wherever I'm painting. And if I switch back to black, now I can remove the dust because black means invisible. I think this is a really, really great too. We can also have the nice effects of a smart mass, and we can also use a paint layer to add some effects on our own. You can choose any brush and just start to paint over here like this. Also lets say you are feeling like your paint layer is just too much. You can also disable it from here like this. Or you can also decrease the opacity of the layer if you want to, like this. Also, you can decrease the opacity of the mask from over here. This will just reduce the effects of the mass if you set it to 0. I mean, it will completely just remove the effects if you set it to 0, like that, the effects of the mosque or too much, you can definitely reduce the opacity from here a little bit just according to your needs. Alright, so let's sit back both of them, a 100. I think this is a really, really great too. You can do this with any kinds of masks you then you just need to select it and go over here in the effects section and add a point here. And basically then it is just the same. You can set up any kind of brush and start to paint over it. Using a brush. Make sure to select the paint lead while painting. If you just select the mask you won't be able to meet. You need to select the paint layer from over here. All right, Let's see, move this paint layer. As I told you, we can also add some filters to our mass. You can go over here and add a filter. These filters work in the same way as any nominal field w2. You can go into the filter section of this shelf. And if you remember, we use blood when we were learning about filters. So you can use that blur on the mask also. As soon as you do that, you can now see the mask is really blurred. And if you keep on increasing it, now the mask is completely blurred. The sharpen filter, the sharpen filter that was used earlier is also one of the filter only. You can drag and drop the sharpen filter. And as soon as you do that, you can see that the dust is very sharp. Now, you can reduce the intensity like this. These filters, you can try them out. We will keep going over them as the course proceeds. So let's just remove this filter now. I will disable this layer for now. And let's add a new layer. And this time let's try to give some roughness variation to a model. So how can we do that? Just quickly disabled all of the channels except the roughness channel. If you remember, we can also do this by just holding Alt and clicking on the roughness channel. Now only roughness is selected. Rename this to roughness variation. I think adding roughness variation to your model is really, really important because in real life, a lot of roughness variation going on in all the props that are around us. So I will add a black box to this. And again, let's use the smart mass. This time. Let's see. Let's try using dusk plastic. Drag and drop it. And it is not really that noticeable at first. But if you zoom in over here, you can see that the surface has some kind of reference variation. Obviously it is not that obvious. So let's select the mask editor and try to increase the balance. Okay, I just don't think this is a very good smart mass. Let's use something else. Let's try this one. I think this one works a lot better. So select the mask editor and let's increase the balance of it. Also, what you can do is you can go over here on the failure and increase or decrease the roughness from over here to see what fits best. Obviously something like this, I think looks pretty good. It is necessary to add some roughness variation to your model. In the upcoming videos, we will learn more and more different ways to use masks. So don't worry, there will be a lot of options in variations for you to use from. Like we will be also going over how we can use these different black and white textures in our masks. That is for the upcoming videos. Alright, I think this is enough for this one. I will see you in the next one. Thank you for watching. 14. Generators and Mask Editors: Hello and welcome everyone. In this video, we will be going over generators and mask editors. So let's open up our project first, head over to File recent files and open them the fire extinguisher start five. Alright, so in the last video, we went over smart masks and how we can use them and customize them according to ourselves. So generators and smart masks are basically one and the same thing you can say that spot masks are created out of different generators. So smart mass basically already has everything set for us, all the values, textures, everything. But if you use a generator, we have to do everything ourselves. Alright, so to add a generator first, we need some layers over here. So let's just quickly, again add iron material that I will add rust material. Now on the rest fine layer, Let's add a black mass to this. And now to add a generator, just head over to the Effects menu and hit Add generator. Alright, so as soon as you do that, you will see the generator empty option over here. You can click over this empty slot and you will see all the generators appearing over here in this window. And you can select any of them from over here. Also, you can view all your generators over here also in the shelf. To do that, just click over this option and make sure to be in the old libraries. So click over this base material once again. Alright, now if you open up starter assets and select generators from over here, we can see all the generators have started to appear in a shelf. Now, let's click on this once again. Alright, so we have all our generator. So over here, let's go over them. If you remember, I told you guys that baking mesh maps is rarely necessary because substance painter, you lose those mesh maps for features like smart masks and generators. So if you see over here now, you will find all the generators related to your mesh maps. Go over the texture set settings. And these are all the mesh maps like the ambient occlusion. You can find the ambient occlusion generate over here, we have curvature position workspace normal. So you will find all of these over here. We have whitespace normal position and go H0. Alright, So to try out, Let's just drag and drop the ambient occlusion generator over here. And basically it does something very expected. But first, we need to just flip the mask so enabled global invert from over here. And now you will see all the rust appearing in corners and crevices because that is what basically the ambient occlusion mask. If you go over here and view the ammeter pollution mask, you can see it kind of looks something like this. The areas are white and in all the corners you will find these dark shadows. Now if you check out your mask is basically the same thing, but it is just flipped out like this. You can increase the global balance. Like this. Also, you can increase the contrast all the basic settings. You can increase the blur. Let's come back to our material. So press N to view the material. You can open up this ambient occlusion section to further adjust it. Next, let's try out the curvature. Drag-and-drop the curvature. As you see this time, it masks out using the curvature map. If you look at the bottom of a generator, you will find this image inputs. So basically image inputs are all the mesh maps that are currently being used by this particular generator. So the curvature data obviously uses the curvature map along with whitespace normal and position. If you see for the ambient occlusion, you can see that it uses the ambient occlusion along with whitespace normal and position gradient. Let's drag and drop this time the position. And basically these are all simple generator. This one you can create a top-down gradient like this. Nothing much we can do with this. If you open this up, you can change it from top to bottom too, front-to-back like this. Now you can see the mask is in the front. If you increase the balance like this. You can also change it to right-to-left. X shifted back to 0 for front-to-back. And you can see now the mask is on the right side. If you want the mask to start from the left side, basically you just need to enable global inward or just invert. And you can see now it is from left to right. Yeah, Basically this is what you can do with the position generator. You can create gradients from different angles, like top to bottom, bottom to top. And basically this is what the position generate again, do. We have some other generators also like this dirt one? We have already seen this one when we were using the dirt up nutrients smart mask. You can decrease it and you will see it works something that really it has added like all the dirt in the corners and the edges over here. Next, let's see. We also have the Metal Edge VM, which I think is one of the important generators. It will damage to your model considering that it was a metal. Because as the name suggests, metal edge view. So if you look over here in the image input, this one uses the curvature and the ambient occlusion both along with the position and the workspace normal. So here are, I think, some self-explanatory settings that we have already gone over. Many times you can see for ourselves we have the where level. If you increase it, the damage will start to increase. We have the contrast. Then we also have inverted over here. We have tripe linear blending. If you increase it. Now it is basically drive then a projection. Then we have the grunge amount. If you increase this, then this dirt will increase. And the grunt scale will basically increase the tiling of the dirt. So I suggest keeping this amount at a low number. Next, we have this Use Custom grunge option, which I think is really cool. If you set this to true, you will see that your rust effect disappears completely. But don't worry, that is because this custom slot over here is empty, we can use a texture over here and that will be used as your custom range. Subrange basically means all these dust particles that you see over here. So with the help of this option, we can use a grinder of our own. So to do that, first, let's head over to the texture section of our shelf. So to do that, click over here and just select all libraries. And now from over here, Let's select the texture section. So this one. And I will turn this off. So now in the shelf search bar, Let's search for brunch. And you will find these variety of grunge maps that are provided to us by substance painter, which I think is really, really good because we have all these different variety over here. We can use any one of these that we want. So let's put a drag and drop any texture map that V like. Obviously you can go for anyone. Let me see. I will maybe go for this one. So we will drag and drop it like this. And you can see as soon as we do that, we have a completely different mask effects from earlier. You can now do the same thing with any of the grunge map or the textures over here. Just drag and drop them like this. And you can see we now have a completely different mask effect, which I think is really, really great about this tool. You can see this weird tiling effect. So let's just decrease the scale. And I think this way it would look much better. Some of them obviously won't work for your use case. You can try out with this variety of grunge maps that we have over here and use any one that you might like. Also, as soon as you add the grunge maps, you will have these extra settings over here regarding to this grungy map only you can do things like increasing or decreasing the balance, contrast, and some other settings that you can go over. We also have the invert option. Alright, so I think this is really cool. The metal edge we're generator is, I think really important. And you can create various different nice effects with this. We can see with each and every grunge, we're getting a completely different effect. So by now you understand the possibilities of this. Let's just remove this generator now and let's go over something else. I will again click over here. And let's come back to the generator section. We also have some other generators that are not used that much, but are pretty useful if need be. So like this auto stitches one, you can use this with fabrics a lot. Like as soon as you drop it, you will see all these teaching effects over here at the corner. And you can control them like this. You can do stuff like adjusting the street sides, the stitch width. So when you are texturing like clothes and stuff like that, fabric and everything, you can use this, which I think is pretty cool. We also have this fiberglass effect, which I think is very nice. We also have this dripping brush generator. Let's drag and drop this one. I think this one pretty much matches our needs because we are using a raster layer right now. You can adjust these sliders and see what they do. Basically, all of them have the similar setting. We have the usual contrasts, the balance we have inward. This one also has some nice settings like we also have this gripping intensity. If you increase this, you can see now the rust is dripping away. You can also adjust the smoothness. I think this generator is trying to simulate the effect. That's why we also have the samples amount. Really cool. I think we can create some nice effects with this. Alright, so let's remove this one and next what we have, we also have this UV border thing, which I think is really cool. I don't really know the use for it. If you drag and drop it like this. Now press F1 to view your duty view and you can see it has masked out all your UV borders like this. Maybe it will be handy for some kind of situation. But I think it is pretty good to know about it. Next, we also have this light generator, which I think is really unique. Drag-and-drop it. And you will see this spot over your model of rust. And you try to move this slider and you will see it kind of moves like a spotlight. So basically I think it can be used for things when you have to create a damage on a crop that is being caused by some kind of light, light by sunlight or some kind of light that is constantly being lit at the part of a model and it has been damaged because of it maybe. So that way we can use this light generator that kind of fit. We have all these settings so that you can find the effect a little bit. Alright, so I think this is it for all the basic generators. At last we have our mask editor, which I think is the most important generator of them all. If you drag and drop it over here and scroll down, you will see that it uses all the mesh bags double-spaced, normal position, thickness, curvature, ambient occlusion, all of them. Basically with using this, we have complete control over our mass. We can adjust anything we want to, and we can create any type of mass that we want. You will see that we have different columns for different mesh maps. We have the thickness. You can increase or decrease the opacity from over here. And if you open this up, you will find more settings related to the thickness mesh map. We obviously have the position, all the things that we can do using just the position generator. We can do it from over here using the mask editor. That's why I think it is really important and really extensive. Because it has all the mishmash and we have complete control over our mask. Then we have obviously the ambient occlusion and the curvature, which I think are the two most important ones. Check, check, check. So currently you will notice that all the HashMap sliders over here that are the ambient occlusion world space position and thickness are set to 0. Only curvature is set to 0.5. That means that the generator is only using the curvature nochmal right now to create the mask. And rest of the other mesh nerves are not being used. So if you want to use other mishmash, we need to increase their opacity. Like you will see when I increase the position gradient opacity to one. Now we can see the effects of the position gradient mesh map over here. So in a similar way, we need to increase the opacity of any of the mesh maps that we want to use. But for now let's just use the curvature only. And I will set its opacity to one. If I set the opacity of curvature also to 0, the mask will be basically empty. You can see nothing really happens because we do not have any HashMap to work with. All of them are set to 0 opacity and the mask editor, at least newest one mesh map to drive the mask, we need to set the curvature to something. Let's set it to one. And now if you click over here on this arrow, now we have more settings related to curvature so that we can find the control over the mask. So first thing we see over here is brightness. Brightness is basically same as the balance. If you will increase this, the effect of curvature map will increase over the mask. You can see that we also have these lots of different settings. Sharp, fine, soft. These are basically two control over different kinds of curvature. So let me just show you how we can do that. Before that, we will also go over this mold for us. Right now the mode is set to edges, but this is pretty cool if it will set these two cavities. You can see now the mask is shifted towards the cavity, is now all the rust is inside the cavities of the model. So I think that is pretty good. You can use a curvature map for edges. Now, let's take two edges. And you can also set it to cavities, and you can also set it to be, we'll basically now we have both of them cavities and also the edges. So now let's go over these curvature settings. I will increase the brightness to maybe 0.15. Alright, also we have this contrast over here. These are some of the basic settings that you know by now, all of the masks have these. Alright, so now it's set contrasts back to 0. And now press F2 for the 3D view. What I will do is I will set all of these curvatures settings to 0. That way we can see that effect properly. Now as you can see, everything is set to 0 and our mask is looking now pretty basic. So first let's increase the shot and see what happens. So we need to see a little bit closely. If I set this to one, you can see all over these sharp angles, we can see a little bit of rust over here. Let me just show you once again. Now it is set to 0. You can see nothing over here. But now that I sent it to one, you can see a little bit rust appearing over here on the sharp angles. Next, if I increase the fine, we'll see a little bit more of the drug to appear over some of the areas. This way, if I keep on increasing the different curvatures, you will start to see the rest of years more and more. This way you can really control your mask on whatever curvatures you want it to. So now I'm creating for the medium curvatures than the large ones you can see now the effect has reached over here. And if I do the big ones, then basically the complete model is being affected. Now. The last one is huge. Now the dust has basically covered a complete model. I think that is pretty great that we can control all these options over our mask. For different types of types of curvatures. Let's decrease the huge and the big ones because we don't want the effect to be that much. Yeah, I think that is pretty nice. Also, we have this blending mode over here. I rarely changes, but you can change it to different ones and see what kind of works. But I rarely change this. I keep the guide Linear Dodge only. Also we have this inverter, which you basically know by now, it will just flip your mask. Alright, so the curvature is done. Now let's close this out and let's set the ambient occlusion opacity to 100. And as soon as you do that, you will see over here along all your edges, mask got a little bit chipped off. If I set this to 0, you can clearly see the difference. Now open up the settings for ambient occlusion and there are a couple of settings over here. Obviously we have the balance. If you increase it, you can see the effect starts to grow away along the edges over here. And if you set it to 0, so now basically the mask is all gone because the balance is set to 0. So we need to set it to something. Maybe something like this would be pretty good. Obviously, we can do things like adjusting the contrast blur. And yet we have this invert option, which are pretty stable commands. We have this with every kind of mask. Then obviously we have the blending modes. Again, you can change them and find out what works best. I suggest keeping it at the default only, so let's undo it. Alright. So next we have the word space normal and the position gradient, which basically work the same as the generator over here you can see this workspace normal and the position generator that we already went over earlier. So basically it is the same thing. Let's quickly see what they are about. I will set the world space normal opacity to one, open up the settings menu for word space normal. And let's see. We can decrease the brightness a little bit. And to see this effect properly, let's set the contrast to one. Alright, so currently we have a top-down gradient like this one. You can see currently top to bottom is set, if you will, set this to 0 and increase for front-to-back. Now we have a front-to-back gradient. You can decrease the contrast if you want to make it a little bit smoother, like this. Just the balance and the brightness settings to find the proper setting for you. Again, we can now set this to right to left like this set front-to-back 0. And now we have this gradient from right to left. We can also invert the texture like this. So now we have it from left to right. Basically this is what it is all about. You already went over this when we were learning about these individual generators, verse base, novel, and position. Alright, so now I will just quickly set the world's best Normal opacity to 0 and set the position to one. And basically the position also is the same thing. It creates different gradients top to bottom, left to right. I don't really know what is the exact difference between the two of them. But they basically do the same thing. Let's set the contrast to one. And you can see this effect is from top to bottom. We can invert it. Now. We have bottom to top this and right to left. I think all this is pretty self-explanatory. We have already gone over this. I will set the position gradient opacity to 0. And the last one we have over here, this thickness. Let's set the opacity to 1 first. And thickness does not have really much options. We can just increase or decrease the brightness. That will increase the effect of the thickness mesh map, we can adjust the contrast. And then we have blood. So basically if you will go over here and check out the thickness mesh map over here, you will find this black and white image. So basically the thickness measurement decides which parts of the model are thick and which parts of the model are thin. So wherever you see the white color, it means the model is thickest over there and wherever you see black color, that means the model is finished over there. And that is, I think, pretty self-explanatory. Now model this cylinder part is the thickest. So now press M for the material. So that's why when we increase the brightness, basically, this whole part is not masked out all at once. And then if we slowly increase the brightness even more than these parts are covered. So the reason for this is because this part of the model is the thickest. So yeah, you can adjust these settings. You can also invert them. Alright, so here now I will set the thickness opacity to 0. And I think these were all the settings related to the mesh maps over here. So now if we look over here at the top now we will find a couple of global settings. That is the global blurred, global invert, we have the global balance and global contrasts. So basically to be settings, you can control your complete mask all at once. Now we will just adjusting the different individual aspects of our mask by using the different mesh maps like ambient occlusion curvature. But through this, we can control everything all at once. That's why they are called global. You can just see for yourself if you increase the global balance, the complete effects increases or decreases at once. And if you set it to 0, now basically the complete mosque is one. You can adjust the contrast. Then obviously we have the Blur setting along with the inward. So let's set this to default 0.5. And now you must be wondering that we have done all this, but our mask still looks pretty basic. It does not have that organic and realistic field to it like all the other smart masks have. And that is because if you scroll down and look over here, we have these two empty slots. To add two different textures are two different grunge maps that we did earlier with that HBO generator. So let's do the same thing now. I will quickly head over to my texture section. So click over here, select all libraries and we can just select textures from over here. Let's close this and search for grunge. Alright, so now let's drag and drop some of these textures. Let's see we can drop and even be like, let's try this one. I will just drag and drop it over here in the texture section. But as soon as I do that, you will see nothing really happens with a mask. And the reason for this is currently the texture one opacity is set to 0. Let's increase the opacity. And as you keep on increasing it, you will see the effect over here now. And our mass is starting to look pretty good now because of, just because of this texture only. So as soon as you add any texture, you will see a couple of settings over here. So let's see them now. We can obviously increase or decrease the balance of the grunge map that we added to increase or decrease its effects. Then we have the contrast. And then some maps even have these settings, like to flip them. This way. I flip them vertically. You can see whatever you might like. We also have the tiling amount if you will increase this and the texture will start to die. And as I've said, if you increase the number too much, it will look very repetitive. So just keep this number at a low amount. I think 123 would be fine. But I think over here when it looks pretty good, we can also rotate this by 45 degrees. If you want to. This also looks pretty good. Let's set this to false now. And now you will see over here we have this nasty little UV seam. So how can we fix this is pretty easy to scroll up. And in the texture opacity, we also have a couple of settings related to this section. So we have the settings over two areas we have over here also. And then we have some settings related to the texture over here also. Just open this up again. You can invert the texture. Then again we have the scale. If you increase this, the texture will start to tie. You have the contrast and brightness. You can adjust them and see the results, how they work for your needs. But we have this triplanar over here. So we were discussing about this UVC. So as soon as you enable this, you will see now the UV seam is gone completely. Terminate the project is saving. Yeah, So as I said, because now the texture or the grunge map is using traveling up rejection. You don't really have this same. And we also have this tribe in a contrast, we can increase it, but if you increase it, you will see all these projection, all these seems caused by the projection from three different planes, as we discussed earlier. So let's keep it at a lonely like this. I think this looks pretty good. Also. If you see this little line over here, I think it is starting to look like a UVC. Again, we can easily fix this by just going over here, then adding a paint layer to this. It is a little bit of work, but definitely we can do this. We can select a nice little brush and just is this away very easily. See, it was pretty easy to do. And we have done it very organically so that it looks natural. Alright, so let's go back to the mask editor. And this time, let's add a second texture to this because we can add a little bit more variation with the mask editor. We can add two different textures. So let's go with the texture section again, search for grants. And this time let's drag and drop something else. Maybe let's try this. Again. Nothing happens because the opacity is set to 0. Let's increase the opacity for the texture too. And as you do that, you can see that our mass will start to get even more detail. I think the mask editor gives us a really fine control of how we can do things. Again, we can see the same over here. This open up texture to enable Dr. Dana. And yeah, it is gone completely. So now I think our mask looks very, very good. Obviously it is not exactly like a rest mass because we were doing just random things to learn how we can use the mask editor. But I think it looks pretty good and acceptable. We can create something like this. We can also adjust the settings for the second texture, like increasing or decreasing the balance. So most of the times as smart mask, we'll just do its job. And you can easily create various unique variations by just using only the smart mass. But if you want to create something of your own, if you want to create a custom smart mask, then you can obviously use mask editor because it gives you a fine control of creating your own mask. And I think it does a pretty good job at that. You can also try some more textures from over here. Let's just change them. And you will see the effect changes completely as I've already discussed this earlier. Alright, so with this, I think I've covered everything related to the mosque editor. You can just try a couple of things on your own. Play with the blending modes. We also have the blending modes for the texture. I think over here, you can change this to anything you might like. But yeah, blending modes, I would just suggest not to mess too much with them. Alright, one more thing that I want to mention is currently we are only using the grunge maps because grunge maps are used for adding like dirt and things like that. But substance not only has like grunge textures, it also has a lot of different kinds of texture. If you go over here, we also have this float forward to create wrinkles and everything on your cloth. Or if you're creating a fabric, we also have these spots texture, which I think but rarely they integrate to create micro details. If you drag and drop this, it can also have some nice effects. We not only have the grunge maps, but we also have some various black and white texture that you can use. We also have a couple of patterns, textures, which would be pretty cool, I think while creating fabrics, like you see this one over here. Not only have benchmarks, but a lot of different black and white pictures, but yeah, larger idea of grunge maps you can easily find. And I think with these many amount of texture maps, you can create endless possibilities of different materials and textures. Alright, so I think this is it for the mosque editor guys. I hope you had fun and learned a lot. I will see you in the next video. Thanks a lot. 15. Geometry Masks: Hello and welcome everyone. In this lecture, we will be going over geometric mask, which is a fairly recently added feature. And I think it is really handy and easy to use. Alright, so let's quickly open up our projects first. We have this iron and rust layer that we were working earlier with. So let's just quickly delete them both. And if you remember a few videos back when we were learning about masking, we learned how we can create different layers and we can separate it out on the models. Like we add the red colored layer. We set the color to red. Then we added a black mask. And now let's say I want to add this red colored layer over this complete model. What is complete cylinder? I mean, so I will go over this tool, the polygon tool. I will select the Nashville mode and just click over here. So right now as the white color is selected, this this cylinder is now filled with this red colored layer. Similar way we added multiple colors, like maybe this time a green color. Now again add a black mask. Then already the tool selected, I can maybe select this thing over here. So yeah, we did this when we were learning about masking, which is a really nice thing. But Geometric Mask makes this task very, very easier. So we really don't have to add masks for this type of thing. What we can do is, let's delete these layers. Learn how we can do this with geometry mass. So again, quickly add a fill layer. Let's give this blue color. Now let's say you want to add this blue color over this piece. So how can we do that option for geometry mask is this button over here. So when you will click on this, you will see our view changes. And now we can select all of the pieces of models that we have. And if you select anyone, we can see that we basically de-select the material from over there. Now click on this fill layer again. You can see the material is removed for those pieces that we clicked. And this number is written over here. So basically this nine signifies, if you will click again, we have all these pieces of model that we exported from Blender into Substance Painter. We can select and basically de-select them from over here. So you can see are de-selected now all of them and 0 is written over here. That means this layer is being used by 0 models. So if you click over here again and select any one of them, like this one. You can see now one is written over here. That means that one piece of model is using this particular layer. I will quickly rename this to blue. This time. Let's add a red color layer. And now I want to add this red color over this bottom piece. So again, how can I do that? Click over here. This time just to make everything quick, right-click and hit exclude all. This will remove the material from all of the pieces. And now you can easily just select this one. And you can see geometry mask makes this task very, very easier. You can add multiple different layers like this. Right-click, exclude all and select any of the pieces that you want. This way, you can again click over this right-click and hit include all. This way. It will include everything. Exclude all. Let's select this or this now. But there is one small little limitation of Geometric Mask. Let's quickly go over that. I will disabled the texture set rubber and plastic so that it does not block our vision. What I will do now I will create a new layer. And let's just delete all of these. Yeah, we really don't need them. I will maybe create another color, yellow. And right-click over here and exclude all. You will see if I hover over this piece of model, it is selecting both of them. And if I click over this, now the yellow colored layer is given to both of them. And let's say you only want it to add the yellow color over this thing, but you cannot really do this with the geometry mask. It will be added to both of them. And if you're wondering what is the reason for that, the answer for this is if you will head into your blender file, into our resources folder. And in the blend of files, open up this fire extinguisher start. And we will immediately know the answer. If you look at our model and select this piece in Blender also, we have joint both of them. Both of them are a single mesh basically, substance treats them as a single measurement. That's why when we are using geometry mask, basically it adds the yellow color to both of them. You can click over here. So this is our cylinder or 00 for basically both of them are joined into a single mesh. And that's why this is happening. You can see over here, have the cylinder 004. So there are two ways to tackle this issue. One of them is just press tab over here in blended. Select both of them. So press a, press P to separate them and select by loose parts. And you will see now both of them are separate objects. But if you don't want to do this, so now that we have done this, we need to select our complete model again, export it and open up it in substance painter, I think that would be really tedious. So we'll just close the blender file and hit Don't Save, because I really don't want to save this change. I will keep it this way only. But how can you tackle this issue? Basically by adding a normal mask, right-click and hit include all. Now add a black mask to this. And now we can select this tool, the polygon tool, select the mesh fill mode and easily select this thing. And now only one of them is selected because when we are using the polygon tool, for some reason it will treat them both as separate mesh only. So yeah, that works best for us. And if you face this problem by using geometry mask, I've shown you the two solutions. You can do whatever you want. You can either add a novel mask and do it this way, or you can move back to Blender, make the changes, and then bring back the model includes Substance Painter. You would need to go over here in the Edit menu then in the project configuration settings. And from over here we can re-import a new model into substances. We have already gone over this in the last section. Alright, so with this out of the way, let's go over one more thing. Let's remove this layer. Also, this geometric masking can be used with all these layers and smart materials. Also, if you want to try it out, you can do so. It's drag-and-drop, anything you want. Like drag and drop this aluminium. Right-click, exclude all, and then select anything you want. Like this. I think this is pretty handy. And it is very quick. As against two adding a mask, I think. So, yeah, let's delete both of them. You can do the same thing with the smart material also. Right-click exclude all, and then just select these species. Alright, so next thing that I wanted to go over is first let's just quickly drag and drop a few materials. Exclude all, and maybe select this one. I will just select one for each. Alright, I think these are enough materials. So the thing that I want to go over is this button over here. When you click this, you will see that the only geometry that you selected will be shown over the new 3D view. Basically, this is the use of this command. I think that was pretty useful. We can use it sometimes. And if you select this layer, this geometry shown now, whichever geometry is being used by this particular layer. If you select any of the layers, you can see as soon as you do that, it will change the geometry over here. You can use this button for that. Now, just turn this off. Alright, so this was all about geometry mask. I think that is a pretty useful feature and you should use that in your workflows. Alright guys, so thank you for watching. I'll see you in the next one. 16. Effects and Filters: Hello and welcome everyone. In this video, we will be going over the Effects menu here. So I've already opened up my fire extinguisher file and let's start. So to start off first, we need some layers to work with over here. Let's just drag and drop our trusted iron and rust material. And we can start working with them. Click on the Effects menu. And the first thing that we have over here is add generator. So basically for the last two videos, we have been going over generator solely. But to quickly show you how we can use them, we first need to add a black master this. And then we can click on the Effects menu while this mask is selected, and then add a generator. Now basically you can use any generator that you might like over here. You can see the effects over here very clearly. So again, we have gone over all these properties. You basically know properly what a generator is. So let's just remove this one. Let's just keep it over here only for the time being. Alright, so the next option that we have over here is add paint layer. So we have learned about this too. So let's say we are not happy with a mask in a particular area. We can easily just click over the mass force, makes sure to select the mask and not select the fill layer, because we can also add a print layer to this. And if you do that, you will see we can now plain white color over our layer. And we really don't want that. We need to add a paint layer to the mosque, only, select the mask and then add a paint layer. And you will notice now, if you start painting with white color, you're basically painting the rust layer because white means visible in terms of masking and press X to switch the color. And now we're erasing the effect. Do it in a more organic and natural way so that it does not feel this abrupt. You can just select a brush row here. And I know that I always select this dirt brush, but obviously you can select any brush that you might like. Maybe this one, just to give it an organic field. Like this. This way, like it feels much better. You can in-between press X and add some things and then remove them again, press X so that you can create some kind of this effect. Basically you understand the use to edit your mask even further. You can add a paint layer and do all sorts of things. Add your mask effects or remove them. Also, you can control the opacity of the paint layer, as you can see over here. If you reduce this to 0, basically all the paint layer effects are gone now and the older mosque comes up. I will just remove the paint layer now and also remove the smart mask or the generator. And next we have add a fill layer. So basically till now we have learned many different ways to use masks. We can either use a smart mass, we can use generators. You can also paint it by hand. So there is one movie. When you add a black mask to this, you can also click over here and add a fill layer. So basically now what will happen is you will see these empty slot over here and you can head over to the textures menu. And in the same way, Let's use a grudge map this time again. Let's drag and drop this one. And you can see now this texture that is a grunge concrete does t is all over our model in the form of arrest. So basically we can use mosque this way. Also you can control all these settings balance, contrast. If you go over here, you can also increase the tiling of this offset and all those things. Also, if you see the same over here, just change this to privately now and we're good to go. You might be thinking what is the difference between using a smart mouse generator or using a fill layer directly this way. So basically as you know, the smart masks and generators are limited to things like edges, cavities, and thickness. We go over all those things. But using a fill layer directly like this, what it will do is it will go away a complete model using the fill layer or using the texture that we have used. You can go over here in the mask and CDS. Basically now this picture is covering a complete model in the form of rust. So yeah, that is a difference between using a failure and a smart mask. Just to contrast. Alright, so I think you get the point. Let's remove the fill layer now and see what's next. Then we have the levels. So basically bring back the failure quickly so that we can use the levels with it. Let's adjust the texture a little bit first, I will decrease the contrast. I think this is better. Now you can select the mask and let's add a levels to this. So basically now you will see overhears something like this. If you have worked with Photoshop, I think it would be pretty familiar with this. So basically by using levels, we can adjust the color range of our mass. We can adjust the values of the blacks and the whites in the mass. So if we will go over here, visualize the mask. And you can see over here, if you try to move some of these sliders, you can see if you increase this one, the white area increases. If you increase this. The black area increases and therefore our contrast increases. So you can play with these settings. Honestly, I really don't know what exactly all of these do, but I just tried to play with it and try to get the results that I like. I do not know what the specifics of all the sliders do. So you can just play with them and try to adjust it. Basically, it works in a similar way, like balance or contrast with work that we have with our textures over here. We can adjust those things with this. But there is one better thing about this, that right now we are using the levels with the mask, but what we can do is let's just remove both of them and also right-click and remove the mask. Now you have selected the fill layer. Okay, First, we are currently in base color. Let's go back to a material. Now we can add a levels effect to this layer also, we are not adding it to any mask, but to this layer particularly. So now add it. And now you will see it is different over here. So right now it is showing you effected channel. So basically right now it is only affecting the base color. If you try to adjust these sliders, you will see the color of your rust would change. So you can do these things also with the levels effect. As you can see over here. Alright, let's reset this, this time. Let's choose the roughness. So basically now what will happen is now we are only affecting the roughness channel. So Blake, close attention to the roughness values of the layer. If I try to adjust them, you will see some areas have become reflective now and some are now very rough. That is because we are adjusting the values away. And now you can see the complete layer is very reflective. That is the great thing about the levels effect. We can use it together with a failure or material so and affect all these channels. And now in a similar way, you can select any channel from over here and an affected using your levels effect, using this button, we can basically reset the effect. We can also invert it like this. So now all the areas that were earlier shiny, rough and all the rough areas are not shiny, basically invert option. So we have basically that was the levels effect. Next, let's go over the filters again. Select this, and let's add a filter. So this time we are adding a filter to lock fill layer that is rust. So make sure you remember that we are not adding it to any mask but to the rust fine layer. So let's go over the filter section over here. And we have already gone over some of the common ones like blood. We have also used Sharpen from over here. Let's try something like We also have blurred directional. First select the filter and let's drag and drop blurred directional. So it works similar to blood, but you can also control the angle in which the texture or the mask is being blurred. As you can see, if you rotate the angle, then your blood anger is also being rotated. So basically that is the difference between the two. Cross it down. You also have bevel level won't really work that well with these kinds of effect. But let me just show you how we can use the bevels. So let's see. This time. Let's add a black mask. Let's go ahead and alphas section. And I will use the square. Now just paint using the square like this. If you are wondering why it is not painting correctly, you will see your GTR overheads to just set the status of 0. I will paint properly like this. Alright, so this time I will add a filter to my mask. Add a filter and select the devil filter this time. Now you can see the effect of the Bevel filter properly. Basically it works similar as a Bevel filter that would work in blender. You can increase or decrease with distance. It will just smoothen out the edges. You see. I think it is pretty cool. We can use it for several type of stuffs. I think you can adjust all these sliders and pretty much get the idea what they will do. So I think that is pretty good. Next, let's see, let's remove this one. We also have already gone over sharpened. But if you use the sharpen filter and increase the intensity, you will see that nothing really happens because we have added the sharpen filter to our mask. So basically it is sharpening the edges of these squares. So basically that are already sharp. So do use the sharpen filter properly. We need to select the fill layer, add filter, and add a sharpen filter like this. Now you will see yours effects on the rust layer. Make sure you pay attention where you add your filters and all these effects. If you want to use it on the mask, then first select the mask, then add them. Otherwise they won't show the effects properly. Let's add another filter and let's see what we can also go over because a lot of them are not really offered use as a business perspective. I'm not really going over them. We also have these matte finishes, so let's see how we can use them. We have this iron pure material. Basically if you want, we can also create this iron pure material very easily on our own. Delete this add affiliate. Basically said the metallic value to one and set the roughness value to 0.2. Maybe we have iron pure material with us. So if you see overhead these matte finishes material, I think they are pretty cool to use different types of metals. If you add a filter and let's drag and drop this one, matte, finish it off. I think the most basic one. As soon as you do that, you will now notice that iron materials look really nice with all the toughness variations and everything. It looks really realistic. So you can do things like controlling the brushing intensity. If you are not liking the effect too much, you can reduce it so that it is very faint. But still there. I think it adds a lot of value to the texture. Rather than displaying thing. A lot of stuff that you can do, you can increase the scale. Grunge will increase the amount of these particles, dirt particles. We also have brushing warp. As with all other things, you can also use a custom range. Set this to true, and basically add your own texture from over here. Like this. Now you can see your own grunge added to this. I think pretty cool and very useful when we will be texturing our fire extinguisher and stuff like that. Also, you can use tribe Lena, I think we will have a faint little UVC. Move ahead. So now if we set desert right there now, I think it is still there. But now not very no disabled. Yeah. I think this looks very obvious and this looks a lot better. I type in asserting would just remove all your seams. Nice. There are different types of matte finishes. Select the filter and you can drag and drop any one of them for different types of metals. What is this? This is matte finished, galvanized. And please the scale of it. I have never really used this, but maybe it is useful for some kinds of different types of metal. You also have this over here. I think this is pretty good. You can use it for different types of metals. So as I'm telling you, you can use these different matte finishes and check which one you like the best. We also have this one. Let me see. Yeah. This one rashly, I think this is also pretty common. This degree is the brushing intensity. I don't think we needed this much and increase the scale. Basically, this is the matte finishes. We also have this HSL perceptive. You drag and drop this. I don't think it would work that good on this material because basically it is a white color fill layer. So let's use colored material for this. Maybe materials. Now add a filter to this and this time let's use the HSL perceptive. So basically you can control stuff like hue saturation. So who is for color saturation? So you understand this. Now the colors are more vibrant. And if you decrease this, this is now basically black-and-white D saturated. If you increase the lightness, whites would increase in your texture and your hand. If you decrease it, it would become darker. Alright, let's remove this and let's see what more we have here with us. We also have contrast luminosity. Most of them are pretty self-explanatory. You can just drag and drop and see what they do. You can also control things like the shadows, mid tones, and highlights. For a better, finer control. I rarely use this. But yeah, you can definitely do if you want to. Next, we have this mask outline, which I think is really, really good. Let me just show you what it does. Let's remove everything. Add a fill layer. Let's give this a red color. And I will add a black mask to this. And right now we have a square shape brush, but it's going to brushes and select the basic soft. This one. Alright, let's go back to filters. Okay, One thing before starting. Currently, we are painting on a mask directly. We don't have any layer over here in our mask. So we cannot control this pain restroom. But if you add a paint layer to this, you can basically paint on your mask only directly. The only difference would be now you can control the opacity from over here along with the blending modes. So I think it is a good practice to just first add a paint layer and then start painting on your mask rather than selecting it and just directly painting over it. Because now you cannot really control your paints, true? You can also work in a non-destructive way by just adding a paint layer. Use a paint stroke, another paint layer, then use another stroke. So now this way both your strokes are on different layers. I think that is pretty good. You can increase or decrease the opacity of one single stroke. But if you don't add any of these layers, basically all your strokes would be on a single layer and you cannot really control it. Alright, so back to the mask outline freedom. So let's quickly just draw some shapes like this to three strokes. That would be enough. And now I will select the Mask, add a filter. And this time drag-and-drop the mask outline. So now as soon as you do that, you will see earlier. Umass was something like this. But now basically your stroke has an outline, as the name suggests, mask outline. I think it is a pretty cool effect. And you can use it for maybe things like creating graffiti and stuff like that because they have a lot of outlines. Like maybe let's disable this. And you tried to like create letters like this on a graffiti. If I tried to write my name. And now enabled mosque outlines, you can see it is kind of looking like a gravity. Obviously it is not perfect. But yeah, we can see the uses for this type of filter. You can adjust the weight, the blood, and the curve shape. Really cool effect. Also you can directly paint like this. Also. Really nice to paint this way. So yeah, that was the mask outline filter. Let's remove this. Let's see. Next. We also have transform over here with us. So if you add a filter again and add transform to this. So now we have added up to transform that to our mask. So basically what we can do now, just a second. All these paint strokes that we have made, if you decrease the scaling, now we'll see that tiling over your material. You can also offset them. If you want to maybe offset, offset them on the Y, rotate them. It might be useful for you to know about this filter. You can also add the transformed data to basically a layer also. But I don't see how it would be useful because you basically have all these features over here also. But if you want to, you can add filter and then select the transform. You see you can control things like dialing, offset, even rotate the texture. Let's move this. Alright, so I have gone over a couple of more filters. You can maybe try out some of these on your own because a lot of them are pretty self-explanatory and the rest that are remaining, we will go over them in the last section of our course. That would be the bonus section. Also, I think this matte finish, a water drops filter is also really good. If you select the layer, add a filter, drag and drop this one over here. You will see that your red layer has water droplets. So if we want to add that kind of threat, you can basically use this filter. You can control all sorts of things like the drop amount, their scale. Really good filter. You can drag and drop all these matte finished filters and see the different effects. This one is appealing effect. You can see over here on this paint layer. Let's remove the mask. And you will see more properly. I think it does a really good job of creating that paint like feeding, but you can do all these sorts of things with the mask also and have a better control, in my opinion. But yeah, you can definitely use them if you want to. Alright, so let's remove the filter. I think this is enough for the filter section. We have gone over a lot of them and mostly all of the important ones I've already covered. The important ones are basically the sharpened mask outline inward. We also have inverted over here, the blood bevel and blood directional, all of these things also HSL perceptive is also quite important. And we also have walk. Walk. We can also use, Let's drag and drop lecture first. Maybe this one. Add a filter. It will give it this kind of wavy effect. Very useful sometimes. That is basically walk. So now if we will click on the Effects menu, we basically have three options left that are the anchor points, color selection, and compare mass. So don't worry, we will go over them, but we will go over them in the bonus section of our course if you want to learn about them now, just go over to the bonus section and you will find a video related to these three, because I don't really think they are important for a beginner. Anchor point is really useful and really important, but we will go over it at a later point in the course. If you want to learn them, just head over to the bonus section. And yeah, I think this is it for this video and the Effects menu. So thanks for watching guys. I'll see you in the next one. 17. Layer Blending: Hello and welcome guys. So in this video we will be going over some of the important blending modes. So as you know already, that substance painter works on a leering based system. So let's say we have two different layers. Let's quickly add them. I will just drag and drop this plastic fabric layer. And let's use this gold current material. So we can see that the golfer material is at the bottom and this plastic layer is at the top. So now the gold pure material is at the bottom and the plastic fabric layer is at the top. So basically, when we're using the default, the layer on the top would be visible and the layer on the bottom won't be visible at all as you didn't see over here. But we also have this Blending Mode option over here. So what exactly is this blending mode basically tells Substance Painter that how two layers must be mixed with each other. So click on this normal written over here. And we can see all the different blending modes available to us in Substance Painter, we will be discussing some of the important ones and their use cases in a more practical way. Because to be honest, you won't be using most of them at all. And even I don't know what some of them exactly do, it is much more important to learn some of the practical uses of particular blending modes that are really important. That learning what each one of them does. Alright, so to move forward, just to give you an example, Let's change the blending mode of the top layer from normal Linear Dodge that is AD. So as soon as you do that, you will see something like this. And basically I don't think this is a very good example. I will just add a different layer instead of gold. Let's instead add maybe a good layer. And I think that would be a better example. I will change the blending mode for the plastic layer from normal to Linear Dodge. And as you can see now, both of the layers are being added. And we can see the color of the bottom layer along with the top layer also. So now in this case, the linear dodge that is the blending mode, is being used on these two layers. And the color contents of the top layer are being added to the bottom layer. That's why we can see both of them. So that is a little example of what blending modes can do. But let's say we add a third layer on top of all this. So let's just drag and drop this over here at the top. And as I told you that blending mode, besides how two layers must be mixed with each other. So as these two layers, so this one has the normal blending mode and this one has Linear Dodge, and this one has the ad blending mode. But basically we add the third layer on top of this data has a normal blending mode. So that's why we wouldn't be able to see anything related to these two layers. The only thing that is basically visible is, is this height Shani. And you might think why is that? So right now all the blending modes that we are changing, we are only changing them for the base color section. If we now change the channel from this color to height, you can see for the height channels, all of them have been said to Linear Dodge only that means all the high channels are being added. That's why we can see them all together because they are being added. If we change this to normal for all of them. Basically now you won't be able to see any of the height channel information because we have changed them all to normal blending mode in the height section. But let's just undo everything and bring them back. So just make sure to remember that blending modes can be different for different channels. We will be right now only playing with the base color channel. So let's come back over here. As I said, these two layers were mixed using the blending mode, but as we added a third layer on top of this, so that is why we cannot see any blending going on in our base color channel. But if we change this from normal to Linear Dodge, and now you will see that all three of the layers are being added in our base colors. So basically that is linear dog, but still you might not exactly understand the useful this like what exactly we can use this linear dodge that is the add blending mode for, that will help us in texturing. Now I will tell you a very useful thing about the Linear Dodge blending mode that will help us in creating our textures a lot. So what we can do is let's just quickly delete all three of them. And one more thing that I want to mention is that this normal blending mode, that is a default blending mode, does not have anything to do with this normal channel or the normal map that we have vague. Basically, normal means default. So this is the default blending mode. That means no blending or mixing on would be going on with the layers. The layer that is on the top would be visible over the layer that is at the bottom. So that is basically the normal blending mode. You can consider it as a default blending mode that does nothing. Basically. I was talking about the printing mode. So what we can do is again, we can use our trusted I didn't feel materials and the rust layer. But this time we won't be changing any of the blending mode over here. Instead, we will add a mask to this. Now, let's quickly use a cool smart mask. You can use any one you like. But I think it would be better to use edges, strong edges, strong scratched. Let's drag and drop this one. And wait for a second and you will see something like this. I don't think it is that good. Let's use edges strong. Select the mask editor. And let's increase the global balance like this. We have something of this sort. We have our rust layer and we have added a mass to this. Let's quickly remove the sharpen filter. We need it right now. If you remember in the previous lectures, I have told many different ways in which we can create masks. One of them is obviously we can drag and drop a smart mass. Another one of them is we can use a paint layer. Then we have generators that we can use. And one more thing that I also told you that we can also add a failure. So let's just quickly select this mask and I will add a fill layer. And you will just understand in a bit, what am I doing all this? So let's go over in the texture section. Let's search for a cool-looking range map. Select the one that has a lot of contrast, I think will be much easier to show you. Let's just use this one. I'm liking this one. Drag and drop it over here. And let's increase the contrast a little bit. And I will decrease the balance. So now you must have noticed as soon as we added, the effects of our masks are now gone. There's just disable the fill layer. And now you will see our mask has appeared back again. That is just wrong mass that we just add it. But as soon as I enable this fill layer, the effects of the mask are gone. Now, basically, if you notice over the edges, this is the effect of unmask. It has strong edges. That's why all the edges are maxed out. But as soon as I enabled the fill layer, the effects of the mustard one. So let's say you want to add both of them. You don't want the effects of the mass to go over. You want to keep them both. So what we can do now, as you might have guessed by now, we can just quickly go over here and change the blending mode from normal to Linear Dodge Add for the top layer, that is Ophelia. I will change this to Linear Dodge. And as soon as you do that, you will see are any strong mask is showing up right now. Along with that filled in. Well, I think this is really, really important thing to know and understand as it can help you a lot when creating more detailed masks. As you can see over here, we have added the effects of the smart mask along with the failure. In a similar way, you can also add two different feel. There are two different masks to create various different effects. And also it will save you a lot of times. These were the practical use case scenarios or different blend modes that I was talking about. Alright, so to understand what exactly happened, we can also visualize the mask. So let's go ahead and set this to mask. And let's just disable the fill layer for now. And you can see this is a mask editor or we can just quickly set this back to normal. And now basically this is the effect of a failure. If you will turn off the failure. This is a muscular digitally. You can see both of them are completely different from each other. But as soon as we said, grungy map to Linear Dodge Add. But basically it will do is it will add the whites of both the masks are both the images. And that is why now we have a mass that effects of both of them. Fairly straightforward but really important. What we can do is let's see. First let's go back to material. And if you remove this mask and either from over here, and let's add a new fill layer. Go ahead in the texture section and let's drag and drop another failure. So maybe this directional noise. Again, we can set the blending mode to Linear Dodge. And you can see now both of the effects that add it, you can change this back to normal. It won't really matter. Or you can keep it at Linear Dodge really big because the blending mode of the bottom layer won't really matter. In this case, we can do the same thing if we add two different smart mass. Let's quickly do that also. So let's use this dirt smart mass for one of them and for the other one. Let's just use this one maybe. Now we have two different mask editors. Just said the top one to Linear Dodge. And now we have the effects of both of them. What we can do is let's just reduce this mask a little bit. As you can see now we have the effects of both the smart masks. So basically, you can use Linear Dodge to add the whites or add the color contents of two different layers. Alright, so let's move further. I will remove both of the smart masks, and this time we will exact opposite of Linear Dodge. We will use the subtract tool. Let's quickly add two different failures. So I'm looking for a grunge map that has a lot of contrast in it, maybe this one. So let's first add a fill layer and then just drag and drop it over here like this. Let's increase the contrast a bit. Next, I will add another failure. And this time let's use this directional noise. I think it would be easier to show that effect using this. This and first I will set the balance to 0 for now. The reason for this is so that I can show you the effect properly. Let's head over to the mask. And if you turn this off, basically this is the figure that is at the bottom. Let's enable that directional noise and we see nothing because the balance is set to 0 and also the blending mode is currently at normal. So now if I set this to subtract, so now that I've set the blending mode to subtract, right now, only the effects of the first layer are being shown because the second layer, that is the layer at the top. As is balanced at 0. So it makes no difference adding this layer. But as soon as I start to increase the balance, you will see the effects. You can see as I'm increasing the top layer is being subtracted from the bottom layer. Set the balance again to 0. And just notice over here, over this area, as soon as I increase the balance, you can see how the top layer is being subtracted from the bottom layer. I can also increase the contrast. And that way it would be more visible. So basically this is the exact opposite of the Linear Dodge blending mode. Now the top layer is being subtracted from the bottom layer. Let's go back to material and see the effect. There is really handy. You can mask out some of the effects this way. Let's increase the balance for this one also. Now we can see it even more properly. Let's go back to the mask. And let's say if you change this back to Linear Dodge, then you will have a completely different effect or both of the filters are being added. Yeah, I think you get the point now. Subtract blending mode can be used to remove the top layer from the bottom layer. Something like this. The subtract rendering mode is helpful when, let's say you have a smart mask or affiliate that you like, but you are feeling like it is too much. So you can add another failure and subtract from it to mask out some of the areas and listen it's effects. And yet again, we can, using discrete a variety of different effects. We have a lot of failures over here. So you can use different blending modes with different failures, and obviously you will get different inserts. It is a lot of experimenting. Find the right lectures for you. Let's adjust the mask a little bit so that I can show you a couple of more blending effects. Something like this. I will decrease the balance. Alright, so now I will come back to my material. Let say I wanted to make this rust effect a little bit darker. Now I will change the blending mode of the fill layer that is complete failure. So blending mode over here, I will change this to Multiply. And you can see that everything went a little bit darker. So the multiply blending mode will multiply all your dark value. So it will result always in darker color. So as you can see, when you set this to normal, it is a little bit bright, but as soon as you set it to multiply, your defect is now a little bit darker. If you want to have a little bit darker effect on your fingers, you can use the multiply. You can use a multiply blending mode, and the divide is obviously the opposite of this. It will create everything bright. I rarely use the white material. Let's set this to multiply. And also if it will change the blending mode over here to multiply, then also you will get the same effect as subtract, but it will be a little bit more softer. So let's go back to mask and let's change this to Multiply. You will see it does not change, but the effect is now a little bit more softer as opposed to subtract. So practice a little bit more harsher and multiplies basically the same thing, but it's a little bit more softer. If you see the same over here, press M for the material you can see the scene. Let's change both of them to privately now. And you won't have this same issue. Everything is fine now, these were a couple of blending modes that are really important. Next, I will just delete both of these layers, and now we will go over the past through blending mode. This one, I think this one is also really, really important. So let's say I will delete this layer, I will go back to base materials. Let's add a wound layer. Select the geometry mass, exclude all, and just select this thing. You can select any one of them and just basically adding different layers to showcase something. Again, exclude all, let's select these two. Let's add another layer. Again, Let's add this one. Right-click exclude all, and just select these two, maybe. All right, so let's say I wanted to add a filter to all three of them. Let's say we wanted to add the VOC freedom to all three of them. So how can you do that? One way would obviously be over here, select the fill layer and add a filter, then drag and drop. Sorry. We need to drag and drop it over here. The drag-and-drop, the bulb filter over here, select this layer again, add a filter. Drop. This walk finito. I think you get the point, but this thing is really, really tedious. And it will take us a lot of time for us. If we have a lot of different layers, you cannot just keep on adding filters or any different thing that we need to add to multiple different layers at once. So for these types of things, we can use the past to blending mode as the name suggests, it will let effects of a layer or the contents of a layer passed to the bottom layers. So what that means is lets you move all these filters, add empty layer. To add empty layer, I will just start to paint layer. And basically setting this to pass through, what will happen is anything this layer has will pass through all three of the layers that are below it. So basically it flattens the bottom layer into the top layer. So anything you add, this layer would affect all the layers that are below it. So let's see this in action. I will add a filter to this and drag and drop them. Walk over here. And you will see this wall filter is affecting all three of them. If you increase this, you can see the ball filter is affecting all three of them. Basically that is passed through because all these three layers are below this top layer. And we have the pass-through blending mode selected. This wall filter would pass through all three of the layers that are below this. Let's add a new base material. Maybe. Let's add this concrete. We had this one concrete bare, so let's add this one. But this one I will add top of this layer, like this. Right-click exclude all. And let's just select these two pieces. And you can see it is not being affected by the war. And that is because the boundary layer is above the ballplayer. But if you move this below the top layer, you can see it has started to effect now. So basically that is the pass-through filter. In the upcoming videos when we will discuss the clone tool and the smudge tool, you will learn that for these two also, we need to use the past to blending mode. But yeah, that is for later on video. So you can use any kind of filter overhead that you want to. Let's go over the filter section and maybe select a different one. Let's select this HSL perceptive. And now if I change the hue of this filter, you will see it will affect all three layers below it. But I think it is pretty clear by now that anything this layer has will affect the layers that are below it. Alright, so these were some of the blending modes and they uses that I wanted to show you. Obviously there are a lot more different blending modes that you can see over here. But as I said earlier, most of them you wouldn't be even using at all, right, now, I think knowing this much is more than enough. But if you want to learn a little bit more about the other blending modes, but you can do just go in the resources folder, open it up and you will find this link's texts. White. Open this file up, and you will find a link to a page that basically shows all the blending modes with proper examples. So you can use that if you want to learn about a blending mode. So let's open it up, just copy this link, and paste it in Google's growth. Basically, this is the documentation of Substance Painter. And now we will scroll down, you will find a list of blending modes. And basically this has a little bit small definition about each and every blending mode and also has examples that you can see over here. You can see the effects of all these blending modes like this is an inverse divide. And you might understand that most of them, I'm not really that useful for us and we won't be using much of them. But yeah, if you want to learn about a particular blending mode, just go over here and you can learn about it through an example. But as I said earlier, knowing this much is more than enough, so don't worry too much about it. Alright, so I think this is enough for this lecture. I will see you in the next one. Thank you for watching. 18. Projection Tool and Stencils: Hello and welcome everyone. In this video, we will be going over the prediction tool and stencils. So let's start. So the prediction tool is over here, the third tool over here. So to use it, you first need to add a layer. So let's start by adding a paint layer. So let's start by adding a paint layer because we cannot really use the regression tool with the failure. Alright, so the prediction tool is mainly used for stamping of stickers and things like that. It is used to project textures onto your model to use it. If you click over here, you will see this empty square. To use it, we need a texture to project on a model. Alright, so we will go in the Resources folder. And in the textures folder, you will find this fire extinguisher textures, and let's drag and drop any one of them. Let's use maybe this one. I will export it as a texture and make sure to select reject over here and hit Import. Now, to use this texture with your prediction tool, you need to select the layer first. And now at the bottom of the property section, you will find all these channels. So what we can do is we can disable all of them except the color channel. So let's drag and drop this texture into the base color channel like this. Now as soon as we do that, you can see this texture over here. If you start to paint it, you can see now we're painting over our model using the texture. But the size is really huge. So what we can do is either we can increase the scroll like this to adjust the size of it. Or I think there is a better way to adjust the size, rotation, and the position of this texture over here, you need to press S on your keyboard. And as soon as you do that, you will see your view changes a little bit. Now you can change the texture. You will see all these settings over here that S plus middle, S plus left. So let's go over them. So hold S and then use your left-click to rotate the texture like this. And I'll let say if you have a texture at a weird rotation like this, and you want to bring it back to 90 degrees perfectly. So just hold Shift together with S and left-click, hold Shift and left-click, and then just snap it like this. Next press S, then hold your right-click and you didn't increase or decrease the scale of the texture. And the last one is old. And then use your middle mouse button and then you can change the location of the texture like this. I think it is fairly easy. Now let's use the orthographic view. Hold Alt, then hold Shift, and then snap your model like this, basically at 90 degrees. And now basically we can easily paint like this. Let's come back to the paintbrush. And now you can see we had easily painted this texture onto a model using the prediction tool. And I think it works perfectly. Now what we can do is if you would press Control Z to undo everything, Let's go back to the orthographic view. Again, select the prediction tool. So just to show you how it will work with the other channels, you can maybe enable the roughness and the height. And if you increase the height to something like maybe 0.5. And let's set the roughness to one. You'll see now that when I'm painting it, you have the height values and the roughness value into our texture. But I think that is quite handy. But if you remember, as this is a paint layer, you won't be able to change these settings later on. So make sure to have the proper settings that you already want because you won't be able to change them later on. So if you want to change the settings that are later on, then you won't be able to the prediction tool. Then we have to do it through the method of planar projection that I've already taught you when we were going over predictions. You can just add a fill layer this time. And now just drag and drop it into the base color like this. Let's press F1. Do the 2D view properly. Select this as Lena prediction. And now from over here, select this. Let's decrease the scale. Set it to none. Again, scale this down, and we can also paint it this way. Using it this way, what will happen is now we can change all the settings that we want. Let's go over here and increase or decrease the roughness. I don't think it is visible this way. Right now the reference is at one and you can easily change it however you may like. You can see that the roughness is changing. Now it is very reflective. You can also change the height. You can see that when I'm increasing or decreasing the slider, it is showing up over here. Also change the metallic value. So yeah, if you want to have the option to change your properties of the texture at a later onstage. Then use a fill layer along with planar projection. As I said, you can also use the prediction tool very easily. I think both the methods are pretty good. Just one of them is non-destructive and this one is disrupted because we cannot really change any of the properties. Yeah, I think this is it for the prediction to. Let's go over the stencils now. So to use the sensors, if you remember when you are going over all the paint tools, we studied the Alpha, but you can see this tensor section over here. We left this. Let's quickly go over this now. So basically the prediction and stands the tool or the one and the same thing almost, but there's a little difference between the two. If you drag and drop this texture onto this tensor like this, you will see the same thing appears over here. You can change the size of it using S, all those settings. But now your texture is black and white. So the thing is, the stencil tool basically works with black and white images and data Alpha images. So if you want to use an Alpha image, Let's go into the alphas section. So this is the Alpha section. You can easily drag and drop any of the image. And now we can paint this arrow onto a model like this. Where basically that is the difference between a stencil and a prediction tool. If you try to use the prediction tool together with the Alpha. This time, let's drag and drop this Alpha. The texture. Now if you tried to print it, you will see that it treats the alpha like a texture only and not as alpha. Basically it will paint the black color also along with the white. We don't really want that because we want the paintbrush to ignore the black color because we are using it as Alpha. So the prediction tool would read everything as a texture only. But the stencil tool would treat alphas as basically Alphas. So yeah, if you drag and drop this alpha into the stencil, you can see that it will ignore all the black colors and only the white would be painted on. You can change the color if you want to. And you're basically both are the same thing. But since it can be used for all these alphas over here, you can also change the settings if you want to here. Let's use it with an example. So let's say we have all these textures over here. But if you go back the previous section, you will find all these Alphas. So to breed these textures, I can use a stencil tool. So let's drag and drop this one into Substance Painter. This time select as alpha, and import this into your project. Let's delete this layer, add a new one. Let's remove the stencil. Now let's say you tried to use this with the prediction tool. Drag and drop it over here in the base color section. And you can see when you try to paint this, the black color is also painted on. And we don't really want that. We only want to paint this text over here, also x plus F2. We just want the text to appear. So there are two ways to do this. Basically, one of them is, let's go back to a breadth-first. Basically one of them is if you double-click, you will see this alpha is in your brush now. So basically you can stamp it this way, like this. But the problem with this thing is it is not really precise. And let's say you want to change the size of your brush from over here and then stamp it again. Now you don't really know the correct position for your brush. But with the stencil, what will happen is let's say we remove it from here. Let's come back to a basic Alpha. Now I will use this Alpha with the stencil. Let's place it like this. Now the thing is, I can change any of the settings of my brush, anything, the flow stroke opacity and this thing will still stay over here only I can easily increase or decrease the size of this. Just hold an increase or decrease it. Move it anywhere I like. As long as I don't change the perspective of my view, this tensor will stay just over here only and it won't change its position if I just move my mouse to change some of the settings. Whereas if you use this with alpha tampered overhead only, but then you realize, oh, the size was too big, then you need to reduce the size. And now you've lost the complete position of your Alpha. I think when we want to stamp or something with precision and accuracy than just basically use this tensor because it won't change its position. And if you just want to paint something very quickly, you can just basically use the alpha. Now let's try to paint this. And you can see only the text is painted. And this is what we want it. So perfect. Till now we were using the paint tool, but let's see how we can use it with fill layer also. Let's just delete this, add a fill layer. I will set it to red color. Now I want this alpha that we just brought in. I want this alpha to use this fill layer as a red color. So what I will do is I will add a black mask to this, then add a paint layer that I'm working in. The paint layer. Again, drag and drop this into the stencil section. And now basically just paint it like this, which decrease the size a little bit. Alright, so remove the stencil. And the only difference between using a fill layer and paint layer is now even select this, changed the color whenever you like the roughness or change the height, you can see if I increase the height now it is looking as if it is embossed a little bit. I think using it with a failure is really better than using it with a paint layer. Because of the fill layer, you can change all of these settings whenever you might like. Maybe you want to change the color of the text or the color of any of the thing, or the roughness or the metallic values. So you can easily do that. But with the paint layer, we cannot really do this. We can also adjust the opacity of this if you want to come over here. Basically this was the prediction tool understands into basically both of them are only used when we want to project something. When you want to project some texture or alpha onto our model. So mainly the abbreviation tool is used for all types of textures and stickers and everything like that. And the stencil is basically used for just black and white images are alphas. That is the basic difference. Rest everything remains the same throughout. Basically this is it for the position and the stencil to just make sure to remember all the shortcuts, will just delete this layer and this quickly, Let's go over them once again one last time. So we already have this texture we have with us with the prediction tool. Just press S to edit this. You can hold your right-click to increase the scale. Use the middle mouse button to change its position. And left-click is for rotating. And if you hold Shift while holding S and your left-click, then you can rotate it 90 degree angles like this way. If you forget any of the shortcuts, as soon as you hold S, you will see all of them over here. Also, sometimes you might lose your texture like it is placed somewhere else already size too much, or it is rotated at a weird angle. What you can do is just hold and click over this reset button. I forgot to tell this. You can just reset everything like this. And now it is at its default position for just hold S and right-click to reduce the size of this. Basically this is it for this lecture. Thank you for watching. I'll see you the next one. 19. Normal Painting and Particle Brushes: Welcome everyone. In this video, we will be going over how we can paint over our normal channel. And also we'll be going over particle brushes. Alright, so to start off, let's just quickly add a paint layer to our metal texture set. All right, So if you will hold over your brush, you will find this physical paint option. So just select this. And let's give this a red color and just click over your model like this. And it will start to see, you will see some kind of animation going on. You will see this animation time that this brush animation ran for 4.4 seconds. So basically this type of brush simulates the effects of a particles. And whenever you click it or you painted, then these particles would be created that would basically simulate your paintbrush. It can be useful sometimes. So this is the very basic one. I don't think it is that good. But if you just go here, click on this. Head over to all libraries, open up starter assets. And in under the preset section, under the research section, you will find these particles, select them. Now over here you will find a couple of different particle brushes. Let's select this broken glass. Now, as soon as you click over here, you will see this broken glass effect that is simulated using this paint layer. I think it is a pretty cool feature that you can use to create some of the complex effects like this broken glass thing. You can also increase the size, but that way the effect is not that visible. So it is best to keep it at a lower size. For this, you can change the settings such as changing the color, giving this metallic value. Also changing the height. Something like that. Let's try some more brushes. We have the bone effect, should create a burn effect like this. Then we have electric lines. Some of them look pretty good, but I don't really know the use for them. But yeah. If x looks really nice, maybe we can use it some time. Next, we have the phase. Basically all these different types of effects. We also have fracture, which will create something like that. Really good to watch them doing all these simulations and animations. This leaks one is pretty good. You can create these leaks or maybe dirt leaks using this brush. I think it is really useful and can be used sometimes. We then also have leaks heavy. What you can do is basically, let's just quickly delete this layer instead, we will add, go over to all Libraries, select the base materials, and let's drag and drop the rest fine material. Also, let's use the iron material and place it below the rust material. Alright, so now I will add a black mask and also add a paint layer. Now, go back to the basics and in the particle brushes, Let's select the league. And now you can paint these rust leaks like this on your model. I think it is a really nice tool. And we can do stuff like this, like when paint these leaks over here. Along with the smart mask and everything, roughness variation is added, effects would look pretty good. Then we have some more stuff like this organic thing. We can also simulate the rain effects. Like maybe you want to add water droplets of your screen like this. You want to create a texture with water dripping away. So you can use this rain particle brush also. Alright, so you can just experiment with them, go over them. There are a lot of them, and just see what they do. Alright, so next, if you select any brush, like maybe this one only, and go into the settings, you will find some of the basic settings of your paintbrush. But if you scroll down, you will find a couple of physics setting also over here. So I don't understand most of them, but you can move the sliders left and right and see what they do. Like if you use this leaks heavy. So basically one of the important settings is this duty. So if you reduce duty, then more particles would be emitted because it is basically distance, time, and the amount of time that a substance painter would wait before releasing another particle. So let's say we increase this to 0.05. So now as you can see, there are only three or four particles that are being emitted because we have increased the time between each particle. And if he reduced the time, Let's say we set this to 0.001 and now paint it. You will see there are a lot more particles than the usual. Basically this is the DT. And then you can play with all these different settings and see what they do. My computer is lagging a little bit because I think if I increase this too much, then we have spawned speeds, bonds spread. Now there will be spaced out, I think a little bit. Now that I've been pleased this pond spread, basically, I have increased response rates, so now they're spaced out a little bit more. So you can try out these different physics setting. I don't play with them too much. I just go with the default ones only. If you double-click. Now we're back to default settings. Just double-click on any of them and you will be back to the default settings. Alright, let's undo everything. And basically these were the particle brushes. Also one more thing. Let's say we paid something using these particle brushes like this. I've painted a couple of these effects. Now if you select the eraser tool and now select the physical eraser, you can also use these same effects with the eraser also. I think that is also pretty good like this. Now we're erasing the effects using the particle brushes. You can also use that if you want to add some organic effects to your texture. Alright, so basically this was all about the physical pain and the particle brushes. If you just look over it below the particle versus we also have these tools which also work in a similar way. There are some really nice handy tools that we can use, like the screw bold one that I really like a lot. Basically just select this and now you can easily paint screws over your model. We cannot really see. Let's just remove both of these layers and now add a paint layer. Select the screen. Now, you see we can just easily stamps screw bolts onto our model. We also have a lot of different types of events like these cracks. One, you see we are painting height and normal inflammation like our model is grabbed from over here. And it even looks realistic. That is also a nice tool. We also have you can also create zip effect to decrease the size. Maybe you are creating a fabric or a jacket. You can use this to create a zip. Also, one more thing that I forgot to mention was, I haven't told you guys how we can paint in a straight line. First, let's select the normal restaurant over here. And to paint in a straight line, basically what you have to do is you basically just have to hold Shift. So let's say I need to start painting from over here. So first I will just click over here like this. Nothing really happens but I have clicked over here once. Now if I hold Shift, you will see a line is connected between the two points where I clicked earlier and wherever I'm moving my mouse. Wherever you want to start the painting from just click over there once like this. Now you can see hold shift and this line would be connected like this. Wherever you click, you can just hold shift and you will see this line. I think you get the point now. Alright, so the next step is click over anywhere, hold Shift, you will get this straight line. Now, just click using your left-click. Basically, this way you can paint in a straight line. Just click anywhere you want, then hold shift that again. While holding Shift, click using your left-click. Basically this way we can paint in a straight line. Also one more thing while doing all of these things. If you hold Shift and Control at the same time, then what you can do is then you can snap your straight line like this. I think 15 or 30 degree angles. I think this is also quite useful when you have to add a line exactly at 90 degrees like this. This is perfectly straight, but if you want to add a diagonally, you can just leave control and you can paint it this way. Pretty easy. Alright, so let's again go over some of the tools. We also have these stitches effects like when we are creating fabrics. Really nice. You can see it looks quite believable also. So you can definitely use these in some of your projects. We also have this option. If you want, we can paint over here. Show this very like effect as if the metal was welded over here. We have this thing also. Then we have some of the random effects like this one. I don't know what I would use this form, but we have this. We also have this IV branch effect that you can use to paint some land textures like this. I rarely use this. But yeah, we have it. We also have these leaves. And then we also have this blur tool. So basically as soon as you select the blur tool. We are now moved to the Smudge tool. So basically the blur tool and the smudge tool over here are the same. You can just smudge your paint strokes like this as if you are smudging something with your finger. That's why the icon over here of the finger. We are smudging hard paint strokes with a single year. That is the blur tool or the smudge tool from over here. Again, let's undo everything and okay, so next, I hope you get the point now you can just try out all of these on your own. Basically we just select it and start painting. We also have this footsteps effect. Some of the glitter effects. This one actually adds roughness variation. It is not really visible. But you can see over here as I'm painting, it is adding some scratches. I think this is it for all the particle brushes and tools over here. So next let's go over normal painting. So delete this layer, delete everything that we might have painted earlier, and let's add a new layer. And you can see the pebble tool we have selected is still over here. So let's go back to our brushes and basically select the basic soft brush from over here. And now remove this substance material mode like this. And now we have our basic paint layer back and now change the color. And you will see now we can easily paint over our paint layer like this. But if you're just disabled all of the channels and leave just the normal channel. You can see we have our paintbrush, but we can basically paint nothing. So what is the use of this? Let's just quickly go over that. If you look into the texture section and open this up, you will find all these hard surface textures. So just select the hard surface from over here. And you will find a couple of these normal textures. What we can do with them is just drag and drop them, select them and drag and drop them over here. And as soon as you do that, just stamp on your model like this. And you can see we're stamping them up like Alphas, but this is a little bit different. I hope you have noticed this by now. And let's increase the hardness to 1 first. And this again. And it is looking as if you have actually created this model into a real model. But in reality, nothing is over there. It is basically all texture. If you just place it over here, you can see basically everything is flat. But the normal map texture is making it look like as if we have all these rivets and cavities over here. If you hold Shift and right-click, you can basically move the lighting and you can see it also reacts to the lighting. And that is basically the use of the normal map. If you disable this layer, you can see nothing is actually over here. It is basically all the effects of the normal map. I think it is really, really cool. Let's erase this one. And let's add a couple of more things to see more properly. You can do things like adding the net bold effect. Maybe let's drag and drop this one, this crew, scale it down. You can see we had painting the scribbled in a materialistic fashion. What you can do is you can also enable the metallic channel from over here, set the Metabolists to one. And now when you paint it, it's as if you are painting real screws onto our model. I think that is really, really cool. Quickly just go over here and select the full preview Kazaa. And let's disable the metallic channel now. And you can see your normal texture over here very clearly. You can add some more of these, like this one. Basically that is normal painting when you are creating some hard surface modeling and texturing them, I think it would be really, really useful for those kind of things. You can use some of these effects to add some more details to your model. Like maybe some veins. Makes sure to set the hardness at one. Like this. We can also add some details to even this piece also, like we add a handle over here. You see? And it looks really realistic as if he had actually model this piece. If you again enabled back the metallic, you can see we are painting it this way. Obviously we have this circle like King over here, but we can just select the eraser tool and just delete it. So click over here, hold Shift Control and basically I'm erasing it. That bit of work, but I think we can definitely do that. Zoom in a little bit too. It is more perfectly. I think it adds a really nice bit of effect and detail. It is looking as if we have really model this, but actually we have not. Basically this is all the work of the normal map. You can see clearly overhead that the model is actually flat. But the normal map texture is making it look like as the VM model, this piece of geometric. And it is also reacting to our light perfectly. It is a really nice way to add some details into your model. Again, select the brush, mislabeled the metallic, and you can drag and drop any one of them and use them however you may like. You will also find some parameters over here. With this grid, we can change the grid size to make it more dense. One more thing that I want to mention is if you tried to paint with this nominal texture on the model like this, you will see it is painting in this circular shape. So if you don't want that to happen, you can just come up over here and remove the alpha from the Alpha slot. And you can see now it isn't squared, which is the expected result. If you don't want this alpha to come up over here, you can just remove this and then you won't get this circular shape. Let me just bring back the alphabetically. And then we have multiple different types of normal textures that you can use to create these details. I think you get the point now you can use all these normal map hard surface textures to further detail your models. I think it is not really useful with this type of model, but with any type of robotic model or a hard surface model, you can add a lot of details only in the texturing face. And not really modelling anything like this. We have easily created event like thing for sci-fi type hard surface model. And it looks really believe we will also, but obviously not for this kind of model. I think you get the point dispersed for nominal painting. And yeah, I think this is it for this video. We went over the physical paint brushes. So the particle brushes, some tools and also some normal painting effects. So I think this stuff was pretty easy and really fun to understand. So thank you guys for watching. I'll see you next time. 20. Mirror and Radial Symmetry: Hello and welcome everyone. In this video, we will be going over meter and radial symmetry. So this time, instead of the fire extinguisher file, I will be using the drill underscore start substance painter fight because it is a little bit easier showcasing these features in that model. So let's open it up now. Go over to File Open. You will find this file in your sources finds into Substance Painter folder. This grid underscore starts to double-click and open it up. Alright, so now we have this over here. Let's go over to the layer section and a painting is already added. Let's just delete this and add a new one. Alright? To enable symmetry, you need to just click over here on this icon. Click on this, and as soon as you do that, you will see this line dividing up our whole model. And as you are hovering over the model, you can see this other point that is basically replicating our movements. So if I decrease the size of the brush and increase the hardness a little bit. Let's try painting over our model. And you can see our paint strokes are basically being replicated on the other side of the model. So that is basically mirror symmetry. If you want to replicate your paint strokes on any of the axes, the x, y, and z, then you can use a mirror symmetry. Right now, if you click over here on the settings, currently we are using the mirror x. That means we are replicating the paint strokes on the x-axis. You can also go ahead and choose the y axis. Now we are replicating over the y-axis. But as this model is not really symmetrical on the y-axis, that's where it won't be that good to replicate on the y-axis. And also we can choose the zed axis over here like this. But again on the z axis also this model is not really symmetrical. It is only symmetrical on the x-axis like this. So that way it works perfect for us. Alright, next thing that I wanted to go over this, right now, this line or this plane that is cutting our model exactly in half is right in the center. Like this. And that is because the origin points of all of these models are correct. That's why the line is perfectly at the center. Or sometimes you might face the issue where this line is exactly not at the center and you have to set it up yourself. So click over the settings icon and you can see over here under the x written over here, we have a slider over here. So if you move the slider, you can see that we are moving this plane that cuts our model exactly in half. So let's say I moved it over here. And now according to Substance Painter, our model is divided into two of these parts that are really unequal. But as you paint, you can see it will paint this week. So make sure you're this line is exactly at the center when you are trying to use mirror symmetry. Alright? We can adjust the line however you may like, and set it back to 0 if you want it exactly at the center. But yeah, as I said, sometimes with your model, things can go sometimes wrong and it won't be exactly at the center. So you might have to set it up yourself. If you enable mirror symmetry and you don't really see a line anywhere on your model. What you can do is just go over here and another display session just enabled show plane. So now this whole plane is being shown that will cut your model in half. Also, let's change this orthographic view. This way you can easily visualize where your plane is currently right now. And then you can easily move it this way to exactly at the half of your model. Again, it might take some trial and error to move it exactly at the center if it is not already by default. But yeah, with our model, everything is correct. So let's set it to 0. If you change the axis from X to Y, you can again do the same thing over here also. You can change the axis according to you, like this. You can set it up over here also. You see basically this is mirror symmetry. Set it back to 0. You can also reset this from over here. Let's set it to x, and then we have some display settings over here. This one basically shuffling. This one is for intersection. Intersection is basically this line you see over here. If you've disabled this, then you won't see this. You can change this red color, whichever color you want to. Alright, so the next option is show Kazaa. When we're hovering over our model like this, we can see these red colored dot over here. So that is basically a Gaza that is moving along replicating our paint strokes and movement. So that is the cursor. If you go over here and just disabled this, now you will see you're not really seeing that red colored small dot or the cursor. Let's just enable that. I think it is pretty handy. The blue cart whenever you are painting. Alright, so the next option is hide while painting, which is enabled. So as you see right now, it is visible right now, but as soon as you start painting the red colored because it goes away. So if you disable this option, it will stay on at all times. So now it is visible at all times even while painting. So yeah, let's keep it this way only. Alright, so the next we have the manipulator size. So basically, before learning about the manipulator size, Let's learn what is the manipulator. Right now we learned how we can change the axis just by changing the slider like this. But let's say we don't want to use this. You are a little bit more intuitive controls, so you can enable this one. And now you see, now you can use this transform tool to just basically move. Lean around like this, I think is pretty handy to use. You can just use it and place it over here. But if you want a little bit finer control, definitely use these numbers over here. You will see as soon as we change them, is values over here are changing. Basically, both of them are the same thing. You can either change this from over here from the slider or you can just select this arrow like this. You can also do the same thing for all the different axes. Alright, so let's just quickly we said this. And the manipulator size is basically the size of this icon. You can increase or decrease this. Let's keep it at 0 for writing wasn't a default. Alright, so basically this is mirror symmetry. Let's go over radial symmetry. Radial symmetry basically allows us to paint in multiple different locations at the same time. And in a radial or a circular pattern will just quickly understand as soon as we enable this. You will see as soon as you hover your paint brush over your model, you will see all these dots. Earlier when you are using symmetry, only two dots were available. But right now you didn't see a lot of them go over here and you can increase or decrease in number of dots from over here, you get maximum set it to 16. And now there are 16 dots. And you can minimum set it to two. So basically same as the mirror symmetry. Alright, let's set it back to eight for now. Let's see how we can set the radial symmetry up. So first I will just go over here, hit this reset icon, reset everything. And now we have our manipulator right over here at the center. Alright, so let's start by choosing the x-axis. And you can see as soon as I move my paintbrush over my model, you can see all our paint brushes are all the other Khazars are all over the model and we cannot really see how we are controlling them. But what we can do is we can go ahead and change the value of the x and the z and set it up properly. Instead of doing that, I think the best way to do is just move this thing. And let's say we want a floral pattern over here. So I will place it over here like this and just start painting. You see now we are painting in a radial symmetry. Like this. We can create pretty good Florida designs with this. You can also increase the count if we want to, and you can also increase the angle. You can visualize this over here. If you increase or decrease the angle, what will happen? Let's set it to 364 now to have the complete circle. Now you see we are painting in this radial fashion. Alright, so now let's try to change up the axes a little bit and set it up differently. I will set it on the z-axis. Now you see we can paint over it like this. If you hold Alt and Shift at the same time and snap your view like this, you can set it exactly at the center over here. This is basically trial and error. You have to do it again and again. You might have to do it a few times, but yeah, you will get it right eventually. Alright, let's select this. I will set the angle span 2360, and let's set the count to eight. And now I can paint over all of them at the same time like this. You see over all these hands or things, they are eight in number so I can paint on all of them at the same time. So that is pretty much the practical use for radial symmetry like thing. You don't have to like if you're disabled this, you have to print on all of them one-by-one. Let's say I want to paint some height info on all of them. So I will just enable the height channel, decrease it like this. And I want to be in these straight lines like this over here. Actually in the real model also we will, we will be painting some lines like that. Let's say we want to do that. But we do not need to go over each one of them and then add these lines like this. We can just quickly enable the radial symmetry and easily do that on all of them at once. You see how easy that was. I think that is the use for radial symmetry and I think it is pretty cool. So yeah, that is pretty much it. We have all these settings also here, enabled show axis. Let me show you this line that is the axis. For your radial symmetry. You can enable or disable, Show interaction. That is basically this point over here. Then we have all the similar setting the sugars are and hide while painting. And last one is manipulator size. So this is our manipulator that we can use to change it whenever we like. We just need to place our manipulator properly and rest. Everything would work just as fine. Alright, so basically this was meter and radial symmetry. I think they are pretty useful tools to use a substance painter. And we will be using them while we are creating a drill. Extremely open up the final fight to show you how I use the mirror symmetry and the radial symmetry. Go over to File Open. Let's discard this and open up, breathe Final. And you can see all these height info, all these lines that you see over here. All of them I've painted using the dosimetry and these lines that I was talking about earlier and I also showed you, these are all painted using the radial symmetry. Symmetry is a pretty handy tool and can be used in many different ways to save up some time on your texturing process. Alright, so I think this is it for this lecture. We continue from here, the next one, and us watching. 21. Remaining Tools: Hello and welcome everyone. So this is the last video of this section three and industry do, we will be going over some of the remaining tools that are these three, the smudge clone and the material become. So let's quickly open up our fire extinguisher project. Alright, so to start with, we need a couple of materials to work with. I will just drag and drop this wood material. Let's select the geometry mask. Right-click and exclude everything. And I will just select this piece. Next. Maybe we can I add something else? Maybe dysplastic material. Again, select the geometry mask, right-click and exclude all. And let's just select this one. So we have at least two materials now. So now I will select the smudge tool from over here. But as you can see, we cannot still selected because right now we are still in the field layer and we cannot really paint in a failure. We first need to either add a black mask to this or we can just directly add a print layer. Now all the tools are active and you can see we can paint over this. Alright, so if I select the smudge tool now, we have already gone over this much tool. Basically the smudge tool will try to emulate as if you're smudging something with using your finger. Basically it will blur out your paint strokes or anything you have on your failure. But as you see, I'm trying to use the smudge tool on this fill layer, but nothing is really happening. And the reason for this is currently this layer blending mode is set to normal. So we need to set this to pass through. Now try to use the smudge tool and you can see we are smudging. You see overhead closely held also using the smudge tool properly now. And the reason for this is basically the pass-through layer. What this will do is it will flatten the bottom layer into the top layer. So, so basically what will happen is whatever is below this layer would be affected by the contents of this layer. Now we are painting on the top layer on this one, but both of the layers that are below it are being affected by it. And let's say what I will do is let's add another good material. On top of this layer, add a geometry mask over here. Now select this layer again, and let's try to use a smudge tool and you can see nothing really happens. But as soon as they drag and drop it on top of this. Now you will see the smudge tool that was earlier, it was invisible has appeared. Now, basically to use the smudge tool, you need to set the layer blending mode to pass through, then you would be able to use it easily. Alright, so basically this is the smudge tool. But you can also do is if you disable all of these layers and just select the Paint tool, choose a color and try to paint over this like this. Then you can basically select the swatch tool and select your paint strokes like this. Also one more thing. Let's just quickly delete this layer and add a new paint layer. So let's say you use your paint brush like this, something on this layer only and then try to use a smudge tool. Then you will see it works perfectly. And the reason for this is right now, we're smudging the contents of this layer only. But if we want this much, the contents of a different layer that is below this top layer. Then we need to set this to pass through. And then only we will be able to smudge them like this. As you can see. As soon as I set this back to normal, you will see that all of the smudging effects are gone. Now, make sure to set this to pass through. All right, Let's delete them off. Maybe we can keep the materials at least and just delete this layer. Next we have the clone tool. So basically add another paint layer. And the clone tool, basically the same as the clone tool in Photoshop. So what you need to do is select this. And if you remember in Photoshop, we can take a sample area and then we can replicate the same thing over somewhere else. So what you need to do is hold V and then use your left-click. And you will see this box appear over here. And now this is our sample source and our tribe renting. Again, you will see nothing really happens because we have set this to pass through. And as soon as they do that, you can see the material is appearing over here. You can select this now as the sample source and try painting this over here. So basically this is a lone tool. You can select any of the sample source and just start to paint using that idea to replicate the contents of that area. So yeah, pretty self-explanatory. Just hold v, then use your left-click. Select your sample source like this. And then just start painting. Pretty easy. So now if we will just press over the clone tool, you will see there are two different types of flow rules. One is relative source and other one is absolute. So first, let's select the relative source that we were working with earlier. As soon as you select a sample area and start painting. Let's say I have painted this much and then try to move your brush. And you can see that the sample source is moving along with your brush. Basically that is relative. And now select the absolute source. Let's select this area as the sample area and now try printing. So right now we are done with the painting and as soon as you leave your mouth, the sample area is back to where it was. And now you can move your mouse anyway, you like it will start taking the samples from that particular area only and not from anywhere else. Basically, that is the difference between relative and absolute. Alright, so let's quickly again delete this layer also. And now I will add another material. Let's delete this wood material, this American Chetty. And instead I will add a material. Right-click exclude all I select this. We have three different types of materials. And now if you add another paint layer, select the Paint tool. And let's select the material. You are already familiar with the color picker solid is basically this. You can click over here. And then you can color pick from any part of your screen. As soon as you click over here, the color would be selected over here and you can paint with that. So what is the difference between a color picker and a material is very easy to understand. As soon as you select the material picker. You can see as you are hovering over any of the materials, you can see the icons change. So let's say I selected the gold material. So make sure to pay attention over all of these properties. As soon as I select the bowl material, you will see not only the bold colors changed, but also the metallic value is set to one and roughness is set to 0.2. So basically, the material picker would not only identify the color properties, but also the metallic roughness, normal and high all of these property. So now if you paint, you can see I'm painting with the gold color. Again, select the material pickup. Let's select word this time. This time metallic is automatically set to 0 and roughness is set to 0.43. Yeah. Basically that is material picker. You can see as soon as I click over any of the new material, the properties change according to that particular material. Alright, so basically this old material, because you can use it to identify the properties of a particular material and start painting with all those same properties. You don't need to like, check over the gold foil material and then remember all your properties then go back to the paint layer and place all those properties. You can directly use this tool and click over here. And all of those properties are now does. Now we can easily paint with a paintbrush using the gold material. Basically, these were the remaining tools. And with this, our section three is over. Now, we have learned about many of the main features of substance painter. Obviously there are still a lot of things to learn and lots of things to go over, but we will keep on learning new things as the course proceeds further. In the next section, we will finally start with the texturing process of a fire extinguisher model. So now from the next section, instead of just learning the new rules, we will be going over workflow processes a lot more. And I think that is the most important thing. I mean, anyone can tell you how I paint tool or an eraser tool or maybe a fill layer would work. But how to use them properly, in proper scenarios, how the industry uses them, and how we can use them in our textures and models to get the perfect and realistic results. We will be learning that from the next section onwards. Yeah, it will be a lot more fun from now on. I hope you will learn a lot. Thank you for watching. 22. Creating a new Project and Paint Material: Hello and welcome to the fourth section of this course. In this section, we will be sharing the fire extinguisher model. So in this first lecture, we will create a new project and add some basic materials. So let's start. I wouldn't go over to file and let's create a new project. Already familiar with all these settings. So I will just quickly go through them. I will click on the Select button and select my fire extinguisher model. So this is the one fire extinguisher understood. Final. Select this one hit. Okay? And as soon as you do that, you will find your model over here. So as you all know, the first step is always to bake the mesh maps. So we have again already done this. So let's quickly do it. Go over to the texture sets settings, select big mesh maps. Set this to four K, enabled both these settings. And just said the anti-aliasing to four-by-four rest, everything remains the same. If we want to improve the quality a little bit more, you can increase the risk for the ambient occlusion furniture and thickness, but rest everything is pretty good, I think so I will just hit big selected textures. Alright, so now it might take awhile. I will just resume the video when it is all done. Alright, so the bank is done now, so just hit Okay. And now just quickly check for your model for any kind of potential baby shoes. But I don't think there'll be any. Alright, so everything seems pretty good. One thing that I will do is go over to display settings and enable temporal anti-aliasing so that we don't have all these jagged edges. Now before starting, let's save our projects first. So go over to File Save, and I will just leave it as fire extinguisher. Final. So now if we were heading to the Resources folder, Substance Painter files, we have now two different fire extinguisher files. One of them is fire extinguisher underscore start and other one is fire extinguisher finding. The reason we have two different files is if anyone does not want to go through all the process of creating a project and baking and all that. They can just directly use this file, fire extinguisher, and this will start. In this file. Everything is already done for you, all the HashMap and everything. And you can directly start with the texturing process and the fire extinguisher underscore final file has the complete texturing already done for the fire extinguisher. So if anyone wants to check how I did a particular thing, they can also do that. Alright, so now let's close the resources folder and we can now start with the election process. Finally, let's delete this layer and we will start with creating a metal paint layer. So let's start by adding a fill layer first. And I will rename this layer to metal. Alright, so I will set the metallic value to one because obviously this is a metal. And the next thing that I will do is I will select this base color channel, and let's make the color a little bit more darker. I think somewhere around here and we find 0.653. So now we have our metal materials. And as I told you, if it will go in the filter section, we have this lag finish filters. So let's add that now to get a little bit more realistic metal. So go over here, let's add a filter. And the one that I will be using is this one, matte finish it off. So let's drag and drop this one. And now we have something like this, which I think looks good right off the bat. But what we can do is we can maybe reduce the effect a little bit. I will maybe set this to 0.3. I think that is better. And we can also increase the scale if you want to. Yeah, I think this is pretty good. Alright, so this is basically a metal, nothing too complex, pretty straightforward stuff. And now next let's add another layer, and this time I will rename the layer to paint. First, let's set the base color. I will click over here. And for the saturation, I will set the value to somewhere around 0.744. And the value would be 0.575. For fire extinguisher, we need kind of a red color. So obviously you can go for any kind of color. But I think I would be going for these values. If you want to get exactly like mine, you can just copy these values. Alright, so now let's close this. The next thing that we will do is I will use the roughness a little bit. So maybe around 0.25. Alright, so I think this looks pretty good. And now as you can see currently, these two materials are all over our texture set. So basically we don't want that. One thing that we can do is we can select each one of them. Right-click exclude all, then select this thing. Then again for this one also right-click exclude all, then select this thing. But then we have to do this for each and every single layer. And that is pretty tedious because we will be adding a lot more layers in this metal paint materials. So what we can do is let's undo everything. Now it is again, all over our texture set, we can just simply add a folder. Let's rename this folder to metal paint. Now, just select both of them and drag and drop them into the metal paint folder. Now basically we can just click over here, right-click and exclude all. Then just select this. And now we basically just had to select one time for this complete folder. And now we can add any layer. It will be added over this area. As you can see. If you want to add for the complete picture set or for a completely different materials, we can just simply add a layer outside of this folder. And that will basically affect your whole texture set. So let's delete this now. And also I will delete this layer. Alright, so the next thing is, as you can see, the paint layer is covering the metal layer completely, but obviously we don't want that. So now we will create some edge damage and stuff like that. So it's time to add a black mask. And now I'd been cleared completely disappears. Don't worry, we will now add a generator. And for the generator, obviously we can select any and if you want to go a different path, you can obviously do that, but I will select the metal edge here. I think it would work really well. And you can see we do not get the expected result. The reason for that is we need to just invert a complete generators. So basically set this to true. Now you can see we have got what we wanted. Alright, so let's adjust the generator now a little bit. So the first thing that I want to do is I want to increase the contrast to one because I want this to be pretty sharp like this. Next I will increase the range amount because I think now it is very less. We can increase the amount. Maybe 0.6. Yeah, something like that. What we can do afterwards is we can just decrease the overall beer levels and everything would be fine. So let's decrease that. We're level. Maybe 0.6, I think. Something like that is fine. We can decrease the contrast a little bit. Maybe 0.85. Yeah, that looks better. And one more thing that I want to do is I also want to add some height information. So just select the paint layer and if you increase the height channel, you will see how it reacts with the mask. So obviously we don't want it to be that much. Let's set it to maybe 0.0050.01 is fine, I think. In that matches good. Alright, so next, select the mask, and now I want to add another failure. As you remember, we can add multiple different failures and smart mask and add them together. Alright, so go over here and let's add a failure. And you will see immediately the effects of the mask completely disappear. But don't worry, we will change the blending modes and bring them back. So head over to the texture section. Let's search for grunge. Dusty. I will be using a particular arrangement. This one range does this graph. If you want to, again, you can use this one, but if you don't want to, you don't have to use this. You can use any one. You might like to just drag and drop it over here. Again, we have something like this. First we need to invert this, set this to true. And again, I will increase the contrast 2.5 and increase the balance also. I think 0.85 would be nice. Don't worry if you're feeling like the effect is too much. We will reduce it by painting with our own brushes. So don't worry about that. These are tiling also to do that the grungy is a little bit smaller like this. Alright? Now what I will do is to bring both of the effects back. What we remember is we can set the blending mode to Linear Dodge. But as soon as we do that you can see everything disappears. So don't worry, the reason for this is if you set this back to normal and let's go into our mask. We can see the mask is now pretty much inverted. So that's why the Linear Dodge option is not working. Because in Linear Dodge, we basically add the whites of both the masks. And as you can see, we currently cannot really add the whites. Because if we add the whites of both the masks, we get something like this. It basically all disappears and only some sports are remaining. So how can we avoid that? Let's go back to material and instead of using the Linear Dodge, we need to use the opposite. So we will be using the Multiply. And that way you can see both of the effects are now they're the grunge dusty also along with the metal edge v. Alright, so I think that is a lot better. And now select the drug just to fill layer and just move towards the back of the model. And we can see that over here that fill layer or the texture is ending very abruptly. You can see the scratch. Ends abruptly. So to avoid that, we can just change it from UV protection to Dr. Dana. Now you will see this kind of weird towards the front. We can just increase or decrease the tiling and see what fits, right? I think setting the typing value at three gives us a nice result. Yeah, I think three is 4 fifth. We also don't have those big scratches and we really don't need them. Yeah, I think this looks perfect. Now you can see that we have added a paint layer and to that we have added some edge damages and just overall some surface damage using the different metal generators and the fill layer. And yeah, I think it looks pretty good. All right, so next what we can do is we can add a print layer to this. And if you remember using this paint layer, we can edit the mask on our own using this brush. So because we have inverted our mass, if you will use the white brush, it will make the metal layer disappear, which is this one. And if I paint with the white race, you can clearly see that the edge damage on the surface damage we painted using the metal layer, it is going away. And if I press X to switch to the black color, you will see that it will make the metal layer visible again because we have inverted our mask, the role of the white and the black color is also inverted. Pretty basic stuff. Let's undo everything. Because obviously we won't be using this type of brush. Alright, let's select the paint layer. And now I will go into the brushes section and let's select this dirt brush. What I will do is basically I will just paint over some of the areas. Like as you can see over here, there is no damage here. So let's add some worst. I will set this to orthographic, then hold Alt and Shift at the same time. Snapped my view like this. Where I can just easily paint over here. If you remember, the shortcut for increasing the size of the brushless holding control and using a right-click to increase or decrease the size of the brush, make sure you are only moving your mouse left to right. We increase the size. Now you can paint, you can see, alright, so let's paint in a straight line. If you remember, we need to click anywhere like this. Then hold Shift. You will see this line hold control to make the line snap at 90 degree. Then just click over here. And you can see we have painted like this. Let's do the same thing. What we can do is just say, well the rubber and plastic for now, I will undo this and let's enable symmetry. And I will use the symmetry on the y-axis, sorry, on the z axis like this. You can come in handy. Now I will again start to bring click over here, will shift and control. Try one more time. Now you can see it is added on both the sides. And let's join them and use the size of the brush and let's just join them. Yeah, perfect. Again, you can just press X and if you want, you can remove some of the areas that you are thinking. Or too much like this. So I mean, that looks pretty good. We can add a little bit extra damage over here also at the bottom. So again press X to flip back to the black color. Hold Control and Shift. But first click over here like this, then we'll Control Shift and add some more damage like this. You see pretty easy. Alright, so next what I will do is let's disable the symmetry. And I will increase the size of the brush a little bit and press X for the white color. And now I will be removing the effect from a couple of areas. I feel like it is too much like this so that the effect does not feed too much. I'm just using my white brush and just painting over some of the areas. Remove the extra effect. In-between. You can just press X to flip back to black color and add a couple of damages like this also. And then again, this x and remove the damaged. We just make it feel a little bit more organic. You can also change the brush if you want to, like maybe this one. I don't think it is that good for adding an effect, but we can definitely use this to remove or some ADLs. We can maybe add this also like this. I'm just showing you how we can experiment with things. You don't necessarily have to use all these different brushes. All right, so now I think it looks pretty good. Obviously, we can go ahead and even more. If you want to, you can spend some more time with it and just keep doing it till you feel like everything seems right. So I think this is fine because later on we will be adding more effects like rust then some dirt. So overall, adding this much of metal edge damage is fine. Let's save our projects first, hit Control S to save. And I think this is enough for this video. We have added a metal layer, then we add the paint layers, added a couple of mass to them who have some edge damaged and some sofas damage like this. Then we also use the paint layer to add some custom damage on our own. If you want, you can select the paint layer and also give it a little bit more height. You can see how it affects our models. I think setting the height at 0.2. That looks pretty good. And you can see even at a matte, finish it off. It's showing you what paint layer and that is usually pretty good. I think our material is coming along nicely. So this is enough for this video. We continue from here in the next one. Thanks for watching. 23. Adding Rust Layer: Hello and welcome bye. So let's continue to retail our texture even more. So I've already opened up my fire extinguisher underscore final substance painter file. So you all can also do the same. So let's start by adding a new field layer. So make sure you have selected this paint layer and then add a fill layer. The reason I'm telling you this is if you will select this layer, the paint layer, and then add a fill layer, it will add on top of the painting. But maybe if you have selected a different layer, like the metal one, and now you add a fill layer. It will be added in between. So just make sure to remember this. If you select this folder, then add a fill layer. It will be added outside the folder like this. We can just drag and drop it inside. And I will rename the layer to rust. And to add the last effect, I will use this rust fine layer and drag and drop it into the base color. Like this. You can see the rust is looking quite shiny because we have to adjust the roughness of it. So obviously dust is not that reflected, so I will set the roughness around 0.8. I think. That's pretty good. Next, let's add a black mass to this. And let's go in the smart math section and search for smart masks. You can try any one of these smart masks. Let's drag and drop this surface rust one. And you will start to see its effects. We have this rust effect over our model. We can select the mask editor and tried to increase it a little bit from the global balance like this. But I will be using a different smart mask. This one is also pretty good, but let's use a different one. Let's remove this and I will be using this edge. Just drag and drop it over here. Now we have something like this. Select this fill layer, and let's just increase the balance a little bit. Basically not this much. First I will set this to five Lena, because you can see the seam over here said district Friday now, yeah, this is better. Let's increase this to 0.66. Maybe. Writing 0.65 is pretty good. What we can do is we can add another generator to select the mask and go over here, add another generator. So this time I will be using a generator. Click over here and let's select the dirt generator. Now again, you will notice that the dirt generator replaces our mask effects. If you turn this off, you can see the mask effects are completely different. So we need to add them both now change from normal blending mode to Linear Dodge because we haven't inverted our mask like earlier, we can directly use the linear dodge function. And as soon as you do that you can see both the masks have now been added and we have a complete effect. We also have a dirt mass and we also have our edge rest mask over here. But I will select the dirt mask and reduce the dirt level because obviously right now it is too much. Let's reduce it. Somewhere around 0.3, I think is 0.3 is less. I think let's set this to 0.35. And what we can do is we can also decrease the contrast. Along with it 2.35. Let's turn off the dirt effect and see how much it affects our model. Not that much. I will increase the dirt level 2.45. Yeah, I think that is much better. You're going to turn on and off the dirt generator to see how it affects your model. And if you feel like this is too less, you can increase it. Let's also increase the grunge amount a little bit. I will set this to 0.5. I think now it looks much better. We can just maybe reduce the dirt level a tad bit because right now I think it is just a little bit too much. So set this to 0.45. And I think this way are thus layer looks perfect. Obviously we can increase or decrease it at a later on state, but for now, I think it looks pretty good. You can turn on and off the rust layer to see how it affects your model. And you can see how the layering system in substance works. You can add different layers and then keep on adding more details to our model. Right now I think I met with pain materials starting to come along really well. What we can do next is you will see this line over here. So let's try to remove it a little bit. I will click the Mask, add a paint layer. So now let's head over into the brushes section. And again, I will quickly use my toothbrush. And right now we are adding the rest effect because we are using the white color. But let's use the black. Select the paint layer again, X to switch back to black color. And let's try removing this. What we can do is we can press X in between and just add a little bit of rust effect here and there, so that it does not look weird. Let's try this concrete rush. This. We can remove the flag was way that sex again. And we can create this rust looping spot in that is also pretty cool. This writing, it looks fine. If you want, you can select this bond Mach brush and just paint the raster effect like this. So just press X first to switch to white color and then try painting with this. And we can clean this bone mark like thing using a layer. But in that also looks pretty good. Let's remove this. And yeah, I think thus layer is looking fine right now. Let's move on with it. What we can do is, before moving on, I think the last effects with too much over here. Just quickly select the dirt to brush. I will decrease the flow. And plus x for the black color and just lighten this up a little bit from here like this. Yep. That looks much better. Obviously, if we don't like this later on, we can basically disabled this paint layer and add a new one. But for now I think this way it looks really nice, I think. Alright guys, so now we're done with the restaurant and I think this is it for this video. We learned how we can add this rust effect to our model and adjusting. And in the upcoming lectures, we will be adding more layers like roughness, variation, height, and different things. We will be learning a lot. I will see you there and you watch it. 24. Improving the Colors of Substance Painter: Hello and welcome guides. So this is just a very quick lecture in which I will be showing you how we can improve the colors of Substance Painter. So if you remember when we were learning about the display settings, I mentioned that I will show you how we can improve the colors off of some splinter. So let's quickly do that now. Look over here on the display settings and just scroll down. And you will see these activate post effects. So just enable this and then open up this tone mapping option. First, let's enable tone mapping and just open it up from over here. And as you can see, the substance painter works in a linear space. And linear color space is not really that good because we can get some different results when we export our textures to unreal and blender. If you want a models to look the exact way that they will look in Unreal are Brenda, we need to do just a couple of changes. The first change the function from linear log. And you will see instantly everything goes a little bit darker, but don't worry, it will improve. Scroll down a little bit and you will see this activate color profile. Again, enable this. And now the scene is even more darker. So what you need to do now is just click over this profile and select this ACEs underscore UE for that is for Unreal Engine four log. Click over here. Well, I tell her son are so much better. You will start to notice it yourself. Just quickly disable this and see the difference between the two colors. This is linear space and this is a new ECS provides. I think it looks a lot, lot better and display our textures also look a little bit different. What I will do now is I will make a couple of changes to my texture also. So first let's select this metal here, this one that we added, the first, select the color for this, and I will make the color a little bit more darker so that it is not this visible. I will set this around 0.5. Yeah, immediately you can see that it looks a lot better this week. Instead of having the pure white color. Also reduced the rust effect a little bit more because earlier it was working fine, but now I think it is moving too much now that we have updated the color space. So let's set this to 0.4, I think. Yeah, that looks fine. So you have basically this is what the video was all about and you're watching, I'll see you in the next one. 25. Finalizing the Metal Paint Material: Hello and welcome guys. So in this lecture we will be continuing further in creating our metal paint material. We will finish with the metal paint material in this video. So let's start. I will now add the roughness variational layer. So click over here and add a fill layer. And as we are adding the roughness variation layer, we only need the roughness channel. So if you remember I told you about the shortcut, hold Alt and just left-click on this roughness like this. And now only the roughness channel is selected. You will see now you can control the overall roughness of the model because this layer is at the top. Let's set it to point to make it a little bit shiny. But obviously we don't want it all over the model. So we will add a black mask to this. First, let's rename this to roughness variation. Alright, now I will add a black mask. And let's add a fill layer to this. Viewing the lecture section and search for some range map C. Let's add this 15007. If you want to follow the exactly, you can use this one range maps uniquely to seven. So I will drag and drop it over here like this. So I don't know if it is visible right away, but if you disable and enable the roughness variation, you can see the changes. Also. You can go over here in the Mask section and just look at the mask. First thing that we can do is let's set this to Dr. Dana so that we don't have this scene. Alex increase the tiling a little bit. I will set this to be too. Yeah, let's press M or material again. And I know the roughness variational layer is not really visible right away, but it is really subtle and adds a lot to the material. You can, I think, have a look at it yourself. Right now the roughness variation layer is disabled. And now if I enable it, you can see the difference. I think the texture looks a lot better with the roughness variation enabled. You can also hold Shift and use your right-click to move the lighting. And you will see how the different areas of roughness react to the lighting. But now if I disable, this is all pretty flat. Yeah, let's enable it back again. And let's add a new layer to this. Obviously you can go back to the failure and increase or decrease the roughness however you may like. If we set this to one, you can see it pretty clearly visible. The contrast or the difference between the two reference values is too much. So I think setting it to point to what we predict. Alright, let's move further now. And I will add a new layer. And this time we will be adding some height information. So now hold Alt again and click on the height Shannon, who at some height information. So again, I will rename this to height. Alright, so let's start a black mask first. And I will set the height value to 0.1. I know this is too much, but we will reduce it later on. Set the height value to 0.1 in the fluid layer. Now let's select the mask again and again, add a fill layer. And this time I will be using this one lacking white spots, we end up new spots, one. So I think this is a pretty great texture for creating grainy hide stuff. So just drag and drop it and you will see it. You can kind of see how the height map reacts. Let's select this and you can read the degrees, the height value from overhead. Obviously, using it too much, it looks very, very near. And even 0.1 is a lot. So let's first set this to 0.005. Yeah, very light. Now what I will do is go over here, select the black and white spots. First. Let's set this to try planar. Now I will just increase the scale for this. So let's set the scale pretty large because I want the the texture to be readied any small. So I will set it around 15, is not really visible. Let's go over to mask and it looks something like this. Obviously not willing to deep red press M, review your material, and let's go in the height fill layer and let's increase the height value to 0.01. Maybe. You can kind of see it appearing over here. And I think it looks pretty good. It adds a lot. You can enable and disable and see it for yourself. But honestly, I think the surface of the fire extinguisher is pretty smooth. So this much is I think too much. I will set this to maybe 0.008. And again, this is a very personal thing. You can change it according to your preferences. But I think having this much of height value looks pretty good. Obviously, if we enable and disable it, it is not really visible. But if you look at it closely, then you would be able to see very clearly. I think the 0.008 is also too much. I haven't sent it back to 0.005 only. I think that is the best value. Again, as I said, it is really a preference thing. You can raise it if you want to. But I think having this one is fine because I think it added the subtle bit of detail to our texture, even if it is not that visible. You can see that our metal texture is starting to look really good. Now, I'm pretty satisfied with it. I will be adding one last layer to this though. And that would be off paint dripping effect. Because I am imagining this fire extinguisher that Rick was in a building where painting and stuff was going on and it will have some like paint leaks. So I will create another failure. And let's rename this to pain. And all these settings are, I think pretty much fine. Or maybe I will make the color a bit darker. So let's set this to 0.6 and add a black mask again. And this time I will again add a fill layer. And in the search bar of your texture section, let's search for leaks. And you will find a lot of leak grunge textures. You can use any one that you might like. We have this branch leaf spots, grunge need small, large, something like that I want to add, if you will, drag and drop this one, runs leak large, increase the contrast of it. And obviously this is huge. So I would say to try planar. And then you can increase the tiling. But I think this is looking too much and it was very over-the-top. I don't want the effect to be this much, I just want it to be very subtle. So instead I will maybe use the grungy leaf small. So drag and drop this one. So I think this is much better to my preference and needs. I will increase the contrast to maybe 0.6. And I will decrease the balance because they affect too much 0.4. So yeah, I think this looks perfect. Maybe I will change the dialing a little bit. A value of three, I think would be pretty good. This is what I was talking about. You can see the effect is really subtle and it adds a nice bit of detail. It looks as if some of the veins scenes got leftover on the metal. And it adds a bit of detail and a story to our texture. I think it looks pretty good. Alright, so I think this is it for our metal paint texture. And you can see we have added multiple different layers and add a lot of detail to our texture before I started off with a base materials that would be a metal layer. Then we added some paint effects over it. And you can see how basic it looked at that stage. Then we add some rust, some roughness variation, some height values, and a little bit of paint. And you can see our material came along pretty well. I think we are done with the first part of texturing of fire extinguisher model. Obviously there are a lot of things still left. We have to add another metal texture, some robotics shell plastic textures. And also we will be adding a lot of stickers to this. There's still a lot to do. But I think but I think McAlpin texture came out pretty well. So yeah, this is it for this video guys. Make sure to save your substance, the interference and hanging watching. I'll see you in the next one. 26. Adding the Iron Material: Hello and welcome guys. So let's continue with our texturing process. In this video, we will be creating a simple iron material for all these pieces at the top. Alright, so let's close this folder over here, and I will add a new layer. Let's create a folder also. I will drag and drop this new fill layer in the folder. And let's rename this folder to iron. And we can rename this layer base. Basically this base layer would be a simple iron material. So set this to metallic and I will set the roughness to 0.2. Yeah, I think that's everything is fine because that is also fine. We can again click over here on the geometric mask, right-click and exclude all. And just select these pieces, this one, this one. And these two nuts. And this thing also over here, don't select this top piece overhead. This will be a glass material. So just leave this one and you will see this nine written over here. So that means this folder or this material is being used by nine different objects. They are, make sure nine is appearing over here. Alright, so now we have a very basic iron material setup. Let's add a little bit more detail to this. I will open this up, click over here so that we can add a new fill layer. So this layer would be our dirt layer. I will rename this to dirt. And let's give this a dark color. I think this one is fine. And also give this a roughness of around point a. Now what I will do is I will disable all of the channels except the color and the roughness because we only need these two, we do not need the metallic channel or the normal and the height. So these two are fine. Now go ahead, add a black mask to this and I'll simply, I will be using a smart mask. So go over here and I will drag and drop this just occlusion smart mask, which I think works pretty well for these type of stuff. As soon as you drag and drop it, you will see in all the corners and crevices, this dust layer is starting to appear now. Now what I can do is just select the dirt generator and let's increase the dirt level. May be around 0.5. Yeah, I think that's fine. You can enable and disable this dirt layer and you will see how much of an effect only adding a single dirt layer has added to our material. It looks much, much better now. Alright, I will add another layer. So I will just duplicate this base layer, selected press Control C and Control V. And now we have a duplicate of this base layer. I will rename these two edges. Now we'll change the color of this Edges layer rest. Everything will be the same. I will select the color and set it to pure white. So you can see the difference between the two. Now you can see the difference between the two. Basically both of them are the same layer, the only thing that is different, the edges layer has a brighter palette like this. And now I will again add a black mass to this. And now we will be using a edges smart mask. So let's drag and drop. This edge is strong smart mass. This one drag and drop it over here. And now you will see something like this. All of the edges are masked out using our edges layer. Select the mask editor. Now just decrease the contrast a little bit and increase the balance. Yesterday. I think somewhere around here. And then what we can do is just go over here in the Opacity section and set the opacity of these 250 that it is not that much visible. Now it is like very subtle. But still there. It adds a nice bit of effect. This dirt layer. I will go back to this and add a faint layer two, this looks good. We select a brush, I will select this dirt brush, scale it down, and press X. I will remove some of the effects from over here. So as you can see, it is looking very obvious that we have removed something from over here. So what we can do is you can decrease the flow of the brush to around five, maybe. This way you will notice that it is very faint. I think this way it is not that obvious. Also press X in-between and add a little bit of dirt. Yeah, I think this looks much better. That way. It wasn't leaving a little bit too much, but now it's fine, I think. Alright, so now we have set up our iron material. You can see it was not that many layers as it was in the metal frame one. But I think for this particular material, these many layers do the job perfectly. What we can do is one thing I forgot to do. We can select the base layer and let's quickly add a filter to this. And I will be using that matte finished refrigerator. You just drag and drop this over here. Alright, now I will just increase the scale of the brunch 16. This way it looks even better. I will also add this filter to the Edges layer because basically it is the same layer only. Select the fill layer, add a filter and drag and drop this smack finished off. Let's set the scale events to 16. Yeah, I think that looks pretty good. Now. I think we should decrease the brushing intensity just a little bit and let set the brushing intensity to go into yeah, I think that's better. I'm just switching between the two to see what's better. I think that looks pretty good. Let's do the same thing for this one also point to want. We can also reduce the opacity of the dirt layer just a little bit to maybe around 85. That in a little bit lighter. As I've said a lot of times, all these things that I'm doing, a really preference based, you can go for any different values that you want to. You should follow me to see the texturing process, but you don't have to follow me exactly all the steps that I do. You can maybe switch up some of the things like this intensity value that we talked about there you can definitely add a little bit of your own flavor to these values and things so that you get a model a little bit different to mine. And yet your textures look a little bit of your own. Alright, so in this video we created our iron material and I think it looks pretty good. We will continue from here in the next video. Thanks for watching. I'll see you in the next one. 27. Adding the Rubber Material: Hello, Welcome guys. So let's continue with the texturing. In this lecture, we will be creating a rubber material. So this time, let's select our rubber and plastic texture set. And if you want, you can also disable the metric texture set for now. Alright, I will give you this older layer and let's add a new fill layer and also create a folder. I will rename this folder to verbal and drag and drop this field layer into the folder. And let's rename this layer as this. Now select the fill layer, and let's select a base color for this, I will be going with a black color. So somewhere around 0.150 for the value over here. Also, select the geometry math, right-click and exclude all, and just select this piece over here. Also, the roughness is pretty high for a rubber material, so I will set this to 0.6. Alright, next layer that I will be adding would be a color variation layer. So let's just duplicate this base layer. I will hit Control C and Control V. Rename this to color variation. And this time what I will do is I will make the color a little bit more darker than this. Somewhere around 0.05. You can see this color variation is a little bit darker than our original data. So let's add a black mask to this. And also I will set the roughness value to 0.8. You also have some roughness variation along with the color variation. And let's add a fill layer to this guy over here in the texture section. And let's search for another branch. Let's see. I'm going to look for a dirt grunge map. So I think this one range dirt, scratched, drag and drop it over here. You can see it is kind of living like this. Obviously, I think the effect is too much right now. So what I will do is I will just select the opacity and set this to 30. As you can see, it adds a nice bit of variation and setting it at 30, looks pretty good. Let's adjust the balance and the contrast a little bit. So let's see. We increase the balance, the color variation increases, but we do not want this to be this much. So let's decrease the balance a little bit. Let's try 0.45. I think this looks pretty good. Now what I will do is I will add another color variation there. We'll just duplicate this layer. For each color venetian their negate this. Again, select this, and this time I will go for a lighter color. So let's set this around 0.2. You can see this is a lighter color than, than our base color. It's time we will be going with this. Again, select the fill layer over here. And obviously we won't be using the same range maps. Let's remove this one, and let's try something else this time. Let's drag and drop this one. You want. You can also go over here in the Math section and see how your mask looks. Let's set was wrapped in a protection and see if it makes a difference at just the Tylenol, this press M for the material view. And this way it looks pretty good. You can see just by adding color variation, it gives a nice bit of detail to your material. Alright, let's move further. And this time I want to add a little bit of sharpening effect to these layers. So instead of selecting each and every mosque and then adding a filter from over here, we will use the trick that we learned in the last section that is just basically adding the empty paint layer and setting it to pass through. Now I will add a filter to this filter section and let's select the Filter, sharpen filter. So you can see how it affects somewhat easier if we increase the sharpening density, it will look something like this. Obviously, I don't think this much is that good? I will set this to 0.5. Maybe. 0.5 is pretty good. Alright, let's rename this layer to sharpen. Let's start a new layer. And this time I will be adding some roughness mediation. We already added some color variation. This time some roughness variation. Now, if you see the base color, base color height 0.6 roughness and both the color variation layers had pointed. So this time let's go a little bit bluer or the roughness variation uncertainty is 2.4. It also has some shiny areas over it. I will remove all the other channels except the roughness channel. Alright, so let's add a black mask to this. And again, the failure. In the texture section, I will again search for branch. Let's see with grunge maps, we can use. Let's try grunge maps 001. I'm just randomly selecting any rent map and just dragging and dropping it. When you are creating your own textures. It might take a little bit of experimenting with this kind of stuff. But I think that's the fun part of this. Let's just adjust our grunge map now. So first I will set the prediction to Dr. Dana and I will increase the tiling a little bit. We can also set this to mask to see probably how everything is going on. I think somewhere around three. Now let's adjust the balance and the contrast. I think 0.3 for balance and 0 for contrast, I think that would be pretty good. You can just enable and disable the roughness variation layer to see what it adds. As you can see, it adds a little bit of shiny spots to our rubber material because the roughness is currently set to 0.4 degrees it even more, you will see that your model gets even more shiny. But I think for rubber zero-point for value would be fine. If you disable it. You can see that it was pretty rough earlier, but now we have some Chinese ports also, fair, I think it looks good. Next, I will add one more layer. This time. We'll just use it to add a little bit of dirt hidden there. So now let's enable that the metal texture side. And let's see first I will rename these two edges. Also increase the roughness. Pretty high, 0.9, I think. Let's add a black mask. And this time I will be using the desktop version smart mask. So as soon as we add that you can see now we have some dirt in the corners and all these places. But obviously this is pretty harsh. Don't want it this much. So first I will set the base filler opacity equal twinkie, that it is very light. You can see this way, it looks nice. And then we can select the dirt generator. And let's see. We'll try increasing the level as you do do it. I think this much is fine in giving it too much does not look that good. I think keeping the effective here looks pretty nice. And these are rubber material is also pretty much done at the last layer that we will be adding is the height layer, because right now everything is pretty smooth. So let's just add a fill layer and only enabled the height channels. So hold Alt and just select the height Shannon. And I will set the height value 2.1 for now. And if you remember, we already did this when you are creating the metal paint material. Be named is too high it Let's add a black mask. Add a fill layer. This time, let's try the black and white sports to drag and drop it over here. And you can see how it reacts with the material. Looks even more like a rubber pipe now. But obviously the texture is pretty huge right now. The first lets you in the prediction to five cleanup. Also, the tiling is quite large right now, so I will increase the tiling. I will give it a pretty huge number, like 40. And you can see it looks something like this. I think it looks pretty good. We just need to decrease the height value a little bit. So go back to the height fill layer. And let's set this to 0.05. Yeah, I think something like this is perfect or rubber material now it looks pretty good to me. If you want, you can add a couple more layers of dirt or anything like that. But yeah, from my side, I think it looks pretty nice and it fits really well with the rest of the model. If you want, you can also add a little bit of scratches to this height layer only. Just select the Mask, add a fill layer. And if you go into lecture section and search for some scratches, you will find some pretty good ones. And see which one we can use. Let's try something like this. Will be something like this. But first we need to change it to linear dodge add. And you can see we have added some kind of scratches to another pipe. But obviously, because the height value is currently set to positive, they are coming outwards. So let's set this to negative or 0.05. And now they're like this. You can adjust the fill layer a little bit, like certainly try planar. And if we increase the balanced, then the scratches texture would increase, remove or replace our sports texture. So I don't think it would look bad, but as you can see, if we increase the balance too much, now our sports fracture is removed from these areas. Let's keep the balance at a low number only. We can increase the scratch styling to increase the number of scratches like this. Yeah, I think it looks pretty nice. If you want, you can also increase these things like Scratch length than Scratch masking. Scratch masking is basically it will remove some of the edges randomly. You can just write it out. Right now you can see some of the edges over here, but as you increase the scratch masking, some of them get a little bit lighter and some of them get removed. It is a nice command to just remove some of the random scratches if they're getting too much. And there are obviously a lot of different settings. As with different types of grunge maps, we get some custom settings, like we have this scratch dirtiness. We also have double scratch, all the stuff. Two degrees this you can see the number of scratches has increased. But I don't think it fits really well on a pike. This amount, I think looks pretty good. And we can just go with this. You can enable and disable it and see how it looks and also check out from your mask. You can see how the scratches are added over a black and white spots. Say I think that is fine. So visualizing your mask this way helps us to do some of the options like Scratch dirtiness or the double scratch. You will also be able to see the scratch masking effect properly. You can see as I increase it. So the scratches are getting removed. They are really nice. You can increase or decrease the length of the scratch, but I think at one it was fine. Alright, now I think it's pretty clear. So press M for the material view. And I think that rubber material is done. Now, we added a lot of different layers to this and you can see which each different layer we added a bit of detail and variation to our rubber material. So basically first was the base layer, then we added some color variation than a sharp, unfiltered and roughness variation and edges, and finally, some height. So whenever you are trying to create some new texture for your own model, you need to approach it this way. Only the law you have noticed that each and every texture I created was pretty much the same way. I added a base, added a couple of effects like roughness, radiation, color variation, some dirt and you stuff. And yeah, basically if you just stick to this kind of plan, you will get a pretty convincing deserts for your textures. As you can see this for yourself. Metal texture of a texture and iron lecture also, I think they look all pretty good. I think this will be it for this video. We will continue from here in the next one, you like the plastic material. That is, I think the second last one and last one would be the glass material. And finally, we will add a couple of stickers towards fire extinguisher model and then I think we would be done. There is still a lot more soft to grow and I'll see you in the next video. And you're watching. 28. Adding the Plastic Material: Hello and welcome everyone. So let's continue the texturing of a fire extinguisher model. In this video, we will be creating a plastic material so we can disable the metal texture set. Let's head over to the robot in plastic. Alright, again, create a new folder and also add a new fill layer to it. Rename this folder to plastic. And this will be our base layer. Select the base layer and let's give this a dark color. Like this. I want a plastic material to be pretty rough, so I will choose a roughness value of around 0.1. So it is very shiny, but don't worry, we will add edges and roughness radiation, then it will look fine. I will just make the color a little bit lighter. This is fine. Alright. Click over here on gimmicky mask, right-click exclude all and just select these species. Next, let's create a new layer. And I will only be using the roughness channel because this is the toughness variational layer. And just select the roughness channel. I will add a black mass to this and rename this to roughness variation antigen Rita and I will select the Metal Age we're generator. Let's try adjusting the probabilities. Now, I will increase the VM level. I think right now it is very contrasty for a plastic type of material. I think a contract should be low. Yeah, this looks much better. I think 0.9 is fine. Then what I can do is we can reduce the grunge amount a little bit around 0.25. And also let's select the fill layer and increase the roughness to 0.5. Yeah, I think now it is too much. So let's go back to my college career and decrease the VM level. There's Phi is 0.85. I think that looks pretty good. Let's stop the probabilities. I think I find it looks fine right now. What we can do is if it is looking too much, you can go over here in the roughness channel and then reduce the opacity of just the roughness channel like this so that it blends in with the overall material. So maybe we can set this to around 80. Yeah, I think it looks nice. Next let's add another fill layer. I will go back to base color, and this time let's rename this scratches. I will add a couple of scratches, add a black mass to this. And also for the fill layer, I will just keep the roughness along with the height Shannon. This time I will be using a failure as we did earlier. We can search for scratches over here in the lecture section. And let's use the same texture. Grunt, scratches, rough, drag, and drop it over here. And you can see something like this. I will go over here and heading to the Mask section so I can edit this properly. So let's see. First I will just quickly set this to ripen a prediction. Increase the dialing around three, I think it's fine. First, let's increase the tiling a little break. I think a value of four looks fine. And also increase the balance just a little bit around 0.7. So right now the scratch masking is set to point to find, I will just set this to 0 so that none of the scratches are being masked. If you want to reduce the quantity of the scratches, you can do so from over here. But I think it is fine. Let's press M and go back to a material and see how it looks. Pretty subtle, not that visible. What we can do is go here and increase the roughness to around 0.6. With that, it is a little bit more visible. Yeah, like this. And also I will set the height value at around negative or 0.05. Okay, This is too much, so let's set it to 0.005. Yeah, now it is pretty subtle. So let's just quickly see how it fits with the rest of the model. I think it looks fine. It looks really nice actually. We will be adding a couple of more layers. Let's go ahead and add another layer. This one we will be using as edges were pretty basic. I will go into the smart math section and we can use one of the edges mask. So I will try this edges dusty. So drag and drop it over here and wait for it to load. And now we have something like this, which looks fine, I guess let's adjusted a little bit. I will select the mask editor. I will increase the global balance. We're pretty high value, let's say 0.9. Obviously this white colonies looking pretty bad right now. So what we can do is just in the base color section, reduce the opacity and reduce the opacity to around 20. And obviously right now we have selected a white color. But I want to go for a darker color like this. I think this fits pretty well with the model. Yeah, I think this is fine. What we can do now is let's just duplicate this layer. And this can be our dirt layer. You select the mask over here, remove the mask editor, and let's select any one of these. So let's try this, just stain spot mask, drag and drop it over here. The mask editor. And let's try using the global balance so you can see how it works. Obviously this is too much, so let's set it around 0.5 only I think is fine. I will just quickly go back to the fill layer and make the color a little bit more darker. And on here I think for both of these layers, the value to around 0.26. This way it blends a little bit more properly with the rest of the material. You can disable all these layers. So this was our base layer, very deflected. We added some roughness variation than a couple of scratches, then some edge damage and a little bit of dirt overall. I think a plastic material is pretty good this way and it looks fine with the rest of the material also. This is it for this video guys will continue from here in the next one where we will be creating our glass materials. I will see you there. 29. Adding the Glass Material: Hello and welcome everyone. In this lecture, we will be creating a glass material that is elastic material for depression. So for the glass material to work properly, we need the opacity channel. If you add a fill layer over here, let's rename this to blast. You can see all these different channels like the color method, rough, high abnormal. Along with this, we also need the opacity channel because a glass has transparency to control that we need the opacity channel and we currently don't have it. So how can we add new channels into our shader? We need to go to the texture sets settings and click over this plus icon. And you can try finding opacity over here. We won't find it in this list because fewer hover over here unsupported by shader, you will find the opacity texture over here. So currently it is unsupported by this shader. So the reason for this is if you click over here on the shader settings, the default shader, that is the ASM metal roof, does not support the opacity texture. So we need to change this. Just click over here and now select this one, PBR, metal roof with alpha blending. As soon as you select it. Select this. Now the settings are changed. We do not need to change anything over here. Just close this out. And now again, click on this plus icon, and now you will find the opacity texture over here. So let's click over here and add it. As soon as you do that, just check out your field layer and you will find another channel is added over here that the Opacity channel. So let's enable this one and let's see what happens. Currently it is set to 0, but as you decrease it, you will see that your model is starting to get transparent. So basically that is a use for the Opacity channel. We can make things transparent with this. And obviously for creating a glass material, we need the opacity texture. So I will again create a folder there, swimming buddy. Yep. And drag and drop this fill layer into the glass folder. Over here on the on the geometric mask, right-click and exclude everything. And just say. 30. Adding Stickers: Hello and welcome everyone. So mostly the texturing part of the fire extinguisher is done. Now we will add some stickers onto R5 extinguisher to make it look a little bit more realistic. So select the metal texture set. And first let's start by adding all the sticker textures to our shelf. So go into your resources folder. And in the texture section, in the fire extinguisher folder, just select them all and drag and drop them onto the shelf. You can just drag select them like this. Instead of pressing Control a, and then just select one of them and select Texture, export them to the project and just hit Import. As soon as you do that, you will see your shelf is updated and all the textures now appear over here. So if you remember, I mentioned that we can use the planar projection for adding stickers, where we add a fill layer. Then we drag and drop our texture onto the base color like this. Then we can just first disabled UV wrap from over here, set this to none and also select cleanup prediction. Let's see. We can then reduce the scale and place our texture over here like this. But this way the problem is we need to add multiple different failures. Then I have to add another failure, then drag-and-drop another texture. Then we have to do all those same things. So instead of doing all that, what we will do is we will just directly use the prediction tool that we went over in the section three, this one. So do use a prediction tool first, we need to add a paint layer. So instead of adding a fill layer, if you want to do it through the planer projection, we need to add a fill layer. But for using a prediction tool, we just need the paint layer. Click over here and excited. Alright. What we can do now is just select the prediction tool and drag down over here. You will find all these channels over here. So this dragon Robert texture onto the base. Let's start by adding this one, because this one will be at the center. So first what I will do is I will set my view to orthographic, then hold Alt and Shift at the same time. Use my left-click to snap it like this. Alright, so hold Alt shift and snap. Make sure you do it correctly. Hold Alt shift and snap it like this. Alright? Now if you remember, there were a couple of shortcuts to adjust the image size and the prediction tool. And now if we will press S, You will see now the image is active like this. You can see all the shortcuts over here. So just told you a right-click and drag it down like this to decrease the size of the sticker or the texture that we are using. S Again, let's increase the size. And I will try to roughly place it at the center like this. Now just use your brush to paint the texture like this. You can be the size of the brush and also set the hardness to one. And with lead paint, the complete texture like this. Disabled a prediction tool, select the brush tool and you can see we have easily painted our sticker texture onto the model. Alright, so let's keep on moving further. Now we really don't need to create more layers. We can add the other sticker textures on the same layer only. So let's just rename this to sticker. Alright, select the prediction tool again. And let's drag and drop this one. Hold Alt and Shift again, and then snap it over here like this. Now we just need to first scale it up and try to place it perfectly. Yeah, I think this is perfect. So again, use your brush to paint the texture. Let's move over to the other side and just try to zoom in and placed it accordingly. Not in visa degree the size of this because the size remains the same as the other side. So just try to place it by zooming in or out. I think this is perfect. All right, Let's keep on moving further. So if you drag and drop this one, this picture, you will see this is the complete texture. And these two are basically, I've divided them into different textures. So basically the same thing. This one is complete and these two are divided into two parts. So we will be using these two only instead of using this huge when you just scale it up and place it over here like this and just Let's paint it on the other side also. Makes sure to disabled the rubber and plastic so that we can easily paint over here. I'm just roughly trying to place them together like this, but you can spend a little bit more time on this and place them perfectly. That you're deserts come out perfect. I think this is fine. I will just paint it again like this. We are seeing some v. I get the edges over here. Let's press Control Z and painting once again. Let's try this. See other jagged edges are still there. Let's try increasing the size to focus and I think then they will be removed. Yeah, So I think setting the size to four k makes them a little bit better. It's fine. I think. Over here we don't see any. Alright, let's go further. I will drag and drop. And there's this one. Hold Alt and Shift and place your fire extinguisher over here at the back like this. I think this is fine. The brush to remove this prediction tool. And yeah, I think our stickers look pretty good. When we have set the size to form. These jagged edges are not that visible. When we will add some more damages and stuff like that to it, it won't be really that much visible. So that's fine, I guess enabled back the rubber and plastic. And also set this to perspective. All right, So now all these thicker textures are looking a little bit brighter in comparison to the other model. So what we can do is just go over here, select your sticker layer. So basically this is artistically, you can see enable and disable it, respond. You can just select it and add a filter to this. Remove the search query from here, go in the filter section of the shelf and drag-and-drop the HSL perceptive. And now we can adjust the colors of Justice Scalia. You will see if I change the hue, we are changing the colors, but obviously we do not want to do this. We just want to decrease the lightness. You can see if I decrease the lightness, the texture turns a little bit darker. Obviously. We want to decrease it just a little bit. So maybe I will set it to 0.4. You can see this fits a lot better with a fire extinguisher model. Without the filter, it looks a little bit brighter. I will maybe decrease the 2.38. Yeah, fine, I think. Okay, So I completely forgot about adding a logo over here. So if you can read, if you go back in the sources folder, you will find this logo image. I did this earlier. This was not added. She just drag and drop this one also on the shelf. And select as a texture. Let's hit Import. Now. Select your sticker layer. Let's go back to orthographic view, will Alt and Shift again and snap it over here. The prediction tool. And drag and drop this logo onto the base color channel. Alright, so let's make sure it is in the center. S. Then reduce the size of this. Let's see. I think this much refined. And also disabled the rubber plastic textured set, the brush tool, and let's see how it looks. I think a little bit too much. Let's reduce the size just a little bit. Like the prediction rule again. Here. It is, this term over here. The leg, the prediction to login. Screen tip. Now, select this brush. Let's see. Yeah, I think this looks fine. Alright, one more thing that I want to do it, if we go here are libraries and select the project, you will only see the texture that you haven't voted in your project. All these ones, and the rest of them are our mesh maps. Let's move it towards the back of the model. Set this back to orthographic. And let's use this texture also. Somewhat of a slip. We can just use this selection tool, drag and drop it over here. And I can decide was fine, Let's paint it. Alright, so now I think varsity good textures are done. I don't know about the size of the logo. I think it looks fine. Yeah, I think it is fine. We'll just move forward. If you want to increase the size of it, you can just erase the logo and the size of the texture and paint again, but I think it is fine. Alright, so I think this is it for this video, we added all the sneakers to our fire extinguisher model. And in the next lecture we will be adding damages to our sticker textures, make them look a little bit more realistic. And the next lecture will be the final lecture in the texturing process of our fire extinguisher model. I'll see you there. 31. Finishing Touches: Hello and welcome back. Let's continue from where we left off in this lecture, we will be adding some damages to our stickers. Alright, so let's start. Alright, to start off, I will just create a new folder. And let's rename this two stickers. And drag and drop this mean sticker layer into the stickers folder. Instead, I will rename this to base. Alright, Next I will just right-click on this layer and duplicate this over here. And I will rename this to speaker, or I will rename this to damage it. We will be working with this layer later on. So just move it below the base layer. For now, just disabled it. Right now. Basically both of them are the same layer, but later on we will be adding a couple of effects to it to make it look like as if the sticker is damaged from some of the areas. Alright, so enabled back the base and just disabled the damage effect layer for now. So start off, select the base layer and add a black mask to it. And now I'll add stickers have disappeared because we have added a black mask and Latin means invisible. To bring them back, we can just add a fill layer. And we will now control our mass to a fill layer. So to do that, we first need to select the texture we want to use with the mask for this, go in the texture section and search for paint streak. And you will find this particular texture. So just drag and drop this one. I will be using this. You can see the effect is something like that. Obviously it's too harsh. So first set the contrast to one. It looks something like this and now increase the balance. I think for this particular effect, we have to set the balance around one only. Because even setting it at somewhere around 0.98 is pretty drastic and we do not want this much damage. Yeah, I think one is the perfect value. This looks fine. Next, we can maybe increase the tiling a little bit. Then, now we can maybe increase the tiling a little bit. So that effect appears over here also. I think this looks pretty good. All right, so right now the damage does not look realistic or that organic, but we will be adding now the three that were damaged effect layer to make it a little bit better. So to do that, let's enable back the damage effect layer and now select it and add a filter to it. And the filter that I will be using is go in the filter section and you will find is blurs, look fainter, drag and drop it onto the filter. Let's disable the base there so that we can properly see the effect. So basically this will get damaged fat layer and we added a filter to it, blurs glow filter, the blood flow filter create some kind of this effect. And I will increase the intensity to max one. Now if we will enable back the base layer. Now you will see that the damage is a lot more organic and realistic with this bloodflow filtered adjective. So this was our damaged effect. You can just disable it and see the effect of it on your own. This is the doubt the damage effect layer. And now we have added. And you can see now the sticker damaged looks a lot more organic and natural. I think this way it looks pretty good. It also adds all these things over here at the corners, which makes it look as if the sticker paper was damaged from over there and it's spread out a little bit. Obviously, it does not look that perfect. But what we will do is we will be adding paint layers of our own. And we will try painting over these layers and try to make them a little bit more connected. So first, what I will do is I will select the damage effect layer and I will add a black mass to it. Okay, so instead of adding a black mask, Let's add a bitmask because I only want to remove some of the India. So instead of adding a black mass, I will just use a white mask. Disabled the rubber plastic layer. You can see over here this blurred slope effect. You can see over here also, it does not look that good over these areas where there is no damage particularly, so I will remove it from those areas. First, let's go over in the brush section, search for pain. And now you will find all these brushes that we will be using. So double-click on any one of them. Scale them down, make sure that the lid is black only you can switch colors. An x like this. Let's just remove some of the areas. You don't have to remove it completely because I think some of it adds a little bit value to our texture. Don't remove it all. You can definitely people will remove all the excess areas from over here. Over here, it's fine. Just to say again, it is saving. Alright, so I will remove this border color from over here. Does not look that good. Lecture to not just remove it completely, because at a later stage, we will be adding damages on our own by selecting this base layer. Then we will need all these areas a little bit, not that much. Let's come over here at the bottom now and remove some of the areas over here like this one. I think this is fine. I will add a couple of damages over here to make it a little bit more connected. So for now, I think the damage effect layer does a pretty good job. Next, I will now select the base layer and again add a paint layer. Now this time we are editing the main stickers layer. You can see we are adding damages on our own. The first thing that I will do is while this brush is selected, just scale it down so you can hold Control and use your right-click and move it left and right like this. To scale it down. I will add some damages on the edges like this. Make the sticker texture feel a little bit more natural. I won't add the damages all over the speaker, but on the edges like this, start off. What you can do is you can also add damages by painting in a straight line. We have already gone over this. Just click over here, then hold shift and you will find this line and hold control. Snapping. Just click on it, click on the model now. And you will see that the damage is added. We use it a little bit more properly. So let's set it to orthographic view. And now let's try adding the damage this way. So click over here, hold Control and Shift. I think it looks pretty nice. Actually. I will do the same thing on the top also. Now I can go over some of the areas and just add a bit more damage than usual it so that it does not look when you do predictive. And we have some variations. You can also increase the size of the brush and increase the damage in some of the areas, make it even better. Like this. You can see over here using this brush makes it look like as if the stick up paper was being torn away from here and the damage effect layer over here, it does a pretty good job of adding an extra layer of realistic, nice to watch Ticket texture. Let's move over here at the bottom, and I will add a couple of damage over here like this. And also at the top. So that the damage effect layer looks pretty good. Along with this, you can see the effect of the damage effect layer. I think it adds a lot of value to our textures. Also, I forgot to tell you you can change your brushes and have a lot of different kinds of effects. Obviously, you don't have to use the same brush. You can keep on changing them. You have various effects. On the bottom logo. It is a little bit too much, so I will go back to the damage effect layer and remove some of the areas like this. It is a little bit more subtle. Let's look at it from a little bit far away from over here. I think everything looks pretty nice. But we can definitely add more effects just to see how everything works, I will go back to the base layer, select the paint layer, and again add a couple of damages. You can also increase the hardness that the damage is sharper. The contrast. Let's change the brush now, let's try this one. Let's see how this one works. I will increase the hardness to one. Something like this. I don't know if it looks good. Let's add some damage in the center also. I don't think it is brush does a pretty nice job. I would say maybe this one, maybe the hardness of this one also. Now I'm just painting and trying to see the effects of all the different brushes. I'm not finding something I like that much. Definitely not this one. Again, I love this brush over some of the areas. We can also add damage to the partners. Like this. That looks pretty nice. Definitely, I would recommend you guys to spend some more time with this. On doing it until unless you feel satisfied with the results of his ticket textures. Because stuff like this is really up to personal preference and how you want things to look like. You might want a fire extinguisher model to look new. So you don't want all these damages cannot add them all. You want to make it look even more older. Then you can add even more damages. I will suggest you experiment with all these, use different types of brushes, use different fill layers for the mask that we used over here. Not only the paint brushes that we're using over here, you can just remove this search query, select any one of the brushes that you want, and try painting effects with it. I'll just quickly, I'll just quickly try adding a little bit more effect over here at the center. But rest of it, I think it looks pretty nice. We can add a couple of large damages like this. Over here I think is fine. Next, what I will do is I will add another filter to further increase realistically some stickers. So select the base layer, that is our main layer, and add a filter to it. Let's go back to the filter section. And this time I will be using this drop shadow. Drop shadow is basically you will see a little darkening of the area around the sticker. As if a little bit dust has been collected around it. You can see over here also, we will be using this effect, postulates reasonable size of this. So that the effect is towards both of the sides. As you can see. I've suggested this tense. I think I will just set it to 0. If you increase it to one side, you will see it is only towards the bottom. And if you decrease it, it is only towards the top. Let's set it to 0 for now. And you can see it is equally in both directions. These are spread. You will see that the effect spreads even more and darkens a little bit. We definitely don't want that. So keep this Friday at 0. I think this weight is fine, but we just need to reduce the opacity a little bit to maybe 0.4. In this way, it looks pretty nice. Size 2.5 Navy. One thing that I completely forgot, we also have a stick over here at the back. So let's quickly select the damage effect layer and reduce some of the damages. I completely forgot about this one. After removing this, I will just quickly select the base mask and then the paint layer. And let's add a couple of damages over here at the corner. Also, I will do the same thing with this. Also is old control and shift. It go here first and reduce the size of the brush and rolling shape and just add damages like this. Brush newer to only add damages like this. Yeah, that's right. Then ask some heavy damages over here. You can also apply a couple of other brushes. I'm justifying different brushes and chip off some damage like this. Well, again, select the damage effect layer and remove some of the areas. I think that too much. So yeah, I think this way it looks pretty good. Obviously, as I told you earlier, I suggest you guys to spend some more time with it and and keep on experimenting with all these different brushes and different types of failures and different filters. We'll have the perfect look for a fire extinguisher. But I think from my side, we are done with the texturing of a fire extinguisher model. There's come back to the perspective view and first let's hit Control S to save our textures. And we're done the texturing and we are done with this section of our course. In the next section, we will be going over how we can export all these textures that we have created into other softwares like lender and Unreal. So you have, we will be doing that in the next section. I will see you there. I hope you guys learned a lot and you're watching. 32. Exporting Textures to Blender: Hello, Welcome everyone. So in this section we will be learning how we can export our textures from Substance Painter, two different softwares. So we have our layers and textures all done over here, so we just need to export them. Will do that. Go over here in the top left corner and click on the File menu and then select this export option. And this window will pop up. You can alternatively directly use the shortcut for exporting the textures, that is Control, Shift and E. That is also same thing. It will bring up this window over here. Alright, so this window has all the settings related to your Exporting. Let's go over them one by one. So the first step is the Settings tab. That is basically the most important tab, which has all the settings and overhead. In the left you can see global settings. And then there are two of the texture sets. Global settings are basically all the settings. If you change anything over here, it will affect all the texture sets at once. Let's say I wanted to set the size for the textures. So I have set it to for k from over here. So now this has affected all the texture sets. You can go here in the metal, you can see the sizes for k and the rubber plastic also the size is focused. But let's say you want to change one of the particular settings in a particular texture said, then you need to go in that particular texture set by clicking over here. So let's say I wanted to change the size for the rubber and plastic. I can click over here and then change it from over here to two k. Maybe. That is basically it. But generally you won't ever change the settings for any particular texture said, because we will be changing all the properties all at once by global setting. So we do not really need to go in each and every texture set and do them separately. Also over here we have the output maps. So these are all the maps that will be exported from substance painter. You can enable and disable any one of them that you want to from over here. Alright, so now I will go back to the global settings and let's go over them now. For the first one is output directory, which is pretty self-explanatory besides the parts where your textures are to be exported. So let's click over it and create a new folder. I will quickly head over to my resources over here. Right-click and let's create a new folder. And I will rename this to substance X shares. So that you can differentiate between these textures that we used for the texturing process. And these are the different textures that would be exported that under the final textures. Let's create a new folder over here and rename this to fire extinguisher. Here again, I will create a new folder and name these two blender just to keep everything organized. Because first, we will be exporting our textures to Blender. Now select folder, and you can see this path has appeared over here. So the next is output Template. So basically these are different templates that are created by Substance Painter only to make your work a little bit easier. Let's say you want to export your textures to Unreal Engine. You can directly go over here and select the Unreal Engine four template. And now you're Texas would be exploited according to Unreal Engine. But we want to export them to blend us. So if you scroll up over here, you will find a blender template over here that is the blender principled be SDF. Select this. Also, if you don't find this output template over here, this blender one. Because if I remember correctly, in the older versions of Substance Painter, we did not really have a blender template. We had to create one on our own, but in the newer versions the update was made and now we have a blender template by default in substance. So if you don't find this template in your substance painter or you have to do is update it and then you will find it. Alright, so let's select the blender template now. The next is filed by file type is basically the different image file types that you want to export your textures too. So I will be just selecting PNG and from over here, you can select 16 bits. Alright, so the next is the texture size. This is the resolution that your textures would be exported to. These are all resolutions, but over here we also have eight K If we want maximum quality. But I think I will be fine with four guilty, alright? And the last is padding and you won't ever have to change this option because I think it works best in default. But if you want to understand what exactly is padding, you can head over to the Resources folder and open up this links Phi and just copy the second link. So this is the link to the documentation for bedding. And here we have a very nice animation that we can see and understand what exactly is fighting. Over here, you can read the definition for the budding. Its purpose is to dilate the borders of the UV islands to fill empty areas with similar pixels. What this basically means is we can understand it very easily with this image. Just click on it, and let's zoom it. Now, as you can see over here in this image, we have all these empty spaces in between the UV eyelids. And later on, after padding, all those spaces are filled with similar colored pixels. Padding is useful when texture is used at a very low resolution in game engines and something related to maps. You can read it over here. We have everything related to padding, why we do it, and why it is useful to have tricky technical stuff. And as I said earlier, we really don't need to get into that. Let's just close it up and back to exporting. As I said earlier, we only need to set this to default because it works best. We would ever have to change this. So these are all the settings that you have to make any ad. This is pretty much it. You just have to do all these settings every time you export something from substance painter, you just need to change the output templates sometimes to maybe Unreal Engine or something else like PVR, metallic roughness. But yeah, basically, That's it. We can change some of the specific settings over here for the texture set like this. You can see over here, these are all the global settings that we just did right now. And if you want to change any specific one, you can do it from over here. Alright, over here at the bottom, we have the Export button that we will be seeing later on. Next, we have the same settings. If you will click on it, it will basically save all these settings for later on so that it remembers all these settings and you do not have to do them again and again, cancel. Basically pretty self-explanatory reset is to reset all the settings that we just made so that you have everything at default. Alright, so now the next tab over here, this is the output templates. So these are all the templates that we just saw over here. So basically the reason for creating a separate tab for this over here we have all the templates, but also you can add your own templates over here. Like if you press this Plus icon, you can add new export presets, create your own template for textures. Also, you can duplicate the older ones, like maybe you want to make some changes to the PV of metallic roughness. You can right-click and duplicate this and select it. You can rename this to anything and you can drag and drop any of the maps from over here. Like maybe you want to use the MAC map or the opacity, anything you can make all those changes. But really I don't think you will be ever using that. Because if you use a popular softwares like Unreal or blender or anything else, all of the templates would be already available to you and you can just basically select them from over here. For me personally, earlier when we didn't have a blender template, I had to sometimes go in here and create a blender template. But now that we have a blender template by default, I really don't have the need to use this tab because I basically switch between two or three templates. That is the blender and unreal one, sometimes a unity. So yeah, that's basically it. Last one is the list of exports. These are all the textures that would be exploited for your texture sets. Basically, this is just an informative tab. You cannot really change anything over here. So this is basically just to see all of the textures that will be exported. Alright, so let's get back to the settings tab. And finally, I will hit export. And now you can just wait for the textures to be exported. It might take a little, right? Alright, so all the textures exported. Now you can just hit Save Settings over here so that it remembers all these settings. Now if we will go in the resources folder, in the substance painter textures, right extinguisher blender. You can find all these textures over here that we will be using now in Blender. So open up your blender and open up the fire extinguisher blender, fine. Maybe you can directly do it from over here in the resources folder. Let's close this Blender files and open a fire extinguisher underscore start. Now what I will do is before starting to do anything in this particular phi, I will go over to File and Save As and create a copy of this fire extinguisher file so that we have two separate files, or the final and the start. So this one is the final because we will be adding all the textures into it. Alright, so go over in the shading tab. You can change the view to viewport shading so that you can view your textures. So now as you can see, the metal materials right now selected over here, you can change between the materials by selecting the particular object. So if I say them despite you didn't see the rubber and plastic material is selected. Now, if I select any of the object that is from the metal material, then you will see the metal material over here. So first let's select the metal material, open up your resources folder and head over where you exported all your textures. Over here. Now I will be one by one adding all the texture that are related to the metal material. So now let's first start with the base color. I will just select the base color, drag and drop it over here. And now connect the color channel to the base color like this. And you will see now the, all the color information is added to your model. Let's do this one by one for each and every channel. Next, let's add the metallic. And now I want to mention one thing for all of the channels, except the base color channel, you have to set the color space to non collapse. It is already done, but make sure if it is not already, you have to set this to non-color. Because as you can see over here, all these channels that are the metallic displacement, roughness and alpha. All of them are black and white grayscale mask, so you need to set them to non-color also for the normal map all you need to set it to non-color for it to work properly. So except base color, all of them would be set to non-color in the color space. Alright, so with that out of the way. Select the color channel and connect it to metallic. Alright, Next, let's drag and drop the roughness, the color to toughness like this. And you can see now the roughness values are added. Your model is kind of looking shiny over the area that is supposed to be. You can select any of the map and press M. You just mute it or to just remove it for now. And you can see it effects, as you can see, all of the metallic information is gone. Now, select the metallic map and press M again, and now all the metallic information is back. Let's keep on moving. And this time I will add the normal map. So we cannot really connect the nominal map directly. We need to first transfer it to another node for first aid is to non-color redshift plus a. And let's search for a normal map node. Connect this to the color channel and now connect this novel not known to the normal, like this. And you can see everything is looking pretty good right now. Next, let's add the alpha. As you can see over here, we cannot really see through a glass right now. Let's move to the rendered view. And now we will. First, let's quickly fresh Shift a and add and light. Maybe a point light. Increase the power to 500 so that it is a little bit easier to see all of the stuff in the render view mode. Yeah, I think this is fine for now. The material again and this time we will be adding the Alpha map, will drag and drop it over here, set it to non-color, and connect the Alpha map to see over here in the alpha channel like this. As soon as you do that you can see now, you can see through your glass over here. So yeah, pretty handy stuff. The last one is, I think we have the displacement map. I sometimes really don't use it, but I will just show you how we can use that. Drag and drop the displacement over here. Second two nonpolar. Now we need to connect it over here in the displacement. But first, it needs to go through another node like the normal map redshift plus a search for displacement. And now plug the color channel into the height. Now connect the displacement, displacement. Alright, all done now. So one thing that I wanted to mention is if you render out your fire extinguisher model and you feel like the displacement value is too high, you can just decrease the scale from over here and it will be fine. And if you are not liking it completely, you can also directly remove it from over here by holding Control and using a right-click to create a slice like this is telling you this to show. Now what you can do is select one of the texture like this press control plus. So this is the mapping node. But now you can do is place it over here and quickly connect all of the vector node over here in the vector. The reason I'm showing you this, we won't be really using it right now, but it is pretty much a rule of thumb to add these mapping nodes so that you can properly control your texture. You're going to increase or decrease the scale of the texture like this. As you can see, you can, Let's take that 1 first rotated and stuff like that. We won't be really using it for these kinds of textures because these are set textures that are created in substance painter. First off, like vote and all that texture that you might be adding to blend. It is nice to add a mapping notes so that you can control it. So yeah. All right, so now you can see all of your model. I think it looks pretty good. You can duplicate this point. You may be at the back also like this. Yeah, I think that textures came out pretty good. And now let's do the same thing for the rubber. Also. Select the rubber and plastic material. And now let's one-by-one, drag-and-drop them. So first is base color. The base color. Next, let's drag and drop. The metallic. Metallic is completely black because it is exactly no metal in this. So that's why I said this to non-color. As I mentioned earlier, sometimes it won't be changed to non villa. So make sure you do that on your own. The color to metallic like this. Thanks to its roughness. Set it to none color. The color to roughness. We don't really have an Alpha Matte for this because we don't have opacity maps, so we have no Alpha map over here. Next is normal. A normal map. And then these two color normally do normal. Again, see, it feels like it is behaving weirdly because we have not changed the color space to normal. Now, I think it reacts perfectly. So I think the last one to add is the displacement map. So let's do that now. Redshift pay, and let's add a displacement node. Now grabbing drawn to displacement to the height, like this, set it to non-color. Basically we are done, again, select the Base Color press Control D will have the mapping node and collect an alkyne in the vector channel to all the data channels over here in the pictures. Alright, so now we're done. We have added the texture to Blender. And I think our textures look pretty good over here. They look pretty much exactly the same as the textures over in substance painter. So now you can press shift in the blender window. First, let's go back to Layout so that you have full screen. The rendered view. Just wait for it to load and first redshifted. And let's add a camera. You can set up the camera accordingly. You can press Control Alt and 0. Go over here in the View enables camera to view. And now you can move the camera and place according to your fire extinguisher. Disable it now so that your camera does not change position. Also, I will suggest you go with the shading tab, changed from object to world. And over here you can add a couple of HDRI maps for shift taste, search for environment, texture. And over here you can add HDRI maps. So they are really useful, but I will not be adding them. You can add them on your own. Alright, so if we will press 0 on the number pad now, you can view your fire extinguisher, and I think it looks pretty good. You can press F2. You can see all the render settings over here. And if we will press F2, wait for it, and it will start to render it out. As you can see. Now you can do all these things. I won't be going through all of them because the cost value does not cover that much. You get. Heather, displacement is not looking that great As I said earlier. So what you can do is close this out. And over here also is being displacement map. So let's decrease it. Now. I will go back to shading overhead and the object move to the viewport shading so that it is a little bit faster. Alright, now select your metal material. I will just set the displacement to around 0.1 or both of them. Now let's press SQL once again and see if it is appearing over there. Now you can see the surface looks pretty smooth and it looks pretty nice. Overhead also the scratches look alright. Now, as I'm saying, if you are not liking the displacement thing, you can completely disable it because it can sometimes cause him to look pretty bad. So yeah. I will be also if you're feeling like some of the stuff is too much like the scratches over here. You can go back to substance degrees, then re-export your textures. All of that is pretty much okay. You can do all of that stuff. I think now with this fire extinguisher model is now completely done. We have textured everything and now we have exported it to blend up and everything is working perfectly. In the next video, I will be showing you how we can export the same textures to Unreal Engine just to cover two main softwares. Yeah, thank you guys for watching. I will see you in the next one. Okay, guys. So before leaving, I quickly want to show you the completed render. You can zoom in over the parts and I think our texture came out pretty good and pretty realistic. Glass material or Ireland, everything looks really nice. I think even the rubber material looks really good. We can maybe turn down the scratches a little bit. But yeah, except that I think it looks really nice. Overhead of plastic also came out pretty nice. This was pretty much a fire extinguisher texture. Fair. Thank you for watching. 33. Exporting Textures to Unreal Engine: Hello and welcome guys. So in this lecture, I will be showing you how we can export our textures from substance painter who Unreal Engine. So the process of exporting textures to Unreal Engine is a little bit tricky. It is not that straightforward as it is in blend up. There are a couple of things that you should know, but don't worry, I will be covering each and every aspect of exporting to Unreal Engine from substance painter. So let's start. So the first thing that you need to do is press Control Shift and D. And we have this dialog box for exporting our textures. Over here, everything is already done. We just need to change the output Template from blender to scroll down and select Unreal Engine four, pad. The file type, I will change it to daga and it gets plus the drink because I think it gives the best results. Go over here, select the output directory, and now it is in Blender. Come back one step and let's create a new folder and rename this to find reading it. Hit Select Folder, and now everything is done. We just need to hit Export. All right, so the exporting is done now you can just quickly check it in your resources folder. We have all the textures over here. Click open up Unreal Engine now, and start by creating a new project. Wait for it to open up. So now head and Unreal Engine select games over here and then select a blank project. You can select the project location anywhere you want to save it on your PC. All of these settings are fine at default. And I will rename this project to fire extinguisher and just hit Create. Alright, so the project has opened up. Now, I will quickly hit update over here and let's dismiss this. We have this level by default, so we really don't need to create a new level. We can just export our fire extinguisher in this level only. And I will show you how we can import our model into Unreal Engine and also import our textures. Let's start over here in the content browser. If you don't see this window of content browser, you can just press control space and it will pop up. If you want to make it stay, you can just select docking layout. Now right-click and let's create a new folder first and reading these two models. And again, I will create another folder and rename this to textures. Alright, select the model folder over here on the Add button. Select Import to this one. Now head over to your exports folder in the Resources folder, and just select this fire extinguisher underscore final. And now hit Import. All right, so the import is done. You can see both our materials are also imported, the metal and the rubber and plastic. Now select all of your models except the material. Just select all of them and drag and drop them onto the scene. And you can see now we have a fire extinguisher model over here with us. You can press Control G to group them together so that it is easier to move them around and selecting. Alright, now it is the turn to export our textures. So important our textures, because we have already exploited them from Substance Painter and now we have to import them in Unreal. Go over to Add again. It important in the textures folder. And now in the Unreal Engine folder, select them all and just hit open. All right, so now we have our textures over here with us. Let's come back to the model and double-click on the metal material over here. Let's make it full screen. Remove this, press Delete, and now press Control plus space to bring up the content browser, open up the textures folder and only select the metal texture. So this one over here, you can see Mel is written. So this one, this one, and this one. Drag and drop it over here. Alright, so the thing that you have to remember is the first one is the base color. So this goes into base color. The second one is a normal map, is directly goes into the normal. So the third picture is a path to texture. So if you open up Substance Painter, you will see that the name of this output template is unreal engine for PAD. So basically what it means is the third texture has three different textures patterns into a single one. So what you have to do is now, instead of connecting the RGB, it has three different textures in three different color channels. So select the R channel and plug it into ambient occlusion, like the green channel. And plug it into roughness and select the blue channel, plug it into metallic. So the reason we have used this Unreal Engine four bad is because it saves us a lot of memory and we have not three different textures combined into a single one only because all three of them are grayscale pictures. That's why they have been compiled into three different color channels. So yeah, just make sure you remember this always. It will always remain the same. So r will be always for ambient occlusion. Green would be for roughness and blue with before metallic. If you go over here in substance painter, in the output templates and select Unreal Engine four. You would be able to see over here for the second picture, if you hover over the arch and you can see it is written mixed ambient occlusion, gray scale. And over the green channel, it is roughness and over the blue channel is metallic. So this is the advantage of having this output Template window. We can easily study all the different output templates. In the blender one, you can clearly see that all the different channels have their own separate textures. Like metallic has a different roughness, different. But in Unreal Engine four bags. One texture has three different channels over here. So the ambient occlusion, roughness and metallic. So this saves us a lot of memory and yeah, make sure you just remember this. So now let's come back to Unreal Engine and just hit save. Alright, now come back to the main level and you will see that first it is pretty dark, so I will just quickly go over here and add a light. Let's add a point like that. We can easily view our model. You can go over here and increase the intensity of the light. Alright, so the first thing that you will be noticing is the model looks really, really shiny for no reason at all. Even on the areas that it is not supposed to be shiny like over here on the metal and even on the surface of the main fire extinguisher. And the second thing that you will notice this, we really do not have opacity map and a glass material is not really looking that great. So these are the two things that we need to fix. So the first thing is pretty easy to fix. You can just open up the metal material again. And the problem with this bad picture is there is one little setting that you have to change it, select the texture from over here and then double-click over here. This window will open up. You just need to disable sRGB from over here, like this. And as soon as you do that, you will see an error is read the error. So the error is sampler type is color, should be linear color. Sampler type overhead is set to currently color. Let's change this to linear. Before saving. Quickly, come over here and now hit Save. And just look at your model now. Now you can clearly see that all the areas that were earlier very shiny or looking perfectly fine now. And they are looking at how they're supposed to look. Even the metal material is looking now fine. Basically that was it. The only change that you have to make is just select this texture and makes sure to disable sRGB from over here. And then over here in the material, make sure to change the sampler type two linear color. Right? So the next problem is we do not really have a glass material over here, but don't worry, we will fix that later on. But first let's add a rubber and plastic material. Now open it up. Let's delete this and make it full screen. Press Control plus face. Select all three of these textures and drag and drop them over here. The base skull and into base color, the normal, into normal. Now, our channel for the texture goes into ambient occlusion, green goes into roughness, and blue goes into metallic. It's saved. And obviously everything would be really shiny right now, but we will just fix it quickly. You can see the rubber material is also looking shiny. To do that is selected double-click over here, disabled SRGB and change the sampler type from color to linear color. Now who'd saved? Lose everything, and yeah, everything looks perfect. Now, the only thing that we have to solve this for this class material over here. So what we need to do is we cannot really make changes to this metal material. Because if you make the changes, then our whole model would be messed up. So what we can do is just right-click over here and first duplicate this and rename this to metal underscore loss. So this will be our class materials. So what we can do is first, let's right-click and go over to group. And I want to ungroup this so that I can select this piece only. And now you can see overhead this piece has the metal materials. So let's click over here and change it from metal to metal and glass. So basically right now both of them are the same material, but now I will make changes to the metal glass material, open it up. And we need to do a couple of settings. So the first thing that we need to do is change this blend mode over here from opaque to transduce it. Alright, next, just scroll down and the lighting mode change this to surface translucency volume. And also enabled two-sided. Now I will just quickly go back to substance painter. And I will show you one thing if you will click on here, Unreal Engine four, that you can see that in the base color section, if you hover over here, we have the opacity map that is connected into the alpha channel. So what we basically need to do is come back here and we have the base color over here. Select the alpha channel and plug it into the opacity. Wait for it to compile. Now just hit Save. And now you can see that our glass material is working perfectly. I will go over here and decrease the camera speeds so that I can move properly. Yeah, that was basically, you can see now our glass looks the same as it looked in substance painter. You can look around your complete model and see if it actually looks fine. So you can see that it looks same as if Substance Painter and we have fixed all of the issues. So you have, these were the couple of things that you should remember. The tricky part about having a glass material is basically you have to keep it in a separate material like we did over here. We had a different material for glass and a different material for rest of them. That is basically if you applied this metallic glass material to maybe something like this, you will see how messed up it is looking. You just need to remember this one thing that for glass materials or anything related to opacity mask, you have to create a separate material for it. And also one more thing that I want to mention is if you don't find these settings over here, you, what you need to do is just click outside anywhere on the empty space. If you have selected any of the textures, you won't find those settings. Just click outside or just select this main node over here, then you will find all the setting. So the only couple of settings you need to make is set the blend mode using enabled two-sided. And then go over here to lighting mode and set this to surface translucency volume. Now you can just connect your Alpha channel to opacity. And the last would be working perfectly fine. Hit yes, and that was basically it for all of our materials. Now, we have fixed all of the issues. And this is basically all the things that you need to know while exporting from substance painter to Unreal Engine. So thank you guys for watching. I'll see you in the next one. 34. Creating Drill Project and Baking Mesh Maps: Hello, Welcome guys. In this section we will be completely texturing our second model that is a dual machine. So in this first lecture, we will be basically creating a new project and making all the mesh maps, all that stuff. So if anyone wants to just skip all this process, they can directly use the drill underscore, start Substance Painter fight in the resources folder. You will find it over here. In the substance painter files. We have the driller discourse dot file that you can use. This file has everything already done for you so that you can directly get onto the texturing process. So if you want that even just skip this video and start the texturing from the next video. Alright, so with that out of the way, I will go back and in the blender files folder, open up this really underscores start file. And here we have a real model that we will be texturing completely. If you will go in the materials section, you will find this drill material. So basically this complete model only has a single material or a single texture set. That is the drain texture sec. I have already UV unwrap this model. You can press a Hoover in the UV Editing section and check the UVs. So here are all our UV islands. We can also check the face orientations, but everything is probably correct. Go over here and enabled face orientation. And you can see everything is colored blue. That means all the normals are correct. Now to export this model, just press a and select everything. Then go over to File Export and then Export as FBX Export folder. I will save it as real underscore start. Make sure to enable selected objects and active collection. And I only want to export the meshes, not any other type of objects. So just select the mesh and hit Export. Alright, so it is done. Now, if you go into the resources folder, you will find this drill underscore start FBX file in your exports folder. So now let's get back to Substance Painter and create a new project. So basically, all the settings are pretty much same as the fire extinguisher project. We just need to select the FBX file over here that we just exported on Select and select this real underscore start. Now, okay. Alright, so first I will go ahead and display settings and just enabled activate temporal India JC, remove the jagged edges. And now if we know, the first step is to always bake the mesh maps. As you can see, we only have one texture sake. We will be making mesh maps only for this particular texas had only when the texture sex Settings select bake mesh maps. First thing I will select the size as 40. And as I've said earlier, if you have a computer with those specifications, you can go for two key or wonky maybe. But at least suggest to go for ticket. But I will be going for for currently enabled both of these options and set the empty leasing four-by-four and rest everything. Default is completely fine. So just hit vague selected textures. Now just grab a cup of coffee and wait for the weekend to finish. And I will resume the video when it is done. Alright guys, so it's finished now for it, okay. And quickly check your model or any kind of big issues. Like we can get some shading issues. Sometimes. I don't think there are any. So obviously we will start the texturing process in the next video. But before ending, this looks good. We save our projects, hit Control plus S. And I will save this as written on the final, because we will be doing all the texturing in this final leaf. I will save it with underscore final and now hit Save. Alright, so our predicted Save now, so I will see you next video where we will start with addiction process. Thank you for watching. 35. Creating the Plastic Material: Hello and welcome guys. So in this lecture we will be starting with the texturing process of our model. So I've already opened up the drill underscore final substance painter file. So to start off with the texturing process first, I want to show you something new in the Resources folder and in the textures than the drill folder, you will find these two new images that I've added that had basically offer real life drill model that we can use as a reference image to see what all textures we have to create. So there are a couple of different materials that we are going to make. One of them is this main yellow plastic material. Then we obviously have the rubber material. Over here, we have the iron material. And at the bottom you can see these two black colored materials are clearly different. So this one over here is the grip material, that is our rubber material. And this one is basically a plastic material only but with black color. So these two materials are same, the yellow and the black one overhead the bottom, we basically only need to change the colors. So this one is yellow and this one is black. So first I will start by creating this yellow plastic material. Alright, so we can just close it right now. So if you want to check something or take a look at the reference images, you can do that to get a little bit more idea what we will be texturing in our project. Alright, so let's start. I will delete this layer one that is added by default. And I will create a new layer, new fill layer, and rename this to base. And also, let's start by adding a folder. Drag and drop this base layer into the folder and rename this one to yellow plastic. Alright, select the base and for the base color, obviously we will be going for a yellow color. So I've already decided on a color h value, I will say 2.11980. For the saturation, I will set it to 0.836. And at last we have the value, so this is 0.767. So something like this. Now I will just quickly open up the reference image. You see on which all areas I have to add this yellow plastic layer. Over here, this piece, this one, and this one. So basically three pieces. So click on here on geometric mask, right-click and exclude all. Select this one, this one and this one. Basically these three only. I will also set the roughness to 0.1 because I want that plastic texture to be kind of lossy. Don't worry, we will add more layers on top of it to make it look a little bit better. Right now for the base layer, I think everything is fine. Let's create a new layer, and this will be our dust layer. So let's select the base color. Obviously for dust, it would be kind of dark. Somewhere around here. I will set the roughness two-point date. And I will quickly add a black mass to it and also add a generator. I will basically be using a generator. Does something like this. Obviously this is too much right now. So I will decrease the dirt level. Maybe let's set it around 0.4 for now. And we can now increase the grunge amount a little bit. Around 0.5, I think. Yeah. Let's decrease the dirt contrast. Maybe I will increase the dirt level even more. I think this is pretty subtle. I only want to add dirt like in all these areas in the corners and crevices and not too much on the surface. I think around here along the edges little bit is fine. But yeah, I think this much for our dirt layer is pretty nice. If we wanted more over the surface, you can decrease the contrast and you will start to see around the surface a little bit more. But let's set the contrast around 0.3 only. And yeah, I think that's pretty nice. Let's move ahead. And I will create another layer. And this can be an Edges layer. I will keep the color to white only because I will be reducing the opacity. So add a black mask. And let's go into smart Mask section and search for smart mass relate to edges. I think I will be using the edges blurred. So dragon Rome, this one. And we have something like this. Let's reduce the global balance to around or M2. Yeah, I want some sort of this effect. Obviously right now it is too much. Let's reduce the opacity to 50. Even more, right thing, around 30. Yeah, that's fine. I, this next move further. Let's create another layer, and this will be our color variation layer. So you can choose any color, makes sure that it is in the shoes of your lonely. So let's go for orange color. And this will be a colorway. Recently, I had a black mask, and this time we have already used the generator, then use a smart mass. So let's go with the fill layer. This time. We have a lot of options that we can choose from. Let's search for grungy math. Let's see. Let's try this one. So we have something like this. Obviously we have to reduce the opacity. But first let's adjust all the settings. So I will set this to try planar projection. And let's increase the tiling. I think around three would be fine. Let's reduce the balance a little bit now, I will circulate around for maybe also we can make a little bit switch up in the roughness also. So let's increase the roughness to 0.4. Yeah, I think it is pretty good. We just have to reduce the opacity now. So let's try 20. Can maybe increase it a tad bit because it is not really that much visible. Let's go into base color and choose a darker color. This way it looks pretty good. Let's duplicate this layer. And this one we are color variation to. We can add two different color variations for the base color of the second layer. Let's go for a brownish color, maybe. Something like this. Let's select the mask and remove the failure. For this one, I will be using the smart mass. So let's remove the search query. And in smart mass section, while I was experimenting with different masks, I found this edge rest mass to be pretty good. So I will be using this one for the second color variation. And you can see it adds this kind of effect. We have our collaboration layer all around the edges. I will select the orange filled layer at the top to adjust the eye will increase the balance a little bit. The effect definitely goes a little bit overboard. But what I will do now is I will just reduce the opacity from here to 15. And this way, I think it looks fine. Maybe we can reduce it leverages big 68. Now I think our material looks pretty good. We have added all these different layers. The first one was the base layer, then we added some dust in the corners and crevices to make it a little bit more believable. And some edges and two different color variations to add a little bit of damage. And along with the color variation, we also have some roughness variation with these filters only. So at last time will be just adding a highlight layer. I add some bumps to a plastic layer. So let's rename this to height and hold Alt and just select the height channel. Set this to 0.1. And let's add a black mask. The failure and the filter that I will be using is so drag-and-drop the cells worn texture over here. And immediately you do not see anything. First you set this to five painter and I will increase the tiling, do a pretty large number like 60. And you can see we have some kind of this effect, which we definitely don't want. We want bumps to appear over our plastic surface. I think we need to invert the height. So select the fill layer and instead of 0.1, set it to negative of 0.1. Now you can see all these bumps, but obviously the height value is still pretty huge. So I will decrease it to negative of 0.05 or maybe negative or 0.025. Yeah, I think that is better. Let's go back to the cells one texture. And in the noise parameters, you can even increase the scaling of the noise. If you increase the scale from over here, you can see. How it is affecting our texture. So I will increase it to a huge number like 128. This way it is pretty subtle. And it adds a lot to a plastic material. I think this way it looks really good. Alright guys, so these are yellow plastic material is done. Let's close this folder like this selected and just duplicate it. Right-click and duplicate layers. Rename this to black plastic. I will right-click and hit Exclude all. First open it up and give this a different color. Obviously, black color like this for the base layer. And now, click over here, select the geometry mask and we need to select the areas that we want to add. The black plastic material on over here, over here, on this one. Over here. I think all these areas we want to add the black plastic material. We can check it in the reference image also. So here you can see over here on this piece, and this one is a rubber material, so we only want the black plastic material did here only. Now you will see some issues with our black plastic material. We can see this orange color that is looking pretty bad. So let's open up the folder. And for now I will disable both the color variations that we have, something like this. Next, first, let's select our base layer. And I will go into base color and just make the color a little bit more darker. Something like this. For the dust, I think it is fine. We can make the color a little bit lighter. Now for the edges, the edges layer also looks a little bit weird over here because the edges are pretty sharp. So you can go over here in the mask editor, reduce the global balance to around 0.1-six. Now it is pretty light, maybe 0.17. And we can just reduce the opacity from here to ten. Yeah, that's pretty good. Even then, if you feel like this looks weird to you. So you can go here, select this and add a paint layer. And basically just select a brush and remove some of the areas and make it a little bit smoother like this. But I think it is fine. So now let's enable back our color variation layer. What we need to do is we just need to select the base color and make it in the shade of black only that we would look good. Let's take it around 0.2. Select the mask and there's degrees. The tiling around one I think is fine. Then you can just decrease the balance. Basically just experiment with the values a little bit. Next, what we can do is click over here on the channels and select the roughness channel. And right now we can see there is a lot of difference between the two roughness. So we can just turn down the opacity of the roughness channel or this color variation layer so that they are little bit evenly mixed. So let's set it around 50. That way it looks much better. I think. Let's come back to the base color. And I think for this particular black plastic material, only one color variation layer is fine. So I will delete the older color variation layer. Select it and just press Delete. Alright, now I think our material looks pretty good. I also want to add this black plastic material layer over here on the trigger and button. Just click on the geometry mask, select this and this also. For the rest of them, we will be using the rubber material. For this video. I think this much is enough, guys. We will continue from here in the next one. Thank you for watching. 36. Creating Smart Materials: Hello and welcome guys. In this video, we will be learning how we can create our own smart materials so that we can speed up the process of texturing of a drill machine. So as you already know, we still have to create this rubber material and the iron material over here, but we already did that when we were picturing a fire extinguisher model. So we will be using those materials in our reading machine project because there is no point in creating those materials from scratch. Once again, that would be a waste of time. To create those smart materials. First, we need to open up the fire extinguisher model project. Go over here in the file, recent files, and I will open up the fire extinguisher final. Alright, so the fire extinguisher final file has opened up. Now what we need to do is basically, first let's create the smart material out of this iron folder. Right-click on this folder and basically just select Create smart materials. And as soon as you do that, you will see this iron material has appeared in your smart materials section. What you can do is right-click and rename this to. Let's rename it to something else so that we can easily identify it. So I will just rename this course underscore IRA, so that we can remember that this particular smart material is related to our course. So over here, next, let's go into the rubber and plastic texture set. Right-click on your rubber folder and hit Create smart material. And again, as soon as you do that, you will see it in your library. Right-click. And let's rename this wiki. Alright, so with this, our job over here in this project is done. So now let's switch back to a drill machine project file, recent files and rail underscore final. Alright. Lets you move the search query. And if we go into the smart materials section, search for, of course, we find both of these materials, the iron and the rubber material. So just drag and drop them onto your model. First, the rubber, right-click and exclude all and just select all these pieces. We can also drag select like this to make our job a little bit easier. Alright, so I think these all pieces should have the rubber material. We can do the minor adjustments later on, but for now, let's add the iron material. Again, right-click and exclude everything. Select this. These three over here. Then let's also select all the nuts. Alright, so I think this was all of it. Also. We still have these species overhead that have no material right now. But let's quickly open up our reference image and see what all we need to add over here. So open up the resources folder and let's quickly look at our reference image where it's not really bacteria, but over all these pieces, we need to add the yellow colored plastic material. Select the yellow plastic and add it on all these pieces. On this one we can maybe add the black plastic material. And at the top also, because in the image altar at the top, we can see this black plastic material. And overhead also, I will just basically add this only. And also we need to add the black plastic material on this button also, I think we forgot about it. Now. We can adjust the materials a little bit according to our needs. So first obviously we have the rubber material. You can see all the scratches and lots of damage over it. So I don't think we will be needing all of this on this kind of grip material. So I will be four now, turning off the height values like this. This weight is better. Next, let's select the roughness variation layer. Select the grungy map for it. And let's try to adjust the tiling. So we decrease the tiling do around one. Let's just set this back to UV protection. Alright, now I just want to increase the balance a little bit along with the contrast so that the roughness variation is visible properly like this. Let's take it around 0.55. Yeah, this way it looks really nice. But there's a little bit of issue. If you can see you have because of the UV projection, we have a little bit of visible see more here. So let's just remove this. We can just simply go over here and add a paint layer to this. Now let's go into the brushes section and quickly select any brush and just remove some of the areas. Make the scene a little bit more mixed with the rest of the model. This now it is not really visible. Ahead. Also, a little bit of seamless visible rest. All is good, I think. Yeah, rest everything is fine. One more thing that I quickly want to changes before proceeding. Let's close this up and select the yellow plastic. And I will remove it from this object and instead add it to this one. We had already added the black plastic material to this one. So just click over here and remove it from this one and add it to this. Basically just switched between the both. And this way it looks much better. I think. That's again, open up our rubber material. We definitely don't want the height information, so you can just select it and delete this. I will just select the edges layer and duplicate this and rename this to dust. Quickly create a new layer. Click over here and remove this. Select the Smart mask and the smart mass that I will be using is this one does surface. Drag and drop it over here. Wait for it to load, and it kind of masks out this way. Now let's select the mask window. And before editing any of the properties, I will just quickly go to texture set and reduce the size from two to k. Because I feel like my substance painter is getting a bit choppy. Now we can see now the level is working perfectly. It is working pretty much in real time. Earlier it was lagging a lot. As we have inverted this mass builder, if you increase the level, the effect over here would decrease, as you can see. And if you decrease the level, then the effect would increase. So basically, I want to increase the level a little bit. I will set it around 0.65. Maybe. We can reduce the opacity from here, around ten. So that the effect is pretty subtle. Like this. I think it looks really nice. With this. I think our rubber material is perfectly good. We can proceed with the iron material. Now. Open up the iron material folder. And really I won't be doing much with this. I will be just creating another dirt layer. So just select this, duplicate, this. Click on the mask, and remove both of the layers from over here in the mask. Let's add a generator to this. And I kinda want to use a curvature generator. So select this and click on the curvature generator and we have something of this sort. Before editing the properties of the curvature generated, Quickly select the fill layer over here. And I will enable the metallic channel. Let's set the metallic to one and reduce the roughness to around 0.4 so that the dust is not that harsh. And now we can go back in the curvature and just reduce the global balance to around 0.3 maybe. And also reduce the opacity from over here to 70. This writing our iron material looks really nice. Next what we can do is we can add another layer, and that will be new paint layer. And we will be adding more details to our nuts over here, make them look even better. So if you remember in the section three of the course in one of the lectures, we learned about how we can use this normal channel to paint various details onto our model. So we will be doing that. Click over here. And if you remember correctly, we can open up the textures and select the hard surface and hold Alt and just select the normal channel. And I will be dragging and dropping this view cross round onto the normal channel like this. And you can see it is appearing over our brush. First, go over here and set this to orthographic down by holding Control and using your right-click and moving it left and right. I think a size of around this much would be fine. Obviously, we need to increase the hardness. Let's set the hardness around 0.8. Obviously right now, it does not look that great. And the reason for this is because the texture size is small. It is said to, to get right now. And the size of the nut is pretty small compared to the texture size. If we increase the texture size two for k, you will see that the nut would be a much better. Wait for it to load. You can see now it looks much, much better compared to earlier. And we can just quickly stamp them over here. Would all are nuts. In overhead is done hold Alt and Shift and snapping towards the back like this. Hold Alt and Shift again and snap it over here. And let's add it to this one. This is the last one. And with this or not slip pretty good. Set it back to perspective. And we can rename this layer to nuts. With this or Ireland material. Anyhow with this or iron material is also pretty much done. Basically, I complete texturing of the drill model is almost done. We just need to now add all the height information over here, along the grip and over here. And then we need to add the stickers. Still a little bit of stuff to do, but definitely are texturing is coming along pretty nicely. So I think this is enough for this lecture guys. Sure to save your projects. And I will see you in the next one. 37. Adding Height Information: Hello, Welcome guys. So now that our texturing is almost done in this lecture, we will be adding some height information over here along the grip section of the drill. And overhear also, just select this iron material folder and let's add a new fill layer so that it is added at the top, like this. Double-click. And let's rename this to hike. I only want to enable the height channels. So hold Alt and click over the high channel. I will be setting a height value of negative of 0.1. Now let's add a black mask to this. Alright? So set your hardness to one. If you start painting over here, you will see that we are painting a height value of negative of 0.1. That's why it looks as if the surface is going downwards. So this is what we want it. Now I will just decrease the size of my brush to around 0.8 so that it is fairly small, something like this. And also make sure the hardness is set to one. Alright, hold Alt and shift and snap your view like this. Make sure to set the view to orthographic instead of perspective. And let's zoom in over here. Before starting. Make sure to enable symmetry like this, so that when we paint the grip over here like this, it appears over here also, so that we only have to do it once. Let's begin hold Alt and shift and snap your view. Also, if the axis of your mirror symmetry is messed up, you can just click over here and set the axis and all the settings from over here. We have already gone over this in section three. So select the x-axis. And I'm pretty sure that it will be here in the center only, but if it's not, you can adjust it by moving it on this slider. Set this to 0. And yet, Let's start. I will hold Alt and shift and snap it like this. Let's start from over here. I will just click over here once like this to create a dot. Then hold Control and Shift at the same time to create a straight line like this. And now I will be just repeating this process over and over to create the shape of a grip. Extend the line till here so that it goes through all over the board. Now maybe you can just pause the video and try to do this stuff on your own. It is pretty representative. Just click over here once then hold Control and Shift. And just try to keep it evenly spaced. That way it would look much better. When you have reached till here. You can again hold Alt and Shift and snap your view this way. And now it will be easier to add these lines this way. Just zoom out once and see how everything is looking fine. Yeah, I think I'd replace coming along pretty nicely. Let's keep on moving further and finish this. But once again, just click over here once that hold Control and Shift or the straight line. And just click once again. You don't have to get dislike a 100% perfect. The lines can be a little bit off. It does not matter that much because from far away it won't be that visible. Let's add one more over here. I think that's perfect. You can see that if you disable this, it adds a lot of detail. Your model. This way it looks pretty flat and now it looks really nice. So let's add them over here also. Again, select the mask. And let's start painting. So I think this is pretty good. Now what we can do is select the mask and we can also add a filter to this over here in the filter section. And the filter that I will be adding is a bluff. Eta is drag and drop it onto the filter slot over here. Now, it looks this way. Obviously this is too much, so I will decrease the blur intensity to around 0.1. I only did that to make all these grid lines a little bit smoother. As you can see, this way. Disabling blur, they look kind of harsh. Enabling it makes it a little bit better than maybe easy to, no, I think 0.1 was fine. I just want it to be ready started there. That's perfect. Let's move on over here. And for this we need to use the radial symmetry instead of using the mirror symmetry. So click over here and select radial symmetry. And it is not aligned properly, so we have to do it on our own. The first thing that we want to do is we first want to set the origin point correctly. Just click over here and taste somewhere around here. So as you can see, we need to use the radial symmetry over here. So we need to set the point here at the center, hold Alt and shift and snap it like this. And just move it over here. Like this. Just about at the center. Make sure it is roughly at the correct place. Alright, That seems pretty good to me. Now, who will hover your mouse? You can see this is kind of what we want, but we want to make it a little bit better. So first, click over here and set the angle span 2360. Increase the count to eight. Because there are eight of these things. And now, if you will move your mouse like this, you can see the radial symmetry is working perfectly. So yeah, this is what we wanted. Hit Control Z. Now hold Alt and shift, and we will be working just on this one. Firstly, go over here and hold Control and Shift and create a straight line like this. And now it will be replicated over all of them. Pretty nice. Now I will just reduce the size of the brush to point to. And add one line over here like this, and another one over here. Like this. If it is kind of slanted, what you can do is instead of holding Control and Shift at the same time, just hold shift so that you can create a straight line like this. And we had roughly parallel to this top line. And this way it looks much better. Alright, let's move further. And I will be adding a couple of lines with the same rationally here also, start from somewhere around here. Or just shift this time. Do not hold control because the line would be kind of slanted. Just hold shift and add a line over here. And again, I know the lines are looking kind of jacket, but don't worry when we will set the text size to fork it, they would look pretty good. This time. I'm just clicking over here. And then holding Shift to create a straight line will not hold control. And yeah, we're done. So from far away it looks pretty good. The jagged edges or not even that much visible. But if you want to see it a little bit better, just go over to the texture set settings and set these two foci. Wait for the textures to combine. And yeah, as you can see, the jagged edges are completely gone now and the lines look completely straight. This way it looks much, much better. And now as you can see with all the height information added, looks much, much better than earlier. You can disable the layer and see it for cells. Alright, I will set this back to k because it is much easier to work into it. This is all the basic hygiene for that I wanted to add. Obviously, if you want to go for some more stuff, you can add some more lines even here also are any kinds of different stuff that you want to go for. I think you should definitely go for it. You can select any of the alphas from over here. And this basically start to paint on your own, Select the mask. Obviously in our disabled symmetric, you can select any alpha promo here and create some shapes that you want to. It's totally up to you to create a couple of other layers and clean some more stuff. Maybe what I will do is I will select the arrow, search for arrow and we have a couple of arrow alpha over here. Maybe I will select this one and stamp one over here on the brush. Like this. Maybe let's reduce the size a little bit. Yeah, we can stamp one over here also. If you want to rotate the Alpha, you can also do that by going over here and setting the angle to, I think do 70. No one AD. Alright. Alright, so yeah, these are all the haiku for that I wanted to add, but definitely as I said, you can search for some more alphas over here. Like we have this sine power alpha and a lot of other ones like they also have some texts over here, like caution, security. If you want, you can add a little bit more detail and stamp them over some of the areas. But in the next video, we will be adding a couple of stickers on all the empty spaces that you can see over here. Over here, we make our drill look a little bit more complete. So yeah, that will add a lot of more detailed into art real model and it will make it look even more realistic. I will see you in the next video. Thanks for watching. 38. Adding Stickers: Hello and welcome guys. This lecture might be the last lecture for the texturing of our drill model. We will be adding a couple of stickers and adding some finishing touches. And then we will be done with the texturing of our model. So first let's create a new folder and rename these two stickers. And before starting, we need to add our sticker textures to our shelf over here. So open up your resource folder. And in the texture section, you will find all these textures, basically all of the stickers that we will be using in this real model, or alphas. Select them all and drag and drop them over here. And this time make sure to select them, export them as Alpha and not as textures. Select Alpha. Go over here and select project and hit import. All of them are now imported over here. You can remove the search filter and we can directly access them from going in the alphas section and just search for devoid. And basically all our Alphas that we will be using. So now I will add a fill layer. And let's set the color to yellow. For the first failure. I will be copying the yellow color of this yellow plastic layer. That is our main layer. This one. Select the base layer. Click over here, and let's just remember all three of these values. But 19836767. Let's enable this bag. And over here, I will just put those value, 119.8360.767. Basically the same color as we used over here. Rename this to yellow. Now, let's add a black mask. Because to use these Alphas, we obviously need a mask. Now if you will try to paint with white color, you will see that you are painting the yellow color because this is a fill layer and this is the yellow color that we are printing. And right now the brush is set to white. That's why the color is being, or the layer is being visible. If you will press X. Now the color is set to black and now you will be removing the layer. Pretty basic stuff. We have already gone over this a lot of times. But instead of using any kind of brush, what I will be doing is first risk X and switch to white color. Go over here. And first, let's quickly open up this image or the reference. So as you can see over here at the bottom, we have this kind of shape. Just quickly select this alpha, double-click and you will have something like this. So scale this alpha by holding Control and using your right-click and moving your mouse left and right to scale it up. And as you can see over here in the image, this is stamped with a yellow color. So I will stamp it over here. Make sure to just place it properly. Let's try once again. I think that is pretty good. Hold Alt and shift once again, make sure this is set to orthographic and hold Alt and Shift again and snappier view on the opposite side. And we will be stamping our sticker over here also. If you want to move your lighting towards this side, just hold shift and now use your right-click and you can place the lighting like this. See everything properly. I think that is pretty good. Let's quickly, once again, open up our reference image and check what all we need to do. Next, we have a DeWalt logo over here with black color. Now what we will have to do is we need to create another layer with color black so that we can stamp this alpha over here. First, let's rename this to black and add a black mask to this obviously. Now if you stamp it with this alpha, you will see now we're stamping with black color. With me. We will be selecting the logo for us. So just double-click on the logo. Scale it up a little bit. In standard over here. Right? That's pretty good. Hold Alt and Shift again and snap your view over here. And stamped logo over here also. Okay, one thing that I do want to mention is we can do all of this stuff by using a single paint layer. Also, I will just quickly disabled this thicker layer. And this is just for demonstration purpose. You do not have to Paul, follow me. Let's quickly add a print layer. And now what I will do is go over here at the bottom and quickly just set the color to yellow. I'm just randomly selecting a yellow color just to show you something. And now I will again select this alpha and you will see this appearing over here like this. I can easily stamp using this alpha over here with a yellow color. And now I can quickly select this one, the default logo one, set the color to black. And again, stamp it over here. Then maybe I can select some other Alpha, then stamp it over here. But I can even change the color to be white. And just use this single layer only for stamping all these different Alphas with different colors just by using a single paint layer only. But the disadvantage of this would be like if I want to change the color or anything at a later stage, I won't be able to do this. But now I will disable this layer and enable that my sticker layer. The benefit of doing this with a fill layer and along with the mask is now I can easily increase the height of this yellow layer. Now that I want to, I can maybe increase the height of the black layer if I want to. You can see over here it is being shown. We can, sorry, snap with that over here. I can change any of the channels that I want to. I can visa degrees or roughness. You can see that it is being updated over here. You can also change stuff like the color. Yeah, this is basically the advantage of using a fill layer along with the mask. We have complete control over our layers even after we have painted and we can change the information of any of the channels that we want to add later on street, maybe the color or the roughness, anything that we want. So let's just undo everything back to how it was. And I will delete this older layer that we just created for demonstration purpose. This paint layer, delete this and enabled back sticker layer. Next again, select the mask for the black layer over here. And this time select this 1.51 h. Because if you see in the reference image, you have this over here. So I will stamp it over here. And again hold Alt and shift and snap when viscerally. Alright. Now if you have noticed, we now need to create a white colored there. Yeah, I think it is pretty repetitive and self-explanatory by now. So I would suggest you guys too, right, standing up all these stickers on your own. Now I have added a white layer. I will add a black box to this leg, edema. And with the Stanford up over here and over here. Alright, while this white layer mask is selected, I will select this alpha DeWalt eight, scale it up and stamp it up over here also at the back. I think it looks really nice over here. I know what this empty space we can use this one. Like this. Yeah, I think this makes our Brill looked pretty good. Let's wait for the project to save. Alright, let's keep on moving further and we will be adding some stuff over here also. Add over here. If you open up the difference image, you will see that over here we have something like this. And if you move to the next image, zoom it out. And over here we have a different type of thing. So we need to design them both separately. Alright, so let's do that first, I will be starting with this one. So as you can see, the texts written over here is with black color only. So we will be using a black layer. We do not need to create a new layer for this. We can just select the mask and double-click on this alpha DeWalt eight. Scale it up according to the size over here. Then just stamp it up. And you can see we have the sticker appearing over here. But you will notice that it looks kind of weird because in the photo also, you can see between this surface and this tick over here. We also have another little paper like surface that we do not have created in our own models. So let's add that now. It is kind of a yellow colored surface only, but it is a little bit lighter than a main color. So we cannot reuse this layer again. I will just select this and duplicate this layer. So hit Control C and Control V. Select the mask, right-click and let's remove mask for now. I will rename this to yellow to select the layer, select the base color, and let's make it a little bit lighter. We just decrease the saturation to around 0.6. I think rest everything is just as fine. I'm just rounding off the values. So 0.12 for the hue saturation 0.6 and value 0.76. I think this color is a little bit lighter than our main color. Now we can add a black mask to this. This time instead of using the Alpha or the paintbrush from over here, we will be using this tool, which we have already worked with, the polygon tool. And while we are in the second mode, that is the polygon field is drag select all of the phases like this. Now we have something of this sort. We can select all of the faces that we want to. Basically, I want all of these phases to have this particular material. And I will be selecting them this way. You can just press X and again, select the faces that you do not want to add this material. Alright, so I think this is perfect because we have selected all the faces this way. You will see at the back also, we will get this material over here. So that's pretty handy because as you can see over here in both of the photos, we have this yellow colored paper like material between the sticker and the main body. It is good that we have added this way. Right? Now. I think our main circle over here looks fine. Without this layer, it looks weird. And with this, I think it looks pretty good. One thing that I want to explain before proceeding is that you might be wondering why both sides of the faces were selected when you're masking out this yellow to layer, as you can see over here. Both of the sides have this yellow to layer over here also. And we have this over here also. We made the selection on one single side only, but the faces were selected on both the sides. The reason for this is, let's first select the mask. So the reason for this is because we were selecting all the phases by drag, selecting like this, so forth plus X for the white villa so that we can select the faces. So your drafts and acting like this. And whenever you drag select faces in a mask, all the faces will be selected, even the ones at the back. So if you look at the back now, we can see these spaces are also selected along with deeds. Again, if I select this, press X and make a selection like this. Now all the faces are being removed. So they are being removed from both the sides. Whenever you want to select the back faces, just align them properly like this, and make the selection by dragging out. This is something you should remember because it can save you a lot of time but also mess up your work a lot. So whenever we want to select the back face is also align them properly like this. Let's say I want to select all the faces over here on this face, along with the back face over here. I will just make a selection like this. If you will go at the back now, you can see now these spaces are also being selected along with this one. But let's say you do not want to select the back faces, then you can select one piece at a time. Let me just show you, let's say I only want you to select all these top faces, but not the ones at the back. Then what I have to do is I just have to select them like this, like clicking on each one of them one by one. Now, if we will look at the bedside, none of the phases are selected over here, because we made a selection one-click at a time for one single phase. And that's why only the faces that are clicked over here are selected and not the ones at the back. And do this. And in our case, we want it to select both sides of the faces over here also add over here also. So it worked out perfectly. But let's see what happens if we only want to select one single side of the face is over here. Obviously one option is to just select each one of the base one at a time like this and make a selection. But this is very slow and tedious. But if you make a selection, then you know what happens. All the phases at the back would also be selected. So let's say we made a draft selection like this, and both sides were selected. And now we want to remove all the phases from this side. Over here. Obviously, as I said earlier, one method would be to just this x first while the black color and just de-select them one by one like this. But as I said earlier, this is very slow. So what is the quick way to doing this? The quickest way of doing this is aligning your view in such a way that only one side of the faces are being selected. So maybe something like this from the top. Now what you can do is make a drag selection over here, just on one side of the model like this. And you can see all of the phases are now de-selected. While over here, all of the faces are still there. It is pretty easy. What I basically did was I've unmuted. For select this tool, press X, make sure to be in the black color. And I have set up my model, aligned my view in such a way that only one side of the phases are being selected. And now I made a draft selection like this. And yeah, pretty easy. Alright, so let's not do this because we want the faces over here also. Now again, let's proceed with our stickers. So now if we will open up the reference image, Let's see the next one. So here you can see we have this black color logo and this black strip over here. And then some stuff written with white pillar. So first we will be using the black layer. Let's select the normal. Scale it up a little big. And standard over here like this. Okay, Nothing really happens because obviously this is a black color and in the cases of mass, black means invisible. So press X to switch to white color and now stamp it over here. We have this. Next what we can do is search for square and then select this square rectangle. And if you scroll down, you can see the size x and y. Let's adjust it in such a way that we can create this trip over here with black bachelor degrees, the size Y2, 0.15 maybe. Alright, so I think that's putting the correct size at the first trial, lethal just fanfic like this. And maybe we can increase the size a little bit of the square. Let's see, I think it looks pretty good. Let's check our reference image I can do is select the eraser and laziest. It is the law books. And I will increase the size of the logo a little bit. Make sure to come back and brush and select the devolved Google. Scale it up a little bit. Flips it a little bit downwards, like this. Yeah, I think that is fine. Next, let's select the white layer. Because this is a white color, but we have to put this XR logo with yellow. Let's see how we do that. I will fill in this alpha now. Stanford up over here, the white color. Now what we can do is first let's select the eraser tool. Remove the alpha from over here. I think I, by mistakes in it predicts nowadays the Excel logo. You want to add it using the yellow color. But the problem now, if I select the yellow color over here and select the brush tool, then select the XR logo. So now we are in the yellow color layer. Now if I stamped it up over here, nothing really happens because our black layer is on top of the yellow to layer. If I move this on the top, now again, things are messed up. So the only solution for this is that we have to create a new layer. Now what I will do is I will just select this yellow layer that is at the bottom. Duplicate it. So press control C, control V, and move it at the top of the stack of this thicker layer. Now I will select the mask, right-click and remove mask. And let's add a new mask to this. I had a black mask. Now we have added a team months that already has no information. Now you can easily stamp on this Excel logo over here. Like this. They're pretty easy. And I think our stickers are almost done now we wait for the project to autopsy. Alright, let's see the difference image. We have this one thing over here that we can add. This. I will again, let's quickly add a new fill layer, set the color to black. I had a black mask. Let's rename this to black to select this logo. Over here, it up accordingly. And you stamp it like this. Hold Alt and Shift snap your view like this. Understand what I have over here also. Now what I want to do is like now it kind of looks like, and in the reference image, it looks a little bit in gray. Simon Sinek the field there, and give it a height value of 0.1. Maybe even more. Let's try this. Try one. Yeah, I think one is fine. Next, I will also decrease the roughness a little bit of this coin too. Yeah, that's pretty good. I think with this are stickers are almost done. I think they are all done. We can now add some stickers on our own apart. We just make the ligament Beta. First, I will just select the mask and let's add a blur filter to this. We just smooth out these edges a little bit. Drag-and-drop them, know, Theta, we have something of this sort. I will decrease the intensity 2.1. And yet, this looks nice. Now if you want, you can go back to the Alpha section. Let's search for the volt. Again. We can create a new layer. This time, let's just create a paint layer that we can see the values. I will select this logo. Down over here. I will disable all the channels and just keep height enabled. So we'll enable high. Let's set this to minus 0.1. And we can stand up a loop over here also like this. This also I think, adds a nice bit of detail. This way you can add different stickers all over the model. Not only these Alpha, you can search for any of the alphas from over here, like maybe an ad or something like that. We'll add some more details into your model. If you will go back to the reference image. We have something like this over here on this part of the model. If you want, we can create this also. Alright, so let's just quickly do this from leak. So let's minimize the reference image now. And the first thing that I will do is we have this layer one over here that we created just now. The DeWalt Dove over here. I will move this out of the stickers folder. Let's collapse the stickers folder. And we have this older height layer. All these grips and everything that we created. I will create a new folder and just drop both of these layers into the new folder. Rename this folder to height, that we have everything properly organized. We can rename this layer to reward logo. Alright, so now we have to create this stuff over here. This. So for this, we need to add a couple of more failures. So first I will just add a field day with me. Only enable the height channels. So hold Alt and select the height. Set the height value to 0.1. Let's start a black mask to this. And let's see search for spread in the alphas and select this one. Now, right now, I'm creating these lines over here. Let's adjust the x value. I think. Yeah. I will check it around going to maybe. Yeah, I think that's pretty good. But before that just enabled symmetry so that it is added to both the sides. Let's see, I want to add this around the middle, only somewhere around here. You can see it is being added to both the sides. And let's add one like this and another one over here. I think this is pretty good. Now I will just select the mask and add a filter to it. And you'll will be using a Bevel filter. Just smoothing it out a little bit. Yeah, I think that is pretty good. You can see the bevel trade that is doing. It just smoothen out the edges a little bit. Next, let's create another layer. This time we only need the color channel along with the high channel. Because now we are creating this yellow box over here. So I will set the color to yellow. But before that, let's add a black mask. Select the layer now for the base color, Let's just click on this color picker. And we can color pick from over here. I think I will set the height to negative or 0.1. Now let's get back to the mask. Again. We will be using the square alpha only increase of x now to one and decrease the y to around 0.8, I think. Let's see 0.7. Yeah, I think this is perfect. Stamp it up over here like this. Now what we can do is again, we can add a bevel filter. Because if you see over here, the edges are smoothened out a little bit. Let's try doing that. What I will do first is let's just undo everything. And I will decrease the size of my square a little bit. That we have, a little bit of space. We use the bevel feta I disliked will be fine. Now again, add a freedom. Yeah, I think this is fine. Their sympathy with smoothing a little bit. Yeah, I think that's pretty good. So now we have to be in this last thing over here, this negative net-like things. So we can just basically use a paint layer for this. So instead of adding a new paint layer, I will be using this paint there. That is for this DeWalt logo. Enable the height and the metallic along with the normal. Instead of roughness, I have enabled all the channels. The Lexi first, I will enable this from over here. And we will be using these pictures. Normally textures will drag and drop this texture onto the normal, can. Remove this alpha first. We really don't need this right now. We're into the alpha section, search for shape. And we have this circle. This is what we will be using. First, we need to set the metallic to one. And now if I stamp it over here, we will see that the color is still appearing to be yellow. The color is not white. And the reason for this is because the yellow layer is on top of the divorce double layer. Move it on the top like this. And now if you will stamp it over here, now we have the white color that we have selected. Let's make it a little bit darker. And yeah, I think this is pretty good. Now we can disable the symmetry. Now let's collapse the height folder. And now we basically have completed the texturing of a drill model that we have organized all the textures into different folders for us, we have the yellow plastic, then the black plastic. Then we used a couple of materials, the rubber and the iron. Then utilize the height channels to add some more information. Let's move it over here. And at last, we added some stickers, the finishing touches to our model. And I think now it looks pretty good. Again, I will suggest that you should experiment with all these things a little bit. You can maybe add a couple of more alphas here and there, make it even more detail. But I think I've covered all the basics that you will need to texture your own models and create realistic stuff in substance painter. I think this is it for the texturing of the real model. Let's save your projects. And in the next lecture, we will be exporting all our textures into Blender. We have already done this with the fire extinguisher model, but let's do it once again with the grill model also and see how our modern loops in Blender. Anyway, watching in the next one. 39. Exporting Textures to Blender: Hello and welcome guys. So now the texturing is done for our model. So in this lecture we will be exporting our textures to blend up. Alright, so we have already done this for the fire extinguisher model, but let's do it again for the real-world. So just radically press Control Shift and E. And now click over here and let's select the output directory first. The resources folder in substance painter textures. Let's create a new folder. And I will leave this as drilled in here. Listen, create another folder for blender and hit Select Folder. Next, let's select the output Template. Like Blender principle, VHDL file type will be PNG and 16-bits size, I think for k would be good enough. Alright, so these were all the settings that we have to make. Everything is pretty much fine now, we can just hit Export and wait for the export to finish. Alright, so the export is done. Now, let's cancel this, open up our resources folder. You can check the textures over here. All of them have appeared. Go into the blender files and let's open up brilliant or school start. Alright, so the blender file is opened up and again, I will create a copy of this. So go over here in the File, Save As, and let's save this one as really underscore final. Alright, let's go into the shadings tab now. While the brilliant material is selected, because we only have a single material in the drill model. I will open up the textures now and just drag and drop them one by 1. First, the base color. Let's go into the rendered view or the Viewport Shading mode. Connect the base color. It is looking pretty good. Next, we will be bringing the metallic. Change this to non-color, now connected to the metallic channel. Then we have a roughness map. All this stuff we have already done. We are doing it once again fall and we'll model. So that's why I'm not explaining much, just quickly going through it. Alright? After this we have a normal map and the displacement. So first set this to non-color. Let's press Shift a and add a normal map node. Both of these and then connect the normal map to the normal channel. Alright, so the last one is the displacement to non-color, the shifting. And let's add a displacement node, the color to the height, and now the displacement, the displacement. And I will just set the scale to 0.1 as we did for the fire extinguisher model. So now all the textures are now connected. We just need to add the mapping node now to select them, the first one, base color, press Control T, and just connect the vector to the vector of all the textures. Alright, so the texture is completely added now and our material is complete. Let's save our blender file and come back to the layout. Now we can head over to the render view. Obviously, right now no lights are added, so it would be pretty dark. Red shift a and we can simply add a point light. You can increase the intensity from over here to 500. And now I would suggest you guys to set up the lights according to you. You can create a basic lighting setup like this. One at the back of the room light. You can maybe increase the power for the back leg or something like that. So I'm basically just doing some random stuff, adding some lights here and there. And trying to create something. You can do all of these stuff according to your preference. What we can do next is we can basically add a camera, so press shifting. And let's add a camera. Now press Control Alt and 0 over here in the View tab and enable camera to view. Now you can adjust your camera accordingly. Disabled it. So now the camera is fixed. You can change stuff like the solution and all that from over here. Like if you want, we can increase the resolution to 144 TP so that the vendors are more clear. All the Render Settings you can change from over here on this tab, like the sample amount denoising and all that stuff. Alright, so I think this pretty much we have added our pictures to Blender. And now we can just quickly press F5 to see your rendered image. And I will just skip the video when the render is done now. Alright guys, so the render is finished. Now you can see all these details over here of our texture. And I think our models and the textures came out pretty good. I think it looks really nice. Obviously the lighting is not that great right now. So you can spend some more time with it and create a nice looking lighting setup. I have a very basic lighting and it does not look that nice. But yeah, I would suggest you guys to spend some more time with it. With this, we are done with the texturing of our drill model also, and we finally exported our textures to blend up. I will not be showing you how we will export this to Unreal Engine because we have already done this with the fire extinguisher model. And I don't think there is any point in showing you guys all those same things again and again. So yeah, let's finish up this section of our course now, we are done with the texturing and we have finally successfully exploited all our textures. So yeah guys, I think this is it for this section. Thank you for watching. I'll see you in the next one. 40. Exporting the Wood Textures: Hello and welcome guys. So now we're finished with our main course and we will be starting with the bonus section. This section is mainly for the stuff that we're not able to be the part of the Marine Corps. Like start off, we will learn how to create a realistic wood material. We will learn the use of MSF channel and some topics that were left in our main boards like anchor points, what prediction, etc. We will be learning a lot. So to start, let's just create a new project. And in this first lecture, we will be creating the Woodmont area. So go over to phi, it new for creating this good material, I have prepared a table model. So you can go over to File, click Select, and select this wooden table FBX file. Now the rest of the settings are pretty much fine. Just hit Okay. And we have this sort of tables, so we will be now creating a Woodmont idiot. So first I will just go over here with Lee and enable importantly anti-aliasing. And the next step is obviously you bake the mishmash. You can see over here we just have one text set, the default material. I think I forgot to change the name of the material while we were in blender. You just double-click over here and rename this to good. Alright, now I will hit big mesh maps, set the size to poke. It, enables both of these options and also set the anti-aliasing to four-by-four. All right, now let's just sit back and wait for the bank to finish. Alright guys, so the bakers and now hit Okay, and quickly check your margin for any kind of baking or shading issues. So I don't think there are any. So now we can start with the creating of wood material. Go back to the Layers tab and let's remove this layer one. For the base material, I will be basically using this good American JD. I think this is a pretty good base material for a word. Just drag and drop it like this. Alright, so the first thing that I will do is as you can see, all the fibers are lined up this way. I will set the rotation to 90. The texture lines are a little bit better like this. You see, this looks much better than this. Alright, Next I will increase the roughness because right now the mood is pretty shiny. I will increase the roughness to around 0.6. Alright, so now I want to make the world a little bit darker in color. So I will just select the color and adding a darker color for the saturation, I will set it to 0.667. And for the value I will set it around 0.4. Yeah, that's nice. You can open up these technical parameters. As you can see, the height information is looking too much right now. If you scroll down over here, you will find this height range option. Set this to 0.01. Now you will see that the height value is not that visible. Next dive in. Let's see, I will decrease the luminosity a little bit, make it a little bit more darker. Around 0.45 item would be fine. Then we can also decrease the contrast a little bit. Yeah, pretty nice. Let's also degrees of saturation to 0.45. And yeah, I think this looks fine because I want to go for a data with material. That's why I have made all of these settings because earlier it was really, really bright. Alright, after this, I will just go over here and try to adjust the offset of the texture. Will have a little bit of more of these darker areas over my wooden table. I think this looks nicer. I will just set the offset to 0.2. Next, we'll head over to your resources folder. In the texture folder, you will find this new wooden table folder. Just select all of these textures and now drag and drop them into the shelf. As you can see, these three architectures, but this one would, would plants underscore alpha, this one is alpha. So make sure to just select this one as alpha and risk-free as textures. Now go over here, select the project and hit Import. Also before proceeding, Let's just quickly see what projects to just hit Control S. And I will save it in the tutorial directory. I will save this as wounding. They will find it. Alright. Now create a new fill layer and drag and drop this texture. Wood planks texture over the base color like this. Who have something of this sort. What we can do now is we can disable all of the channels except the color channel. We will be using this layer as an overlay layer to add some detail. We'll just rename this to overlay. Basically what we can do is first let's increase the tiling. Yeah, that's pretty good. And I will just set the opacity now to 25. Now you can see this overlay adds a lot of details to our texture. And it is already looking much better as you can see. Also one more thing that I want to do is we did this for the fire extinguisher. I will just improve the colors a little bit and set the color space to ACEs like we did for the fire extinguisher model. I think for what to do it for the bill model, but yeah, let's just quickly do it for this one. So enabled activate post effects, enabled tone mapping and set the function to log. Next, enabled activate color profile and select the color profile. Aces underscore UE for log. Alright, so now I think I've alerts are much more brighter and nice-looking. Alright, so I think I would overlay layer is fine. We really don't have to do much. I will now add a new layer, and this can be a dirt layer as always. Let's rename this to dust, the roughness to around 0.8 IT and base color to obviously adaptable like this. Add a black mask. And the mask that I will be using is this one. Edges blur. Drag and drop it over here like this. And we have something like this. It looks pretty good, but I think it makes a lot more darker. So select the mask editor and just decrease the global balance around 0.3, I think would be really good. Yeah, this is certain and still adds a little bit of dust. Alright, next, I will add a little bit of edge damage over here. For that, I will just duplicate this would overlay layer selected press control C control V. Let's place it on top of the dust layer. I will rename these two edges. And let's just say the opacity to 100. Alright, let's see, I will add a black mass to this. Next, let's add the generator. So this time the generator that I will be using is a masquerade as simple. As soon as you do that, you can see that the edges are maxed out now. So now we will just adjust the balance and contrast a little bit. Mainly I will only be adjusting the contrast, so let's increase it. You'll see, as I keep on increasing, the contrast, effect becomes more compact and shifts towards the edges only while earlier it was more spread out. Let's increase it to around 0.6. I think. You can also hold Alt and click over this edge mask. Only view the mask like this. So you can see it has masked out the complete edge like this. Let's go back to the material over here and go back to material. Alright, so next what we can do is come down over here and provide a texture input. Search for a range map in the texture section. Because right now, if you will see the mask, it basically does not have any kind of details or organic field to it. It has just masked out the complete edges in a very flat way. We can maybe drag and drop any of the grunge map. Let's see. Maybe this one. Now go over here to the top and increase the texture opacity to one. Don't want to increase it this much, so I will maybe set it around 0.25 m. Now, adding now what edge view looks much better. It has a bit of organic feel to it. We can now even increase the global balance a little bit to compensate for it. Alright, now let's press M and view back the material. I think now it looks pretty nice. Already, I think are good material is starting to look pretty good. You can see we started out with this basic looking good base layer, then we added overlay, then some dust, and then finally some edge details. Alright, so let's keep on moving further now. Next I will just again select this layer duplicate. It would be acting as a volunteer layer. So I will just double-click and rename this too. We'll click over here and remove the mask editor. This time, let's add a fill layer. And the grunge layer that I will be using is grunge. Raci. This one drag and drop it over here. Let's hold Alt and click over the mask to see how it looks. I think it's pretty huge right now. So let's increase the dial into three. Next, let's decrease the balance. 0.3, I think. Yeah, that looks very nice. Now press M to view the material. And now you can see on all these areas, it has added a little bit of dirt. I think it looks really nice. So now our material is almost done. We just need to add a couple of more layers. We'll first add a normal layer, add a fill layer, and just enable the normal channels. So hold Alt and select the normal channel like this. Now let's head over to the textures that we imported in the start of the video. So to access them easily, you can just go over here in all libraries and select project. And here are those textures. So now I will drag and drop. This would underscore normal. Over here. You can see what kind of information it adds to your model. If you enable and disable this layer. So now I will just increase the tiling of this normal maps. So set the tiling to around three. Or maybe let's try to, I think yeah, I think two is pretty good. So it makes it look even more like a realistic wood material. As you can see over here, we have all this novel information. You can enable and disable the layer and check for yourself. What we can do first is let's rename this to normal. And also I want to reduce the intensity of this normal map information. So we can go over here and reduce the opacity of this layer. But if you set this to 0, you will see that nothing really happens because currently In the base color channels, so click over here and change it to normal. And now you can reduce the opacity. You will see now as you keep on decreasing it and set it to 0, the normal information is completely disappeared. Now, let's set it around 50. Yeah, I think this adds a certain bit of information, which looks really nice. Now we only have to add one last layer for adding some more harsh damages. So click on the Fill Layer icon and let's add a new fill layer. I will be using this one would underscore albedo and drag and drop it on the base color. Like this. We can maybe increase the roughness to around 0.8. And also let's disable the channels such as metal and normal because you don't need it. Height we will be using later on. So first let's add a black mass to this and rename this to damage. Also, let's go back to the base color now and now add a black mass to this. Alright, so the way we will be using this mask is basically instead of adding a smart mask or a field layer, we will be painting on it like this on our own. But what we do is we will click on this rejection I can prediction tool. I mean, you will be using the Alpha image that we just imported into Substance Painter. So just go over to the Alpha section. And this one. We'll just scroll down and drag and drop it over here. Alright, so now we have something like this. First set it to orthographic, hold Alt and Shift and let it snap it this way. Now if you remember to rotate or move the image in the prediction tool, we first need to press S, then use your right-click to scale it down and I want to rotate it. So use your left-click to rotate it like this. And then hold Shift to snap it like this. Alright, now what we can do is basically scale it up a little bit. And we can create damages over here like this. Make sure to set the hardness to one. Let's quickly go back to the brush tool to see how it looks. Right now it does not look that great, but we can go over here, select the fill layer and just give it a height of around 0.5, or maybe a little bit less around 0.2. I think now it looks pretty good. Set this back to perspective. I think instead of giving it a positive height value, we need to give it a negative. Yeah. Set this to negative or 0.3. Maybe. This looks really good. What we can do now is select the mask again, select the eraser tool, and let's erase some of the extra stuff from over here, like this and this. Alright, let's go back to the brush to remove some of the areas to make it a little bit smoother. Yeah, this looks pretty good. I think. Let's proceed further now. We can select the mask, select the prediction tool, and let's add a couple of more damages like this only. We can add damages to different parts of the model like over here also. Decrease the size, rotate it. And a couple of damages like this. Set this back to orthographic so that it is easier to work with. Obviously, we don't want all this over here at the top to set this back to black. Remove it like this. Really easy. I think it is just a bit of work to do. But yeah, it is definitely worth it to make your good material look even better. You can add all these small damages to different parts of the model S and rotate it once again. Feeling like the height values looking just too much. So select the fill their back again. And let's set it to negative of 0.15 so that it is a bit more subtle. Alright, so now I will keep on moving further. And what I suggest you guys to do is you don't really have to follow me exactly for this. You can just experiment with this image a little bit and add the damage according to you. Now I will just keep on adding the damage without really talking that much so that I can work quickly. Alright? Alright guys, so I think this much is enough for the demonstration purposes. Obviously, it is not that perfect in terms of details. It looks fine, but definitely I can do a better job than this. But right now, just for the sake of recording the video, I have added a lot of damage around the table and I think it looks really nice and organic. So yeah, I will suggest you guys to do it according to yourself, experiment with this image. And you can not only use this immediately, you can use any kind of brushes available to you is Substance Painter, and use them as well to create the best looking possible damaged for this table. But yeah, I think this much is enough. Let me just quickly add a couple of more damages here and there. And then we will call it on this. Alright, so I think this is pretty good. We are done with our material now. And in the next video, I will show you how you can export all these textures once again to blend up. Alright, so thank you guys for watching. I'll see you in the next one. 41. Creating the Wood Material Part 2: Hello and welcome back. So now that we're done with our bone material, we will be exporting our textures from Substance Painter and importing them to Blender. Now, first I will just select all of these layers over here. And let's group them into a single folder and rename this folder to put. Alright, so I think by now it is pretty easy for you guys to export and import stuff here and there. So let's just quickly press Control Shift and E. You open up this export window. I will head over to my tutorial directory and we click create a new folder over here. David. It's Select Folder. Output template I will be selecting as blender. File type would be PNG and 16-bits size. Obviously I wouldn't be going for, for K, but you can size I will be going for for k. Alright, so rest everything is pretty much okay. Just hit Export now. Alright guys, so the export is going now so quickly, let's open up our blender fight. From over here, we have this routing table underscore final. Let's head over to the shading tab. Now. We have this single material over here, over our complete wooden table. So I will rename this to good. Alright, so now let's just import our textures one-by-one. Open up the substance painter textures. And here we have all our textures. So drag-and-drop the base color. Connect these two base color over here. Then we can bring in the metallic. Obviously don't forget to change this to non-color. Then we have a roughness map. And the last two are normal and a displacement. The first let's connect denominator app. So press Shift a and we need to add a nominal map. Note the color to the color over here, then a nominal to the normal channel. Make sure to change this to non-color. And the last one is displacement. We need to connect it over here. Press Shift a again, let's add a displacement node. Connect this over here like this, and connect the color to the height. And j is to not get them. All right, So all done now, we just need to add a mapping note to select this base color press Control D. Now we have the snapping node and now disconnect all of the inputs and outputs. Alright, so the material is done now, we can head over to the layout tab and select the rendered view from over here. So right now as you can see, it is currently set to EV. The first, let's just add a light, press Shift a and a point light. And you will notice right now that the render engine and everything is really responsive. And the reason for that is because the render engine is currently set to EV, which is a lot more responsive than cycles. And basically it is real-time engine. So that's why. But it is not that realistic in terms of lighting and everything. Now to get more realistic results, we can just set this to overhear cycles. And now you will see you're starting to lag a little bit, because now I've changed the rendering it. Alright, so set this from CPU to GPU. If you have a GPU, can make use of it and it will be much quicker on your GPU. You can also enable the noise so that it will add a little bit of viewport de-noising to your textures. And I think our table looks really nice. Wood material came out pretty good. You can add a couple of lights here and there to just make it a little bit more visible. Alright, now we can basically add a camera, Shift a, and let's add a camera. It's Control Alt and 0. You can open this up and select View and enable camera to view right to it just to view according to you and now disable it so that it remains fixed. Alright, so now all the lighting setup and cameras and everything is done. One thing that I want to change is I will just select this and maybe what we did for displacement on all the other materials. I will set this to 0.1 and now go back to Layout 0 on your numpad to view the camera view. And now let's just quickly press F2 L will see are rendered image. And see how it looks. Let's wait for the render to finish. Alright guys, so the render is done. Now I can zoom in and see all these details. If you're feeling like their resolution is a little bit too low for your taste. And the details are not even that much visible. What you can do is basically go back over here and increase the resolution from over here, and then you will have more details in your render. But for now I think our material looks really good. You can also save your renders from over here, go over to image and hit Save so that you can maybe post them somewhere or take them to Photoshop to edit them even more. I think with this, we are done with our creation of the Woodmont area. So let's close this, save our Blender files and thank you for watching. I will see you in the next one. 42. Emissive Channel: Welcome guys. In this lecture, I will be showing you how we can use the MSF channel. So basically we have different channels divided up for different tasks. Like we have the base color for the color information than the roughness channel for roughness values, and so on and so forth. Later on in the course, we also learned about the opacity map that decides what parts of the texture would be transparent or visible. And now we will be going over the MAC, mac that decides the area of the texture that would be emitting light. So this channel is really useful when you have two textures, something that emits light, like maybe a bulb or tube light or any kind of screen, monitor, mobile phone, etc. So to start, I will just open up my drill model only. I really don't have anything texture that emits light. I will just show you how we can use the MSH channel and then you can use it in your projects. So basically what I will do is just open up this yellow plastic folder, select the height layer, and let's add a new fill layer first. Alright, so we will just basically make this layer MAC just to see how the emissive channel works and how we can do that. Alright, so first we need to add the emissive channel into our shader. So go over to the texture set settings. And in the channels section, we can hit on this plus icon and just go ahead and add the MSF channel. Now you can see as soon as you do that, we have a new MSF channel over here in our fill layer. So we can use this to create them as if channels. So go back to the layers and let's enable this. But we can do is we can disable all of the other channels except them is if channel and rename this to emissive. Now you can just click over here and select any color you want. So let's go for something yellowish only. And right now it looks kind of weird, but I'm just doing it to demonstrate how we can use them as a channel. So obviously it does not look that great or not drill model because model is not really MAC, but yeah, we're just learning how we can use the different channels. Alright, so now basically everything is done. We just need to export our textures back and check them in Blender. So press control, shift and E. And basically all the settings are already done. We just need to hit Export. Export is done. Now, you can open up your resources folder and the textures folder in the drill machine. You will find this emission map over here. So now we can use this in Blender to drive our emission channel. So go back to Blender files and let's open up the grill final model. Head over to the shading tab. Wait for the textures to load. Alright, what I will do is I will just go to the rendered view. Alright, so everything is loaded up. Now what we can do is we have these three points lights over here. So what you need to do is just disabled all the lights in your scene just for now, like this is disabled all of them. So you're seeing is pretty dark, just like this. Next word you need to do is open up this folder. The one with all your textures. And just drag and drop this emission map onto your material connected to the vector like this. Somewhere along here. For now. Let's change this to non-color. Now, connect the color channel to the emission over here like this. And wait for it to load. Now as soon as you do that, you will see it looks something like this. It is not really looking like as if it's emitting light, but it actually is emitting light. So to showcase this, just press Shift eight, add a plane, and let's place the plane over here. This select the material again. And under the emission option, you will see the emission strength. Increase in emissions strength. You will see your texture has started to grow a little bit. And you can see it is costing this light all around the area over our plane that we have just added. So basically this is the use of the MSF channel. Obviously, right now it looks really weird because what kinda drill every slide like this. But yeah, if you're creating models like maybe a mobile screen or a monitor or tube, lightbulbs, anything like that. You can use them, receive channels for those kinds of models. And it will look really, really great service. This is the use of the message channel. Also one more thing that I want to mention is make sure to set the color space to sRGB only. Because if you set this to normal, you will see the color of your light is gone now and it is basically white colored only. Just make sure to remember this, that the color space for the MEC map is SRGB. Alright, so let's go back to Substance Painter. And you can do a lot of things with this MSF channel. Only. Basically all the things that we learned when we were texturing our model, like adding a mask to it or adding any kind of like adding a mass to it or adding any kind of smart material. Everything totally work with this also. Like, let's just do it quickly. We can we be, let's try doing heavy, and now let's select the grunge maps, try to adjust it a little bit. If we even export something like this, the light would be emitted from all these small dirt particles or grungy areas. As you can see, it would be automatically updated in Blender. Just switch back to this mode first Viewport Shading and now go back to the rendered view. You will see now your texture is updated. It looks something like this. Obviously it looks really, really weird. But yeah, you can definitely use the MSF channels with all the things that we have already learned. Let's remove it. Also right-click and remove the mask from over here. Obviously, you can also change the color of the light to any color you want. And what we can do is we can also go over here in the texture section. Let's search for some nice-looking texture with different colors. Don't really have anything right now. But even if you like or drop this camo pattern onto their message channel, you will see if you export this now, it's Control Shift T and just hit Export. Go back to Blender and again, refresh it once by going back to viewport shading. Now back to rendered view. We'll see now it is lighting up in this camo pattern. Obviously the emissive strength is too much right now. I think. It looks kind of weird this way, but yeah, you can definitely use textures also to use with the MSF channel. Alright, let's remove this. And yeah, basically this was it about the MSF channels. They are really, really useful when you have to picture something that emits light. I hope you understand even better now that how we can use different channels, aside from these five, that are the five basic ones. We have learned about the opacity and the MAC map. Alright, so I think this is it for this video. You can delete this MAC layer and quickly, again, export your drill textures so that they don't really mess up in the actual blender file. And also make sure to just don't save your blender file when you're closing the blender file, just don't save it so that any of these textures that the MAC ones that you were that we were using just don't get actually saved up. Alright, so now you can enable back the point lights. And yeah, this is back to our original model. And also let's delete this plane. You can just close it and hit. Don't Save. All right guys. This is it for this video. Thank you for watching. 43. Anchor Points: Hello and welcome guys. So in this lecture I will be showing you how we can use anchor points in Substance Painter. So it is a very useful feature. Alright, so to start off, I will just go into the file and we will be using this Mi'kmaq sampled project just to showcase the anchor points feature. When we were going over the Effects menu, all these options over here. So we left the anchor point to study in the bonus section. Alright, so the time is now. So let's delete this layer. And to start off, I will just create a pretty basic material. I will drag and drop iron roof material. And again, I will be using the rust layer. These two. And now what I will do is go into the smart math section. And let's use this. Let's see, I will be using this edges strong scratched this one. So drag and drop it onto the rest fine layer so that we have something like this. Alright, next what I want to do is I will add a paint layer. And let's rename this layer to normal. And I will put this layer in between of these two layers. I will explain later on why. So just put this normal paint layer in between the iron and the rust layer. Alright, so let's scroll down and select the normal paint layer. Scroll down and I will turn off all the channels except the normal channel. So if you remember when we were going through the section three of our course, we learned about all these different features. So we also learned about normal painting. So if you quickly go over here in the starter assets, let's head to the all libraries first. And in the texture section, open it up and in the hard surface section, you will find all these normal textures that we can use to paint over our model. So maybe let's try this one. So drag and drop it over here like this. And let's set the hardness to one. And just paint it over here like this. 23 times. You can maybe try out some different ones like this one, or maybe something else like this. So just stamped 34 of these different normal map textures. And then I will be showing you the use of anchor points. Alright, so I think this image is pretty much enough. So now what I want is I want this rust effect that is over here. And we are using this mass to drive that rust effect. We can increase or decrease the global balance. What I now want is I want this rust effect to appear over here also on all these edges are the normal map textures that we just painted. So how can we do that? One obvious way would be to just click on this mask at a paint layer. And then basically let's scale it down the brush, give it a hardness of one, and just basically start painting over here manually like this. Obviously this is very tedious and does not even look good. It looks really bad. So to do it procedurally all by itself, by social sprinter only we will be using anchor points. So let's close this. So the user anchor 0.1. Let's select this normal paint layer. Go ahead and add an anchor point like this. The name of this anchor point is normal. We really don't have any kind of settings over here. Basically, we have added an anchor point. Now we can go over to your mask and select the generator like this. And if you scroll down over here, you will see this used micro details option. Set this to true. And as soon as you do that, you will see a couple of options have appeared. One of them is micro details menu over here. And the other one, if you set this to true, you will see these two options over here, micro nano and micro height as all these information that we have added, our normal information. So that's why we will be using micro normal. So click over here. You will see these anchor points tab go over here and select this normal anchor point. You can see as soon as you hover over it, it is highlighted over here. So select this. You will see nothing really happens, but don't worry first what we need to do is as soon as you selected this normal anchor point, you will see the reference channel. So the reference channel is currently set to base color, but obviously we want to use the normal channel. Select the normal channel. And as soon as you do that, you can see all that nicely massed outermost layer has started to appear on all these edges over the normal map we just painted. You can see. Now select this curvature generator and if you open up this micro details section, you can adjust the curvature intensity like this. And also if you increase or decrease of global balance, you can see now you can control all of these settings at once. Even on these edges that we just painted right now using a normal map textures over here. So basically this is the use of anchor points really, really useful. As you might understand by now, also, if you open up this micro details section and you set this to false, this micro normal option. You will see now all the effects are gone. So make sure this is set to true. Now, I will show you another thing. You can go back to your normal layer and now select any of the normal map texture from over here. And now if you paint over a model, you will see automatically the last effect is starting to show up on your layer using the smart mask. So we are currently utilizing the anchor point. This generator is utilizing this anchor point and providing us with all these details over the normal map textures that we have just painted. So now you can just try this out with different kinds of nominal maps like this. And you will see your cost-effective starting to show up. I think this is really, really cool and really useful. Alright, so let's undo this for now. And now what I will show you is that we can do the same thing with different types of generators. So let's say, I said this curvature generator and remove it for now. And this time instead of using a smart mask, just go over here, add a generator, and let's select a metallic. So pretty much the same results. Now what we want is we want this first effect that is being added by the Metal Edge via generator. We want it on all these edges that we have just painted using the normal map pictures. Alright, so again, could do that, just scroll down and you will see micro normal and micro Height. Select micro normal, select the anchor point, and select Normal. Again, change base color to normal. Now nothing really happens. Open up this micro details section and make sure, as I said earlier, micro normal is set to true. So again, we have done the same thing with a different type of generator. So you will find this micro normal option in all different kinds of generators so you can use it with any kind of smart Moscow generator, anything. So yeah, really, really good and really useful. Now, you must have noticed that we have the micro normal option, but we also have the micro height option. So let's see how we can use the micro height. I will add another paint layer. So select this normal layer and add a paint layer. This time, let's rename this to height. Disabled the normal channel, and we only want to use the height Shannon. Alright? So what you can do is let's decrease the height value 2.5. Let's set it to negative of 0.5. You can just start painting with your brush like this anywhere. And now what we want is we want the rust effect to appear on all these things that we are painting using our height channel. So basically it is the same process. But now we just have to use the micro height thing over here. Go back to metal edge view. Select micro height. Go over to anchor point. Okay, we forgot to add the anchor point to the height layer. To select the height layer, go over here and first add an anchor point. Now you can go back to metal edge view, select micro height, and don't select the normal anchor points, select the height anchor point like this. I think nothing really happens because we still have to set this to true. And also come down over here and change the channel from base color to height. So couple of things that you must remember and as soon as you do that, you will see now the rust effect is appearing over here also. You can adjust all these different settings. And yeah, that's pretty much it. You can increase the VM level and it will start to affect all these stuff over here. Also, you can select your height layer and maybe you can use a brush also to paint on your model. Like maybe I select this crystal brush and paint it over here. You can see the rust effect is still appearing. Let's degrees the hardness. Okay, let's use a different brush. You can see whenever you are painting any kind of heart ICT information, the rust layer is appearing with it because of the anchor point. So basically, yeah, that is a use of it. Let's now delete both of these layers. And I will show you a different kind of way to use anchor points. Basically right now, we were just using paint layers. But let's say what if we have a fill layer? I will add a fill layer. And let's just disable the height channel on it. Set the height value to negative or 0.1. Name this tooth scratches, maybe rename this to hide scratches. And this time I will be adding a black mask and add a fill layer to this. Go into the texture section, and let's search for scratches. And let's just use this one. Grunt scratches, rough, drag and drop it over here. And now you can see we have these kind of scratches all over our model. Firstly, select metallic sphere and I will just decrease the grunge amount so it is a little bit cleaner so that we can see properly, alright, come back to the ground, scratches. And you can see we have this height layer attached to a mosque and we have, and we're using a failure that is this growing scratches rough to control that mask. Like this. You can adjust the styling and everything. Obviously you already know about all of this stuff. You can also go back to your highlight layer and adjust the height from over here like this. Let's right now set it to negative of 0.1. So our main use, basically, we want the raster effect to appear on all these edges over here. All these scratches. Basically, it is pretty much the same thing. You just need to select the mask this time instead of selecting the layer. So make sure to select the mask. Go ahead and add anchor point. Go back to metal edge view. And this time you can see both of them are broken reference because we have deleted both those layers. So just remove them for now. Set both of them to false. Just to set everything back to default. Now select micro height, go to anchor points and select this height scratches mask. You will notice that this time we really don't need to select the channel because we are basically selecting a mask. So already we have selected the height channel. We don't need to select a channel over here. So just come up over here in micro details and enable the micro height. As soon as you do that, you will see now the rust is appearing in all those scratches. Obviously it is a little bit too much, so decrease the curvature intensity. You can also decrease the height detail intensity or increasing. Basically we have this kind of result. Now. We have placed the anchor point and connected it along with the metallurgy. Or you can come back to the mask, select the brunch, rough. And now if you decrease the balance over here, you can now control both those things at once. You can control the mask along with the rust effect over here. Yeah, I think very useful. You can set this to try planar. You can basically do all those normal things. And the rust effect would be still working pretty much fine. I think that is really, really useful. So now that you understand the basics of anchor point and how we can use them, we will be using them in our drill model now to see how we can implement them much more properly. So let's delete all these three layers. Basically, we can just close this project and open up the project. And what we will be doing is, if you remember, we painted all these grip information over here using the high channels. We've painted all these grid lines. And over here also, let's say I wanted to add Dirt in all these corners and crevices of the grip that we painted. So we can easily use the anchor points for that. So let's see how we can do that. Let's close this folder and open up the height folder. And now just quickly check which layer is responsible for all these information. So I think it is this bottom one. Now select the height layer. Select the mask, go over here and basically add an anchor point. The name is already said. Let's rename this to maybe grape mask. Now we can add a layer over here for the dirt on top of this DeWalt overlayer. So add a fill layer. And basically now it covers the whole model. So what I will do is rename this to dust first. Let's add a black mask. And I think I will just use a generator, Metal Edge, we're generator. Obviously we don't want this type of results. So what we will be doing is first we will just quickly set the micro Height, select the anchor point and select the grip mask. You can see it highlighted over here. Now just come up here, open up the micro details section and enable micro height. As soon as you do that you will see now the dirt is appearing over here also in between all these grid lines that we have just painted. You can just set it to true and false to see how it affects your model. So you can see overall these areas also. But now, obviously we don't want the middle-age via generator to appear on all these things like overhead over here. So what we can do is basically just decreased the view level and it will be removed from all the other areas except the I think that is pretty useful for us. We can maybe set the VM level 2.25 and degrees of contrast 0 maybe also increase the grungy amount a little bit. So that we just have a little bit of dirt here and there around the edges. And now basically what you can do is go ahead and set the opacity to something like ten. And if you enable and disable this layer, you can see it adds a bit of vet into our grip information like there is a bit of dirt collected in there. I think it adds a bit of value to our model. And it looks really nice. So you have basically this is how we can use anchor points, but makes sure to use the micro height when you are using it with height information and use micro normal for normal inflammation. And one thing that I forgot to mention was if you remember, I placed the normal and the height layer between the rust and the iron layer when we were working in the sample project. The reason for this is one thing that I forgot to mention that is very important rule when using these anchor points. That is, the anchor point layer must be always below the generator. Let's say if I drag and drop this height layer on top of the dust layer, you will see that it has stopped working now. So like an actual anchor. So if you understand what an actual anchor, basically anger is like a heavy metal object that we dropped down in water to stop the ships from moving. So it is always at the bottom of the sea. So make sure your layer is always below the generator. So maybe you can remember it this way because it is an anchor point, so it will stay always below the generator like this. Then only it wouldn't be working. If you move it at the top of the layer or the generator, then it would stop working. So yeah, basically just remember this, that the anchor point would always stay below the generators. So that's why I placed the normal and the height paint lead between the rust and the iron layer that I mentioned earlier, but I forgot to explain later on. So yeah, I think this is a nice bit of addition to our model. Maybe you can tone down the effect a little bit from over here in the view level, maybe decrease it a little bit more. But rest of it, I think it looks really, really great. Alright, so let's just save our substance painter project. And this is it for Anchor Point guys. Thank you for watching. I will see you in the next one.