How To Texture 3D Models With Substance Painter | Tom Hanssens | Skillshare

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How To Texture 3D Models With Substance Painter

teacher avatar Tom Hanssens, Professional Technical Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 6m)
    • 1. Introduction

      1:12
    • 2. Project Setup

      6:53
    • 3. Grouped Workflow

      5:33
    • 4. Base Materials

      9:52
    • 5. First Detail Pass

      12:37
    • 6. Utilising Grunge Maps

      10:05
    • 7. Unique Details

      8:47
    • 8. (Bonus) Normal Map Stamping

      1:42
    • 9. Presentation

      8:52
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About This Class

Hello everyone!

In this class, I am going to teach you my favourite workflow for texturing your 3D models using Substance Painter. Once you learn the basic methods for texturing your assets you can just let loose and let your creativity flow! A bit like when you get in the zone when you are sketching.

My aim for this class is to get you past the technical blockades so that you can see how fun and rewarding texturing your own, or retexturing other peoples assets can be!

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Tom Hanssens

Professional Technical Artist

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Transcripts

1. Introduction: Hello, everyone, and welcome to my class on tech string using substance painter. In this clause, I'll teach you a simple to understand but really powerful workflow to easily create realistic and stunning textures for your assets. Texting is one of the most enjoyable parts of game on, as you can tell some awesome stories just through the materials of your assets. So in this class I'll go through a multitude of pointers, which will give you the tools to let your mind go wild and focus on the fun, imaginative storytelling without getting broke down. Trying to learn the complexities of the program so that in this class are recovering. Setting up the project and some basic baking to get a started. Then grouping parts of your object, creating a base material layer, adding a first detail pass, utilizing grunge maps for even more detail. Unique layers to add specific storytelling elements and then a bonus class on a technique called normal maps. Stamping toe. Add even more details and then finally exporting your hard work and presenting it. Alright, guys, so I hope to see you will get stuck into the lessons. Have a nice day and I'll see you in the class 2. Project Setup: Hello, everyone. And welcome to the first lesson in text. Oring in substance painter. So in this one, we're just going to set up how project So that we're ready to start text oring. So in your open substance pay. Now, for the first time, it will look something like this. So to get our actual model in the scene, we're just gonna go up to file here new. Then I'll come up a dialog books here and where it says file. This is where you select your three d model, your FB X or a BJ file. They can use the one that I've provided in the resource is or you can use your own. So of course I'll just be using the one that I've provided. So just go to select, then select the axe and then click on open. And then once that set up, we're going to import the maps that I've included as well. So I'll explain a bit more about those later on. Um, but just financed, click on add here, say import mesh noble maps and bake maps for all the materials and then find the Abyan inclusion, the normal and the curvature and add those in. So I click on add at these three and then import them. Then click on OK, actually, before you click on OK, said your document resolution Teoh 2048. Now you can change this. On the fly is your text ring. But I just like to set it up. Is 2048 now and then don't worry about it, so press OK and mesh will be in the scene. However, our ambient occlusion normal in curvature maps that we imported are not set up on the model yet. So fast going to go to project. This is where l imported textures for the project. Ah, stored So just down in this shelf down here said you're gonna drag over your normal to the space where it says select normal matter in your texture, sets settings. You can see it's changed the look of our model and then in curvature Dragon over to the curvature. And then, of course, the ambient occlusion dragon over there too. And that's made out X. Ah, look a bit nicer because I baked out these MEPs from a high police. Now what? I mean by that, um, the process of baking really deserves its own lesson. So I didn't include in this because they're just going to be focusing on the texture in here mainly because you don't need to bake, um, from ah, high poli. Like I have done here to texture asset, you don't really need to bake it all, um, have it does produce a nicer result. So if you are using your own asset to get these maps, um, some of these are quite important for some of the text during techniques that we're gonna be using cause they like, feed off the curvature, which ah, finds like all the hard edges. And you can get some nice Edgware from that. And the ambient occlusion finds all the little nooks and crannies and then it'll you'll be able to derive that to use for dirt that accumulates in the small spots and stuff like that . So if you want those maps, but you don't have a high poli, I can show you how to do that. So once you've imported John mesh, click on over here in the texture sets, settings, bake mesh maps, and now you can see we have all of these options here and the ones with an exclamation point. Other ones that require, Ah, hi poly mesh. However, to get around this, you can choose use low poli mesh as high poli mish. And if you check that so when she click on bake mesh maps, it'll bake it out and plug it all in here. So you might want to change the airport size to 2048 as well. And then, since we want to be using a normal map, which is what gives, um, the day tell from the high poli, you can just decent like that one and then just leave the rest on it might spit on era like the idea didn't bake out or whatever, but we only really need, um, the ambient occlusion of the curvature from this. So then just click on, bake out and it'll work out fine. All right, so now that that's set up, I'll just give you a quick run down off how to navigate substance painter or how to move around in the view port. So holding ult and clicking rotates Elton, right click zooms and old and middle pans, and up here in these options, he can change from perspective toe Ortho graphic and you can also rotate Hold shift to snap two of you. And then in this one, you can change to a three only a two D I only or a mix between three d and two D Most the time I stick between three D and two days Hope Come on, There we go. So what this is is, um, my TV islands after I've unwrapped this and it's laid it out flat like this and it'll even show or the lighting data when I panned the lighting across. And I'm doing this by holding shift and right clicking. So just a recap out click rotate out middle pan out right click Zem. This is your two d view. This is a three D view and these are your different configurations. So one ah, final point. If you ah, um, texture in your own asset, you're gonna want to learn how to UV unwrap. So it'll need you these before you can import into substance painter, or you won't really be able to texture it Very well. Um, blender has the option for order. You feels most most radio programs have an option toe automatically unwrap your stuff, but it is better to learn how to do it manually. Okay, so with that note, ah, next lesson will move on to separating the object out into groups before we start texting it. And then we'll get into making a model look nice and weathered and just like it's seen some wars and stuff, like, has been in the Viking age. All right, so I look for to seeing the next lesson cheese. 3. Grouped Workflow: Hello, everyone. And welcome to lesson number two, where I'm going to separate the part of the model into groups, and I'll explain how this makes it easy in the future. So, uh, start off to do this just up here, this sort of panel here is your layers. If you're used photo shop, it's much like that. So the main to once you'll be worrying about are the fill layer and the empty new layer. So for starters, just click on this new Phil layer here, and it will add a new layer. So then, in this column next to it, these are all the properties that your feel they has. So it's controlling the color, the height, the roughness, that metal nous and the normal of this object. And these are all of the settings that you have to change it. So just worry about the base color for now, just to help us differentiate between the different objects. So if it's almost just make it a solid red, then click on this layer up here and add it to a group, Press control G announced inside this photo. Here you can hide the folder and show it And now on the green, right click on the green and at a black moss. It's now what we're going to do is designate the parts of the model that this group is going to show through on. So for this one, for instance, let's just make this on the handle. Easiest way to do this. Let's go into this tool here. These are like your tools in photo shop on the side. Yet you brush your racer and it's merge all this stuff. So in this, son, this is your poli gun feel tool. Click on this on. And then you have your options Here. You can either do it by triangle, by polygon or by the entire mesh. So if you're trying Teoh, um, separate. Maybe, just like it was one polygon. He can just click on this one polygon, and then click on this polling on here, and it'll mass this out so that its showing in the group. But we want the whole handle. So I'm gonna click on mesh, click on the handle, and now the entire handle is colored. So it's gonna name this group handle, and we'll just do exactly the same for the rest. So click on Neilia Control G change the color Teoh, maybe a green. And then we will right click on the group at a black mask. Click on Polygon Phil, and this one will be the axe head and we'll call this ex head and then we'll separate this strike these straps and these bottom straps into different groups to so first new way, of course, make it maybe yellow control G at a black mask. Then click on these straps here. Well, main days, head straps and then less on. Make it blue control G right, click black mask. And then we can select these and cold these handle straps. Now the reason that we do this, it's so that we can focus in on these objects that will have a distinct different material . So, for instance, if I was trying Teoh model, just this would like this handle which is going to be would I could just go into my materials down here, find, find a nice a wood material and then just drag it in without putting it in a group. But you see, covers everything. Then I have to add the Black Mosque on this and then select the handle. Which works. However, usually we don't just add one, um, layer of materials. We want a dirt we wanted grind. We want to add different colored would different layers of wood. You know, um and if we have to add this one black mask over every single layer that we add, it gets quite hard to keep track of, So if instead of just adding it there, if we added into the handle, you can see we don't need to worry that keeping track of all these masks, um, we can just have it nice and organized in groups. He can even add groups within groups. Um, if stuff start to get complicated, have. But so this is just how we do the basic set up. Just set it up into different groups, and then you'll be ready to work on your asset. Okay, So with that out of the way on next lesson will be going into creating the base materials for all the assets. So a basic metal for the head leather for the straps and would for the handle. That's a good luck. And I look forward to seeing you in that lesson. 4. Base Materials: Hello and welcome back. So, in this lesson, we're going Teoh, get a model, actually, sort of resembling an ax. So we're going to set up the base materials. So a medal for the head would for the handle and leather fool the straps. So the first step in this process actually doesn't have anything to do with substance. Painter? Um, it is finding reference for your asset. If you're just texting from memory, your assets always gonna turn out worse than if you had some reference. So I have my main reference here, which is this Viking axing? See, I sort of modeled it from the reference as well, so I'll just have this off screen. But I will definitely be looking at it as I am making these sort of base materials. Okay, so let's get started. So if you remember from the lost lesson, I grabbed a few materials from this tub down here in the material slut. Now you conserve your base materials with these will, you can use his smart materials as well. Which are a few of these have, like some parameters that you can play around with, like a the amount of wear or paint, peel and stuff, etcetera. Um, or you can just sort of create your own. Um so for some of these, okay, my own. And for some, I'll use the provider materials to show you the difference is so for the axe head, I will find a nice Ah, a nice I am. So I did some research on the axe heads, and they ah, usually made of iron. So you see, there's a lot of different irons that we can use here. I'm going to look for one That might be a bit hammered year. Something like this. Damn, it looks clean at the moment, but of course will scuff it up. Um, once we get into the texture in, Yes, I'm just zooming in on it now and having a look at what we've got here. So it looks a bit that uniform for what we've got. Um, so if we bring our reference over here, Z m in it has the sort of pox in these some places, but it's not completely just hammered everywhere, so he might not go for this one. We can have the detailed hammered bits in later. I'm so just remove this one for now, Just click on the layer and press delete and we'll find something better. S I just go for this rough I and at the moment and just delete that temporary lay we had in before. Just click on it to lead it. Okay, Now for the leather, these letters straps, I'll just have a go making my own material. So to start with now, if we look at some leather, you'll notice that it is usually a bit shining. So with these sliders, he can change. Its roughness determines if it's metal. Glossy leather is generally mostly met, but, um especially old roughed up leather. So we'll leave it a bit, um, like no completely rough, but ah, definitely more on the rough side in the glossy side. And then if we bring up our image and then without base color, we can actually, I'll just bring this over to another windows so it stops them minimizing on me. You can click on this eyedropper and drag it over to your reference image to get a nice starting point for your colors. So go for something like that, OK, so if good on MySpace going for the leather now so we can add a bit more detail into this base with some textural detail. And to do that, we're going to just grab the normal map from one off the skin materials. And to do that and when you find one that would work nicely, so something ah, a bit wrinkly. I think it seems a bit strange, grabbing it from a from some skin, but we'll just try at this forehead one now it over the top, click on the normal in our M button here to activate it and then hired the color, the height and the roughness. You can see we've got some detail here, but it's a bit blurry. We wanna Tyler a bit more, so if you scroll up in your material properties here, there's a scale slider, and you can slide that up and down and it'll tile it up and down. So I think this will work, but it is a bit strong at the moment to fix that. You can just click here, and this is your rapacity slider, but you have to change. Um, sorry, you have to change up here, which channel? It's changing of the bid confusing. I know, but says, You know, we have, ah, maps that control the base color. There's one that controls the hired, which isn't as important. But we don't we use it one that controls the roughness, which is the glossy and Matt when they controls the metallic and the normal, Of course. So we need to change the capacity of normal off this layer, so click on normal. So now that we're on the normal layer of being, just click on the capacity and Laura down, you can see it changes the intensity of this sort of skin detail that we have. So that's working pretty well. We can do the same for these, and what we can do is just go back to our base color here and then copy these two layers control, see, and then we can go Teoh handle straps and paste them in there. We might have to drag them back in. Here we go on to leak this template that's looking good. If we look at our reference now, um, you'll notice the lever is actually a bit darker on some of these areas, so just go ahead and change that, um just going to the base color and make it a bit darker. And we can make this doctor as well, but we won't have it exactly the same color. Just a have a bit of variation. China finally lost one is how would so I'll just grab this, um, material here, the wood rough and puppet in the ah handle. Great and delete the filled layer. Now you noticed the grain is running the wrong way. So if we go into El Material properties, there's an option for rotation. If we just put in 90 degrees in there now, all the grains running the right way cause I want to scare with a bit so that it's not so the grains not so large. And then if we look at our reference, the wood is quite detailed. Will these burned patches in which we can add later? But I'm just to get this base sort of wooden, gonna want it a bit less rough and also a bit lighter. So start with the roughness, chain that down a little bit, and then on the color we can bring it up a bit. Most saturated, too. It's looking a bit more like a rest on weaken turned down seeing these materials. Sometimes I have caught if he, um things you can play with here. So just look at the reference again. It's not quite right. I'll just see what happens if I, um Color pick this with the eyedropper. Say, say it goes much too right there. Have to be careful using this one. Sometimes it doesn't quite work out. No. Yes. So we just want to hide this height layer cause adding a bit too much, um, noise and high fidelity detail into this Ah, base material, and it sort of brought down the intense detail of it. Okay, so now we've got a nice base to work from and will start to build up the details from here with some great masks, some dirt, Cem, Edgware and all that good stuff. So it will start to get a bit exciting for our, um, there's a lot of set up in these previous lessons, but now will start to actually get into the text string, get some cool stuff going, right. So look for to see in that lesson. Jews 5. First Detail Pass: Hello, everybody. In this lesson, we're going to start to get a base past for some of the detail. So this is going to be, um, dirt and metal Edgware. So this is where these, um, maps that we added in before going to come in handy, the dirty metal Edgware going to derive from these. Okay, so I'm just going to start off with the wood first adding a pass of dirt to do that, going to your handle solar, and then add a new layer, make it pretty rough. And then dirt color. So a nice dark brown next right click on your life at a black mosque. And now we can right click on the Black Mosque and at a generator. Then once we've done that, you can select the generator and select. Did they can see what this is doing here? It's picking up from the ambient occlusion where that would accumulate in all these small places. And it's also adding a slight grunge over the top. So we have all of these parameters to change the dirt level and the contrast and the ground amount and grand scale. So I'm going to keep it relatively light, but definitely prominent. So I'm going to make it. Man changes color a little bit and change the scale of the grand because I can just see it tiling a bit too much so you can get some patches of dirt here. Just add a bit more grand. So it's a bit more prominent on the handle and less so, uh, just grouping up in this area here. We've added some to a handle. Now, one thing you can do, um, this is personal preference. You 10 make the dirt, so stick out a bit from the handle with some height, so any really need a tiny amount to catch the light? The But it does add some nice detail if you get the get it right with them. Some subtlety, bit of fitness. So just leave it like that. But now I don't mind that. Okay, so now we'll do the same for the leather straps, just with some dirt. So once again, go into the handle straps, add a new layer on top, nice and brown, nice and rough at a black master. This layer, and then added, generated to the black mask make it debt. You can see you've got some really nice variation happening already. So just make it a tad DACA bit more prominent. Nice. Look at that. Unlike letter already. Well, all right, so what? Message these a bit. But I'm really liking house looking at the moment. So I don't want a lot of contrast here because the hands would be rubbing on it all the times. I wouldn't really get much of a chance to get caked up more. Just sort of be stained with it like it's been sweated into the the handle there. I really like that. It's looking quite cool ness. Okay, so just do the same for these into the head straps, and we might just control See this, um and then control v it dragging into the head straps. Make sure it's on the top that we get. So make this one of it lighter this time. Yeah, so against a really nice detail already, just with a dirt puss. So I'll do something different for the axe, and I'll show you in a moment. But next I'll show you Ah, mental edge with, and we can bring out some of the highlights with that. Okay, so into the handle straps. How we can duplicate this layer and then in just click on the dirt one here and then instead of dirt, make it into a metal Edgware generator. And it is basically the inverse of a debt layer saying, Click on your color here. Make it nice and bright, at least a bit brighter, bit less saturated. And so he was stunned to get some highlights on the edges. They're sort of where the leather might get. Mostly, um, a braised. Now what this is mainly deriving from is the curvature map that I've provided. So you can see the settings here are much like the dirt. It's just the way level and the way con trust. So I like to have a decent amount of contrast just so that it sticks to these edges mostly , and that's looking pretty decent. And then, of course, we can do the same for these straps on the head here. So just copy this layer head into the head straps and there we go. You can even, ah, just change the a pass ity of it. If it's looking to, you can even just change the capacity of it. If it's looking too strong, There we go. That's sort of given us that nice classic leather look. So just with one pass of metal, Edgware and debt actually go at a slight bit of metal Edgware on the wood just to sort of bring out some of the edges and we'll see how that comes along. So come to the handle. Actually, we just copy this goingto handle control V. Okay, Just make it what? So we can see what we're doing, and then we can increase the way level a bit and decrease that contrast. Maybe we'll keep it a bit higher saying so to see what that's doing. And now we can start to tweak the color, so that's a bit less prominent, but it's still sort of brings out these edges where it would get nicked up here. Okay, so I'm going to do something a tad different for this Ironhead here. So if I bring out my reference, you can say that a lot of these sort of pounded bits are accumulating here, and, um, just sparsely along the plate, so I'm going to do is add a generator. But instead of just controlling the dirt. I'll control that hammered material that we had before. So if I drag this over to the axe head puppet on top, and then I can change the finish to be a bit more tiled and then slightly less intensive the detail and then right click on this one at the Black Mask at the Generator and then added a paint accidentally at the generator and then at the dirt you can see it's sort of sparsely, Ah, places it around, so I'm just going to make this much darker and then tweak this dirt material. I'm going to want to make it a bit more rough. A swell, say this slider here, bit more rough, stands out quite a bit more on that blade. The okay, so now that that's in, we can add another layer on top for the actual debt. So once again, nice and brand nice and rough black mask generator, and then that we can also do is in their image. In pretty, we can remove the ambient occlusion just so we get a more even coverage and we'll decrease the scale of the ground. So we get sort of more largest splotches bit less contrast and a bit less of it as a whole . And I think we'll make it a bit darker and less saturated, too. Every year. Now, that's just added a nice, um, bit of a roughness variation there to so now, last but not least, who add the metal Edgware for this ax head. So I'll just copy this iron base layer and move it to the top that at a black mosque, at a generator and at the Middle Edgware. And then I'm going to increase its ah brightness a bit that's looking pretty collects, really highlighting these edges here, making the and making them stand out. So I'm liking how that's looking on a leaf that as its default settings for now and there you go. So we've got a pretty decent acts coming along just with some basic extra layers of detail . So we've just added one pass of dirt and one pass of metal Edgware, saying The next lesson we'll look into using these grunge is as mosques toe ad even more details so you can use scratches. We can use some leaks, some just general gritty dirt and stains, and use those with a black mask and a fill layer. Teoh gets a nice, very detailed going on accents and not just generated dirt and generated Edgware, even though it does look quite place as is. All right. So I look forward to seeing you guys in the next lesson. See you later. 6. Utilising Grunge Maps: Hello, everyone, and welcome to the next lesson. So in this one, we're going to be exploring using some of these grungy maps to get some scratches and some splotchy details in that aren't like deriving from just the ambient occlusion and the curvature so that we can get some more specialized, Do you tell him? So I'll see if I can find, like, a splotchy grunge map for the would some of these darker bits and we're looking toe adding light of scratches throughout the metal and the letter. So I had to do this. We'll start with the leather first, Smooth light around shift right click. And we're going to add some scratches on here. So everything about how the scratches would show on leather. Um, it's sort of have, like a small, I guess indentation and be a little lighter, as some of the tan has been just, like, sort of scraped off on the lower levels have been shown. So if we go into the handle straps, can we just grab our base color and then paste it on the top in every ad, a black mosque, right click on that, and then add a fill layer instead of a generator. So now we have free reign to pick from all of these ah fills that are included with substance painter. So now if we grab, maybe this scratches rough. Well, let's the scratches. General Faina scratches. Rafia scratches rough. Drag this onto here and say we start to get some really faint scratches professed. We will increase the value of scratches just a bit. That's already looking pretty day sent. Um, it's not too overbearing, but they're definitely showing up. So some things that we could do to improve your scratches is Teoh. Change their scale to match sort of the size that would occur, and that's looking a bit better. We can also change the balance I like how scratched up it is. Half in the scratches are and of course, are that they're also have the scratch with and the like. One thing to make your scratches stand out as well is to lower their height, so it looks like they're pressing into the model. So if I love the height, you can see it presses in by anyone. I keep it super, super. So Okay, so that done his house looking got some really nice detail in there. So if we hide it and show it and say it's really added quite a bit of interest to that, just wait some scratches, so we'll do the same or just copy this layer and move it. Teoh head straps and these air bit smaller So we might change the scale a bit, said I show up a bit more and increase the value so they show up as well. It's quite subtle on the head straps, but is still quite good. Second it same for the metal you can imagine. It shows relatively bright on the metal. I'm just looking at what we added last time. These sort of Hamid shapes and they're a bit strong, the shop with it much. So if I just go into the ex head Ryan Hamid, I might, um, I start once, say many of them. So it's turned down the detail intensity, just so it's not so overbearing. All right, so now let's add some scratches. Teoh Metal, You can imagine. Once it's scratched, it sort of take the finish off it so I might show some pure ish metal behind, so just grab out. I in. Pace it on the top. Right click Black Mosque, right click the black mosque out of Phil. Now, in the film, we can add l lovely scratches a rough, and then we can increase its scale and scratches on A and acts like this might be like a fair bit, um, wider and more prominent than on the leather. Because this acts would be hitting into shields and swords and all that stuff safe. We just increase the with a little, but decrease the bounce a bit, Yeah, I stayed with them super, super like everywhere. Cool. And if we do the same thing and sink him down a bit into the metal by grabbing this base layer here Oh, we might be able to do that with, since it's using this. Ah, lay here. Just have a look. Now we come. That's fine. We can just copy the mask and then delete the layer, then add a new layer and then make it completely metallic. It's basically the same as Ally and Leah. Now, right, click at a black mosque and then right click the mask and paste into mosque. Now we've got a scratch his back. So Now we can lower the Hyatt, and we've got some scratches on our lovely ex head. So now we're gonna have a look at adding sort of a maybe a split cheese Ah, grunge map over the woods to get some of those darkest stains on this. So I would just experiment with a few and see which ones we like. So I've been our handle one here and at a new layer. I'll make it relatively rough and pretty dog. There we go. OK, so now at a black mosque had the feel layer, they would just start chucking in some grand maps and seeing what we get. Okay, I think quite like that one Stratus one. And that one looks quite interesting. It is mostly just it just looks a bit like the Let's try and find something nice and splotchy. All right, so I have found this grunge leaks here, and I've settled on that when I've just popped it in there and changed its scale a little bit. There we go. And then I've just changed the color of l lay it here, and that's added some cool little splotches. Sometimes it just about finding the right one that works out for you. So that will do it for this lesson. Um, of course, you can see the potential here just adding layer upon layer and then even, Um so, for instance, say if I wanted the splotches even less prominent, I could group this. Ah, LEH, I've just made right click the group at a black mass for this group at a fill for it. And then it will only show up in these areas that I have masked. So you can see you have quite a bit of control that with this. So just under that, because I was quite happy with it as long as it waas Okay, so now we've got out pretty much base acts ready to g o nice and complete. So in the next lesson, I'll show you about paint layers and how you can import alphas like your own custom alphas to add some storytelling elements. So maybe some room engravings on the side. Maybe this Viking has tallied up. How many kills he has? Maybe a few blood splotches on the axe handle stuff like that. Um so stuff like that can really set your model apart from just like any old of lacking X. But as it stands now, this would hold up pretty well in the game. Ah, not as a hero asset, but definitely just as any. Any old backs that you would find. All right. So with that dumb I'll see in the next lesson. 7. Unique Details: Hello, everyone. And in this lesson, we're going to look at paint layers and how they can be used to add some specificity to your meddlesome some niece details in this. Okay, So for starters, I'm going to show you how to import a custom Alfa mosque that we can use as a paintbrush. So first, you're just going to need to create a black and white mask in, like, photo shop or whatever, just of whatever you want to stamp onto your model. So I'll show you what I mean by that. So I just popped up on the screen a simple black and white mass that I'm using to create the sort of being cravings on the handle. So if I just click and drag it into my project down into the shelf here, you'll come up another dialogue books. Here you're going to want to click on Undefined and click on Alfa because that's what it is . It's an Alfa. Then import your resource is to project. So what will this do? What this will do is on you save your project and then ah, reopen it another day. Your Alfa will still be imported into it so it's click on import, and there it is. And now, so in our handle layer, we'll just add a new layer and just leave it as it is for now. Then we right click at a black mosque, right click on your black mosque and at a paint layer it's in. Your paint layer can scroll down, and here is theosophy, a shape which is just a well at the moment. It's just a soft round brush, so you can see There it is if we click and drag little paint, whatever we have in there. So if we drag this into Alfa can see, we've got L. It's of Viking runes on there. So if you hold down control, you got some controls here. If you brush to rotate it. Control, I believe, left, click and move it to the left. No, that changes the flow. I can move it up and down, and that rotated So control left. Click up and down rotates control right click side to side that changes the size and control right click up and down controls the size as well. So I think it also controls the hardness of some of the brushes, depending if they can support it. So we're going to do is going to shrink it down said. It fits nicely. He's gonna click, and there it is on now that's it, and we'll put it on the other side to So now we're going Teoh change this up of it because it looks a bit weird as it is now. Say we're gonna make it nice and rough and we're going to just grab this would in color and make it a bit brighter. I will make a bit darker, since it would most likely be bent in there or if it was engraved in there or the dirt would accumulate in there. So the doctors, well, more and then we'll col sink it down with the hype. Start to look pretty cool. Nice. Okay, so one of the thing we can do to enhance the sort of ah grand venous off that I guess there's just so it's not so perfect. If your mosque is pretty, it's well put together like mine, like it looks like it was made in a computer not made with it. Chisel. Um, you can right click and out of filter this is a kind of hacky way to do it. But if you and your filter, then click on filter and type warp, click on war down here, you can see when you increased the intensity a lot, it gets pretty messy. But if you just increase it a slight bid, it'll start to move your, um, your mosque around Just so it's slightly deformed to so doesn't look, sleep is straight up and down. Gonna get one co. Okay, So one other thing, You can also add a mosque at a blessed black mosque. A new mosque, I mean, at, ah, group. Sorry. So at a group with your, um, engraving in it and then in your black mosque out of Phil and then go into your grounders and it just scratches you rough scratches in there, and then we can, ah, inverted and then increase the scale just so we get some imperfections. It's really subtle. But, um, it does help. So we got some imperfections in these engravings. Cool. All right, so that dumb we could look into may be doing the same thing on the head, adding some tally marks like, uh, lacking that owns this. He's gone in and cutting marks of all the battles is one or maybe even the people that he's slain on the battlefield. That so to do that is going to the axe head, um, described the same way as the scratches. And you can press control de to duplicate Alaia. And then we'll do wait this right click and a paint. And if he just in the Alfa, just look up shape and then he can see you've got a bunch of shapes. It would just stick with the hard around with soft around here and now when we paint, just get a normal soft round result se clicking out Leia Amoo Decrease the heart a bit. So it's pressing in. And, uh, so I just undo that and then just go into your paint layer. Um, and then you can use the square brackets on the keyboard as well. To shrink down your asset. We'll shrink it down straight down your brush. Slow, good. All these words mixed up. So if you click and drag or you can use a tablet, Teoh, get some. So if I'm holding very lightly here and I'm pressing very hard and I'm holding very lightly on the tablet. You can add some pretty custom daito in there. So just add a few telling marks in there. So this Vikings kind of news only killed six people. So I think, um, they would be light like the scratches here because sort of taking off the finish of the mental, you know, exact quite nicely. That's I've got a little sort of a hidden story detail in there for people, that inspector model. And you've also got this more obvious one. And these sort of, ah, they might seem arbitrary, but they really bring a model together. My quit and just this. It's just any old ex. But when you add these sort of rooms on their, it adds, ah, a sense of Crossman craftsmanship and helps solidify where it was from. Definitely from a Nordic time period from Nordic area like Iceland. Oh, something like that. Okay, so access pretty much done. We'll have ah have a bonus lesson after this to show you stamping normal details. These I'm generally used for assets like this is a more hard surface assets like guns and sci fi, little bits and bulbs like that, and then after that, I just show you how to export your textures. And yet it set up in sketch Febreze. He can share it around. 8. (Bonus) Normal Map Stamping: Hello, everyone. And welcome to the little bonus lesson I have here. So in this one, I'm just going to show you some quick Ah, one quick little technique called normal stamping. So I'll show you what this is. If I just had a new empty layer, not a fill layer, just an empty one, and then turn off all of its options. It's set for the normal. So I leave this NRM highlighted than in here. If you go too hard, services click on this. You find a bunch of rivets and vents and little doors and stuff he can use Teoh add detail to your total. This is really good for adding rivets to like planes and tanks and stuff. So, for example, if I just grab this screw normal and plug it in here, you see my brushes now like this. If a hold control right click and drag upwards, it will increase the hardness until it's completely hard and it doesn't have a soft edge. And if I shrink it down and just click left, click on the model you can see it's added what looks like to be like a screw in the model. So if this was more of a modern X, we're not sure which access careers in it, but, um, you can see it would be quite easy to add them in here. Just like that. Say that is how you can use normal standing to your advantage to save you some time in adding some great little details. That's a quick little bonus lesson for you. Hope you enjoyed that one. Help you find it useful saying the last lesson where we tackle a little bit of presentation and exporting your materials. 9. Presentation: Hello, everyone. And welcome back in this final lesson here. I'm going to teach. You just had a export, these lovely textures that you created and then setting them up inside of a real time view , uh, like sketch Feb. Or, if you have Mama said, it'll work the same. So now that we have a Texas created first thing we want to do is go up to file and then export textures. Now it will come up Lovely. Dialogue books here on the default is usually set to PNG, though for video games the industry stand. It is generally T D. A's autologous, so I will just set it to that. And then if you click on this button next to it here, this will change are just way. You're textures are going to be saved, too. So just click on that. Select a folder where you want it to be saved, so next up is your configuration. So if we haven't said to pay beyond metal rough, it will export a base color roughness, metallic normal, a height and in a missive. Now we don't really need the height anime sieve, but we can just delete those after the fact. Um, but for video games, the general standard is for the roughness metallic and the ambient occlusion to be, um, packed into one texture. So since the roughness metallic and the ambient occlusion are all black and white maps, they are able to be put one in the Red Channel one in the Green Channel on one in the blue channel of the texture. But sketch fab doesn't support pact textures at the moment, so we'll just export it out use for now. Um, and then this doesn't export the ambient occlusion, So just be aware of that. You'll have toe. Did you use the one that I provided? Or I can show you how to export from substance painter. Anyway, export these textures. I want you export in my probable warning. Don't worry about that. It's just telling you that there's no a missive. Um, but you've exported in a missive texture. It's no problem. So to get out and being occlusion out. If you baked it inside a substance painter and you aren't using the ambient occlusion file that I gave you in the resource is just go into your project, um, section in the shelf go to ambient occlusion, right? Click on that and then export race ALS. And it will just open up a little flow, browse a and then you can save it. To where? If you'd like. So with that done now, show you how to set it all up inside. Sketch fed. Okay, So once you get to sketch Fab and you're in your account should look on the upload button here and then drag U f b X file, which is your model into this little window. So now you can name your model and give it a description and stuff to make it more discoverable on the website. But I'm not too already about that at the moment, so just give it a name, steak, and see our three d model is in the scene. I'm just left clicking and dragging to rotate the camera. But it has no textures, of course. So to import your textures go into the three D settings here and here, we can make it look a bit nicer in the render and change the materials. So, in this tub, this is your materials tab. Click on there. We've got our base color and metal, Miss slots here now a roughness slot. And we also need to turn on our ambient occlusion and also a normal met. Okay, so now we can start dragging them in. So try go via base color. Pop that in there, drag over your metallic, you're normal. And then finally, the ambient occlusion. Uh, yeah. Okay, so just one thing to mention if you're having problems with your normal when you plug it in and your model looks strange, just flipped the wire channel, and it should usually fix any problems that you might have with that. Okay, so we're that done. We can just change our seen a little bit to make it look a bit nicer. So click on the 1st 1 for seen, and the first thing I'm going to do is dark in this background. Quite a bit. Step right. Um, Gray wasn't really working for me. Generally, you never want to go a pure black or a pure white because you lose a lot of your shadows and highlights from that. So I just tend to go dark grey with its slight blue tone. So if I hold down old and click, I can move the light as well, just to see how everything's looking. So next, if we go into lighting, we can choose whether to use just hdr I or to use a three point lighting set up. So I might try the three point lighting set up and see how that's looking. I just find that looks a bit more interesting this way. Money to change the intensity of some of the lights just to get a bit more interest in that , it's nowhere those in I can go into the post processing filters, post processing filters. Sorry, and we can start to add some things in. So just say, with things like chromatic aberration, bloom, and in some render is it allows you to add in lens lives and stuff if you are going to use them, the sort of please, because a lot of, um, well, what I found was a lot of damage is they just feel less saying with a bunch of bloom and landslides and everything, and it just, ah, comes off a little bit tacky vignettes as well. If you make one or like really strong cause, you've heard that they frame the asset nicely like this? Um, it doesn't look good. Just turn your hardness down, turn it down a little bit and just subtle to use the name of the game with post processing . You want to do most of the hard work in the text string, and then in the presentation, you just want to suddenly elevate it. Okay, so at a slight vignette, we will add a slight bit of grain. I do you like to add some grain in there, but again, really subtle depth of field that worry about that sharpness. We will add some, but that's much too strong. Keep it nice and low. And, as you can see, chromatic aberration. It's a bit of a headache inducing effect. Some people really like it for, like, horror stuff, but them not a huge fan, to be honest and bloom, of course, you can add some, um, but I'll turn the intensity quite down. I just want to catch a bit of that sheen on the like, the blade of the axe, and then finally, you can do some time mapping and color balance if you really want to, but I think this is fine, as is so now everything's all set up and good to go. You can save settings and then publish your model. And yeah, I just hope you enjoyed this lesson and text rings. Definitely one of the more fun parts of, ah, game art. He really get to tell some stories like we've done with this. Ah, these engravings. And like these little telly marks on the axe, I think it's a classical prop that we've created. Here's looking forward to seeing what you guys created, and I'll see you guys in the next cloths that I create. So thanks for watching cheese.