Learn how to work with Substance Painter | Cristothe Desse | Skillshare

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Learn how to work with Substance Painter

teacher avatar Cristothe Desse

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

21 Lessons (3h 43m)
    • 1. 01 Introduction

      3:00
    • 2. 02 Viewport Navigation

      3:31
    • 3. 03 Baking Textures

      11:01
    • 4. 04 PBR Materials Channels

      8:00
    • 5. 05 Non Destruction Aspects of Substance Painter

      10:12
    • 6. 06 Anchorpoint

      4:03
    • 7. 07 Smart Materials Part 1

      16:16
    • 8. 08 Smart Materials Part 2

      9:49
    • 9. 09 Paint Vs Fill Layers & When To Use Them

      10:29
    • 10. 10 Materials Instances Across Multiple Texture Sets (1)

      20:39
    • 11. 11 Texturing With UDIM

      10:07
    • 12. 12 Painting the Drivers Part 1

      19:45
    • 13. 13 Painting the Drivers Part 2

      5:16
    • 14. 14 Painting the Drivers Part

      9:00
    • 15. 15 Truck Body Texturing

      11:37
    • 16. 16 Truck Tires Texturing

      19:22
    • 17. 17 Truck Body Painting

      10:50
    • 18. 18 Truck Exhausts Texturing

      5:52
    • 19. 19 Truck Texturing Export

      4:45
    • 20. 20 Part 1 Making The Cover Image

      14:50
    • 21. 21 Part 2 Making The Cover Image

      14:56
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About This Class

Substance Painter 2021 is an industry-standard texturing tool used at top studios worldwide — particularly when texturing game assets. In this workshop, Lead Technical Artist at Naughty Dog, Christophe Desse, takes you through the paces of learning Substance Painter by sharing his production-proven techniques and workflow and helps you fully understand the interface and terminology so that you can tackle your own 3D scenes and projects.

Chris’s direct approach begins with a detailed introduction to the tools and features; he provides a robot model (Tike) for you to start your Substance adventure — so that it’s more exciting than working on a sphere. Once the basics have been established, Chris digs deeper into the workflow of Substance Painter, where he reveals his texturing process on a complete project: a small scene including a racing truck with drivers and a team of mechanics. You’ll follow along as he textures both 3D characters and hard-surface models, and discover the various techniques that can be used to texture the different components of a 3D scene. The models (truck and characters) are provided so that you can work alongside Chris throughout the process. You’ll also hear Chris’s tips for handling different material settings and maps in Substance Painter along the way.

This comprehensive workshop details many different types of materials and provides a thorough insight into Chris’s tried-and-tested methodology. Topics covered include the Substance Painter interface, display and viewport features, material layering, Texture Sets and Materials, Smart Materials, Projections, Stencils, Baking, Anchor Points, and how to approach hard-surface weathering and detailing using Substance Painter.

Meet Your Teacher

I worked as a special effect artist and modeller for advertising, tv, film, and games in France, Germany and Singapore. He is curently working at Naughty Dog in Santa Monica as an environement artist. He started to tinker with 3d software back in 1991, and is now experienced with most industry-standard packages. When he is not working on industry defining AAA titles at work ( uncharted 1, uncharted 2 uncharted 3, the last of us ,uncharted 4 ), I'm enjoying creating cartoony or stylized characters and super charged muscle cars.

See full profile

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Transcripts

1. 01 Introduction: Hi, my name is Chrysalis, lead technical artists at Naughty Dog. I've been with the company for the last 14 years. I did work on Northern shouted gaming or the last offer scheme. As you can hear from my accent, I'm French, I'm sorry about that. I cannot do much about it. My accent is terrible, but it should be fun. Today we are going to go over substance better 20-20. It's going to be an introduction. It is not going to be a tutorial where you have to follow step-by-step. But much more like an adventure where I'm going to appeal to discover the tool and show you my walk through and how I use it to make it more fun. Instead of using a simple symbol sphere, which can be kind of boring, to be honest. I'm going to give you this robot. That's going to be a good start to try to explore the tool. Then when we're done with us for what? We're going to look at the small project. And again, I'm going to overflow the project. I'm going to show you that key moments of and staff where I end in y, I take those decision, meaning Amazon to give you a more model for you to walk with. And for that we are going to go with a truck and character. If there's enough space on the server and wait to make sure that you get even more than that. I have a lot of those character and I will not mind giving you access to them if for some reason you don't have access to a folder called bonus content, please reach out to me and I should be able to put them somewhere on my server. Anyway. We're going to take those objects in ten, we're going to take them into substance better. They F, we're going to start with a character. We're going to view the interface of better to view each aria where they DO, Why do you use them? And then we texture the character. When we are done with the character, we're going to move to something a bit more sales is going to be the same story. We are going to go in-depth in certain area. One going show you exactly why do it this way. And then we're going to overflow the more simple area which are not very important because if you understand some splinter, we don't really have to see me go step-by-step toward the end. When we are done with that, we are going to have a look at I achieved my funnel renders. And talking a fall under. This is what we are going to move to Lord. So as always, I have a very specific style. I like to make everything look likely can mediate your joy as a matter of fact, as off line of modern kids. But in this case my render, I love to make them look like miniature. And that's why there's very strong DOF, strong colors and very, very tight close up. So now I will suggest that we move to the next chapter and we get cracking. 2. 02 Viewport Navigation: The first step we're going to talk about is the simple basic of navigation in substance better beside the fact that we can move our mouse and click on a bunch of I call that we're going to talk about later. We need to recognize how do we navigate in pinto, right in the viewport. Very easy. You're going to press Alt and middle mouse click to be able to pain. And right mouse click to zoom. And left mouse-click to rotate. At middle mouse pain at middle mouse panning again. Right mouse is zooming. I'd left mouse is rotate. Furthermore, you can also press added shift left mouse to rotate in, increment our snapping if you prefer. Right. Those are for the 3D viewport navigation, which is going to be the simple, the viewport for the 2D view port. As we move forward, I'm going to introduce more and more keys. And I'm going to repeat those key quite a lot to make sure that you guys remember them. Very simple. One of the first key we want to remember is the tab key. The Tab key. And worse to swap the interface to the more simple version of it, right? Give us more screen real estate talk or for review and pressing Tab brings us back again to the regular money. The tab key or the key to remember F1, which give us split view. And we have in 3d view. And to give you, in the 2D view, I can press Alt, middle mouse-click to pain. I'll write mouse-click to Islam. Left mouse click to rotate. F2 is going to bring us back to 3D view. F3 is going to bring us to the 2D view. F4 is going to go back to the last few years. So F1, F3, and F4. And if for some reason you don't want to praise those key, you can also go here on top and you can choose what the view are going to be. F four is actually swapped between Trudy, the entry songs. What a force is doing is basically swapping the view left and right. Not something I use quite often, but some went up. So just rebates. Miller mouse with art is panning out and right-click is zooming, and left-click is rotation. And shift, left clique is rotation with increments. The duck Qi Ru to move between the simplified in the full interface. And finally, the last key I want to talk about is basically just shift. Right mouse click. Allow me to change the lighting situation on my object. The way the lighting is done in such better is we are using IBM basic image-based lighting. And the shift right mouse click and allow us to rotate the environment letter. I'm going to show you to do it through the money. But for now, fairly simple. Shift right mouse click OK. There's something more interesting. 3. 03 Baking Textures: I'm going to go back to my 3D View and before we even start to talk about the interface. So what is substance mentor or to use it? There's something that we need to recall. It is every project that is in need to start with a baking process. What the baking process dope is extracting information from the geometry that is going to be projected into a map, example, curvature map, thickness map, a war normal map, phenomenon, mapper zoom, or an amino Vision Mobile. To do this, we go to here, texture set, sitting and we go to beg mesh map. It is very simple. I'm not even going to talk right now about fixture sit, sitting. That's for the next chapter. But what we need to decide at this moment in time, it is what is the size of the texture that I want to bake? In my case, I want to keep it at 240. And depending on your machine, you might want to pick up for six or 10-24, even 128 or 256. It is not very important. It is important to do a BEC to start your project. But at any point in time you can go back to the baking process and Rebecca, those texture and they're going to automatically updates your project in whatever pro stroke you have done. This is part of the non-destructive workflow that I am going to do quite a lot about. So here I come in, big mishmash, super-simple. I'm going to tell it that the object that I'm using is R. So my, I put image down the line, I'm going to show you a more complicated stuff, but for now, use the reporting measures. I put emission. No question on that. I don't turn on the ID. I don't need to generate an ID map right now. I'm going to show it to you later to generate an ID map, I need to do a couple of manipulation either in Maya or in z, virtually whatever software you're using and assign other differentiator of ethics Chrome. So fun and I'm going to make the object into its seven. Beck selected extra. That's the simple way to start my project. So not quite interesting. Operating the lights as you know, shift right mouse click. But most interesting I want to know is what did I beg? So I'm going to press the B key, the BS Bravo. B. Allow me to see right now my workspace normal, my ID that I did not pick, my MBA location, my curvature map, my position, and my thickness novel in my normal, which is obviously empty because I did pick object into itself. Right now I didn't introduce two new keys. We started with the tub, right, to go between the viewport. Now I'm going to introduce the Bk for the BEQ B as Bravo and the key as Mike, M, as Mike, to go back to the material. B, b, b, m. If for some reason you don't want to use shortcuts, you can always drop down menu and you go to Mesh map, show me the Lamar, show me the amino collision is, show me the curvature. Okay? So M for material. So far so good. Now the idea of so this better so that when we want to use a high-resolution model that we want to bet on, a low-resolution model that's actually called him workflow, right? And to do that, I need to go back to my bag process. Here. Come back mesh map. And I'm going to tell it I want to use high resolution mesh. So on previous fear, I, the idea of privacy, I, it's basically an object. I took in ZBrush, NSDate, add detail in skirting. And those detail, I'm going to try to get them into My Little Pony mesh. Obviously I'm not going to get geometry change, I'm just going to get nama. So I come here and this time I'm going to say I don't want to use my low-protein meshes. I pretty much know you sketch for not only the search distance, I'm going to increase it a little bit. 05 for the maximum frontal distance and 05 for the real distance. Basically, this is what is the distance at which I want the array to stop searching for details. And I'm going to save Beck selected fixture. Because I'm baking with a GPU, it is very fast. So not I'm here. I can come closer and look at my Peck. And again, I use the geeky. So all my bake out there. But there's something that bothered me a little bit. You see, that's a little bit dirty and it's a bit of aliasing going on. And I don't want to eval and I would want to clean that up. Well, I'm going to come back to beg Mish map, and this time I'm going to turn on my anti-aliasing. Again because I'm rendering on the GPU is going to be very fast. I quote as a use that according to into my curvature and start to play a bit with those value. I'm going to show you what it though. Generate four mesh, give us much better reason. Scott array, and let's give it 51. Auto mapping or going to and text selected fixture eigen. So as you can see, the NTSC is already clean up here, right? Because we generated it. So now, usually move the value of the curvature him up to quite some extra embed interest to, for you to see the difference. If I go to my channel, I'm sorry, my back channels for either by BEC. You can see here that it's clean. But then here you see that the contrast is very eye in my curvature model. And then again, I press em to go back to material. That's the pure basic of baking in substance better. Now, the interesting aspect that we can bring into the conversation is r. So okay, we did bake. I put it to a low pony, the IoT coming from ZBrush with lots of sculpting. But what if we want to BEC a resolution that within more than in via Let me show it to you. In Maya, I have a sphere too, which I did add a bunch of modeling detail. The point though, and the interesting aspect of it is that those, those detail in the marbling effect, they are what we call floaters. As you can see, instead of modelling the sphere properly and going in and putting the Pruitt-Igoe and doing a Boolean operation or whatever we want to do to achieve that result. I want it and I just basically the budget bounce off little pieces floating above the surface. What's going to happen is when we Beck, the ray is going to be cast from a perpendicular angle to the surface. And it's only going to see that. Another interesting aspect of this object right now, but I'm going to use as my eye mesh is that I did add different surface or different shadow if you want with different curl. The purpose of that is to generate what we call an ID map in better. This more then I am going to now use it into painter. And I'm going to say, instead of baking the eye poly mesh for coming from ZBrush, I want you to use the IP mesh come in from Maya with the flutter. Furthermore, I'm going to go in into the ID map, into a painter, I want to make an ID map. But something that is very important at this point is to decide, am I going to pick my ID, make my ID map based on vertex called o, which I could have done easy brush, or based on material Chrome, which I'm doing right now in Maya, or mesh ID or pretty group. So it's up to you personally. I prefer to go with material color of ethics code or depending on the situation. That's for the ID map. So I am going on propose to leave the amino collision on to show you what's going to happen. But for now I'm going to beg silicon texture. Okay? So I'm going to press the B key to go to my, that's my curvature with my very high contrast, which we are going to change. My position, my thickness, my normal map, as you can see, perfect. My workspace Norma, my ID map, and I'm going to show you how to use it. And that's a problem. This is the amino Christian because those floater are floating above this your face, what's going to happen? They are going to generate the ambient efficient. To remedy that problem. I'm just going to go in again to beg mesh. I'm going to turn that mesh. And I'm going to say bake nothing except ME location. So you can deselect all mesh map and just Ananda amino and accelerated matter. Actually, we want to use the inquiry Somesh, and we should be good, that perfect. Good. We have now the base of baking to go back to the ID map. What is the idea of the id map, right, is, is simple. I'm going to make a very quick introduction for two. Usually you Ana mass, but it is not the proposal, the shutter Bishop tourists, what about bank? But I really want to show you what happened if you use a mask with core oscillation. So right now I'm going to assign a different color here, just we see the difference. And I'm going to say add mosque with course selection. And I'm going to pick my column and everything that is yellow is going to be Mask and show me arrayed tolerance. We can remove the oddness to get them big lists using difference here. And that's for the ID map. That's a reason why we generate an eigenvalue. 4. 04 PBR Materials Channels : So we did talk about short navigation, we did talk about baking. And let's rewind a little bit the key that are very important by normal going to insult you and go about the navigation again. But I really want to go about Tab, which allow you to swap between simplified interface and non-simple. Find a face. I would like to remind you of the B as Bravo, the m as Mike, to go back to material, B, to go through your channel, aimed to go through your material. Ok. So we are going now to look into what is subsistent or why do I texture in services better, right? Here's a very simple reason to do that. I'm going to reopen my far recent file. I'm going to go prejudice here. And I'm going to do a new bank Beck mesh map. I'm going to say I want to use psi poly mesh. And I'm going to bet messily fixture, just making sure we have anti-aliasing turn on. And I'm going to stop that. You see here that little button. You want to turn it off. Perfect. So why substance Bender? Well, in the old day when it was texturing in Photoshop or in MIT box for the mass of the key was that I was painting one channel at a time, right? My fixture where they were made to define a material. And the problem was that I was painting my column up internet enough to bend my specular map than I do love to paint my roughness map of the Tama was not using metallic, but now we are in PBS era and we are using a physical based rendering. And in my case, I use the descent module which is Mehta roughness base. And let us see what is love able going to go about each one of those button. We are going to do something very simple. We're going to create simple paint layer. And we are going to say, I'm willing to bet rain it. I'm going to say my first, my first brush stroke. Which is a good opportunity to introduce the next key, which are the brackets, like in Photoshop, to scale your brush bracket. Another way to do it is right mouse click button and I can move the size of my brush, right? We're going to look at the order Zooter featured on the right. But for now let's talk about what is entering, what do we allow us to do? So my first broke brush stroke, you can see I have a corner which is raid, that I'm going to change my roughness to something very shiny. See my next verse stroke is very shining. My subsequent brush stroke is going to be very metallic. And the next one is going to be metallic. But more rough. And the other one is maybe going to have some height. And then we started no metallic but rough. And it's keep the height. And maybe the last one is going to have a very I. Ok. So what I just did not paint a texture. At the end of the day, I'm going to export this tuber addict paints with material. What I mean with that simple, we're going to decompose materia true their subsequent channel. So new key, see us Charlie, which allow us to go through that Chanel of what I have on my screen. Now I could drop, drop down Base64 law, high toughness, metallic, normal. In my case, I'm going to use the CK, CS, char c. I'm looking at my base color. C Again, my height, as you can see, no height, no height and a little bit more, little bit more internet, all my roughness. You can see all the roughness. Incrementing my metallic, no metallic, metallic nominally so and my normal which do not matter for now. And this is a combination of my normal map that I've been beg, in the height map that I've been converted to a normal map and put on top of each other. And finally, I'm going to go back to my Metteya pressing the M key. Asthma. So Charlie, Charlie, Charlie, or see for the different channel M, B, a, C, B, m. Those are very important key. That's up to you if you want more screening state to work. But for me, I prefer to swap between them with the Tab key. Okay? And that's the basic OB sepsis better is to walk with material. So now when I look at my channel, and here's an example, I was painting with red equals the column, but nothing. Stop me to use a texture, for example, are much more physics you might base color. Now when I'm willing to bet my brush stroke is going to take the core of the texture that there. It is not the time to talk about all the different modifier for the brushstroke. We're going to do that later, but for now we just want to establish what it is in the next concept, I want to bring this one, fixtures settling, right? You saw us, Beck, extreme sitting here and BEC mesh MAC. And then you see here the name of Metteya, it's mentioned or its core sphere. So when you assign sitter in Maya, turning to fixture sit, meaning if I'm fixturing account my, I'm not going to say here's the method foo, the rubber on the tire is the material for the paint on the car is a material for each subsequence. Individual material that I know, I'm going to group them texture set. There's going to be a material for the weirs, inclusive rubber rubber hose, whatever. The plastic. I don't care what is important is are they situated on the, on the model? It's not about the individual property. It is about, it's a texture set, right? Each material in Maya turning to a fixture sit, meaning I want to use as much space as possible with my object. So that's for the pure basic of better. We are betting with Metteya. I'm not thinking about the mixture now greater if I was doing some stylized stuff like maybe World of Warcraft, I don't even need to bake. The BEC process is not there for that big process, is there to generate information for the procedural aspect of this is better. But if I know I'm going to paint only by hand, I don't mean that as why sometime people just paints. And I've seen actual acute as matter of fact, I've seen a character artists spent only the corrosion and endless and we stop there. 5. 05 Non Destruction Aspects of Substance Painter: Let's open the door to more complication and look at the subsidies, mental walk-through of the basic of the ways of spatter, think and act. Super-simple, super-easy. As long as you know what to do. So we have a sphere, I'm going to remove that layers. The bag process, which is here to gather information about the mesh that are going to be breakdown, to map, to give information to the progenitor. What do that mean? Simple. Going to create to fill layer. And I'm going to say there is a layer on top that is blue. I like blue today. Not tomorrow if is not to shine it, something, something there. And then the layer below this metallic. Now there is a mass spectrum. That next chapter I'm going to go about the concept of layer and mask and a refund. But for now let's just take about the procedural aspect and the non-destructive aspect of it, which is something that is very important. So right now we're going to create a black mask and I'm going to add the generator. And this generator is going to be a metal edge where OK, Important for now, I'm going to invert. And this is actually exactly what I mean about walkthrough. It would have taken me age in in Photoshop to go in and do that type of texturing, right? F1, F2, F1. And then you can see this is the paint on my 2D surface, right? Interesting aspect is that one, even if that does better, is a procedural tool. I do not want to rely 100% better, meaning I can always go in the paint layer, grabber, brush, and start to quantify a little bit what I'm doing here. And the fact that I'm modifying, it's very important. It's because I want to show you something else. So you see, I'm going to paint a little bit demo. I'm going to draw a smaller brush. Other way. What if we introduce a new key? So right now I'm painting black, black and white, right? I'm putting on a mask, meaning black is going to reveal. White is going to cover. So far, so good. Well, let's invert with just one key, the Collobert I'm painting, which allow me to walk very fast and very reactive to what I do. Alright, so I'm pressing the key x as X-ray. And what do you do is you can look in that area here. You can see x is going to invert. So little pitfall that his wallet talking about an happen in every class that I teach at the Urban among its always up. And sometimes even prologue. The situation is what I'm painting here because I want somewhere in the middle. Nice, right? While I'm pressing x, nothing is happening. Why is nothing happening? Is simple. I am obtaining painter paint with the opposite corner on the spectrum. And basically I'm somewhere in the middle link, I get slight variation, but you can see a MOOC moving much, right? Meaning I grew from gray to gray. So it's always better to be for Chrome. And that's good. Let's see if I can actually go in. Turn that off. I'm going to create a new layer. I'm going to make that layer gold. Going, oh, about gold, some orangey yellow. It's very metallic. Maybe shiny or something like that. And I'm going to put another black mask. And this time I'm going to rush. And I'm going to write something I don't normally until right. Okay. So so far so good. Nothing's fancy. Just using mighta yellow on top of Metteya, Right? But let's talk about the non-destructive aspect of substance better, something that is really dear to my odd. So I'm putting a bunch of brushstroke Ikea, right? And maybe a security or maybe a cross here, may be a triangle here. And on this side I'm going to do a little wave. And here I'm going to be like, I don't know, just sacralized. Before I move further. See for me for BEC and extreme verbs. And let's not forget the top key. So now if I look at my UD m c of descent UV, right? So UV from the central sphere. So I have like tree, another model which is, let's assume the mother you started, you'll take string process, which happens a lot. And the modeller did have to change his mother for whatever reason. And the first problem yeah. Obviously, I'm sorry. I did have to change the UV and that's what I'm going to go back to it. I'm going to go into Edit Project configuration. I'm just going to point to a new model, which is UV changed previous fee, but keep your eyes on the UV or that you can see what's going to happen. Make sure to never use auto interrupt. By the way, it is a very experimental feature which walk sometime can get good result with the ZBrush methods that have been done I mentioned that's very watertight. But when it comes to something with a bunch of object and Kurt and whatever our strong advice to not use it for now, it's going to be great on the line, but for now it's an entrepreneur doing what it's supposed to do. Because it's still experimental. Anyway, they've done that off and it's bringing and look at the movie. And as you can see, my UV changed. Meaning added, lost quite a lot, right? But interesting thing is whatever edit right down and do manually pair brushstroke is still there. That's good. But I still lost or my my metal age where right? And that's the point. We did not lose them. Remember the mesh? We extract from the mesh information that we put on a texture map that we're going to use to drive the procedural aspect of citizen sprinter. Meaning it's still there. I just need to give it the new information because right now I still have the old information back to the old UV. Way too big it again. And I'm just going to leave it this way. As you can see, my pick is coming back in place. And we are back exactly where we used to be. Which is great. So that's one that's very important. So the question would be, why am I brush strokes till they're more? Because everything we're doing truly spacings of center. Every brush stroke is recorded, and every time I bring a new model or replace my mom, as long as the sphere on top the material did not change, then it's going to be reprojected to the object. Now, the other non-destructive aspect which is interesting is that I'm going to change whatever I did right there. I'm going to do at a black mask. Am going to write the number 4747, right? Okay. Now, if I change my texture resolution, you see in the 248, and we could take it down to 128. It's logical, right? What you see right now it's tautological. We took the texture in with the downsizing. You could operate in photoshop. No program. Now what you could not do in Photoshop is following. And that's interesting because let's say you have a very good machine at work and you have a laptop at home, and you cannot afford to run your system at 20 to get extra, you know, like you have 20 material in each one of us to get extra, then you can take them down to 512, maybe not to 128. Don't do that. It's just for the purpose of demonstration. But what I want to show you is that I'm going to write something. And it's very hard because I don't even see what I'm writing. Now if I wasn't Photoshop and I did write something down, except if I did, I do it in vector, right? So if I write something down in bitmap, Well, I guess what, I cannot scale it up. Maybe with machine learning and a super smart AI and maybe we can get the gist of what was tried to read down. But now, when here in substance venter, I can at any point in time and go up to 248. And as you can see, my brush stroke is exactly at the size it should be, and it's perfectly readable, right? And that's part of the non-destructive aspect of sepsis better, that's something that you plan it. Well, you can use it to your advantage quite a lot. You can start your texturing process before the model is done. You can start your extreme process before the UV IR down. Like me sometime I modelled, I'm tired of modelling, but I want to texture it and I just don't care, just do a very quick and dirty UV, do my texturing process and later down the line when my model is done, I can revert and bring back the clean wash with the TUV. Okay. That's for the non-destructive as pig farm substance mentor, very important. 6. 06 Anchorpoint: It is not going to be a good time to talk about anchor point. You guys remember that we are making a mesh to extract information that we put into a map that is used by Spencer for the procedural aspect of it, right from texturing. So the problem we have is following my bank. And I'm going to create two material, 12. This was going to be red. And I'm going to add a black mask. Then I'm going to add a generator and I'm going to keep it simple. I'm going to use Metalware. So now the Middle East where right now is walking because it's taking the information of the curate, your map Muslim. So S4 channel for BEC. And I'm looking at my queue hedger. So far, everything is nice and dandy. Now, what happens if for some reason I'm going to create here, let's see what each greater paint layer. And we're going to Robin alpha. And then we're going to use, we need to pay only height. Our brush. I'm going to use this one and I guess knife, I'm going to scare my brush, but at their height. Perfect. You see we have a map information. Just for fun, I'm going to grab another one. I'm going to put somewhere else. Somewhere here. So this one is perfect. So the problem that we see here is that we get the h where, wherever the information that is come from the baking process. But when it come to whatever I mapped added ad, right now, there's no information if I go back to my back, back, to my vague. So anyway, awaken my back, I can realize there's no curvature information for those two pieces of ICT map that I, but the key to go around that is to use what we call an anchor point. I'm going to create an anchor points and which call it whatever we want is E1 is going to be core. You can call it whatever you want. Now, the key, the MIMO technique, which remember but the anchor point, it's simple and anchor point R0 is need to be below the layer that is going to use it. It's an anchor finger about a boat and NCO is below the Boot. Simple, right? Anchor point R0 is go below the layer that is going to use it. The boat being the layer that is going to use it. So I go to method h where and I tell it I want to use macrolides. And for the microwave, I want you to use they've, they've, Which is my anchor points. But even there we're not done. I need to tell Dave to reference the children from the heights. Now, if I go back to my micro detail, I can look at my micro height to any true. And no, I can't change the curvature intensity and play with those values. It is very simple, is very easy to forget about it. And it's very easy to remember or to do it in the best way to remember to do it. It is, it's an Angkor, meaning it go below. C11 is, there's a name, but the name is not enough. You need to point to a channel. And it's all about anchor point. Very useful, especially when you start to add little detail in your texture. 7. 07 Smart Materials Part 1 : Let's talk a little bit now about the layers. The fill layer of the paint layer mask, the generator and all the rest. So we need to make that a bit bigger. We're going to do some cleanup here. Here, by the way, the interface is completely mudra. You can move whenever you want, wherever you want it, which is crates. But just imagine now I'm in the classroom, in all of my students, they all have their own interface, right? And they asked me to help them and I am a creature of habit. I know what I do, but I need to go there and visually What's going on. So the best tip I'm going to give you this shutter is this one is. So for some reason you move your viewport around and you're lost and you can get it. Go back to viewport and window and residual. So then you go to the default UI. That's quite bright. It's keen. All of that's very amenable. And this stuff from scratch again. So idea of sins better. We're painting with material. First Mateo, going to be metal and order. We did some metal will like metallic. And as a matter of fact today we're going to go with gold, gold issue here and reference. And then the next material, it's going to be not endear because I want to talk about that letter. Next material is going to be my classic pants, right? It's still dark green. And it is here somewhere like that. So the idea of batteries, we are using mask right to reveal. I'm going to add a white must, meaning greenest everywhere, except where I paint black because I'm going to reveal the good. So far, so good. The key is that now when I paint, I mentioned before, there's an eraser, meaning I can go in and erase my mascot. Let's call it disruptive and individual. I just paint with my eye brush. And using the X key. Remember the X key ALU me to swap between like an economic meaning, I can just create and remove as I go. So x as X-ray. So C four channel before beg him for Material X to invert and swap your grayscale Koran. Okay, so that's the basic idea of subsists better, right? I have a layer and another layer, another mask in-between and I reveal the material on top of each other. Let's give this one a little bit height for number two, we see a little bit of what we are doing. Well, you start to look interesting too much, but we can do that. Now. I spake Africans better is the proceduralism that allow us to generate effect very quickly. Right now going to other generator, not on the shallow but on the mask and generator. And I'm going to say can you please middle age where you don't have to say please by the way, she don't want to. So I'm looking at it and like, okay, well, it's interesting. And I can start to move. And what's happening, it's obviously pays on my curvature. As few go their way. But your weight c, You can take it out. Curvature map is what is at fault for the age where material. So we have a couple of stuff going on here. These are TreePlan. I use tree printer. That's for later because it's based on your UV but peace object, having nice UV, there's no real seam where there should not be meaning it's not going to be useful to use driven up. But I'm going to say all of that is nice and dandy. My mask, I'm happy with the result. But what if I want to have another layer so I can add another layer in my mask. I'm going to add now a layer in my mask. And I'm going to say, well, I would like to reveal more gold. He envies area here in this area are really want to reveal more gold. And ten, because I walk in a non-destructive pipeline. As I realized, oh, my goal is to Clint well, guess what? I can go at any point in time, big to my gold. Look at my roughness and maybe look for some crunch texture. And I can draw a crunch texture wherever I want. And because those crunch textures procedure, which do not have to be, they could be just black and white bead may provide a grayscale be met. So I'm going to do that. So okay. Well, I don't like it. That's one way to get another one. This one is much, much better, more heuristic, so balanced. Nice. Okay, let's stop to look more interesting on the course site. Now for the green, I can do the same. I can drag and drop whatever I want. But what if I have a green color, but what if I'm like, I want to add another field just below my failure recipe ever layer and another layer on below it. I want this layer to only talk to the colorful. Now, I won't be Slayer to be something grungy again, which is nice. The problem with this layer is I wanted to be a multiply. Now if I go here, I can photoshop, I have my transfer mode. I go to multiply. Omega has not already what I want. And a lot like it not filled me with joy. Let's go back to normal and see what we can do with that because I do not like it right now. Meaning I can add as an example, maybe what could we add level and look at my base color, maybe my array. Let's see what we can do. A nice adds much better. And now I can come there and just take it down a little bit. So a very interesting aspect of subsistence better. That's at least the way I work with it is I don't know everything you saw me right now is like playing with it. I'm like, yep, perfect. Exactly what I want. It's because I'm not afraid of doing and redoing because everything goes so fast, right? It's not important to knows 0 to 100th, but it's important to know 10203040. What I want to say with that is to know the big stroke. And then you can address us, you go and you don't have to remember everything just after a murder or its walk enough, some common sense and everything is going to be super easy. Here, I did add that color into another field. I do not have to do that. I could have the color directly in there. But what I want to do is to be able to control it individually, because right now nothing stop me to add another field. And that field is going to be for color and roughness only. Now the color here is going to be something like that. But as I wanted to be, something like crunch here, like this one. Now, my projection is based on the UV. Right now you can see there, wherever there is a UV seem there's going to be a theme of his Kadima UV is going to be my mother, but I can start to change. The scaling. Doesn't change too much or you start to see that Tolerable, then I can do an offset, but I can also rotate. And I think it's a good example. You can see that the direction of my scaling of my uv going to different directions, CVs stroke here and v stroke there, right? Because we are based on the UV, he's going to differentiation, but here it's all going across the grain. So what I want to do now is to turn upon triple opposition. And trip operation is going to project from every plan, meaning x, y, and z, and meet somewhere on the border. And we should be able to see a rough seem somewhere. Let's see if we go there. Oddness. Yes, you can see there, it's exactly where those plane meets. And I can alleviate their, alleviate that with RMS. It's not perfect, but it's helped a lot if you have UV scene that you want to. So now this mesh here, I have my roughness and the color Etsy. What did we say? Roughness, we're going to make it super rough. Vacuum which drops something in reference to I look at my channel, my height, my roughness. Or the interesting aspect is that right now if I change that value by roughly stay, but my CTO is going to go away. Because right now I am all Lee influencing the core optional. If I go here, base color, roughness. Now I can come in and influence the roughness Turner. I can't infringe each channel individually. Quite nice. That's for the fill layer. That's very non-destructive, right? At any point in time, I can go back to my top layer, ancient my mine in black actually now you are more like blue. And then maybe you have more lists. Lists, roughness, you know, because we have a layer here that is kind of bothering me which one I think, and this one is unknown effortlessness of v swan. So on this one I can be like roughness. I want you to be there. And then you, i want you to be there. And asked about the effect that might have been, wants you to have a little bit more. And I go C and I can look at my rough asthma, right. Visual feedback is very important in better, right? It's not because something look nice here. You still want to check and make sure you don't have too much discrepancy. So n and other stuff you want to do quite often is actually to change your IBM goes, your material is going to react differently in different lights the situation. So this is what we have for the field layer. So far so good. And we have the mask and you can stack mass on top of each other. And you have your layer and you can stack, you lay on top of each other and I've layer inside layer and then change the transfer mode or the intensity. Okay. It's kind of boring to walk with a sphere. I would suggest we move to something a bit more literacy. And we should definitely open something more interesting. File imports women to set up a new project. I'm going to go to 48. And when to say OpenGL because I use via, If you're in trend truly makes user directly use my eyes better use OpenGL. I'm not going to use the UV tile workflow because it's going to be part of a chapter of down the line where we teach you those little bits. But I'm going to say, please bring me Tulsi, please, please. And when to bring the type which is a mesh, I'm going to give you a robot to import because more interesting than a sphere, sphere are nice, but Maureen and I am going to do my back. So let's start here. And as you can see, I have my texture set, right? And my texture sets are going to be called vine, which is four legs. Then we have input an antenna, I'm going to call that copper is min body and the host for the short course. So you're going to ask me why you said you were very simple. Now I'm going to go project configuration, select. Actually maybe I should just put on the body. On the body, I'm going to put the fill layer for now, make it red. I do not even Beck and respond to show you the ITER reassignment project configuration. I bring back the robot again. You're going to find it in the file, in the project file. And now it's working. You see it keep the body because they were called the body. But if you're going to sitting, reassign ticks, you're set. If for some reason you didn't have read after won't name here, you could drag and drop them on top. Exempt or something is called Shiller won for the next and you just drag and drop for the legs and it's going to be reassigned. So much better. Now we're going to back and when to do a quick break, I'm going to bake it caused a big mites, Actually, you know what, not the biggest going to be fast because we are baking the GPU, we're going to make a 248 and say please make force. And when the BEQ is done, we're going to look at the different aspects of the different type of workflow layer. Why use a failure? Whereas if I use a Bentley you when to use them, how to use non-destructive mask and stuff like that. So as you can see how Becky stuff. So we're going to start with the texturing the body maybe. And today I want the robot to be orange. That's going to be min column to be the main theme for this robot. Yes, something like that here. Light, that's ten, I'm going to have some kind of freshness issue, not too much purchase a little bit, you know, that kind of little bit crunchy. And we're going to be to invert that to merge with movement balance here. Unlike the banks here. Then I'm going to say normally that the paint is using dirty and everything. That's four letter, but maybe the page is a little bit reform the agents. So that's why I'm going to come in duplicate this layer. I'm going to make that cholera-like writer. I'm going to look at the roughness making refer. And then I'm going to come here and the black mask. And then I'm going to add a generator. And you have a bunch of generator, you will have to play with each, with each one of them to see what they do. But for now I'm going to use a curvature. And I'm going to be, please use correct heuristics. You know, I want to use clover, cover, blur, attribute, perameter force, curvature. Let's see what we can do it. Sharp women to remove, to find soft medium, turn them all off big. So it's hard to see what I'm doing. That's what I'm going to just change the color for now to Brooke. And I can see that that's where I see this start to be some stuff going on. And I'm going to go back to my curvature and start to play with us until I hit the one I want r. Now we stopped talking. So fine is probably sharp is not too good financing. Yep. The larger a little bit too large. Contrast that with more. So if I go back, I can see I have some use like those aria staff to be kind of orange again. So kind of plasticky painting. And I've been, now if I look at my channel where I can see what's going on, it's very important to look at your channel individually. Quite a lot actually. 8. 08 Smart Materials Part 2 : So now that I have all of that in place, it's two layer. Maybe I wanted another layer. Let's see. Maybe we want to add a little bit of the Arabs, just a little bit. It's all going to be the generic term is just the dirt that is very specific to the paint. Some kind of deterioration. And when to say, let's make it red for now just to see what we are doing. And maybe I want to add a black mask again, and I'm going to add a generic term again. And as you can see, it's a briefing. Very easy, right? Fiberglass Now I'm going to use some dirt, just dirty, but it's too way too strongly to keep it there. And I'm going to punch for the grunge, punch for Lagrange collide that make the lower punch, the grant driven more scale? Yep. And I'm going to say use triple-A troubling are because I know I have the CMEA somewhere, which I don't remember exactly where, but I know I have a seam that is been replaced and using Trip, tribal and ion is going to be very beneficial that I'm going to say that the dual is obviously not read, but kind of brownish, darkish here, something like that. And I wasn't going to say that the Dirk is actually V ref. But I don't like the fact that it's a unifier as expected as what I'm going to say. Okay. On top of the dirt days, another on the mask of the dirt, there's another layer and it's going to be a fill layer that filled the year is going to be a grayscale and it's going to use a crunch map. They'll grunge map is going to be using not the UV, but being treatment of projection. And the grunge map is also going to be a multiply. Now it's going to multiply whatever is below. And as you can see, it's look a lot less contrived. So that's for my paint. And you might be like, where do you want to go with that? Simple. First, I want to introduce the concept of folder. My pants go inside the folder and only in that layer, the pen go inside the folder. You saw that I did not rename any of my photo that just me. I like any of my layer I like to only nearby folder. So I've pants. So what do I have another pet, another pen. I have the classic, Let's not cover our face with that way of the classic metal, which is going to be maybe there may be super shiny. Maybe it's super metallic. Maybe it's less shiny now. And then maybe, maybe, maybe there's going to be some roughness in there. What do we do that in this case, I will want to have a layer and sand layer when to fill. The fill layer is going to be early roughness. And I'm going to grab that. I'm going to be between Bert, Nike. Let's look at the balance. I like that contrast, less, less contrast. So that's going to be my roughness, but it's still too strong. That's why I'm going to take it down. Sorry, not the base current is easy to mistake there. Go to roughness, take it down. And if you take it down, you go back to the original value that you did type or given to the So now that's my metal. Maybe the metal have some type of rust. So cool. I got a new mask in patrols on top, but we can also look at filter. What do filter give us? Filter give us right now. There must be an effect, effect, metal effect reversed. So way, way, way too strong, right? It's like it's terrible. We don't want to spread the risk like that. I'm going to keep it like super low. Spreading smoothness, little bit more. So varnished damage scale, we're going to take that down. Drip intensity. We are going to keep them drips simple amount. We are going to consider trips smoothness, we want that up. Now, I'm going to look here at the height because I realize I don't really want the height to be that great. And blending and normal intensity, we are going to take light intensity and take it down for now. Much better. And take it down because I don't want that to effect the paint. I want the bet to be on top. So let's get you a quite good right. You saw that I did that very quickly. So now I have my paint and which but my metal into another layer and called that method and drop all of that in there. So why am I doing that was very simple because I want to talk about smart materials. Smart modality is basically if you go here in the shift, you're going to see there's a bunch of material that are premade, but there's something CourseSmart, Matthiae and those Bataille are smart in the sense that they're going to walk on any object in they're going to respect whatever Lee in there. So let's go back to our smart material, which is here. And I'm going to put the mask. And the mask is going to be on the top here is going to be Adam White Mask and I'm going to save other generator. I stay classy Great. Now I'm not using anything fancy meta age where, which actually is something I use for 50% of my walk. We are living. And maybe smoothness Libby. So curvature, weight and shipped more orange scale. It's okay. I don't want to do it too much. Let's remember there was some grossed below rights processors or program. So the roses showing up, good. And that's my smart material. And to make it a Smart material, I create another folder. I call that orange. And I put all of that in there. And just doing the action of Right-click, let me move that up that we can all look at it together. Right-click. Creates MOD material. Then we can see here exactly at the creative material. Now this material, I can drag it and drop it on another part. Often, if you want to know that texture sets. This gives the leg, and it's going to be assigned to the leg exactly the same way it was assigning calculated on the body. So there is another smart fink When he took about n, it's a smart masculine. So let's go back to our smart material of the body. And let's look at the pads. We have a mask here. And maybe we will want to generate another layer. That's why I'm going to add to add a field or my mask. I'm going to use procedural again. And I'm going to use Scratch. I'm going to say inverted. So now we have couple of Scratch, we can change it, something like that. Now, the scratch is obviously covering what was below, which is the h Meta age, where right now my scratch cool. That b multiply could be we pull all we divide the arc and you find the right one to one that walk for your proposed. I think here in this case I'm going to go back to just not getting, so it's fine. And I'm going to add another layer just for the purpose of demonstration. And that layer is going to be our generator or by Gerald, let's add another generator and that generator is going to be fabulous. Terrible, shouldn't have done that. But anyway, invert and maybe Yep, and let's take it down to roughly there. So if I go to my color, you can see, right, we need to go tab. Then I can go to my roughness, my metallic i opposite maybe sigma number I've mentioned in my baskets of perfect, go back down again. And I have something that I really like. But on the leg, I want something similar, but I don't want to have the same smart Matthiae. I just want to set the mask and I can come here, select all of those. Create a smart masking. Now, if I go to my mask, you can see our smart mass that I've been newly created. I'm going to rename it cool stuff. And I can reassign it somewhere else or I can use a different mask example, cavity roast. Let's see what this was going to do. A drag and drop on top of existing mascot. Most from the top right. I have a bunch of mass because they are from coming with better but ISO degenerate my own overtime. That is for the smart material and the smart mask. 9. 09 Paint Vs Fill Layers & When To Use Them : Let's do some quick clean-up there. It's kale mask, mask, mass, mass mask. We're going to keep that. And the next question that is going to arise is why are we using field layers? The layers and not Bentley or square as simple. I though a fill layer it say I want a logo on the side of the CIA caret, alright? And I'm going to make a failure that is going to be blue. Perfect. And I'm going to create a mask, right? And we bring a new concept is the concept of stencil. So I can paint like in white, but I can as well use a stencil. And a stencil is going to allow me to choose an image, in this case about this one. And I'm going to basically just projected and pet it so far so good. So I can do it here in the treaty viewport or recessive before we can go in, let's assume I want to be here, but he and the 3D view port, the end that is going to be in a way, right? That's why I'm going to go to the 3D view, move to where I need to be. Very important. If I bet right now, I'm still going to have an issue. I'm not going to paint behind. No. What you want to do is to make sure that you turn on your brush and to be don't use tangent properties, use UV and psi space, used extra space and now you're going to not bleed over. So what I wanted to show you is if you read over is what I mean with that is basically for your stringent rock. And I'm going to paint he on the border. And I'm going probably to generate paint some ways on the molar c naught cyberspace subject to it again, It's funny. It's something that is really bothering, but every time you want to display this not going to happen. So maybe that each fix it. Anyway. I wanted to show you basically if you see your Pentium here on the border here, and then you see blue happening somewhere. Like here. You see I am painting here but bruise happening over there as a problem. And I'm going to add the stencil to illustrated here, perfect printing here. But at the end of the day of ISO paging on that other piece and add did not want to do that. While the simple way to solve it is just make sure that you go into UV. Extreme knife I pens here. I'm not pointing anywhere as all my mic. Okay. Let's go back to the stencil. The stencil again, let's grab this one and I come back here. Just as a quick reminder, you can use on your sensing, you can be teleco, horizontal, vertical, or both, right? And locally. Navigation with a stencil S. Right mouse click is going to zoom IS what? S middle mostly isn't to pain. And leaf mosque is going to rotate. So I'm going to bring back my stencil, my failure, and there's a reason why I do it on a field here. I'm going to show you why. So first one is the stencil on a few layer and then on the other side, aside, let's turn the other side. I'm going to do a paint layer. Meaning I'm going to create a paint layer. I'm going to say I want to paint blue again, right? I'm going to be rho, sorry, a shiny uses instance silicon. Or another one is entrepreneurs use this one and pains, right? And that's a reason why I rarely used paints. A simpler it is destructive. I like nondestructive on the one that is done on the C layer. I can come at any point in time and change it to whatever I want and make it metallic, shiny. And then if I want to win on the Pentagon, there's nothing I can do. It is a brushstroke is a brush stroke and it's set in stone. Though. I mean, that's the paint layer are useless. It just mean they are very xi1 since we're using them. I use them only when I know I'm going to walk and I'm not going to feel like I want to go back and change it. Right? There is a trick though. It's those decals If you want. Now I depend them and they are set in stone, even the one that is on the fill layer, it's still set in stone base off his mask, right? I can go. And if I want to move it up, I have to erase everything in resi riffing and wherever it and move it and redo it again. But another way to do that, it says what you use projection now in bringing a new concept, it's a projection, right? We said we can use UV, we can use treatment operation, but you can as well use print opposition. Let's do brand opposition. So I'm going to stop. I'm going to use a paint layer. And I can omit use fill layer where important. I'm going to say something like as far as see what we see what we have, there is a sign about this one. Let's use this one. I just want. And as you can see, we have the problem that well, even if we carried there, we move it there. It's repetitive. It's not really going in place based on the UV, right? It's not working for me. We can see UV Iraq known, ok, still don't really enjoy it. So we should be able to say it. So what are we going to say? We're going to say you're a failure and I'm going to do it on a mask. Am I going to do it this way? I'm going to be fill layer. Even sometime for me I even have to think cause every stuff I know it's always is the stuff I know for sure is going to walk in this house with the pleasure of discovering new or throw a new trick. So right now it's a base corrodes the score. Alright? Then I'm going to go to my failure mode to say add a black mask. And I'm going to say add a feel. Now I'm going to drop the motif that I want. Let's pick this one now. And I'm going to tell him you are not really position, but you are going to be a plan opposition. Now being a planar projection, I have access to that. I can move it wherever I want. Let's see, where's my position coming from? Scaling down? I'm going to pay to not repeat. I am going to tell it to not outside of the shape. Not just need to figure out where am I at here. Rotate, maybe scale down. As you can see, a mess of a mosquito somewhere. I'm going to, why are we not painting? Because we hear something. Well, let's create a new layer. Execute the swan. Let's make sure here that we are using red. And again, I'll stop the video and be like, Oh look, it's walking. I want you to see my process right? I'm constantly doing little mistake there and there, but at the same time you seeing oh, I Servo's mistake, a Pew to serve the one you are and generate on your own. So in the mask is a fee layer in the gray scale is going to be the ship. I want to use this one for now. Then I'm going to tell it is a planar projection. Then I'm going to move the propagation in place and need to scale it down. To now we are talking and move it there. With it again. Shows us we heat the right angle, which is this one. Then I'm going to tell it, though not project outside the notch repeats. So and now, contrary to Maya, when you have a plant operation, It's going to project to your object is only component to the volume of my box. So now having done that, I can go in and I said before it can play with all my value here and change the color and time. But because I deal with a mask, I can come in and say, add another fear. Are the grunge. Maybe this one like this one, like this one. And let's say you are a multiply. Invert probably is going to be good. Nuts you. But we're going to a procedure. We can use some noise, but over this one. And we can invert and nice. You can see I get for the damage in my account and I can just move them. Right. And that could be saved into a smart Metteya. Okay, so next we're going to look at more workflow that I rose to walk even faster and then going to be time to move to the main project, the meat and potatoes of this tutorial. 10. 10 Materials Instances Across Multiple Texture Sets (1): So let's go back here. Let's remove that. And we have our smart material here. And we did actually create the smart material, remember, and we did create both arrangement. We select, OK, assign it to the rest of the about. Fine. But for some reason, What if I go back to my body and I start like, you know what? I1 is the MD, but actually that should be another corral, maybe more like here. It's going to update but it's not going to update on the legs. So that's, that's obviously a program. So best way to go around that, to keep with smart material, cause it's always nice to have, actually, I'm going to show it again there just to make sure we use the good one. Q is one. And we have 1234, my tail and the legs. I'm going to remove the material of the legs, completely remove it goes here. I could actually change the material of the legs and it's not going to affect the smart material if I really want to assign it on top now I have to create a new smart materials, but I would love to avoid that. So that's one way to say all of that, go away. I come to my main body, which are the main object of the main method I wanted to use. Maybe we cool just for fun. Rob, Maybe I don't know, a Smart material, aluminum for the eyes, maybe just drop that on top. And remember we can do a mask, right? So we can do a Moscow selection when you, I'm going to create a black mask and I'm going to use the selection tool pretty girls feel and say while failover finger is part of his geometry, mesh with its material perfect. So I have a stencil running, I'm going to turn it off. It's all already there. Interesting. And let's move forward very quickly because I would love to show you the rest and that's why we are going now to talk about instead. So I have the body and I'm going to say that I want to instantiate that material across Dijkstra said, and I want to use it not all the hose. I want to use it on the back and on the lake. Now, weapon on the legs is I have this Metteya, but I have no access to any of the component. I cannot go in and be like edit change VCE. The reason for that is because it is an instance of whatever is on the body. So if you go to bought orange pens, you see there is that button here which is instance. It tell me where it's assigned to. And whatever I do here. It's going to reflect everywhere. Example. Let's say I don't want the orange anymore, but I want it green. So now everything turn green because they are all sharing the same instance. More orange like we, like orange, knew my orange baking here. So now the cool stuff though is that this instance that I have on the leg. And let's go to the leg again. Let's say that under the instance of the bot orange pants, I did have another smart material may be some metallic glass, metal, metal, metallic going to update all my material right now. Just when I've only that and I'm going to crop crop sneaks up or drop it below, meaning we are going to see it on the leg right, until I come here and I say Add a white mask. But are the black mass to whatever I tell you, meaning, maybe we don't want, we want malaria. Maybe we want on the cloud. Store the cloud, the cloud. And let's do the piston again. And it's still the piston again. Plow. And this is done again, which is up. So I'm going to fly over there. By the way, if the wireframe bother you, guys will come here, carrier sitting activity activity, activity of control, viewport sitting. And you can go into a mesh wireframe Andrew's journey down and even change the color if it makes you feel better. And as I said before, you're going to get a little bit of negative information. They are they are assigned before. There is no way that in the short amount of time we can go into every, every, every feature. But it should give you a good overview. So find, find, maybe that stuff here. Coolers will be above the law, gets out of the body while he's still scratch, I'm going to say infringe across texture. Said, I want you to be on everything except the hose just in case I need it. And now it's on top in the body, but I want it below. So that's why the steel Scratch go below everything. And I can come here. And on this one, I should be able to not create the mask on the top level because if I credit that the mass is going to be ISO instantiate, that's where you want to say, I put that one in a folder. And that's a little trick that people don't know about. And then call that paint top, whatever you wanna call it. And now I can put the mask on that for low, which is a white mask and tell it, I want that to be like because that's what I want to be. Those are all those little tricky for people of really necessarily know about. So I've my spider then I'm going to be an I satisfied as a type. And we can very quickly, what can we do next to make it more touristy? Let's draw the hoses very quick. And for the horizontal going to be a very lazy and I'm going to grab another smart material and going to search for rubber. Rubber material. Obviously I do, and I'm going to drop that in the horse. And we're basically done on that box right? Now. The stuff that is interesting is, what do we do with it? Well, we can export a refactoring, talk about that later. But for now, just take it into Ira and do a quick window to see where we stand from experience, I can tell you that some part Kuulab, a little bit more d'oeuvres and EBIT list or whatever that are. So resolution is very consistent between the top and the bottom. And I could also push all my texture to four k, which is what I'm going to do. So before I do that though, I'm which come here and I'm going to create some dirt which keep it rate for now. And let's see here we need to close this one over here and create dirt, which make it green for now. And add a black mask. And I'm going to add a generator and I'm going to say, dirty, not Tibet bad actually. But I want the dog to be mostly driven from the bottom to the top. And that's what I'm going to add another generator, maybe add a feel and look for gradients to ever gradient somewhere. Yes, I do have a gradient from top to bottom. Nano thats one is secreted in dots. Can we maybe door this one and can we maybe la, la protection from the side? We're going to rotate that a little bit more, little bit more, a little bit more in a bit more. We want to rotate this way. So and as you can see, dirt is coming from the bottom to the top. And just to orient better software, actually, we're going to multiply, effect. Multiply. Now we really only display the dirt. And then I can do an instance It on everything. And now I can gentle color, it's going to change it across every material. May be, there. May be a little bit of heights up too much and roughness alot. So I can come back and I'm going to do a quick render. Oh, I see that something up into eyes, meaning on the body. I am aluminum unit eyes and there is a layer that got tone. I don't know why. And I can come here, look at that's fairly happy with it. And I'm going to turn that off and I'm going to bake again at 4K. Make I don't know enough to bet against Fergie. I can actually turn on my texture layer two for k, which is going to recalculate everything based on those bake that have been done at 2K. I'm still going to get decent results. But if I want to be more precise, I will bake again. But for now, let's go here and do a quick dissenter under not even going to add any decay. And actually, as a matter of fact, yes, we are equals. That's what people want to see. And that's why I'm going to be like it's go back quickly. It's good to the body. Let's create a new paint layer. Just to make it easy. Let's grab a deconvolute go File Import resource, and when to add resource, I'm going to go to my library of my asset and have all those image that I did buy on oxidation, mostly organ road going to my asset. I looked at my dad exterior skin and people are going to be kit Bush. Nope, it's going to be I'll find sticker going to be going to grab something like urban decay and look at something fun. I don't know. Let's grab some. Like this one. Like this one. Yes. I like this one. So it's very important to define what it is. I'm going to say your texture. And I import you either for the transition for the project or for the shared library. Schaeffer is going to stay ROS every time I open painter in which you have access to it, project is going to save into the project file, meaning every time I opened the project, I give it to you guys have access to it. Or only for the transition, I will say to not only use it only for the current session, because if I put it in a project file, the file gets more and more bloated. So we are going to put my detail right, and I'm going to use my projection tool. And in the prediction tool I'm going to be, I want to paint only colloquies. I don't really have anything to plug into the roughness and base color. And I'm going to move that here, something like that. And just it's a bit slower, Kusama at 4K, but I'm also recording at the same time. So it's not debate is something decent. So and then go back to render. Move that here. And I'm going to change first my panorama was it's one of the worse image to use on recalibrated go to beneficial straight, which is quite ok. Now I'm going to look at my environment exposure. I'm going to put it at one. It actually 0.5 that are going to come down to my ground, make sure that we are not floating above the ground. Meaning I'm just going to move it up until I reached the right value. I must live with that. I could turn on reflectivity on the ground if I want to, but I don't want to actually get yeah, like it. We can turn on the glossiness, right? And something like as if you want to, what I like to do is actually to either the environment and just say clear color, Shinto color to something more like something that's fit with all. Yeah, blue is going to be great with orange broker maybe like that. So and then I move that here. Now, let's talk about anti-aliasing and actually evangelizing agreed to come true the maximum and the minimum sample. Geriatrics a cook for like 3073 should be able to hear my graphing calculator going up like crazy right now. And the depth of field very important, right? When you go to my camera, I'm going to be like, I want to have an aperture that is strong. And now a new key combination to learn with control. With the mouse click button. It's going to be my focus points where I've clicked. I'm going to focus controlled media in Moscow. And I take my focus systems down all my aperture. So and that's where I am right now. After that, looking at the display sitting shoulder city, you can go capacity, you can turn on your post-process. You remember I said I'd find use them if you want to, but I'm not a big fan of ancient the grass and vignette is adopt but don't use it because it's effect of it's a trade-off. And you can may be activated color profile, go back to vintage, maybe. Take the white point down. You can go back to the post-processing and look at the tone mapping and see if you can get something better out. So that's not really important because that type of, so she would do it in, in irate justice, oppression, that's real, that's not, you'll find that image anyway. So, but it's okay, you know, it gives you a good idea of what you're looking at. And most importantly, it allow you to look at your stuff with rage, Racine, but are so changing the environment, right? And that's what I'm saying right now to get the feedback of what's going on. So let's go back quickly to there and change all mine in black. We kind of like that than we are if you like it. I like it. But I want to personally to take the shift down. And I would really like to have some throwing going on, meaning on the bot. I want to say that the paints, which are want to have some subsurface scattering, which is a Missy row PC or all of subsurface scattering. Turn on. That's why I'm going to go back to my texture set sitting. And I'm going to click internal on scattering. Now I have a new channel in that new Chanel for scattering. I'm going to turn it on here somewhere. Then I'm going to make sure that my shudder with alpha blending is allowing me to have subsurface scattering medium which will PBL method test. I think it's this one. This one not so X1, X3, s1. Yes. Subsurface scattering on unchecked. Then I'm also going to look at my normal opacity indices scattering. That's where I could see where my scattering is right now. Sent. So then I go to my viewports and I tell it to make sure to activate subsurface scattering. And now we can see the results or remember the subsurface scattering is just a fixture ever the shadow of airways going to use it over your viewport is going. So not only you have to turn it on in your chateaux, but he has left to turn it on in your viewport because it's fake. And go back to my buddy layers. And it would be good with an X. We can render again. Obviously, I could take more time and walk more diligently on the subsurface scattering exemplar, right. Novice the shutter issue, meaning and Sheila sitting from Ira, I can look at all the feature from scattering and absorption column, make it red or blue or whatever, right? I did go overboard with scattering, but whatever, it's just display ID, VCE is not the main project who would want to do something nice with the main project? Then obviously if you have subsurface scattering turn on, it's going to take ages to render. My LBD is quite fast, but are we can be slow sometimes. But in this case it's nice. It's nice. Buddy. Here paints here this one. We have final all of that. For the legs. They are not actually, you see the legs are not reusing some sophisticate rank. That's why I'm going to basically just this one. Go back to or like that. Don't go back to the body and instantiate again to the institutional acoustics you said with vista might tell him early on the next. Okay. And when it's on the leg, I can go to the legs themselves. Pen stop instance ticket under the dirt and I'm good to go. Okay. Good. Now it's going to be talking to look at the main projects. There's going to be more information trickling down. Remember that I cannot teach you such as better in lacquer to tree our right, but I can give you the strongest basis that you need to be able to run on your own if you have any issue at anytime because I talk too fast because you do not understand my accent by old mean, reach up to me, right? It's like I speak German, I speak French. Who speak English or at least I tried to speak English. And if you have an issue or you need Arab, even if it's not related to that specific project. My here are was opened and I'm always willing to add people. Let's say that because I might give you that file. I mean the penta file. If not, you are going to have the geometry that 100% sure. But for, for the scale of the size of the data, we might not be able to get that file, but all the geometry are going to come. Okay, let's move to the next. 11. 11 Texturing With UDIM: Let's start with a driver for the truck. To integrate a new project. Some story to 48 DirectX OpenGL select. I'm going to crop my driver. Beg me to explain to you why of two file. You might have only one file for each character, but it's simple to do it yourself. But what's important right now I'm going to say use UV tile workflow. Why? Because I'm using medium, I have only one fixture sets spread over multiple UV, what it look like. So I opened the file and I have this student. If I go to UV. Now you see that I have one material and multiple UV sets, and that's the UDN workflow. And there's a good reason why I'm using that is because I'm lazy and it's WAC, it's worked very well. But unlike with mentors, you can paint across multiple UV set in one medium or multiple UDP few prefab. So why do I have a model that is called bacon, one that is called just nothing is one. I'm going to pay them. It's simply because I have the visor which is supposed to be transparent. And if I'm baking the object or on, I'm going to end up having the face competitive black at something I don't want to. So that's why I am going to take this one for now. 4862 sets. We take a bit of time because we're going to redeem. And there's another interesting aspect. It's all about the non-destructive workflow. I gave to you guys, two of each character, but actually I have like 20 of those and I wanted to cure all of them. The key is I could have texture. Then she paused. We would agree on that and just post them after the fact, but are really like the fact that Pinto is going to respect every one of those deeper folder and everything. So one I need to establish that i want to texture them individually, but not after it or them or It's simple. I'm going to say, I'm not going to touch anything in the 3D view port, whatever brush stroke I'm doing, I have to be done in the 2D view port because each one of those dude share exactly the same UV. It's little bit esoteric, but it's going to make sense when you guys up those two mother and you look at them. So now I'm going to go back project configuration and when to select again. And I'm going to take driver a. And I'm not going to redo the bag because I don't care about the big of the visa, but at least the visa is not completely black. So here's the visa sign. I can paint over it model problem. And what I do first established my Metteya. I'm going to do a quick demonstration before I even start to do the painting, the project or whatever. What I mean about the need to have the same UV and they are going to be texture the same way. So let's say I'm going to savage mammoth a, I mean to be layer one, I'm going to be like this one is red. One is blue, is one is green, whatever. I don't care. No, that May 1 be orange. So if I do my selection for my mask here, as I do my selection in the 3D viewport here as an example, it is completely wrong because when the time arise and replace the model with another pause, better is going to try to do exactly the symbol stroke. But if there is nothing in that space, then nothing would happen. That's why I have to do everything in the 2D view port. So the estimate is going to be orange, the visa is going to be blue. Then what else do I have or the bags ever thing? It could be a different color. When to select all of that. And what do we have here? We have the growth and new, we have a face. And let's make it here. And then maybe those two pieces here, and there maybe is PCL. So, yeah, it's fine. Interesting stuff is that a clause should actually be, We could probably do the cloth in a nice color, which could be nice color. I'm joking. Obviously. I'm going to say to black mask and I'm going to say older clause here is going to be that corner here. Select UV beam. But the moment I did nothing there, if I want to write something exemplary in the back and it's go something quick like widow colony and we do and see what its look like. Okay. And I have to rotate. Probably like a phoenix exactly the way in each rated seven. Perfect writes a b. So i depends only at U M, which depends a little bit more. We're going to create another one just to as a proof of concept. Because before we embark on this adventure, I want to have your Buys out on that and make sure that you guys agree with me and you'll understand why I do it. When we figured out his legs are here, must be here. And I'm going to do a C occur here and across here. And I'm going to show you something wrong, which is going to be I'm going to put a cross on his arm to the different column paint layer. Again. Let's make it blue here and here. Then why not? One here? Now, let's say I'm down with my texture. I am very happy. And I'll link to go to say, actually, let's go back to the green. The green cause I want to illustrate why, why it is very important to me too, though what I'm doing right now, let's say I have another, the cross and say I have a cross is lighter here. And then I have maybe a mosquito which is going to be a smart mask and see if we have a fabrics somewhere. So for vector_a and polish surface, I don't have to recreate everything from scratch given there's no there's no reason to do that. So and i'm going to give it more contrast with a different color which is going to be red. And on that mask mosquito, we need to look at the curvature and punch it a little bit more curvature. Okay? So what I like here is that on the craft, it's following the fold of the geometry, right? If some of the best, but it's good enough to illustrate. And now if I bring another geometry project configuration and I say select and bring me driver, be ever be big, open. Okay. And as you can see, I'm reprojecting everything and everything is at the right place except the brushstroke added in 3D. Those are not where they are supposed to be. On the, on the arm. It's completely wrong. The one side is completely wrong. That's why whatever I do have to happen in the 2D view port. Okay, so how about we start? By the way, I just realized I'm not going to import the mother with visa because the visa I'm going to assign a transplant material in which if you're down the line anyway at only texture for that. So let's go again at it. Oh, by the way here, I don't have a bake writes. I will need to take that model again when I re-import it takes just sitting back HashMap. And then bake sentences you said, and he's going to look great. Another aspect that is important, right? As you're going to see me, x2 is sub sprinter. I'm not going to reinvent material. If I have a material that is close to what I want, I'm going to use it and then I'm going to modify it. The key is just that, modify, modify and save for later, right? So it's go it from Crash. We say we want a file. Like surely it is not doing from scratch. We're going to do a new chapter in and willing to do it properly very slowly. 12. 12 Painting the Drivers Part 1 : So let us start ID that Rebecca briefing. We're ready to go and now I need to establish my Metteya before even go in-depth. The important facts is that I don't need to reinvent the wheel if I ever material that is going to fit, I'm going to use it and I'm going to modify it to fit my purpose. Let's start with some scheme, right? Skin and which you skin face starts, perfect. Then the skin phase, I'm going to say add a black mask and I'm going to say only on the face because the end are probably going to be some type of love. Ok. Good, then I need some leather. So I'm going to search for either. I can always modify leather allocators Dallas, and that's what I'm going to go with lidar stylize. I'm going to drag and drop in a star iss. Then I'm going to assign it only on the piece that I made of leather. We did before. I'd show it to you but swine. And we go there and I'm like, OK, boom, it's done. I can do the middle letter, so we need the cloth. Do I have a good cross on though? I want to create my own growth. I don't know, I create my own Cross went off. Which create a folder are going to create layer drag and drop. Make the layer black because it's a coauthor cloth that I want. And I'm going to look at the roughness, move it somewhere there. And I'm going to add some heights. And it's going to be some fabric. And I'm going to say triple our projection. Look at my procedural fabric, going to try to tile it even more, willing to inverts. And maybe now I can tell it on top, to be Garfield was very easy to push it to find it's thought to where. But right now it's fine. I can crank up my texture to 4K down the line. But for now I'm going to say, you know what, the heights is little bit too strong and take it down to just minimal Like here, 0.1 just to get the feeling of something happening on the cross. So that's my firstly I'm going to duplicate that layer. And I'm going to change the color of that layer to something more like crazy. By the way, here when I'm here and I look at that and I'm not too happy. I cannot always go to my texture resolution movie to 4K. And it's going to tell me what am I looking at if it's going to walk. So and as you can see, It's still not either. That's why I'm going to be like, Let's go back to UV protection. Much better. Still too strong the heights, but it is much better. If I cannot go more lower on the heights here, I cannot do it. Remember from the top layer. The top layer. And I'm going to ICU and you, my friend, you are going to be I said on the UV projection. And the height is maybe a little bit to make it even more down on 05. Where can we go? Like this one and this one cuz we don't need it. That's my height. That height via should not have any height actually cause we're going to use the one that is below. And so, you know, if I turn it on, it's going to add here, just remove it and own it. And I'm going just to change something war-like toward the greatest, slightly different. Just that this is quite extreme, is going to walk and black mask. And then I'm going to come here and play with my generator and say use curvature. And let's see what Q majorly truly is. Nice. I like it, maybe a bit strong, but it is a good start. And ritualistic. Find the medium. The medium is the one that we're probably going to take down. The big tune. Now, I look at my current perfect and you say it's exactly what I mean about doing everything procedurally in this case because I want to respect the four that is happening in the crop. Now on there. I know that this layer for the cloth, it's fine. I'm not going to do any dirt full now. And it's going to be my cloth black. And I'm going to have another layer for Cross Red. Cross Red is probably going to be more shiny and Monica plastic or literary type of stuff. So what's going to be read as what we agree on? Like red. And I'm going to say, for now there is no Heights. Won't take the heights. And the heights here because there's nothing in there. I wanted to be replaced, Height, Normal ledge replace and it's sure actually kill everything that is below. And I had the heights here is good. A 100 years. Not doing what I want to replace normal Trudy's ammonia to air, but in a folder and Julie is going to be easier. And that's folder. Go making that folder. Because we're where our D a love for older and because we were in a foreigner, I think it is this one that needs to say I replace. Yeah, exactly. Because I wasn't a full ride, so it's a tough one that takes control over it. So for this one, same story here. For now, it's good enough. It's the Red Cross or Red cloth. And for the red clause, I am going to say is what I need a mask. And let's do it at bag mask. And this time it's going to be a bit more, a little bit harder because I need to figure out what is what. And I think this one is the one I want you member. We need to turn on wireframe or turn it off depending of what you want to do. In my case, it's really annoying right now. And it's why I'm going to be a wireframe is going to be o here somewhere and definitively not read, maybe something like that. So you remember the war? I cannot go into viewport in the treaty report. I have to stay in the 2D view. So this one is fine. And this one is not fine. So because I did generate those model a couple of days ago, was the cover of the ad Goa will remember exactly where each piece is. But for now, you know, you are going to have to have the same anyway when you get your hand on that. So that's why I'm going to go. What you can do is select it here and look there and do ten selected here again, legit, nothing wrong with that. Oh, about VC1? Vc1 is actually this one as this one. And it's not a problem. Then what is o? We have the band on the side of the dude. Or E, those 21 imperfect. All we have the band around. And let's be sworn in V S1 and perfect. And I know that two little pieces that I need to grab that are here. A little square piece pieces. Probably. Those one at one. Probably. A I got it. And it's probably I have no idea but the starting point for now. So we have at peace, we are at peace, we are all we need to shoulder pad, which are probably those one. And I think we are good. The bottom pieces here, which is one. And this one, this one, this one, this one, this one, this one. We also have most one extra bit tedious at first. But when it's done, I don't have to do it for every character on the line right after, do it only for one. And it's going to carry over each one of those ten other dude I have to do. That's why it's totally wanted for me to walk this way. So I'm going to pause quickly and then I'm going to come back when I'm a little bit more reassigned. So now that I have all the red part of the way I want them, I just create a new folder. And up at the red graph and the black cloth in there. And then I had another mask. Is going to be a lot of mask for, for this project because we are going to I debriefing and remember we have a bunch of material for one texture said, Even if it's multiple union. So when you come here and turn that back, and we're good here and here. I might have felt selected stuff here for the clause. Leather sterilize a might've to just come in and be like selective roughing the AIC or the miss some pieces. Not a program. So now if I look at there, I'm like, okay, maturity the hand coolers OP, leather star iss. Since I said the hand up or you're going to be good off, I'm going to be like love, love to, we want to do short Love. Now we are going to do that. And here, and here and here and there. I might go back to them later, revised. So when it comes to the shoes, the shoes are going to be he's going to be the red from the cloth on the shoes. Meaning my cloth here, red cloth over mask. I need to paint those shoes now. Ci DO that. I think I didn't really separate them. Pay UV, meaning if I go here, Let's see red cloth. We need to do the cloth here. Then those are red cloth here. Again, do the same mask. Perfect. But it is the back of the shoe. And the front of the shoe that I wanted to do. Meaning it should be the France should be that party. I don't know which parlour days, but I'm going to figure out because I'm just going to go there and be like cloth. Okay. Is that parts of meaning I go there and I sit like this one and on wastewater I select if you want to. No, no, no, no. This one. Sorry. And we wanted. Little bit confusing at first. A little bit of extra walk right now, confusing walk. That is going to save a lot of time down the road. We need to be able to fix your something like 20 character. And now I feel that because I just have to import and just turn on BEC and fought the mentioned we're bake and be done with it. I still have forgotten to peace that I cannot just let her but give you the idea, right? And all the shows, the sort of the show's going to be River and seize entire nights. Not all season tire is going to be just rubber. Rubber dry eyes go with river dry phenomenon and anaplastic loss. We say rubber dry. So, and then I'm going to put my mask again, this one. And for the rest of the show, I guess I can go with leather. I don't see why not? Let us analyze and effect. Good good. Leather shoes with red and black up, we miss the pieces coming together. So now for the helmet, it's little bit more finicky because for the element I need some plastic. So let's take a plastic. Plastic, whether I like that, I'm going to use it everywhere on the event. Move that up. That's good. And then I'm going to say add like models and going to do that early on. They emit and willing to do it on the geometry. That now you see the teeth and the teeth, there's no option I have to go and bend them, which is OK. Because once that ice grade for that, because I do it, only one's going to say add a black mask. Remember to change your brush from tangent Rob to UV is going to save you some headache. Same story. I'm not using UCI, I'm going really, really grown over the length. And the idea with that is because I'm using the X key to invert quickly. I can just very quickly remove what I don't want our Riyadh up fine. Skin. K2. My fellow country D M, fine here. Maybe this one could be a bit more white on this one too. So so, so far you have not seen me using E of the feta fake likes blur and everything. It's going to happen. But not at this stage, only them for now. Though on that. And I quote, actually do another round of stylized letters. And I'm going to change the base color. Something where darker and darker and darker touch a lot doc enough and is curvature. This one is too bright. I am going to be like, Yep, we're going to do that. And then we integrated a black mask, up, up, up, up, up, up, up, up. Let us analyze n given the black mask. And now I can again, okay, for the handmade, I know that all the piece on the inside of the element made of leather now. And I'm going to be like you, my friend are made of leather. You, you, you, you, you, you up. That's one I can come back later. This was supposed to be read and know what you want. Is Bob is Bob is bought. This bond and respond. Smell good. Yeah, it's looked like up, up, up, up, up. We forgot something. Nice. So I'm going to keep going. So I'm going to do exactly what I did show you before. Now there's only two aspect that I really want to shoot you in real-time and the rest, I'm going to just pause the video and explain what I've done. Because at this point there's no sorcery, right? It's just building my miter on top of each other. So, but there's one aspect that we want to show you is how to find your way around to do some little detail there. There 13. 13 Painting the Drivers Part 2 : So before I stop on the character and come back and show you the final result, I really want to show you something interesting. It's like let's say I want to have those duty being and you call that being a perfect little, you know, little detail like a book or whatever. So I said, you cannot paint in the treaty view in this instance if you want to texture them once and just propagate, right? But what you can do is still that it's creates a temp layer that is going to be used for me. Just to locate the aria in the UV. And we to grab this one. This one, this one, this one, this one, this one, this one. And that's the problem with what I'm doing now. It's like as soon as I swapped with a new character, it's not going to work, but I don't care because I'm never going to use this layer. So lot of fibrous layer is going to be turned off. Only there for me to, on the first look, be able to look at, oh, here they are. Perfect. Those are the piece that I need. Right? And actually more than that, I need to have one there and need those one. And that one. And I can as o, but that is one. So I look at all of that stuff. I'm like, Okay, perfect. Now I know exactly where I need to pass my metal ring. So I am going to add another layer and I'm going to, again, not going to and reinvent the wheel. That's an advantage of suspension rates are always saves. You can find a lot of material online. You'll find a lot of sugar for free. You can find a bunch of them, I'm sorry, on civil society a little bit, but mostly on station and gum wrote it's where phi square fine. And by most of the one I have, so all the ones I create myself. But here when you do that and be like, you know, what are the black mask? No, I know exactly where I need to put you. On my breakfast, I'm going to put a stencil and I'm going to grab a ship triangle, perfect. Then I am going to rotate a shape. And now you're going to be the perfect little belt. The risk of any to make sure is to always create them at the same size. So I'm still going to be UV and everything and I'm going to present to you, I'm going to make a bigger brush. Number one. So what could have been a bit cleverer but cleavers, not in the sense where I'm a cooler. Put all those UV pieces together in one area. That's would have been a good ID. But now, why, why make it easy when I can make it complicated, right? And so later when I change the model for number one, it's not going to find the position of those red stuff to make them right. But I don't care cause I don't need them to be aerator. So matter of fact, I could even lose a layer right now. Those are just there for me to identify where I want to put my backup. As simple and easy as that. Two of those so that I can come here and be like, You know what, still Bayes. Maybe there's some height in there. There we go. So now I can kill layer that I don't need. And it's never going to be needed. Right? I mean, you can do it the way you want, but it's a good suggestion iFrame tool to be able to do that type of stuff. So now I'm going to go slowly on the character and do it, but it doesn't make sense from each record everything because you're not going to see any fixed spatial. I'm just going to tweak my Metteya or I'm going to add layer on top of layer. It's just that it's walking when I'm done with it extreme to show you the reprojection process to the next and our vector. And then we will move to the truck. 14. 14 Painting the Drivers Part : I am now done with my first pass on the texturing of the character. I probably spend like 45 minutes, 50 minutes Heights, just trying to fix all of my ARM, tweaking the value and playing with some ID. The fact now is this qubit of soulfully talk about, I want to decompose the material and talk a bit about how I did it. But before I do that, I want to show you exactly what I mean at the beginning with I'm not going to touch the 3D aria. Now the f is smaller. I can go to Edit Project configuration and go to Select. And I can get Driver F as an example because I'm pretty sure this one is very different. And open geometry. All my material for me to be a re-assign, everything is going to be fairly walking. So as you can see, my Metteya pain or calculated right now. Isi exactly. You look a bit crazy in the eyes, but there's going to be the visa on top anyway. Look a little bit crazy in the eyes, but it's not it's not a problem. And it is walking. So I still need to make it again just to generate a proper curvature. Because if I look at the back of the bag, sorry, we can see there is no bake that are going to correspond to amino fusion is kind of CRE there we have Host problem. Geometries are so big no-no, because all those aria should be wide and the darkness should be little bit ok year. But overall, I would want to Becky it again. It's what I'm going to do now. And we're going to see that the texture is going to perfectly sit and make meaning. In those 50 minutes that I did textual one. It's equivalent of texturing ten because they all look the same, right? They are all different, disseminating different courses. So now I'm going to go to my bank and takes you set sitting. And right now I'm baking at 4K with anti-aliasing, meaning going to even contract using 28 is to make sure and beg selected texture. It's fast, but I'm still going to pause the video because it's very easy to take like two minutes, I guess. So now that the baking process is done, we can look at a bit more in detail into what we have. It's cool here. So as you can see, I did a bunch of stuff around here. Realize my, my readily there could be some issue with the height map Bonnie to look inward well sub lane of the war. Let's see what, what I did. First. I did a bunch of dirt layer right here. Can turn this one off. And on the back, I have some gourd for the number. Can turn that off a little bit more time because we had four K. Obviously, there's a bunch of Logical that a bunch of sodium. We have like medium do you do we have 12312344 time 4K times five, it's over 24 k. Takes your order in Memorial right now. Then when this one is probably this one respond, CIA did not corvee swan. Then we are still stained. And so obviously the midtown bolster allies, red, which is just the ban on top, the letter for the inside of the helmet lag. So nothing is really changed compared to what I did before. But when are really DDS to go in and add a bunch of layer anymore. But more like roughness, you know, break the roughness and stuff like that. It is very important to do it, right? And I always add layer on top of layer on top of layer, talking of layers and what I did, let's look into the accurate. Let's turn off the texture to give. Now. Going to be good enough. And we're going to look at this teaching. I did not rely on any special tool like an anchor point or anything. I like to keep it as simple as possible when I don't have to make it complicated. And I think it's really the key of this video is keep it simple as much as you can. So let's look at our layoff stitching. We're going to add a new layer, make it white, and we're going to save at this layer, the height map is going to overwrite everything. Thank you. And then we're going to create another layer which is going to be read. And we're going to add a black mask and going to tell these pragmas that is a field. And it's worth become interesting is you search for stitch. And there is an ATI autos teach tool that is by default in substance, enter inequity though it's creating a lot of stitching for you around the uv. So now the path position, you want to play a bit with it to bring it as close as possible. In the stitch size, we're going to make them as small as possible like we do here is big it deep enough what you want to know, the width, making bigger and be able to see them better. And that is hostage laughter that you go in and you start to mask the one you don't need, let's put that one at 1.2.3.4. So if somebody found you want this teach there, then I'm going to add another mask, which is going to be a parent. And then I'm going to grab, and I mean, I should not do it in 3D space. But it gives you the idea, right? So you just leave it where you want it. This is for the stitch. Now, let's go back to our model. Move that. Turn everything on and go back to Altria realizes he, I don't know if it's part of my transfer process, but I think I need to go very quickly their brush, Look at my bowl, stylize and be like, you know what, I need to paint a little bit more. Yeah. Don't all see what will happen there in that area. Because my brush is not to UV and texture, no viewport texture. So now if I look at my brush him into not of you and we query the bottom will be a bit better. And I'm going to go to my render. Detroit's bodies crazy, crazy. I, it's not much of a problem because they are going to be under glass. But as you can see, this teach add a little bit of detail that is quite quick to do and nice. So now I have that model and do my render. And this is for the, the bank. I'm going to do exactly the same for the mechanism. I have two Pylot into my condition. I mean, I give you two parallel into mechanisation on mine and I'm going to fix it. You're like 12 of which I think or something like that because I have so many different poses that I want to keep. And for the final image, it's what I'm going to use. But for now, you can see everything is working fine. I can reproject. And now we are going to move to the truck and see how I approached the issue of texturing the truck. 15. 15 Truck Body Texturing : Okay. The time I've come to take the other truck, we're going to make a new project. We're going to tell you it's an OpenGL projective going to go with 248. For now, we're not going to use UV title workflow because on the character might, my plan was to have multiple character that have exactly the same UV and they did all have you retire what flow? It was fine. It did walk, but for the truck, I don't need all of that and I would like to keep my truck into multiple texture sit. You remember the ticks you said I've generated based on the metadata assignment in your 3D application, fuse my out wherever you put a blink header. It's going to be texture six. Okay? So I'm going to select piece of GEO, which is the truck. And yes, the truck you will have access to it. It's going to be bought of the available file for download or to unwrap. No, we don't want to ruin Rob. We are fine there. We looked at truck n. When the truck is going to be loaded, you're going to see there is a bunch of texture sets and roof recall or many of those ID. But I think it's something like eight different extra set, which is not that crazy after all. So the truck is here. And because I don't plan to reproject to another model and I'm going to keep walking most of her time in the treaty viewport. So what is my pen? Well, first before I do anything, any to beg my texture. And I'm going to do that right now. Take niche map, going to give him a 2K for now, remember we can always come back later. I'm still going to give it some anteriors. England may be sub-sampling two and BEC select texture. Now that the biggest don't look at all my texture settlers. And I can see I have bed by the engine glass entire or in bars, tire under buddy and where's the way I'm going to unfortunately, it's the same way as I approach every project. I'm going to first do a quick pass and just crop material on my object to define what colors, what type of material, more than certain aria. Let's start with the body as an example. And go to layer. And I'm going to create a Layer and I'm not going to name it for long into make it red. I'm doing now is to make folder drug but in the folder called the foreigner or great med schools out of the truck to be red. Now I can go to the folder, add black mask, and then basically just cropping the field tool and be in object mode, I can click the area that I want to have the bed. It is basically exactly the same stuff I was doing on the character before. Like the character before. I'm not going to run the video like step-by-step until the end. At some point, I'm going to stop the video and come back later when I would have everything in place and I'm going to talk a bit about it. They are obvious. Part of the trick that I'm going to share a bit more in detail like the tire, because it is a recurring question when people are like, I do util tires and rubber and I can show it to you, it's not a problem. So here we're going to go here to, as matter of fact, I'm going to isolate the body to see exactly what is part of a body. And a finger is good enough for now. And for that we are the bed. I'll actually make OS1 abrade. It only goes from, let's look at the bed. The bed, the beta will want it to be mostly metallic. And that's why I'm going to grab a pre-med meta already. Midtown. Remember you don't have to reinvent the wheels, right? There's no pride into doing everything by an imaging you on production. I would prefer you to spend the day to takes your trucked and to spend and using pre-made material that you modify, then to spend the animal a three day or 400 weeks. Just because you were too stubborn and you wanted to create everything from scratch. So that's how the bed, the bed and the body start to come together. Now if I look at the buddy, I would want to drag and drop those species. Still scratch submitter. And I'm going to add the folder actually, and I don't need a full causality of a fuller, But I'm going to add a black mask. And I'm going to add that here. I'd like to offer to Chrome if possible. I'm up to worry about the resolution right now because I can back again later with more resolution. Not a problem by itself. I'm going to go with that. Not even sure if it's going to be the final assignment, but it is a start. Because we have to start somewhere. Actually, let's do this one. And now he's gone. For phase one is this one is going to stay. So here, instead of going in and click, click, click, and we're going to do that. I'm going to do big selection. X2, Invert one to trade, to remove the one on the not want. That's what I mean with non-destructive, right? I just want to walk fast. So here we're good, we good, we good on this, we're good on that. Os1 puts one, we're probably going to make them read actually. Why not? So you can see we forgot some and we need to remove the methyl from their ice. For bug OS1. You see that's why I don't want to do a full recording of what I'm doing today on the trope because I am doing it as I go, right? And that takes some time on trial in Iraq. It's nice to see the process, but I might come back to those stuff later. So we could hear. Now for the glass, the glass are not going to worry at all about the glass. Lucas. A matter of fact, the class is going to be. Just two layers. And I'm going to explain why. Basically is going to be white. The top layer of the glass is going to be black. The is going to be nothing about heights, emission through a roughness, nothing. I keep aver Fink pure color. And the reason for that is that I'm not going to export a matter yeah. For the glass or multiple channel, I'm going to only export to black and white image, which is going to be a mass that I'm going to use a my render of choice to create a layer shedder. And here I'm going to say, where are we going to do? We are going to auto-generate tour is going to be some limit of dirt. Not too much. That's way too much. Something like like that. Just to say there is a little bit of dirt on the window. And that's good enough for now. And I'm going to keep going, keep going. So let's see if we can do something else relatively easily are under buddy. Interesting. What do we have on the other body? We have pumped that I will typically we want to be red. So that's what I'm going to go back to my my body. And I'm going to look again, I'm a red bet. I am not going to instantiate the folder because if I instantiate the full-on went to institute the mask, what I want to instantiate, it is bent. So, and I'm going to say instantiate across texture set. Or even better. I'm going to create a folder when to put the paint in there because if I did instantiate only the layer and I could not build layer upon layer upon layer for that matter. Yeah, because I did only instantiate one layer, but now if I instantiate a folder and I will have no issue to add another layer in there. What did that mean is that if I come in, create another layer with a black mask as an example, and then say our generator or the curvature as matter of fact. Then now I can play with all those values as why it is very important to not instantiate a folder with a mask orally or with a mascot. Okay. So now I'm going to come to to the under buddy. And my photo instance, none willing to cut that for instance, in a folder. And I can now put the mask on that folder at a white mask order black mascot at Black Mass, cuz I don't want to get that everywhere. Then I can come in and start the process of deciding what needs to be PET thing. It's so k like that. That should make sense at this point, right? If at any point you are lost in the video because of my accent, because I took too fast. Because you don't get it. By all means. Reach out to me by email and very easy to find online, just Google my name. Go two miles station funny on Facebook or wherever you want to do it. However, where we're just rushed up to me and I will try to so let's keep going. Going to add or at least number two, I'm going to remove loop from the bed, going to go to BS1, and again, create a folder, put it inside. Then I'm going to add a black masculine. I don't think that on the bed I want anything, right? But even though maybe now. So I think I'm going to keep going with assigning the material, the base material if you want all deciding what the base color. And then I'm going to come back after that. 16. 16 Truck Tires Texturing : Now that I did establish my my tail more or less before I go deeper and to do the tire, let's look a little bit. We're going to go to tyres and we're going to concentrate only on there for now. And we are going to say, we don't read too much for the big day or let's only one year from now. What do I know about tire? Well, generally they are black or very dark grey. We're going to start here. Then. We are going to not worry much about roughness or anything for now, just about coulomb. And we do another one. And that's one is going to be kind of bluish, maybe slightly push something like that. This one, the purpose is going to do only some slight color variation in the rubber. To go to our Qur'an base color perfect. Then went to give a term, a mascot. Surely, we're going to add black mask. We're going to add a field, and then we're going to use a noise. And then we're going to play a video for the noise. Something like that. Maybe the scaling could be maybe, let's see. Let's go to pronounce actually. Nice and what will introduce on top of that, we're going to give it a filter. And that filter is going to be a blower. And when to use the Arabic letter for the exhaust pipe. But for now, I think we start to get something interesting. And actually we might actually want to go in the base color and take it down here. Or if it's just like just to get something. So my next step is going to look at my reference. So I'm going to just take care of a roughness will face one. And that's going to be the generic freshness of the tires. Something roughly. They're now going to start thinking about what happened with the tyre gets used. Ten, the targets use, we're going to get brighter rubber. Then we're going to push the roughness. And then we're going to say, I'm going to add a black mask. And we're going to use a generator with curvature is time. Start to look interesting a bit too much obviously. But here that's thought to be something like so I'm going to come down intense against up to make that a bit darker because we don't want to measure it a refund, right? We want to keep everything kind of subtle. Another component from a tire is obviously the sidewalk. The inscription on the waterfall vis propose I did though not Cooper of resource that I found online. Just schoolgirls, sidewalk, tires are more texture and I found a coupon of those. Let's see, what do I have here? Sophomores, Adwan, and open and willing to make sure that those are registered as alpha. There could be texture with unimportant for the project trucked import. So I'm going to look at my height map. And if we look or UV will realize I have to tire right? I have the front tire and the rear tire, I guess it's what it is. We're going to figure it out as soon as we do something on this diode. They share the same UV space. Going to create a new layer. New layer is going to be only height. And by the way, I think I might want to come here. And just more roughness to get a nice variation between what is use and what is not useful. Nice. Now I come here and this one is going to be pantry year. How are we going to do it better or we don't look familiar the coloniser was there, right? I think in this case I'm going to do fill layer is going to be easier to deal with the inscription. And I'm going to drag and drop. Lets see what do we have this one? This one or this one? A finger. When to go with a mission in one mode, you drop it into the height, would have done a paints, right? I don't want to do about it. I just come to use planar projection again. And I'm going to look at where my propagation is. Bring it down. Is S1. Yes. Just to find the right orientation. Yes, we have it there. Perfect nights, just a question of scaling. And obviously we don't want to repeat n project outside hands-on. And we bring it down here and we scale down there. Nice. I'm going to move it like that until I find the right meant. So I could go in and obviously moved my tray projection setting. Especially my rotated to 9180 on this one. Because it's a perfect circle. You will want to keep everything. I'm going to move it in place. Seems to be about right over there. We said we don't want you to We want you to grow up. We want no deaf scaling, back face culling. Actually, we're going to face an issue in there. And it is that it's not a perfect imager, so you can see it. There must be some career information in there and get a frame that I don't like another program. I can still scale it and remove it, the mask actually, instead of trying to figure out why and how to fix it and everything, it's good enough. So for that one we're going to look at is, is one in which say you go to minus. Now we have the proper orientation on V sideway of a proper orientation tour. And as you can see, nothing on the back because the bacteria's vec1. Okay. Well, I'm going to concentrate only on the font dire. Next step is going to do a white mask. And Pentheus come in and erase the piece. Really whatever we are right now. Come back to my image and start to play with those fingers because the image is not perfectly black. So we could maybe have come here. And because it's a perfectly black, we could probably have done something like filter and then maybe 11. Actually, we don't know if we don't want to filter what we want to add level and not I saw go into admin much color, luminosity. Now I guess in this case, I will want to go in and just basically now, you know, instead of bending it, we can have. And it's what I said at the beginning of this video. There is one target that you want to reach in there is many way to achieve it right? Right now. Realise there's something funky with my image. What if I basically use it as a mask, right? So when we introduce some and a white mask on this one, I'm going to say you are fill layer. So let's kill it on here. So you are fill layer and I'm going to add a black mask. The mask is going to be a field. The fail is going to be a grayscale semi-major gain is one. The effect. And I'm going to say the field is actually we can open up projection or we could maybe just go with the UV protection interests. Kelly's might walk actually, you know what? Yeah, because my UV, That's why I can't just do that. Movie projection. And I'm going to say do not repeat until I find the right value. Something like that. Look about right. Maybe carried down a little bit more. A little bit. I can say there is no Corrada is only height. And that's what a walk. Too much. Retire. We can just add another masking, which is a field is going to be semi-major. Which he says I'm going to be a UV prediction that the not repeat. Then we're going to scale it and move it. Well, you need to be spraying some Coulombic here to see what we do. I see that I have a problem. See the retire is not a tire that I've uv, so I need to fix my UV basically, that's only way to do that because the rentier UV or see a tree, maybe I'm seeing something stupid. This one is that? Yes. Perfect. And it's only when you do something over a couple of days, you don't remember what you have done or could probably so glucose you do so much stuff. So like, you know, have been smart on BS1 and I did lay out my UV properly. Nice, might be tempted to leave the color information in there, but we do know that we are going to say no color for you. Okay. Good. And that gives us good bass on the tire. So next on the tyre would want another layer. Maybe we should actually this one not we find, we're going to add another layer and that layer is going to be not color. But another roughness. Shiny. This one is going to be metal h Where because it can be a nice controlled, nice as you can see exactly what I wanted to take it down. As nice. Pronounce this current. And then we're going to move the roughness. And the next step on the tire is to do a layer of dirt that is specific to the tyre is not the generic drug that I'm going to apply over the truck, but initially meant shoe lover. Ro component of that is very specific to the type of material. And I mean, when I say dot, I mean material degradation antenna. We can do the environment. So here I'm going to come and give it some rate for now just to see what we do, which are the black mask. And then we're going to very classic dirt first school starts. Let's contrast something like that. To go inside. Maybe. And then obviously we need to be super rough. So that's is the first pass on the tire. And up to whether it's your, that's look quickly. In array. It's going to start. Here, might die or stop to come together. Your member of say an IRA are ways to use bonafide shoe or something better because I've not been really calibrate it. And as you can see, the tire starts to have a very nice. So look into it. Now. Because the tire have nice and Christian, I'm very tempted to bring some of the Coulombic glitzy for what's going to give us, not this one, sorry. It's going to be this one. As a matter of fact, yes, I'm going to bring the Coulombic into live. It's here. Maybe something here. I will have to adjust for just anything. But I'm going to add another layer, another field. That fill layer is going to be only for the column. And it's going to be sometime of clock some type of cloud. And we're going to say maybe scanning can be a little bit, something like that. And it's going to be a multiply. Multiply. So nice, and then we take it down. And really nice. So that's what I'm going to keep working my material and I'm going to show you I do the exhaust pipe. No, I draw the curve of the cow basically the body the paints on the body with different layers. 17. 17 Truck Body Painting : Another question that can quite often a solder you do the campaign but they're well, relatively simple actually. Let's go to the body, let's look at the carpet. Bataille is go down here, red carpet. So carpet, want, is this red paint? And that Penn is kind of shiny. I start with some shiny paint because I'm going to assume the vehicle is freshly painted, it's new. And we spent I generally have some type of metal. So the metal under the pens, I could put punch it even more and maybe give it a quote, you know, like a what's called a primer. I could give it a primer coat, but another way to do it to them in just to keep it to be swayed when to do that bit darker. So and then we have the better parents need to have a layer may be of roughness, variation, subtle, super subtle. So I'm going to add a field. The field is going to be only for roughness. Then I'm going to come in and I'm going to say crunch. I'm going to get large. Yes, something like that should walk actually describe is one that actually look quite nice. We're going to go triple a projection. But then we're going to take it down to maybe 50%. Maybe going down. That is quite nice. So if we want to see what we have done here, we can see that you might want to rotate a little bit. And now we get that very subtle variation, right? So because it's a race car, we're going to assume there's some damage, then they write it's not super pristine, but we're going to keep it to a minimum. So go back to my red paint and I sit in my red pen, there was the metal. And I'm going to basically put the mask on VCE one, make sure it's a white mask. And I'm going to grab a generator willing to start classic mythos edge one edge where sorry, going to invert it. Way too much. We're living down. Then I'm going to add another field. I'm going to get grunge again, a current that is going to be contrast for something like that. And that grunge here we're going to see you multiply. Might want to invert it. And it's actually way too strong, actually is not on the core or that we want certain ticking down. Not a big fan of phase right now. Add another layer rush. And just basically what I'm doing is I'm removing as much as possible of the scratch if you want without removing some but not all of them? I would have to do that later on on the body, but on the other part. So we have quite good result here. What else can we do to the pens? I think we should try to do another layer for roughness. So which create another layer that is going to be no coulomb roughness. But this time we're going to control that with the mask, out, the black mask, the feel. And we're going to grab a Crunch again. This one or some water spoke. This one is nice. We're going to go Perfect. Ten, we're going to take it down a little bit. Maybe 15. Number there. Nice. Let's stop to take form, right. And that's all I built. My my pants right. Now. I would like to get some scratch. How do I do with Scratch? Two issue of two solutions. One is to use the tool. You go look tool and scratch Bush, perfect lecture is great. Brush it, doing everything you want and ego and you add your scratch. So matter of fact, I'm going to do a couple of question like that. Maybe close to them. We were there for them over there. And maybe they're now because I did instantiate my material. What I'm doing here is use this. I should not be betting. I can only use a procedural approach. And that's why I'm going to kill those one. And now I'm going to create a person Jerome scratch. So I'm going to grab a colorful now, not important. Let's make it yeah, let's make it white. We can see what we're doing. We need to add a black mask. And I'm going to grab a generator. And I'm going to use, we're going to use a mascot builder to kill the mosquitoes. And the mask builder. We are going to take the crunch down. And we're going to look at and look at the size and the amount of that trip. Not too much. Look ridiculous column. We are going to come again and again, is going to be n. We're going to multiply. And it's helpers to remove some of the scratch. Now OS crotch or procedure Island, they are properly propagated across all the institution material of the red paint. Ok, so that's what a pencil. And now I'm going to tweak it a little bit more, but the idea is there right after that I built up another layer of dirt. But I think for now I'm going to jump ahead to the next step. 18. 18 Truck Exhausts Texturing : The last of I'm going to show you on the Troika cell to get those nice burns. Martin, the X. Let's see. Those are not really burn mark. They actually metal oxidation, totemic oxidation is actually what they are called. So I'm going to create layer that is going to be a fee layer, it's going to be blue. It's going to be very metallic. Agree, nor roughness is going to be color n metal. And I'm going to duplicate this layer. This one's going to be more to what the purple maybe like that. And then another one. And this one is going to want the prom. Okay? So the idea is simple. Symbols, runoff is a black mask and I'm going to start painting so and along really clarify and make a nice paint. You know, let's isolate the engine heat and this heat that happen here and there. And then the heat is somewhere. So at the end of this pipe. Alright, so next I'm going to come in an effect or filter for the matter And I'm going to use a burn. So you have to be careful because if you recall that seems in the area it's going to play against you. And that's why we're going to remove them from the top and keep them early. That aria, the prime with the seam is coming from the blurb, right? Is because you have blurb. He there's a seam that blurs and going to work. So let's add another layer of blue V star matter black mask. We are going to bend the blue and the brown. Same story we come in, we under filter and a blower. And the last one is going to be a bit more. The purpose. And the purpose is going to come on below the blue because the property is going to go further short, but some Louie on top anyway, at some purple in there. And then again, the blur. And there you go. So the blue little bit there, stick that down is one. And this one down two. And as you can see, we get the nice oxidation is the way you do that. You want to look at some photo reference to get a bit idea of where the heat is going to propagate. For now. It's doing the trick. On the other side. You can see I can still paint even with the blurb, which is great actually, because it's exactly what you want. And you might have done it wrong because the oxidation of the Super Baby on top of a roughing. And that's where the, most of the heat is coming. And blue. Much better. Know that's the beauty of better is that you can always come back and just doing Urdu and redo because you do not lose your walk. So I said at the beginning it's all about non-destructive workflow. So let's see if we can push it a bit more purple. Paint, any blue there. Okay, let's look at what we have and that shoal closely Schumpeter about pipe. The nice discoloration or correlation, depending how far you want to look at it. Now this is for all i do my stuff in better. I'm going to show you two or three more stuff and then we're going to close this DVD. 19. 19 Truck Texturing Export : The last part and probably the most important is to export your extreme appropriately. So to export your picture, you go to export texture or control shift E. You choose an alphabet template, which depending on the Renu engineer, when you use, you're going to find one in substance better. But if for some reason you need to modify it, that's the most important aspect of it. I'm going to show you how to do it. For some reason you need to modify it. You go under upper template. It's always good to start with one that already exists, exempts PBM, eta, roughness and when to duplicate it. And I'm going to call it Mike. Just because I can purely 11 another mike here, which we're going to remove, forget Mike 90 to understand or Mike walk. So I have a bunch of texture that I don't need For now. We need to keep only 1 first, I'm going to think about what am I looking at? I'm looking at the last sign mesh, underscored the textures and the scope base corrode its min, that layer. Obvious texture that is going to export it is going to be the base current, the RGB plus alpha as an eight bit PNG. The last sign mesh Min, The name of the texture is going to be the name of the mesh. The last scientist you set the name of the texture set underscore based grow. Personally, I like to just remove the last side. So the parent is is that the last sign you deem is something that you want to keep if you're walking with you deem it's going to rename you, you didn't properly to be exported. Okay? So example, I want to export my height map. Map is going to be a grayscale map. I'm going to crop the height. And I went to drag-and-drop there. And I'm going to save from height. Now and when to copy the name here and give it the name that I want. So an example I want to explore my diffuser. So RGB probably diffuse, drop, striking drop from diffuse. Or you can also do RGB channel as we're going to walk. And I'm going to execute, the aim could be passed. And then I'm going to call that. Dijkstra said, I'm going to call that diffuse. If I don't plan to use you can just remove you them. Because I just want to walk with my extra Sidney. And then I can save it. Go back to sitting here. And I can export my texture. As simple as that. I will suggest that you just study Cooper of OS to see are there made. So when are we exploiting with PBM? It'll roughness. You can see we explored LGB plus alpha for the base color, grayscale chorus scale for the metallic and the roughness. Rgb, 16-bits for the normal grayscale again, but in 16-bit full height map, because it's IS weekend go over of perfectly good 32-bit sixteenths when they give me as a PNG file go with the Excel, I can go 32-bit and then immersive, okay. You export your fixture. This is the end of this video. Begin. I hope that you had fun watching it and I hope you learn a little bit of something. I hope I did not talk too fast. I hope makes sense. The not in dispose you. If you have any question which to me on Twitter, which to me on Facebook or send me an email complaint, same story, send me a complaint. I can read it and try to do better next time. If you have a problem with the asset or reach out to me and I can see what I can do has thank you very much. 20. 20 Part 1 Making The Cover Image: I'm up and make sure it is wrong even if it is not a riskier. So make, make sure that I turned my height fear to tangent space normal and embedded at a value of one. So let's draw the engine and ten. Let's do something quick after that with light. It's interesting to see that we are correct. So I'm going to go to again my object. Look at my my bed. No, I want my engine. Yes. I'm going to prompt the engine texture file again. And I'm going to use engineering best color, keep it on SRGB, has one we did only tree matter by the way, because there's no reason to do more than that. By now, you should know. And I'm the one that I don't know cause I always forget to turn it into a rich if material. So it's orbit again. And rich heat engine best coral here as such, if v, then we get down, then we look at the reflection roughness, cs. A matter of fact, there's only form up that you need to pluck nothing more. And there's a tool for that. I'm not going to advertise it right now cuz I did it all the time. We are going to go to, we were looking at the ancient sorry, I lost my train of thought. Trick and Jean base color and we were looking at the engine roughness and we make it rock was it's riskier. To gx. Met Janice methylate texture file. It's called the metallic texture from engine. Then wrong to Chris, Kim. Then you go down. And we wrote here, yes, we're perfect. And the last one is your bump map. And you're going to grab your face 2D texture file engine on a map. And we make it wrong. It's relatively easy to remember, right? If you don't want to deal with the Gris key, rock with it is the largest thing that there's only one that is SRGB and it's the color map, a racist all wrong. So, and so now I'm going to create a quick dominates. And I'm going to again assign Lybian on it. Just to look at my materiality and get a fitting if they are looking fine. So redshift, redshift frontal view. Going to bring that down, DO quick preview. Another way to look at SSL to crop your IB interests routed it, show you other light is traveling across your material. It's a very nice way to see what's going on. Most of the time, the mistake that people do, it's teed up into me sometime is to forget to turn something to wrong it see if I can show you what I mean with that. Hey, I'm going to move that. And generally it's the roughness that I forget or that people forget to turn to Raul. Let's go back to there and inscribed on the engine, right? So this one. So now if I go to my roughness and I turn it to SRGB, you see the difference in that arena, keep your eyes in that area. I'm going to put it on the way it should be. Ok. That's a very easy to forget. Even worse, is if I go to Maya and I say reload that image for whatever reason I just pointed to that image again. Then by default Maya go straight up to associative. So just be aware of that. Okay. That's for the truck into the race of machinery. And I moved into my Somebody sing, which I'm going to do now. The next step I did was to model a quick set right? And texture. Texture in the same way as any texture, the truck or the character, except that I didn't export texture up to 8K of resolution, most of them out for K, but for the ground surface is probably around eight K. So I mean, it's all our own, it's actually 8K. The next idea is to bring the donate. Something that we'd like to point is that I did not import the object, reference them, file reference any term which is here, I'm losing it every time references the torque perfect, which allow me to individually bring each pieces. What it allowed me to do is to turn them on and off on a need basis. And it's also allow me to go back to the original scene and just walk in there with a lot of, a lot less polygon and lot more free down because there is not 20 thousand night in, what do I know many million of a polygon tool. It's not only to work quickly. I'm not going to go through all the process toward the final image. I'm going to show you the individual components. And then in the intro, obviously I would have the final image. But here I'm going to show you all those step first and you bring the geometry of the truck and the return into the next, I'm just going to run an IPO. And looking at it, I'm like, well, that's not perfect, but it's already there in the sense that it tells me where I want to go. Next off, I DO generate 0s. I stopped my lookup table processing my LUT. So. Then I do also some photographic, photographic exposure. Why a prey with the intensity of my film speed, ISO or whatever. And then I will let her to own the book K and the straight when I start to have light in there. But as you can see, it stopped to look quite interesting. And pronoun we intuitively there. The next time I'm going to do it because I know it off molten environment, I'm going to turn it off. So I go to my DOM lights and I say, I don't want to see my background. And I don't want to have a black background neither. But I'm going to play a bit with volumetric. The next step I want to do is to go into my render sitting here and turn on my photometric, my room scheduling. But before I do that, I want to turn on my like my light. So I have what I call the bridge light. Light here. I have what we call the Lampedusa. Probably the street lights turn on. And I have a bunch of other like C or he and his view port. I have an aria light here. Hurry and get more likes. And let's see if we sketch a little bit more. Not too much. We don't want it to be bright enough my portfolio. But the portal DO it's just allowed me to intensify the light from the dominate the dome light is currently there to just give a little bit of flight, but also to give me something to reflect ice into laugh to other rights that are basically my feeling, my key light, field n rim light actually in that case. So all those lights off, the feature turned on to create voltammetry. Like basically they contribute to the volumetric. So now I'm going to turn on the volumetric and you're going to see what I mean with that, which you've reached your frontal view. Where's my metric here? Under sitting? And I'm going to turn it on, not the bookkeeping. That's for later. And it was the swan. So I'm going to say enable. Now already as you can see, we get a lot of stuff happening. We get the gloomy trig form, each one of those light. Let's go. Okay, it's still not perfect, but it takes me rushing the iteration where i want to go. I'm going to turn on my depth of field. I'm going to focus on the dude integrated those thing over the noises are not turn on but not. Now. As that is happening, I'm still going to make my render better. Next, I'm going to turn on my GI and actually go with portfolios for both. And not going to deal with my simply a cool do it. But why? Redshift of an experimental option which is enable automatic sibling. And it's working quite nicely in the case of a scene. And I'm also going to enable it optics RT because I can have supported GPU. So ever updates GPU basically. After looking at all of that, I'm going to look at why not turn on big strike, who? That's already more interesting. Mi, boom. So now as you can see a kin, a bit with a streak. All of that is just post-processing, right? I'm doing it here, but you could do it anywhere you want. You can do it in Photoshop. That's not a problem. So now I'm going to do a quick render to see what is it looking like. And as you can see, the renderer is growing quite fast. Maybe my resolution compared with higher, but for now, just to run a test, it's good enough. I'll have more light actually. Let's see. I have the light for the truck. Those are important to them on. Great. And as you can see, I'm very close to my final image. Just for fun, I'm going to show you what the next step is, which is basically to bring all those character in when all those character in there. This is what I did show all. And it's too quick IP again. Now it's going to cry a little bit because it's a lot of memory to use. But it should not be much of a problem. So you're gonna solve a problem for texture mechano, a heatmap, you deem OK. You see that's basically me. I forgot on that one to specify. You deem, meaning it's crying about the five that it's not finding the resource. That's one way to take care of that. But for now, just see what it do. I'm translating the mesh and sticking more time not to render, no time to load all of that into GPU. Because I'm loading a lot of polygon. I'm going to show you the stat litter is for a free two gig of text2 for everything. And a lot, and a lot and a lot of pretty cool. So it's dealer proprietary tracing hierarchy for mesh. You guys should have probably 45 character, maybe winning. It should not be that much of a deal that will intimidating cook a little bit. And as you can see, there's quite a lot of people running around, right? The rendering is still very fast at fundamental resolution number around eight minutes in 67. I'm going to be little bit higher today cause I'm going to write out iron even higher resolution in 2600 time 2 thousand, which is this tunnel religion that I use most of the time, might push it to trick here we're going to see. But anyway, now you get an ID. It's like all those little dude up there. And now I'm going to do a coupon of frame where I'm going to post them in, make them look like a little more delicate. Okay? So that's all I generate. By the way, you see that's the secret to everything is empty behind. That's how I generate my render for, for this project. And now I'm going to go back and just look into or to create the final image bug. The id is there, you import your object or your reference them, it's actually much better. They are vertex, you're assigned to them. You start to play with your lighting and you do something that's, I think for the final project, I'm probably going to some smoke in there that I'm going to moderate ZBrush just to keep the model kit effect in ASL because I don't want to go to a chapter about up to do a volumetric maybe one day down the line of miter volumetric burnout with a truck but phenomenon to use some stuff. I'm also going to give you access to the smoke object just for fun. Cool. Then I think we're good on that. And I'm going to move now to the renewal of my own. 21. 21 Part 2 Making The Cover Image: We're not going to look at the preparation and the rendering of the final image. I recall that I did a merger points again and again about non-destructive workflow and how important it is to walk in a way that allow you to change stuff on the fly. So true, those video you saw me do with the truck and read and do a couple of detail there and they're so at the end of the video actually went back and I decided, no, I'm going to draw most of it away and push my material and what father, but as a chancellor colo and change a lot of stuff. And that's a testament to the fact that I would walk in a non-destructive workflow. It's not about the fact that I spent a date string a truck and I'm like, I don't want to touch it anymore because it is so quick and because it is non-destructive, I'm not afraid to go back in and change a lot of stuff to go. That's where the truck is now looking at a bit different than what you saw in the video. So I'm going to first, before I do anything you see here. I see I depend a little bit of blue, meaning on the engine, perfect. I'm going to go through the engine and I'm going to isolate. And then I'm going to figure out where the bluest coming form from the crumb. Nope. Painted metal read No, no, no. You see those one? It's coming from this one. Perfect. And then I'm going to put my brush and just erase year and eras, they're done. So now I can go to my texture export file, export texture. I'm going to use the PBL metallic roughness template because that's the one that worked perfectly for my need since I'm going to render and reshift template. And I see that here. I'm missing a lot of stuff. So that's why it CPM Itala roughness to we have everything we need. Mec if we don't really need, but we're going to explore the direct mapped we don't infer now normal metallic roughness base64. Ok, perfect. So sitting I pointed to a finite folder, PBM metallic roughness, going to go 16-bit. Why not? And he's on each texture set size export. Before going into minor and stop redshift sitting. I'm going to go into painter and I'm going to import Open Select. We're going to open driver C, because the sitting of the driver sees quite different. So fine. Recent file drivers. The main difference between the driver and the truck lay in the fact that we're using UV tiles or Udemy prefer, right? The truck was, each texture set was in the 0 to one YUV space. Each texture set was name base of whatever the Madame was or the part of the truck example. The engine was mostly the engine, the tire worldviews, ie, the tire of the wheels were part of the wheel and the suspension. The big difference here is that we have one driver that I've multiple material. But there's only one material or want extra set if you want in better in that texture cities using UTM setup. And so when I'm going to export my texture, export texture, and need to make sure first that I'm pointing to the finer folder driver texture drivers for now traversed the funnel select. And I'm as all that I'm using the proper output templates. In my case I'm using but one that I created and quoting Bob because I wanted to call it bugged. You can call it whatever you want. But what is happening in the output template is that I'm exporting the height of the normal metallic roughness, the base color and the dollar sign Give me texture set name, dash, bash color. Basically it's going to be driver dashed c underscore based column. But very important is that's trainer. Parent is, is dot, dot last sign you deem and need those information for my idols information are going to be 100140211002 for one to two and so on and so on. So now if I export my texture, I can turn after that, just go in Maya and important FBX of the driver. In Maya, I'm bringing death picks. I'm going to assign a should own it for, I'm going to assign a name that I'm going to come in and transforming to a Ritchie. Plenty, OK. That's a good start and when to give it some roughness and a bit just to get something in a little bit of color first. So just want to see what I'm doing. And the first thing I'm going to do is create a dominate. And I'm going to assign an IBM. I don't write set h. I am going to grab not very important what I'm going to draw as matter of fact, but are really like my Pepper meal that you have access to the webpage from crystalline broth, Amoebozoa, teacher fingers whoever Cooper of video nine. And he did create hortus HDI. So perfect. Now I'm going to do quick richer front of you to get me an ID to about what I'm rendering. So the light is, I've nothing to do with a flat project. The light is just for me to see if my text you are behaving the way I want them to be. If so, next up I'm going to do is to assign another shadow just for the visa. Only to make a glass and when Jewish chimp a color here and make it something greenish, green, Something like that. Surely. Just like that. Perfect. Now it's where it stopped to be interesting, I'm looking at lemma tail on one and we call that driver seat for the color. I'm going to go crop. Mmh. I'm going to point to Dropbox. Folder. Might texture my driver and my driver see my finite admixture. Driver. Driver C final. And I'm we drop the colo. Okay. When to leave it on SRGB. But as you can see, something is completely all over the place. And my shoulders completely wrong. It's weird, right? Because I have uv. By going to my UV. And I look at all of that. My UV up right place. But for some reason I'm only displaying textual one. The reason for that is because we need to go in and tell Maya what type of UV telling mode we are using. In this case, we are going to use UTM. And we're going to generate a preview. Here you can see for ty found there's no image here. Generate preview. Now we are going to see it in OpenGL and we see it in the renew of you. Let's see if we can make the renderer bit bigger. Perfect. So the base color stay SRGB. We need to turn on the UV tile mode to be married for UDL, which you prefer. And it's unimportant, but the preview, you don't have to do it. So we go down and now we look at roughness. And because we have, we, I'm redshift is Cooper of stuff we need to do first for the roughness and need to load the image in. And I'm going to grow up and roughness. I'm going to tell it to use the UV tile mode. You dim. But very important, I need to tell it to use Ra because it's a grayscale. Grayscale wrong. It is along. The next I'm going to change my BGF because UG exits the closer swarm to better. And I'd like to have consistent result. Now, the prime and I have, I have a metallic texture, but there's no metallic slot to open the metallic sought to develop, to grow that. I'm going to say friend and type. I wanted to use mittens. I don't touch the reflectivity but any two change the metal unless if I put it at one, that's what happened obviously is not what we want. We want to drop a texture in there. Fine. Rabbit is going to drop the metallic. We are going to make it. You deem We are going to tell it to be wrong. As you can see now, limitedness is walking. The next step is to look at my overall and I want to drop my Naaman MIP. It's going to be a bit confusing because it's called bump map. And it's even more confusing because right now we're going to add a bump note, which I could do former chief, right? I can go and shudder and search for a bump node or reshift, not my node. I'm just going to drop the 2D texture. Redshift is automatically going to assign the node in between. So just be aware that it's by default going to be a right fit and we want a tangent space normal. So, and I'm going to put in at one electrode, keep it straight. Then we go down the image name, wheat crop. I ever see you retelling mode you them. And we make it SRGB goes, it's Lamar map, we need the full range. So now I have my little texture. I need to do it eight mod seven more time for the rest of the character. You guys don't, probably don't have access to all the character, but you should have at least four of them. So when that's done, I'm going to kill me. Don't like I don't need it anymore. Cause I'm going to save this file and I'm going to reference it in what I call in assembly file. Okay. If then my dude don't normally to move to the truck. For the truck, the setup is going to be very similar to the character. The only main difference is that we do not use UDP. We use separate Metteya which takes just sets. So let's go to the body of the truck. All right. Now let's see what do we have? We'll say the bed nets to the body. And I'm going to turn the body of the truck into a redshift material. Then I'm going to go rob colo diffuse. I'm going to grab the fixture. And I'm going to go to my textual truck funnel body-based color. I'm going to open it and retrieve it us SRGB. Then I'm going to go down to my reflection, roughness. And I'm going to crop my roughness texture. Being a riskier texture, We'll make sure it's wrong. I'm going to turn big min Cook tourists in the GG x. I'm going to allow me to have a meta slot. I'm going to look at my mutinous slot and I'm going to drop my metallic texture. Body. Metallic. I'm going to make it again. I'm going to make it RAW since it's a coarse scale. And it's the law, it's wrong. And it has for the bump map, I'm going to break the law and I'm going to make care normal map. That is actually going to be or even if it's not regress kill. So and it's Autolite field is attention space no matter I'm 21. And already there, it's done. So I'm going to do one or two moment AR again is just to drive it home, right? It's easy, it's simple, but come to redshift, super-easy. So pick here, look maybe at abouts under buddy. Let's go again. File base, Koran, livid on SRGB. Good, down to a tuning. We wanted to be a redshift. Metadata is important. So fire. And there buddy. I'm going to say it's not raw. You leave it on SRGB than I am which come down, remove the GG budget on eugenics. Look at my roughness and going to put my roughness map in there. And their body, which is here. And look at my roughness and it's riskier Is going to be wrong. So then I'm going to come down to Iowa and replace it with metal. Needs to be able to plug my metallic texture in there. Under body metallic. And it's a grayscale will make it wrong. And the last one is going to be my bottom-up under overwhelm. And I'm going to say that my roadmap is going to be a file which is pointing to.