Retro Robot 2/3: Baking and Texturing in Substance Painter | Daniel Kim | Skillshare

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Retro Robot 2/3: Baking and Texturing in Substance Painter

teacher avatar Daniel Kim, 3D Artist and Designer

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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

19 Lessons (2h 40m)
    • 1. Introduction and Series Overview

    • 2. Lesson 1 Baking High to Low

    • 3. Lesson 2 Setting Primary Materials

    • 4. Lesson 3 Setting Secondary Materials

    • 5. Lesson 4 Adjusting Base Materials

    • 6. Lesson 5 Height Painting the Head Pt

    • 7. Lesson 6 Height Painting the Head Pt

    • 8. Lesson 7 Height Painting the Head Pt

    • 9. Lesson 8 Height Painting the Torso Pt

    • 10. Lesson 9 Height Painting the Torso Pt

    • 11. Lesson 10 Height Patterns for Limbs

    • 12. Lesson 11 Height Painting the Hands and Feet

    • 13. Lesson 12 Applying AO on the Head

    • 14. Lesson 13 Applying AO on the Limbs

    • 15. Lesson 14 Painting Emissive Eyes

    • 16. Lesson 15 Stamping Decals

    • 17. Lesson 16 Procedural Weathering Effects

    • 18. Lesson 17 Painting In Scratches

    • 19. Lesson 18 Painting Additional Grunge and Exporting

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About This Class

When it comes to most 3D art, it all begins with a piece of concept art. Something you drew up yourself, a piece of art you found online, or perhaps one given to you at work.

In this series of classes, we'll be starting with a simple shaded drawing of a retro sci-fi themed robot. With the concept art at hand, you'll begin interpreting and translating it to 3D as faithfully as you can. Then add additional details to fill in the gaps left by the concept art.


Choose your own materials and colors, decals and weathering effects to bring the 3D art closer to life. Hook it up to a simple rig and give a dramatic pose, then top it off with equality dramatic lighting. Finally, render out the final image.


By the end of this project, you'll have brought a flat 2D concept art to life as a fully realized 3D art.

In order to help you accomplish all of that, this series of classes will guide you through the following major steps:

  • Modeling hard surface character from concept art

  • Converting low poly mesh to high poly mesh

  • Baking high poly mesh to low poly mesh

  • Photoreal texturing of hard surface character

  • Rigging and setting up a dynamic character pose

  • Cinematic photo studio lighting and rendering

The tools we'll be using are:

  • Blender 2.9

  • Substance Painter

A summary of the skills you'll end up with after finishing the series:

  • Ability to translate concept art to 3D

  • Knowledge of photoreal texturing techniques

  • How to pose and light characters for beautiful renders

Meet Your Teacher

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Daniel Kim

3D Artist and Designer


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1. Introduction and Series Overview: Hi, I'm Daniel Kim, and together we're going to learn about how to create this retro robot character. Starting from this piece of concept art, I'll start off by creating the low poly model in Blender. Then we're going to convert that low quality model into a high polygon version. And that's going to come in handy later when we're texturing. So we can break down all those nice edge details. And this texture painting worse will be done inside of Substance Painter. Afterwards, we bring it back into Blender where we can set up a simple rig and pose the character for some nice renders. And this is the final result. Right? Let's get started. 2. Lesson 1 Baking High to Low: Okay, here we are inside of substance painter. The window is empty because we haven't loaded any 3D models yet. So let's go to File New. The most important thing to set up years of file that we're going to work on. So let's select virtual robot low. And don't forget to check on auto unwrap because we haven't finished unwrapping the UVs. All we did was Mark the seams. We click the Options button. You'll see that. Next is seems, says generate only missing data. The seams data is there. But UVA islands, we haven't set up, so let's set that or leave it set to recompute all. Okay? Okay. And painters going to take a moment to think as it automatically unwraps the UVs. Let's hit the shortcut for 2D view, which is F3, and take a look at how the unwrap has turned out. And as far as I can tell from the window here, looks like it unwrapped, just fine. Nothing strange or odd looking. So that part looks good. And you can just imagine had we manually unwrapped everything that that would have taken a little extra time. Of course. As far as like making the UV layout super nice and tightly packed, nothing is going to be doing that by hand. But as you can see, the auto unwrap feature in substance painters, pretty powerful and I like to use it a lot personally. Let's see. Right? So before we begin painting, first thing we want to get out of the way is baking the high poly onto this low poly version you see in the window. And we're gonna do that by heading over to the right here. Could the texture set Settings tab, scroll down a bit and then look for this button bake mesh maps. Go ahead and click that. And in right here next to high-definition meshes, we're going to pick richer robot high because that is our high poly mesh. And just for this first bake attempt, we can keep all the settings low. Just to make sure things look all right before we commit to a higher resolution, which will take a little longer. So let's go ahead and hit Make selected texture. And this is just a little test run C. Check for any errors. So let's rotate around a bit. Take a look at the model, and as far as I can tell, everything looks just fine. So let's go back to AIG mesh maps and commit to higher resolution. Bake. A couple of settings we want to change. If you scroll down right here, it says next to match, we want to switch this to buy mesh name instead of always. And what that will do is look at the object names. Look for the ones that have underscore low and underscore high and match them with each other in the baking process. And so that's why having that naming convention down earlier back in blender was so important because that's what painter picks up on. Now the other thing, let's hit the ambient occlusion tab on the left here. And next to self, self occlusion. Let's switch this over to only same mesh name as well. And the reason for that is this robot has some moving parts that will move independently from each other. And we don't want to have ambient occlusion influences from one dynamic object to another. Because it might look nice while it's in its default pose. But as soon as you animate the character, you may have immune exclusion in areas where they shouldn't be. And we need to go through and do the same for curvature and the same for thickness. Okay? Now let's hit they selected textures once again. All right, it's all finished baking. Let's examine the model real quick to make sure the bake turned out all right. You can hold down Shift and drag right mouse button to shift the angle of the sunlight. Yet and it looks like the ended up with a very clean bake all around me. I have to do a little clean up there later, but it's very minor artifact thing. Yeah, everything looks pretty nice. So that takes care of baking. 3. Lesson 2 Setting Primary Materials: Okay, I'm going to lay down some base materials. And I'd like to start with the materials inside of the smart materials shelf. And you can see we have an array of options. I know that most of the robot is, if not all of it is made out of metals. So going to whittle down our options by typing in metal in the search. And now we're presented with a more focused set of options. Let me go ahead and maybe start with this one. I'm going to drag the shelf window down so we can see more of the model. And that looks pretty cool. I think. We may be able to use that. The Leicester on a few others just to experiment. See how this one looks. I like this one too. All right, let's try another one. So these different steel smart materials are pretty similar to one another with some subtle differences. Like this one the best. And let's pick out a couple of painted metals and see how those look. Kinda cool. Let's try this one. Maybe a little too worn down to painted. This one might be. All right. Let me try this one. Okay. So I think most of these are not going to work. These now these last two didn't like first one I didn't like. I think I think I have some use for this silver armor smart material. But of course, I already know. I said it. I said at the beginning that most of the robot is obviously metal, but there are some parts of the robot that are obviously not like the Lynn's. I imagine them to be made of a rubber material. So let's do a search for rubber under the same shelf. And now we have a bunch of options for rubber materials. Maybe let's throw this one on. This one. For a plastic rubber hybrid. And just as an experiment, see how the plastic glossy looks. I think plastic rubber might be the best option. So I'm going to delete these other ones, these other rubber materials. And let's mask the plastic rubber material by right-clicking and adding a black mask. Black will hide the material. A white mask would make the whole material opaque. But we want to start with a black mask in, slowly add in the parts that we want to display the rubber material. And my from my favorite tools on the left here is, is the polygon fill tool, where you have a bunch of different options, different, different modes of the fill tool. In this case, I'm going to use the mesh fill mode and select these pieces. It's kind of intuitive, right? I know that this whole object here, here and here, I want to select for the mask. If you just wanted to select an individual face, she chooses an individual triangles, you choose this and maybe it's easier to select by UV chunk. Definitely use at every known. Then. Now here's a case where I have rubber material on parts of the model that I don't want it on, like this rim here by the wrist. So that would be a good opportunity to use the polygon fill. And notice this slider is set to one, meaning the selection will be painted as white. For this mask on a slide it all the way down to 0 or black, and select the rim here. And then I need to bring back these surfaces. So let me set this slider back to one and then just select those surfaces. We're gonna do the same thing here. Notice your marquee selection chooses, selects all the faces behind it to bring this backup, select the part that we want. And let's unhide the silver armor from before. And now very quickly. Just by basically dragging and dropping and utilizing the existing library of materials. We can quickly use these as a jumping off point and cover up our character very quickly. And now we get a sense of the direction that we're going to go with the texturing. 4. Lesson 3 Setting Secondary Materials: I want to introduce more materials for different parts of the robot. I think I definitely think the trim materials should be a different a different kind of metal from the the sort of large surfaces. And we could always change our minds later. But right now I'm thinking of a sort of bronze type of mineral material. And just so happens that bronze is up on the very top row of choices here. So I'm going to click and drag that onto our model. And just like before, I'm going to add a black mask to that material and select parts of the model where I want that bronze whoops, to be applied. And let's see if see, here's a good use case for using the UV chunk film mode of polygon fill tool. When I selected the shoulder with the mesh film mode, it just colored in the entire shoulder because these two are, are actually that this whole set of shapes here are our one object. But I know that they're separated into separate UV islands. So now I can make this lecture is I want more easily in the UV chunk of fill mode. So let's go through and select the rest of the US trim pieces. All right. I believe that's all of them. Okay, cool. And now we're starting to get interesting separation of different materials coming together. Yeah. And I think I think we want something different for the clause and the feet as well. So let's pick something out for those parts right now. And thinking, Let's try plastic. Let's just drag and drop a couple of these plastic materials and see how they look. So that looks interesting. This is probably to Matt, too, worn down. The reason I'm unchecking the visibility options for these these layers beneath the plastic. Oftentimes, the height map or bump map information from other smart materials could still float up to the top. There's an example of that later i'll, I'll point it out again. But that is something to be mindful of. So I'm going to try just a couple of more plastic materials. And eventually I will settle on one. Actually. Okay, I like these last two. And I'm thinking red might be good for the clause. Need to bump down the level of dirt and maybe change the color to something like so. So that could work. Let's set that aside for now. And let me see how this looks. Kind of like this to see, let's compare the two. So personally I think the edge where on this one is a bit strong. I like the glossiness of the one we got here. And in fact, I do want to add a little bit of dust in an age where by we can add that later. Let's stick with this for now. We can get rid of all these other plastic materials. Just like before, we're going to add a black mask and select should be easy enough to select by objects. And I think we can do the same for the feet. It's kind of interesting. Let's go back to the plastic rubber material and apply it to the soles of the feet. I imagine that should be sort of a plastic key, rubbery material, since it's in contact with the ground, will have to play around with the colors here. Right now, I'm thinking the rubber materials too dark. The red may or may not work map to switch that out with something else, something maybe more neutral. And then I also think that the metal surface is too shiny. I want it to be more matte. So we have a handful of materials applied to our character. Now's a good time to go through each of these, make some adjustments. And the last thing you wanna do is leave your smart materials as they are just out of the box. Once you lay them down like this, you definitely want to go through and modify them and tweak them to match your artistic intent. So we'll do that next. 5. Lesson 4 Adjusting Base Materials: Last time we left off, we simply had a bunch of smart materials sat on our robot and we really didn't do much in the way of adjustments to those materials that we just pulled out of the shelf here at the bottom. So we're gonna go through each of these one-by-one and make some adjustments so that the color, the tone, the level of shine, all of those different attributes are more in line with what I had in mind. All right. We can start with the plastic rubber material right off the bat. I know that. What I seen this screen is a little too dark. I want to bring up that color a tad like so. And looking at the shiny metallic surface, I want to make the shine more dull, not quite as reflective. So I'm going to go inside the silver armor smart material, and inside that folder is is a bunch of other layers. I know that this base layer is going to be responsible for the underlying metal material. So with that selected, I look for the metallic slider under the Properties window. Sorry, the roughest slider and I've bumped it up. Move this over to the right where it's going to make it less shiny, more dull. Okay, moving on. I want to do make the same, similar kind of adjustment for the bronze metallic surface. So again, found the bronze armor smart material folder, scroll down, find the base metal layer. That's driving that most of the look of this material and make some changes to the roughness slider here. Make it not quite as shiny as it was. Okay, now let's go inside the plastic smart material folder and do something about this red. It's a bit a too bright red for my tastes. I want to kind of tone it down towards something less, less of a highlight and a little more neutral. And this is looking much better already much closer to what I had in mind when I selected those materials and drag it onto our robot. And let's play around with the direction of the light to make sure we're happy with it. 6. Lesson 5 Height Painting the Head Pt: And make a new layer on top of everything. And let's call this the height paint layer. Okay, and i'm, I'm gonna go ahead and start painting in some details that we haven't modeled into our character. Do refer to if, if you're not familiar with Substance Painter, do go ahead and refer to the PDF download rule, downloadable PDF that I will have available for you where you can reference various shortcuts for navigating Substance Painter. But right now I'm holding down Shift and dragging the mouse as I hold the right mouse button to adjust the size of this brush and then do the same thing but moving the mouse up and down. So control right mouse button. Drag the mouse up and down, feathers the brush or hardens it. And then moving the mouse sideways while holding down the same buttons that increases and decreases the size of the brush. So I want to keep that sharp and I wanna keep it small. And here's a relatively new feature in substance painter, which allows you to mask your model based on the geometry. So let me go ahead and show you how to use that. I'm going to right-click on this square to the right of the layer, exclude all. And now I get to start from scratch as far as selecting what parts of the object that this layer is going to affect. So once you've finished with your selection, you can click on the Layer icon to the left of the layer name. And once you make that selection, here, you can toggle this button on the top of the UI that will hide the rest of the geometry that you have not included in this geometry selection. Okay, So this is going to allow us to just focus on doing paint work on the head without accidentally making any brush marks on, on the other parts of the robot. So starting from the top of the concept art, I see a seam line across the forehead. So for that, let me turn on the symmetry button along the top. And that'll make it so that wherever brushstrokes I make on this side, it's going to repeat it exactly the same on the other. Right. So I just have to worry about drawing that line on half of the forehead. Okay, one other thing, before we actually get started, while the height paint layer is selected, Let's look at the Properties window and scroll down a bit to find the materials section, where we get to select what maps are, what channels the layer is going to affect. And in our case, all I wanna do is paint in the height. So I just unclicked, unselected all the rest of these apps. And then down the bottom here, you get to select our height value. I'm going to drag it all the way to the left to negative one. And that's going to create the impression that whatever, wherever we redraw a line, it's going to appear depressed into the surface, which is what we want. So let's start somewhere around here. And I want to draw a relatively straight line. So I'm holding down shift as I drag the cursor across the top. And so there's my seam line. Although I think it's too far along the top. Let me start over around here. C. Yeah, that looks a lot better. That's kinda where I want it. One problem here, I painted a little bit into the ER object here. So one way to deal with that, actually, I think the cleanest way to deal with that is let's create a mask. Add a white mask, and select this mask icon. We're going to click on the polygon, fill, drag this value all the way to black. The reason why I chose add white mass instead of black, because white women make Everything on this layer, opaque and black is what erases it. So I want to start out with white and then chip away at the parts where I don't want this layer to appear, which is this ear object. So with the polygon fill, I'm going to select this face. Notice I have the polygon fill face mode, right? The ones still left our triangle fill onto the right is object Fill, UV chunk, Phil, I think that's pretty self-explanatory. I just need to mask out this particular face. Kn because we have the symmetry on it already went ahead and mask the other side of the ear. So that takes care of that. Now, let's click on the actual paint layer once again. And this time I want to draw in the mouth using similar technique to how we drew that. Right around there. Yeah. Actually, it's a little bit of trial and error. Kind of good feeling about this one though. Yeah, I think that's good enough right there. And then this needs to terminate somehow. So I think as the Eraser button by the way, I want to cut the line short right there and then let's terminate it towards the neck. And in fact, I want to depress the rest of this area using the area we, we drew as a outline. This is just kinda coloring the rest of it. And notice some painting errors being projected towards the back of the head. We'll deal with that in a second. We can set this height value, the paintbrush bat value to the height of 0. To negate all this stuff in the back. Okay, let's continue on. We've got these little marks near the mouth. We can size up, scale up the brush to pin the eye. Maybe bring them closer else. All right. 7. Lesson 6 Height Painting the Head Pt: Okay, I want to create a new layer to add some some additional details. The reason for that, instead of keeping it all in one layer, I just want to leave what we already have clean. Because the stuff we're about to paint now, it may kind of intersect with what we've already painted so far and keep it set for it in case we didn't make more changes down the line, you know, just kind of keep things flexible for change by keeping layers separate where it makes sense. So I can call this height paint too. And here I'm going to paint in some eyelids. Actually. Let me bump this up back to 0. And a pain in eyelids as seen on the oil. Maybe I need a bump this up to one. Yeah, there we go. Bump it up to one and painted the eyelids as shown in the concept art. And then actually I just got idea of doing it this way. It's could be better if we just start off with the circle and then delete, or rather kinda 0 out. Yeah, there we go. I think this will give us much cleaner results. Then what we are trying to earlier. And in fact, I think I'm going to use, make use of the masking tool again, just to leave it more flexible once it in case we want to change the sort of expression in the eyes. So I'm going to use, instead of painting out the, I sort of slits directly on the height paint layer, I'm going to mask it out instead. So you see, if I paint in black. Areas in the mask. It's going to have the same effect, but be, but it'll be more flexible to changes and adjustments later on. All right. So I'm pretty happy with that. Let's use the same layer to bump this up to 10, same layer to draw in some grills. And that's what's going to make this mouth look more like a mouth. And for some reason, it appears there's something blocking me from painting here. And I'm not sure what it is. So to be fair, this geometry selection, geometry masking feature in Substance Painter is relatively new. So think we may be encountering a bug where it's not playing nice with the traditional masking tool. So by I think it's working now. So let's just try this again and again. Cut the paintbrush set to one. And I'm just going to drawing these grills. Like so as working fine now wasn't a minute ago. Okay. And then again, think we kid use the power of the masking tool to kinda clean up the excess. Here. All right, cool. Now there's some bolts here along the scene according to the concept. So let's quickly add those. We can on. I forgot to switch out of the mask mode, so you gotta select this icon on the layer and see what we need to do is first create sort of a an area where the Bolt can sit. So I'll just mark a spot there. Looking good. And then I'll on this second height paint layer, add that bolt, like so. And I'm going to add another little detail in that bowl, right? Turning into a little doughnut. Okay. Oh, something happened to our grill here. Yet, I think it's just a bug that comes from this being a new feature. But I'm glad that grill is still there. So as you can see, there's plenty you can do just inside of substance painter. Obviously, we could've spent a little more time inside of blender to model this all out. And I think that's definitely still a valid approach. It would definitely give you more control over your, over your surface details. And it probably gives you a better, higher quality result. But this is plenty good enough. And if you're on a timeline or you just Rather pump out these assets and not get hung up on the little details. For every little character. This would be a great way to finish assets quickly. 8. Lesson 7 Height Painting the Head Pt: I want to just add any more additional details that we can before moving on to the rest of the body. Now, all the details that you can observe on the concept art we've already painted in. But there's plenty of room to fill in some additional details with, even though I can't see it in the concept art. But first we should start by getting rid of these little dots. Okay? Like I have an idea for this year here. I think we could just go over something as simple as that. And maybe on the second layer, the second height paint layer. I'll add that. So that's I set the color to white all the way to one so it, so it pumps out. And then from there, I'm going to use the mask, set that to black to erase parts of that parts of what we just paint it in. All right, and now we have an interesting shape inside of what we painted in the first high paint layer. So as with most electronics, you're going to find seams along the surface where the product was put together in a factory. And we got one long large seam line here. But I don't think we have quite enough for this object to make sense. As far as like signs of manufacturer. So I'm going to take this line here and kind of bring it all the way up to here, finish it off by the ear, and create another seam along this line. So I got the first high-paid layer selected. I'm going to slide the height value all the way to negative 0. Keep my brush nice and small. And start here. Hold Shift. And then just click all the way to the ER. Let's see how that looks from the front. Okay, so the good thing is, our concept is still remains intact, right? Can't really see it from the front. So it's a possibility for this seem to live here. Now I want to start over and with a smaller brush. See, I squeezed it in. A little smaller. And try again. Okay. Cool. That looks good to me. I think. Oh, you know what, I forgot to turn on the symmetry toggle. So let's do that one more time like that. And then I'm wondering if we should add another one along the back here like that. Yeah, should work. And then with the mask of this high-paid one layer selected, I'm going to mask out parts of the year where we over painted the same lines. And it looks like we lost some detail from height pain too again. So it looks like the way to bring it back is to kinda reset the geometry selection. Right? Because this bowl was missing on the left for some reason. Yeah, and let's group these and call it height head. So we know. Never hurts to stay organized from the beginning so that our Layers window doesn't get out of hand, which can happen very quickly. So I just noticed the details that we painted on this one-year isn't reflected on the other side. I wonder if it's another geometries selection error or if I just forgot to turn on the symmetry. And sadly it looks like, yeah, it looks like I just forgot to turn on symmetry. But you know what, instead of, instead of starting over, since it's so simple, we ingest and just eyeball it, do the same thing over again. It's not the worst thing to have to repeat. Something like that. And I have the symmetry tool on now, wonder how that's, hey, don't need that on now. Okay. So now we've got that detail on both ears. 9. Lesson 8 Height Painting the Torso Pt: Now let's move on to the torso. Take a new layer. And it's already copied the attributes of the previous layer, which is nice. We just want the height selected. I'm again going to look closely at the concept art and see what kind of detail that we can replicate from that. Let's turn on symmetry and cut a little line on the chest. Like so. And we got something on the shoulder that goes like that. Something on the hip goes like this. Okay. And then I think we can safely assume that those same details can probably be seen in the back. So we'll just do that again on the other side. And going off the not going off the concept, I'm just going to kind of make our best guesses on whether there might be other details. I want to create. Some additional seems. So our robot isn't this no perfect continuous surface where we have no idea how it was manufactured or assembled. Okay. Okay. Yeah, That lines up a little bit better. So now I'm kind of this toll detail isn't strictly off the concept art, but there's no reason to feel married to whatever is in order, is or isn't in the concept. This is a good moment to take some liberties and add more details of our own. Your own for slightly fancier line detail. For the chest. Because you know the, the concept looks nice by itself on paper. But when you train it, translate a 2D image into 3D. Sometimes you find that there just isn't enough detail. Like for instance, the chest area here is just very sparse, continuous, smooth surface. So I think there's a lot of opportunities here to break away from the concept and try and fill in these empty spaces with a little more eye candy. While still maintaining the essence of the concept. Actually, I could just use a reserve for that. 10. Lesson 9 Height Painting the Torso Pt: Right now I'm just adding some random bolts. Just more indications of manufacturing and construction. It's a lot more fun and free-flowing to paint in these details rather than to meticulously model them. How in Blender. Yeah, definitely infusing this old retro look with some slightly modern sensibilities in terms of like these small surface details. Okay, but we don't want to go overboard. I think we have enough for now. But there's still plenty of these sort of empty, a blank spaces. But it's a balancing act. Don't want to do too much. Not too little either. So we'll end there. In terms of painting, manually painting heatmap details of at least for the head and torso areas. And before we conclude this lesson, I want to quickly find out what's going on with the bronze material on the back here. Feel like I must have missed this by accident. Let's see if I can restore that. Okay. That was an easy fix. Oh, one other thing. Let's label this. Paints. See overall because it's kind of all over. It's on the head two. And let's add a mask to this white mask because I want to keep most of it. I just want to exclude a few areas. Like notice here how we kinda paint it onto the bronze. So using the polygon fill tool and setting it to UV chunk Phil, I know these sort of bronze sections are separated by uv sine of Phi. Select or select them to mask out our painting. That's going to create a nice clean mask for us. So just look around. I think we got it all. Okay. So yeah, That's Master, very powerful, very easy way to keep your painting clean. So it's not continuing from one surface to the next for affecting parts of the model that they don't want it to. So that's looking pretty cool. Yeah. All right. Next, we're going to focus on what kind of details we can bring for the limbs. 11. Lesson 10 Height Patterns for Limbs: We're going to continue paying height details for the limbs. Now, let's create a new layer, actually a new fill layer. And then under the Properties window, we're going to check off all the other maps and focus on the height map. And you can click on this button above the height value slider. And you have access to all the various Alpha maps and pattern maps that come straight out of the box and in painter. And the one I'm looking for is stripe. And so my idea is I'm going to add sort of this striped pattern and the height detail for these tubes and the limbs to make it look. Colleague accordion. Now, let's make some quick adjustments. Definitely want it the stripes tighter. So as you can see, the stripes are kinda going in all different directions. And they're covering the entire body which we don't want. So let's use a mask to select the parse that we want. Now, if we press F, F3 and look at the UVs, you can see that we have our UV islands here and here for the legs. And these two UVA IOM's here appear to be the ones for the arms. And since the, the one and the legs are straight up and down, we can definitely use the same layer for that. But the stripes only go in this a single direction. So we're going to need to duplicate these layers or this stripe layer for the arms in order to have the correct striped direction. So let's go back to the normal view, which is I just hit F2. And we're going to make some adjustments to the stripes, so it's in the correct direction. I'm going to adjust the rotation here. Something like that. And now it looks, oops. That looks okay. It's not perfect along the UV seam. But that's why we chose the inside of the legs. Because that's those are the parts that are harder to see. And let me scrunch up. Scrunch up the stripes. Pack them in even tighter. Play around with some of the settings. Okay? Now let's do the same thing for the arms. I'm going to copy and paste this layer. Let's label it. Stripes legs. And this will be stripes are, right. We'll probably need two separate layers for the arms. Because as you can see again here, these are these UV tiles are islands for the arms are pointing in perpendicular directions. So we need to redo the mask to select one of the arms only. And let's just adjust the rotation. All right, that's pretty good. Looks good to me. Want to pack it a little tighter. And it looks like we got some stripes, sign out unwanted parts. So let's click on the Mask icon on the layer. And using polygon fill, UV chunk fill, and the value set to 0 can select the wrist trim and leave the stripes just for this section. Let's copy this layer. Call it stripes on left. Add, reset the mask to be all black. And then we'll select Over slide this value of 21. Actually. This time I decided to select the, the part of the mask by UV chunk fill. And since these two uv islands are perpendicular to each other, we should just be able to subtract 90 from this value and get the correct strike direction. Nice. Okay, so adding the stripes here and making the limbs look like an accordion, kind of hints at its functionality. Kinda hints that these limbs can kind of bend and move and wiggle about, you know, very flexibly. So that's gonna do it for the, at least the two parts of the lamps. Think we can add, definitely do more for the clause and the feet. But let's take a moment now to group those striped layers together. And we'll just call this stripes height. 12. Lesson 11 Height Painting the Hands and Feet: All right, I just thought of it. Easy detail we can add to the claw. Let's add a new paint layer and select. Make sure the height is selected. And bring this down to negative one. Let's try that again with the symmetry turned on. And maybe the very pointy tip. We could do something like this. To help the claw grip things better with by adding little tooth to the end. Something like that. And for the feet, Just some random details. Definitely don't want to leave this totally blank. And then maybe for the very bottom of the feet. You could do concentric rings. Mike that. And think I want to go back down to the plastic rubber material and kinda ease up on the surface damage layer. As well as the surface detail layer is not these values. Down a bit. Exit. I want this Rubber Soul material. I want the Rubber Soul material to be less rough, little more clean and refined without completely getting rid of those flaws. So that'll do it for height map. Detailed painting. Just need to label this height, feet. And in fact, we can group all of these together. Call it height map. Details. See what happens if I toggle the visible on and off. 13. Lesson 12 Applying AO on the Head: This stage, Let's add some procedural where in terror effects. So the first thing I want to take care of is you'll notice that inside these seams should be dark and not very shiny, but the material properties don't change inside the seam or outside the seam. So we can fill those in with something darker very easily by first adding a fill layer and add a mask. Add generator. Click on the generator button in the properties, and look for the ambient occlusion option. Click on global invert to true. And bring the global balance slider further to the left. And very important step for this ambient occlusion filter to recognize the height maps that we painted in is to set use micro details to true. Under image inputs. You can click micro height button. And you'll notice that there's a tab here that's grayed out to the right of resources called anchor points. And the reason why we can't select that is we haven't set up any anchor points. We need to add anchor points to the various height map layers. And then we link it up to this ambient occlusion filter with this button. So we can start with head, Add Anchor Point. Go back to ambient occlusion. And now we have the anchor point tab available. Or we can select Height pain and your point. We're referencing the height channel. So if you look up at the head, it is incorporating the ambient inclusion detail into the height. Pain. Hello, Let's call this head A01, because we need to have multiple paint layers, height paint layers for the head. But this will take care of one of them. And let's use the geometry mass than tool to only select the head. And of course, we want our ambient occlusion to be dark and not shiny. So I just bumped up the roughness slider there all the way to one. Now you see that the seam lines have been filled up. Now I'm noticing that the AO effect is bleeding into the ear. So I'm going to group this into a folder. Add a white mask, and mask out the parts where we don't want it to affect. Okay. Some adjustments to the AO properties. K. Now let's take care of the other head height paint layer by adding an anchor point to it. But copy this layer and change the link, the link to hide pain too. And when you change the reference channel to height. So there we have it. Now we got Ambien inclusion in the mouth around the grill. And on these bolts. The only problem is it's coming outside of this line. So for that, again, we'll group this in its own folder. Add a white mask. And then we can simply mask out the AO through this mask. Let me start over with a chemistry toggled on. And so that takes care of that. Okay. Call this head group. 14. Lesson 13 Applying AO on the Limbs: Add an anchor point for the overall. I paint. Make a copy of the original ALL layer. Just change the microwave link to high pain overall. And remember to switch the reference channel to height. Also, need to turn off the geometry mask. And now you can see the AO having an effect on the rest of the body. We'll call this DAO. Let's add an anchor point to each of the stripes layers. And we'll make three copies of the a layers and relabel them. Also go inside the ambient occlusion, filter and switch the links. I know it looks a little screwy but we'll get to that in a second. So arm left ambient occlusion such that two stripes are left. Anchor points. Stripes arm, right. Reference channel set the height. Need to group each of these layers so that we can add a mask to that top folder layer. Let's rename those folders. And clicking on the mask icon on the layer. I want to select the appropriate parts using the polygon fill. Okay, that takes care of the legs to UV chunk fill for the arm so we can avoid selecting the wristband, their arm left and right. Okay. Although I do want to make adjustments want to make an adjustment to the color of the occlusion for the limbs here because I don't want it to be quite pitch black like for the seams. So we can think we can afford to bump the roughness down to 0.7 instead of absolute one. So the last thing is the height feet. Let's add an anchor point to that. And again, let's copy one of these layers. One of the ambient occlusion layers link the micro height to height feet Anchor Points, switch reference channel to height on the roughness back up to 1, 0. And it turns out, I remember now that this layer, how you feet wasn't just the type painting for the feet. We also have some details for the hand. So that takes care of more than just a feat. Which is nice. I think the AO is kinda harsh, so red tone it down a bit. But now we have immune occlusion, procedural effects, filling in all the hype paint details that we added. Hence making all those details really pop. Now we have a ton of these amine inclusion layers. It's kinda getting unwieldy. So let's select all of them in group them under one big H OH, group folder. We can even combine our smart materials into a group and call that base materials layer one. We don't need that. Look how neat and organized that is. Good practice to maintain cleanliness in your Layers window. So you, if you ever need to go back and change anything, then you know where to look for it. 15. Lesson 14 Painting Emissive Eyes: So one obvious thing that we have yet to add is we need to work on the eyes. I'm imagining that through the openings here. It's going to be we need a emissive paint in there to make the eyes glow. So I'm going to create a new layer. And I'm going to go down. Notice in materials, I'm looking for the misses map, but it's not available to us. Let's go to texture set settings and make that available by clicking on the plus button next to the channels and selecting emissive. So it's going to add the emissive channel so that we can now select that as one of the channels that we can paint in. And in fact, here's what I wanna do. Let's set of a layer, a normal layer. Let's do a fill layer. Add a black mask and color in where the eyes will be. Actually be easier if I just do like that. And the reason I'm doing it this way is I'm thinking later down the line like, let's say for some reason you wanted to change the color of the glowing I. It'd be much easier to just go in here, click on the color, change the color. Whereas if you paint it in with directly by selecting the emissive color at a time that's more of a destructive approach where it's hard to change later on. And guess what? Did all that without the symmetry turned on. So let's just go through try that again. This time with symmetry on. Okay. Let's turn off all these other channels. We just want emissive and bring this up. Maybe. The yellow. Yeah, it's pretty cool. Robot LAS, little sad or tired or something. Calles call this the I, blow dry. See yellow or green or blue. I think I like that before. That takes care of that. And you know, what just occurred to me. What if we add just a little more detail? In the eyes? Like that? Yeah, that was cool because it is I go like a slightly darker rim and then a brighter center. Let's name this. I go rim. We can group these together. Call it d and Mrs. group. 16. Lesson 15 Stamping Decals: So we're headed towards the finish line in terms of texturing. But I think it'd be cool to do like a DKL pass real quick. And I think I want to start with a fill layer. And let's see, we don't need metal or normal or emissive. But I do want these first three channels. Actually maybe I do on metal, want the first four channels. And I'm going to create a black mask. Let's look for alpha, the alpha tab under shelf. And here we have a wealth of different Alphas that we can use as detail. We can stamp these Alphas anywhere on our character. So we'll just scroll down and find something that might fit with this character. Maybe something like this. When you, when you start out with a fill layer and add a mask. What's nice about that is now you can go in and change the color. Change these different attributes. And faculty want to give it a slight bump is very slightly. And then S for roughness. Don't want it to be very rough at all. So this way it really stands out from the metal surface that it's sitting on top of, right, like it's painted on. We have to select the Mask icon. If we want to stamp something in, kinda combine some of these texts. Let's create a copy of this and reset the mask. But I want the color to be red. And so we can have these sort of details. And instead of like a white detail, maybe they'll stand out better if we make this dark to kind of stand out against the silver medal. But I actually think I like it better. And I was like this. So let's add something for the feet. Maybe another one of these stripes. Yeah, I think that'll do it for details. Just a smidge here and there. Call this like De Cao. Cao. You can probably guess what I'm gonna do is I'm going to group it in under a folder called decaf group. Looking pretty nice so far. 17. Lesson 16 Procedural Weathering Effects: Before we call it done and export the textures, I want to just do another pass on procedural effects. Dirt, grunge, grime, scratches, all that good stuff. Let's add a fill layer. Add a mask, any mask, add generator. And let's add curvature. Play around with the settings. And let's set the color to something bright and colorful so we can very easily see where it's affecting. And now we can more easily tell the effect we're having by adjusting these settings. Okay, So, so this is going to be a very subtle effect. I just like to kinda punch up the color, the edges, bring down the shininess, right? You can see the effect that it's having. But we don't want too much of it. In fact, very little of the color to be affected. And if we switched the layer mode to metallic, can bring down. The effect that it has on that go to roughness. Same thing. Okay, so now it's a very subtle effect. We just kinda apply overall. Start over with a new fill, fill layer. Add a mask at generator. This time. We're going to select it and dirt. They're generator. Same idea. Let's switch to red so we know how our model is being affected. And then change the color to like an actual dirt color. That's kinda like a really dark brown. So you can see the additional detail that brings to our model. Again, it's very subtle, but it does contribute to a nice overall effect. And again, like before I'm going through is different layer modes and reducing its effect overall. So let's go ahead and label we have so far. The first one we did was curvature effects. Second one was Effects. This third one will be. Position effect in generator that we're using for this is called position. And again, if we switch the fill color and go into the generator properties, you can see the effect that it's having, its taking the position of your character and applying that effect from the top to the bottom. And actually, now that I think about it, it's, it's actually the, the, the generator I'm actually looking for is the world space normals. See the effect that it has. This would be like a perfect effect to use if you wanted your asset, your characters have an appearance like there's a layer of dust on top of it or layer of snow. Just something that accumulated evenly across the sort of, uh, topmost surfaces over time. So let's set it to something like that. And then I can change this to sort of a dusty tan color. And also I do want to use texture for this. So let's select something. I'm just gonna type in grunge, see what we get. When I switch to a bright color again, see what kind of effect this is having. Okay, So I wasn't seeing anything because after turn up the texture opacity under the texture options. But let's cycle through some different grunge alphas. So that's pretty good. Width. Okay, I'll just settle for something like that. And again, I want to bring down the slider on all, all the channels. So it's not too heavy of an effect. Okay, nice and subtle. Let's group all of these guys under generator. 18. Lesson 17 Painting In Scratches: And so the very last step they'd be good to go through and do a little bit of manual dirt and grunge painting. Because so far we've kind of left it up to painter and it's procedural material that smart materials as generators to do most of the heavy lifting for us. But now as an opportunity to reintroduce that sort of handcrafted texture work. That substance can't do. But just before we do that, I noticed some errors here. We got a 0 affecting this brim object. Let's address that real quick, V. And this is why organizing all of these layers into folders is going to help us a lot. So I know that this is somebody you do it the A0. And so I go into the AO group. I'm looking for the c, the body a 0 specifically, right, which is right here. And I'm going to group this to create a mask and mask out this. Yeah, I think that takes care of it. And that's why we label and organize our layers. You can just imagine if I had left all these dozens of layers as layer 1234, folder 1, 2, 3, 4 would've been much harder to track down the problem area here. Okay, so back to where we were. Let's do another fill layer. Add a black mask. Let's switch over to the brushes tab under shelf. And let's see if there's a brush called Scratch. And there is. So let's change this to bright red. So you can see that it's working. All right, In fact, let's just look around the character and see what areas will, wouldn't get strapped, scratched up probably around the shoulders. So now let's go into the actual fill layer and change the color. Let's play with the height and kinda depress those scratches. Definitely don't want it to be shiny. Bump up the roughness all the way to one. Set the color to something fairly dark. We want to depression to be very subtle. Like so, right? We're not trying to make the dashes just a few scratches. It makes sense. The stretch marks have some metallic value because it's still part of the metal material. So let's add to the mass mode, had some of these scratches. The other shoulder. Hollywood makes sense to have a few Along the head, in fact, spread out the spacing. So it's not clumped up. Probably few scratches along the chest, probably handful along with feet. And of course should be a few. And the clause yeah. Maybe few on the butt from my tries to sit. Okay. So we'll call that scratches. 19. Lesson 18 Painting Additional Grunge and Exporting: Let's do another fill layer. And this time, I'm going to go to Alpha and select one of these more organic alphas. Just punching in some random keywords here. See what we get. Also want to, we're getting a lot of randomness with the pressure. Because of all these GTR sliders. Now that they're all set to 0, should have better control. K, Let's change the settings. Pick a dark color. It's not going to have any shine or hardly any. And we're going to give it a slight bump because it's dirt sitting on top of the metal surface. All right. So we're going to add a bunch of random dirt splotches. This is going to indicate, all these little details are going to indicate that this robot, whatever its function is, really been put to work. So it's called that dirt spots group that under hand painted or grunge, rather. I feel like there's too many spots, so I could always select the mask and bring it down to set the value to 0 and kind of go back and try and erase some of it back. Exists only supposed to be a subtle effect. So I tone back the dirt spots a bit. We're gonna do one more fill layer, Brush tool, dirt, mask. And I just want to get in here where they should obviously be more accumulation of dirt. Kind of manually paint those in. Keep the color white for now, just so we can see what we're doing is all these little crevices, little corners were dirt might accumulate over time. Probably a lot of dirt under the shoe. Just make sense. And that would be the case. Just going to pull it back where I think there's too much dirt. And now let's change the color here to more appropriate color. About the height, just this niche. Maybe less shiny. And there you have it. Again. So pretty subtle effect. Right? Now these details should take over. Your character is just small, little contributions. Okay, and we can now take a look at the overall effect of the hand painted details. You have to zoom in to really see. Let's do one last look around. And I believe that's gonna do it for texturing. Don't forget to save. Let's export the textures out. First, I'm going to change this default material name to main. And we're going to so you can name that whatever you want, just yet to give it some kind of name. And means seems more concise than default material. Definitely will run into situations where you have multiple materials on the same object and then you'll name these according to which parts the material covers. But for our purposes this is fine. We want to select the PBR metallic roughness template. And that's going to spit out all of the maps into separate textures, which will set up as a shader in inside of Blender. Select the directory where you're going to output these maps. Hit Export, and I'll see you back in Blender.