Substance Painter - Basics of PBR texturing (Painting a Character) | Lukas Partaukas | Skillshare

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Substance Painter - Basics of PBR texturing (Painting a Character)

teacher avatar Lukas Partaukas, PolyGoods

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 10m)
    • 1. Substance Painter - Introduction

      3:16
    • 2. Project set-up: basic camera motion, mesh import and texture bake

      3:28
    • 3. Creating goblin skin texture smart material

      10:22
    • 4. Painting additional goblin skin detail

      15:25
    • 5. Creating and texturing a ragged fabric for clothing

      8:27
    • 6. Texturing a basic sword prop for the goblin

      10:31
    • 7. Making a mouldy teeth texture for the character

      7:39
    • 8. Projecting eye texture detail onto the 3D mesh

      6:59
    • 9. Render Export Substance Painter 2021 3D modelling PBR texture rendering

      4:17
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About This Class

[Find The Resource Pack In a Class Project]

Learn how to paint a 3D model with this ‘Substance Painter – PBR texturing a Goblin character’ course. Find out how you can create and apply realistic PBR smart materials using these industry standard techniques. Transform a basic 3D model into a complex character the lessons which will teach you how to add custom detail to your character using these simple techniques.

This course is easy to start for user of any level, the lessons will begin with a quick introduction on setting up the project within the substance painter as well as help you familiarise with the software. The course includes on screen keys so any level texture artist will be able to follow it through with ease.

Create a PBR goblin skin texture using easy to follow methods within an industry standard 3D texturing software. Find out how you can make use out of the Substance Painter’s built-in material library to the fullest and how you can customise them to suit your needs. Learn how to layer skins tones using masking techniques in order to enrich the look of a goblin. Discover ways for adding additional depth to your character by using generated curvature texture map and using it to highlight character’s detail. Find out how you can take the character’s look further by painting in your own detail onto the skin, such as scratches and warts, in order to make it more unique and bring the character to life.

In this course, you will be taught how to texture a basic cloth clothing for the character. You will learn how to create a ragged fabric look by manipulating materials and adding dirt on top of it. You will also learn how to add cloth creases as a texture and how to use it to create a more believable cloth detail.

The course will also cover texturing techniques for painting over a sword asset for the goblin character. It will teach you how to age the prop and make it look more tattered in order to fit the overall character design. It will teach you make great looking metal as well as wood from within the substance painter. The lessons will show you how to create an aged wood as well as a muddy metal and purposely make them look in bad condition by tweaking the materials and blending in smart masks.

You will learn how to texture creature teeth by using alpha patterns in combination with tri-planar projection methods in order to give them an additional detail and create a more believable look with little to no UV seam visibility. During the process you are going to learn how to create mouldy teeth to make it fitting for the character of a goblin and how to make use out of it to add an extra depth and bring out the shape’s form.

Find out how you can create realistic eyes for the character using this simple method shown within the course.  In this Substance Painter course, you will be shown quick method for how you can make use out of the projection tool within substance painter in order to transfer color information from an image to a mesh.

The lessons will end off with a quick and easy guide to render a model within the 3D texturing program, using a built in Iray functionality.  It will help you to set up a studio background within the render in order to get a better lighting quality. By the end of this course, you will be able to render high quality images and save them to share with others.

Meet Your Teacher

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Lukas Partaukas

PolyGoods

Teacher

Hello, and welcome to Polygoods where we do 3D Modelling primarily focusing on assets for video games. We go over a variety of different tools and workflows, primarily focusing on the software such as Substance Painter, Autodesk Maya and Unreal Engine 4.

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Transcripts

1. Substance Painter - Introduction: Hello everyone and welcome to polygons course for substance data, in which we are going to texture a freely model of a goblin character. During which you will learn how you can create and apply realistic PVR smart materials using industry standard techniques. Transform a basic 3D mesh India visually complex character throughout these lessons, as they will teach you how to build up the texture step-by-step and add custom detail to your character in order to bring it back to life. This course is easy to start for a substance painter uses of any level. The lessons we'll begin with a quick introduction on setting up the project within substance painter, as well as it will help you to start with familiarizing with the software. The course includes onscreen keys, so texture artists with any amount of experience will be able to follow it proved with ease. I'd add how you can make use of the substance painter built-in material library to the fullest and how you can customize them to suit your needs. Learn how to layer skin tones using masking techniques in order to enrich the look of a goblin. Discover ways of adding additional depth to your character by using generated courage, a texture maps, and using it to highlight characters detail. By now I can take the characters look further by painting in your own detail into the skin to make it look truly fitting for the goblet such as scratches or wards. In order to make it more unique and make the character look more realistic. In this course, you will also be taught how the texture, a basic log globin protein character. You will learn how to create a rag fabric look by manipulating materials and adding dirt on top of it in order to make it look bidding for the clothing of a goblin. You will also learn how to add pay cloth creases by adding it as a texture and how to use it in order to create a more believable cloth detail. We'll also cover texturing techniques for painting over sort asset for a goblin character. Lessons. We'll show you how to create an aged wood as well as a bat and metal and purposely make them look in bad condition by tweaking the materials and blending in the smart masks. You will learn how to texture creative by using alpha patterns in combination with try planar projection methods in order to give them an additional detail and create a more believable look with little to no UVC visibility. During the process, you're going to learn how to create MALDI-TOF to make it fitting for the character of a goblet. And how to make use out of the crevices to add an extra depth and bring out a tiffs shape, and form. In this substance painter course, you'll be shown a quick method for how you can make use arrow projection tool within substance painter in order to transfer color information from an image to a mesh. Lessons, we'll end off with a quick and easy guide to render a model within the 3D texturing program using a built-in IRA functionality. This final step will help you to set up a studio background within the renderer in order to get a better lighting quality. By the end of this course, you will be able to render I high-quality images of your own textured asset and save them to share with others. So unless you're in discourse and get right into it. 2. Project set-up: basic camera motion, mesh import and texture bake: Hello everyone. Welcome to the first lesson in which we're going to be setting up our project. So for starters, in order to make sure that we're working on the same workspace, I'm going to go ahead and go to windows bar on the top and then select Reset UI. This will make sure that we are having the same UI setup. And it'll help you to follow the tutorial easier within the software. Now, we're going to be loading up the project plan. And for that, we're going to want to draw ourselves a resource pack. And after we're finished downloading, we're going to want to go on to the upper left corner of the substance painter. Let's go ahead and click on file. And we'll want to select New Project, like so. Then within the new window that popped up, we're going to want to go ahead and click Select button over here, located all our resource pack. And then let's go ahead and select the goblin model FBX file, like so, and hit Open. And after which we're going to be working in a 2048 resolution as we're able to upscale the texture files afterwards, afterwards that dictionary it. Then we'll also want to make sure that this option is ticked off for the UBI tile workflow, since we're only using one UV texture space. And also will want to make sure that the auto unwrap is ticked off as well, since the mesh is already fully unwrapped beforehand. So after we're done setting it up, we can go ahead and click. Okay. Then after it loads, we can right away check how the mesh looks like. We can do so by holding Alt and left mouse button to rotate the camera around within the view. We can also hold Alt and middle mouse button to pan the camera around like so. And finally, we can use Alt and right-click to zoom in and out within the camera. Or alternatively, we can simply use the scroll wheel to zoom in and out like so. Before continuing of detection process, we're going to want to first of all, bake-off some other textures or a substance better to generate some texture maps. So for that, we're going to want to go to the texture set settings over here. Then we'll want to go ahead and click Bake mesh maps, like so. And within this window, we want to make sure that all the settings are selected, which we can do so by going onto this button over here and selecting, Select all mesh maps, which will make sure that all of these options are selected. Then afterwards, we're going to want to have the output size within the common tab selected us for k. This will make sure that once we are up-scaling our texture set, the generated texture maps will not require to be prebaked upwards. And we can leave the rest as default. So with that done, you can go ahead and click Bake selected textures. So reduction in process will take a bit to finish up, so give it some time until it's done. Once the baking process is done, we can go ahead and click Okay within the window and move on to the next step. 3. Creating goblin skin texture smart material: Now we can dive into the substance painter texturing process. And we're going to begin by texturing the skin itself. So for that, let's go into the Layers tab. Let's delete the original layer since we're not going to be using it. Well, let's select it and hit late like so. Then for the foundation of the skin, will begin by creating a per layer like so and will replace the fill layer with the material. So for that, within the shelf, going to want to find ourselves a zombie bubbled skin. For this one over here. As I find this for the base of the monster skin, it usually works quite well since it has some detail within it. So let's go ahead and click and drag and drop it into the bacterial mode of the bilayer like so. Once we drag it on, we're going to replace the fill layer is a material or the zombies material mode. Now before making changes to the skin, like us to first of all, isolate the skin from the rest of the mesh. Since right now it's being applied to the entire model. So for that, we're going to want to go ahead and create a new group by clicking this icon over here. And afterwards, we'll want to left-click and drag and drop it onto the folder like so to make sure that this fill layer is being used within the folder. So now everything that we do for this group folder is going to be applied for this bilayer as well. And afterwards, what we'll want to do is we'll want to click on this box over here. What a folder which will allow us to select the mesh that we want, the texture. So right now we'll want to deselect it all. And we can do so by clicking on this button over here and then clicking on exclude all, which will make sure that it deselects everything. And all of these pieces are basically different meshes within the file that we can independently select and deselect as we wish. So with all of them the selected, we can now select the body itself like so. It will mask it out within a folder just like that. So now that we're done isolating the skin, we can go back on to make an adjustment for the skin itself. So let's go ahead and click on the Fill layer, like so. By clicking on the square for the fill layer, we can go back onto the property Fill Tab and make some adjustments. So first things first, what I'd like us to do is change the projection from UV projection. You try planar projection. This will make sure that the seams are hidden quite well within the mesh. Otherwise we're far it, we're going to be able to see some of the seams, just like in this area over here. So with this change from projection from UV to trap land protection, we're going to be able to hide. This seems just like that. Then afterwards, within the Properties tab will also want to change the color itself. So we scroll down or mouse wheel a little bit. We're going to get to the Parameters tab, which if we open it, we'll be able to change the color itself. So if we click on a color, we're going to be able to change the color of the character, like so. I'm going to be able to use this sort of green. If you want to use the exact same green that I'm using, you can always use the color picker tool. If you were to click and hold and then drag your mouse like so, you're going to be able to select the ethnic type of color that you want with the mouse, drag it over the video like so. Use a color picker over this area over here. You're going to be able to select the same exact color as I'm using. So throughout the video, you can always make sure that you're using the same exact colors as I am. Now. Are we done with the color? We're going to keep the material as is, since the roughness value and the detail of the material is going to look quite well enough for us in this case. One thing that we also need to do is we need to make sure that we have some color variation for this material as well. And for that, we're going to be creating yet another fill layer. This time, we're only going to be using the Pelagius color and 10 even creating a different material out of it. So for that, within the properties fill tab, we're going to be only using the material channel for the color only. And for us to do that, we're going to be holding Alt and left mouse button to deselect everything except for the color like so. Then afterwards, we're going to change the base color to a lowly saturated brown like so. And afterwards we're going to want to blend this bilayer in with the skin material that's underneath it. Because right now it basically just covers it up entirely and we don't want that to happen. So what we want to do is we want to create a black mask as a starter point. So we're going to click on this button over here and click add black mask like so that afterwards we'll want to go on to add effects tab and go ahead and click Advil it. So with this fill tool, we're going to be able to add an Alpha texture map. So for this texture map, I'd like us to search for cloud texture like so. And we're going to be using Clouds to this alpha will allow us to get a nice variation of color spread evenly throughout the skin. So we'll also be changing the projection of bill of the cloud type from EV projection to try planar. We'll make sure we're avoiding any seems necessary. And we're also going to decrease the balance a little bit. Let's go ahead and keep the balance to 0.23, like so that afterwards we're going to be changing the opacity of the cloud layer from 100, a value of 50, like so. This will adjust the opacity of the clouds layer and they'll make sure that the mask is not completely covering what's underneath. Discover information. That we're going to be having some of the brown color variation within the skin, which will make the skin look just a little bit more detail. After we're done with this, we might as well start renaming some other files to make sure that we're keeping ourselves organized. So let's begin by renaming the fill layer one. Let's double-click on the text like so, which will allow us to change the name. So for, for layer 1, we're going to be calling this as a goblin skin base, like so. Then afterwards or the Fill Layer 2, we're going to be double-clicking on it like we did previously. And renaming this as a color variation. Like so. And then we might as well at rename the folder one. So let's click on it. Let's double-click on the text and rename it as goblin in Excel. Now we're going to be highlighting some more of the detail for the skin. So for that, we're going to be creating morphing layers within a folder. And in order to do that, we're going to be needing to select the previous fill layer that we did. So collaboration, make sure that the next bilayer is going to be right above it. And within a folder itself. Since every time a substance painter creates a new thing within the layers, it always creates it right above the selection. So now with this bilayer, we're going to do the same method as we did for the color variation. I'm going to go ahead and hold Alt and click on the Color channel like so to make sure that only the base color is selected. Then for this base color will want to get ourselves a light orange color like so. It has a low saturation value as well. Since we have this color, we're going to be making sure we're highlighting some of the detail within the skin. So for that, we're going to want to create yet another black mask. Go ahead and create a black mask for it. Then afterwards, we're going to be adding an effect. This time, we're going to be adding a generator for it. And we're going to be making use are the curvature map. Though with the generator. We're going to be selecting it and find ourselves curvature editor, like so. So with this, we can go ahead and select it, which will allow us to make use out of one of the texture maps that we bake previously. So first of all, for the curvature properties, will want to lower the balance. This will make sure that the mask area is a little bit smaller. So we'll want to keep this as a value of 0.2 or quite well for us. That afterwards we'll want to increase the global blur, which will smoothen out the texture itself. Let's go ahead and get us a value of 1.7, which we can also do by simply clicking on the number over here and typing R, the value ourselves, like so. And clicking Enter. And it'll give us the sort of a result. Now this is a little bit too intense for us. So naturally, we are going to want to load a value by quite a bit. And for that, we could do so by lowering the curvature value like so. We're going to be lowering it to acquire small amount. But currently there are passive police mask is going to be a value. It's going to be set to a value of 15. Which will help us to highlight some of the detail on the face, as well as some other areas. 4. Painting additional goblin skin detail: For our next steps or texture in the skin, we're going to get a little bit more creative and use a brush this set in some detail. And so for that, we will want to first of all, make a new fill layer. So let's go ahead and create a bilayer like so. So we're going to be using this to firstly create some cracks within the skin. Make it look like it's more dried up. We want to change the base color from white to this sort of our lowly saturated red. But then we're also going to need to adjust the roughness for it. And the roughness we can go with is going to be a value of 0.8. I'm just going to go ahead and type this in instead by putting in 0.8 like so. And we're also going to want to get some indents within the skin. And we're going to be achieving that with changing the height information. So currently we're going to be changing to a small value of minus 0.05. Like so. This allows us to get some small scratch detail on our skin barrier being too overly complex. So with this fill layer setup right now as it is, will go into the Add Mask section and add black mask like so. Then with the brush selected, with the paintbrush selected like so. Or alternatively, you can just click one. You go into the brush tool. We'll want to use the brush, but currently the Alpha brush shape is set to the basic shape. So we need to first of all change that. Go for it. We're going to want to go on to the shelf. And by scrolling it up a little bit, we're going to want to select Alpha option like so. Now within the search bar, we're going to go ahead and search for skin. We're gonna get some of the options within it. Now, we're going to start with the wrinkles. Then this is going to get us some nice cracked up skin for our character. So now with the paintbrush selected, if were to just simply double-click on it, it'll automatically changed our brush into the wrinkled one. Now, currently, it's going to give us a continuous stroke and we don't want it to happen. So we're going to go up a little bit and we're going to change the spacing for it. Were to change our spacing to around 40, like so. And we're also going to need to change the hardness for it. Though. Let's get ourselves the hardest for Alpha set to 0.3. Then finally, we're going to want to change the angle jitter as well. By changing this to a value of, let's say we can put it to a value of 90. We're going to be able to have our brushstrokes a little bit more randomized exome and added we have our paint brush setup. We're going to go ahead and start painting some detail onto our mesh. Though. Before doing that, since we are adding detail onto the skin, I'd like us to hide all the other mesh detail for it. We can do so by simply going onto the upper right corner. And clicking on this button over here, which will hide every mesh that has been selected within the bilayer. Or in this case, since we did the selection within the folder, it is going to hide every object that is hidden within it. Now we have the mesh partially hidden. We don't really need to worry about the darkened areas like this. This, this happens because of the occlusion maps which we did previously. And since the clothing was obstructed view, it is going to give us this result. But we don't need to worry about that since we're going to cover it up with clothing again, just in the moment. Now we can use our mouse to make some brush strokes. We can go ahead and make the brush just a little bit bigger by increasing the scale within the properties pane tab. Or alternatively, we can use the shortcuts for it. So with open square brackets like so, we can increase the scale. Or alternatively we can make it smaller with the closing square brackets like so. So by using the shortcuts, I'm going to go ahead and make some variation within the size. The right now we're just going to get a couple of strokes. Like so Routledge skin. Going to get someone here as well. We don't need to be worrying about the stroke's too much since we're going to be breaking them apart in a moment. So just make sure you vary the scale a little bit, the size of it, and make the stroke sprout and skin-like. So 101 hand, a little bit like that, leading up to scalar a bit, increasing it a little bit more of a year. Making sure that the shoulders having some brushstrokes as well, like so. I'm going to make this a little bit smaller, getting into some elbows as well, like so. Just covering up the entire body. And little by little like so. Getting some neck area as well. We don't need to worry about the backside since that's not going to be visible. So I'm just going to add just on basic strokes like so. And for the legs, we're going to get some basics in as well, like that. Route entire skin, like so. And now afterwards, we're going to now be breaking it apart screen to add a little bit on the chin as well as why not? Now we're going to be breaking apart the skin. And we're going to be using the eraser for that. So this tool over here, which we can click on the icon here. Or alternatively you can click to number 2 on our keyboard. You change it. You change it to an eraser, like so. So with that selected, we're now going to want to adjust the properties for the eraser as well. So in this case, we're going to keep the shape as basic. Barber. This time. We're going to be adjusting the flow for the eraser. So the weight of flow workspace is really useful when dealing with mouse paint brush strokes. Since if we were to set it to 20, let's say. Now if I were to go over this area, once, you'll notice a slight fade, this we're deleting the alpha mask. However, if we were to go over it a couple times, is going to overlay that brushstroke, making it a little bit harder. So we can use that to our advantage and simply break some skin cracks like so. We can start with the head. So this is a little bit too much, which is going to break it apart just like that. And break it apart over here as well. The air doesn't need it as much. So right now we're just going with the brushstrokes and the leading some of the areas to make sure that the skin cracks are broken apart a little bit like so. If you're wondering, am also using Shift and right-click to change the way the lighting is affected in the mesh. So I'd be able to see the way light bounces on some detailed differently. We're just going to go through each and every bit and break it apart like so. Just to make sure that there is an authentic look for the skin. But it's not overly done. This area, we don't need to worry about it since clothing is going to be over here. This arm is going to have a little bit too much of the skin cracks, so we're just going to apply some eraser on it. It's making sure that some areas, but I don't think that skin crack is going to be as much visible is going to be deleted in my area as well. For example, where the arm folds. Skin doesn't crack as much. But where the muscle is 10 stop usually there's a little bit more to it. But the skin crack also the elbow would have some more of the skin crack as well. So we can leave that in a little bit like so. We can also add a little bit more detail onto the mesh by clicking one to go back into our paint brush and just simply applying it like so. So for example, I wanted to add a little bit more on your hands. Then we can click to go back on the eraser and just break it apart a little bit like so. Looks good enough. For the next hand. I'm also going to do the same. This is going to get a couple of brush strokes like so, and break them apart. Just like that. But the sap of a skin will look quite nicely scratched up. This making sure that the legs are also done properly. Broken apart. So going in and out, just like that from some areas and just break it apart the way the masking is. Then you've got the lighting. Make sure I'm seeing. The detail on our site as well. And that's pretty much it. Then we can leave the character as is. We can always zoom out to check how this can look like. Once we're happy with the result. We can continue off adding a little bit more detail to the skin. Before continuing up, I'd like us to rename the layers that we did previously. So currently the one that we just did, we can double-click on it and call it skin cracks, like so. And also let's not forget to rename the previous one, though. Let's double-click on it. And the one that we did previously was skin. Richer detail was going to put it as this. Now we can go ahead and click back onto the skin cracks fill layer like so, and create a new fill layer. This time we're going to be creating some warts or something of the sort, some spots for the goblin to make it look like it's more of a filthy creature. So with that, let's go ahead and readjust this properties fill layer. So the base color that we are going to be using is going to be this type of a brown color like so. And we can scroll down a little bit by the roughness. We wanted to keep it a little bit more glossier than the Democrats that we did previously. So let's go ahead and change the value 2.58 laser. Then afterwards, since we want to have our spots to be popping out of the skin quite a bit. We're going to be adjusting the height to reasonable loud. So we're going to be changing it to a value of 0.3, like so. And now that we have the Fill Layer setup for our spots to be used, we're gonna go ahead and create a mask. So let's add a black mask, do it. This time, the type of Alpha that we're going to be using is going to be from the skin frog, which can also be found within the same search of a skin. So with this, we're going to double-click on it like we did previously. And again, we're going to need to adjust the spacing for it. We can go ahead and keep the spacing as 70 or the pain tab. Just like we did previously. We want to have some angle variation. So let's make sure that the angle jitter is set to 90. And with that done, we're going to go ahead and add some spots on to the character. So first of all, I'll make the brush a little bit smaller. Like so. And add some spots on the top of the head. We could also add some for his nose as well. So let's make the brush quite a bit smaller and add it like so. We can also add towards the belly area as well. Going to make the brush quite a bit bigger. This couple of strokes like that. She did a track. And we can rotate the character added to the backside as well. Somewhere in this area, like so. And the other section, as well as the back of the head like so. And some additional detail for the feet or legs rubber. So we can add some spots over here as well as some spots over here, like so. Actually we can click Control zed and do some step. And we can keep it as is. So basically we just want to spread out some of the detail, but we don't want it to add it too much. This, otherwise, the overall skin look would look quite clustered and we don't want that to happen. Let's not forget, I'm going to always go back and blend in somebody spots by clicking the number two and using the same arrays that we already set up or the scratches to remove some of the Alpha in order to blend in somebody I detail. So with some basic strokes, we can keep the detail as is and move on to the next step. But before doing that, let's not forget to rename the sphere layer into something more appropriate. So let's go ahead and click on it. And we can call it as skin spots. So now that we're done with painting the skin, we can go ahead and unhide the rest of the mesh by clicking on this button over here and check out looks while the clothing is on a character. Once we're happy with the results, we can go ahead and close down the folder like so, like the folder itself. So we're making sure that the selection is on top of it. And move onto the next step. 5. Creating and texturing a ragged fabric for clothing: For this next piece, we're going to go ahead and lecture this cloth covering the goblin over here. And so for that, we'll begin by getting ourselves a basic fabric material, which we can get ourselves from the shelf itself. So within the shelf and a left hand corner, we want to find the materials tab. So let's go ahead and click on it. We can also specify our category a little bit more by opening this filter editor like so. And within this filter editor, underneath the materials tab, we can find ourselves fabric. So within the fiber category, we're going to get ourselves all the materials provided by substance painter for the fabric. And in this case, we'll want to use the fabric graph, which we can simply use it by holding it and dragging it onto our character like so. You apply it onto the entire character. But we only want it to be applied onto the cloth itself. So for that, we'll want to create a new folder. And then we can click and drag or fabric graph of anthropology itself. We can now rename the folder by double-clicking on it and calling it a clothing. And right away we can click on this box, what a folder like. So The select all the items by clicking on this and clicking exclude all. And then simply select in the cloth with our mouse by itself like so to make sure that everything within a folder is only applied onto this cloth only. So now with that done, we can go back onto your fabric material like so to make some adjustments. And we will begin by changing the color variation, which you can do. So by clicking on this box over here, will want to get ourselves a brown color. So a lowly saturated brown like that will work quite well enough for us. Then afterwards, we will want to go ahead and change the scale. Since right now the fabric pattern is a little bit too large for us. So let's go ahead and change the scale from one to a value of 4.4. So this will give us quite a nice result. And also we're going to keep the projection as a default UV projection. Since I find it that for the cloth and our clothing, it usually works quite well to keep the seams as is as that's where the UV unwrap was done properly and in the right locations. That's where the stitching would usually be with an actual clothing. It's hard to see, but usually such detail is quite nice to keep it. Though. Let's go ahead and leave it as is. Now for an expert. We're going to go ahead and take some of the detail for the clothing. Dense right now, this glove is quite plain looking by itself. And since we don't have any high detail for it, we can use some of the texturing techniques to fake them. So for that, we'll want to create a new layer. For this layer, we will want to keep the color and height channels only. So we can do so by firstly holding Alt and clicking on the color to deselect everything except for the color. And then we can click on the height. This'll make sure that the other channels are not overlaying the fabric material unnecessarily. And so with that, we can go ahead and change the base color first. We'll want to get ourselves a slightly darker gray, but it's sort of a color will work quite well for us. We will want to change the height information as well. We'll want to increase the value to a value of point worry-free. Like so. This will allow us to create creases that are bumped out a little bit of the cloth itself. So with the material done, we're going to go ahead and create a black mask for it. Like so. Then we'll need to add an effect, which is a bilayer effect like so onto the mask. And for this, we're layer property, we will want to search for crease. You get ourselves a crease pattern. So let's go ahead and select it right away. This will help us to get some of that creasing detail onto our cloth. But we will need to change some of the properties first. And firstly, we'll need to change the UV projection from UV projection to triplanar. And we'll want it to be nicely blending it in with the rest of the creases. We will also want to make sure that the hardness is set to 0. This will make sure that the blending in-between projection, it's not causing any unnecessary seems. We will also need to adjust the balance for the Alpha by decreasing it to a value of 0.27. We're going to be able to get more detail out of it. And also will need to change the UV scaling as well just to make sure that the creases are not as large. So by changing it to a value of 2.6 will get the sort of result. Currently, the sort of increasing is going vertically. And we don't want it to happen. We need to rotate the detail, which we can do so by using dissertation value over here. If we were to change the rotation from 0 to 45, we're going to get ourselves some of the diagonal lines for the creases like so, which will work much better in our case. Finally, somewhat decreasing is not going to look quite as well, but we need to reposition the way to try planar projection is being affected. And we can do so by simply using this arrow over here, which if you're not seeing it, you can always enable it by using this button over here to show and hide the manipulator. Though with this enabled, we can hide these sort of increases. They're going sideways that downwards over here. So by moving it like that, we can simply get it out of our way and realign our crease texture the way we wanted it to. So with that done, we can now go ahead and rename or bilayer. So let's double-click on it and rename it as creases. Though. Finally, we're going to finish it up by adding some dirt onto it just to give it more or filthy look. So for that, I'll begin by creating a fill layer. Adding the base color to a brown color, like so. And getting ourselves roughness for this roughness will want it to be set to one like so. Since our dried up dirt will have basically 0 reflection, so we can keep it as is. Then we're going to apply a black mask onto it. What is black mass will add a fill layer. And using this fill layer will want to get ourselves a range mask. So if we type in a grunge, will get a bunch of different grunge masks. At this time, we'll want to get ourselves a little bit more detail. So let's search grunge wipe instead and directional. So we'll want to get ourselves a graduate directional, this one over here. Let's go ahead and select it. And all we're going to do is increase the scaling for it. This all could get more fine detail out of this mask. So we'll want to change it to a value of 3.4, like so. And one more thing that we need to change is going to be a rotation as well. Since right now we're having some horizontal lines and we want them to be going completely downwards instead. So changing it to a 90 degree angle, we'll get them rotated by 90 degrees and give us the sort of result. Now we can keep your eyes is we can now rename that the layer by double-clicking on it, changed the name to dirt, like so. And after we're done, we can go ahead and close down a folder, like the folder for that. The next thing that we'll create is going to be going right above it. And now we can move on to another step. 6. Texturing a basic sword prop for the goblin: In order to picture ourselves a sword, we're going to go ahead and create ourselves a folder for it. So let's go ahead and create a group like so. Now right away we can rename it. You can call this as a sword. And we need to make sure that it is mass properly, which we can do so using the object masking. But let's go ahead and click on this. Lessee select everything by excluding it all like so. And then we can simply click on a sword. It's like that regard of a selection. We can click on the square over here to go on to the folder like so. And now the first material for the sort that are like us to get is going to be a metal pot is blade. So for that, we're going to need to get ourselves materials shelf like so. Then we can open up our filters editor. And within it, underneath the materials, we can find ourselves metal category like so. We are going to be using something called Iron hammered. Since this will give us a nice metal with some additional detail onto it. So let's go ahead and click and drag it onto our mesh like so. Then we're going to go ahead and drag and drop the material into the folder. Make sure that it is within a sword group. We now are going to be making an additional mask and exclude the rest of the handle. So let's go ahead and create a black mask. Then we're going to go ahead and click four, which will open up the polygon Build tab like so. And we can use this to make sure that only the blade is selected. And for that, we need to make sure that within that those properties, we are using something called Divi chunk fill, which will allow us to make some selections within the sword based on the UV shells. And we also need to make sure that the color is set to one. And all we need to do is position our blade little bit sideways like so. And by holding left mouse button and dragging or mouse-like so we can create ourselves a square, which everything within it is going to make a mask selection for it. We only need to make a tip of the blade selected and the rest of the blade is going to be selected as well. Since that's all the UV chunks or split, which makes the process a little bit easier. And since I dragged my selection, I crossed the goblin self. The mask is going to be making a selection or some other bits as well. But we will only need to worry about it since this material is within a group, which makes sure that we're only texture in the soil itself. All right, so now that we're done with the masking, we're going to go back onto material properties to make some adjustments to it. But let's go ahead and click on the square, like so. First things first, we'll need to adjust scale for it. We don't really want this kind of a fine detail, though. We're going to be changing it from one to point. Well, like so, which will give us this row battered look, which is exactly what we want, but it's poor quality soared while the goblin. As for the metal color, we're going to leave it as a default one. And for the roughness will need to increase the value to make it less shiny. And we're going to be setting it to a value of 0.5, which will remove some of the glossiness. But we're not going to go all the way, is we are going to be lowering some of the dirt on top of it with some high roughness value. And it'll give us some nice contrast variation for the material. But before doing that, I'd like us to, first of all, tech should handle and put at this time, we're going to be using a wood. So within the shelf, within the filter editor, going to need to find ourselves a wood tab. So if we scroll all the way down, you get the bottom. So if you go onto it, by default, substance painter will provide you with free default materials for the wood, which is not the greatest variety in my opinion. But we can still make some other use out of them. So right now we're going to be using Woodruff. So if we were to go ahead and drag it onto the mesh like so. Then dropped the material from the layers tab onto the folder. And just like we did for the battle, we are going to be creating a black mask. And with the polygon tool fill selected fill mode set to UV chunk fill, and a color value set to one. We're going to go ahead and position our camera sideways a little bit like so. And simply click and drag our selection across like so. And we're also going to make another selection of the back as well. Since that's not selected, we can do it like so. Make sure that the entire selection is done. Now we can go back onto the material, make some adjustments to it. And for Cyrus, right away, we're going to be changing the way the pattern is going. This right now is going sideways. And usually you want the pattern of the word it be going into the lengths of the sides. So all we need to do is switch the rotation within the Properties tab. So from 0 we're going to switch it to 90 to rotate it by 90 degrees, completely sideways. And that'll fix or issue. Then afterwards, we're going to be adjusting the color a little bit. Since the default one doesn't look all that good. So let's go ahead and lower the saturation by quite a bit. So discernable value is going to work quite well enough for us. We'll make the word look quite dry it up and poorly maintained, making the handler quite a bad quality for the weapon. And that's pretty much it. We're going to leave the upper values as is, the largest value is going to be quite alright. We're now going to go ahead and get ourselves some dirt on top of them. So let's go ahead and create a bilayer that's selected base color. We're going to keep this as dark and brown with a little bit more saturation than usual, since it'll look quite nicely on a weapon. And for the roughness, will increase it to one. Paracelsus dried up looking mud on top of the weapon. And we're going to go ahead and create a black mask. Now we're going to be doing a little bit more of an interesting blending. So for that. Let's go ahead and add effect at generator. The generator will want ourselves to get a, an ambient occlusion. So let's grab ourselves and malocclusion mask like so. It is going to give us, a mask is going to be covering entire of the object except for the sort of on areas where we want the opposite to happen. So we're going to simply invert the mask to start it off. Then we'll need to load a global balance, which is going to do the opposite and increase the mass this time since we are inverting it. So by lowering the global balance, we're increasing the value. And in this case, we're going to be using a value of 0.02, like so, which will give us the sorrow blending result. Now the reason we were making only one group for the sword and we weren't separating the blade from the handle. The reason for it is because now we're able to create a sells a direct mask and have the same asked to be blended in between these two. Get the sorrow result. Now we still need to give some more texture to this dirt. That's right now it looks quite played by default. So for that, we're going to be adding an effect, adding a fill layer. And with this fill layer, we're going to search for grunge wipe directional. And the one we want is branch wipe directional heavy. So once we find it, let's go ahead and click on it. And with this alpha mask that is going to be laid up on top of the ambient occlusion, which we can use to blend it in. We're going to be changing the blending in option from normal. This right now it's covering the entire of the sword and we only want it to be affecting the ambient occlusion. So for that, let's change the blending mode from normal to subtract instead. Which will make sure that this graduate directional heavy mask is subtracting any information from ambient occlusion using its own masking information. Now we're going to be getting this result. Now we're just going to be increasing it a little bit more. Let's increase it to a value of 0, 55. We're also going to be changed are positive for this layer of the mask. So let's go ahead and change our promo 100. By clicking on this value over here, we can change it. So by dragging the value, we can change it to 90, like so just to lower the intensity of the subtraction blending. And that's pretty much it. We're going to get ourselves a resource. Now this will give us a little bit of an interesting result, with one side being a little bit more dirty due to how the baking turned out to be. Which is actually quite nice in this case, since it makes the weapon look quite much more unique. And at the sword was laying in a matter of something that is naturally going to have the sort of result. So we're going to keep it as this actually. Though. If that done, we can now go ahead and rename the fill layer. This is only material that we created for the sword. We're using the fill layer. Well, you need to rename this one. So let's double-click on it. And we can call it like so. Now we can close down a group, like the group itself to make sure that everything credit goes above it. And now we can move on the next step. 7. Making a mouldy teeth texture for the character: Now we're going to move on to some smaller parts of the texturing. And so at this time, we're going to texture or cells to TPP for the goblin. So let's begin by creating yourself a folder, which we can rename it as steep. Then let's go ahead and create ourselves a base material. Though. Let's create a cell, say fill material that we can use for base. Let's drag it into the TIF right away. We don't want to fill it to be covering the entire object. So we're going to, so we're going to use geometry mask on the folder. Go ahead and click on this. Exclude every object, like so. And now we're going to click on the tiff with our mouse and get back on AAA or make some changes to it. So for this base layer, we will want to get ourselves a base foundation color of lowly saturated yellow, maybe more towards brown. Excel will do quite well as base. Now we'll also want to remove some of that glossiness. So let's increase the roughness for it. The value this time that we're going to use is going to be 0.85, like so. So this layer will give us a nice base, protects your teeth. So we can rename this as base if like so. Then afterwards, we'll want to make a new fill layer. This time we're going to use it to create additional detail for the teeth. The color that we're going to use is going to be similar to the previous with a bit of a variation to it. So this type of a colonial war quite well. As for the roughness, this time we're going to go for a value of 0.8 just to get some bit of a variation for when the light bounces off the DFF in comparison to the original base reflection. And afterwards, we will also want to get ourselves the height information different as well. But if we wanted to be going only slightly in words, so for that, we're going to be using a value of minus 0.01. Like so. This will make sure that we get some indents within our teeth for when we're blending it in with the base material. Now that we have it like that, we're going to go ahead and create a black mask. Then add a fill Excel. And this time for the fill layer, the mask, we're going to be searching for a grunge. There are splits. So this one over here is going to work really well for us in regards to getting ourselves some texture productive. As it has some dried up look at it has some directional brushstrokes. So let's go ahead and select it right away. We'll want to change this from rejection of UV projection to a triplanar one to make sure we're avoiding any seems necessary. And also in regards that we need to keep the Alpha direction going in one way. We can increase the scale by quite a bit. So this time we're going to be increasing it a value of 20. Currently, it's a little bit hard to see, but the way this alpha textures flowing is going sideways and we want it to be going vertically instead. So for that will change the rotation from 0 to 90. There's a twist it 90 degrees. Now we're also going to increase the balanced by a little bit from 0.5. We're going to increase it to a value of 0.52, like so. And now we're getting ourselves more of a texture productive. So since we're done with this layer, Let's go ahead and rename it. So let's double-click on it and call it T detail, like so. Now we're still not done with the DFF. We could leave it as is, but we wanted to get some more detail and between the crevices of them and adding additional such detail is going to give us some more depth to them. So for that, we're going to get ourselves a new fill layer. This time for the base color. We're going to use more or greenish color. So this sort of a color is going to look as if the teeth are more moldy, which is going to work really well for our character. Or the roughness. We're going to get ourselves a value of 0.5. You've got some basic glossiness within this part of a TIF. As for height, we wanted to increase it just by tiny bit. If you go down to hide information, will want it to be going to 0.01. There's going to be popping out just a tiny bit. With the fill layer done, we can go ahead and add a black mask. This time we're going to make use are the ambient occlusion. So let's go ahead and add a generator. The generator, that's fine ourselves and abit the collision mask. Just like we did with the sword. This time, we'll also want to invert the global mask. So let's go ahead and click on it. And right away, it's going to give us this bilayer within the crevasses like, just like we wanted. But it's a little bit too much. So what we're going to do is we're going to create a global balance. And since this is murdered, is going to decrease the amount. So let's go ahead and set this value to a value of 0.73. Like so. Give us a sort of a result. Now currently, the result is a little bit too smooth for us. So we're going to increase the global contrast as well, just to sharpen up the image a little bit, we're going to go and use a value of point for free, like so. Give us this sort of a look. We will also want it to be blended in with another mask. So let's get ourselves a fill layer. Go on top of it. This time. We're going to be searching for grudge dirt scratched. So let's get ourselves this one over here, Grinch dirt scratched. Then right away. We can change the way it blends in with the ambient occlusion. Let's change it from Normal to subtract. And we'll want to lower the balance by quite a bit, is to get back some of that mask. Less time. We're going to change the balance to a value of 0.26. Like so. And we're going to keep it as is what are going to be changing the opacity for it ever. Since we want it to be with a little bit more of a contrast. And now that we're done, we can rename this bilayer. So let's double-click on it and call it the mold. Like so. That's pretty much it productive. We can go ahead and check how it looks on a character by zooming route little bit. Now let's close down a folder, select the group itself, like so, and move on to next bid. 8. Projecting eye texture detail onto the 3D mesh: In order to get the detail for eyes will go into project some texture information on top of them. We're going to be using a normal layer this time instead of a fill layer. So once we add it, with this, we're going to be able to add multiple color information within a single layer, which is exactly what we want in order to project the color information on top of it. We won't be needing a folder group for this one, since we're only planning to use this specific layer only for the eyes. Within a resource pack, you'll find another file and that'll be goblin I texture. So let's grab it from the folder and click and drag and drop it onto your shelf within a substance better than right away within the program, we'll get ourselves an input resources stab. And within it, we need to specify that the file that we're importing is going to be a texture pile like so. We also need to specify that the resources that we importing it is going to be within a project file like so. Then let's go ahead and click Import. Now before making use architecture, in order to protect the information on top of the ice, we need to position our camera people had. So for that, we will first of all, positional camera forwards, which we can do so by moving a camera around with Alton left mouse button. Additionally, while doing it, if we were to hold ourselves shift, it'll snap our camera right there front of the view. We're also going to be using symmetry in this case. So if we were to enable the symmetry button over here, we'll get a cell style line. But because the goblin has been textured in the stance, the line for a symmetry is now going to be with an exact middle of the face. So we're going to be fixing that first. And for us to do that, we're going to be first of all, changing the view of the camera. Sense right now. It is being affected by the depth. And what I mean by that is if I were to move my camera a little bit sideways, we're going to be seeing this part of nodes. But if I were to move this way, we're going to be seeing this part instead. Which means that unless we have the camera right in the center, it is going to distort our view for how we see where the center is. But what we want is an orthographic view, which will mean that it will not be affected by the depth. And for that, what we can do is we can use this button over here to change the perspective view into orthographic view, which will basically flatten everything out and make it seem as it has no depth at all. This will help us to get the line right in the middle of the face, as well as it will help us to texture using projection that alive. So right now in order to change the perspective. So right now, in order to change this line, what we can do is enable this button over here. And now we can zoom out a little bit and get ourselves an arrow, which we can use to move the symmetry around. By the way, if you're not seeing this line in the middle, can always go to the settings for the symmetry and enable sure intersection. Which will enable the slide. So with this in mind, we're now going to position our, we're now going to position our line right in the middle of the head. And once we're done, we can now begin the texturing process. So in order to make use of this texturing information, we're going to get ourselves into a tool called projection. So we can click on this one over here, which will immediately give us a square within the view. It'll give us a white-collar since the base color right now, it's set to white. So we need to change it to give ourselves to texture information. And for that, we're going to be dragon, the extra interface color like so, which will reapply it onto our camera view just like that. Then will additionally need to change the roughness value for it right away. By default, it's set to 0.3. We're going to be changing it to a value of point 2 instead, like so. Then let's not forget to apply a mask beforehand. So we're going to be selected object. Let's click on this box over here for the layer. Make sure that everything is excluded, like the eyes. And now we can go back onto layer through the texturing like so. And now we're going to be zooming into the eye by quite a bit. With the people to be a little bit smaller, then I bow itself. So IRAC in this law, quite well. Once we have it in this sort of apposition, we can go ahead and simply lake and tap that while holding or mouse, which is going to be covering the entire island. So by holding and dragging it around a little bit like so. This is we're having symmetry. All it's going to be applied onto our eyes. Well, we can check how our eye looks as well. We're going to click one to go into our normal brush and a parallelly turning off the projection mode. Also, let's not forget to turn off the orthographic view. Our y's rotating the camera will look quite bizarre in this occasion. Though. Let's go ahead and go back into our perspective view like so. You check how the ISF turned out. Using projection with the symmetry might not always give us the right results on the first time. So what we can do is we can always reposition or camera that upright view like. So. You're back into the orthographic view. Click free to get ourselves back with the eyeball, and then zoom back in and redo this step. This time I want my eyeball to be a little bit more to the left. So I'm going to position my camera similarly as they had previously. This realigning the points. Now this time, I'm going to move it slightly to the left, like so. Once I'm happy, I'm going to click and hold my mouse. Just drag it around a little bit. The Canvas to make sure it covers the entire eyeball. Now we can click one again. Get out of the orthographic view with the perspective view and check how the eyes look like. And that's perpetuate price. It will go ahead and disable the symmetry mode. Rename the layer. Two eyes. 9. Render Export Substance Painter 2021 3D modelling PBR texture rendering: Finally, in order to read herself species within the substance painter, we will first of all, I want to change the texture set settings. So let's go into this tab over here. We'll want to change the texture size from 2048, 4096 Instead. In order to upscale a texture resolution. With that, they'll give us the crisper look of the textures. Now we're going to be changed in the settings, display settings within here. And first things first, we wanted to change the environmental map. And the one that we're going to be using is going to be Studio 5, which will give us a really nice lighting. What is character? We're also going to be changing the lighting a little bit. I say we could change the environment rotation the B set at 25 to get this sort of result. After we're done setting up the rotation, we're going to be positioning the camera a little bit. Excel. Now we can go into the rendering view. But AD will want to click on the rendering irae button over here, which will start rendering or goblin. Now, for your information, we can change the lighting settings and the way our camera's positioned within this viewport as well. But I won't be doing it at the moment because currently I'm recording this course. And for some reason it messes it up a little bit when I tried to make some adjustments to it. Now, by default, substance painter is going to use a viewport ratio to make a render, which in my case is 1920 by 1200. But I reckon it'll be doing much better if we keep the ratio or the render as a square instead. And for that, we can go to override view resolution. Override viewport resolution. By increasing the resolution, we can also increase the render quality. I reckon we can use 2048. By 2048, which is just a standard texture resolution. You get this sort of a result. Now we'll also want to increase the max sample time. Let's set it to max, which will make sure that it renders until the specified time instead. And so now for the max time, the more we increase it, the better the quality of the render is going to be. We can also change the seconds two minutes. If you put it to upload minutes, like so, we're going to get ourselves much better off render. And once we're happy with the quality of the image, we can click Save render and get ourselves within the location or where we want to save the image. Rename it the way we wanted to. I'm going to name my Warner's goblin render 001. And so I want to have some other renders as well. Then we're going to be saving it as a different format. Instead of P&G going to be using a JPEG instead. Thens by default, subsidiary will want to create a mask for the character and make the background transparent. So it needs, it takes is to simply change the PNG JPEG, which does not allow a transparent background. So now we can hit Save. And we're done. I hope you were able to pick up some new and interesting techniques that will aid you in your future free detection and projects. If you like this course, please make sure to give it some feedback as a greatly helps to grow this project and allow us to make more amazing lessons in the future. Also, be sure to check out our previous courses within the profile as well as I'm sure you'll find them interesting. The previous course, we will show you how to create a gift wrap pattern using alpha masks, as well as how to add an image onto your mesh with 0 distortion. All of it and more will be found within it. And that's pretty much it, folks. I hope you have a great day. Bye.