Substance Painter Basics | Bosse Erichsen | Skillshare

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Substance Painter Basics

teacher avatar Bosse Erichsen

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

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

11 Lessons (2h 37m)
    • 1. Introduction

      0:42
    • 2. 01 user interface

      5:51
    • 3. Setting up project

      9:07
    • 4. Materials

      13:19
    • 5. Masks

      16:49
    • 6. Workflow playthru

      27:28
    • 7. Juwelery

      10:35
    • 8. Skin

      21:19
    • 9. Drenai

      36:10
    • 10. Render

      10:29
    • 11. Texture export

      4:42
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Project

About This Class

In this class, i am going to teach you how to get started in Substance Painter. 

The class is aimed for beginner but the later half of the class might also be interesting for intermediate users of substance.

You will learn:

- the interface

- the workflow

- little tips and tricks to save some time

- texturing skin

- building your own library of materials withing substance painter

 

And after we learned the basics and feel a bit more comfortable in substance painter we will learn more about the WHY instead of just the HOW.

So that you know what you should think about in certain models, what materials make logical sense and so on to give you texturing a feel of reality ( or fantasy if that's what you are after :) ) and train yourself right from the get-go to have the right mindset when starting to texture.

 

In no time texturing your assets will be a breeze

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Transcripts

1. Introduction: everyone. How are you doing? My name is both Erickson and this my course substance painter basics. Um, and what I'm gonna teach you here is basically just ah, plane overview over the program. Where's what on what you can do with it on. And also, I'm going to show you some tips and tricks and where to find free models to practice on just so that you can hit the ground running on, um, also show you like where you can find new materials and all this kind of stuff. Um, and yeah, I hope you will enjoy it. I hope you can hit the ground running on. Uh, yeah, let's go. 2. 01 user interface: everyone. And welcome back to the first lesson in this class where I teach you about substance painter and it's basics. Um, and the first lesson. To be honest, it's rather dry one, but a very important one, because I will walk you through the user interface, a substance painter just roughly, because we will go in everything in detail in one of the following lessons. Um, but this just a quick overview. So you kind of know where whatis located. Okay, so let's jump right into this and the first thing I want to show you. It's the view poured right in the middle. You see it split in two parts on the left part. You see the three D model, and you can navigate this by pressing old and one off your three mouse buttons. There's pretty much the same as in my Iife, your Maya uses, so it should be fairly quick to get used to this. And if you want to change the light direction, you can play a press shift and the rice right mouse button, and this is to drag it to the left, all right, and then you kind of change like direction. which is a useful to check your expected clarity, roughness, metallic values and all of this very useful. And on the right side, you see the UV layout off the material or the texture set. Better said, um, you have you have selected at the moment. And to select the texture set, you go to the right side. He was very important. The right side is very important. They should texture said list. And here you can go through you know its name to you. This is ahead. This is a body and this is days. And as you can see, if I press one of these texture set, the UV layout will change. Eso you always have a representation off. What is going on there at the moment? Okay, going a bit down. Here's the layers and he was basically where the magic happens. Here's everything where you do your mosque where you place your textures, uh, where you added everything basically, you know, and it's pretty similar to like photo shop. Everything is stacked upon each other. Um, and you can change here on the right side. You can change basically the layer settings, how they are applied to the layer below. Um, anthem. Let's move on. Here's the texture sets settings also very important. But mostly you will only use it once in the beginning to set up your pro check, and you mostly then forget about it. Here is where you basically bake your your maps for your three D model. So normal maps and mean occlusion, maps, coverage, map thickness, maps, all these kinds of maps. Um, and you can add channels for example, year you have now the base channels you always use, but you can add like a missive channels or trance missive channels. All of this and here. Up top. You can, of course, change the resolution off your maps, but that's what I have to say beforehand. The good thing about substance painters. You can always change it after the fact that means you can work the whole time in one K resolution. And then, if you say you want to, um, render out the textures to put it in your end. Ranjan, you can no problem just change it at the very end to four K and render this out. This absolutely no problem. Okay? And then moving on a little bit below. He is probably the property panel on, and he can change everything from you can see if I select here. Um, let's take this away. Here. You see all the channel to have that you choose to have here, and the texture sets settings. So here you change the color of the hide, the roughness for each layer. Okay. And here you also, if you have a preset materially pluck it in, you see, everything will change here and the property list on, and you can change it and go from here, okay? And you see, we have maps that are missing that we would bake in the Texas that setting. Okay, but we go this in more detail later on in another lesson, then moving on. You have your shelf, Um, and in the shelf, he basically found everything you can put in a layer or where you can, uh, put a new layer that's preset in your layer panel. So we have a lot of material with smart materials. The difference, I tell you later on. In another lesson, we have mask, you can apply procedurals, all this kind of stuff. And here is also the place where you load in your own graphics or your own resource is to use as a texture acid. Okay. And then, um, last. But on these on the left side you have here very similar to photo shop or are illustrate all your tools you find here on the left, inside common properties up here at the top, over the view poured where you can fastly change everything to your liking so that you can work fast and efficient. Okay, that's it for now, for the for the user interface. And in the next lesson, I will teach you just to set up your project and how to put everything in the right order that you all set to start. Texturizing three d model. See you then. 3. Setting up project: heavy one. Welcome back to the next lesson off the class floor of the basics of substance painter. What I'm gonna show you today is how to start and set up your project in substance painter . Okay, so we're gonna teach you how to load in the model, how to make the maps, um, and all this kind of stuff. Okay, so let's jump right into this. So when you start substance painter, it will look like this. Okay, that's a default. If you want to load in now your model and start texting. What do you do is you go to file and new and this window will pop up. And ah, here. A few options we can choose. OK, first, it's a template. The template is basically, um later on, when you save out your textures, they will be safe in a specific way. Teoh ca moderate Where you want to put it later on. If you have heard, for example, put it to unrelenting four. It was like packed attack, choose and all of this You can choose unreal engine four, for example. But the normal most common thing you want to choose, which is basically universal it's the PBR. Metal roughness. Workflow, maybe. Was all five. You if you have some transparency, ease. But we go with the metal roughness for now. Okay, so the next thing is, you want to load in your mash so you go here, mash, select mash and in the source materials for this course, you find a meet Matt to is like a very basic statue. You saw it in the last lesson. For example, just two. It's a very good model to test new things out or test new textures and all of this on and then we have the normal form. It which is dear. It acts and open GL depends on what your render engine where you are rendered later is used . But anomaly is just flipping the normal that can normally be done also in the render engine later on. So it's not very important. Um, and then here, above that you have create texture, said Per you D you gentile? So it's basically sometimes it's ah nice U V s. If you use that because you know you have different you dems. Normally in this way, you may make one texture. Per you gentile. If not They all created in one. Ah, and then document resolution. It's not some port in what you said here, because you can always change it after the fact. After the fact eso you can Normally I work with one K resolution the whole time. And when I render out, if I want to use, uh, want to check more details, I kind of like up the resolution of it. And then last but not least, if you have pre baked maps like normal, for example, very often you were half normals from high resolution mashes. Um, you can add them here at them here and later on you. You pluck them into your model, OK, But we don't have that, so we just click. OK, so now this is opened and you can see automatically. We have here three materials automatically created and here the U V's for these materials. Um, and now basically, you're good to go, but, um, that only if use materials. If you use smart materials, the difference between then you obviously need maps, because the difference between materials and smart Matilda's that smart materials used the maps you bake on the model, um to create procedural effects, for example, around the edges or depending on the height off the model. You know, if you want, for example, have much down below a defeat. But no. Here you use a positioning map, you know, on to bake these maps. What we do is we go here to the lay of panel and then to texture sets settings. And if we go down here a bit, you see here if all these map, if you click on the map, you could load in your pre defined maps. But we don't have that. So we have to bake the maps. Okay, so we click your bake map mashed big mash maps so on. We don't have a high resolution, uh, object for this so we cannot bake the normals. Everything else is normally, um, already set up. You don't really have to change anything except you want something very specific and here we can change the resolution for the maps. The higher the resolutions longer takes to compute, especially if you have a very complex model. But also here is the Samos. A resolution for the texture said itself. You can always beg these mashes are these maps at the beginning. Very low resolution. And before you render out your texture, you take your time and bake them again in the high resolution. But for now, we go with low resolution on and then down here, you can say big only for this mash, so only for the base material. Or we can just say big for every materially half in the scene. And we do that right now because I want to show you one little thing. Okay, so now if we take a look around here, you see, everything seems to look fine. Okay, But now here on the on the Texas, at least they said all right, in a circle right in front. If you click on it, we can disable it in now. Avi Port. So we don't see it. And here your property immediately. The problem. Um, this is only problem that accused. So when you know the model you have will kind of separate at some point in your renders, right? Like here, if they had goes up, you see this and you see, because off the m being occlusion map the shadows along these lines are basically burned in and then you have thes are Cleese separations between between two things, which is like a sad normally. Okay, if you know your model, dozens separate. But if it's separate, you have to bake it in a way that these things are not burned in from one mashed to another . Because this is the M in occlusion from the head baked onto the body. Okay. And to do that we go back to Big Mash and we disable all and only want to select the ambient occlusion. So we only beg knew the ambient occlusion. And if you go all the way and list, you see self occlusion and he is always and always means everything is in consideration off every single machin the scene and we want to say only same mash ning. And that way only that had basically effects itself And not the body, for example. Okay, so we big old Texas That's done, Sandow, ease him out and we see we uncheck the hat and you see the hat doesn't effect Thea ambient occlusion off the body. Okay? And that way everything looks also big cleaner and a little bit more brighter because, of course, there's a lot less em inclusion now. Okay, um and that way we basically have said everything in this project so that we can start, um, with our texture, anything, the only thing I could add. Maybe if you say you want a missive to set up the project to have some in missive missive layers, you go in the mature sack you want, miss, if layer to half, you click on the channels and he on the plus. And you select, for example, in Mrs and you See, here it comes up. And also now, if you go on one off the layers, they will have a channel cold in missive somewhere or not, miss, if here. Oh, yeah. Here. Right. Materials. You can uncheck and check different channels if you check on a missive. You see, down here, you have the missive channel. Okay, so that's it so far for setting up your protect on the next lesson, we gonna start actually applying some materials on. Kind of like changing them a little bit around so you can create the look you want to create. See you then. 4. Materials: everyone. How are you doing? Working back. And in this lesson, what I'm going to show you is a different kind of layers and the different kinds off materials you find in your shelf, Um, how to apply them and how to change them to your liking. Okay, so first of all, we delete this one, we start from scratch. Um, the first thing you want to know is there are two kinds off layers, basically, and you fight all the things you can add to your project to Yulia panel right up here. And the most common used layer you will find its official layer. This is this bucket was a plus. That's just press it. And right now you don't see anything because it has the same colored hat before. But now, if you go into the property's off this film layer, let's pull this up a little bit. You see, I have all my channels right here and here. Some, like you, be scaled and stuff like this on what I could do now, for example, has changes to read. So we see what happens. And what happens here now is basically a fillet is exactly what the name applies. It fills the whole, um, the whole hat. Okay, so everything will be equally filled with it so we can change the the roughness. And you see the whole model. The whole material for this UV map basically changes. Um, and there was a few late does. Okay, then let's disable this for moment. A second later, you will find is, uh, layer It just called layer. Okay. And what this basically is, it's a paint layer. Okay, So was the paint layer. You can actually just paint on the model, and it will all be recorded inside that one layer. Okay, so but in this layer, person that there's a way to use the filet or as the paint layer, which has several advantages thats will be cut will cover this in him in the mosque section . Okay, that's the next lesson. But so far, you can basically see the difference that if I change the color he to read okay and paid in red. Yeah. Um, if I change the color now, the color it's not changed on here. That means it really is this You paint on their campaign now with violet and then changed to green. Of course, it's a advantage sometimes, but it leaves you kind of vulnerable to changes. Okay, let's say now I want to change the screen to a yellow. You cannot. Okay, you cannot change the yellow, so we would have to go back on, then draw it again. But what if you have done that like 20 steps of before? You know you, you cannot change, and you basically have to start from scratch. That's why pain players basically used for very specific things. Like when you want to at a logo somewhere or something like this. Then you use basically a paint layer and for everything else, normally you want to use a philia because you can just add a mask. I do this year real quick. Um, basically a paint now in the mosque. And I can still change every property in this film layer. And I always be very flexible to change things. Okay, but the mask section recover another time. That's basically two most important layers. Okay, um, the next thing we're gonna look at is and the shell down here, you find materials on these air basically presets. You can create all these materials Wister layers. Um, before I show you that actually, I show you something else I create a fillet. You can You have all these properties here, right? You can change the color to red. But what you can also do is you click on one of these things and what you can dio issue can add things like noises, for example, or actually really textures that you loaded in. But we go for noise. Let's go for cloud and you see the cloud layers now basically applied to the color layer, right, and it's go away. Let's put it away And we just added into the height. Okay, let's go to the cloud here, and you can see we simulate height with the cloud layer. We can change the properties off this noise in here, and we pluck it directly into the height off this Phil layer, and we could still basically laid on, put a mask on here and mask out wherever this cloud layer should not be affecting the rest of the model. So it's very versatile on the last thing you want to know about the fillets up here, you have UV scale, so it's basically basically tiling the texture. So if I go crank this up UC, I change. I change the size basically off the cloud, Lay off the off the off the cloud noise. It's for this and that you can always do so Now we go basically that say we go to materials because like I mentioned in the earlier lesson, materials are not affected by texture maps. Bye bye. Baked maps like ambient occlusion of curvature. They're basically on their own. Um, you pull them in and you can see you can open it in the property. My property list. You can open para meters, for example on change. Here, something's so this case, a fabric suit vintage. I could change the color to, like some red in some. Some I don't know black and you're something like this. And I changed the UV to make it a bit more smaller. Something like this. Okay, On that way I would have little fabric texture, but as you can see, it's very uniforms. It's very uniform, especially around the edges and everything, and that is where studied this, where smart materials come. A smart materials like a sudden and earlier less not very cool because they use the texture maps that we bake. Basically big toe, ambient occlusion, thickness curvature. All these all these maps we beg they will use to create some kind of variants beauty at the edges or from top to bottom, something like this. So it feels very much organic. Okay, for example, let's take a leather, for example. We put it in here and you can immediately see it's not uniforms like the moment we go to the badges. Like here. You see there somewhere and tear something like this you can see So that's a power. Smart materials and other coursing about smart materials issue can load them in. But you can change them a lot because basically what you see is the smart Raju is nothing more than a folder full off normal textures full of normal Phil layers that have some kind of off properties applied to them. You can see I can totally it deconstruct what is happening. So I go, uh, check the 1st 3 layers and just go to the fourth layer and I can see what's happening here . I can go to properties, pull us up a little bit and I can see here what? They have changed, and I can see Phil so they used, like, a feel effect on this. And this is like a base color. And this multiplied. You can change here. The way thinks that multiply. Token sales was a subtract for examines your changes. Let's go back and he can see I can still change roughness. I can make it very glassy however I want. And I can really go into the material that's a preset. And that changes to the way where I wanted to. So I picked the closest preset of that kind of fits of style I want to achieve. And from there I can go and change it to my liking. And you can see the second when I activate the second lie again. Secondly, again, you see that applies this texture on here. Okay, this looks a bit like a Baroni on. Everything that happened here is basically they only took the height channel. As you can see here, they only activated the Height channel and they put in a cell Snow oise. Okay, I enter and then they changed properties. But basically gone from there annexes the edge highlights. You see me? They basically just said Okay, I apply high mask just at the edges. I showed that in the next lesson. Um, and that way, all the edges. A bit lighter, like they're gonna be worn a bit. That's where you scratch, right? That the edges are always the most warm things in an object because they always bump against some and then last one of these little damage, and you can see here the damage comes and I can always go in and say, maybe I want to change that calm. Trust is something here radiant with Grady. And they controlled color so I can go in here and say it's not completely red. Maybe I make it something bluish, dark, blue ish kind of thing that no, maybe some paint. Now it could change it. I can go in the mask, change things around, like, you know, making very soft feathering out something like this. Um, and then go basically change the color entirely. Maybe it's more like a the black lever thing. So maybe like this and you see very fast you're able to create a new material from a priest . Said it looks nothing like it and looks exactly how you wanted. We just have to know kind of what? Bus and suppress what mask to adjust. But that's something that comes with time. You know, if you have a bit more experience, you will very It will look very organic. Very easy to find and looks just a futures very natural. Okay, um, so that's basically for materials. Um, and how you kind of just them and off course what you can also do you can go into, uh, this material, Um, and it's a what do we take? Let's say Iran raw. And I put it on top right in the same layer. And I disabled everything except, for example, the roughness. And, you see, it takes the roughness of this material. Apply said to everything underneath it. So I can say, you know, so I can step different materials inside of each other s o. They are basically affecting each other and creating new materials from this, uh, and if I say I like something, I can say, Okay, that's a this material I created with different kinds of materials, right? And I say I very like it. So what I say is regret. Click on they say creates more material. And now this smart material is right here. And I can say Go to the body and I can just drop it in and how the body has the same materials here because I safe the material that I created myself in my shelf. And this I can apply to everything else and not just this project, but any project I use afterwards so I can build my own library of my own materials through the through the shelf and threw everything I do. Okay, that's something very important, because after a while, if you done a few textures, you really have a nice big material library. That's just your own that really you created. It's kind of unique to you, basically. Okay, So And to use that, even Father, you say, You know, maybe you don't want to apply to everything, but you want to apply it only to the front. That's part of the next lesson. And also very, very important lesson under this mask. Because substance painter is all about masks so soon. The next lesson 5. Masks: everyone. How you doing today? What I want to show you is mosques. Okay? And in substance, painters, a mass are very, very powerful and very, very useful. And basically, it's all about mastery. Husbands, mosques, you say where your material goes and you can mix and blend different materials together. Ah, and that's what I'm gonna show you. There's a few different uses for this on, and we will go through a few of them. Okay, Eso Let's get into it. Okay, So the first use off mask is basically to split a mash into several pieces where you can kind of always interchange your textures and materials to kind of develop the look of your model so that you kind of like quickly can exchange materials and kind of quickly create different kind of looks. OK, so what does it mean? Let me show you. So the first thing we do is we create a layer, so we go to layer panel and here's a folder we created Lay and we call this front. So because we want to kind of only texture this front. So next thing we're gonna do, it's with Drac in the material. Any material is fine, because this section is not about materials. Okay, so we drag it in, it's loading it and hear this. Okay. As you can see, the whole the whole mashes filled now, and we don't want that. So we go right click at Black Mosque and you see, everything is back to normal. And now there's a few different things we can do for, um, creating the mosque. Okay, The most useful. If you want to go very broad and we want to create, like the Bates Mosque where the material gets dropped in, What you want to do normally is you go here to the force from the top on the left and year you have. Let's go here to the property panel. It's easier to see you have four different options. Okay? And down here you can say black or white, and it's the same as, for example, in photo shop Black. It's nothing. Why'd you see everything? Okay, so let's go in. So resume Varian. Because the 1st 1 is Ah, it's a triangle full. So if you have a quad, you click. You feel only a trying us only half of it. Next one very self explanatory. 1/4 you feel only 1/4. Okay, so these are very basically only to define. Maybe some shapes off if there s some some stray polygons that you want to fix. Okay. Next one is the mesh ville on the mesh ville. Very straightforward again fills the whole mash. Okay, It is straightforward here because the head is modeled as one. Okay, so But if we go, for example, to body just to show you real quick Okay, you don't have to do this. We drop in here. We had a black mosque, and if I say polygon filling it on arm, for example, only the army's field. Not the whole the whole upper, a lower body. So and the reason why you can do this is because even so, this match looks the same. Looks as one in the office really program. The modeler basically model it first the arm and then the body, and then kind of merged them together. But on a sup level, they are still separate mashes. And that this was why, with this tool, you can kind off target different parts off a body. Okay, If that is not the case, you know, like here for the for the hat, for example. We use, for example, the lost the fourth option. Okay. And this is very similar fields, the whole area, but it only let's go back to put it back. Put it back to black. Sorry. As of the force option here, and what you do is you fill a UV island. So a UV chunk, they say here. Right, So I can click here and you can see only the front disaffected now. And this is exactly what we want. Because the next thing you want to do is we create the next folder and this is called back . Yeah, I know. Very, very descriptive names here. So we put in this material. Did I waited to load? As you can see, everything is filled again. So we say Black Mosque, click on the mosque, go to our yeah polygon Phil to and we go in here we click here and here and now everything has its own material. Okay? And now the thing is, as you can see here, No. So, as you can see here, everything is very similar color, so we don't want it right so what you can do now Because you have thes layers. You can delete this material and say, Okay, I put in some something maybe more silver into the folder. And now I have this and I say, OK, but the front is maybe two golden. So I delete this and I put maybe something mawr read in there. So this way you're very fast and in and in creating the look. You know, not to details, but just the basic look and appearance off your model from which you can Then go and define it. Okay, So we can go in here and it's a maybe. Now I want the back to be golden. Uh, so for this inhibitor and it's a okay, that's it. I like this, okay. And you can always go back and change. And that's why you have these mosques. Because otherwise you would always need to copy the mosque to the new material. And this way, it's a very easy workflow. And it's very, very organized because now I have here the back. I can only work on the back. And if you, for example, go down here, you would have three folders, maybe like one arm, two arms, three arms. Right. OK, but now let's go in and say I want to subdivide this basically even more. Okay? I want maybe a a circle in the middle. Right? So I would go into here and would create as first I would load in another material, right? I throw it in here it is. Ah, creative folder all this middle. You know, drop this in, create a black mosque. Oh, and you can see if I have a white mosque. Everything in here is still just this group. So you basically, um, breaking down the group in more things. Okay, so I go then. Because this time I don't want to select polygons. I want to paint and for pain. That's basically the top tool here on the left side. And here you have things to kind of change the size flow capacity. Um, and he on the ULFA. You basically defined the shape. Okay, so that's going here and next circle. So I can such suckle here shape, I unscrew we's it and I could do just paint here on the model. Oh, I could also paint on here on the U V s okay. So depending on what you're drawing, both has its cons and and pros. OK, so circle here. But I can also use other shapes. I can go in and say, uh, what do I want? You know, I can say I want maybe something mawr futuristic. So I go in here and you can also load your own shapes. And I show you this on another part off the Siri's so you can go in here and then you see, maybe we changed texture too, so that you see it better. Something yellow loading in. And here, you see, we have they supplied, and I can always go. And then here's really you can really paint in so I can use another thing. Put something here. Maybe. And maybe now I want some some text. Okay, So you're going to offer and I type in fund. He has some fund options. Let's just take anything with OK? And you know, we say test. Okay. You can make it bigger. I put in test okay. And very fast. You basically, like, applied some some graphics onto your model, okay? And our can always go in. Aiken say Okay. This should be read. So we go in and this is red. Okay, Looks very nice. Good. Okay. The next thing we want to dio now is this is basically the first broader thing you can use Four mosques. Okay. First is to create basically the rough shapes where the materials go into the 2nd 1 ISS to maybe apply some graphics or whatever. Um, you know, some some or little details. And the next thing on its person in my favorite, uh, is to apply procedural randomness, okay? Or blending materials together. Sandy. See, I direct in another material over our basement here. Okay, is the lower one is always the base material and direct brass on top. And now what I want to do is create a black mosque. Okay? And now I go into our shelf and I go to smart masks. And here I have so many different masks, which I can play around with, and they basically you already see what they do. For example, let's say I want, um strong edges. This and as you can see, this material only shows up at the ach is okay. And now I can go onto the mosque and I go into mosque editor because the moment I drac in the smart masks the's sub players will appear on I'm do the under the mosque. OK, so I go in here and here it can change health things look so I can so global balance. Right? So it fades out. It has some dirt here. I can change the texture to appear more or less. Okay, So just slightly I can introduce a second texture to give some randomness to this. I can change curvature and you have to remember, um, I didn't say that. I think all these small masks they use the baked maps from the from the model. Okay, so they use a the curvature thickness ambient occlusion inside these masks, but not all mask use. All, um, all maps. Okay. So, for example, and seclusion, as you can see, does not really anything while curvature does a whole lot. Okay, so there's basically how you do this, you can apply them here, but what you can also do let's delete this real quick. You can right click at generate, or you can also, of course, at paint, and then you have a separate layer where you can paint on and stack it on top off a smart mask or something like this. Because down here it's exactly the same as all the rest. Here. It's also a layer system. It goes from top to bottom. Um and you can stack different generators on top of each other. OK, so But we created a generator, right click at generator. And now if you click on it hears nothing and you can say on generator you click on it and you have this. You know, here you can also access all all kinds of stuff. But what we want to dio is the mosque builder. And with this, basically what you can do is you create your own mosque, OK? You can change the level. You know how much is affected. The contrast you can change. How much a Oh, you see that here ao introduces I'm in occlusion here curvature How much curvature is involved and top to bottom. Yes, you can see here if I go up, it feels basically the mosque from the top down to the button. Okay. What's base and all men, You just have to play. You can introduce scratches you can see here. No scratches. Ah, here. It's inverse. If you if you zero no scratches here, it's basically inverse scratches. And here's a normal scratches. Okay, so this is basically how used masking another option or another use. For example, I can show you that's just create here of Phil Layer. And I know and I mean now in the body part, right? And I create something that looks a bit like mud. So something more brownish like this just a black mastery. Quick and I say ground dirt. And as you can see now, we basically created something that looks like he ran through dirt. You know, a drain enables very dirty. He ran through it, and now we can kind of adjust. You know how much was I can make it less more sharp, you know, can say wasn't so dirty and then introduced the dirt like really hard, you know, And I go texture. Is it, like, broken up or not? Like Here is not, of course. And he is very broken up here can introduce a second texture. It's basically always the same controls. It just depends on how you combined them, you know, here. If I increase the curvature, as you can see, the dirt creeps up. You know, maybe like this. He fell into the dirt. You know, something like this. Um, And that's basically how you use musk. Please play around this on this model. Finished the model, How you like it. Um, And the next thing we do is we change the model, and we go really in one session from start to finish. Um, I don't explain. There's so much anymore. You just see, Like how it works. And most importantly, we go through the logic, you know, because now we basically know the tools, right? And now it's just a matter off time until you kind of get used to all the tools. And next thing you want to do is you want to develop a mindset like, um, how you approach things, you know, And I think every model should have, like, in your mind Or maybe even on paper. If you're client or your boss gives you something and it has a background, you want to have that in mind to know what material supply where you know? Like like why is it metal? Why's that? gold wise this fabric and not leather. You know all these kinds of stuff, and we go into this in more detail in the next lesson. See you that 6. Workflow playthru: Hey there, everyone. How are you doing? Um, and welcome back. So this lesson will be a little bit different from the rest. Because this time or better said the last few lessons were more technical. And this time you kind of like, follow me along How I kind of texture something, And I'm gonna show you like a little bit of my salt professed on And what I think about when I texture something. And here and there may be a little few little tips and tricks, but in general, it's just like for you to see what's kind of the mindset, uh, behind text during something. Okay, So as you can see here first, just Ah, this a model. It's like a pirate sword. That's the first thing I do. Of course, we had a normal map already, so I already loaded it in, as you saw. So we pluck it in here on, of course, like always to fisting we do. Is we kind off want Teoh, bake the maps. Okay, this is only 11 material. You can just simple and it should be done very fast. Here we go. So before I actually start Texturizing anything in my models. Normally, what I do is I create the folder for the different material materials. And, like I am, ask everything out. OK, so this is gonna be the blade. Um, Then we I'm here. One is the hilt. You know this part on, then we have one last in that. It's a grip. Okay, So in this small lap, of course, I'm gonna do it a little bit quick and dirty. It's just to show you like how to approach something. OK, so then what I do is everywhere I put Black Mosque, and now in everything, I put a feel later. Okay, So creates three for layers and just drop them into the into the folders. Okay? And now, every every filet against, like, a color on you will see why in a second. So I just give itto the color here and there. So everything I do now, probably something we already did in detail in one off the earlier lesson. So I will speed through a little bit. Okay? You can always slow down the video to see in detail what I do. But this is really more about the process. You know, like the workflow from start to finish. Okay, so I go blade, I go to mosque and I go here to polygon. Feel on What I want to do is I wanna choose a Nashville. And as you can see here, if I click on the blade, I perfectly mask out the blade. And that's exactly what I want to dio. So next I go to the hilt and I go in here at press on all the another mashes that I want to mask Perfect. And I go the last one and that it's a hilt. And as you can see, I really just have to click a few times, and I've must out everything perfect. Um, And now I go into this and I start we supplied and what I have to think about now it's like , what is actually a pirate sort? Okay, this looks off course a bit opportunity, but it always helps to have kind of like a story behind it, either. If you got it from your boss, like like, you know, this is character or this source This in this health, like a background story. If it doesn't have create one yourself, basically and think about what makes sense. You know, for example, this a pirate sold right, So and this is a little bit used to see everywhere. It's like a bit broken. So what, you want to think about what kind of materials? What they use. Okay. So full of late, for example, they wouldn't use something very uniquely right. Yes, so they wouldn't use something super expensive. So probably some normal Iran. Some old Iran like here because it's old, it's already broken. So I just drop in old Iran and here, and this is a first pass, right? You just want to kind of, uh, have a basic feel off how the model should be in the end. So you don't really go into any details. Everything I do. Really? Now it's drop in some smart materials or even just some materials just to get the basic look development go. OK, so next on I go to the hilt and then the hild, I kinda want to split it into two parts. Okay, I have kind of this. Ah, this upper part and then this curved part, right? Uh, and what I have to think now it's OK. So if I imagine I'm a pirate. Okay, so I don't really have a lot of money, but of course, I kind of want to look impressive. I can do what I want to look intimidating. So what I want to do is I kind of want to have this to have a kind of golden feel, right? But of course, I cannot afford gold. So what I do is the first time make a folder and say top healed just to have it organized. And I can delete that. And in this top kill, maybe I use something like maybe there would use something like copper old, some brass, you know. But in this case, maybe some copper would look. And what do? Here's of course. I make a black mosque and I make basically sub folder inside the group. Um, just so that I can can can mask it out here and can always exchanged I could also see. Okay, Maybe that's a bit too reddish. Eso Maybe I wanted to be more like brass. So I delete this Lodin brass. See how this looks on. This looks a little better. A little bit better. It doesn't look too golden and later on we maybe change it a little bit. But in general, I think it's a good color. It it's a nice fit for pirate who wants to kind off, you know, seem like mawr than he's actually is. Ah, And then, of course, we make another layer outside of this and this bottom Hild we put it inside, make a black mosque and mosque this out. And what this would be probably would also be some kind of Iran, I would say, because this part is kind of protected, right? Normal. You hit with this. That's why this is very, very used. And if you kind of block something, it would kind of be this part That's really, uh, really roughed up, right? So you don't want to use, like, expensive materials on this, but also, just for the sake of composition, you don't want to have exactly the same material that's here, right? Because it's still manufactured like differently. And, um, it's also kind of still part off. This thing you have around your hand, it should be a bit more impressive. Is its a pirate? Right. So what do you want to do? You want to see. Okay. What? What can it be? You know, So probably still some kind of Byron, but not something to used. So I would personally go with Maybe may be maybe this weaken, Try some medical steel. This looks nice, but I feel like it's a bit too shiny. Um, so maybe we go with arrested steel on this. Looks nice. It it looks a little bit less roughed up than the Iran we have here as some my scratches, some dirt on. We can always changes later on. Right. So And the next thing we want to do is a grip. We delete this, uh and Oh, yeah, we create sip steps. What? We create a folder. Oh, it's already created. Sorry. So I also want to split it up here on one. It's a leather has kind of the actual grip, and the other one is the grip metal parts, and that should just call it metal parts ride. Um, and we start with the letter with a leather, and we just used something here that's very maybe use leather. Something leather at that could be working. And you can see here if I just click here everything will be selected, and we don't want that. So we try here, and this was perfectly so we used UV chunk fell. That's very nice. I'm basically here. What we dio we can use a black mosque. We can just say here right where we wanted to be. Also maybe also been brought us right. So here and now, as you can see, I selected the same thing. If I click this away so we can just to go right click on the mask and involved in the mosque. And now it's inverted. And here's something missing, so it doesn't want to work here. So we just added after the fact and perfect. Okay, so now you can see it's a very, very basic. Uh um very basic text string going on right here. Um, but that's kind of the idea, right? So now we have an idea how it would look And from here on, we could say, Okay, we change things, So maybe the blade should be It's a sharpened blade. So maybe I want the irony to be lit mawr live it more shiny and less rough so I could change things around. I say I wanted to be. Maybe scratched steel. Right? Let's see how this looks. This looks also good. Um maybe maybe what? We can dio we add black mask and out. You know, now I go into this, the details, right. I go into the blade and I kind of refined what I already started with. Right? So I go in and really go on details on how could it look, I change some things, make some subtle changes, and I would go in here and what I see is like, I want something, um that this is kind of like a bit more shiny, but also believe a bit more like the IRA old we had in the first place. Eso I wanted to mix a little bit and what we have here Good. And we can go in here now, and we kind of change it. Something like here, you see, So we start to introduce and the edges everywhere, like the shiny bits, because the actors are normally the place where you have the more most in metal. This is where the most shiny parts are because they are, like, polished all the time because they're the edges. Are the places where you where everything is like, always bumped again. So obviously the ach is where you sharpen it. So you basically polish is very hard to do. You wear down the metal to make a sharp So that's what you have to think that this was why this mosque works actually quite well, but it's a bit confusing. As you can see here, it's like it's a bit too much. So what we want to dio We want Teoh find the grunge and we want to Yeah, like you see, we want to make it a bit less We go in here like here. Grunge scale, Weaken, Try like this. This looks OK. Grant amount increasing at this a bit Etch smooth sniff. It's also nice because this way, you know, if we have it like this, you see here at the at the actually like sharp tip off the blades, we have also still this and I don't want this If we increase the edge smooth sniff, it kind of goes away and it kind of sticks here, and that's what we want. So this looks nice. Um and then curvature Wait, We can check, maybe like here. And maybe you can always check how it looks if you inverted, you know? Also awesome. Nice. This looks actually also good. This looks good as well. It's smoke cartoony style to have more like these refine edges. Of course, it's logically not that most accurate. I mean, probably this still, because if we do it like this, it's It's a different approach. It was. It was like the logic behind here would be like It's always bumpy, so it's like it has still kind of smooth surface, but it's kind of wavered. Bombs and really bumps. Hearts would kind of like chops away. And it's not like the Polish kind of thing you have in metal, which would actually make probably more sense. If you like a pirate, you would actually not polish it lost something like this, I guess so. You would just, like always use it until it's broken and then you get a new one. So actually it's make sense. It looks a bit more or less confusing because if you see if we change this, it looks also bit more riel. I guess like this and we don't want that we wanted to keep it may be a little bit more like Live it smoother, a little bit more cartoony. So for now, I'm OK with a blade. It's nice and shiny, which is good for Blade we want Don't want Teoh looked like two old on For now. That's totally okay for me so I can check what it looks like before this was before. This is after a thing. This is definitely but better. What we can do now is we go actually into the material and change some things, OK? Because this is how it is at the moment. But let's say we want to change the minahasa T makes it a bit darker. So if we want to have a darker feel off, if you wanted to be a bit more lighter, we could really crank it up. And this is now we don't like this. We want to make it may be a bit more darker. Um, roughness. We can go in. We can make it a bit more rough like this. And now you can see you have really like these micro details coming out on this is very nice. I think this looks good, but what we want is we want to try to make the height. Not so prominent. Okay, so we changed some here too much. Too much. So 50 was probably okay, But what we can do as you can actually access individual channels so I can go here now is based colors a default, Congar into height. We can maybe turn it down here. You see here, if you like the the values 1 to 100 he beforehand, you change it, You can change it to any channel. Okay, so we go into height, and we can actually decrease it here, you see, Like if we go maybe, like, 50 it it's not so imposing. It's a bit more natural, and this looks actually good. I think this this is nice. I like how this looks. Um, this is good. Yeah. And we leave it like this, and I think for the sake off this tutorial, we just move on to the next one. Um, and that is a hilt. That dumb. Let's go. Hild top. Maybe the Bronx. Maybe we change it a little bit. Just slightly. You know, just sometimes you don't have to change so much if it's OK for what you do normally. Um, so we go in here, maybe we change. Play around was a color a little bit. Maybe making it a bit dark, how that looks. And this looks actually nice. Um, because normally gold disassociated was very like a bright yellow thing. Right? So if we make it a bit darker, it actually still like resembles us What we want that he wants to impress others. But we also show it's not really gold. It's just something that looks that imitates gold. Okay, so next we go into rust, and as you can see normally, you want to spend a lot of time doing this and really trying things out. This for this tutorial, I want to, um I just want you to have an overview of how how this works. Okay, so we have this medal and what we maybe want. Yes. We want maybe some some scratches or some dust or dirt, maybe some some blood we can also do. And for that, what we can use is we actually go into a land. We is throwing some dirt right on top of the material that has no real base color basically , you see it? It kind of has a mask integrated in. So what we gonna do here? You can see here if you click ride. You can add these facts right here, and they did that so they at at filter or levels or feel whatever. And here you can access this and Grady, and it's what gives to color to the dust. And when we change this to something more reddish, as you can see, we can, like, emulate Like how it would look if if there was some blood mixed into it. Right, So maybe blood is normally but darker after it's dried. So this looks actually good on we can go in and we can see Do we want it to be, like, more like very rough? Or do we want it to be more more reflective? And what we can also do is make it metallic, and this way it pops out even more. You see, now it's basically black, but it's very shining when the lights come in and we maybe go halfway like here, make it a bit more off. And now we have this. It depends on what you want to do it shouldn't be like fresh blood. Then it would be a bit more shiny. Or is it, like, dried thing? Then it would be less shiny. It would still be a little bit. Maybe it would be kind of like like this, I think. Right? Maybe. But I wanted shiny there on a bit something like this. This makes no sense, but normally would mosque it out now. But we leave this. No, me would go in here, you could say, for example, let's do a paint mosque And how I could go in here, going here, make it block like my pain tool. You see, I edit a paint paint layer, and now I can go in here and paint out where I don't want any blots to half. Right. So I can go in here and paint things out. I can use other as a generators, a za mosque on top of this. That's how we do this, you know? And this is okay And what we can actually do. We can copy this. Why? Copy layer, and we put it into the blade. So we just say here, um paced layers on. We don't want their We wanted in the blade. So and you can see now we added here some blood. Um and we want to tone it down. So we go in the mosque off the dirt right here, and I would go in here and we say global balance make it down a bit. So now we start to introduce a little bit of blood specks into here. Ah, Now we could, of course, going also pain thing here. And we say, Come on, we we paint, we go on and we can say, OK, we we paint here some blood somewhere, you know, Of course you want to make it more detailed normally or more careful, but in this case, I just leave it and then you can copy that again. We still have it, and you paste it into the I know normally would also have it here. But come on, let's do this. So we just drag it out on top. So it effects both here and there. And we also change a bit in the mosque editor to make it a little bit less so now vanished . There. Me, maybe like this is OK. It's a bit much, actually sexual it's toned it down. Check The curvature may be here. Now I see It's kind of gone here and I don't like this. So what? I do it, Throw it in the bottom right here, and I copy it on pasted there. So we have, like, two layers in there. So top filled. Put it in. So we have more control off how it looks. So we go back in here, hear, hear, and get more of the global thing back. That's too much. But here and now, we have control of how looks knows that. Of course, it's a lot. It's way too much way too much. But, you know, it could be a known game. Sometimes they have, like, a clean version, and then they have a version where there's blood on it after your fight, for example. And this could be this, you know. And then you explore this once and then you another one. You export without the dirt, um, and then works perfectly right. So and last but not least, is the killer the grip and here basically it would do the same thing, So I would go in here and say, OK, it's a leather Fine. And for me, it looks fine. Um, here, you want to maybe put some more variety eso what you maybe want to do, It's maybe you get another one like you just create another older and you just use something like steel. You know, just just another kind of metal, because this looks very uniform, and we kind of want to change that and to change as we go in here and we check now here. Maybe we can making white, and we just check if we can kind of introduce some mawr different kinds of medals in here. Maybe here we change it that it's really like this. And you see, now it is a bit more. Maybe we make it actually darker. Maybe some some dark metal comes in here. Yeah, this is sexual good. Gives a nice, different kind of feel to it, I think A sexy looking nice Andi Yeah, it's pretty much done in the bloodiest Disip it too much. So let me just get rid off the blood. I think for this version I don't want any dirt on there. This would be this and it's okay, you know, it's very quickly done off course. Normally we really want to go into detail mix and match the materials. Um, and then you render it out on the next thing, I'm going to show you in. The next lesson is how to add things to it. Like like Juve ALS in this case. Okay, let's say I want a Jew. Valeri Right here. How would I going to do about this? Because here's no no geometry. Right. So in the next lesson, I going to show you how to actually fake, like, jewels or other kind of stuff. Honest, reedy model, like, just with tax during. Okay, so, So far, I hope you kind of get, like, how you approach this. How you go through this on and, yeah, try it out yourself to different kind of versions off the same model that's always helps on . Yes, you. In the next lesson, 7. Juwelery: everyone. So this lesson for once will be a little bit quicker because everything I want to show you this time you see, I didn't change anything from last lesson. What I want to show you is how to add Juve Ilary to your model. And before I do that, what I want to stress not enough is if you can get it like on riel geometry. That's always better. Because what we do now is we want to maybe add the Jew. Valeri. Come on, let let's add it here. Because, you see, it's flat and it will stay flat no matter what we do. Except we do like a displacement map. But that's a bit much for just Jew Billary. So what we want to do is one at Jubilee, right? So how would you start doing this? And of course, a different approaches. But this time I show you my approach. Okay, So what we do is we use different Phil layers, so we use first the first feel layer, and we add a black mosque. Okay, on what we want to do. And now it's we want to find a circle. Oh, no. Let's not take this one so you can go in. You can go down here in Alfa. Wait. Not great scale. Other fall right in after you. Of course. We used the paint tool, right? Pain tool. Click on the mask off on. Now. Would we want to surge Is some kind of this circle that we like And this one too. Let's very nice to use if I can find it. Yeah, shape, border circle so you can choose your border with Hartness And first we make it totally white. And now the first thing we're gonna do is we say Okay, how much should How big should a Jew Billary are? And we say it's like this. Okay, so and what this is The circle is basically the like, the metal case where you put the Jubilee Arian. Right? So we click here wants and you see, it's white here and now we go back to the filet er where you have all these different kinds of off, uh, off material options. Right? So we first make it a bit darker, so it's not totally black, maybe, but like, little bit grayish here on the height, the height we crank up that way it gives The illusion is if something comes out right or if something is inserted there on, we also make it may be more metallic, um, and maybe a bit more shiny here and there. It's very dark now, so that's maybe make it a bit more brighter. Maybe, actually, we don't use color. He actually, it stood like this. We don't actually use color. Okay, so the next thing we want to do is we want to create the shape off the jupiler. So we create another Phil layer underneath the layer. We already did. And, of course, Black Mosque. And now you have to think about how does the layer had the Jew? Valeri should Look. What I want to do is something like, uh, like a classic thing, something like livid, angular, like like a quarter, you know, like we use this hardness. So this is called a shape parliament. And you can see here is like a cross. We want to make it a bit more sharp. Maybe go to, like, 50. Let's see. No, we go to, like, 30. Let's say, like, 30 and we just click here, right? And now you see nothing basic. So what we do first is we. I'm checked the color we don't need the color on. We don't need the roughness and not the metal and the normal. We can leave just just in case. But what do you want to do now is you want to crank of the height and don't make too much, because remember, this is already a fake effect right on. You don't want to pronounce it too much of a super fix, so you don't want to make it to look as if it's too high, even if it's not because it's still flat. So we go to about, let's say, 35 maybe something like this. It's nice on what you do now if you go back into your, um, into your I forgot the word now into your mask, right, Go to the pain tool and you just search maybe, ah, circle thing and just, you know, grab the circled shape and what we do now and I'm squeeze it, squeeze it, then it's round, and what we do now we make it smaller and what we and with changes to black, so we want to paint away things And now we go in here on We paint away the surroundings off our jubilee. Every basically and I make it quick and dirty here now, just for the sake of the tutorial. But you should really do it like nicely. So now it's gone perfect. And now, to finish up the Jew Billary, we make it with another fool layer. Right? So let's say what kind way have read here. So make room. Ruby. A ruby. Yes, that's the name a ruby. And we make it very shiny. Very metallic, maybe. And off course. We had a black mask and we just increases. Put it over This and the nice thing about here is it. Should we need the color here? If we have color here, we can be a bit sloppy. If you don't have the color, you have to be more precise. Let's just turn it on. So it's a little bit more like a metal Iran thing or silver in the gold plate bronze. In this case, um, and now basically, that's a ruby. But we have one problem, and the problem is you see it. It's not smooth. Let's make a smaller so we can see, it's not smooth because underneath if the bronze armor, if we have this away, it's very smooth. That's the way you want it. So we go in the mosque of the Bronze AAMA, change our paint tool to black, and we just click here once when we make it a bit bigger and basically you can see it. Now delete the bronze armor from underneath. And now what we can do. We just put all this into in your folder sick. We call this Ruby, and here you have it. So now we have, uh, a Jew Valeri embedded in the sword. Where's nothing was before. And like I said, you want to keep it subtle. This is also probably a bit big. If you re fake something like this, it's like totally flat. You want Normally you want to keep it maybe tip small bit, a little bit smaller. Just so it's not too pronounced. People not noticed, because once people notice, they notice, you know, on Yes, you can experiment with this. You can do different kind of stuff. We can go in here and we let's say, Here's our high player, right? We delete the height layer, Um, make back Black Mosque and I would change maybe our Alfa to something mawr round. There's actually, like, a blurry cycle kind of thing as I forgot the name, um, the now everything pops up, takes a while to find it, um, here, like a shape. So what we can do? We can use something like this. And now it appears to be round right. And now it appears to be a more rounder, right? Of course. Maybe we make it a bit harder. So, like, it's like, this may be like here. Yes. So now you see, it's a big grounder. It's like it's, uh, a bit more of a different shape. Yeah, and and that's basically is that's how you add like, Juve Illyria. Any other kind of stuff you can add like this, right? Just play around, search for the shapes, or make your own shape That will show you in later tutorial how to add these kind of things . You know, I couldn't make this thing like at a full layer black. I couldn't make something like this, so I would then, of course, delete the outside a little bit. But then it would have, like a like like like a shape. Like like scales or something. I don't know, but yeah, that's basically what you can dio on. Yes, that is for your next tutorial. We actually, and yet now please finish up the model. Just play around, add as many stuff as you want at, change the tax, choose and just work on it. And then the next lesson, we actually move on to skin. Okay, so we have a new model where we kind of create skin. Until then, have a nice day. 8. Skin: everyone in this specimen, we gonna get a new model, and I You can download it from the from the project file. Andi s You can t year. I already made all the masks for you. You see all these different colors You can just right jump right through and put some materials inside. I did this because you know that's the most tedious part of the process. Even so, it's very important. I thought for you. I do this so you can hop in right into it and just start going. Okay, So what? We model? Well, we texture everything in here. We will focus, especially on the skin. Okay on. Yeah, Let's jump right into it. And for starters, we click everything away. That is not the skin. We just don't want any destruction. And as I said before, we kind of want to know. Okay. What? Um, what is this story behind it? Right. So in this case, you know, it's an Elian, obviously, because it's has, like, this tentacle hair and everything. Onda, we want to kind of, like, starred in going right. So what we do now? First we delete This is our our skin skin group. First thing we're gonna do is we have to look at how skin is actually looking. So I go in, I go on being Roku, Bill, whatever. And you just type in skin and you see all these close ups. And as you can see, they are mostly very not uniform. Right. Um, what do you see here is like they're if these patterns and then they have readiness and and whiteness or whatever skin your color is on. And then we have imperfections like here. Um, you know, maybe some scars. All this kinds of stuff on dumb you can all find this year. And you can also type in, like everything you can type Italian skin and you can see what other people think. Like alien skin can. Look right here. It's green, for example, like this maybe on you just go through it. And after that stunt would reduce, we jump over to substance, share, right. And what we do is we say, like, skin. We just such skin and substance here. I think I showed you this before. Um, you can find everything like a lot of tax choose, but also, if you go in the mashes you see here some mash is that you can download where you can, you know, texture them yourselves. You can find brushes, but for now, what we gonna do? We go to smart materials here and research for skin. And as you can see, you can find you a lot of different skin types, like crocodile skins or here, like like scale. So infected skin and all of this you can download and kind of check out on load into your into your shelf. I show you that in the second, um, what do you do is you can basically use everything here and then manipulated to look the way you want. Okay? I already did that. So what? I'm gonna do it. I already loaded it in here. You see it in my smart material. But I show you now how you can load it in yourself. Okay. Everything you got to do is you downloaded, you unpack it. And now we're gonna go to my let's see substance and then, uh, substance share. We have something like here are materials, and I actually did like an archive. Okay. Where I put all the materials and I downloaded and you just search for skin here and what we can do is here, for example, troll skin. Okay, so we take our troll skin and we throw it in here and you can see here's ultra skin and undefined and what you do is you just to find it asked, for example, texture or base material. Whatever it ISS, we say now based material, and then you can decide where you put it. So current Sachin is just a session are here project and it's only in the project or in the shelf than it's always air. And then you click Import And I already did that so I don't do that on now. If I search here for troll, he a sea troll skin and I could throw it on here and you see, it looks a bit weird because it's very scaled up. OK, so but let's say we want to use this skin. OK, um, we can just try if it works. If not, we we change it later on. But the first thing we want to do is we want to find out OK west this pattern, because his pattern is very big and it's kind of distracting. So we wanted a lot smaller. So we click away some things and you see the first thing I click away. The pattern goes away so we know it's somewhere here in this folder and mud on and we want to surge splashes and well done. It's a splash. So we go on the splashes, we click on here and here. Maybe this works, it doesn't work. So it's not this tiles. You want to increase the tiles, right? So we click things away and probably it's a mosque. Andi, what mosque could it be? Cells. So you hear itself, of course. And here you click on the cells and then you've ease. And if you crank it up, you see everything gets smaller. And now, as you can see here, if I open up my my browser again, you know, obviously the best thing would be if you have a second monitor when you can just drop in a bunch off a bunch off pictures so we can always look at it, Um, skin. Okay, why do I find not so many skin? So But let's look here. And if we open this up I can see if you really go close here. You see, Here's a lot of this pattern and like imperfections. And if we go back into this, you see, we also have this here now, Okay? And you can change it. I could change cells in here, but I think cells actually is pretty good. I could change, You know, the procedural things. I could change it to Poland. Like to see how this looks. And you see, it's looks OK. It looks good. You can use it if you wanna, like, do something like rash, you can make a bread. But in this case, I really liked the cells. So bring the cells back because I think this is a very nice pattern. Everything I want to do is maybe tone it down a little. So what we do is we go in here and we tone down the color. Not not the normal. Just two colors. A little bit. I think this looks very nice off course. Now she looks very dirty, okay? And we kind of don't want her to look so dirty. So we gonna go and search for the things that make so look dirty and I think, for once is actually the cells. Yes, Um, we want to tone down a little bit on the height so we can check here. If we have height, we can, you know, change it here. Right? And we want to make it just a little bit over over normal, like this, right? And we close it here, and then we can go on here also in height. You see, they also put in clouds. Um, right, so and what we want to deal with. What? To leave that. Actually, I m So we go into height here, Underlay s. You can switch basically the channel you work on on the right side here, and we can tone down the height this way as well. So normally, that's just like the global option for this, uh, for this layer. But you can also go into the layer, and you'd hear you have different kind of sliders. Where you where you work on different kind of heights. Okay, so we have this, and this looks good, but we have these dirty stirred spots and everything, and we want to tone that down a little bit. A swell. So we check. Isn't the mud? No? Is it the skin? Ah, little bit. So you see these parts? That's a feverish skin skin feverish. And actually, the funny thing is, we downloaded the troll. But the fever skin is actually, um, also material you can download from a substance share. So he is skin feverish. You see this? They used this and they probably just used a few layers from this. Or maybe not. But it's the same name and you can do that to you know, I can drop this in here on, make a mask on it, and it's just, uh, just appear somewhere around here. But let's go in here skin feverish and toned this down a little bid as well. Okay, skin base. This is here. I think if we just click away this, it's actually already where I wanted to be because it gives a little bit imperfections, but not so much. And and you know what you want to do is you want to slowly decrease everything at once. Um, I think you can have different work flows, but I personally like to to work on everything at the same time and always tone it down little by little on don't, like, make one thing perfect, and then go to the another thing because you always want to have the whole picture in mind , right? Um, and the most important years, obviously, the face. That's why we keep our camera there. And now the next thing we want to do is we go Teoh the skin orc right here and here somewhere we find spots. So beauty spots, I think they're fine for now. Surface detail. You see, Here's a lot off the red coming through, but here it issue. See here the dots mask folder Here's basically with the most off the dirt spots basically come in and I don't necessary hate them. But I want to tone them down a little. So we go in the mosque of the folder and we check in what they used here. Okay, so they have levels. If we change this, you see, it gets less home, or so we tone it down until the point where we like it. Maybe like here, just just do want just a hint, okay? And it's still Ah, it's still too much, you know, skin. And normally I mean it depends on what you want to do, but I think it's just too much going on. If if you go back to skin, um here and you just see a normal phase you see, even if there's on imperfections Uh, the other one this good even if you see the imperfection snot like over the top. So what we want to do is we want implement that here and to do that Actually, what I do now is I click everything away and then I will start everything that kind of makes it look a bit too dirty. Actually, click this away this away. Yes, samide way have to work on the model bid this smart we click away And is this okay? Ah, yeah, it's it's a doctor. It's too much. It's just too much. So we turned down this and we maybe take away the color. Maybe, Yeah, we can turn up that I began a bit. This looks already batter s You see, It's like now it's not If I turn on the calorie, See, it's kind of makes it very dirty. I don't want that. Not yet. Maybe later we can add. But now also this it looks a bit too much. So also here I want the color, but I turn it down a little bit more, even just slightly. And also the height. Just just so you know, you want to make skin very, very subtle because later on, you know there's something like substance Kettering's. You know, that means that light go through, and on the other side, it kind of like shines through the skin. And normally you apply this in the on your render program later on. And this really makes skin look a lot more wax. Seal it more softer. Ah, and I use ah, substance pain or 18. I think in the new version, you can actually see um, scattering inside a substance painter here. I think I cannot see it yet. Um, so you kind of have to know that later on, everything gets a little bit Mawr washed out because like shines through it. OK, but so far, I think now it's good. It's it's It's a nice uniform feel, okay? And now you can see if you crank in some stuff again. So I think now the feverish It's like more luxurious, a bit sick. But what we can do now is we Go. Wait. Where is it now? Oh, I don't find it so feverish here, patches. So we want to tone this down and here's skin darkened But we click everything away And now it's the first time we make a folder in layer ourselves So we create a fill layer and put it just on top Click away, Feverish For the moment on What we want to do is we make this like a reddish color, right? Ah, we just make it this color for now. And what we're gonna do is we apply a black mosque and we apply a generator. And now we go to a smart materials, a smart masks. And now we search for something that adds kind of like this second color subtly into this face and everything. So there's a different mosque you can use, like, try things out. But what I really like is something that uses a lot of ambient occlusion. Okay, so I see here maybe what we can use. Did you do dust? Occlusion could work. Um, let's see. Yeah, actually, let's go with it. Dusts. No, let's go. Dust self too. Okay, we throw this in here? What? We delete this. We can just drop, drag, drag and drop like this. Now we have this. And now let's see if we go in here. You see, if we crank up the balance now, it kind of starts to creep in, You know, everywhere here and there if you click it on and off. And this is exactly what we want. Okay, so the colors maybe a bit wrong. Maybe we wanted to be mitt more orange, so it blends better together with the green. But we wanted to be a bit mawr reddish because this is basically for me, it would be like the bullet into under the skin. Right. So what you want? You want to have something a bit darker and more red? Maybe like this, right? And then we go into the color and we toned this down. Or maybe we can use a multiply or screen or something like this. No, overall, I just try some things out. I think overlay looks good, and then we kind of tone it down. And now we do the same thing again on what we do with this is basically we simulating, like of its substance painter and then a little bit like a friend. Um, nous Okay. Oh, and what do you want to do? Is what you want, Teoh, click off that Only colorist says it's used, right? The next one, we do the same thing and we use another. It may be a bit more red here, and I We use another mosque. Maybe this time dust occlusion. We drop this in and you can see here. It's like in the nose in the ears. Right? And what we can do now is we right? Click, Uh, add a filter. And this filter, what we do is we use a blur. So everything here now we can better out. Okay, When we go dirt and we make it more third level like this, maybe this looks good. And now we blur it out more that we have, like it smooths like transition between some things. And it's like replicates like different kind of skin types. This looks good. And like this, you basically go through it and kind of define where things should go, you know? And here they also have a oh, maybe want to make it a bit stronger and you just click through the different layers you have here and like, kind of like change them however you want on, Then what I like to do in the end is I make another film layer and what I do is a click away, the height, metal emission and just the roughness. And I give it an overall roughness. For now, I even let's say I put in, Ah, cloud something like this. So it's a bit different you see here. So it's not uniform, but I want to make it more. Not too shiny. Okay, here and a bit more like here that it's a big like smaller clouds. And you can see here you have like this. I think it's nice because an alien skin on for me that's basically okay. So this is kind of like how you approach it, you know, you you blend layers together on assists and yes, so this is basically it for the skin texture, and this is off course now an alien skin. But if you want, you use the same techniques to do something like human skin. Okay, then obviously you would use a lot more orange and reds, Um, and all this kind of stuff. But so far, I think this alien skin looks very nice. And now I would ask you for the next lesson to go ahead and ah, apply materials to all these other layers, okay? 9. Drenai: everyone. How are you doing in this lesson? We gonna visit our last model for this course on This is drain I right here from World of Warcraft. And this is done by the fantastic people's one. You can see here. This is dry and I Andi, it's on sketch Fab on sketch. However, it's also a nice website where you can find a lot of free models that you can download to, uh, to learn your text. Oring, you know a lot of different models, but you can find. And I choose its journal because I really love well, World of Warcraft. And they have a very unique style. Um and that's what we're gonna work on here on this lesson. You will upload this project file as it is right now to you guys already every single mosque out so you can just jump in and apply a textures. And in this lesson in particular, you're just gonna follow me along how I textured. Of course, it's gonna be a bit fast, so you take your time as much as you need, but I will kind of speed through it a little bit, so you can see from start to finish. And after that's done, I'm going to show you in the next lesson how to render out inside substance painter. So for your portfolio, something like this aan den in the last lesson. After that, we gonna show you finally, how you export your textures to bring them into your three d software. Okay, so without father do, let's continue. Okay, As you can see here, um, I'm asked out everything and the ground lay. I already gave you textures. Just so you know how I did this. Unless you can see here. Pretty straightforward. Um, just some mass and some little little grass textures and stone tax Jews. But take a look at it. Maybe you learn something. We click this away for now. So we clicked everything away because we just want to have this base model, and the first thing we're going to start with is the skin. Okay, so what we want to do here is we'd go and a bit closer. And now we go in our skin folder. Unless you can see here the skin fuller Half a 2nd 1 without a mask, because this one out Gonna insistence to body too, because there is a little bit off skin texture to You can just do that by right click and an instant across texture sense, and he can choose a texture set. And then it will kind of instant this across. But you have to be careful because they also take the masks. That's why always, you know, do a sub layer and this one without a mask. I instance across other textures. So I just have to do the skin once and don't have to copy it. Or if I change the skin, it will automatically change accordingly. Another texture sets. Okay, So what we're gonna do, Of course, we wanted also to be a bit like we know it from World of Warcraft. Look, Violet, uh, we're gonna do is we start with in normal, see our first to work a bit faster. We change our texture size to around 1000. That just gives us living more speed limit mawr flexibility. Um, well, we do now is we just search something that we can start a skin with. And I think this skin texture is good. Um, probably one of the sketches I downloaded from sketch fat from substance share, and here we go. OK, so this looks nice, but the problem years, of course. Actually, let's go to 2000 revolution because I want a little bit more detail how it looks. Okay, so I go in here And of course, the first thing I want to do is I want to change the color to something a little bit Mawr via Let maybe something like this. This looks nice. Is good. Yeah, that's nice. Next thing we're gonna do, we gonna check. What else have they in here? So they have veins. You can see the roughly. I don't know if you can see it in their recording. They go a bit closer, my crow veins. You see that? This little little micro details and I like that. I think it actually, it's nice. In general, all I want to do is actually add another layer for now. Of course, Normally you want to go into it a bit more in detail, just so you can, um, control everything a little bit more. But here, of course, way. Speak through it a little bit, because otherwise this'll s more take, like, a few hours. Um or just our something. So we're gonna do click everything away. We just want the color. Um, I would do is we add And after this mask, go to smart masks and research Now something that gives us a feeling off off substance scattering. So that light kind of goeth through the skin I'm gonna do here is make something like a blur. I see how this is going to love. It's loading now. It looks not so good. So we can do it's not what we want. We go make the Wiz. Yeah, occlusion strong. Let's jump it in here. This makes it a bit dirty But maybe we can change it when you go to capture like this looks already better This kind of what we want, Of course, Now it's very pronounced strong. So what we're gonna do, we go to the mask and what we're gonna do is we add, if filter at filter, we choose the Blur and was a blur. We kind of weirdo the mosque out a little bit, and now you can see we have some great aviation inside the skin, which looks nice, but it's of course, a bit too strong So what we do to go here based color and we try and see how it looks. If go on here and say maybe multiply this makes it a bit more natural. House looks good. And maybe overlay overlay is really nice of blends nicely. And then we lower the capacity, maybe to something like this. And this looks already really good. And for now, we leaves the skin of that just so we can work on the other things. And then we kind of tone everything together once we have locked. So next thing we go horns go. Smart materials, Spohn style life. I think that's good. It's a bit too bright, way too bright. So we go in. Here we go here, we tone it. I want kind of alike forms. So we use go here. This looks nice. And I think the mosque years have little did off because, you see, here we have this black things. So what we're gonna do, we just go in the in the mosque and she's our pain toe and up here, you find the symmetry setting. So we goose this and now we can paint in here. I wouldn't want to do, want to make it big and just slowly this because when you check it re Ference is most warned. That kind of slowly move into the skin. It's not always like heart cut. So that's what we want to emulate here like this. That's good notes already along batter and a thankful Now it's OK. Like I said, the first thing you want to do this really kind of make a base on how the model should look . Not not to detail, just rough textures. Now we're going to leather. I want to do is we wanted check exist. Let the right So it's kind of warm. Probably may be weathered leather. Maybe it's good. It's too bumpy for me. I believe so. We delete this for now. Leather. Fine, maybe something also big, Darker. It's too shiny, but I live the color. But for now, let's see what else we have. Maybe leather damage. It looks a bit more Mose, honest looks also nice. Lay down. We will probably change a little bit like the glass in this or something, but for now it's nice. It's nice. So next thing is the armor, but this is instant it cross. So what we're gonna do here a sweet leave it because this will be changed later on. Now we go to body because bodies next part. So we're going here. Also, we drop this down to two k toe, work a little bit faster on, and then what we're gonna do is we're gonna go in here, and as you can see, here's a skin and it's instant. So it's a skin instant, and I think it's a tale. So the tales automatically, um, added texture accordingly. And now, if we go to armor, as you can see here, this layer is the one we instant across to the other texture. So we change something here. You see, this will also change. And this was originally in body one. So what we do now? Such something that it's nice for for the AAMA and maybe want something with a little bit color? Um, so to take this, drop it in here, it's too shiny. It's too light, I think. But for now, it's okay. It has, uh, also nice feel for it, but we're gonna change it up a little bit later on now we're going to leather this'll second kind of leather. It should be something a bit more softer. So we do need this head. And I want something more because we already have a normal map from the high, high resolution map. So we can do something a bit more right there. That's it. This looks nice. They don't make a mosque for here. The Catholic changed material down here, but in general, this looks good. And there's something. Hey, is also something wrong with a mosque? So we're gonna go in here juicing mosque junk feel and just click here. It's probably matter we have there. So we have, like, here. That's good. Perfect. So now with this on, we have this for I think it's in the body one. Oh, yeah. We have this here we want here. And I think I wanted to be kind of this color. We drop down the color a little bit that it's a bit this more saturated. Yeah, this looks okay. Good. Good. Okay, so now we have this, and now we go to the head and you can see slowly but surely we build up like the ground text oring. And that is exactly what we want to dio. And now we have the hair here to leave this and here I want maybe something I don't know maybe would be for something like hair should be very uniform maybe would try wide hair. So give some why text during house looks okay may make it more great show and you can see because it's and ach damage It also gives you some strains, but we want to make them maybe more blurry. So we do some same thing as before we filter just to give more like variation to the hair And as you concede plans very nicely and now it looks like it's like different color strains going in the hair on the next ground. We had already also going Hey, and drop this down to two K. We go eyes. And if you know, if you know a little bit about about word of Walker Andre Knight, they have, like, this big, shining bright I. So that's exactly what we want to do. And we also want to have to later on. So what we're gonna do is go into channels I already put in a missive general here. Otherwise you would go to plus, and here I miss it. So what we're gonna do, we make our own material here. I would just make it white on in the missive. Well, so make it white. So, basically, now it's like shining wide eyes, except how they would have it in, um And what a warcraft. Okay, so as you can see here now, this is our base layer off texture. And now we would go in and kind of defining. Okay, So what started was his skin just to make some little adjustments? Not too much, because we've been on a time constraint. So over India's we're going here, and we had here this layer before it only its color. And now let's change it by making a bit of roughness to. So whenever there's this crease, we would change roughness a little bit, make it maybe a little bit mawr shining over, give it actually a we give it a it texture, something live, maybe lean spots here spots and, uh, more con trust. Yes. We tie a little. You see? Here changes So we have wherever we have, like the dark spots. We have a bit more off glass in this. And this gives also a little bit more detail into the skin, especially go to okay, you will see a lot more details. And if you do this detailed, I would recommend to sometimes switch to Okay. Just so you see a bit more A bit more details that I get gonna happen later on if you back out. Hi. Hi. Resolution Mashes Seaview. This looks nice, but it's a big too strong. Okay? Especially here. It's nice, but it's a bit too much detail. So what we're gonna do is we're going on. We go into corn noise para me, This may be maybe scared it up even more. Make more like, Yeah, unless you can see here. Now we have spots across her skin a little bit on this. Looks nice in my opinion. Gets a little bit more interest to certain areas. And also the creases is sometimes the place like here, we're like sweat. It's accumulated, so that's really nice. Okay, so I leave it as that I don't know. Maybe maybe a copy. This one's what I'm gonna do. Does that change the mosque at it a little bit, make curvature even more make it like Oh, no, We actually switch backed up. We put a new mosque on there, and that is the let's see? Yeah, just scratch. Put in here and you see, now it it gets kind of crazy, right? We don't want So we want to Do they need to sharpen here and here. We want tone it down like this, right? So we have this pattern. Look, uh, what we're going to do now, it's dropped down the color even more. And now we have this texture skin that looks a bit more roughened up because they are, like, have horns. So they should have here, right? So they should have a lot more rough up skin. Here is, of course, a little bit too much what we're gonna do. Yes, we go into our roughness, general. And we dropped down the roughness as well. So we just do like here. So now this looks nice. Is he a little bit here? I can even drop it down more here. It's nice. No, this is something I Oh, that's nice. It's nice. Okay, so that's it for the skin so far. So that's continent. Okay, The next thing we want to do is we go in here and we say the space color, Um, the horns. I think I kind of want to go with the horns in the haunt a bit too shiny for me. I want him to be more muted on more detail thing. I want more details. That's what I want. So we want to do is I go and here and I'm you'd it a little bit in the roughness. Make it a bit more rough. Like here we have, like, a sheen based. And the next thing I want to do is I add a new layer, right? Don't fit on. We only want the roughness and the height. And what we're gonna do is we put in spots again like this. We're going to dio Queen, Increase it Heigl's and I would be going to dio Yes, we kind of tone it down. So he, uh maybe in the roughness we can actually increase the scale here again. This this order on trust it more nice and he off course to be scaled a little bit more. Put it to two and this looks nice, but it's too much. So we're gonna do if we go into our height channel and we're gonna tone it down there and you can see if we increase it, we get, like, the slice details in here. Um, the problem is with roughness, it's too rough. So we increase it here and now we have this knife. Sparta mix looks fairly nice. Opinion looks quite realistic. Not cartoony issue. Normally no, it in and on World of Warcraft. But that's fine with me on Yeah, that's explain for me. Let's move on. And the next thing we want to do with saliva. So we have here leather. Like I said it. It looks nice normally. As you can see, you have these kind of things. I will not do this. It's time. But normally what you want to do is you take another material like leather on that Say we can take Maybe this kind of leather, I don't know, make it a block musk here, din loading a bit on. Then you go into that. Must you paint in these details? Okay, so for example, that stood for this. Ok, so use here. I'm going to my offer. Make the Hartness and there's always good to you. So you piece because a correspond here. You see, this letter's actually wait too much. So what we're gonna do is we take letter, like, maybe like this. It's not too different and would make we change it later on a little bit. But now you paint in here in the movies. Okay. Paint in your I do it a bit quick and dirty. Take a time doing this back here. This right? It's not so nicely done, but you get the point. And now you can add in different kind of details. Also, this hand, for example, right here. Maybe you want a very different kind of leather, what we want to do, and you can press shift to make straight straight lines so you can kind of press shift and then it almost long like this. And here we go, and you fill it out on. Now you have this kind of leather on the hands and then, uh, no, I'm already You can of course, do this year to so you. So you want these kind of things to be here? This okay? It shouldn't be even now. Whatever. So you painted things and also, he was probably be metal. So what we can do now is maybe take some gold thing, put it here also. Black mask. And now what you do? You wait for loading, and now you use a circle. And now these are basically there. The metal parts where the springs come out. You just click here and there. All right. And as you can see, this movie set is set up, so that basically has one one leg and it copies it over so you can see very fast quickly. You have no treated something that looks like this. And I think this looks really nice. And this goes for everything. You can also go back to the skin. Justin Idea. Right? Go to skin on you. Create here, Phil Layer, and you click away. You are roughness. Leave it. You make it black. May a black mask on. What you put now is kind of beauty spots. So if you want to have, like, beauty spots here and there, you know, put it somewhere here, a little sports like this, you know, make some random thing. Someone here and now she's some beauty spots. Um, it's here a bit difficult because everything is copied to the other side, especially in the face. So it would be a bit obvious, but that's OK. Okay. And now yeah, Leather is so fine. We just changed a little bit. May be going here. Say they're damaged. Um, and what I want this may be changed the roughness a little bit. Make it a tiny bit more off. This is good. And then also let the damage right here we can change it. Made the global blur a little bit. Then it's not too much. Just a little bit. Gives it a living more puffiness. See if I 10 the globe there are It's very strong, Mom and I'd like to have a big puffy, so just just increase it very slightly. Um, and that's okay for me. And we just leave it at that for now on The thing we gotta change is fine. Hte and we want this is too. It looks too strong compared to the rest. Um, actually, I want us to be shining. So we go back in here. Yeah, it looks better if it's a bit more shiny. It's It's leather right on. Dhere. It just looks too strong. So we're going here. Kind of make it more off this and it also too strong. It was a damage. Delson here. Probably tense too. It is kind of this. This is good, Doc. Technical para meters high range. My position on on 1 10 city doesn't change so much. So we have the Hyneman. I don't know. Let's just go here. Hide layer and drop it down. Some of it's in the patron. Of course. Course. So we're going here. How we tone it down a swell. Okay, now it's good on a color is also it's too saturated. Still dark, but maybe something like this. Um and you must looks nice. It looks good moving on. And it kind of continues like this. So we go now in the alma. Is this right? Right. Armor here matter what? We want to change the colors a little bit. I like the overlooked, but we want to change this. Maybe to be more something a bit more dark. Let's take a look. Yeah, I kind of like this. It's kind of cool. Bit con trust to the skin. That's nice. Um, now we want to find the colorful scratches, Probably where I guess yes. Year. And here the color we want. We can change it for sample to be more golden. I be like this. And now it's like, Ah, now we also change. Howard is applied. Something like here. Make it very con trustee. Now it looks like a warm, um, treat in our crunchy mound can increase. It's nice. Yeah, that looks OK. But now, of course, compared to the leathers, it's a bit too saturated. So we're gonna actually gonna change this color, make it a bit more muted. Kind of like this is good. And then on the other side, we go into the leather and make it a bit more saturated, so it kind of like it fits together nicely when a deer is going here, that damaged based color that might be Make it something like, Don't something like this looks man really bad. Uh, I know I would just leave it now. We make it maybe, like, black ish, and they have filled trust. I'm sure we just leave it like this, and we change this color too. And that is probably it's not a 41 right now. It's 42. That's next thing we want to do. Um, I'm a closed leva here. It's nice, but it's too bright here. That's a dust brightens up everything. Quite a lot. Yeah. No, my favorite global balance like this. I'm going here. Make it may be somewhat Yeah, my little grad thing, this little thing Good plastic. Make it less. Yeah, roughness. Make it make it Probably bit more shiny like this. That looks like very high quality. It's nice. And Chinese. What's to shining? So a bit more roughness like here. That looks good. And, yeah, so I leave it. Is that because it's already quite long tutorial, But as you can see, you just go on and redefine and define a defining and just at details too much. And, um, yeah, just just go along, try things out on, uh, this is where I leave it for now. Um, you guys go have fun. And what's the next lesson? Because the next lesson I gonna teach you how to render this out in substance painter for your portfolio. And after this, how to rent out your texture to put them into your street e program. Okay, 10. Render: okay, we'll come back. So next thing we want to do, yes. We want to render this out for your portfolio. So we need two things we need to do two things before to have the best quality. And that is first set all the textures to four K. Just so you have been the best best quality possible for your render. If you want to put it in your your portfolio or you want to use it for your for for like a poster of something like this. Um, because you render out in P and G if you want. So you have basically the background gone and you can use it in photo shovel, whatever. And the next thing you want to do after setting everything back to four k on the right side here you have some options and one option ist shader settings. And he is a quality and equality basically is like kind of situations. If you wanted like this but just said it to ultra on, you can see if you're good clothes. You can see the difference already in here. If I said it to the standards like this. And if I put it to ultra. You see everything. It's a little bit more defined, a little bit more precisely rendered on. That's exactly working 1/2. Okay, so set it there. And miss, if intensity is only important if you have intensity and you're seen at its you can see we have it in the eyes. You can see here it's later on a bit important. Um, And then after this is done, what we going to do is we go up here on the left side and we go into mode and grand drink and even rendering, so it's kind of like it always it a rates on and on. And, uh, picture gets always better. What that means. I show you in a second. So this is the render the window. Okay, So what you can do? Yes, you go into Let's first set our camera basically, So you go on the right side, here's little looking glass, and here you can say override you poor resolution. And we just put it to 1200 to 1200. So we have a nice square, we see everything, and we put it right in the middle. You were. Take your camera like you did before. Unless you can see here. It already looks a lot better with satellite in the scene. Andi, this is how looks okay. And you can see here rendering and iterating. So the more operations you have, the better the quality off the picture gets. Um, and normally you can say so much operations. All you can say the max time, and I would always say Let it render for, like, a minute or something if you want to save it out, and this will be enough to have a nice quality render. But it also depends on how big the pictures you want to rent out. If you want to render out, like 4000 500 to 4500 it's it's a bit longer. So you might want to rent it a few minutes, and but moving on the next thing you're gonna do, it's you go in this box right here, environment, settings and what you can do with you can choose some HDR HDR eyes. So it's basically in the environment that lets the camera that lets him. All right, So you can see already if I just choose different kind of h hear eyes. The model will be live differently. Can see here, you know, just check. What fits best for the model doesn't hide too much. Um, I kind of like this one, but let's continue search some more like It's nice, you know? Just just check some things out. This is good. So let's say you have something like, Let's say we want to have this. You can still rotate the environment so maybe the shadows are not in the right direction as you wanted. So you take nature I around something like this. And of course, you can bump up the exposure. She wanted to be brighter. Let's say you wanted a bit more bright. Something like here looks good, but I actually want more shadows. Maybe I see too much. Come on, we stick with this, we stick for now. Okay. The next thing you want to do you can add a don't time with a ground or spear on what it means is you can turn on the ground. I would take a did, um, West Ground. Maybe it's not here. Here's a ground coming up, as you can see. So if I have this. Um, I can also say, with activity, you can see the model here is now reflected. Maybe tone it down. Just a bid. So, like, type it in. Maybe 68 off course. You don't need a ground. It's not needed. Um, but just for take us a tutorial. Now we have here ground, basically there. The stones are in the ground. Don't make it reflected, though. Now we can add shadows. See theory of blood, Cheddars. And of course, you can choose clear color on. So if you don't choose a clear color basically, the HDR I in the background will show up. You see here, you can put it basically in a scene and see how that looks. Okay, so we don't. But if you don't want that, no distractions is always good for the portfolio so that they can concentrate on your work , make clear color and shoes color you like in the background. Okay, so choose maybe something like, not totally black something like this on uh so OK, of course, you can just say ground away and sticks like this. Um, that next is your camera setting. So field a few if you want. Like, more wide angle or more like assume. So let's take a zoom for this one. This looks nice. This looks nice on then. You have here some post process and a listen. It's always good mixed with softer. Then you can say depth of field course earlier. I like layer person. We don't overdo it. Uh, a little bit of lends, Claire. It's always nice. I think something like here. Threshold. You can see if you turn it up too much. It looks like this. You want to have a just slightly something like this. Maybe you can choose here how it looks. Maybe just a bloom. It's good like this. Maybe nice. Yet that's a little nice. Yet See the strength? This looks good, but said something like here. Um And then what do you want to? This is pretty much it. Now you go back in here and then you say, like, I don't know, maybe 30 seconds is enough, and you can see it starts rendering. And after 30 seconds, you can just say safe render because he here seconds. It's a few seconds. Very good. And you say just safe. Render, uh, drain I knew, right? Save it and it's done. And, uh, then you can maybe choose another angle. Something like this. You wait another 30 seconds and render it out again. Um, and yeah, that way you can create some very nice looking images for your portfolio on. Yeah, just, um, dry things out. Find some interesting angles. Um, and of course, you can always say Yeah, um, where is it? Somewhere you can say no background. Okay. So that you kind of render out p and G's. I think you say you say here. Um Dio when you just say safe Renda, you just say PNG and a horrendous add without back. Okay, so yeah, and I knew to whatever. And you haven't. Okay, so that's it for rendering out. And next thing is probably the most important stuff. We rent out the textures. Four hour Drenner. Okay, so see you then. 11. Texture export: Hi, everyone. Welcome to the last lesson off this course. Um, what we're gonna do today is pretty straightforward and probably the reason why everyone of you picks up a substance painter. We model, we we textured our model. And now we want to safe out the textures to use in our others three programs. Right? So after you're done with everything, um, you don't need to change the resolution to what you want to render out, because we all do this in the export tap. So we going to file and export textures and to come here, and as you can see right away you have here all your materials, as you can see here, all the same. And he is the resolution. Um, I can. Here you can see if Okay, you can even say eight k to se four k resolution. And you say that for every single for every single texture can separately say OK, what resolution? That want I said everything to one k for now to speed up everything, but normally I would suggest you You check. You know what do you use it for? Ah, and then save it out accordingly. All save everything out in hives, quality and then scale down depending on what you need. So you always have a high quality textures, just in case. OK, but remember, there can be quite big. The next thing you want to do, issue chant, choose where you want to save it. So we just going to save it in our folder here. Uh, so skills share basic texture ring new folder, texture renders tuck. We make folder, put it in here. Everything will be safe there. Then we can choose the format so into J pack tiff, P and G, whatever we just do J packs. Now we are a few. Of course, if you choose PNG, you can also choose a bit rate. Let's do this. Actually on, then, here you have conflagration, so you can choose. Okay, it I want to use this textures, for example, in unity. Okay, so you choose unity, preset or unreal. Unreal engine. Uh, red shift or whatever. You know, whatever kind of program you only use it for normally there will be a preset for it. And you can also go in configuration, um, going here And you see, he old presets, for example, unity here or your Here's for example, unreal engine. Um, so it can have this and you can also at other channels. So you say Glosson s or whatever. You can add these channels in here and then you can export them but cold and be there. OK, so we have this. And after this is done, you said all your resolutions Everything you do is hit export and it will calculate everything. The higher result resolutions are them or longer it will take. Okay. One case very fast. Eight K can take quite a long time to render out. And now I opened my folder and as you can see, all my textures are here. This is a dream. My body. As you can hear, we have hide metallic normal maps. Everything is in here and named exactly like the materials we have here. Okay, you can beforehand say, rename headed name. And then ah, say this is body main. Whatever. You can change the names, um, to whatever you want. So they will be easier to find after you rendered them out. Um and that's it. That's how we render attacks is very straightforward. Very fast. I hope you learned something in this course? It's my first course. Oh, excuse of. Maybe some things are not totally clear, but I hope you get away with some new knowledge. And you can play around now with a few know a few new tricks. And thanks for watching and yeah, have fun.