Substance Painter - Creating PBR smart glass material and its appliances onto objects | Lukas Partaukas | Skillshare

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Substance Painter - Creating PBR smart glass material and its appliances onto objects

teacher avatar Lukas Partaukas, PolyGoods

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

Watch this class and thousands more

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

Lessons in This Class

11 Lessons (1h 2m)
    • 1. Settting up your workspace in Substance painter

    • 2. Making a base material for the glass

    • 3. Creating a dirt smart material using Ambient occlusion mask

    • 4. Adding a dust layer that gets applied to the top of an object

    • 5. Using curviture texture bake to create edge wear

    • 6. Saving the textures as a smart material

    • 7. Applying smart material to the rest of a mesh

    • 8. Creating Custom glass meshes

    • 9. Making quick changes for the smart material to customise objects

    • 10. Exporting our glass material textures

    • 11. Setting the glass up for the renderer

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About This Class

Substance painter: Creating PBR smart glass material and its appliances onto objects

Course description

This course is all about showing you how to texture using materials edited in Substance Painter. Students in this course will have a basic understanding of 3D modelling and you will be looking to develop your skills by improving your texturing know-how. This course will show you how to change Substance Painter parameters to set up and visualise PBR glass materials within the software. You will also be taught how to set up a basic PBR glass with extra detail for high definition rendering. Tips and tricks that I will teach you as part of this course will include showing you how to avoid the UV seam visibility within your models. We will also be looking at how to add depth to an otherwise flat material. This is one of the many ways of making a smart material – a material that can be changed and controlled based on the parameters you set, in a controlled fashion. We will be creating our own smart masks, such as by using ambient occlusion texture maps to create a custom dirt material. I will show you how to apply this dirt material into cavities of a mesh to give it is a worn appearance. Using curvature maps, we will edge wear onto the material, giving the material the subtle detail of worn glass. I will teach you how to use position texture maps to create gradient based dust layers, which we will let settle on top of our object. This course will also include principles of time management and organisation, where I will show you how to properly save our created materials as smart materials for later use in other projects. After completing this course, you will come away with knowledge about how to create custom glass meshes and how to bake their textures onto the mesh to make them suitable for renders and in-game use.A final exciting feature of this course will be working on smart materials in such a way as to make specific, object based-changes across different projects – so that you can continuously adapt and develop over-time.

Files for this course:
- Glass bottles (fbx file) -

Meet Your Teacher

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Lukas Partaukas



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

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1. Settting up your workspace in Substance painter : Hello, everyone. I am Lucas from Polly Goods. Welcome to the first lesson on how to make smart glass material within substance. Boehner and how to apply that. Want a different object to get started. Let's get a model in tore substance Beta, and I'm going to use a sample provided within the software. So click on file and open sample and then select Meet Matt. I love using this guy to make smart material to that. Gives me a nice hard edge modeling as well as more organic modeling. And the head is just the combination of those two. So for this tutorial, we're gonna use ahead. Make sure you select the head within the texture set list. If you don't see the same, uh, Windows Goto window and then reset you, I that way, we'll just have the same. You'll have the same you wise I do to make glass the first we'll need to get a posse working within substance beta. So let's go to Chez Doris and change or shader to PPR Metal roughness with Alfa blending. Once we do that, we need to go to Texas, sets settings and add a channel click a capacity And now, once we have that be, go to layers and add a fillet of If you hold old and click on Opie, it will select the capacity layer only by and will to select everything else Does we only want to use a posse at this moment going to do that? And now? But a full capacity said to one. If we lower that, we can see the opacity changing within or material going to leave it at around 0.4. It does have to be an exact value. We might adjust it afterwards anyway, so I'm going to leave it as it is for now, to make my life a little bit easier. I'm also going to be changing the environment. The background put a view port. So let's go to the display settings. And now free increased capacity can already to see there is, ah, environment map already set in. I said the 4th 1 but I'm going to change that one, too, but a fast your auto gone stairs. Once I do that, um, I'm not going to have a full capacity as it makes to bride, so I'm just going to keep it a 60 and I'm going to turn down the blurriness, not fully since it's too sharp for me, I'm just going to have it. It's free now. I will also turn on some shadows. I'll keep the most light weight so I can use them while working and I will turn down a shadows to 50. That way I can have more distinguishable features visible while working. I usually wouldn't have that option on if I'm working on different materials, but since it's a glass, it helps me quite a bit to see the mesh. I will also do some adjustments Refund on within the substance Beta renderers. So if I goto I Ray, I could see it started up. But since we're only gonna use it for preview, I will put it us 10 seconds that way, doesn't read the constantly. I use renderers mainly because, ah, this one uses Ray tracing renderers. So it helps me see the glass the way it's supposed to be to get back to background, I will go to display settings and I take the clear color. And I will also change the refraction value in here 2.5. That way, the glass will actually bend some of the background information. Finally, let's exit the rendering 2. Making a base material for the glass : right now. Don't we have our workspace sorted? Let's create a base material for glass. So first of all, I will simply delete the this lay underneath since it's not being used and it was their by default. And since this is an apostle later we're using, I'm simply just going to rename it as a passage. Elio. Now I'm going to add a filet o and for the glass, I'm going to have a color off greenish. We'll make it more greenish grey. That looks right. I will have the metallic set 0.5, since it'll help with the reflection off the glass. Usually metal is born and nonmetal zero. However, the class is somewhere between ah Weiss. A dozen give off that glassy look. I'll make the roughness a little bit lower, make it more shiny. A. Since the base off, the mesh always has to look as as if it's brand new, and then we can work our way up. Since we don't need the upper channels, I'm just going to turn this dissolve normal height, opacity, and now we're left with this. Now it just looks like a pretty good shiny glass that I quite like but we don't have the detail on the reflections or anything. So what I will do is at a new field layer hold old and click on roughness so we would only be left with roughness. Then I will add a black mask, and I'm allowed to fill layer to it, and I will search for a fractal some. Now, this is a nice noise for issues. If we hold old and click on the mask, RV port goes to the mask layer so we can visualize the way it looks. It's really helpful when you're editing the masks themselves. So now I'm going to click back on the fractal some, and I'm going to increase the scale. I will also make the projection to try Plano. If you look at UV projections, they don't really aligned well on the seams. So if we click F two sorry if a click F one we can see the where it seems a rat and what not? And within those areas you don't usually align, so by changing it to try plan a projection, they would blend texture by projecting it from all sides. Then we can also move it along and what not so if we have a look at the way it moves, it blends it it nicely. We can also adjust that the way it blends in. But I'm going to keep it as it is. I'm gonna click controls that to go back to redo it. And then I will go scroll down and ah, just changed the balance a little bit by increasing it. Now free clique em and go back to material of you. We can already see the difference in the way the sun is being reflected onto the material, but it looks a little bit too much for me. So what I can do is first of all, I will click F to to go back to review port. Then I will click on the material and tell pride and select roughness. Then I'll click on to refill layer, not a mask itself. The square that's a little bit more to the left of it, and that will lower the roughness. I'll make a just barely visible. So basically the difference between the original value and the one where applying is is minimal, so it's basically going to be a subtle change if you click back to material. It'll be a subtle change, Dad. Well, only affected a little bit, but it's a subtle change that'll make the glass look more believable. Finally, all will rename both of these Phileas. So this one is a glass layer, and this one is micro detail that we've done and it Brack soul put in roughness. If I'm coming back to the smart material, I will know what is which Layer does. But and it will make my life easier if I need to add a temp in the future. 3. Creating a dirt smart material using Ambient occlusion mask: Now we have our basic material, sort of for glass. We can actually start creating smart masks that will apply to this material. So let's make some dirt that goes within the crevices. We'll make a new filia a lot of black mask that ad, Phil. And now if we search for ambient occlusion, we get this. Ah, bubble. This allows us to Ah, this allows us to optimize the mask based on the ambient occlusion. Bake. Ah, if you click on top fried and go underneath the mesh maps affection, we see Abbott occlusion if you click on it. So that's ambient occlusion that's been baked already. We're going to use it to to add some dirt within these crevices. Darkened areas, basically. So I'm going to click back on em. And although we could click, hold old and click on the mask to see our ah mask layer, I am going to go back on the filia and change the base color this way can easily see the way it affects the mesh. Why, it's if I where to go. The mask. Leah. It's a little bit harder to distinguish the deaf and, ah, where everything is located. within our mesh, so it's a personal preference. But ah, it's the way I'm used to working. I will turn off the past layer, help the sea easier now if you go back to have been conclusion. Since the way masks work, White is where the filet will be affected and haven't occlusion. We want crevices, so we need to actually inverted. So we click on global Invert and we'll go to crevices instead. Now will low with the balance. I actually need to lower it to increase its since it's in the road inverted. So once I increased the right amount, I will also add blurriness so it would blend in with the rest of the mash. All right, now that we have this, I need to break off the mask a little bit since right now it's just smooth smoove white. And to do so, I will click on the add effect again. Click at Phil, and this time I'm going to add grunge dirt heavy. I like using this texture map, since it has a quite consistent there noise steward. So it's not ah doesn't have too many heavy black sports like the other one. For example, so I'm going to click on it now again. It's quite quite a bit bigger than I'd like it to be. But first of all, I will change it to try playing a projection to avoid seems as much as I can. I will increase the scale it's time to. That's a 3.5 and this time Well, I would want to do is actually, uh, use this to, ah, click and normal the section and select Subtract this way will only removed, uh, areas from my ambient occlusion selected areas. But in order for us to make it look correct, we actually need to invert the mask. Since it's actually subtracting the white areas, the areas that avoids would be visible. That way. We're making it look as the intended mask was supposed to be, So it looks more like third. Basically, I don't want mass to completely break it off. I want subtle detail to it, So I will click on a passage e well for this mask, and I will lower it to our own 50. Now, I actually want the whole material to be covered in dirt. So whatever law also do now ISS at another film layer but a mask. Click on a great scale and search for grudge. Scratch. I'm using scratched right now because we're making a glass so so scratch shirts are visible . Offend some use glass. This time I will add. Lighten to it. I'll change the prediction again to try plainer. Set the scale to all right and lower capacity for it. I'm going to click on a mask to check it. If it looks right, I will also little over the dirt's. I've been seclusion capacity a little bit. I don't want completely whiteness to be seen. We'll just keep it as 90 now. If you go back to material now, it looks like a bunch of noise. So what I will do is add another Filia to create some breaking points that are a bit larger . This time I will add growing shirt splats. It's a nice combination between the white and the darkened areas, so this will definitely break our break or mass quite nicely. I'll change it to try plainer, and I'll change the scale to to slightly more than 2.5. Yeah, that looks all right. Okay, now that I have the scale sorted and changed to try played a projection. I will change it to subtract. And since I do that, ah will also invert the mask. Now we'll increase the balance a little bit and I will out actually love it up, I said for it. So now we have some different sections that are break broken off, just like the way it's been applied. I'm just going to keep it as it is going to go to masks real quick just to check the way it looks. So the main areas taps, Um, Smith Immel, dirt mask applied. And then the crevices within that had ambient occlusion baked in. Have a whole lot more dirt within them. Click him again to go back to the view port. Now I will go back to the Philia to actually make some changes to it. Base color. I'll change it to grayish color with some brown saturation. Not a metallic 11 0 So far, go to ah metallic channel. I see that older areas that that has stirred is basically lost. The Mattel nous that way to dirt on top of the glass Putin look Wade. The roughness will increase the roughness by quite a bit granted, go to roughness a channel, and it will increase it just a little bit more. I went back to material view Port, No, great to use normal, and I will apply high just a little bit. Since we're making this dirt somewhat bigger, bicycle will keep it as one. So now we turn on the passage of layer. We can see the way it effects the material, play the areas where the mask was. The lightest has the strongest capacity, basically, but it's not 100% completely, so they're still somewhat transparent, but only barely. So we check it. The within a renderers we can see it's it has some more transparency, but it's Noah's visible, and if it's a fin, there's layer. It's usually the case now is the final thing. Let's just change name for it as third and in brackets I'm gonna but as ambient occlusion. Something worth noting is that you can also change the name of thes sections here as well if you double click on them. If you want to make it look extra nice, you can't change these, but I'm not going to do that. It's already easy for me as it is to tell what layer does. What? No, only we have the naming for them, but we also have the the names for what each one of the layers to. So this is subtract, for example, but naming something to keep in mind if you want to make it look more orderly or, for example, if you need other people to work on this, they can pick it up easier if you have them named. 4. Adding a dust layer that gets applied to the top of an object : Now what I'd like to do is to create some dust effect that only applies for the top section off the material. So, for example, if a glass has stayed in the one area for long, it will just basically be collecting dust on the top of the section. So before we create a new film layer, I will ah, stick off the passenger layer. So it will just be easier for us to see what we're working with. Eso I will add the fillet a right now click on the add black mask and this time will add a generator. Now there are a variety off generates that are quite useful. But for our case, we're just going to use free the Alinea radiant. And what this does is it uses the position texture map. Uh, and if you go to it under MASH maps again position ago, it bakes off the hue coloring based on the position. So right now, if we look a freedom position to start, it's purple, and the bottom bit is purple and the freedom position end its top. So by default, the the way these two are selected are the bottom section at the top, so it crazy. If you go back to material, it creates a nice mask that's just going down vertically. So this is quite useful to know, because if we if we actually want to change the position slightly to make it more to decide , we can go back to the position map, click on the Grady in Generator and then if we select the start section, for example, a little bit more toe to the right. So I click on the color, and then I select the palate and make it more pink Now for go back to the mask. I can see now that the mask is going more sideways instead. So if you want to make something like what? Moss, for example, in the future and just have it go on Lee in a more on edge of the model. It's quite useful thing to know I will undo this and keep it as it is for now says we're only making a simple dust at a moment. Now I'm going to go back to the great and and if we go back to Mass to see the way it apply is being applied. I will actual over it quite a bit. I only want to apply it to the top section. I will also increase the contrast, go to the mask view and to break it this off and make it look more like a dust. I will add a new film layer and search for Wipe Dusty again. I will change a projection to try playing a projection. Make the scale lower. This time I'll set it to four. I'll inverted since we're using it a subtract change it to subtract and didn't increase the balance. Now I'll go to back to material of you to check the way it looks. No, it looks pretty nice, but I do want to break it off even more. I will again go back to mask Layer Phil and this time allotted grunge fingerprints. The reason I had the fingerprints is because if glasses being used or has been used and has summer Greece, it will be visible within the That's the areas. So again, let's do try playing a projection, change the scale to four, make it subtract in a very tear. It's a little bit too small. Reckon I'll change to 1.5 this time, all right. Since I don't want master be removed completely, I will go ahead and, uh, changed a positive for this to 76. 35 ish. Yeah, that looks better. So now it breaks it off quite nicely. It makes it look like the dust has had some history behind it. I will go back to material and I will change some. Make some change that if the lay itself this time with us layer, I will also make it proudest. A little bit more yellow. I'll still keep it bright, though I'll probably leave it. Leave. This is it. Is the metallic zero again the roughness? No, just that. Let's just go to the roughness channel, so it's easier for us to see and they'll increases now with dust layer. I don't want to roughness to change any other detail that's underneath it. I want the roughness to be applied on top off the already existing the roughness material that there was. So what I will do is click on this base color at a click roughness. This way, we cannot just ah, roughness channel directly. So now I can click on normal. It was applied as normal effect for the Slayer. But instead I will change the screen. So now basically the bright this is being applied on top of it. So, for example, if we look at this section here, it just gets even brighter instead of just putting an overlay on top off it and removing the detail underneath it, Given normal in the height of same um, the capacity, well, I'll keep the pie City. As it is, the dust layers are usually quite hard to see through. So if ago, if I turn on that passage earlier, we can already see this looks pretty nice. I will, however, changed the the brightness off. It had low grade. It was hard to stand out as much. Bless if it's ah, if the dust has been there for so long, it's usually a little bit darker. I'll go to rendering real quick to check the way it looks. So after checking the the I Ray, I will make the dust a little bit brighter just slightly. And to finish it off oval, simply name this, just they, uh, and it breaks slip open an ingredient 5. Using curviture texture bake to create edge wear : to start their next step Western off their passive layer again to get a clearer view for the model. And then I will add a philia. And this time we're going to make some Edgware for the model that shade the basic alert to read. Let's add a black mask. Let's out a fillet er again. And this time, although we could go the same way and add the same ways ambient occlusion and add curvature . I want a little bit more control to this one. So what I will do is I will add, Ah, default texture map, and I'll create my own smart material from it to affect the whole texture map. Go to curvature head. And this time I will add, well, that layers. Now, Once we do that, uh, I will actually go to a mask view by holding old and click on a mask. And as we can see on the Kerchers, we have, ah, whiteness and then darker areas. We have the black spots, and I will use the levels to actually only make use the off the white areas themselves. So by dragging the black Arrow can change the way the darkest point is. And if we look into this graph right here, we can see how the color scheme is represented. So this spike right here would probably represent the black bars here while this gray is representing Ah, the's great area since it's the largest section off the mask, so I can easily drag it past the gray section. And once we reached the area of the graph right here, we can see it affects it like this, So I will simply dragon as this. And now, since I want these sections as well, I'll use the middle bit three to make the final adjustments. Yeah, that looks all right. I don't want the edges to be a sharp, so what I want is to expand them. And I'll do that by going to effect at this time, adding a filter. I will add bevel, and if we lower it a little bit or actually increase, it concede expands the whole curvature. Often I do want to blurt out even Mawr to make it more subtle looking. However, the smoothing only blurs in through inside off the mask, so it will not be using that, and instead I will add another filter, and this time I will add a blur. So this time it actually blurs out between and both inside and outside. Now, if you want to Brighton at a little bit more, but you could do is actually add another layer off levels that simply drag in the middle bid out to the dark in areas. I will only apply it a little bit, though. I don't want my master be to bride. So now that we have our base of the Basque torrid will now addicts, um, grunge masks. So this time I will add Phil crutches. Grinch scratches this time a lad just generic growing scratches. I'll change the projection to try plainer, subtract and inverted. So within this mass, it's actually quite a bit more clearer. If we turn off the inversion, we can see it doesn't applied eyes. The way it is described as for example, actually are the white sections, and we don't want that, so we want the scratches to actually not be visible instead. So once I do that, I'll just increase the scale under the bed. I'll make it free. Actually, Sell said it to 2.5, and I will lower it. So they're bay. So mask information behind it behind the scratches Also to survive by 75 just looks like on the right value. In this case, the mask is consistent. The curvature is, uh we're left with some rings and we definitely need to break these self. So this time I will add a fillet and I will search for clouds. These are particularly good and breaking off masks since they don't have any additional For example, dirt noise or anything of the sort I will be using cloud to, since the 1st 1 is a little bit too consistent for my liking. And the 2nd 1 is I deferred. One is a little bit too intense, so I find the 2nd 1 that I usually use the most. Also, it's projection to try playing a projection I lowered a scaled to. I'll inverted and I'll make it subtract by the label. Just increase the balance. I'll change the scale 2.15 actually. So now we have quite a nice breaking points. I do want some masking information around there, just though, so I will decrease the opacity to give some visibility to it now we'll go back to material . This looks pretty nice for a mask, so I will now go to the film layer itself, and I will change some details here. I will actually make this other with wide ish, and since this time I actually wanted to to only lighten the material underneath it. That all changes to overlay at a little bit more green, some subtle green to it and again make it even brighter. Not since I don't want this to be applied to dirt layers as well. I really want this to be on the glass, so we'll drag this filet underneath the whole dirt and a slayer's and just put it right above the micro detail. This way, it doesn't affect the dirt itself, so we have the base color. We also want to increase the roughness for it. Ah, well again, Go back to Roughness Channel and increases quite a little bit. There's no visible, not as visible of a mask. It's not going to be affecting as much this time. I'm not going to be using the metal nous since it's the same glass material, so we'll turn this off us for the opacity. I will not keep it 100%. Well, actually, lower it to half now. If we checked opacity channel, don't forget to turn on the opacity lay itself at the very bottom. It's a subtle change, but it makes the object more look more believable. Now, if we go to check or enter our final time, December will increase the render time. 20 seconds I get it is just a preview. But I just want a little bit more detailed version this time. And yeah, I believe this looks quite nicely. 6. Saving the textures as a smart material : we have our material. Settlers actually save it out this material. So what I will do right now is actually I will make a new folder and select old delays that we created and simply drag it into the Fuller Now Well, I will rename this folder by double clicking on it, and I will call it smart. Use glass material. All right, now everything is within the folder. We can just simply open it on clothes that I three please now, before actually exporting it. I prefer to actually create a white mask on top of this. So for click on the mass button and add a white. This will not affect the material itself, but it does make it more easier to do some adjustments for a moral itself in the future. So, for example, let's say a part of a MASH is no, actually a glass. What I can do is click on the material and then click four. And then if I select the UV chunk Phil, but a film owed and simply have the color said to black, I could actually remove the glass from this. So as you can see, it actually makes it a whole lot easier during the white masquerading made for the smart material. So again I will just go back and ah, apply white mask again So it'll just reset it. And now I will just right click on it and click, Create smart material. Keep in mind the name the naming for it will be the same as Ah, the name off the folder. 7. Applying smart material to the rest of a mesh : not Once we have our smart glass material, we can actually apply for the rest of the body if we'd like. So right now, we'll just apply it. But ah, body in a base. And since we didn't actually change the shade us, we need to do that. Make sure you go into the shade of settings. Ah, and changed to PBR Merrill roughness before for blending. And then don't forget to add on a passage E channel within the texture sets settings. So once we do that are smart material already has old a passing information So it's straight out goes too transparent and we do the same for the base as well. I will go to shade of settings and apply the same thing. That and add a channel for rapacity and that's it. We cannot go to Orender and just check the way it looks. All right, this looks pretty nice. Keep in mind that the default substance pain, a shame that we're currently using only has one sided based that's being rendered in other renderers. We can easily turn on double sided shader, which would give us a better detailed by rendering the backside off the mesh, but at the same time, or transparency would be lower than it is right now. That is why I'm keeping capacity higher than I normally would. 8. Creating Custom glass meshes : I will show you how to make quick custom adjustments for the object individually based on your required needs. But before we get into it, I will need to make few models for a substance. Boehner, and to make them are, will be using Meyer. But since this course is primarily focused on substance beta I have attached to models for the scores, so you have an option to skip this lesson. If you only want to focus on substance beta itself, this video will be sped up twice, a fast to what shall make the model sort of normal speed slowed the video down 2.5. All right then. So let's get started. Start off all making the last bottle, and I'll begin by creating a cylinder position sort of bottom off the bottle would be at 00 world space. Then I will move the top of the cylinder a little bit and extrude it, Then get extruded piece smaller, the amateur and extruded again. I will delete the top of the section for a bottle and select the edges and beveled Um, while also adding subdivision to rebel pieces. Then I will extrude the entire mesh and invert the displaces extruded inwards. I make sure that the extrusion is a small section on Lee since its glass. We don't need a thicker material. Now we're making a bottleneck by doing some simple extrusion, adding some edge loops. I've smoothing out the mesh and making some adjustments to the overall shape by again adding some edge loops. I want to make sure that the outside of the bottle has some extra polygons since I planned on getting a close up shot of the bottle. Even so, I knew that the inside of a bottle would be It's visible, so I didn't bother to add any portly loops there. Then I remain it renamed the Bottle two glasses one and I'm moving on to the next match. For next, Mesh will make more of a jar. And again, I'm just using the same method that I've done for the bottle creating cylinder extruding, making the top section a little bit small diameter. I wanted to make sure that this shower is righted up quite well on the top and only write it up a little bit at the very bottom. Once I adjusted the shape to the way I like by then deleted the very top faces from the jar , and then afterwards I was extruding your word sentence. Boring student in words. I need to again reverse the display off. The polygons now wanted to create some extra detail for the object, but did was create a ring around the very top of it, provided some extra edge loops and inflated them by using transformation tool. Have to check in the way it looks. I decided to inflate the whole ring by selecting vortices and again using transform component to inflate at all. I want this glass to be laying down on the floor sideways, the reason being since one of the smart masks uses great in, we can use it to our advantage and create dirt on one side, but for now, repositioning it back to the world space as it is and renaming it to glass or two for the next piece of making a glass vase. So outside, off with cylinder. And this time I'm making a more intricate shape, making diameter small. I also wanted to be slightly squished, so I'm just selecting half of the base and scaling it sideways to squish it down. Now I'm just smoothing out the edges by using a bubble again. I'm only applying it to the edge. Loops only serving. Create any handguns, any unwanted polygons. The top section is not required since some deleting it and extruding it in wards. Give the glass thickness. So let me just deleted by selecting the faces and clicking late. Now I'm addressing the base of the mesh. Ah wanted to make it a little bit thicker, so I'm just raising the base a little bit and finally smoothing out two faces by averaging the normals. Karen Atala just rename it glass so free now that I've made free different glass pieces, I'll create separate materials for each one of them and named the materials appropriately. And to give you the coordinates. I'll just use automatic UV and wrap, and I'll unfold them at the same time. Although if you're making glass props, I would highly recommend your case to actually and wrap it properly to avoid the seems. Even though we create a smart material that uses beauty projection, some U V seems might still be visible if the light isn't, for example, is not bad. If the light for its fourth. If the light, for example, is not bounced off properly within the renderers. Since I'm using materials for each one of the props, that's amusing. Separate materials. 40 short of the props. I'm just laying them out separately from coordinates 0 to 1 and two ended. I am exporting them in an fbx file before exporting. I will reposition. The models are usually Don't do this if I'm exporting it to a game engine. But since applying to render some shots in substance Beta, I'd like them to be already in in the right position. The positioning will not affect the lecturing protests, although I am living some gaps between the models to not cause any baking issues. Now I'm going to select them all. Exports election Go to my by location and here the settings that I'm exporting, my FB accident and exporters glass missions one 9. Making quick changes for the smart material to customise objects: Once we're back in substance painter, let's go ahead and open up or mash. So click on file New Ah, the template I'm using is unreal Engine four. The firearm Great Select is glass measure so one and document resolution. But if all this 2048 which I'm going to keep, and I'm just going to click OK, once it loads licious, import the smart material so located where you save the smart material and just drag and drop it. Now I'm going to select important resource into the project Click Import, and before I will do anything, I'm just going to save it. As once we do that, let's go ahead and drag and drop the smart material until the glass now, as you can see, doesn't look exactly as it looked before. That's because of two reasons. First of all, we haven't enabled oce aiders, so let's go ahead and do that. I'm going to use the one we use earlier people are metal roughness without for blending. Once we select that, let's go ahead and add Chan Capacity Child's for we each one of them. So once we add the opacity channels, the second thing we need to do is bake the texture maps. So we're fintech, sir. Sets headings. If you scroll down on click on bake mash maps, we'll get this window. Now I'm going to un select and select all of them. So click on none. And for our mesh, we only need ambient occlusion, curvature and position maps. Make sure you think on use low, poorly measures. Hi, Polly Mash. Since we're no actually using how high a poli version off for meshes I'm going to leave the distance values the same and I'm gonna go to Kercher's and changed the algorithm from per pixel two per vertex changing it to pervert ICS will only bake the curvature map based on geometry instead off trying to use the normal mapas Well, if you don't change that, it'll create some triangles within the texture Bake and then make sure you click Apply to all now before baking out One final thing that we need to do is go to ambient occlusion and then changing it from always, too. On li se mash name. What this will do is since we have multiple objects within the p x file, changing this option will allow us to bake ambient occlusion without objects affecting each other. Once you do all of that, just click on vehicle. Texas sets. What's it done? Baking texture maps. The materials should look something like this because the smart masks will automatically use the baked texture maps. So if you want to check the ambient occlusion, courage and position maps, just click on the top right of the view port. And to view your texture maps, you can switch between ambient occlusion position as well as curvature, texture, maps. Let's go ahead, too. Smart material to make some adjustments for a glass to make individual custom is ations for a short of them, so let's start with the bottle within texture. Set list. Click on glass award material and wants to open up the folder that's are up. By adjusting the capacity for it, I will lower the transparency of the glass by increasing the past. The value and I will dark in the color off it. I will now make it so that dust lie would only apply to the top with the bottleneck. So let's go under the dust leg radiant, click on the mask and click all linear Grady Int. Then lower the balance. All right now I'm done with the glass. Let's go to another material. One to select glass. So, too, let's open up the folder. And this time I would like to make this charm or dis saturated. So under glass layer, I will lower the saturation, and what I will also do is make the dust on top of char look like it's a dirt on the neighborhood that's going to dust. Lay ingredient. Click on the mask, click on Frida Lena ingredient and let's inverted now increase the balance, and I will also increase the contrast afternoon that will go click on the filler itself and make it more yellow. By changing the here and increasing that saturation, I also want to do to be more intense than it already is. So, like that been occlusion and slightly lower the global balance. Then I will also would like it to make it less shiny. So under my under micro detail, I will click on the layer and increase the roughness. Finally, let's cope through base by clicking glass of free material. This time I will change the color. I will change the colors here to be more blue. Once we're happy with the way the color looks, let's go ahead and change the transparency by going to a passage layer. And then I was slightly increased capacity values. Then I will go to the dust lanes mask can. I would like to dust to settle down a little bit lower, so will increase the balance for it consist. Looks like it's a little bit too much dust for me. I will go ahead and low with the overall grade and capacity, so just click on 100%. I don't lower to something around 60 and now what I would like to do is to have some dirt only on the inside of a glass, so I will click on the dirt on being conclusion mask. Increase the ambient occlusion for it to start off by lowering the global balance. Go to the fillet A and changing its color. I'll make it more brown, been saturated and dark in it as well. I didn't go back to the mask. I will hold alternate click on the mask itself to see better. And now what I will do is that a pain mask on top of it by clicking at effect and clicking out paint. And now, while the paint layer is selected if you click four, you open up a polygon fill option. If we change this pain layer to sub strapped instead and selecting a film effort to the whole mesh. So Mesh ville clicking on the object, we hide the whole mask. But then, if we changed the color to black by clicking into very value as well as UV Chunk, Phil and I will just collect at the very bottom off the off the mesh and Dana will click em to go back to material view Animal Click one to go out off the tool. So now, at the very bottom, we have some dirt. 10. Exporting our glass material textures: you're exported textures, go to file and click on export textures within the export window. Choose whichever configuration you'd like by clicking on this window right here, although make sure that whichever you pick it has an A passivity layer, and you can check if it has it by clicking on configuration and selecting whichever you prefer to use. So, for example, the unreal packed within the base color. It'll have Alfa Leah, which, if we look at a purple color, it is a capacity input map, so the glass transparency will be attached to the base colors. Alpha Channel wants to check your pretty set. You can go back to wreak export. Select your export location on just having the settings I can export it. 11. Setting the glass up for the renderer: Now let's set it up for the render, so go ahead and click on the rendering button. Once we are within the render. I've just collecting the pause I ray to make sure it doesn't drop my performance while recordings video. So let's go for some settings. Assad would display settings by clicking on this button right here. Then I will change the environment map to what If I share argon stairs well adjusted rotation a little bit to change the lighting. When you are making adjustments, make sure your renderers is not paused well done to slightly adjust Ah, radius for the dome and I will keep the clear color tick tone crab, changing the color itself that I'm going to go down onto the post process effects. I will have my clear enabled and then change its shape too blue and increase eliminates, and it's likely tweeted threshold. Now I'm going to turn on the Vin jet A. This gives us darker edges. It's increasing the strength a little bed, so we'll have a deeper effect activating on tail Issing and setting it to 32 now going to active color profile and then I will set the color profile to Alexa. Be free logic, but you can choose whichever one you prefer now going to set texture filtering too high, and I will go to have options by, you know, off the display settings and within the bottom right of the quarter. Let's turn up the refraction value old weight upto one. And now, finally, I will turn on them out of time. This will take two Rendah, so it'll even stop. But, um, examples or max time. Since Max sample to 71,000 I know it will reach the max time. First, I will change it two minutes. And since I'm okay with 10 minutes, I'm just going to leave it rendering. If you enjoyed the score so far, it's useful. Please leave the room. But now you're able to customize the smart material fully. Some really looking forward in seeing the types of glass you make. So please share your project as well as I would love to see what to come up with.