Substance Painter - Digital gift | Lukas Partaukas | Skillshare

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Substance Painter - Digital gift

teacher avatar Lukas Partaukas, PolyGoods

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

10 Lessons (1h 14m)
    • 1. Class Introduction

      2:31
    • 2. Project set-up

      3:18
    • 3. Creating basic texture material

      4:51
    • 4. Making custom texture pattern

      9:00
    • 5. Creating color variation using generated textures

      11:56
    • 6. Texturing fabric onto mesh

      8:57
    • 7. Creating a basic teddy bear face

      12:11
    • 8. Adding a custom image within the scene

      9:33
    • 9. Writing custom text within Substance Painter

      6:02
    • 10. Setting up a project render

      5:19
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About This Class

Design and customize a digital gift for someone you truly care about whilst learning Substance Painter techniques along the way. Texture a 3D asset with the colors and patterns of your choice. Make it truly special by adding your very own picture within the frame. All of it and more can be found within this course.

 

Creating basic materials

The course will help you grasp the basics of substance painter software and how one can make basic materials. Using fill layers in combination with custom masks, you will learn how to texture sections of an object in a non-destructive way.

 

Creating patterns

Learn how to create customizable patterns within Substance Painter using alpha stamps with ease. Cover the gift wrap to your own liking using texturing techniques that will allow you to easily adjust and scale the pattern to fit the mesh.

 

Color 3D asset using baked textures

Find out how you can create additional detail to a 3D model using Substance Painter generated texture maps. Create color variations to add additional depth to your work using this simple masking method.

 

Creating fabric material

Learn how to create realistic looking fabric that can be applied onto a 3D model. Find out how you can make use out of a textured material’s properties to get the desired look. The video lessons will provide you with a quick and simple way for texturing a teddy bear and a way for making customizations to it including color variations and pattern scaling.

 

Adding custom image

Learn how you can import any type of image onto the Substance painter. Find out how you can properly set up a picture within the software with zero distortion and how you can align it on a 3D object. This Substance Painter course will teach you a quick and simple way on how you can place any image within your 3D digital asset.

 

Writing any text

Find out how you can create any type of text within Substance painter with ease. Write your own message using a variety of fonts. The course will teach you how you can easily customize it, scale it and even add an outline to the text.

Meet Your Teacher

Teacher Profile Image

Lukas Partaukas

PolyGoods

Teacher

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

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Transcripts

1. Class Introduction: Design and customize a digital gear for someone who truly care about while it's learning substance painter techniques along the way and become a better art is by texture in this 3D asset with the colors and patterns of your choice, make it truly special by adding your very own picture within a frame. All of it and more can be found within this course. This online class will take you through each and every step in an orderly manner. We will begin by covering the basics of substance better software. How you can make a simple material using pillars in combination with GSA masks. During stage, you will learn how to texture sections of an object in a non-destructive way. In this course, you will learn how to create customizable patterns within subsidies painter using alpha stamps with ease, cover the gift wrap to your own liking using this simple texturing technique that will allow you to easily adjust and scale the pattern to fit the mesh. Find out how you can create additional detail to a 3D model using subsidiary generate texture maps, create color variations to add additional depth to your work. Using this simple masking method. Learn how to create realising looking fabric that can be applied onto a 3D model. Find out how you can make use arrow texture materials properties to get the desired look. The video lessons will provide you with a quick and simple way for texturing a teddy bear and a way for making customizations to it, including color variations and pattern scaling. You will be taught how you can import any type of image or to subsidize later, find out how you can properly set up by picture within the software with 0 distortion and how you can align it onto a 3D object. The substance better course will teach you a quick and simple way on how you can place any image within your 3D digital asset. The course will teach you how you can create any type of texts within substance Pedro with 0s, right? Your very own message using a variety of fonts provider within the software. The course will teach you how you can easily customize it, scale it, and even add an outliner to the text. Completing the course will give you a full textured seen, finished and rendered customized to your liking, helping you to build up your creativity. You will also pick up some interesting and exciting techniques to use as a freely texture artist, which I am sure will help you to develop your very own personal workflow. So let's join this course and get right into it. 2. Project set-up: In order to set up the project, we will first of all need to dwell and ourselves a resource pack. Afterwards within a substance better, we will want to click on file located on the upper left corner, like so. And then we'll want to go ahead and select new. This'll bring us a new project window. With this, we can select ourselves a model that we want, the texture. So let's go ahead and click Select button over here. We want to locate the dollar resource pack. But let's go ahead and selected, then click open numpy to pick one. Make much of a difference in this case, where I personally like to use the Unreal Engine four. Go ahead and just scroll down a little bit until you find yourself. The template. We can keep the documented resolution IS 24 eight as later on we can increase it to 4K. Also, we need to make sure that the auto unwrap tool is not selected. Then is the provider model already has the unwrapped UV 0s. And we don't need that. The UTMs should be addict as well. So I'm just making sure this one is addict. And afterwards, let's go ahead and click OK. Once the model loads, then we can use ALT, left mouse button to rotate or camera and get ourselves a different perspective. You can also use Alt and middle mouse button tap, you pan or be around. And then we can scroll in a little bit using the mouse scroll wheel. Now that we have our model in place, we will want to bake some textures for that. Within the right-hand corner, we'll find ourselves the texture set settings, but let's go ahead and click on them. In case you're not seeing the same layout. You can always go ahead and go on to the Windows tab over here on the top section, and click Reset UI and say I'm using the default options better layout. This way you can follow the steps easier throughout the course. But once again, I'm gonna go onto textured set settings. And we'll want to scroll down a little bit until we find the big mesh maps button. And let's go ahead and click on it. Then we'll get ourselves a window for baking. And the first thing we'll want to do is get a cell to output size. So from quite well, we can go ahead and write away, change it to four k. This one's, we're going to be upscaling textures. We won't have to remake the texture maps. Then afterwards, and a top left corner of the window, we want to click ourselves all button. This will make sure that all of this within less will get selected. And so I want to keep it simple. We don't actually have to dive into all of them and we can just simply bake them as is. And then afterwards within a common parameters, we will also want to change this box over here. This will make sure that it'll use the low poly mesh as a hyperbole. And it allows us to quickly generate the texture maps for the ones that need high polymer mesh, such as ambient occlusion or normal map for example. With that done, we can keep the rest of the settings as is, these values are going to work great. So without further ado, let's go ahead and click the back button. The whole process might take a while since we are big and the high resolution texture maps. But after we're done, we can go ahead and click OK. 3. Creating basic texture material: Start off or texturing process. We're going to begin with the gift that's at the back of a scene. And for that, we want to go into layers that's located on the right side. But let's go ahead and click on it. Now the lead is left for us by default is not really useful for us and there's no real information for texture currently. Well, we can go ahead and delete it, though. Let's go ahead and select it and click late. Then afterwards, in order to keep ourselves more organized, we are going to be making news out of the folder functionality. Though. Let's go ahead and click on it. Now, since we are texturing the present as our first item, we can go ahead and rename our folder right away, though for that, all we need to do is double-click on the text and delete the text itself and rename it does present Excel. Afterwards, if we were to go ahead and add it bilayer, that will allow us to texture or object. We go ahead and create a bilayer like so. Let's go ahead and move this layer into the folder that we created beforehand, like so. And afterwards, we're going to be using it to color the ribbon. So let's go ahead and double tap on it and rename it as Ribbon Excel. Now, after we're done sorting it out, we can use the properties Fill Tab to change some settings. And the first setting that allows us to change is going to be the base color itself. This will allow us to adjust the color of the material. So right away, if we were to danger to red, for example, you'll notice that the red is being applied to the entire object, which we're going to fix it in a second. But for now, let's go ahead and pick the right color at a time of column going to pick is highly saturated red like so. Guesstimate this ribbon pop out a little bit more. Also, just a quick tip. If you are not seeing the coals properly when it's saturated, it's quite hard to see the HU values. If you go ahead and turn off the dynamic button over here. And between bank the hue variation bar provided being affected by the saturation. Which in turn allows us to see localists easier, which are sometimes find it more useful since again, see the colors right away. So if we were to go ahead and change this whew, I can have a different type of color. But again, since I want it to be red, I'm going to go ahead and drag it all the way down and then increase the saturation as well as make it somewhat writer. Once we're done picking a color, we can go ahead and type out of it like so just by tapping anywhere else outside of a selection box. And now going back to the issue of the filler filling in the color for the entire object. But we'll want to do is we'll want to add a mass for it. Though. If you click the button on the top with this layer selected, if you go ahead and click add mask like so, we'll get a couple of options to pick from. So if we were to go ahead and click add black mask, that only all up or color information disappears from our object. And that is because black represents the 0 value, which would mean that this red color is not being applied at all. Now we can make use out of this mask. We were to go ahead and use something called polygon filled tool. Can go ahead and click it on a left-hand corner like so. Or alternatively, we can hit the number four on our keyboard. We switch it to a polygon fill like so. Then afterwards what I want to do is I want to use one of the polygon fill options. The fill mode that we'll want to use, this diode is going to be meshed fill. The way this model works is it'll cover entire separate object with the mask. And it'll be separated only if the vertices are not connected. So for example, this picture over here and this present over here are not connected by vertices. So if I were to click on it, it would naturally Berlin this entire object. I'm going to click controllers. They had to go back and redo my step with these ribbons, although you're touching the main section of the present, they're not actually connected by the vertices itself. And therefore they are treated as separate mesh. Though, if we were to go ahead and click on one, notice that it straight away mass this entire loop like so. Now we just have to do it with the rest of the ribbons. So let's go ahead and select the one on aside. The one on the top and the main ribbon on top, like so. But all I'm doing is clicking each one of them individually. So and again, if you are misleading it, you can click Control Z to undo it. Go out of the polygon filled tool. So we're going to have to see the wireframe as well. We can go ahead and go back onto our default pain tool, which you can do so by clicking on the upper left corner over here. Or alternatively, we can just click one to go back onto it like so. 4. Making custom texture pattern: Now we're going to move on to texturing the base wrap itself and for it and pick it up making a pattern that will cover the section. So in order for us to do that, we're going to be using multiple layers to overlay one on top of each other. And because of it, what will help us is if we make another folder, the silicon mass, this area with 0s. And so with the ribbon selected, let's go ahead and click Add New Folder, which will create a folder right above the Ribbon and inside of the folder itself. So we're going to have a folder within a folder. Now we can go ahead and rename the folder shred way. Let's rename it as a present rap. Now, let's go ahead and add a bilayer and drag that into our present wrap folder. With that, we can change the base color right away. Though two type of base color I'd like to use is going to be a cyan color. But acetylcholine reckon looks quite nicely. So I'm going to leave it as is. So I'm just going to snap out of it. And yet again, we need to fix the entire bilayer since it's covering all of the objects. So let's go ahead and add a mask for it. But instead of adding it to the fill layer, we're going to be adding it to the folder. So let's go ahead and select the present wrapped folder and click Add mask at black mask. Now we can go onto our polygon pill tool by clicking number for electing the mesh build tool like so. And let's go ahead and click on the base Excel thereafter, which we might as well renamed this bilayer. So let's go ahead and double tap on it. And let's rename it as a base wrap. Now, since we are having a mask on top of the folder instead of the fill layer, we're able to add a new feature layer within this folder like so the while we have a base wrap layer selected, we can create a new one just above it, like so. And a mask is going to be applied within everything that the folder contains, which includes the base rap as well as this new fill layer. We're now using this. We are going to be able to make a pattern for that. With the fill layer selected. We're going to go ahead and add a mask, ADHD-like mask, like we did previously. This time, however, we'll need to add an effect to it. So let's go ahead and click an icon right next to it. Go ahead and add a fill layer like so. This'll apply the philia directly on through mask. And now with it, we can go ahead and select the grayscale, the grayscale button over here, then we can use it to add an alpha. However, I find that this window isn't really good on finding the right patterns since it is quite small. So instead, what we can use is the shelf itself. We can use this section over here. If we were to go ahead and click on alpha's located within the shelf itself. So we are going to be able to see all the alpha materials righted by default within substance banner. Well, with that, we're going to be able to find a bunch of different symbols, the use or patterns. This time we can just pick anything as a placement is we're going to be able to come back to it and change it afterwards and setting it up. For now I'm going to use a default substance Better logo. So this One over here. If we were to go ahead and click and hold, then drag it onto our grayscale button over here on the right side. We're able to apply it onto our filter. In order to apply the pattern, we could just simply increase the scale and be done with it. Though, if we were to go ahead and drag this, we could write away increased the scale like so. However, if we do it this way, I find it that the pattern is being applied to close to one another. This alpha detail is not leaving any spacing in between them, so they're quite clustered together. So what we're going to do instead is we're to scale the scale back to one. I'd like us to do it in a different way that will get us better control over the spacing. So for now, if we were to change the UB wrapped from repeat none, this will make sure that once we are changing the scale, it is not going to give us any repeats on alpha. That afterwards, instead of using the fill, we were to go ahead and click out effect. Then click Add Filter. Going to be able to find within a property stab something called planar projection. And then find this one over here. After we're done. What this will do is they'll basically, instead of putting the textures on the uv coordinates themselves, they'll basically project the alpha from all the different directions. And so we can make use out of it in an interesting matter. Right now if we were to change the texture tiling right away, what you'll notice is it will basically add up the tiling similarly that we had previously with the fill. So right now if we're to change the tiling to something, well, we'll get to sort of a result. Now we also need to adjust the slightly, just a little bit to increase it. So we're going to get cut off like that. Let's go ahead and increase it just a little bit more. Let's keep it to a value of 12.5, like so. And now we've blend in contrast, if we get another with closer, we'll notice that the projection is trying to blend in the alpha. And since we wanted to make it look more like a rap, we're going to increase the contrast first. So from 0.5, we're going to use it to one. This'll right away cut off alpha whenever it reaches the end point. Now afterwards, what we can do is we can slightly adjust the axis. So if we were to go to access, why, for example, we're going to be able to offset it slightly, it, so you can keep this as 0.01. This in slightly adjust the pattern from the front and a back of the projection and offset location of the detail. Let's go ahead and open up the axis, that tab like so. And then since we can not go lower than 0, we're going to have to go a little bit higher until it reaches this point over here. And show that the alpha pattern is not being cut off in a corner. And a value of 0.06 seems to work quite well. Like it to get the spacing between the alphabet. And so for that, we're going to want to go back onto the fill layer like so by clicking on it to get back into its properties tab. Now, since we are applying the tribe planar advanced filter right after the fill layer, we're going to be able to change a scaling and affect the AAA and our advanced. So right now we've worked to increase the scale. We're going to be able to control the spacing in between them. And this is quite sensitive as a bar, we can go ahead and type in the value instead. So I'll put a value. We can simply use a 1.5 like so and escape the spacing as is. Now afterwards. Once we're done with the patents spacing setup, we can go ahead and change the pattern detail. So instead of this, we can use any type of a pattern we want by simply dragging the alphabet and onto the grayscale box. In this case, however, I am going to keep it as a default logo painter. Logo like so. But you can go ahead and choose any of the alpha patterns from the list. Now, since we're done with the shelf, I'm going to go ahead and lower the shallow factory default state. Or alternatively, I can just click Reset you. I just get it back to the default position like so. Now if you'd like to change the pattern cola as well, we can go ahead and go onto the fill layer options themselves by clicking on this box over here. So instead of going onto the mask option, we're going to just go back onto the filet options like so. Then if we scroll down a little bit, we can change the base color. So for that, we can use any type of color we want. And it'll adjust and apply it right onto our pattern. But now though we can keep it as white. So I'm just going to undo the step. And it's, I think that it looks quite nicely put a wrap. And now since we're done with this fill layer, I'm gonna go ahead and tied it up a little bit. So let's go ahead and rename this layer. But it is we can just well at a pattern like so. And then afterwards, since we are done with the present, we can go ahead and close this folder down like so by clicking on the folder icon over here. 5. Creating color variation using generated textures: Now let's go ahead and close the present folder down. And in order for us to create a new layer, will want to select the folder first. This will ensure that lead or we select will be created right above or selection. So now that we create a philia, it'll be created outside of the folder itself. Now with that, we're going to be able to extract the flower on top or gift. So first things first, let's go ahead and change the base color. Red. I'm gonna go with a darkish red that's highly saturated because I think it'll look quite nicely per flower. Now, right away, what we can do is we can create a folder for it. So let's go ahead and click Add Folder and then drag and drop or fill layer into folder Excel. And right away we can double-click on it and renamed as full as rows. With this folder, we're gonna make use out of it and mass the entire flour itself. So let's go ahead and add a mask, add black mask. And now let's click for to go into our polyphenol tool and phil mode, we're going to use the Nashville. Let's make sure that the color is set to one and set to white. And now we can go ahead and click all the pieces within a flower. Since we have a bilayer that's read, there's going to be really easy for us to make an entire selection of what a flower were. Also want to select the leaves as well, although we're going to be changing the color for it. Now will want to go back onto our fill layer like so. Click Add mask out black mask. This time we're gonna be making use out of the mask in order to cover the rose petals only. So let's go ahead and make a selection. Like so. All I'm doing is just tapping each of the pieces individually and making sure that the entire section discovered in front. Now let's go ahead and click one. You go out of the polyphenol tool. And so we can remove the wireframe and check how it looks without it. Let's rename this layer, double-click on it and call it rose petals base, like so. Now for our next step, we'll want to add some shading for it is to get some color variation within the petals. Though for that, we're going to make a fill layer. This time for our color. We're going to add a pinkish color like so. And with this, what we are going to be able to do is right now if we add a mask, add black mask. We want to make sure that the chains partially the petals on a front. We're gonna use a mass generator. So let's go ahead and click on add effects and click Add generator. And with the generator selected, we're going to search for a free day linear. So this one over here, 3D linear gradient. Let's go ahead and select it. And what this generator would allow us to do is it allows us to mass an object based on the position of our mesh. But first of all, it will have to tell the position of this rows. Will want to use the free position start and free the position end. And in order for us to use that will want to change the mask view though, is go ahead and click on the material on the top right corner, like so. And drag down a little bit until we find ourselves a position mask. Oh, let's go ahead and click on it. And what this mask is going to tell us is the position of an object based on the coloring which we bake using the texture bakes previously. But with the scholars, we can tell the direction of an object only using the color variation. For the 3D position start will want to click on this box over here, then use the palette. Let's go ahead and click and hold and will want to select the top section of our flour. Though this area we're here like so. Let's go ahead and click on it. I'm going to click on the middle section on the top. But this piece over here, we need to make sure we select the highest position possible. And afterwards, we will want for the presupposition and will want to select the Add section of a flower. And although we're not going to be using this bilayer to texture the texture the end section of for flour, it is best to select NPS. This allows us to tell the direction of the gradient more accurately. So let's go ahead and click on the box ligand Hold on a pallet, and then select the n pis over flour, like so. By the end of it, you should get to slight variations of the color. Now if you go back onto material, we can do so by going through the same menu like we did previously, and click on material. Or alternatively, we can just click the letter M. We go back onto our default view. Though now with this selected, we will first of all have to invert or mask. Since as you can see, the pink is being applied onto the end section of our stem. And instead we want to be starting at this point over here. So for that, we can click invert button over here. With this inverted. We can see that it colors entire section of our flour. Though. We'll want to adjust that a little bit. And for that, if we were to drag or balance, it'll write like so a value of 0.98. And we can also increase the sharpness of the mask by increasing the contrast. So let's go ahead and increase it. Value of 0.7.37 is going to adjust the balance a little bit more. A value of 0.99. This way, it's only touching the N-bits of the petals. And giving us some nice variation. The mask. With the mass done, we can make further adjustments to the color variation itself. Though. Let's go and click back onto darker layer mask like so. Roll down a little bit. Let's go ahead and get onto the base color. And I'll want to darken it just a little bit. So this type of value for red will work quite well enough for us. We can check it how it looks a little bit more under different lighting, holding Shift and right-click and dragging our mouse. That weighs like so. They'll rotate the environment which affects the lighting. I reckon this looks quite nice. We can go ahead and rename or fill layer to keep it nice and tidy. So for this, we can rename it as rose petals. Hello variation. Like this. Once we're done with the layer, we can move on to the stem action or four rows. So for that, let's go ahead and create a basic bilayer with a color value of green. For this type of green value will work quite well for us. Let's go ahead and add a mass bore. It makes sure that only the stem is selected. Let's click Add black mask. Let's click for to go onto our polygon fill. And with the object mesh fields selected. Let's simply click on stem, as well as the leaves that are attached next to it. So now let's click one and check how it looks. Now, although this looks quite alright, I reckon we could add some color variation, is to give the shape a little bit more depth to it. We want to create another philia. But before that, let's go ahead and rename this existing player. Well, let's double-tap on a name and let's call it a stem. That's called the stem base. And leave it as it is. After which let's click at the layer. Then right away after we create the filename, and I'll go ahead and add a mass to it. Let's add a black mask. This time we're going to use yet another generated mask. So let's go ahead and click Add effect. And let's add generator to it. The type of generator that we're going to use is going to be adding the occlusion. Though if research for ambient, we're going to find ourselves amateur collision mask. Let's go ahead and click on it. Now what this mass will do is it'll make use out of the ambient occlusion Mazda we bake previously in order to help us give us additional detail or coloring. Now we have it on. If we were to drag the global balance down a little bit, we're going to be able to see that it changes the way the mass blends in with an object. Currently, we want to change it to something around the value 0.3 will give disorder will result. Now will also want to add yet another masking effect in order to exclude the mask from being applied onto the petals. So for that, we can use ad effect and add paint on it. Now with the paint layer on top above the ambient occlusion effect. We can click the number four to go into Polygon fill. And then with the mesh fields selected and the color set to black, which we can do so by inverting it to back, by clicking on this button over here. We can now go ahead and select all the petals. You remove the entire mask, like so. Let's make sure that we select every single letter, we select every single piece. And now we're going to click one to have a quick look. If we selected everything. Once we're done with the selection, we can go back onto our layer edit by clicking on the square over here. This is go ahead and adjust the color variation. What is peace though? Let's click on the base color. They're not dynamics, so we can see the variation. And let's change it to a lighter shade of green. But just a little bit lighter shade for green will do the trick. Now this will give us a little bit more color information to the stem of our power. Enters, we're done. We can go ahead and rename the fill layer. It's renaming to stem. Hello variation. And we're done with the rows. Now, if you feel like it, we can always come back to the collaborations. So for example, if you want to change the color for the, for the rose petals, we can do so by clicking on the cycles over here. So for example, if we were to change the base to something purple, then we also need to change collaboration for it to match it. Though. Resemble if we wanted something of a purple rows, we can always get ourselves one, just like that. But personally, I prefer the default read value, though. I'll just click on July 20 my steps and keep it as is. 6. Texturing fabric onto mesh: Now that we're done with the rows, let's go ahead and close down the folder and select the folder afterwards. Though, that our next greater layers would go right above it. And now we can move on to ensuring the teddy bear. With this piece. We're going to again use the shelf burden in the bottom corner of the substance painter. So let's go ahead and make the window just a little bit bigger by clicking right above the shelf tab and expanding it like so. Then within the shell presets, we are going to want to go ahead and get ourselves to material stab at this one over here. Then within the materials tab, we're going to make use out of the filter selection in order to help us tell us find the material easier. Though, if you click on this button over here, we're going to be able to open up the filter selection and break up our materials just a little bit more. But now with this many on, we're going to find ourselves a fabric. So let's go ahead and click on it. Then it will automatically give us all the selection has provided by default within substance beta, that's fabric. So right now we want to use for cells and been called Fabric soft denim. We can simply just click and then drag it onto our mesh, onto our modelling. So if we were to drag it right away, it will apply the material onto our entire scene. There were four basic material. We can first of all create and apply a mass to it. And so I think that we could also apply some additional material layers. Afterwards. We're going to be using a folder for it. Though. Let's go ahead and create a folder. Then drag the material aunt or folder, just like that. Now we can go ahead and click on a folder, click on add mask at black mask from the menu. And we can click for to go to our polygon filled tool, elected mesh filter. Make sure the color selection is set to one and is basically set to complete wide. Now with that on, we can simply click on the mesh. You apply a material. We also are going to be applying. So materials within this folder or ice as well. Though, let's go ahead and select eyes lake. So each one, since there are separate mesh as well as this nose or a teddy bear like so. Now that we're done with selection, we can go ahead and rename or folder, double-click on it. And let's call it TeddyBear. Like so. Click Enter to apply. Now with a folder done, you can go back onto our material layer. So let's go ahead and click on it. And now the first thing that I'd like us to do is like us to increase the amount of gender is. Since right now it looks like the pattern of our fabric is a little bit too big for this teddy bear. So let's go and increase the scale within the UB transformations were going to be able to change the pattern within the teddy bear. And right now, the scale that I'd like us to use. Is going to be 12. So we can just simply click on the box right above the slider. And right in the required value ourselves. I chose 12 since l make the teddy bear Luke legacy software fabric. But now we, we can leave it as is and move onto our next layer. Though. For the next piece, what I'd like us to do is like us to get some color variation, the fabric. So let's go ahead and create a layer, or it, this time to add some color variation right away, we'll have to change the material channels. So by default, the fill layer will use all the material channels which overlaid on top of the previous layers. In this case, everything within this folder soda is going to be Fabric. And we don't really want that with some channels. So for example, the roughness value is going to affect the reflection of our material. So we're going to be turning that off. And basically for now what we'll want to do is hold Alt and then click or left mouse button on the Color channel exhaust. This will remove every material information except for the color within our fill layer. Though, with that on, we're going to be able to make some adjustments when it before that, to make a proper color variation. And also like us to change the way this layer is being blended in with the fabric. Actually, we can adjust the base color and change it the way we did with the rose over this time. If you have a look at the fabric, it does have a simple of a base color and has multiple variations within it. But we'll want to keep some what I call information within this. And so if we click on this button over here, we're going to be able to open up the window with a variety of selections. But for now, we're only want to use the color blending mode. Though. If we go ahead and select it right away, you'll notice that it gives back our color variation. But since it is just set to white, and I'll make the teddy bear look as if it's desaturated. So naturally will want to change that. So let's go ahead and change the base color. We're going to change it to this type of a lowly saturated orange color. So we get a result similar to this one over here. If this scholar, we're going to be able to get some nice variation within a teddy bear. So right now we'll need to tell where the scholars being applied to. So let's go ahead and add a black mask. And for now, for starters, we're going to want to use the UV chunk pill with a polygon filled tool, which again can be opened with a number for what key on our keyboard. With this going to be able to the leg, the pieces that are split off from the ui's, which I created beforehand so that we'd be able to select the bottoms of the limbs. So right now if we were to click on this one over here, we'll select this isolated UV Chang within our YUV space is quite nice. So we can go ahead and just simply click on the bottom of each and every limb, Excel. Now additionally, i also split off from off the earpieces, though, the inside of the ears as well, like so. Leaving off the ui's in those spaces would normally cause the seems to be more visible over in this case. This adds an additional aesthetic look, making it seem as if the data beer has been stitched together in this areas. So now additionally, we don't only want to select a with UV chunks, but also if we go on to our paint tool with picking one, you'll also want to apply it onto some of the areas separately. So right now, if we were to increase the brush of our size, which we can do so within the Brush properties. The, once we have the brush tool selected, we're going to be able to have the Properties pane tab. And at the very top we'll find ourselves size. So if we were to increase it, but something to consider beforehand, if we were to do it right away. You'll notice that there is some slight stirring within the painting the way that we're doing it. So to avoid that, we're going to want to decrease the spacing. Then spacing basically tells how often that the brush is being applied to onto our peace. With the spacing set to o, with the spacing set to five, will be able to get ourselves AS mover brushstrokes. Though right now we just want to get a solace ionize Heller photo. But a belly as well as we'll want to do the same for the front section of the pace. So where the mouth is around that area, we position our brush with the center being right underneath the nose, the teddy bear. We can go ahead and click once and we'll get this sort of result. Now let's rename or fill layer. Double-click on it and call it a brick elaboration. 7. Creating a basic teddy bear face: And now let's move on to our eyes and nose section. Let's go ahead and create a filler. Right away. We can go ahead and add a mask. Add black mask. Let's click for. And with either UV chunk selection or the mesh field selection, we can go ahead and apply the white color to the mask. Like so. Now we can go back onto our ELL selection. Thank so to adjust the properties further and right away it, what you'll notice is that even though we are applying the channels, but in material, we're still getting the pattern from the fabric that's being applied onto the eyes and nose. Though, although we could do it the way we did previously with some of the pieces and simply apply the black mask onto our fabric. This time, however, I'd like us to do it a different way. We need to change the way that the player is being blended in. So right now, this normal blending mode is only being applied to the base color channel. And for the fabric is if we go back onto it, you'll notice that right now it's using multiple panels, one of which is height. So if we were to change the base to height, we'll notice that it has a completely different blending mode. Right now. By default, it's using a light dodge, where it adds up the information. Instead of replacing it. Over this time, we want to completely replace the height information in order to remove this pattern. Though for that, if we simply change the Blending Mode from add new normal, right away, we get ourselves the pattern removed from this fill layer though, right now, if we were to go back on to our channel for editing, back to the default base color. And now let's go ahead and change the color. Since we're done with the pattern solving, we can change it to black. Make sure not to change it to your complete black instead of look quite unnatural. Furthermore, we can also change how glossy they are. Though all up till now, we were using the base color only. But right now what I'd like us to use is roughness panel as well. We're going to be affecting how reflective the surface is. If we were to drag it to one, it'll be non-reflective at all. If we were to drag it to 0, it'll be super reflective. So right now we want to have it quite shiny. So we're going to use a value of 0.2. Then this will make it look bright, shiny. That's not the point where it looks like it's made out of glass or it's a wet material. So after we're done with this, we can go ahead and rename this bilayer. It's double-click on it and call it iss. At those. One thing that is left to do for this teddy bear is give it a mouth. No, for that, we're going to be able to make use out of same layer that we had previously. If we were to select it, then click Control D, going to be able to duplicate it. But now I'd like us to turn off all the channels except for a color. Though, if we were to hold Alt and click left mouse button, we're just going to keep ourselves a base color like so. This way we are going to be making the adjustments for the mask and then reapplying the channel layers afterwards. Now to change the mask, We're going to reapply the black mask. Click Add black mask again, is going to give us a fresh black mask like so. And now with this, we are going to be able to draw ourselves a face in the middle. Though. First of all, let's position or camera properly. And afterwards we're going to want to get ourselves to paint brush. So let's click one to make sure that it is selected. Wouldn't go to make sure that we, we get ourselves a basic alpha. So if in the Properties pane tab, if we were to scroll down, we need to make sure we're using the same alpha. So if you're not seeing the same alpha, we want to make sure we get a shape that is basic. So if you type in within a search bar, basic shape, go ahead and select the shape lakes. So then what the ship selected. Some alpha maps will have the parameters within them. Though right underneath it. It will give us the parameter for hardness. And what this will do is if we were to increase it all the way to one, it'll give us a brush, will give us completely hard edges. But instead, we want to make sure that we get ourselves a value of 0.9 instead. This'll make sure that it will give us somewhat of a soft and edge. So we're just basically sharpening it up a little bit, but not too, but not too much. Now with the Alpharetta, we're going to want to make sure that the size is set to ten. Then what we'll want to do is without moving the mouse, we wanted to do multiple changes to our brush. Though. First of all, after clicking or left mouse button, will want to change the size of our brush, which we can do so with the keyboard shortcut, which is going to be the square brackets. Though we've opening square brackets are going to be able to change the size of our brush like so. And with closing square brackets, we're going to be able to increase the size of it just like that. Then afterwards, we'll want to change the brush paint from white to black, which we can invert it easily by simply clicking x on our keyboard, is like that. To switch it up between black and white color like so. Which basically inverted similar to this button over here. Changing it from one to 0. Like that. I'm going to change the size back to ten. And now with this information, we're going to position our brush just like that. With the wide selected. We're going to click the left mouse button. And without moving the mouse, we're going to tap on the open square brackets twice lake. So then we'll want to invert the Alpha by clicking X. And we'll want to tap on the honor teddy bear again. Like that, which will give us a nice Alpha ring like so. Then afterwards, we're going to want to do it in a similar way on our side as well. We're going to change the size to ten. This like that. That's position. It will be in a similar position on our side as well. Will want to click acts to change it back to white. Then it will want to have a circle on our end. We want to position it less than a way, sort of be symmetrical to our end. If you're not position the circle in the right way, you can always click control zed to undo your step. And then after we get the right as we want it, we're going to again click the left mouse button, double tap on the size, click X, universe the paint, and then tap again, just like that. This way will get to ring circles like so. Then afterwards, what we'll want to do is we'll want to remove some other coloring information. We're going to just simply painted over with black mask, like so. But we just wanted to remove it a little bit from both ends. Like that. We can check it from different angles as well by rotating your camera. And afterwards in order to make sure we're not having any of the masking information on her nose will go into click for to go onto our polygon pill. And with the UV chunk or the mesh tool selected, we're going to apply the black color. So let's invert it with x. And after which we can simply click on the nodes once, like so. And we can click one to go out of our white frame, check how the mask looks. Now with this sort of a mask, we can go back onto our fill layer properties. So let's go ahead and click back onto our property still tool like so. And now afterwards, we'll want to reapply are channels. We're gonna go ahead and hold Alt and click on the color menu like so. Right away what I'd like us to do is increase the roughness value for it. Because as it is now, it is going to be way too shiny for our taste. Though we want to increase it to a value of 0.9. They can also adjust the height information for it. Since right now we still contain the same height information blending mode as we did with the previous mask. Since we did duplicated, we don't really need to adjust the blending anymore. And we can right away forehead and decrease the height value. We can keep it to a value of minus 0.1, like so. You get a little bit of what indent working this area, which overall will give us a nice little smile, pretty steady beer. You can now rename this layer. So let's go ahead and double-click on the layer like so. And we can rename it as a mouth. We can always make some custom changes to the teddy bear and put add. Mainly we can make changes for a fabric soft that we created for the base. So if we were to go ahead and click on it, we can first of all, change the color for it. We can change it to any type we want. We can make it brighter. Again, even make it blue, like so. And just have a nice color for it. Or we can even make it yellow. We can also change the fabric and make it look a little bit more rough and up in do so by increasing the scale that we're using for it. So if we were to change the scale by lowering it, were to lower it to something of a value to free. So we get a teddy bear, there's going to have a larger pattern for it. Alternatively, we can increase the scale to a large amount, were to change it to a value of 16, for example, we're going to get ourselves a very smooth looking teddy bear. We can also change the color variation. And if we were to change the coloration, since this is using the color blending tool, is going to have a slightly different look. In comparison, we can basically get yourself a teddy bear will suit your needs. Personally, however, I like to keep it as a default. And I'll just go ahead and click control zed couple of times. So I click the control zed one too many times and I ended my naming for the layer and always click control. Why we redo this step. With this done, we can now go ahead and close down this folder like so, and then click on it to make sure our selection goes outside of Boulder. Who make sure we're ready to go on to our final step. 8. Adding a custom image within the scene: We're going to start with the frame itself. So for that, I'd like us to make it metallic. And so we'll need to, first of all, change the metallic channel, which you'll find within the property spilt up. If you were to go ahead and change it to one by inverting it, we get ourselves a mental visual pour it. And afterwards, I'd like us to age the roughness to make it a little bit more shiny. Though, from 0.3, we can go ahead and change it to 0.2, which will make it look a little bit more glossy, like so. And afterwards, for those of you who want to change the look of a frame in order to better fit your image, which we're going to do it in a short moment. We can make a quick change to make it look like a different type of metal. Although personally, I am going to keep in mind as silver. If you wanted to change it yours, make it look more like bronze, for example. So for that, we're going to have to change the base color itself. If we were to click on a base color, turn off the dynamics. Then simply drag it up a little bit until we get this sort of an orange color. We simply need to change it to a low saturation. Like so. Now that we're done with adjusting the bacterial, we can go ahead and apply a mask. So for that, I'd like us to create a folder and then drag the filler into folded like so. And afterwards, we can right away apply a mask leakage folder and click Add mask all-black mass click so that we're going to click for. And with the mesh build tool selected and the color set to white, we're going to select this entire object like so. And also I'd like us to rotate it around it a little bit and select this piece. Even though it is not going to be visible within the render, America saw the frame wouldn't be just floating around. So with the mask done, we can now go ahead and rename the folder by double-clicking on it, we can rename it as a framed picture. Then afterwards you can also rename the pillar itself as double-click on it and call it a frame. Now we don't really need to adjust the mask for the frame itself is we're going to be applying layers on top of it. This doesn't have much off point information for the height map or roughness values. So it is going to be easy to reapply another type of information on top of it. Though now for our next step, going to be adding an image within the frame. And for that, let's go ahead and add a fill layer like so. And let's go ahead and click add mask, a black mask. Thus click or to go into our fill tool. And using the UV chunk fill, We have to call a set to white. Will go into click on the front square, like so. This is where the image is going to be located. Now we can go back onto the properties fill tool and get ourselves the image imported. That's located ourselves a folder with an image that we want to use. The photo that I'm going to use is going to be a free stock photo with the image. All we need to do is left click with the mouse and drag it onto our shelf. Like so, which will prompt up the import Resources tab. And with this, we are going to be first of all needing to identify what type of information we're giving. Though right now it's an unidentified. We need to change it to texture that afterwards to select how we want it to be imported. We want it to be imported onto our current session. And click Import. And right away, we're gonna get ourselves a selection within a shelf with the important image. We're going to be dragging and dropping it onto our base color like so, which will replace the color selection itself. And now what do we need to do is since the projection is being used as UV projection, we need to go ahead and make use out of it and relocate where the image is, we're gonna UV space. And for that, we can go ahead and click F1. We split up our screen and we can unzoom ourselves with the mouse wheel. And while holding Alt and minimize button, we can. And already around within the space. The image is located throughout entire UV space coordinates. And we only wanted to be within the upper left corner. And the uv coordinates for this section. Though, if we were to move this around, we can see that the image is being displayed like so. I'm going to have to rescale it by default, even if our image is not squared, then it is being applied as a texture. It is always going to have itself as a square ratio. Though for scientists, if we were to scale it down by holding shift, but a ratio wouldn't be destroyed. We can notice that once we get small enough, it is quite warped. And we'll need to fix that. First of all, actually, let's go ahead and turn off the UAE rap. So if we go within the property, spilt up, we can go ahead and change the UV abrupt to none. This way, we'll make sure that the image is not being looped and repeated within this area. Then afterwards, one way to change the ratio is by using one of these owners. We were to click and hold or mouse button. We're going to be able to change the ratio of the way we wanted to. And this way we can manually eyeball it. You get the ratio that we want our doing. So it's not going to give us the perfect result though. And our way of doing it make the proportion is more accurate. We can make use of some mass calculations. By changing the value, you'll notice that these values within the scale UV transformations are changing as well. So right now, we'll want to make use of these values. But for that, we'll want to route them up a little bit. So let's go ahead and set the scale on both ends to one like so. And afterwards, we're going to have to go back onto location with the image within it. Then we'll want to hover over it and see the dimensions or alternatively, and right-click and click properties. Then go to details for the image. And within it, you'll notice that there is dimensions tab. So with this, we are going to be able to find the exact ratio. In this case, it's going to be 1928 by 1301. Though. Now that we have this information, we'll need to open up ourselves a calculator. And with the calculator, we're going to divide one value by the other. So if we were to simply divide the higher value by lower, which is going to be, in this case 1920 divided by 1301. We're going to find ourselves and aspect ratio. I'm going to go ahead and round this up to a value of 1.48. Now that I know this value, all I need to do is go back onto up since painter and type this value in this one value set to one, the upper one is going to be higher by a 1.48. So all we need to do is type in a value. And one of the boxes were to type that in. We're going to get the exact aspect ratio of an image. With that done, we're now going to want to hold shift and click and hold on the order of the box to make sure that our ratio is not affected while we're scaling the image. Don't be afraid to make the image just a little bit bigger in order to fill in the entire section of the square. And once we're done, we're going to get ourselves to sort of a result. Now we can click F2 will go back onto the full view within our perspective view and check how the image looks. Depending on the lighting, the image might not be as reflective as we want. Or if the lighting is facing directly, it might be a little bit too much. But for now, we should probably decrease the roughness just by a little bit from a value 0.3. So a value of 0.2. So we're basically getting within a property, spilt up a roughness value to a value of 0.2 in order to make the image look a little bit more smooth. And in that regard, a little bit more about higher-quality. We're going to want to rename the fill layer. So let's double-click on it and rename it. Does a picture like so. 9. Writing custom text within Substance Painter: You finish it up. We're also going to be adding up little text underneath it, right within the frame. So for us to do that, well, first of all, I want to add or starts a new film. Then right away we can add ourselves gay black mask lake with a previously we for our steps. And in this case, we're going to be making use auto shelf yet again. This time however, we'll want to go on top of the shelf and select all our width. By selecting all, we're going to be able to see everything that substance banner provides within this content. In the search bar, you can go ahead and search for font. Searching for it will give us all the substance Bader, customizable fonts that we can use, which we're then going to be able to customize it and write our own personal message. We're only interested in the font once. Well, within these, you can go ahead and select the one that we like. So right now, I reckon we can use the old dancing script, which I think has a real nice font to it. And it will work quite well for most of the texts within this scene. In order to make use of it, we're first of all need to add an effect for our mask. If we were to go ahead and click add and then Advil. Afterwards, we're going to be able to click and drag it onto the property spill tab within the grayscale like so you apply the text x is being applied onto the reprojection. So we'll have to click F1 who go on to the UV scale like so. And afterwards, we're going to want to go ahead and change the scale for this. So while holding shift this time, we want to change it like so. In order to make sure that it's not being distorted. We will also want to turn off the UV, unwrap. This solar wouldn't repeat itself as a text. And then we can rescale it to within this upper-left corner in order to fit within this area. Well, I'll just make it a little bit smaller and adjust the scaling like so. After we're done with adjusting the scale, we can adjust what the text itself says. So within this section over here, if we were to replace it, I'm going to replace this as congratulations. I'll also drag it up just a little bit higher. Afterwards then creating texts. Most fonts will have the ability to change the type boredom as well. I will go ahead and change it from regular to bold. This to thicken up the let us a little bit. And afterwards, once we're done chained and parameters, we can go back onto the fill tool parameters themselves since we were only adjusting the parameters within the mask. So for that, we'll need to click on this box over here. And right away, I like to change the color. A lowly saturated or read. Something like this will do quite well. Although this type of color is not quite visible within an image. It's a right though. We're going to change that in the next step. But before that, let's go ahead and change the naming for this bilayer. Though. Let's double-click on it and simply change it to text. So after we're done adjusting everything that we want for this text, we're now going to be creating an outliner. And for that, and to make use out of the same mask, which the easiest way for us to do so is going to be by duplicating this layer itself. So for that, we want to click on a layer and then click Control D To make a duplicate of it. That afterwards, I'd like us to click and drag and drop it right underneath the text layer so that the coffee would be under it and the text will be applied over it instead. Now, I'd like us to change the color to white. If we were to go ahead and click the base color, means you to evaluate as close to white, but not quite. Afterwards then changing it. We will then want to go back onto the properties for the mask itself. And so for that, let's click on the mask leg. So now we'll want to add an extra effect for this mask. So let's go ahead and click Add effect. And we'll want to add a filter for it. Like so. What a filter we're going to be making use R0 a bevel. So if we search for Bevel filter, we're going to make use of this one over here. Let's go ahead and click on it. Then right away, if we're to change the distance parameter, we're going to be able, you see some visual look on how it affects the mask. We can go onto our perspective view, will view by clicking OK to. And now we can make some small adjustments. What is Bevel though, by increasing it, we're able to make the weight, it spreads a little bit more. And that's pretty much it. I just want to make it a slight variation. Let's say to a value of 0.025 will give us a nice outliner. And we'll make the text about just little bit more. It'll be quite visible for us. 10. Setting up a project render: Now there's one thing that's left to do and that is in order for us to present it as an image, we're going to want to render as seen with insights as beta. So for that, we will first of all want to go ahead and position the camera, the angle that we like. That afterwards. We'll want to change the lighting a little bit, though by holding Shift and dragging the right mouse button. We can change the light. You'll be hearing it the way we want it to be. After we're done with lighting and we have it the way we like. Although we can make the adjustments within the rendering tab itself, I recommend you to do all the camera positioning and more sort of lighting rotation within this lecturing view, then it is faster and more efficient way of doing so. So I'll also do mean just a little bit more like so. You make sure that we get everything within the frame. Before going through our renderer. Let's not forget to change the texture resolution in order to sharpen up some of our detail. Though for that, we'll want to go to texture set settings. And we'll simply want to increase the size of our texture map. Okay, we'll want to change it to 4K. This'll take some time to load, though, just give it a second. Afterward unloading it. We can now go back onto a render. Now that we're done, we can click on the render image like so. Right away, it'll give us this sort of a render. First of all, we want to change the background environment, will want to go on to the display settings located with an upper right corner. And right away, we'll want to enable the clear color. After which we should make sure that the ground is also tectonic. It'll make sure that we're getting some shadows and the back. And with that, we're going to want to change the clear color. You can change it to anything we like. So color similar to this, we'll do that afterwards. We'll want to drag a mouse just a bit lower. All the way to active posts effects will want to enable the both effects. And I would only like us to use the vignette. So if we were to enable it, go to settings. But this will do is it'll basically dark in the corners within our image. This will give us a little bit more of a collaboration for the background, which I reckon will look quite nice. So setting this to 0.3 is going to look quite nicely for us. And after which, you'll go ahead and close down Display Settings and set it up for it to be rendered. Will need to increase the max samples. We can just drag it all the way up, like so. And what will matter is the max time itself. That's the way the renderer works, is it will stop rendering by either reaching the max iterations, which we already said to max, or by reaching the max time. So basically right now it's only going to be affected by time itself. And for that, we can just set it up to a couple of minutes. If we were to go ahead and change it from seconds to minutes. And then started up as three minutes. The image will start rendering automatically. If you're not happy with the render quality because you're having some noise stuck within an image. We can always increase the render time. This time I changed it to five minutes, is to decrease the amount of noise it has and give the image more clarity. Once we're done rendering it, we can go ahead and save the render by clicking on this button over here. And afterwards, we'll want to select a location for where we want to save or pile. Once we're done that, we'll want to change the saved type. Though from PNG. We're going to be changing it to JPEG. We're doing this because otherwise, the spinner saves the render image with a mask that fills out the background. And PNG automatically uses that mask in order to make that set background transparent. So we don't really want to do that. Jpeg is the pasta's way for keeping the background as is if we're using the Clare color as we are now, all we're left to do is name the file and hit save. Like so. And that's pretty much it guys. We have now gotten ourselves a render and have completed course. If you enjoyed it, make sure to leave a positive review before you go. We also have a variety of our different courses for you to check out. The most recent one focuses on texturing of snow globe and showcasing all the different techniques involved. Make it. Thanks for watching this polygon scores, and I'll see you next time.