Substance Painter - Symmetry Texturing Techniques | Lukas Partaukas | Skillshare

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Substance Painter - Symmetry Texturing Techniques

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

15 Lessons (1h 43m)
    • 1. Introduction

    • 2. Project Set-up

    • 3. Basic Substance Painter navigation

    • 4. Creating PBR base material

    • 5. Symmetry tool introduction

    • 6. Creating a basic ring ornament for the front and the back sections

    • 7. Mirror symmetry within UV space

    • 8. Radial symmetry basics

    • 9. Creating horizontal stripes

    • 10. Painting basic radial ornaments

    • 11. Creating ornamental patterns

    • 12. Creating ornamental illustration part 1

    • 13. Creating ornamental illustration part 2

    • 14. Creating mirrored text

    • 15. Iray render Set-up

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About This Class

Resource Pack


Substance Painter - symmetry texturing techniques

This ‘Substance Painter - symmetry texturing techniques’ course will teach you everything you need to know about symmetry functionality use within the Substance Painter software to speed up your workflow and to create custom ornamental patterns. The video lessons will take you through an entire process for texturing a decorative vintage vase which is provided as free asset within the resource pack.

 The course will teach you how to make the best use out of the mirror functionality within the 3D space as well as the UV coordinate space. Learn how to make use out of radial symmetry to create intricate patterns for symmetry. Write on the 3D object symmetrically without any distortion.


Course for all levels

This course was made students of all experience in mind. This Substance Painter course will allow any beginner to follow it through with ease as it includes a briefing lesson showing the basics of camera manipulation within the software to help you get familiarised with its movements.  The lessons will cover different symmetry techniques and ways of using them which will benefit Substance Painter users of any level as it will help you build a stronger foundational understanding of symmetry tool and all of its uses.


On-screen keys

The entire course is recorded with on-screen key stroke and mouse click viewer making sure that a Substance Painter user of any skill level will be able to follow these lessons with ease throughout this course. The buttons are scaled and positioned to be viewed from any sized device so it can even be watched using a smartphone at your own comfort.


Create PBR material

This Substance Painter course includes a lesson showing you how to create a basic clay material by blending in multiple alpha masks provided within the default Substance Painter software in order to create a detailed physically based rendered material for the vase. The course will show you how to overlay multiple material masks to blend in hue and roughness values in order to give us a desired PBR realism. Learn how to make use out of texture filters and other tools such as tri-planar projection to make the best use out of the built in alpha texture maps and create a seamless material for our 3D asset.

Symmetry tool overview

Create ornaments

Learn how to create custom ornaments using default basic alphas provided within the Substance Painter. Follow along this tutorial to see how you can make the best use out of your camera view to help you paint masked areas. Learn how to make use out of both, the perspective and orthographic view to help you get the least distortion for the drawn detail.


Mirror symmetry

Learn how to add detail to your 3D asset simultaneously on both ends in order to speed up your texturing process. Make use of the UV texture space and draw directly onto UV shells to get better texturing results for the prop. The course will teach you how to use mirror tool in combination with other techniques to texture a 3D model.

Radial symmetry

This course will teach you all the necessary information for how to draw multiple brush strokes simultaneously around an object. It will show you how to make use out of the tool’s functionality to effortlessly create rings around a 3D asset. Go over multiple ways for which you can use to tool and its radial count to paint texture detail in a variety of scenarios with different size and spacing to create a unique asset. Learn how to approach an object which is not completely radial symmetrical and how to use masking overlay techniques to fix the fundamental flaws of the radial symmetry for when the brush doesn’t give the right strokes due to mesh variations.

Text symmetry

Make use out of the projection tool functionality in order to create a symmetrical text without any unwanted mirroring distortion that causes it to be flipped over often making the text unreadable. Create any text on the asset in this non-destructive method and learn how you can quickly make simple adjustments such as changing its positioning and adjusting font scale. 

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. Introduction: Hi, everyone. Welcome to Apologize, Freedy Workshop. In this course, we're going to go over substance pain of symmetry tools, and it's appliances are making use out of them in practice. Within this vintage based texture, in course, for substance painter, we'll begin from the very scratch of the tech chewing process. And we'll start by creating a physical base, rendering clay material, which will do so by learning how to blend in multiple Alfa masks in order to create a detail texture for the race. Of course, we'll show you how to overlay multiple material masks, blend in hue and roughness values in order to give us a desired PPR realistic material. In this stage, you will learn how to make you sort of texture filters. I never told such a strike plan a projection to make the best use out of the built in Alfred Extra maps in order to create a seamless clay material. This course will teach you how to add detail to your pretty assets simultaneously on both sides by using marital, which is often used to speed up one's workflow, we're going to cover ways for which we can make use out of it, within the three D perspective, you as well as we're going to cover the method or wish we can make use out of the mirror and tool within the UV texture space and draw directly on to you the shells. Get the bed detection results for the prop detail in this quick and easy method, you will also learn all the necessary information for how to draw multiple brushstrokes simultaneously around an object using radial symmetry. This course will show you how to make use our tools. Functionality to effortlessly create brings around the pretty asset using simple radial brush stroke techniques. We're then going to go more in depth for tool and learn how to make use out of its functionality to get texture detail in a variety of scenarios, making use out of different size and spacing radial count to create some unique patterns. We're going to Payton object, which is no entirely raedle symmetrical and learn how to use masking overlay techniques to fix the fundamental flaws off the radial symmetry or when the brush doesn't give us the right strokes, you to mesh variations. Finally, we're going to make use out of the projection tool functionality in order to create asymmetrical text without any unwanted marrying distortion that would be seen if you were to use a standard mirroring option as it would be causing it to be flipped over, making wars unreadable. Great. Any text on an acid burn learning this nondestructive method and discover ways for how you can quickly make a simple adjustments, such as changing its positioning as well as adjusting the pawn scale, all of which, while keeping the same symmetry on both ends, we're joined the substance better course and list I right into lessons. 2. Project Set-up: hello again. For starters, we're gonna want to download the resource back found within the description. Then once you have it downloaded, locate the pile. You'll have to make sure you extract the files out of the compressed folder using the method of your choice. I'm just going to seven zip to do it like so. And within it, you'll find that you have a vintage based on FB X file. This is going to be our asset that we're going to be tech Shirin today, which is a simple vintage base prop that were few recording. It's ready to be textured and in second file that we're gonna have a normal map texture, which is what we're going to be using instead of needing to use a high poli version. Once we have those extracted gonna want to go back on tour substance Vader and then within a file, we want to click on new, then within the new window that popped up. The template we're gonna be using is Unreal engine four and after, which will want to select our asset, which we're going to be texturizing. Go ahead and click the select button over here and locate that the X Files from the resource pack I think so and click open afterwards. You will want to make sure document resolution is set to 2048 but they were planning to have or texture resolution set to four K in the future. We're now is better to keep it US 2048. It will make sure that our performance is going to be good about detection process. A section in the high resolution straight away would slow down our entire process off the software. So basically, in the future, we're going to be upscaling it, which is very simple to do within the software right up to the next thing format format. We want to make sure it's kept us direct. X. It's a normal map from the resource back is using the direct X for my thing. We're two years open G L. It would give us the same results when we're importing it, since they're using slightly different algorithms for the normal maps on computer digits. Space for fragment Lee, that tick tone, then let's go ahead and import are normal map from the resource back. Let's go ahead and click that button and locate are extracted. Normal map. Go ahead and select it and click open. Then let's go ahead and click OK to bring it up within the hour. Substance Painter Once we have our asset within the scene before continuing over, commend you to go on to the top tab onto the window section. Like so on. Go ahead and click. Reset you I this away. It'll make sure that our substance bater is set up in the exactly same way this to make this tutorial other but more easier to follow after it out once we have a scene in the place, since we imported their normal map, you can go ahead and check it within a texture. Sets settings is to make sure it is set up properly if you go ahead and click on it and then scroll or mouse down a little bit. So what you should see is that the normal map is assigned for object because the textures naming basis allowed it to be automatically assigned within the substance painter. Once we're made sure that the normal map is assigned within the project, we're gonna go back on two layers 3. Basic Substance Painter navigation: navigated within the substance banner were basically going to be using the old button alongside a combination off one of the mouse buttons. So, for example, we can use all and left mass button to move around their object, like so, with the camera rotating on the pivot. Point off, wherever you click your mouth and an object you happen to click your mouse outside of an object. It will be rotating the camera with the poet point in the center. You can also hold old and right click. Then move your mouse up and down the zoom in or out of the object. Alternatively, we can simply use the mouse scroll wheel to go out and in but the object like so and finally we can hold bolt and middle class button. You pan around the object. Now, at some point, your object is out off the focus and you want to reposition your camera. But you can do is click the letter F reposition your object. It was sent from the camera like so we can just zoom out a little bit. Do you see the entire object like so? And now we have our object back within the center of camera view Big thing before we move on. If you happen to forget the short cuts at any point in time, it always click and hold the buttons for the combination shortcuts to see what they do. If we were to go ahead and click and hold the old button, we can see that the old middle mouse button will allow you to camera translated panned. The view. An old left mouse button will allow you to camera. Rotate it. It's quite it's useful to know that whenever you're in a pinch, you can always hold down the button to see what the short guns do. We can always do a similar thing with control, but we're not going to go too much into this menu as it's not necessary for s a moment. Now we have this out of the way. Let's go ahead and move onto the next step 4. Creating PBR base material: So now let's go ahead and create a material for object. So let's go on to delay a stab and within it. Let's go ahead and click the add feel. Layer this button over here. Once we click on it, we get a new layer for it, and with it we can make some adjustments within the property. Stab. So for now, if we were to just scroll down a little bit until we see the base color, let's go ahead and click on it. So before adjusting the colors personally, I prefer to turn off the dynamic colors over to click. This button over here will turn off the preview from the hue, saturation and darkness. Values were going probably sit the adjustments. Now we want this layer to be off a sandy color, where to go ahead and change our hue around this amount. Then drag it. Write out words like this no similar to this amount like So now we're gonna click outside of this window, you will be selected, and once we have the color we like, we can change the roughness for the material as well. Directness Sally will affect the way the light bounces off from a long object. And since we want somewhat of our clay looking material, we don't want it to be a smooth were to use shift and right mouse button. We can change the way it light bounces off from an object, and we can see that it is way. This move of a material is a base. So for now we want to drag the roughness up a little bit of a value until we get the value that's not a shiny. Or we could even lick on the value over here and type in 0.7. Like so, click enter and you'll get exactly the same value, like so once we have the base material with 12 layer another layer on top of it, you know, to create some extra detail for our texture to do so. Let's go ahead and click another actor layer like so then it will want to add a mask for it in order to make sure we can blend in the material that's in the neighborhood. So who were to go ahead and click on this ad mask? Over here? We can add a black mask like so, after which will want to add a pill effect, though. Let's go ahead and click this button over here. Let's go ahead and click. Add Phil. Once we have a Hilaire within over mask, we can see that if it's black is going to completely hide this layer were here and show everything this underneath it. We were to get it to one. It's going to cover the entire material, the entire object off it. We can make use out of that. If we were to go ahead and click on Gray Scale, you can search for a grudge dirt. Think so. Then we'll want to select the grunge start scratched. So let's go ahead and click on this picture over here and once we have it and see that sections get over laid with one another. Unfortunately, the pill a all want to make some adjustments to it. So if we were to go up a little bit within our properties, I want to First of all, change the production from UV projection to try playing a projection. This will make the grayscale blend in a little bit more refined an object as it blends in with the projection based and It also hides the UV seems, which is quite nice now that we have that will also want to increase the scale. Pour it. So let's go ahead and click on this value here and change it from 1 to 4 and then let's go ahead and click. Enter. Apply it. Once we have the scale applied, we'll also want to go down a little bit and change the balance for it. We just want to slightly increase it. So from 0.5 who just want to change a 2.55 instead, once we have the value like this and we're happy with the result, and I want to change the filet itself, let's go ahead and click on this. Where? Over here, which will allow us to select back on tour material. But it's still a ER now can adjust the properties for it. For this layer will want a slightly darker color. Let's go ahead and click on the base color and off the dynamic if you wish, and then drag it up a little bit and select. But this type of color, like so and we can click off a bit. And as for the roughness. What we want is we want to have a similar rough in this value as to the bottom layer. We don't want it to have it exactly the same. The reflection to the material without some detail When it's being rendered before that, what we want is we want to have a value close to the 72.7. Recognize, Reuse the value 0.65 If we were to hold shift and right click, you can drag our amount of slept right. This value looks quite nice. Go ahead and keep it. The next step will be adding a little bit more color variation overall object. What we can do is we can make sure we have the material selected. So the square over here selected, not the mask, and then we can go to add effect and add Phil this logic layer onto our material itself instead of a mask like we did previously. With this, what you can do is we can add some extra color differentiation to our material. If we were to go ahead and hold Holt and click on the color over here, we can make sure that this is only panel that is selected and everything else. This is the selected ones for this case. We only want the color to be affected. That's in our forward to go ahead and click on the base color like so And then let's go ahead and search for range. Concrete old. So going to find this out. Protection over here. Go ahead and selected. This will make our object look quite messy. For starters, that's all right now we want to change the blending off the spill A up from normal. Let's go ahead and click this icon over here. Anyone want to change it to multiply this? Allow us to dark in the colors within this bill layer over here, the forward to go ahead and hover over this material like this, we can see that it changes from the normal color or a texture type color. I'm using a Filipek instead of adding a new Phil layer because this will only give the variation to this layer only, and so it will not affect the base material underneath. In this allows us to get more intricate patterns. Now that we have it set to multiply, we're gonna go up within our properties, so drag it up a little bit like so, then changed from projection to trip planner Projection. Blend in the values a little bit more than a scroll down a little bit, and that's increased the balance a little bit. Let's change of 2.77 This were dragging the balance and making this layer a little bit brighter Onley darkening the areas where it's actually black color the US lighting. It actually decreases the amount of variation we have, which is quite nice now that we have it like so this is a little bit too intense for our material. Where you can do is decrease the opacity. Pour it before to click on this value. Here we can change the opacity. Let's actually take it old way down 25. Thanks. So this will be a small change. But if required to turn it on and off and see the difference before it zoom in on tour object, we can actually see the change a little bit more. Actually, discolor is a little bit too detailed for us, but what we want to do is change it up a little bit and what we can do to simplify. It is an add another effect for it. Let's go ahead and click on it at Filter and within a filter property stab. We're going to go ahead and click on it and then search for Blur. No blur but hadn't taken it then. We don't want the intensity to be too big. I'm sitting in 2.17 We can see the difference. A slight, subtle change that's pretty much it for making the base material or or mesh before continuing. I want to organize or project a little bit. Let's go ahead and do that. We were to click on this icon over here. We can create a folder. And then, if we were to click on one layer and then while holding shift, gonna click on the 2nd 1 and drag it or left mouse button on turf. Older like so it's simply put them within a folder. Now, once we're done with it, we can double click on the folder like so and rename it Let's go ahead and rename it a space Matt. Think so And then we can close the folded down to minimize the contents inside of it. 5. Symmetry tool introduction: Now, in order to demonstrate the basics of the marital, I'm gonna make use out of the default layer that was made by the substance painter. If we were to go ahead and click on it and then click and drag the layer to the top, that would be going on top of the base material like so. And now, since this is a normal layer instead of a fillet, er, we can use our brush to paint an object straight away. And like so and so because we're able to use airbrush like that, we're now able to turn on the symmetry mode on a top bar. This I could over here we were to go ahead and click on it. We get our symmetry turned on which, right away let's us paint on our object. No forward to paint on one side. We can see that the other side also gets painted on, and we could also paint it on the other side as well. We're to paint it on the left side now. Instead, you can see that it's now being murdered on the right side. Thanks. So though, because of its full settings, were able to mirror our object on the X access from left to right or from the right side to left side. Like so, Mitchell also has some options. Make adjustments for the marital, one of which is we can offset the manipulator using this button over here. If we were to go ahead and click on it, they don't show us the manipulator for the tool. And now we forward to use this. I can drag the line that intersects object and allows us to mirror it within an object. Now forward to put it over here, for example, I can mirror my brush based on this offset like So, if you want to make some final adjustments to the manipulator tool, we're gonna go onto the mirroring settings to themselves, went to this button up here and then under setting stab, we can see that we can adjust this, make it go left or right, like so, Or we can click on the value and type in or value ourselves like So now, Obviously, if we were to mirror it using the other access, the upper valleys would be present instead. Don't look forward to select the wide mirror like so I can adjust the Y direction up and down like so. And now, if you want to reset the values we can to conspiring over here, which resets the settings and present two default 00 values a little software doesn't make it quite as clear since the values don't get reset in this case. But if I were to move it up, you can see the light over here. If we were to click on the button over here and he says back to the old position like So So now I'm just gonna go back on through Mirror X. And since I'm not planning to use the manipulator any longer, we can also turn this button over here off like so make sure it hides arrow, so we're not able to move it in the future. Now, as for the display settings, we can change the symmetry plane color. If you were to click on this button over here, so if I were to change it the line over here, we'll get dangerous. Well, personally, I prefer to default red value. I'm just going to keep it as default. Now again, this is going to be more personal preference. But when I'm working with the mirror symmetry, I prefer to have the show playing enabled. Like so this will allow us to get ourselves a plane that goes across the object, and it just simply helps me visualize when I'm working, where the mirroring line into sex so it helps to make symmetrical shapes like So Now if we were to go back onto the settings, results an option to turn off the intersection line, which is this line crossing the object across like So again, I personally preferred to work with it, and it is easy to distinguish the intersection. But you can always turn it off, and basically the line disappears like So Now let's put a symmetry cursor. If we were to turn off the show coarser off, think so. When we're painting, we're not going to be seeing the cursor on the other side. So if I'm painting, I'm no able to see it over here on the other side. But if we were to have this own going to be seeing it in case you're not seeing a dot that's on opposite side of your brush. You might wanna have this cursor turned on, and also there's an option to hide a while painting. But personally, I never use this. So let's go ahead and keep it as is asked for a manipulator size. It's simply going toe back to manipulate a tool so forward to turn this on. And now we can make this bigger or smaller. But I always keep it as a default scale, since I find that it works the best for me. 6. Creating a basic ring ornament for the front and the back sections: Now we can actually make something using the marital. For starters, I'm just going to delete this layover here. This We were only using it as an example. So we're to go ahead and click. Delete now will want to make a new philia like so and as I mentioned previously, since this is a layer, were not able to use the brush like with the normal layer and because of it were also able to use the marital lever, then said it. What we want to do is we want to use masking cool within those who are to go ahead and add a mask at black mask. Like so, we now have the brush tool that we can paint using the mask and with it comes back to marrying tool with it as well. Over this time, we want to have a different symmetry for it. So instead of what we're doing is we want to put some detail on the front, often object and same time at the back of an old J. But we wanted to change the symmetry mode. We were to go on to the symmetry settings and then change it from mirror X we want to change, it said. This will change the plane and allow us now to make a symmetry on a back in a print section that same time. Now, for starters, we want to create a ring decoration at the front and the back sections off the base, and to do so. What we're going to do is first of all, we want to make the scale off or brush. Livid, larger. And as you can see, this is quiet. Small will want to make this ring a little bit bigger. I'm just going to use the bracket symbol. You expand it like so the open square brackets who minimize the brush and close square brackets to expand our brush like so you see the size, the scale off the brush, going up and down in this value be here. You'll also want to change the way it fades out, and for that I'm going to use control and right click, and this time I'm going to drag my mouse up, so forward to drag mamas up while holding control and right click. I can make my brush harder or if we were to go downwards while holding control and right mouse button, we can make our brush a lot softer. So again, I wanted to make it hard to hold control, right? Click and drag your mouse up like so make or brush a solo y circle. Now with this. But I also want to do is have the circle right in the middle and for that will want to reposition on camera a little bit so before to hold old and move it with your left mouse button. And then, while holding shift, it'll snap onto the front section. Like so it also click F to reposition it, though the object will be right in the center of review and then, furthermore, we also want to turn on the infographic view for this mesh. We're making sure that what we're going to do is not going to be secured by the perspective proportions. So if we were to go ahead and go into the top right corner, click on the perspective, you and changed from the perspective you on to offer graphic new like so you get this be instead, which makes it much easier to make certain adjustments. I also want to make my circle just a little bit bigger, so I'll go ahead and click this square bracket and actually it once more like. So now what we're going to do is we're going to make use out of the circle, make a ring within the center of the object. We're going to be using the white mask first, and then afterwards we're going to click X. Invert the mask and make the inside off the circle black by making our brush smaller first and then simply clicking that mouse button. So I'm going to click X once more to invert my color and changed back to white again. Reposition our brush to the center. One object and left mass button like so then click X to invert the brush and then make the brush smaller. A couple of times, actually, let's make it or lakes like so, and then we filed moving the brush. We're going to click again, though. Basically, once you make the white circle, you're going to want to not move your mouse like the expert in tune Berta Brush to black, and then afterwards you want to make the brush smaller. Now forward to move my brush out. We can see that we made a nice ring within the object. So now if we were to go back onto our respective moment from orphan graphic view like so we can move it sideways and we can check how it looks. Now I'm great to also turn off the mirror view. This will make the brush just little bit smaller. They wouldn't get in the way again. Now, since we have this as a mask, what we can do is we can adjust the property. So Phil Layer while it's still having the same mask. So if we were to go ahead and click on it, we can change the color, for example, to any color we want, and we can see it being changed does because the mask is still being applied while we're changed in the properties off a Hillyer. Now we want to make this ring pop out a little bit off the object in a subtle way to added some extra detail. So what we want to do is just like off the color, and what we can do is we can hold Holt and we can click on the color itself. This way, everything else will be the selected, accepted a color. They will also want to enable the height or it as well. We're only changing the channels for the height and a color variations off this. The layer well now want to change the height information off it. Let's use the value of point to, like so and then. As for the color, we don't want it to be overlaying the previous material. We just wanted to make a slight collaboration in order to make this ring pop out a little bit. As a detail find out, what we're going to do is we're going to change the normal blending mode from normal the screen. So if we were to change of the screen spending mode, basically work similar to the multiply mode except instead of taking information from the darkened areas, is going to take the information from the from the light areas and said they're forward to turn this black. So going to have any effect on the mesh off the color and out with were to slightly increase this around this amount, we can see that it has a gradual small change and its color, which makes the overall bring about just a little bit more. Once we're done digesting the information for the layer, we can go back onto the mask layer like so and now. Currently, this ring is a little bit too hard on the edges, but what we can do is we can add in effect and then select at filters. Using this, we can add a filter. That's gold level. Let's go ahead and select it by default is going to be a little bit too much for what we're trying to do, and also it is a negative value. So what it's doing is it's going to the inside of a mask. What I mean by that is that bevel is being applied to the inside of a ring, and instead what we want is for to go to the positive value. So it'll be applying through outside off the ring instead. For that will want to use a small value. I say we can keep it 2.2 It was a nice blending mode, and the reason why I like using bell tolls so much instead of just simply making the soft brush. It's possible because it creates a consistent, smooth edges on outside ring and inside ring as well. And if we were to have used a simple, smooth brush from the get go, it wouldn't have been the case. That's because the follow up of all brush is reliant on the scale off the brushes. Well, because the first brush click waas larger and then the inside click waas of a smaller brush . It would have been close, but not quite exactly the same inconsistency off the pullup of all brush and that secondly , the bevel allows us to make fall off to the brush in a known, destructive kind of a way that we can always come back through it and make some extra adjustments whenever we feel like it. That's very much it for using a basic marital using this. That symmetry, though we have a circle over here, and we have a bring over here as well, though both of them are in the exactly same locations on the back and a front side off the base that's rename this layer double click on it. Let's go ahead and called it detail ring 7. Mirror symmetry within UV space: but this step, we're going to want to make a new pill layer. Let's go ahead and make one, after which we need to add a black mask on top of it. But let's go ahead and add a mask, then click at Black Mask. Click. So now we're going to be creating strike decorations for the handles off this vase, the north for us to do that, we can't simply paint in the detail, as it would be a long and tedious work for us to do, since we would have to go all the way around the handle little by little. And even when we finish it, the stripe itself didn't have the right thickness, and we'd be spending even more time trying to fix it beside it out properly, instead of what we're going to do is we're going to be painting stripes within the UV coordinates. But I want to open the UV space within this view. And to do that, we're going to click on this icon over here, and currently we're using the three D only space. But for the next step, we're going to be using Freedy slash two d space. Go ahead and click on it or were. You get split into two pieces and the 1st 1 is going to be the three d of you. I'm just clicking that button, which realigns my camera with a center of an object in both off the views. Think so. And the 2nd 1 is going to be the UV coordinates. Make it more clear we could even check it with the wife frame. Or that we can just click a number poor, which will turn on our polygon Phil, and it still is generally used for filling operations up. In this case, we can also make use out of it. Teoh quickly check the wife frame off the mesh so we can see it in the three D space, and we can also see it in the space as well. I find it quite nice to check the unique space. Using this. I'm just going to click one to go back onto my brush and to hide away the wire frame, going back to painting the stripes on the handles, going to want to enable the marital by clicking on a symmetry button. I think so. And then, since we're mirroring the handles make the stripes symmetrical. We're going to want to change the mirror properties. Let's go ahead and click on the settings, and then let's change it from said Mirror to Mirror X, which changes it back to the original preset. Now let's go and turn this settings off. Now let's go and Suman onto these. You be shells over here on the right side. But these are the ubi shells for the handles, which were simply unwrapped with scenes from the inside and then unfolded and so we can make use out of its shell shape before painting will be. Notice is when I'm moving my brush across this handle. Over here, there's adult on the right that also gets moved. And even though the U these are not made with symmetry so forward to zoom in real quick. Both of the shells are on the right side off the UV shell space. But even so we can see that it is being murdered on one side and another side off the object off for free. The object. That is because the symmetry tool is making use out of the brush within the three dimensional space. Although the UV shells are laid out like this, it is still painting on the three dimensional space when we're painting on it. That is quite nice, as we don't need to worry about the position off the UV shells within the texture space over there is a negative side to it, and that is when we're picturing it. We need to worry about bleeding effects within the object. And what I mean by that is forward to paint on the very top of the handle, like so we can see that the brush slightly bleeds out onto the surface outside off the object. And that's especially an issue when we have sharp edges going towards an object like this. Just keep that in mind when working with two dimensional space. Sometimes you just need to check it within the three dimensional space. Make sure that doesn't happen. So in order for us to create the stripes, we're going to want to make our brush a little bit harder. I'm just going to control right click and drag it up, and with this will want to click with the brush outside of the U V shell. That's the little bit to the left of it like so little while holding shifting control. We want to click on the other side off it this way. It allow us to drag a straight horizontal line across the Ramesh to make a nice stripe or it. Now we can make use out of it again. This time, I want to make this brush slightly smaller. So let's click about times the square bracket to make it smaller. I'll make my brush just literate, smaller, and now again, we'll want to click outside of the shell, lets out of it and then, while holding shifting control right line. They're less click left mouse button again like so. Then we'll want to do the same for the bottom pieces. Well, this time, I'll actually make the brush slightly smaller. A couple of times smaller, like so now again, clicking on the left side of the V Shell Hole control shift, like the land across and left most button like so, look outside of the usual control shift. Right line, right, That must button. You can see that both of the handles got the stripe that is visible within the two D and previous space. Once we get our desired result. You can now go back on tour Pridie space, so let's go ahead and click on this button over here and change it to free the only. Then let's turn off the symmetry to check out looks. So now let's go ahead and make the material foreign. Do so we're gonna want to click on the pill layer on the square over here, next to the mask. Go ahead and click on it. Look on the material mode within its properties. Now let's go ahead and search for Iron wrong. And when we're going to want to uses that much one, this one over here, let's go ahead and click on it, and we need to make some adjustments. So let's scroll down a little bit within the properties. First of all, let's go ahead and change the color for it. Click on it and then let's make it close to black. But let's not go all the way. This value of black will work well for us, as going full black wouldn't look as natural for us. So let's click off off of it now. US. Woodruff this We want to increase the roughness. 2.7 is to make sure it's not a shiny of material. Then it will keep the surface grain as one, as it gives us some life detail. What's going to zoom in? Check out looks and then I'll use shift and right click. You changed the way the light hits and bounces off the material. And one more thing we want to do is go to technical parameters and change the hard position . 2.65 Oh, delicious. Drag it up like this until we get this value and we can even check it The way it looks. This looks quite nice. Let's go ahead and leave it. That is, although the decoration should naturally be a paint, a fighter that using metallic material gives it the unique authenticity to the vintage base . That's why I'm using a metal material instead of a paint. The oldest left to do is simply rename the filet er to finish it off. Let's go ahead and double click on it. Then let's go ahead and rename this as handled stripes. The Kenter, like so 8. Radial symmetry basics: but its next step. We're going to start using radial symmetry and so we'll begin by creating a new player, Then apply any black mask. Let's go ahead and click on it now to use the symmetry. Will want unable to symmetry button over here and then go to the symmetry settings in which will want to switch from mirror symmetry to radial symmetry. But let's go ahead and do that now. After we switched to radial symmetry by the fault, it will be set to mirror said, which is not what we want, since it creates a radial symmetry sideways and said we wanted to be going around the base and put out Will want to switch it from mirror, said Mirror. Why Instead, let's go ahead and switch to that and then we can use the symmetry tool right away as it is going around the object. In order to use it, you don't necessarily need to have an entire object to be radial symmetrical. For example, the upper section wouldn't necessarily have the radial symmetry is it has the handles as well as the shape on the top. However, it would still attempt to create a symmetry around it. But while doing so in an attempt to make a radial symmetrical brushstrokes, it could potentially create a bit of a mess within the process, such as an example over here in which multiple brushstrokes are going up the base and some of them end up going up the handles, writing on unwanted result. But that's something to keep in mind and watch out for. We can use this now on the bottom section, so I'm just going to zoom into the bottom section like this. Then let's just make the brush a little bit larger. It's also make the brush with zero pullup so completely hard Dragon Control and wrecked my spotting up. And afterwards let's reposition on camera, holding old and shipped and just dragging her mouth, make sure its position to the front of our object. Then I'll just position my angle accordingly. Like so and afterwards. Let's click over here holding shift and click it off, like so we get this type of a bird stroke. We're going to be making use out of it, you know, to create some extra ornamental detail, but a bottom section of her vase. And so now we can make use out of this by firstly adding a bevel in order to soften it up shape. But let's go ahead and click. Add effect at filter. Let's go ahead and select it. And let's search for bevel one over here with one to change the bevel value to a positive one. No, let's change it 2.1 instead, then said a brushstroke grows instead of shrinking on itself, then afterwards will want to use smooth inning tal in order to blend in the material. Let's increase this to a value of point 1.7, and then afterwards we can go back onto Phileas material. Let's go ahead and click on it. And now, while holding old, let's click on the high value. You isolate this channel since we only need to make use out of this value over here, let's strike the height material to a negative value of 0.16 I'm just going to write that in again, a value minus 0.16 like enter. And now if we were to drag our environment by holding shift and right click, we can see that we added a subtle change. That object, using a hide information to give the bottom off the vase, aim or intricate shape. Let's go ahead and create additional details for the top section of her base. But how we want to reuse the material we used on the handle stripes themselves, though in order to do that, we can simply click on the filet er we use previously. Once we selected, we can click control DE to duplicate it and drag to copy layer upwards like so. And then we'll need to replace the black mask. But out we can just click on add mask in a click, add black mask, which will reset its values before we continue. If we were to go on to the symmetry settings by the fall, the angle span is set to 300 and that works well with to the full count off six. However, if we were to increase the count off the raedle symmetry, do any more amount, we could see that it leaves a gap behind and as because the default angle span of 300 is making it so the symmetry would only go around in 300 degrees, and instead of what we need to do it to complete the circle is we need to increase it to a 360 degrees of where to increase it to the maximum value. We can see that the circle complete itself. And so now it becomes a nice proper radial symmetry. This own supplies for the lower values and six as well. So if we were to go lower, the angle span would also be affecting it. That's why we wanted to change the angle span to free 60. And now if we were to change the count to four, we can make use out of the rail symmetry for a top section as well. I guess the top section, as you can see, is set to a symmetrical square. And so, if we were to position our camera accordingly by holding old and shift and setting our camera like so we're going to be lowering slightly so we can see the top a little bit as well. And this way we can make use out of the perspective mode a little bit, and afterwards will want to lower the fall of up to brush. This time, though, by holding control and dragging the mouse down a little bit. I'm going to lower it. This amount if you're interested to which value amusing Exactly. Within the brush properties, we can scroll down a little bit. And then under the off options hardness amusing right now is around 0.25 I'll just make my brush just a little bit smaller like this. We want to click on the middle section of our base off the upper section like this, and while holding shift, we went to a line or brush right side of on edge the slightly outside of it, and then click on our brush again. Like so. This will create a nice line on the very top of it. But what we do get some bleeding effect but the upper section. So for us to fix that, we can click on for Go to our Piltel and we can select the film. Oh, to be you, Michel. Then we want to set the color to Black. It said, by default to one. If we're to Click X, it'll inverted completely, so it straightaway sets to black. Then we can just click on the upper section like this were removed. The bleeding effect we had now we can go back onto a brush by clicking one now in order to soft enough the edges a little bit, so it wouldn't be a sharp. We don't want to add it back for it, but let's go ahead and click on it. And then this click at Filter and for the filter will want to search for the blur this time but want to use the normal blur. We'll go ahead and click on it. You can see it gives us a nice leading a bank or a ring. We don't want it to be your big so will decrease 2.3 like so and then to finish it off. We want to rename the layers. So this lay over here what is used to add some extra detail, which is going to call this as height layer. So and then put this one over here. We were using it to create a ring around the top. We can call it as an upper ring 9. Creating horizontal stripes: but its step will be creating radial patterns and affordable went to reuse. The same materialized. Would it previously? So let's go ahead and select the upper ring like so, and let's go ahead and click Control D to make a duplicate out of it. Then we'll want to click on add mask, then select black Mask. You make sure our mask gets reset the same, however, before painting detail will want to add a paint layer on top of the mask. For that, we want to make sure that the mask is highlighted and then click add effect and select the second option, which is at paint. Let's go ahead and click on it. This will allow us to paint in a mask while giving us a chance to break some sections apart . You give us more control over the painted areas. Now we have this old will Want to make sure that we have the symmetry turned on. We want to go to the settings and with two radial symmetry set to mirror why in the angle span is set to 360 we'll want to increase the count all the way through Max. Though the account of 16. With that on, what we can do is we can get yourself some horizontal stripes that go across the vase before down. Let's go ahead and position are camera accordingly, the whole Alton shift and drag along mass button. Thanks. So and then let's change your perspective. You as well. So let's go ahead and click on this button over here and then changed to offer. Grab you just to make this next step a little bit easier for us. Now let's go ahead and suman onto the bottom of the base like so let's make the brush a little bit smaller. I don't sauce for the hardness. I'll be using it. We'll be using the hardness off 0.8. Let's go ahead and write it in like so. Find that this value gives off a neutral fall off the brush. And so it's not too hard. Neighborhoods, too soft breasts use. Then, once we're done with the sittings off the brush, we can click to recite off the base, like so get him on holding control and shift to drag out the line. We can click on top of the middle section of the base, like so Israel created a nice horizontal line all the way across all base. It's quite nice and really want to repeat the same step a couple more times, So look to the side of the base. Will control and shift click on top of base, read the next line and in another liner will want to make is a line over here. We want to create some stripes that go just under the handle. Go around this area, we hear, but let's go ahead and click outside of the base like so all control shift, we create a to drag out the line and then let's click to debase itself. Like so. This will create a line that goes across the ring. Now let's not worry about it as we're going to come back to it and fix it afterwards, and so the next line will want to create. Is next the bottom section of three the wrong here, Let's go ahead and click on a brush outside of the base and click on the base to drag the line across. Like so again, our line that we can create can go on the neath during itself. No around will be here, click outside of the base and collect the line across like so. And finally, we can add some stripes on a top section as well, but I want to use slightly thicker lines, so let's increase the size and scale it up by one. I'm just going to click the button once like so, and we want to create a stripe over here next to this angle. So let's go ahead and click on the side of an object. All control shift and click bait a vase. Have a line will want to make will be next to this handle over here, which will create some art of Exeter handle. This is so close to it. But we're going to fix that. Afterwards. Let's go ahead and click to decide off it so and then control and shift and onto the vase like so again, this great Some artifacts, which is fine for now is we're going to be fixing up. We can zoom out and change the perspective you from or for graphic to a prospective. You will be here. Check how our lands turned out with a normal view, not a word done with the lines we can erase all that necessary paint strokes that we've done for that. This is where the pain lace within the masks come in handy as we can create a new paint layer. So let's go ahead and click. Add effect and let's click at paint layer before it to go ahead and click the button. X Invert the color within the gray scale. We can begin by hiding these lines over here, or it will want to use a normal mirror symmetry. Let's go on to the settings and changed from radials to mirror symmetry. Change into mirrors said. And now, Whippet, I'm going to increase the brush a little bit. We wanted to be increased to the amount that amounts of the entire ring would be covered in it, and with it will also want to increase the hardness for it. So let's go ahead and change the harness for the brush to make it 21 some just holding control, right? Clicking and dragging the most up for it. Once we got a breast milk, Desai's off the ring. We'll also want to change born one thing within the property. Spain Tab Lester. I get up a little bit and then within the top section will want to change the spacing from 20. So let's go ahead and change it to five. Once we're done with spacing, we can simply click and hold your mouse left mouse button. It's simply hide away the lines. I'm just going to drag it across, make sure that the stripes, you know across the ring of gentle brushstrokes I'm going to do it like so once we get it done, the other side of the base will be also done. Since we used marital. Now we can fix the handles. You're going to be much easier for us. Let's go ahead and turn off the symmetry, since we don't need it for this occasion, can simply click the number core to turn on the polygon Piltel. Make sure they're set to UV chunk pill and the color it needs to be said to black, so I'm just going to click extroverted before using it. We want to make sure that this paint layers selected, and after we do, we just need to click on the handle on the right and then the handle on left as well. And sometimes it's much faster than just using a marital. And we can go back onto the brush picking one that we have it covered. We can rename this pain player just to make sure we don't get confused with other paint masks. Sophie, double click on it. We can call. This is Black Mask over just to make sure we don't get this mixed up with double ones. 10. Painting basic radial ornaments: make the ornamental detail. We're going to want to make a new paint layer for it, but let's go ahead and click. Add effect, then at paint. Make sure that the symmetries enabled within the settings having radial symmetry selected will want tohave account of 12 this time. And once we have the count of 12 I told old and shift unless using left mouse button Irritate a camera. This time we want to have a sideways view, and we're not going to turn on the Oprah graphic view. That's vertical Lines are easier distorted that way. Vernell, Just click X to invert my brush to be white. Then I'll go down within my property. Spain tab all the way, the hardness of my hardness. 2.8 And I'll just zoom in to this area over here and now Let's go ahead and make the brush . Just live it smaller, so value close to two will be good enough. Now let's go ahead and make basic ornament. Well, let's first of all, collect on the bottom section in between the horizontal lines. Well, we're here and then hold control and shift. Make a straight line that goes across like so and this click left mouse button while holding control and shift. And now this time will just want to hold shift. We thought, using control, since we don't want it to be exactly horizontal line because horizontal lines don't work quite as well, unless they are right in the centre off the object. So instead, what we're going to do is we're gonna have to eyeball it. I'm just going to click over here, then move my mouse while holding shifts again, like your left mouse button again rocket downwards a little bit. But this will be matching to the bottom section of where we started around over here. Now, while holding control and shift, drag it out to the right the little bit. Click your left mouse button and finally drag it up, match it to the top section and then again, a while holding shift Click with your mouse button. Now we consume in to check out looks, and we should get a simple pattern like this because we were using the radial symmetry. It'll give us identical pattern that goes across the section. It's important to do it all in one stroke and without rotating the camera. Otherwise, you're not going to have the same line when you drag your mouse out with your shift fun being held. If you do happen to make a mistake during this stage, for example, if you don't make one of the lines are straight and you want to do straight on up, you can click, Control said. To undo your step afterwards should have to click on the line you've done previously, making sure that your brush is set correctly on the very end of it. Once you re align it, you can click on it. Hold shift again and you get the line you had previously from the same point, they can fix up your problem like that. Now we just want to fix it real quick, this ornament being over laid over here and so Ford out. All we need to do is we just need to drag this black mass cover at the top of the pain section to be it above it. Once you do that, we got something like this. Now, if you do want to adjust it, if you don't have a similar result and always make sure you have been selected and with the brush on, make sure you have the symmetry selected as Mary symmetry, and then once we make sure it's mirror, it's A to Mary said. Opening to do is increase the brush, make extra Roberto brushed black, and then we can just simply adjust it and go around just a little bit if needed. In my case, it seems all right, as I have it just a little bit going out off the ring, which gives it a nice aesthetic effect. Then we want to create another ornament for the base. Again. We'll go back onto the symmetry like the radial symmetry with the mirror. Why we'll make sure that angle is set free. 60 and change account from 12 14 will help us to get tired of spaces in between the lines. Now I'm just going to get myself the size of 1.35 and then use it to Bristol Leicester. Position to camera the hold shift and old Set a camera to the front, activates the middle, reposition it like so then, before painting will add a new layer. So go ahead and click on the add effect button and at paint liquid, it previously. Now let's click over here in between the stripes on the bottom section off it, like this old shift and dragged through right. Make sure it's a line to the bottom stripe bag it just a little bit like so it looks good enough. So after which just click and then drag your mouse up again while holding shift. You don't need to drag it all the way. We can leave some space on the top, but this looks like it'll dio I had a click and drag your mouse to the left side all the way, like so, make sure assignments being aligned to the top stripe, as well as the high being the same as the other stripe to the left. But this looks good. I'm just going to click bag memos down afterwards. All which is while I'm using shift while doing this. Not only am I looking at my brush, I'm also sometimes taking a glance at the red dots that are on the sides on both sides of my mesh. Just make sure that it alliance nicely. Oh, this looks good. It's click and then it will want to make it as double side Alliance the Dragon Mass outwards and then click go up a little bit. Make sure it's now being a lying to this line over here and click I Didn't Go is high enough that I wanted. So for this occasion, since it would take me longer to redo the entire step, I'm going to click, Control said. Going to my step This time I'm just going to draw just a little bit higher and then click just taking my time. It can. Sure, it's consistent with the thickness. It's good. So I'm just going to click and drag it downwards and then click again once it looks good and then left Nick. And then finally we just finish it off like So Now we're also going to fill in the space the captain of middle half my mouse within it. Old shift bracket outwards like and just create a books like So we can see that the angle and the shape might be off in some cases, since we had a symmetry turned on is going to create a nice pattern nevertheless, and check how it looks 11. Creating ornamental patterns: go into the next step like we did previously. We're gonna want to make another paint effect layer. And so let's go ahead and click. Add effect like paint layer. Now we'll want to make some triangulated FX for the upper section off for base. Before that, we're gonna want to use a different brush is right now. Currently are brush is around it, and so we wouldn't be able to make nice, sharp cornice using it. But that being said within the property Spain tab, we're gonna want to drag downwards and then within Alfa shape, we want to click on it and search for square. Okay, So and will want to select a square rectangle once we have it selected, will also want to change the balance for it or currently it is set at 0.9, and we'll want to change this to a value of one which will make the offer completely white . Just a nice square for us. And another thing that we want to do is we want to change our square there will go sideways . That's right. Now this Alfa shape wouldn't help us to get the triangular pattern that I would like us guys to make. So instead of we can make a rotational changes for the ALPA do so we'll have to scroll up within the properties pain tab all the way to the top and within it will find the angle section, but angle section will want to click on it and change the value from 0 to 45 degrees. But you can see it changes the way this Alfa goes and makes it go diagonally, which can create a perfect triangle for us and to finish it off with Al for setting some also going to click X invert the color from black to white. Make sure we are applying material instead of removing in. Never done with Alfa Properties. We're going to want to make sure we have the symmetry enabled, and it is set to radial symmetry with the angle span of 3 60 as usual, and then we're also going to set the count to 10. This we want to use a little bit more of a space within this area. Okay, let's set it to 10. Then let's go ahead and realign a camera to the front of it. The front of our objects so old, old and shift and simply drag your mouse button and we can do men a little bit as well and realign ourselves with ring being in the middle a poor view well before playing the brush. Let's make sure we get the right size as well as we can use for this. One is five. Let's go ahead and send it to this since the training that we want right now at the very start are small ones, then we're going to apply some extra lines around it. And if you were to position it right underneath the red dot shown by the radial symmetry and then without beside cornetist to be inside of the upper ring with the bottom tip Cohen downwards once we get it like so we can click or mouse button, get a ship like this. Now we'll also want to fix the top section real quick. That's our alphas blading out a little bit, but as an easy fix, all we do is click to to go into our Racer, and then we can just remove the hopper section like so we don't need to be afraid of going down too much. This ring layer is set on another affect layer. So we can just quickly like so and allocate Click. Want to go back on tour brush? So now we're for small triangle like this Gonna want to have some lines that go near it. For that, we're gonna want to change the size of a brush. Let's go ahead and change it to one. Then you will want to position or brush to beat the decide of a triangle, and it should start within the ring itself. So around over here, then let's go ahead and click a mouse button old shift, and I will need to position our brush, be parallel to the triangle edge over here and to be right underneath the corner. Once we get a Civic like so we can click. And then we found releasing the shift button. We're gonna now want to make a parallel line to this edge Instead, we just need to go inside of a ring. No, something like this like, and this looks well enough. So now we want to make the same line. Except this time, I will also increase the size of it off this line. So instead of one. I'm going to set it to 1.5 instead. The reason for it is because I like to have some variation within line. Create mawr. Intricate. What pattern this time, let's start our breastroke. Right in between the triangles around over here and a clicker mass button. Hold shift, drag it out. And as we did previously, Brighton dreams a corner in apparel. It'd edge. So something like this an animal holding shift without releasing it. We're just going to one to put our brush inside the ring and parallel to the edge over here . No, like this. Now we want to do the same for the bottom. At this time of creating the bottom line, No going to work. The same way is now. We need to create the original for ornament over here instead. And because of it, if we were to make our Alfa larger, I'm just going to use a shortcut for it. We can see that it is not going to give us the properly aligned triangle for it. What we're going to do is for that gonna have to I bowled angle. Make it line. Better for that, we're gonna have to want to First of all, have ah, decently sized Alfa around this amount. And then we're gonna want to hold control and left mouse button, and we're gonna want to drag or most up or down, like so by dragon amounts up and down, we can have all rotation. And so basically, what will want to do is we want to position our brush like so to the side of it. Make sure it's in the center right underneath this corn over here, and then we'll want to have both of the edges, both the quarters for edges to be aligned to ring. No, As you can see, I'm just making sure that my left side and my right side is nicely touching a top section off the ring. While doing so. Make sure you don't accidentally knocked down the flow were brush, which you can do by holding control and dragging your mouse to right or left. We just make sure it's dragged all the way to 100. Right now, the angle that I've got is 42 degrees, and so now I'll just want to make a triangle that's a little bit larger than the one we have in the top No, something like this if you were to go ahead and click and right away listenable of the section of benefits. So let's click to to go to a razor and just raise it like so. And it's like one to go back on tour brush. Let's make our brush smaller. So for previous lines were used one and 1.5 this time will will do the opposite, and for this one will use 1.5, and that's really produce it. To make a line in between, we want to start a little bit off the recital triangle like so old shift. Make sure it gets right above the triangle corner while doing so. Make sure you also check out the other side as well within your radial symmetry points just to get a better perspective. And also again make sure that this landed we're doing is going to be parallel to this edge over here, though, this looks well enough to click and drag it down and click again. I think so. And put another line. We're going to want to change this back to the size of one, and let's start to decide off the line. Look in the ring and hold shift. Position your mouse accordingly while checking that your brush and give it a quick glance on the radial points as well, making sure lines of parallel. Then click. Drag him honest down, getting the wanted angle like so and then click again, and that's it. After that, we can have a look by having a quick look around. Gonna have a nice pattern where it between those rings. 12. Creating ornamental illustration part 1: or last radial symmetry ornament. Let's go ahead and make something a little bit more interesting this time. We're going to be using this area in the middle. And so for saris. Let's go ahead and create a new effect, but a mask of the same layer, though I was going to select the mask. Then click. Add paint equity before this time. Since we have a circle in the middle, we want the position or camera sideways the Holt Holt and shipped regular left mouse button and just position your camera accordingly. You can also zoom in to get a little bit closer to the base, but it's been will want to start off by making a been ring that goes around their base is a basis for next step. Let's get ourselves into the mirror of settings. Double check that your angle, Spanish said to 3 60 I set the counter max and under the Properties Pain tab, we want to scroll down a little bit. And with Alka shape, we want to make sure that we use a basic ape. If you just type in basic selected shape over here, which is usually the default setting off for Alpha. With this, I'm going to set the hardness for it. 2.7, which, if some of you remember, is slightly less of a value since we want to have a higher pullup, because now we'll want to have a smaller brush. Competitor of a line that we did previously is to make sure that the edge were creating isn't going to be as hard. Now let's scroll up within a property Spain tab at any of the size. We want to set this value to to. Now we're going to change our perspective. You from perspective to offer a graphic view. Let's go ahead and click Answer based around this height. So click and hold shift control and Dragon Ma southwards. I didn't click again like so. Then, as a next step, we want to create a vertical stem that goes during that we just created and put out we're going to be using the same radial value off. 16. Give ourselves a nice pattern. It's also this is the widest area the base, but we need to put that into consideration as well, when creating spacing for a pattern. Now, if we were to align or brush the radial red dot, so if you put your brush in the middle, you're going to be able to overlay or brush on top of the start. And basically older over adults are going to be alive as well if you make it right in the center. So with that in mind what you have your brush position in the middle, we can now click or brush that hold shift in control, drag your mouse outwards. We want to go about halfway, for though Theron, this amount will do. Once we go up like this, we want to click, and now we get a nice line of ghost outwards and put a next step. We want to change our brush square, so let's go ahead and do that. Let's drag within a property Spain tab and within 1/2 options. Let's go ahead and change just a square, the one we use previously. Let's put the balance to one, and let's increase the size of our brush. Those scroll all the way up. Now we'll want to make the stem just liberal picker less of the size to free. And then we're gonna want to position our brush accordingly to the very base off the vertical line and let's click, and we only need to have, ah, short base. So this whole control and ship and only drag it out just a little bit like so. Once we get it right, we now want Teoh. Do have it split off a little bit, their insides. The first. To do that, we want to have the size of the Alka Brush to be smaller. Let's set the size to one, and then let's set the angle for it to 45 degrees. And so we're now going to be dragging the brush diagonally, after which will want to have the brush located at the edge. So right about here, then we're gonna click or mouse button, old control and ship. Who could get ourselves and I snapped edge like So then we're gonna try. Get out. What if our degrees and then we're going to click, Let's go left for his own Italy. It was I wanted to go completely the horizontally. We wanted to go download a bit, though it would have a slight slope downwards, though this will work well enough for us. Let's click General want to go down and a little bit of right, like So now we'll wanted to be going right and up a little bit like this. Then we'll finally finish it all by going up and left in a kind of a slope like this. This finishes up one of the sides. Now it's foot of inside. We're gonna want to have a symmetrical looking version, but right side would look identical to left side, and we were going to achieve That is because we're using a value of 16 for account, which is an even number. This allows the radial symmetry to be symmetrical. So whatever I do in this side on the other side is going to be identical because of the even numbers is going to give us the exact look on other side as well. That is useful because, as you can see, those red dots we can make you Saturday, I'm using the information given one of these points showing the radial brush stroke location is going to be on exactly same point eyes, your brush. But once you start moving your brush to right side, that point on the opposite side of your brush is going to go to the left side. But that is going to move the same amount of distance and left as much as we're moving the brush to the right, which means that we can use this red thought to actually position or brush to be an identical location. But opposite side right now, I am putting my brush over here, and as you can see the dot next to it, they set on opposite side. Now we go ahead and click or brush in this location. We can now hold shift and drag our mouths outwards, like so positioning the red dot right in the quarter off where the line bends on left side , so our brush on the right side will be going in exactly the same location. Then we can click or mouse button like so we can then progress it further and again. Locate the red door that's in the center on the next corner and then go ahead and click and drag it downwards again, located in the very centre off the line. Click, drag it in words like and finally, let's finish it up by doing it. Like so, though, if done properly, dislike us. A nice symmetrical lines in between 13. Creating ornamental illustration part 2: after which we can now continue off to create some illustrative sees around the Why would we do want to have a more eclectic a lava shape, though. For that we're gonna have to use a different Alfa. Let's go scroll down and let's go on to the Alpha selection within the selection, we're going to search for Circle squeezed though this one over here we're gonna selected. And what's nice about this Alfa is that Well, let me just make this out a little bit larger. And I also changed angle real quick. Beautiful. So what's nice about this Alfa is that the higher the value of it, the more it becomes the circle of shape. But the closer it gets his, you know, value have become more and more squished. And if you were to go even further, we gotta shave. That more resembles a lines then. So it's a real nice and handy helper to have, and I don't really like using it. So But I use this in this case as well. No, let's get ourselves a squeeze of 0.5 is to squish it up a little bit and let's go up. We will not want to change the size for it. Let's change the size 25 Yeah, a nice shape like this. It's for angle. Let's change this to 50 degrees. This we wanted to be a little bit steeper, often Alfa and then after, which will be wanting to create free Alfa stems in a sequential matter. It goes vertically before that instead of doing it manually. What we can do is we can make use out of the spacing option over here. So if we were to set ourselves a spacing off 80 pipe like so we could see the properties that it changes it to be a little bit more spaced out between the brush strokes. What that means is, if we were to position our brush like this, and then if you were to click or mouse button and then while holding control and shift dragon or stroke upwards like so and if we were to click, we get free identical Alfa stems that are spaced out equally between one another. Now we'll want to do the same thing over sad as well, but at will want to rotate or Alfa, and to do that, all we need do is add 90 degrees to our 50 already existing degrees, though all we need to do is change this to 140 degrees instead, which very much flips are alcoholic. So now I'm going to use the red dot as a reference which is going to be on the left side, the position, my often the right side. And if I get my red dot right in the center of an Alfa, we can click and then hold control and shift to drag our ALP upwards a little bit. We're gonna draw the line a little bit higher than we previously did. It's because it's based out. It's no going to draw any extra strokes. No, now look again and release to get this sort of a result over here now is a nice touch in the top. Let's change the angle from this to 90 degrees, which gives us a nice vertical ALPA this position. They're all four right in the middle, like so, and I just stamp it in. One more thing that I'd like us to do in the infographic view is bristle. Let's go back and change or Alfa from the Circle squeeze back to the square. Let's change it back. Change the balance back to one. Let's get ourselves a nice size of one. Thanks. So that I'm gonna change the angle off it to be zero degrees. Also the spacing. Let's just get ourselves the spacing to a 10 just to get ourselves a smoother line and then we're going to add some extra detail is to make the ornament a little bit nicer. That detail we're gonna add now is a couple of lines that go vertically, upwards. The 1st 1 is going to be starting over here and and over here is quite short. That the next one we're gonna want to do is it will start over here and right about here in the middle section of our previous line, though completely vertical line like this. And then finally, like I did previously I'm using the red dot as a reference the position, my Alfa to be symmetrical. Now we click, hold control and shift. I get upwards, position it again and click. You can finally go out of the infographic view. So let's click and go to perspective. You sure how it looks? Nothing that we could also do is we could fill in the space over here on the top section, right over here. Do that. Let's go ahead and use the square brush like we did previously, and we should have my precious at the white color as well, then lets it the size for it to five. We're going to hold control left mouse button and drag your mouse up upwards. Then you will want to have both the corners to be touching the tip of the line. Once we have it like this, it's just have our brush way. A pyre, like so would only get a small square coming from the line like so, and let's click to to go into our race tool and simply less. We raise the top it like so, and it's like Want to go back on your brush? That's at the size scale for it to one, and using it is going to like liquid it previously and then position or brush. Be right in the news, a corner for triangle, then click again and again, holding shift as straggler mouse like so then let's leave. The strangle is without adding an extra lines because firstly we don't want to overwhelm the complexity detail within the section over here. Secondly, we don't want to squeeze in between the gaps, but we want somewhat over spacing between those ornaments sections. This will work well for us that I finally for a radial step, but we need to do is we need to get a black mask to be covering this area over here. And so for that we will want to do is we'll just simply want to get the black mass cover and drag it all the way to the top of the layers. So black mass cover within the masks and then drive all the way up like so, which will hide all of the detail, and we want to fix some extra sections for it. So for that, let's go on the symmetry turned back to the mirror symmetry, and then I'll just go back onto the default brush. So scroll down. Alka, brush that search for shape instead. The first decent looking circle over here. Could it then put hardness. Let's use 0.8. Let's click X to go to the black mask mode. I don't want this part of a section to be visible. I'm just going to easily remove it like so, and I like the rest of it. So I'm going to keep it as it is gonna go around it to make sure that the other section it's identical during this part. I didn't make a slight mistake and then create the strangle ornaments entered correctly in between the wheat illustrations, which can especially be seen in the sections near the ring where it gets cut in half because of the mask. So we know it for me to fix it had to come back to it with radial symmetry. Aside of drawing a line in between using the ship left mouse button to visualize where the center line would be, then I took the razor. I deleted the previous triangles from the section after, which simply followed along the steps I have done previously rating the tip of Square Alfa coming out of the ring, leading the upper section with a razor thin, creating a nice outlined for it using the size of one pick nous. If I made a mistake that simply click controls it to undo the breaststroke and click back with my brush and continue off with the line, ensure that the width of the gap is the same 14. Creating mirrored text: And now, finally, we're going to be putting something within the middle section off the vase. For that. Let's go ahead and select our previous material layer unless, like control de to duplicate it. And let's go ahead and add mask and click out black Mask to reset it to it's default Black mask. And since we're using a different material, we can even change the height information off it. So let's click back onto the material I could over here and let's go downwards all the way down and within a technical parameters. We're going to want to change the high position. Let's change this high position 2.8 dead. So let's go ahead and do that. It's a lot lower detail to be a little bit more bumped out of the surface of the base in comparison to the rest of the ornaments. Let's click back on your mask in order to get a text for the front and the back sections. Symmetrically, we kind exactly used to marrying Tool. Gonna have to use a different method, since if we were to use a text alongside the marital, it'll murder the text in the way that it will make the other side unreadable. Now, some of you might have thought about using the radial symmetry instead and setting a countdown to two while keeping the angle span all the way to 360 degrees. You bring stability to draw on both sides simultaneously, and yes, this method is viable, I said would give you the same result on other side as well. Then it's rotating it by 18 degrees basically and putting a brush stamp on this side as well. However, I would like to show you an even better method for that. So instead of using radial symmetry, what we're going to do is we're going to use a projection tool instead. And the way we're going to do it is if we were to click on add effect and add a fillet. Er if the black mask selected still apply the pill effect wanted our mask, which will allow us to use of properties Phil options. Now we can use a projection tool within it, So instead of UV projection, we're going to switch to just two very good projection. Instead, go ahead and select this one. Then we're going to click on a great scale itself and within it we're going to delete the whole text entirely and we're going to search for Poland instead, which will give us some custom points that were able to use within the something spanner. But it's occasion. I'd prefer to use a phone Cal Avendra and the moment we selected, we're gonna get some letters on top of the base. Now let's make sure we get the text of the center of the base that, firstly, let's scale it down a little bit. But we've worked to increase the scale. We got a text to start repeating itself. So in order for us to remove the repeating text, we want to change the wrap instead of having it to set to repeat. We're gonna want to change it to none which will get are text set toe only one side only for that will want to position or protects that affront to the base. And in order to do that, I'm going to set off set to minus 0.25 So you go ahead and do that himself said. Value goes from 0 to 1 or from negative 10 even at a value of 0.25 will make it go 90 degrees to one side of also added a negative sign to make it go to the left side instead of right side. This way, I'm able to get a text of the front section off this area over here. Now we see what we're doing a little bit better. We can change what's inside of attacks itself before that will need to drag it within the probably stab, calm down a little bit. And under parameters, we can change the tank spokes Over here. Adversary can write down whichever you prefer for your name, your nickname, your initials or something of the sort. Our participation. I'm just going to write down the substance painter like so. Also, if you have a longer text Madar multiple words, you can make it go into multiple lines to extend its vertically instead. Before that, all we need to do is remove the space in the middle, make sure it's going to align, will and then hit enter in between words, which will drive the text downwards at the same time. It'll put both of the words at the center of our object. We're now going to want to move. It takes just a little higher to reposition it. It'll be in the middle of the rain. For that, we want to make sure we have the translate toe selected. We could do so by clicking on it or click in the letter W which will give us this sort of against mo and how we can just drag our text higher like So I'm just centering it right in the middle like this and to make the text even smaller. We could be using the size scale over here. But personally, I prefer to use a scale tool and you be transformations first. I'm just going to scale down a little bit, too around this amount. Using this, we can even turn off the fix ratio and even slightly stretch out the letters a little bit like so by scaring deception over here, we're basically retching. Later, ICAO One more tweet that I'd like us to do is if we scroll down, can change the type of the text from regular. I'm just going to change it too bold, which gives us a little bit of figure letters, which I quite like then once we're done with this side of the base, been a want to add it onto Riverside now as well. But at what we're actually gonna have to do is we're going to have to elect DeLay itself and make a duplicate out of it. But before that, to make our lives a little bit easier, let's go ahead and rename this material. Double click on it. Then I'm going to call it front text. I think so, after which, with this layer being selected, Leslie Control D to make a duplicate out of bed. And then let's click on the mask itself within this layer. And let's elect Montella Mandra. The reason we have to do it with a duplicate layer is unfortunately, you got exactly mirror it to the other side, instead of what we have to do is make a duplicate and then just scroll up within the property, stab and changed officer for it. In this case, I'm just going to delete negative symbol and click enter, and now we're just going to have it. Another said as well. That's during that change of the value by a point pie, which in turn changes attacks offset by 180 degrees. The Lotus method doesn't allow to make changes simultaneously on both ends. However, it does allow you to make changes in a nondestructive way. Right now I could change my text, for example, Add letters removed them, make the scale for the UV transformation. Largest Moeller stretch it out. Stretch it in, Which is quite useful in quite handy to have. But with this in mind, you're gonna want to make sure that you make changes on one end, and then you're gonna want to duplicate the same changes to the other side as well. With this in mind, if I want to change my ex to be just a little bit more sure shot, for example, I would decrease this value here. So this time I'll make it a 3.8, for example, and also could make it just a little bit bigger this time. I am going to use the size parameter over here. Since I don't want to distort my already existing scale ratio for that, I'll just increase it just a little bit like so now that we changed our scale, I'm also going to get slightly higher. Oh, this looks right. I'm also going to manually adjust it slightly to the right, then sort of left side. There's capital letters, and so it makes it look like the text is not exactly in the middle. For that, I'm going to click the letter e going to my rotate tool, and I'm just going to manage a rotated right a little bit. Like so, using the green access within or gizmo, This looks much better now. I'm going to hide my projection manipulation by clicking this icon over here in the very top left corner, or by clicking que the check out looks. So once we like the changes. What we can do now is we can actually adjust it on the back side as well. For us to do that, what we're going to do is we're going to copy the black mask from this layer over here, though. Click right, click on the mask and select copy mask. Or, alternatively, you can click controlled. See for it once you copy it, we want to select the Mass said we previously had then click right mouse button and select the option paste into the mask or use the controlled be like So once you've done that, we're gonna have the same settings but its properties within the frontal Mandra as well. All we need to do is just simply change the upset option. So for that, we just need to add minus symbol over here. So let's double click with far more Spartan and add minus at the very front, off the value which changes it over here as well. Now we have symmetrical tax on both sides of our race. 15. Iray render Set-up: and finally, let's go ahead and make our base asset a little bit more presentable before doing anything . Will want to go to the texture, sets settings on the right side. Let's click over here and then we'll want to change the size for textures to get more detail out of them. So if we were to go ahead and change it to problem 2048 your four K, we'll get some loading time that will basically re process all of the textures and make sure that they're set to four K resolution that we have it like, So that's our rendering or object. Before that, we're gonna want to turn on the ire a week in the upper right corner. So over here, let's go ahead and click on it. That's going to take some time to warm it up and upwards. I'm going to straightaway change the rendering settings rendering time. So I wanted to be from 10 seconds. I'll just go ahead and change the three seconds for now, since I won my performance to be more stable while recording this video, it also allows us to make some quick changes on the object without having us worry about the performance issues. So with that in mind, we're now going to click on the display settings. So on the right quarter were into clicking a button over here, which gives us a number menu. This menu. Allow us to make some adjustments for the environment. The first of all, what I'd like us to do is change environmental map. So I'm just going to be using Glaze Pasha. Oh, so this one over here, it's quite like the ambient lighting that it gives up to an object. We don't actually want to see the environment being used as a background for an object. So what we can do is we can go down a little bit within the display settings and will want to select the clear color over here. If we go ahead and click on it, we'll get ourselves a nice, great tone but a background color. It also gives us the ground that allows an object to cast the shadows upon it, since we have this. But in that able to over you, sometimes, though, the bike ordinate for the ground might need to be slightly adjusted. Barber usually automatically. It is placed right under the object, though in this case you don't necessarily need to change anything for it. But it's just the useful information to know. We could also change the background color and adjusted accordingly. But I'm going to keep it with the gray color, since I like the background gives it a sort of a studio appealing to it. I'm just going to keep the color it is. Then you will want to scroll down a little bit even more and find ourselves say Postwar suspect. Let's go ahead and turn this on, and right now what we want to who use is will want to turn on the vignette. But let's go ahead and turn this on, open up the menu and increase the strength for it. This gives us a nice toning for the outside edges off for a solid color background. I'm just going to sit there and yet two point pie. That's all we need to do with the post Bruce effect to get the basic results, and we can scroll down a little bit more even further down until we find a textural filtering for this. I'm just going to turn on the filtering from medium and you said it too high and also changed the mid Matt Bias from 0 to 1. Some find it using this setting works well in education. I use it for I'm just going to keep it. Ice is now. You can turn off the display settings now can also just the position up our environment to give it a different lighting, the holding shift and right clicking. We can rotate it it away. We desire it to be. I'm just going to position its remain source light would be coming from the left hand side , but is going to be a slight shadow on the right side as well. That was something like this that went down with Chicken Orender. We can finally prepare it for it to be rendered as an image. Let's go ahead and change a resolution for which we're going to get our image for and what that will need to click on override Vieux Port resolution. So I'm just going to change it to 1920 by 10 80. No, this gives me a nice video aspect ratio and also gives me a nice commonly used aspect ratio of 16 by nine No, that's quite nice. You could also try increasing the with at a high to get yourself better resolution. But keep in mind that you'll need a longer rendering time for you afterwards. In the future with the settings I'm now going to hold old and middle mouse button, you slightly adjust my camera positioning. This looks well enough. I always make the final adjustments for the camera. Right after I did resolution for Render ER in some position, you might look different with a different aspect ratio off the renderers. Now we have it like so we can finally increase the max time that it takes to render you get a better render quality. Overall, that's all we did before with the render, a resolution is increased. How many pixels is going to be in an image? And now because it was set to three seconds, I'm going to have a lot of noise within my image. But once we increase, it is going to take a longer time to render, and there's going to be less noise overall within an image right now. I'm just going to change this to our 100 seconds instead, which will do well enough for me. Since it is a basic object, there's no need to overdo it. I'm just going to click enter right away. It's going to increase the amount of integrations that's going to get. You can see the rendering time change from three seconds to a minute and 40. I've got to mention that once it's done with alterations, genever hit to render time or interational limit right now because there was set examples to 1000 for me, it hit the alterations faster than it hit the max time. I'm just going to increase the amount of operations to a higher value. It doesn't really matter to my how much increases we just wanted to make sure that it hits the rendering time. First Robert in the integrations itself. Now that the rendering process is done and it's done all of the integrations we want within the rendering time, we're gonna get a much smoother surface. We felt less noise. Infinia renderers. So once it's done, make sure to know, move your camera or panning around because if you do so, it's going to start rendering again. There was going to start the whole process all over again so make sure you position your camera properly first, and then you start rendering the image the way you like it to be now that we have it like so we can click, save, render, then select the folder in which you'd like your object to be and just simply name your rendering image. I'm just going to name it as a base render. It's going to be good enough. And as for the safe time, I'm just going to be using a J pack format. Although my preferred image for Might this PNG If you were to save it as a PNG format, you wouldn't get the background since it would save it with transparent background. Your image. So these this work around that I found savings as a J pig pile. It doesn't affect the quality of the image too much, so we'll just save it. It's J. Peg and let's go ahead and click Save and that's it, guys, we've now gotten ourselves a textured vintage base, you know, share this rendered image with anyone you like. I also love to see how it turned out for you. Don't hesitate and send the work you've made to me as well that away. I could also give you some feedback on it if you'd like to. I hope that by working through discourse you were able to pick up on some new and interesting techniques that you may not have known which are going to help you within your pretty texture artist path that I'm sure that you can interpret the skill set onto your own personal workflow where other projects as well, if you like the scores, make sure to leave rating for it as it helps to grow and allow me to make new and exciting courses for you in future. If you have any feedback about lessons, please leave them within your review as well as greatly helps in improving the future. Quality, of course, is I also have other lessons that you might like, which you can check them out by going onto my profile. That spirit my shit, guys, thank you for watching, despite a good scores, and I hope to see in my other lessons as well by