Substance Painter - Texturing multiple stylized assets | Lukas Partaukas | Skillshare

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Substance Painter - Texturing multiple stylized assets

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

23 Lessons (2h 59m)
    • 1. Introduction

      2:11
    • 2. Substance Painter Project Setup

      3:12
    • 3. Substance Painter Camera Basics

      1:08
    • 4. Texture Map Baking

      3:59
    • 5. Texture Bake Optimisation

      5:46
    • 6. Texturing Stylized Brick Foundation

      5:17
    • 7. Generating Masks for Stylized Brick Textures

      10:12
    • 8. Texturing 3D Base Foundation

      10:00
    • 9. Texturing Stylized 3D Grass

      8:35
    • 10. Creating Texture for 3D Stone Bridge

      10:37
    • 11. Creating Material for 3D Rope

      6:41
    • 12. Creating Stylized 3D Tree Leaves

      5:43
    • 13. Texturing Stylized 3D Wood Bark

      9:46
    • 14. Texturing Stylized Wood Planks

      13:17
    • 15. Texturing 3D Cartoon Wood Rings

      10:31
    • 16. Texturing Metal Material

      2:42
    • 17. Painting a House Roof

      9:43
    • 18. Stylizing a Concrete Chimney

      12:37
    • 19. Reapplying Material Textures

      8:40
    • 20. Creating Stylized Water Material

      10:14
    • 21. Texturing Clothes Hanger

      17:10
    • 22. Creating Glass Globe Material

      4:46
    • 23. Creating a Render Image

      6:35
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Within this ’Substance Painter - Texturing multiple stylized assets’ class, we are going to be painting a multi-asset scene and creating stylized textures for the snow globe. The course will teach you how to texture a variety of assets within a single Substance Painter Project file and how you can make the best use out of it. You will learn how to fix baked textures such as normal and ambient occlusion maps and avoid getting artefacts within this workflow.

 

Creating custom textures

In this class, you will also learn how to create your own simple yet stylish materials within Substance Painter in order to texture a scene. By the end of it, you will know how to create stylized materials such as stone, wood, water, glass and foliage by making use out of smart masks in order to exaggerate specific parts of the detail to create a distinctive look. The videos will help you form a unique theme to your artwork.

 

Learn new workflow techniques

This Substance Painter class will teach you how you can speed up your progress by making use out of the software generated masks to create smart materials which can then be reused onto other assets

In this course I will also teach you of the ways which will help you to make use out of the created custom textures in order to help us reuse our created smart materials on other objects within the scene which will help you to keep the visual consistency throughout the artwork as well as helping you to cut down the time within your texturing process.

 

Make use out of Substance Painter shaders

During the end of our lessons we are going to be covering how to use and edit multiple Substance Painter shaders within a 3d object. You will learn the differences within shaders in order to help us get the materials with altered visual properties. This will include making use out of the built shaders such as transparency shader in order to create a realistic glass. Substance Painter also includes two sided shader which we are going to make use out of in order to us help with the visualisation of 2 dimensional cloth planes.

Set up for any level 3D artists

The videos are set up for Substance Painter users of with any amount of experience to be able to follow the lessons with ease. 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 texturing techniques which I am sure that every level of Substance Painter user will benefit as it will help you build a stronger foundational understanding of the software.

Create a render

Finally, we are going to finish it off by creating a quick little render which we’ll do by covering the render basics in order to get a nice image of our textured asset. By the end of it, you will have a fully rendered image of your own textured asset which you will be able to share with others.

Meet Your Teacher

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Lukas Partaukas

PolyGoods

Teacher

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

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Transcripts

1. Introduction: Hello everyone and welcome to the substance beta texture in-class. My name is Lucas. I have four years of experience creating 3D models for video games, during which I had a chance to work on a variety of different projects, which also gave me an opportunity to texture arrange of assets within substance better within this time, I was also able to pick up some techniques to help one's workflow, as well as some other tricks in order to get better texturing outcomes. This course will teach you how detection multiple assets within a single substance Banner Project vial, and how you can make use of it to your advantage. You will learn how to fix bake textures, such as normal and ambient occlusion maps and avoid getting artifacts within this lecture set workflow. Of course, we'll also show you how you can create simple yet stylish materials within substance painter in order to texturally scene, we're going to be making materials such as stone, wood, and foliage by making use of the smart masks in order to exaggerate some of the detail and create a unique our cell to RPC. We'll teach you how you can speed up your progress by making use out of the software generated masks to create smart materials which can then be used onto our assets. In this course, I will also teach you ways which will help you make use out of the created custom textures in order to help us reuse are created smart materials on other objects within the scene, which will help you to keep the visual consistency throughout the artwork, as well as help you to cut down a time within your detection process. During the course, we're going to be covering how to use an edit multiple substance Dana shaders within an object in order to help us get materials with different visual properties. This will include making use of the built-in shaders, such as transparency shader, in order to create a realistic glass that's appeared also includes two-sided chatter, which we're going to make use of in order to help us work the visualization of two-dimensional cloth planes. Finally, we're going to finish off or caused by creating a quick little render, which will do by covering the rate of basics in order to get a nice image of our textured asset, it you'll be able to share with others the lessons i set up so anyone will be able to follow them with ease. So unless shown its course and get straight into it. 2. Substance Painter Project Setup: Hello again and welcome to the lesson in which we are going to start up our project by setting it up. Of course contains a resource pack which will want to download it. And then you'll have to extract the files. After which inside of it what you'll find is a low poly version of the snow globe, as well as the hyper version. We're now going to load the local diversion into the substance painter. So let's get back onto your software. Click file and a top left hand corner, and then select New, start up, a new project template I'm going to be using for it is a religion for. So if I go ahead and click on this box over here to open up list and then scroll down a little bit. If fight our religion for assembly straight up will provide a document resolution of 2048, which is a nice resolution to work in for our textures. And we can always upscaled into 4K afterwards. And it's, it's quite easy to do within a substance better. Also, the normal map format will give us will be Direct X, which simply is a different way of reading the norm of apps in comparison to OpenGL. So anyway, now that we have this window, we're now going to want to select file by clicking this icon over here and then locate the file that we have elected. Click open. And now we can go ahead and click OK. The loaded within our project. Then in the top right corner of the subspace later, we'll find a texture set list which has all of us and materials that are low poly model. Normally you'd want to keep them out minimum in order to have a prop, optimized, especially its needed to be used in areas such as video games, you get the best real-time performance harbor in cases like this one in which we are only going to be presenting a simple render. But n of it, we can take advantage of multiple setup textures and make use of them to get a higher quality of overall asset, which you will be seeing how proud course. Two ways of which you're gonna create extracellular list items. The first would be using something called UTM tiles. And in which you'd move the UBS to appropriate tiles. And the software will automatically split them into multiple textual materials while it's naming them based on the idea of its tile. The second way, which is the way that has been used here, would be the split each UV tells manually by assigning each one of them to a different material. The benefit of this method is that we get to name our materials and give this dexterous catalyst a little bit more orderly. Right now we can't see the contents of what's inside of globe. Because of this sphere surrounding it. Naturally we're going to make a glass material for it, but that will be later down the line. So for now, we're going to locate it within a list of the dexterous netlist, though is going to be glass globe. And we're going to be clicking on the icon to the left of it. By doing so, we're able to hide the mesh containing this material. You can mine it every time you close down this project and open up the same version of it, the substance better will unhide all of the textual sets, meaning that you will simply have to hide a global again by repeating this step. 3. Substance Painter Camera Basics: Within this lesson, we're simply covering some basic camera movement within the substance being a software and say I am not explaining much about it in the future videos. I decided to make a quick separate video in order to bring everyone up to speed. To check the model that we load it in. We can't hold ultimate mouse button within the viewport and then drag or mouse-like. So rotate or camera. Camera will rotate based on where you clicked on an object. We can also hold Alt and middle mouse button and then drag your mouse across. You pattern the view around like so. Also you can move the camera closer or further apart by holding Alt and right mouse button and dragging your mouse up or down. Or alternatively, you can just simply scroll your mouse wheel like so. Finally, if you get your mesh outside a camera, we can click the letter F. We will reposition or mesh will be added to the center of the camera like so, and bring it back to the view. 4. Texture Map Baking: Now, in order to bake the normal maps as well as other texture maps, we're gonna go on the texture set setting tab located on the right side corner. But this one over here. Within it, we're going to scroll mouse data words all the way through bottom. Get to resection of the mesh maps in which we're going to click the big mesh maps. So let's go ahead and click on it. You get ourselves with when a baking window right away, we're gonna change the output size from 512, danger to 2048 instead. Usually I start off my baking with 512. This is check if all the detail bakes up properly. But for lesson does not necessary. So we can go ahead and skip that and go straight to high-definition baking. Now let's look at the hyperlink mesh upper model. To do so, we're going to go click this icon over here, which will allow us to select our high polymer mesh. So let's go ahead and select the snow globe high poly, and click Open, which we'll put it in a box straight away. This will make all the detail probe high-definition mesh onto our low poly mesh. We also want to change the max parental and Max rare distance. They usually use a value of 0.03. Both of them. So let's go ahead and change them. Like so. Value will give you a good result, promoter bakes. So let's start with that. Then we'll want to scroll down. We'll want to change the matching option. We were to go ahead and change it from always you buy mesh name. This option will allow us to split the model into multiple pieces during the baking process. Even if it is within a single texture set, we're able to make use out of this functionality within a substance painter because of the way freedom morals of locally as well as high Paulie I setup within that DEX files or variations of models are split into multiple mesh pieces, which then has a matching names. The order of Majlis doesn't even have to be the same as long as you have an identical texts to them, which lets the program to match to one another. The only difference you'll find is the last portion of the name. We need to make sure that within a low poly version, each naming would end up with the suffix of underscore low, and within the dipolar version, it would end with the underscore high. These can be seen within the baking menu and can even be changed. Although I wouldn't recommend it sends a fighter that using default ones would work the best. Since each project recessive to a default name and makes it somewhat harder to keep track of it. Now these were the settings of the common tab within a top left corner or for baking window. We'll also need to change a couple of other settings. So some tabs or even have any parameters like the normal Map. Dense is basically using the information, all of it from the common map. However, is something like an ID map, texture map that allows us to make a quick selection, to create a mask or material will have some settings inside of it. So if we go ahead and click on it, we'll get ID Baker parameters. And within it, we're going to want to change the color. Soars right now is going to be trying to use material color. Since I've been using ZBrush to make a high polio version of the mesh, painted a color map directly onto the objects vertices. So if we were to go ahead and change from Coelosaurs, so for material color and change it to vertex color. So make sure that the vertex color information will get transferred onto the bake off an ID map. Make sure we apply this to all the other texture said within list. We need to hit Apply button over here. This will ensure that all the other texture sets will have the same vertex colors or selected. After we're done with the settings, we're going to hit big old texture sets. Give it some time as this might take a while to do. Don't mind the red bakes as this is something I'll talk about in the next lesson. 5. Texture Bake Optimisation: What's the baking process finishes? We find that all of it gets done except for glass globe textures. That is because a glass globe mesh does not exist within the dipolar version and decide to remove it since we don't exactly need any normal detail on top of it. As well as having a high poly version would give us some unnecessary ambient occlusion details, narrative glass edges, though because we didn't have the high-quality version. Normal App ID inclusion, curvature thickness of them require high poly versions of the mesh. And since it doesn't have any information within a file, it gave us the errors, which is totally fine. Now we can click OK. We're not done just yet. If we take a closer look at the bridge over here, and notice that there's something off with ID. It's specifically in this middle section over here, is if some detail is missing from this area over here, you see it a little bit better and understand what's going on. We can go on to the top right section of the view mode and changed it pro material. We scroll down a little bit. We'll see under the mesh maps will see normal. You go ahead and select it. We can see that in between the rock sections, it's quite blank. And instead it should have more rock detail instead. And if we go to an ID mesh map, over here, we can see the color 3D map leading out in between the rocks. You'll notice the peaks that first of all, let's go back to our default view. We can do so by clicking em, go back onto our material mode. Now the reason we're getting search results is because the raised during the bake are not reaching the very bottom rocks within high polished version. But we're going to have to fix that. We're going to want to locate within the texture set list. We're going to scroll down. We're going to want to look at Rocky bridge Matt. So if we go ahead and select it first, and then within a texture site settings, you'll want to bake them HashMaps again. All we need to do is increase the frontal and the resistance. Identity both of them at the same value since it makes everything so much easier, since it simplifies the workflow, let's go ahead and change it from 0.03 to 0.1 instead this time. And I'll change the 0.1 over here as well. Now, instead of big old texture sets, we only going to want to bake rocky bridge mad mesh maps, though the one that we have selected within it actually said list. It's the one that we're going to have the ability to change the settings for it and bake the ones we have the settings done. Go ahead and click on it. After it's done, let's click okay. And we can have a look at it right away. You'll notice that the difference in normal map, there's more detail in a deeper areas. Over here. You can also have a quick look at the ID map. Now if we go ahead and select it, we see that there is no more bleeding effect going on. This is not trying to fill in the gaps and every dean and, or and sampling for all up, you know, empty space. So here anymore. So we were able to fix the issue. Let's go back onto revolt view by clicking em. And now at this time, finally, we want to fix the grass area sections over here. Though within this mesh, we have some grass patches. Harbor. If we take a closer look at it, will notice that has a little bit of weird artifacts. That is because if we have a look at the normal map by selecting it. And notice that an old map as all of these weird actions, is because the meshes so close to one another. The baking rays are trying to create a normal detail from lava pieces of mesh. Luckily, this is an easy fix. Hi polly version will have almost no detail that a grass, we can keep the rate distance to a bare minimum. So if were to go ahead and within a texture set list, locate our grass mat with this one over here. Let's go ahead and select it and will want to go to big mesh maps. This time we're changing our distance to a bare minimum. So from 01, we are going to want to change it to 0.002. And let's change the value to both them. So click Enter to make sure it's applied. Once we have these values, we can click baker S MAD mesh maps. Once it's done, we can click OK to have a look how it looks like. Right now we can see that it looks way better than before. This we made a ray casting distances so much shorter. So going to be overlapping as much with the baking of normal details in between the mesh. So in short, if you're having trouble bacon mesh maps from hyperlink version, all you need to know is that basically if some detail is being cut off within an old map and the ID map is bleeding off. Most likely you need to increase the rate distance to make sure that it catches every single detail within the ip version and base it off onto the local version. And if you are getting some artifacts on a normal map, especially like it wasn't within this patch of grass over here. You should try using a lower value of recasting in order to pixel. That's pretty much what the baking. We can have a look through our bitmaps by clicking in letter B, which is a shortcut at cycles for all of our mesh maps. Well, by clicking prove it. In check the way each one of the big mesh maps look like. Afterwards then checking, we can click the letter M to go back onto material view. 6. Texturing Stylized Brick Foundation: The first piece that will begin texturing is going to be the foundation for oxide and area over here that we want to locate the base size Matt. Let's go ahead and click on it within the touchless catalyst. Now, within the laziest tab, we want to click on this icon over here to add a new feature layer. We can use this to change the base material using the property SAB. If we scroll down a little bit, we can see the base color. Let's click on the box over here. Will open up the color selection for us. Now what we can do is increase the saturation a little bit. We can see the values over here. Or alternatively, we can just turn it up by using dynamic button over here, you see the colors for firewood being affected by the saturation values. Like the personally keep them up and it allows me to see the colors alongside the variations of saturation, as well as the dark values as well. So as you can see, once we start changing, the color is going to be directly applied on to the mesh itself. But Assad and color of the foundation that like us to get is going to be a brownish color before it to drag my hue color a little bit to the top? Or can it using this value over here? And we can desaturated literate as well until we get this sort of a blind color within these breaks over here, if you want to get a color identical to and all you have to do is use this color picker over here. Though the way can do it is by holding it. You can go ahead and select the color within this box of my video will be here. By doing so, you will get this exact same values I have. Just make sure you get it from the square that's within the bilayer and not the material itself. Since this would have a different lighting and would give you a different value of a color. Phonation colors now seems to be caught. Alright? However, if we rotate our son, we noted that it is quite a bit tiny. Liberty glossy port at Rocky look that we're trying to get. For that we're going to want to adjust the roughness values over here. Going to scroll down a little bit more. We can adjust these values over here and it'll update the model right away within our mesh. But we want to get a value close to seven. Alternatively, we can write the value over here within values itself. So for our value, I reckon we can use the value of 0.76. This value will give us a nice basic roughness look. I'm just going to check it by rotating the lighting just in case. And this seems to be quite alright. That's all we need to do within the base color. We can now get some color variation for this as well. Route will want to make a new file layer liquidity previously. This time we're only going to be using the bicycle itself. Though. If we go up a little bit, the channels will be here. And hold Alt and click on a base color like so. It is select everything except for color channel. And now we can add a mask for it by clicking on this icon over here. And we'll want to add a mask with color selection. Go ahead and select this, click this icon to pick the color. And let's use the red one this time. Now that we have a mask with color selection and we can go back onto the upper layer color by clicking on the square over here. And if we were to change the color now, we can see it being changed to like so. Let's get ourselves a yellowish color. Several color would be a little bit too excessive in comparison to the base color. What we can do is we can blend it in a little bit together. And to do that, we're going to want to first of all change this from normal map overlay. And then we can also decrease the capacity, which will find it will give you a nice blending of the values. So I'll change it to 43%, which will give you this type of a result. Nawab or color difference, but not too much. And real-world, if you were to try to use watercolors and overlay a darkish color with a brighter one. This is the type of results you'd get. Now we'll want to make yet another variation of a color were to have the layer selected, the fill layer selected, and click Control D, make a duplicate of it. This will just be an upper processes. We are using similar values. And now we want to go back onto the mass square, which will open up the color selection effect. Electrical selection. Lead a red one, pick a color. This time we're going to be peaking an orange one like so. Then we can go back on the recolor selection by clicking on the square on this box over here. And this time we'll just drag the hue, slip it lower, you get this value. And just like we did previously, we can get the video on the screen with the substance better together. Get the color picker and to select the square within a video like so. 7. Generating Masks for Stylized Brick Textures: We can draw some outline around the brakes and put out what we can do is we can make use of the generated texture map that we baked previously. That are one that we can use is we can make use out of our ambient occlusion map. Since if you have a look at a texture, we can see that it has some nice dark in areas that we can make use data within our Mask. I'll just go back onto the material view and let's get ourselves a yet another pill layer. And right away we can go ahead and change the properties tab for it. So the thing we are going to be using is only the color pour it. But let's hold ALT and select the base color like so. Since we're making darkened areas, go ahead and change the color. Let's change it to black. But let's not drag it all the way down since we don't want it to be entirely black. Because often that color would look unnatural when using within texturing, though, semi black node pitch black. And now we can go ahead and create a mask for it. Go ahead and click add mask. And we just want to add a black mask by default, there is no information that it's applying onto detection map. Now we're going to be wanting to add an effect and will want to add a generator or mask. And the generator we are going to be using is called ambient occlusion. Though, within a search bar, if you type it in, you'll find this one over here. Let's go ahead and select it, which will allow us to generate a mask based on ambient occlusion detection map. This generator will also allow us to adjust some properties to it in order to get a better ambient occlusion mask. So if we're to change the global balance, you'll notice that the mass of either increases or decreases. And for now, we want to buy the adjusted. Well, let's change it to 0.58. Like So. After which the mask is being applied onto the rocks. And we want it to be within the crevices themselves. Though for that, we'll want to invert mask itself. You do so by clicking on this button over here. What a global invert. So if we click on it, we'll get our mascot inverted. As usually inhabit inclusion. If you have a look at it, the crevices would be darkened areas as far as the masking goes. That means there wouldn't be any masking value supply to it. But this time we are applying it since we are inverting it. This would also mean that the global value would be inverted, though for where to try to increase this, the mask would be reversed. And if I were to, global, global balance would actually increase them arrow masking. It's being applied. Now will also want to increase the bluer by a little bit less, increase it 2.3 excel. And also let's increase the global contrast. Let's go ahead and use a value of 0.4, like so. Let's sharpen up the edges of the mask. This'll give us a nice banner crevices look, which we achieved with quite fast as well. Instead of us needing to go around each one of the pieces separately, which would obviously be quite tedious. It's quite nice that we can do is something like that by making use of the bake masks. One other way we can use bake masks is we can highlight some detail within the rocks as well. So for that, we're going to be using the curvature map. Is it has some nice ETL underlining the imperfections of the rocks which had beta from the high polymer mesh. So for that, we're going to create yet another per layer. This time we are going to be making off the entire material itself and only the Color channel. Let's leave the adjustments to it afterwards. And let's go ahead and create a new mask by clicking add black mouse clicks. So this time however, instead of making you started generator product curvature map, we're going to manually add it onto our mask. O for add. We can go ahead and click Add effect. And then we're going to click add pill to it. Using this fill layer. If we go ahead and click on a grayscale, we can search for the curvature map. Though, if we search for the image map, will find that there is a bunch of the curvature maps that are baked off or different texture maps. We're going to have to select one manually. And so the one that we're going to use is called curvature map from mesh base sides. Matt will just fine the same one that has the name of besides math. With once you hover over texture, you can see the name for it. Then go ahead and select it. Then we're going to click add a packed yet again. And now this time we're going to click add generator. Within a generator, you're going to search for mask editor. Though this one over here. This editor will allow us to adjust everything that's underneath it within its mass properties. Right now it's only the curvature. And if we were to adjust the global balance, for example, we'll notice that we are adjusting the mass Korea. So the value that we can use is 0.4. or global balance. And for this piece, that's actually all we needed to do. So all in all, it is a little bit more tedious or weigh in comparison to what we did with ambient occlusion of a fighter. That if masks are getting somewhat more complicated and you need more complex functionality out of them, is better to start building it up from scratch. Let's start out by just having a normal baked XOR map. And then, and then layering various of attacks on top of it. Which end you can change the way it behaves with one another. As well as you can adjust the opacity program. Plus using mass editor will give you different options to use o currently which sub two items within this list. But this list can get a little bit more complex if we are trying to achieve more variations within the mask, the data we have the mask done. We can go back onto a material by clicking on this box over here. Where we can use is somewhat a little bit about the grey area. Is valuable, work quite well for us. We'll leave it as it is. Then it will also want to change the roughness value 2.3. So we're finished with the brick area for this texture of our We're not quite done yet. Because if we have a look at it closer, we found ourselves that we have a stripe that goes across the top section of the breaks. This is photo glass piece to be kept in place. So we're going to have to use a different material for it. But for now we'll want to separate it from this material over here. But to do that, we're going to have to create a new folder. And it will have to select the material that's underneath it. Roll down while holding shift. We're going to select the or one, like so. And we're just making sure that we select all the layers that we created. We don't need to Select Layer one since that's the default layer. And it doesn't really do anything to us. Though. The selected, we're just going to click your mouse and drag it onto the folder like so. Now it is imbedded within a folder. We can check it by closing the folder and seeing that there are no materials that were created left. With this done, we are going to select the folder. We'll want to create a color selection rule. Can't add a mask with color selection to it. It's a crazy black mask and then apply as a close election on top of it. Where we want to do first is create a white mask and then go to add a pact with an ad effect will find add color selection if we select it now. But I have a color selection with a white mask that afterwards, we'll want to invert the output value. So when we're selecting it, we're actually coloring the areas in black. So if we were to invert the values by clicking this button over here, we can now pick a color. And the color we're choosing is going to be the, going to be this purple ring over here. If we were to select it, we still keep or white mask. But it's going to now use the black value to deselect this ring. And now let's hide is full of for now. And click on a folder lake, so make sure that it is selected and not something within a folder itself. Otherwise, when you are creating a new fill layer, you're going to create an item within a folder. And what we want is to create something outside of it. But our Fit being selected, let's go ahead and create a bilayer, which we'll put it right about to folder. And we're only going to be creating a very basic material for it. So before that, let's go ahead and make a mask material for it. Let's add a mask with color selection. In this bigger colour as lecturing. After which lets go back onto the material selection, onto its properties. And let's change the base color. Let's use a dark grey color for it. And that's what a roughness value. You can set it to 0.5, which will give us a neutral kind of a reflection. That's all we're going to do for this piece. We don't need to overdo it since it's not going to be the main focus of our work. And we can leave it as is, and move on to another piece. 8. Texturing 3D Base Foundation: After we're done with the size of our foundation, we can move to the inside section. Okay. So we're going to start with the grass field and so forth. It will need to select a different texture set list. And the one we're going to selected is called basemap. But let's go ahead and select it. We know it's going to be the right one, since we can check it by either clicking on the cycle over here, which will hide away the material. Or alternatively, we can turn on the focus mode, which is this icon over here. By clicking on it, we're going to isolate the entire material, hiding away the additional prompts, and helping us to texture this piece and fight obstruction of the view. For the base material. Let's go ahead and make a new per layer. Now let's change the base color for it. We're going to use a greenish value. O value like this will work quite well for foundation. And right away, we're actually going to make a folder for it. Oh, let's click Add Folder. Then drag the pillow into it than to make a mask or a folder. Let's go ahead and select it. The folder itself. As click Add mask. And advice would call selection. Victor, pick color. And let's select the green area. We're here on top. And we have a mask within a folder. Now we can go back on therapy layer that's within a folder. And within a properties, we're going to make some additional adjustments. But let's scroll down. And we're going to want to change some roughness value sulphide for the value that we're going to use this time is going to be 6.655. That is just to make it less glossy overall for the pace. Once we have a nice foundation but a base, we don't want to make yet another fill layer. This time we're going to make some subtle color tone differentiation. Though, since we have the fill layer selected, if a click Add a new fill layer is going to be created within the folder. But it's layer. We're only going to be using the color ADL. Though. Let's hold Alt and click on it. It disabled the rest of it. Then put a base color. We're going to get a slightly lighter color than the base itself. So this value will work well. Then we're going to want to add a mass to it. So for that, we can click Add mask. Let's select add black mask. And then we'll want to go to add effects and add a PID layer like so. Within this fill layer, let's go ahead and select a grayscale. And we're going to want to search for cloud texture maps. Out to texture map will give us a nice way to blend into values. Let's go ahead and select it. Default values who worked quite well. We can even check the difference of flux by an hiding and hiding this layer. You see the difference it makes. Alternatively, we can also check the mask itself. If we were to hold Alt and click on the mask itself. We're going to see the type of results is actually gives us three, giving us a nice mask. However, we still need to do some tweaking since it's not the type of result I want to get. The type of blending I want to get is Is that of uneven painted thickness. But this was done about a brush in real life. You have to cover a large area. You're bound to have uneven painted areas within this place. But what we're going to want to add a new effect to it. So with the mask selected, we're going to have to add effect. And this time we're going to make use out of the filter option. Go ahead and select it. And select filter. Will want to search for a blur. With just an unrolled blur, will do well. If we go ahead and select it. And a slightly blur out the mask, which is what do we need, will increase this value to 1.3. Now fee, click em to go back onto a material view. We can see a subtle change within the color itself. Got even more detail on top of this patch of grass. We can even splash some paint on top of it, make the patch looks somewhat more grainy. So to do that, we can add a new fill layer. This time we're going to use a little bit darker or green value. This valuable work well enough for us. And like we did previously, we're going to hold Alt and click on color. Then let's add a mass to it. This time we'll want to add a bitmap mask. Then it within a search bar for words typings clash, you'll be able to find a grunge splash dusty. But let's go ahead and select it. We get this sort of our result in right away, go into its properties to make some adjustments to it. But let's select a bilayer like so. And if we were to scroll up all the way to its UVA transformations, for solders will want to make its values way smaller. But alpha part and wouldn't be as large. So let's increase the UV scale, etc, to a value of five. Like so. Then it will want to change its balanced increase its value. By doing so, we're increasing the pattern information were Penelope. So let's change it to 0.6. We're going to get this sort of result. We can even randomize it CDE, by clicking the random, which will make some changes to devalue and give us a different pattern throughout. I quite like this pattern. I'm going to keep it with this. You can even use the exact same one if you were to click on the set value and type in the value manually, one doubt I'm using is 12087. If you want to use exact one, can make use out of it. And we have our mask set. We can also add some thickness to the paint. To do that, we're going to go back onto our material. So let's go ahead and select it. And we're going to want to turn on the height values. So if we were to select the hype, with this, we can increase or decrease the value. You add some thickness. The height of negative will make it look as if the mass area is going inside. While the positive value will look as if some details are being distributed over this amount. We can have a small value to make it look like it has a little bit of a thickness. And we only have one to have a small amount. So the value that we can use is 0.02. And now if we have a look at it and it'll give us a minimal mild or extrusion. But this is something you'd get if you'd want to be splashing your brush and toggle display, you get this sort of a detail to it. Let's get this rural base colored as well. So let's close down the folder that we did previously put grass, then have the folder itself selected. We can click on the fill layer and it will get the P layer on top of it. Or color. Let's change that right away to a brownish color. So let's go into our base color. And he called it we'd like to use is going to be this hover color as a base will work well. We can make a mass for it. And since I'm planning to add a new feature layer afterwards, we can first of all create a folder and then drag the filler that we just made into it. Now let's select the folder. Click Add mask at mass with color selection, like the color. And let's select a base like so. Now we can go back onto our base color, make some further adjustments. But let's go ahead and click on it. Within a Properties tab, we're going to scroll down a little bit all the way to reference values. And we can change this to a value that's going to be rough and up a little bit more. The revalued like US uses 0.7. free. That'll do well enough for the base. So we can move on onto yet another fill layer. O for this bilayer, what do we want to do is I'll add some more detail. We're gonna dirt layer and two overall make it a little bit more muddy Arabic color. And for that we're going to add a mass to this bilayer. So let's go ahead and nick add mask and add black mask. Within this mask, we want to use a generator. Let's go ahead and click add a pecked. And let's select the Add generator. But nobody here. But a generator we're going to be using the curvature map is to get a little bit more of detail. So let's go ahead and find the curvature option. And let's go ahead and select it. Then we'll want to slightly decrease the global balance of value of 0.43. This will give us a nice overall mass for the tone. We don't need to overdo it, so let's keep it as is. Now we can go back onto our pillars option. The material itself that a prototype of color that we are going to use is going to be similar to the previous one. With just a little bit darker. With this type of a colo will work well enough for us. Now to roughness value can be a same. But I would also like it be just a little bit more increased. So you can set it to 0.7 for like so. So this will give us a nice mighty look to it. And we're going to close down as folder and move yet turnover piece. 9. Texturing Stylized 3D Grass: Now are we done with the base? We can then take the focus mode or this button over here. Go ahead and click on it. We get back onto our original BU with everything unhidden except for glass globe. Now the next stage of we want to texture is going to be the grass over here. And this is going to be within the dexterous Atlas called grass mat. Go ahead and select it. And we might as well click the focus mode like we did previously. So we could see all the pieces since they're all scattered throughout the object. So these are the grass pieces that we're going to be dictionary. You can center one of them, three camera, then zoom in a little bit like so. This could have a clear overview of what we're doing. Mozart's, let's make a base material quoted. So let's go ahead and click on the fill layer. What a base color we're going to be using a different variation of green in comparison to the foundation. This upper green will work well enough for us. And we don't really need to do too much on it. And is there such small props fiber, what I would like us to do is if we go out of the focus mode, you know, going to be standing out too much within the individual pieces. And they're all blending in with the plain green that's on the foundation of it. But one way we could do it is we could change the color and the just city on further, make it bend out even more. Or what we are going to do now is we're going to make an outline or for them. But before that, let's not forget the roughness value. And the roughness the Lycos use is going to be 0.6. There wouldn't be too glossy material. So to make an outliner, let's create a new fill layer. Hold Alt, and click on the color to deselect everything else except for the base color. Let's use this type of dark in color with a red tone within it is a pilot that this'll give us a nice shading color. So now that we have the color done, we can go ahead and add a mask. Going to be adding a bitmap mask. And let's go ahead and find the curvature map within all of the curvature's. Let's go ahead and find the curvature map from mesh brass mat. Go ahead and select it. Know to justice curvature map, we're going to add an effect. This tab we're going to be adding ad levels. Go ahead and select it. If you use something like Photoshop before you'll be quite familiar with levels. It's, it has the same functionality. So basically in short, all you need to know is that this graph represents all the light and dark values. This section over here on the left is going to be quite empty, while the middle section is going to have more. And dad, the bit at the right is going to be quite empty as well. This is because if we hold Alt and click on your mask, those are the values that we're having. There's no complaint. Wired values in here and darken areas are very minimal as well. So actually with the mask we selected, we can go back onto levels. And if we were to drag this black arrow over here and put minimum, we're basically going to be telling what's the minimum value of the darkness, the Buddha's value. We want to actually cross it over this valley over here, since this represents the grey value that's in the middle. So if were to drag it all the way across, we're going to make it into complete black like this. We basically wanted to put it in this declining base over here. So 0.57 MCB the value. And then we can ingest the input maximum as well, make the overall color wider. We can just put it at the very start of the graph like so. As the one in the middle, this controls the contrast. So if we were to drag this to the left, we're going to make it wider basically. Let's go ahead and drag it all the way to the left onto black value. We're going to get a mass that is separated into black and white pieces, Dwight B. So we're going to go all the way around the curve. Though edges are going to be completely wide. We can also just how wide it is. And so I wanted to blend in with the layer underneath it. I'm actually going to lower the output maximum on the arrow below. By lowering this, we can decrease the overall whiteness of or mask. Will just putting this value to 0.85 like this, it will be good enough for us to lower the overall intensity of the mask. Next time what we should do, we should break the masked a little bit apart just to get some inconsistency sitting between the lines. And so we're going to add yet another layer to it. Let's go ahead and click Add effect. And let's add a bilayer. With this philia, we're going to search for clouds. This time we're going to be using clouds free since it has more one even patterns. So let's go ahead and select it. Then the next thing that we can do is go hire all the way up within the Properties tab and change the UV scaling. Then this pattern is a little bit too large for us. The value that we're going to be using is 2.4. You're going to click over here and type it in as well. And let's go down a little bit. And the balance that we are going to be using this time is going to be 0.59 though, which is going to be increasingly just little bit. And it will want to sharpen it up quite by quite a bit. So let's increase our contrast. Now value of quite a large amount. Let's get ourselves a value, 0.75. Now obviously the mask right now is going to be overlaying on top of our, our layers where we don't want that to happen since it's covering it up completely. We want to change the blending modes from normal. We want to change it to subtract. If we were to go ahead and change the clouds value to that, we will get this result. And it's the white parts of the mask layer is being used to remove the information from the mass community, which breaks apart the lights, but we don't want them to be completely removed. What we're going to do is we're going to we're going to decrease the capacity for it. If we were to click on this value over here, within it, we can either use this, drag it around, or we can type in the value ourselves. So there's just type in a value of 60. You get this sort of a result. Now we're not quite done just yet, since this mask is a little bit to shred Perez, though, let's go onto affects and let's add a filter. Until that at this time we're going to use is Blur. But instead of a normal blur, we're going to be using a blower slope. This epic and give us jagged edges for a mask, which will give us quite nice result. In the end, we're going to just it's first. And all we need to do is decrease the intensity of it before it's changed to 0.25. So increasingly intensive this way is not going to be enough just yet. But we also need to do is we also need to Asia intensity divider. By increasing it to a 100. Were able to take the values that are smaller in intensity. And this time, if we were to go all the way up, is going to be with the intensive divided by a 100. So they'll going to be quite as big. And with the value of 0.25 is going to be quite minimal as well. But it is going to make a difference in the long run. With this done, if we were now to click the letter M to go back into material view, notice some find highlighted edges on each piece of grass, making it look as if a paint marker was used on it. Afterwards. If we were to go out of the focus mode and check it, how it looks like. It is now going to stand out a little bit more work in the fields. 10. Creating Texture for 3D Stone Bridge: For our next bit, we're going to quickly texture this bridge over here, though within the texture set list. But I wanted to find something called Rocky bridge. Let's go ahead and select it. We might as well, isolated with the focus mode, will begin by creating a new pill layer. Go ahead and click on the button. Then within the poverty spill, let's go sell, say brownish color was getting a colored dots similar to the briefs that we did before. And so this piece over here, our we do want to get a little bit more of a color to it. We're using a little bit more saturated over color. This brownish color will work well enough for us. Now as darkness, we're going to increase the value to quite a large amount. We can get the color to be as 0.8. And so I'm just going to check the reflections will equate by holding Shift and right-click and rotating the lighting is to help you visualize the reflectiveness off the object. It just looks well enough for us. We can keep it as is. And we can now go ahead and create yet another fill layer. With this bilayer. We're just going to make some of the collaboration through rocks. So with that in mind, we can go onto our property spill layer and make sure that we're only using the base color offset. So hold old if the mouse button. And now with the base color, we've gotta get ourselves a different variation or brown. But this type of brown color. And now to get the variation to closer to the original color, I'm also going to blend it in with the previous value that we can change the Blending Mode from normal to overlay and decrease the overall capacity for it. We can have capacity change to 35%. And this valuable work well in operas. And now with this color, all we need to do is go ahead and add a mask that has a color selection to it. So this one over here, and select the orange one like so. That is also an upper collaboration to it. What we can do is we can simply duplicate this bilayer that we did for the collaboration. Like so, Painter color selection within this mask. So we need to delete the previous one, previous selection. Then we need to select a different color. So let's go ahead and pick a color. In this color 3D map. The color variations are very similar. Receives to tell them apart. This we're seeing which rocks are highlighted to the moment. Once we pick the color, we just need to click the ones that aren't like it. So I'm going to select this value over here. And we can see that we selected the right one by hiring the layer. And seeing that it is affecting the other variation over OK, like so. It is hard to tell the calorie, the maps. Since this orange and this reddish color is almost similar to one another fiber, we know that there are different, since if we go ahead and select the color selection, we see that this color values are going to be different compared to this one over here. Since the color values represent the type of color who were picking. Though, for example, this one, it has a value of red being all the ways that two to five and then greens at the 0. Whereas in this color selection and is also set to the maximum red value of 255. But however, this case Green is set the value of 48. But that's all we know that these are two separate color selections that we have. Now with that in mind, we also need to change the color selection to it. So if we go on to our material selection and then for its properties, we can change the base color. I'm just going to adjust the collaboration just a little bit, but dragging the hue value just a little bit higher. For dude, like so, I have a different variation to it. Just like so. And so basically we get this sort of a result. Now we can even add even more detail to the rocks by creating a new per layer. And right ahead, let's go ahead and add a master material. Let's click on this button over here and add a bitmap mask. And we're going to want to find a curvature map over this time. Lag is to search for Rocky bridge instead. This way we're able to find all the materials from this particular sexual catalyst. And then we're going to just need to find a curvature texture map. This one over here. Sometimes it's easier to just look for the naming of the texture set list instead of searching protocol richer maps. So let's go ahead and select it. So then let's add levels to it. Click Add effect. And at levels. Then within levels Properties tab a shrug the input minimum all the way until the value of 0.5 to basically after this little peak over here. And we see, we're going to drag it all the way to this point. Then will want to adjust input maximum as well. We'll just drag it around the starting point of curvature graph where it starts like this and will want to adjust the contrast to it. So we'll want to adjust the input gamma as well. Increase it just a little bit. So let's go ahead and increase it from a value of one. So a value of around 0.85, like so. And we'll need to slightly blurry it out afterwards. So let's go ahead and add an effect as Bolter. And within the filters, let's search for blur. And let's add a basic blur to it. Like so. Then set a blue value of 2.4. Now within it, like so. We can go back onto our layer, onto a material itself to make some adjustments to it. So the baseline collider we'd like to use is going to be a little bit darker than the usual color, like so. And we'd also like to increase the roughness for it. So let's set it to a value of 0.5. If so, then we can check it by holding Shift and right-click. We'll rotate or lighting just to make sure it has a nice reflection. Or we can even go and change their view and get more information out of it. If you were to click on the top right corner, we can see within the single channels, There's something called the roughness. If we're going to go ahead and select it, will see all the roughness values within it. So if we were to hide this material over here, we'll see that it disappears. Then there's only two roughness value information's coming from all of these materials. And that is from the material over here. And then the other one is coming from the, from this bilayer we're here, which uses the curvature map. And if we have both them off, obviously there's gonna be no information to it. So this is another way to check the roughness values and how reflective the surfaces within our object. So the brighter the color is, the less reflection is going to have. And if it's completely one and there's no reflection to it, is going to be very bright, whereas less reflective is going to be a little bit darker. Though. To go back, we can click em and continue adjusting the values to it. This time we're also going to adjust the height information that is material as well. So let's go ahead and just hide level. This time we'll want to use a value that's going to be 0.15. We can just type it in here. Like so. We get this sort of a result. If the color looks a little bit too intense for you within this bridge. We can always lower the intensity by using the passage. And if we were to lower it, you don't have to be worrying about lowering the upper intensity of double channels. Though the height information will keep the same even forward to lower this, all the way to 0 is still going to be the height information that we used. And that is because we're only changed up i city within these channels over here. So because right now it's being selected as the base color. If we were to load capacity within here, It's going to only lower it within the base color. Well, right now, we can change this capacity to be 70% lower the overall density of the material. But it's not going to change the height value of it. Even wind that disability is something different than we use in comparison to the ones inside of the mask. So the ones who Zara mask at its own opacity layers. And right now, as an example, if we were to decrease the positive value within the mask itself, which is also going to find all the information of the material. And we're now going to play around with it too much. All you need to know is by changing this value over here. We're only changed the base color opacity and the height capacity is going to be the same. As well as the other information channels. Harbour with the mask. If we were to change it. And going a turnover information channel, we will see that it keeps the same capacity within a mask. And so keep that in mind while adjusting the basileus. Whether it's going to be within the masks or the layers themselves. 11. Creating Material for 3D Rope: The texture ourselves. Next bit, which is going to be the shear we here, we're going to want to locate it within the detection catalyst, a tree mat. So let's go ahead and select it. And let's get ourselves the focus mode on as well. Afterwards, we just want to reposition our camera. You have the tree within the center of the view, like so. And we'll begin by texturing the rope material over here. So the way we're going to do it is we're going to, first of all create a new pillar. And within it right away will just want to quickly change this base color just so we can see the difference when we're applying a mask. Now we'll add a folder and drag this fill layer within the pull Delic. So, so let's select the folder link. So at a mask and we want to add a mask with color selection. And let's pick a color. And let's select the sprinkler were here. Once we're done with the color selection, we can go back on aaaah within previously. And now this time, instead of adjusting the colors manually, we're going to apply a material using the material mode. And to do so we can ever applied by clicking on this button over here and then search for the desired material within us. Listen, we're here, or the easier way is to make use out of the shelf over here. Or we can do it is. First of all, we can make this shelf just a little bit larger. There'll be more visible to us. Then it will want to go into the material list over here. And then we'll want to enable the filter editor. Once we calculate this button over here, will be able to categorize our materials, make it easier for us to find the material that we want. And one that we're looking for is called Fabric and their materials tab. Go ahead and select it. We've got to be able to see our list of all the fabric materials within the substance banner. The one we're looking for right now is something called Fabric bamboo, which gives us a, a nice pattern or a rope. Because the problem we're going to try to make right now and make it look like a rough end up string used within the miniature versions of a real-life models. This time, we need to make it somewhat smaller since the pattern right now is too big. So we can go with an a property spill tab, roll up a little bit. Within the UVA transformations were going to change the scale. So we're just going to change it from one all the way to, to, to make it a little bit smaller. Then we're going to want to change the normal density for the rope as well. Since right now it looks a little bit too noisy, porous were to rotate our lighting. And notice that. So what we can do is we can roll down within a properties Fill Tab. And within the parameters, we're gonna find a tab that's called clinical parameters. If we were to open up within it will want to change the normal intensity tab. Though, if we were to lower it, we're gonna be able to see that the pattern is not as intense. And we don't want it to change it to a too much, so we can change it to 0.7 instead. This way to normal map is not as noisy as before. Now the next thing that we'll want to do is change this color. We can do so by clicking this button within the Parameters tab as well. But we're just going to lighten it up just by a little bit. The rope a little bit of a brighter color. After applying the material, we're going to find that some of the detail that we had previously on the rope from the big normals is now missing. We have a look at it. By hiding it. We see that there was a pattern of the rope going all the way around. And now it's not as visible anymore. So we're going to fix that by creating yet another villa layer. What is properties? We're going to use the color tab so as hold Alt and turn off all the other channels by clicking on the color channel itself. The base color that I would like us to use is a darker color. Or this type of grey will do well enough for us. Or we will try and to Jim. And then later we're going to use the high channel as well. But we're going to adjust that afterwards accordingly, after we're done with the mask. And now to create the mask, I'm going to want to create a mask that has a bit mask. We can search for a curvature map and then select last one over here. Old curvature map from mesh stream at. Let's go ahead and select it. And we can add a mask editor to it. Now let's go ahead and add a generator. And let's search for a mask editor. So this one over here, you see what we're doing. We can always go to a mosque bw by holding Alt and clicking on his mask over here and a square root over here. And let's go back onto its mask editor. And then we'll want to make use out of the crevices within the rope pattern itself. To do that, we're going to have to invert the mass spec cameras. But let's use a global invert by clicking this button over here. And then we'll want to dark in the information within the mask by increasing the global balance, then it is being inverted. By increasing it, we're going to actually lower the amount of information. And let's keep it us 0.6. So and as for contrast, we wanted to have I'm bid more separation from gray and white and areas. So we're just going to increase it by quite a substantial amount. We can change it to a value of 0.4 like so. And then we might as well blow out a little bit. Is to sops an opt-in transition. Though let's use a global Bureau value and set it to 0.1 instead. Now that we have a mask like this, we can go back out of the mask view by clicking the letter m. Then let's go back onto a material and we'll want to enable the height map. This enabled, we can load with the highest value to get some crevasses within the rope. But the value that we can type in can be minus 0.45. So which will give us the sort of result that'll be enough on a rope. So we can move onto another section. So we can minimize this folder over here. 12. Creating Stylized 3D Tree Leaves: Then to texture number peace within history. And zoom out a little bit out of it. We are going to be texturing relief section within it. Let's go ahead and select this folder over here. Click Add a new folder so we can create it right above it. And let's create a pillar and drives the layer within the folder that we just made. Let's quickly change the base color. Color that we'd like to use is going to be green, but a base. But let's go ahead and use this value of green makes. So. Now let's go to the folder and add a color selection real quick. At a mask with color selection, pick a color. And let's add a top section like so. And right away, let's go back onto a green material that we just made and will want to adjust the roughness values. It's right now it's quite a bit to glossy for preferences. For the type of roughness that we are going to use is going to be a little bit I just above normal 0.5 of a value. So let's use a value of 0.55 instead. Like so. And to work on it, stones were gonna make yet another fill layer. Sand will want to make a lighter value for green. We have a little bit more, a little bit of a different value of a hue as well. This value over here will work quite well. Now, roughness values a little bit too big for us, and it's making it so glossy of I'd like to keep this value as is. And so once we are going to be done with applying the mask material, I reckon it'll be you blending in quite well with it. We quickly get ourselves a mask material and ahead and add a black mask. And on top of it, let's add a generator that we're going to get ourselves a curvature for it. So let's get ourselves sicker, richer mask. Just to make it easier for ourselves. Right away, is going to give us some nice results. But I'd like to transition to be just a bit more subtle so we can blur it out by quite a bit. Has got herself a value, 5.6, like so. And actually let's decrease the global balanced by a little bit as well. So let's change this to 0.4. Instead. It should go as the sort of result which OK, I like making it look as if in the material itself as quite smooth surface and still get the sort of results within a real-life, you'd have to use quite a soft material. Naturally. It will be a little bit more reflective light. And one more thing that we should do is we should get a little bit more of uneven color within it. So let's go ahead and make yet another fill layer. This time we're only going to be the collaboration. So let's hold Alt and click on the color base. Petal like so called data like us to use is going to be a little bit on the darker tone. After the fault gray material did nothing too dark. So this value will work well enough for us. But we're not going to be using it as a color. Instead, we're going to change the Blending Mode from normal. We're going to change it to multiply. This way it'll darken or color values. The lattice color will not affect the tree value itself. But once we get to the dark values, it'll darken the color. And that's why picking the color will work quite well enough for us. But a variations that we're going to make. Now we can go ahead and add a mass to this layer. And we can select Add bitmap mask. Within search bar. We can delete everything within it and search or simply clouds. You get ourselves clouds to. Let's go ahead and select close to like so. After wish, will want to select the clouds to effect itself within the Properties tab, open up and settings. And we'll just simply want to lower the balance by little bit. I'm going to change it to a value of 0.42, which gives us quite a nice value like so. Our icon that looks quite nice enough for us. But there's simply too much of a pattern, visible or thinner color variation, which I'm not quite a pan of it. So to fix that, we're going to add an effect and add a filter to it. Within the filter, you're going to find a blur effect. Let's make use art as the pole blur. With its elected. We're going to increase the value by quite a large mound. Just to make sure that amount is going to be properly done. I'm going to hold Alt and click on the mask itself, and click back on a blur. Better see how much of a blurriness I'm increasing it to. We can keep the value to a value of 2.8. This is quite a nice result photo collaboration. Now we can click em. You check it how it looks within the actual view. We can even rotate or object around just to make sure that we're satisfied with the result. Now when we're done with it, we can go ahead and minimize the folder like so. And move onto the tree trunk itself. 13. Texturing Stylized 3D Wood Bark: When I click on this folder within previously on the top, we're going to create a new folder that adding filler material and drag it to the folder. Going to reposition my camera a little bit. Also lower this. We get a proper view. Let's get the base color sorted. So let's go ahead and click on the color Select. And let's get ourselves a brownish tone as a base color. This upper Brown is the default will work quite well for us. Now we can add a mass to the folder. Go ahead and click on a folder, click Add mask. Add mask with color selection. And let's be a color, is blue color here. Let's go ahead and select this color. Now we can go back onto our fill layer that's within the folder. This IPO preference is a little bit too much for us. Go ahead and increase it a value of 0.6. Now the way I've modeled this tree trunk is to make it look as if a wire and modelling tool was used on an actual clay, give off those polished off strokes with somewhat of a sharp edges to them. We can make use out of these details were for masking techniques. So let's go ahead and make yet another fill layer. We're only going to be using the color. Though. Let's hold Alt and click on the Color channel within the probabilities tab and ask for a base color. We're going to pick nearly completely black, relate this column over here. And we're going to add a bitmap mask with a curvature added to it. We're going to find ourselves the tree mat for this one over here. And let's add a generator with a mask editor. For this case will want to increase the global balanced by quite a bit. So let's go ahead and increase it. We will also wanted the mass to be in the crevices instead. In the crevices instead. So let's go ahead and invert it. As well. As we are inverted, the global balance will be inverted as well. So we'll actually wanted to set this as 0.75 of a value just to get ourselves some nice tones, which gives us a nice chart. The fact as a plain texture for the coloring. We can also increase the global contrast. This to sharpen up the mask, decreasing to a value of 0.4. Then we can also add yet another per layer. So let's go ahead and add fill with a Effects menu. We're going to want to find a sand dry. So grandstand dry. This one over here. Where to select it. Then right away, if we were to go ahead and change the normal blending mode to subtract instead, and then decrease the balance of quite a large amount. So we can leave it as 0.03 and then change the password of this fill layer. A value of 40. This way we have some extra detail that'll make the black color look. Try it up a little bit, which gives it a nice overall result. Now we can also highlight some of the edges, the sharper ones as well. Highlight old HI polly detail and make the tree look a little bit more stylized. So we're going to get ourselves yet another fill layer. That is Phil, I, I'd like it to be a little bit more wider. I'm going to use a color that's really close to the wide value, like so. And all we need to do is add a black mask and add its generator, which is going to contain a curvature map mask as well. Verbage editor generator like so. We'll want to lower the balance all the way until we get only the edges. A value of 0.2 seems to do the trick. And it will also want to increase the contrast a little bit, just to show up and up again, the value of 0.2 books, that'll do well for us. Now we can simply adjust the opacity of this mass curvature layer. So changing this, lowering all the way to 8% will do the trick. If we were to hide and unhide this layer. Change in curvature, which is what we want to give the depth to the tree. And now finally, we are left is this wing over here. So in order for us to texture it, we can reuse the previously made texture that we did for the tree trunk. So let's go ahead and select the folder. And we just did. And let's Clear Control D To make a duplicate of it. And let's go ahead and go through color selection. Remove the previous color, because color, and select this over here. Now if you close it in, get a little bit closer and zoom in through color, you'll notice that if we were to pick a color has a slight variation within the, within a swing itself. So in order to offset that, we are going to increase the tolerance a little bit. Since the variation is not that big, well, I'm going to do is increase it by 0.1. So I'm going to increase it to all the way to point to or value. This'll make sure that whichever side you pick, it'll still keep the entire swinging selected. So with that in mind, let's now go onto the folder itself, opening it up. And first of all, what I'd like us to do is change the original base color of the swing. And all we need to do is locate the lowest filler within this folder. There's going to be right. This one then will want to increase the base color. And I'm just going to make it a quiet light like this. We can also go onto the white layer, the layer that we made to highlight the edges. We can select the mask and increase the capacity of this layer as well. Just to highlight some of the detail. So let's go ahead and change this to a value of 12. I'm just going to click on value and write it in myself like so to get the edges look a little bit more worn-out. Also containing the same cartoonish look. Now one more thing that I would like us to do is like the foundation layer that we had previously. And now we're going to make use out of the color 3D map that has the difference within it. One good thing about the Color ID map that has a slight offset within its color is that you can make use out of it. So previously. And we increase the tolerance to make sure that both of the pisa selected and how in this case, we're going to do the exact opposite. So let's go ahead and create a bilayer. And then we'll want to hold Alt and look on the base color channel to remove all the other channels. We will then want to select the color base color. We're going to pick a color that was used previously. So I'm just going to hover over this square over here, select identical color, like so. Then what do we want to do is we'll want to slightly adjust the value of it. Though. I'm just going to lower the u value by a little bit. Right now it's set to 0.084. And if I were to lower it to 0.078 instead, we're going to get a slightly different variation of it. Now we're gonna make use out of it and rate a mask with a color selection to it. Then we're going to pick a color. And we're going to pick one of those sides. If we were now to hold Alt and click on the mask, like so. You see what's happening within the mass selection. Now let's go back onto color selection. And now if we were to decrease the tolerance for this mask, we can see the other side disappearing. So normally you'd have to manually tweak it out. In order to find the perfect value I would assign, we can just use the value of 0.03. And we're also going to remove the hardness, still it a bit in order to ease off the transition. So setting the hardness to r value of 0.9 will work well enough for us to ease it off a little bit. And we can click and see the difference. But we're just going to have a small differentiation between those two boards. Since the plan was to just have them make it look as they are to several pieces. There difference is minimal. But it does help to sell off, to look after we're done with it and we can go ahead and minimize this folder and move on to another piece. 14. Texturing Stylized Wood Planks: And so now for the next piece, we're going to be texting to house. So this piece over here. So in order for us to do that, we're going to be located in the House who connection set list. And the one that we want this house, a underscore Matt. But once we selected, we can go back onto the focus mode like we did previously. And begin detection process. Though for the base that we want to do is we're going to add a layer. And the base color that we're going to use is going to be a brownish color. So a sandy brown colour like this one will do well enough for us. Since we want a blank type of color is going to actually look like a piece of cardboard or something of the sort. It's to make it so it ruined, sat out in the back is where Texan least blanks over here. Rwanda keep the blank look behind them. Simply because we already have so much detail within this house and we don't want it to make it too noisy. So let's put a roughness as well. We're gonna want to increase it by quite a substantial amount, is we don't want it to have any type of glossiness, though. Let's keep it at a value of 0.8. Once we're done with this bilayer, we can move on to the planks within it. So let's go ahead and make a nuclear. And then straight away, let's go ahead and make a folder for it. And drag this bilayer within this folder. Then for this folder, we're going to want to add a color selection mask. So let's go ahead and add an effect with color selection. Pick a color. And then let's go ahead and select the blue one over here. And also will want to select this green piece of wood planks over here. Though both these planks and these blanks are going to be selected, had these set as a different color 3D maps and so on to have a different color variation in comparison to the rest of the house. Once we have our mass properly set up, we can go back onto our fill layer within this folder. And a base color we're going to use for this length, going to be darker brown. Color will work quite well for us as a starting point. And then we'll also want to increase the roughness by a little bit. But let's get ourselves a value of 0.55. Like so. Then right away, let's get ourselves the coloration police blanks over here to separate him from the rest. So let's go ahead and make a bilayer. We're not going to be using any other channels except for colors. So let's hold Alt and click on the color layer like so. Then right away we want to add a mask with the color selection to it. So let's go ahead and do that and pick these points over here. And now I'd like us to change the normal blending mode to multiply, since we want to overlay the color and darken these planks and comparison throb blanks over here. So that'll I guess to use is going to have some bit of attend. So I'm going to increase the saturation and get this type of color like so. This'll work quite well for us. But it's next step. We're going to add some color variation to it. So let's add yet another fill layer. Remove all double channels except for the base color holding Alton and click your mouse button. And let's get a different tint color. We've got ourselves a little bit of a greenish tint like so. So we'd have some different collaborations within the warden. And now that we have a gala selected, we can apply a mask. And so for the mask will want to apply a bitmap mask, lead to you texture top completely like so. And search for cloud. This time we're going to be using Cloud one since it has a nice consistent noise. Oh, let's go ahead and select it. Then go into its properties. And we'll want to decrease its balance. So from 0.5, we want to decrease it by half. So let's go ahead and type it in 0.25. instead. Then we will also want to blend it in the color by blurring as mouse gout. So let's add an effect at filter. And let's go ahead and search for how to filter for a blur. So let's go ahead and select it. And then let's go ahead and increase the blurriness by quite a little bit. So let's make it two, viewpoint free, free. Like So. With this mass, we can now change the capacity. What is collaboration? And for that we're going to be changing this value over here. We want quite a small amount. Let's go ahead and change it to a value of 25, like so. Then we might as well highlight the edges of the planks as well. We'll put add, I'm going to create a bilayer. This time the base color that we're gonna use is going to be actually, let's go ahead and change the Blending Mode from normal to a screen. This way we can just lighten the color itself. So if it's black, it's going to do nothing. And if we go ahead and increase it for black, stars light in color. So these upper grade up can use, would be this one over here, somewhat in the middle, like so. And then put a roughness value. We can keep this in the middle as well. So a value of 0.5 and work well for us is to have a little bit more glossiness and comparison through base. And afterwards, we can go ahead and add a mask. Let's add a black mask and add effect. Who added generator? Ic. So regenerate. Let's go ahead and buy the curvature map. So we've got the edges of the planks. Then we'll want to decrease the global balance by quite a substantial amount. Let's go ahead and keep it us 0.13 and get ourselves a little bit of a blur or getting a value of 0.05. Now we can close down as folder to move onto next step, let's go ahead and select it. We can create objects above it. And now what we're going to be creating and material police pulls over here. So let's go ahead and create a pillar. And let's create a folder so we could add a mass to it. Let's drag this fill layer that we just created onto the folder. Go ahead and select it. At a mosque at mass, we've called selection. Pick a color and let's go ahead and select this button here. What a base color. We're going to get ourselves a brownish color as well. But this have a valuable work well enough for us. And we're also going to want to increase the roughness value for it. And the type of value that we can use in B, 0.28 a2, that is, now we can highlight as detailed by adding a curvature map. So let's go ahead and create a new bilayer. Then let's go ahead and add a mask like mask. And let's add a generator. Within a generator like previously, we're going to use the curvature map, like so. And put its curvature map, the global violence is going to be quite low. So a value of 0.06 seems to be quite low, right? Value. Now we can go back on to the material itself. Material, the base color seems to be a writer, but I want to remove the opacity a little bit so it would blend in with the base color. So let's go ahead and load a valley by quieter, substantial amount to evaluate what he seems to do the trick. Then, as for the roughness, going to change this to a value point, we'll go ahead and change it to a value of 0.7, just to have it the motorway variation and make it look as if it has more detail then it does. Isn't much else we need to do with the poles. We can move on to another piece. Let's go ahead and minimize the folder within a folder itself. And now we're going to be moving onto the door section of the house. So let's go ahead and add a bilayer. And then let's add a folder and drag the pillai or within a folder. Click on the folder. And let's go ahead and add a mass with color selection. This time we're going to be selecting a couple of pieces. So let's go ahead and pick a color. Select these blanks over here, as well as the place that our horizontal to it. It is one over here. We're going to leave the door knob. Then I'm planning to textured adorn up alongside the nails over here. Since we're only going to be having them with simple metallic material that we, we might as well combined them together. So since we have the folder ready with the mask on, we're gonna go back onto pillar we had previously. And this time we're going to have a base color that's slightly more saturated with the brown color and dark and as well, just have a brown color. Works quite well. Let's go ahead and use this. And as for the roughness, I'd like you to increase it to a value of 0.6, just to have it a little bit more of a glossary adore in comparison to the rest base of the house. And as for next part, you do it in a similar way that we did previously to the blanks. So we're going to add a collaboration is go ahead and add a bilayer at a mass to it. Added with a bitmask, misuse clouds one. Then we can go on to the properties within the clouds and lowered a balanced by quite a bit. And we can use a value of 0.2. And I'd also like to increase the little, a little bit. In this section, I'd like us to increase the scale by just a little bit. So a value of 1.3 or I can that'll do the trick. Will also want to lend into colors like we did previously. So let's go ahead and add a filter. And similarly, we're going to use a blurring value like so, where quite a large blurred density. So let's use a value of 0.8. It is r over here. Then let's go back into material itself. We're only going to be using the color material channel. So let's hold Alt and click on the Color. And let's use a similar color that we used previously to blend into values, which was this color we hear the greenish tint like so. The sign will also want to login opacity, liquidity. Previously, we can keep the value slightly higher of a value in comparison to the planks. And then we might as well I highlight the SDL image related blanks. We can make actually make use out of the same layer that we would have to remake it step-by-step. So if we were to go down onto our folder one, then the layer right underneath it, which has the mask of a curvature map to this one over here. And just go ahead and select this bilayer like Control-C to copy it. Now we can go back onto our, although in the top. Then select this folder. Actually we need to select the bilayer that's right within it, right within it. But the one that has the collaboration that we just did. And then click Control V And then click Ctrl B, you paste in the curvature map like so. Now we have a highlighted area that we can actually lowered Ambassador Valley for it. So let's go on to capacity and lower its value by a little bit. Let's go ahead and keep the value to a 70. So which will give us this sort of a result. And I'd also like to have a different width variation. What is horizontal lines? So we're going to create a new layer. On top of it, changed the material channels. So we'll do only the color would be applied as hold Alt and click on Color. Then we're going to be using the multiply bending mode as well. Let's go ahead and change it to multiply and add. Before we change the base color, we can add a mask. Mask. We have color selection, bigger color. We'll go ahead and select the horizontal lines like so. Then we're going to go back onto our material. Alright, now since we're using the multiply and it is above the layer with the curvature map on it. We're also affecting the edges as well. In this case, actually is quite beneficial for us, since giving us the variation within edges makes it look more as if a different sort of avoid, which is quite nice. So what is type of base color? We can add a little bit more saturation to yellow. Orangey yellow, like so. And I'll keep it wrapper bright, though not to change the darkness value too much within this. So this will work quite well enough for us. Now we can minimize this folder and move on to next step. 15. Texturing 3D Cartoon Wood Rings: Now the next piece that we're going to be texturing are going to be the supporting poles for the roof. So let's make a new folder for it. Better ourselves, a pillai or corporate as well. And put it within the folder like so. And I select back onto folder and add a color selection to it. You pick a color. We're going to go ahead and get ourselves. These poles are here, which are going to select these ones over here, as well as the ones on our roof as well. Now we can go back onto the material within this folder and asked for a base color. We're going to get ourselves a brownish color. So let's get ourselves somewhat of a British brown color like so. And as for the roughness, will want to increase this to a value of 0.6. Oh, let's go ahead and do that. A value of 0.6, that is, this will be a nice base that we can make use of it. Then we can go ahead and add some collaboration to it. So let's create a bilayer with only the Color channel selected. So let's hold Alt and click and click on Mars, but not on it. And put a base color will also want to get ourselves a greenish color like so. This time we can make it just a little bit darker. But it's upper greenish color like so. And to make the collaboration will want to add a mask which includes a bit my mask, and get ourselves a cloud's one. And let's go ahead and select clouds themselves. A better balance value of 0.2 will work quite well. And let's blend it in as well. So let's go ahead and add a filter which will include the blending mode. And let's increase the intensity to it. We don't want it to crease it too much. I guess we can keep it as a value of 0.3. And we'll also want to get herself say, curvature map with the fill layer. So let's go ahead and make a new pillar at a mask with a black mask at affect. And let's go ahead and add the generator. In the generator, let's go ahead and find a curvature map and selected and lower global balance. We can get ourselves a value of 0.06. Now we can go back on to the upper layer. And we're going to be using the base colored cell upon Li. So, so let's go ahead and hold Alt and click on the color. And we don't really need to change the base color. We can just blend it in with the rest of the material by lowering the opacity of it. We don't want it to get to HIV recolor revalue. So let's get ourselves a value of 20 this time. Like so. Now for a sec step, we're going to add some color variations within the log ends over here. So for us to do that, we're going to want to rate a pillar. And this time we're also going to be creating a folder within this already-existing folder, which is going to simply add folder and drag our previously made fill layer into it. And now we have a folder file located. We're kind of hold it for. But we're going to do that since we want to have multiple layers, blend in some colors. And we want to have everything done within only the log ends. So this time, let's go ahead and select Folder. And we'll want to add a black mask. This time we can make use of the color selection. Since the N-bits Don exactly how this type of an option, this is only one color selection, but we're going to have to select N-bits manually and put that within the material view. And we can do is we can go ahead and add it back in the news add paint layer. Even if you can't paint the mess we've without such an effect, it helps to keep it as a layer fag put up blending purposes, as well as helping it to manipulate the texture. We shall see later on how to do it. Anyway, the way we're going to make use of this layer is by making use of the polygon tool tool. So this one over here on left corner. Or alternatively we can click the number four. We cannot keyboard to open it up. And with it, we're also going to make sure we change the fill mode from polygon. Phil, do you reach out fill this. All these n bits have actually separate UV shells. If we were to go onto the 3D, 2D view, we can see that these ends over here are completely separate and attached from the cylinders and the rest of the house as well. So with that in mind, we were to have the fill mode selected as UV chunks. We can go ahead and click on these and bits like So. What we want to do now is select every single log and bid from the support of the roof. Make so you make a mistake by selecting a different place. You can click Control said, Go and do your step. And just make sure that all the bits are selected. And these log bits and end as well. So just like that, it's like all the N-bits, the logs. And now we can click one to go back onto the paintbrush. And so we're going to have to see the wireframe of the mesh. Now we're still not done just yet because right now the mask selected is Robert Sharp. Actually, I'm going to hold Alt and click on the mass within this folder so I can show you what I mean. And right now the edges are somewhat sharp and we don't want that to happen. So to fix that, we're going to be adding a filter. So let's go ahead and add it back and click Add Filter. And then within this filter, we're going to be searching for a bevel. So we'll be wanting to use a bubble functionality. If we were to go ahead and selected by default, you'll notice that it makes them mass quite steep. But basically, what the bevel does is if the value's going to be negative, the mass goes inwards on itself. But if it goes outwards that are positive values, it bleeds out outwards. Right now it's not. A good example. Is the way the beveling option works is it makes you sadder of a 2D texture space. And if I were to go within it and notice the reason why the mask is acting this way. Because it's trying to, it's because it's trying to expand the mask upwards onto our section of the bids. And because we have it as a separate shell, we're getting the texture of the mask onto the pieces of sections we wouldn't have expected. Luckily, we don't need to use that, so we just wanted to go inwards instead. So once the Masdar Shrinking, we're gonna get the sorted result. So the type of value we want to use is quite low. And that is going to be minus 0.5. And then we can click enter. And then we're also going to want to smooth it out a transition a little bit. So if we were to increase the smoothing out option over here, it'll basically blur out the mask. So we want to use a value of 0.1 for that is to get ourselves a smooth transition. And now we have all the n bits selected for nice mask. And we can click letter M will go out of the mask view selection. And also I'm gonna go back onto the 3D view. Now within this folder, we can go on AAA or that were made previously within it. The one with the default values to change the base color opposites. So as hold Alt and click on the color and disable the Albert channels. And our photo-based color. We're going to be using a whitish color with some slight tinge of yellow. And we're also going to be highlighting the detail within a log sections. Though for that, we're going to be creating a bilayer right above the one that we did previously. And just like we did previously it we're going to hold Alt and click on color. We're only using the color channel for this one. Then for the base color, we're gonna get ourselves a black lawyer. It charged black color like so. For this type of a color, value will work well enough for us. And for next step we want to add a mass to it. So let's go ahead and add a mask. I'd like mask. And we'll want to add generator for the curvature map. And within it, let's go ahead and find a curvature map and apply it onto our mask. Right away. You'll notice that instead of going into the Croesus, black color goes everywhere, except within those colors. Though, right away, we can tell that we need a global invert the entire mask. And then we'll need to increase the value itself, which we can do by lowering the global balance since it is being inverted. So instead of increasing it, we need to lower it instead. So let's get ourselves a value of 0.3, which will give us some nicely, they'll around it. It also increased the global contrast and make sure it's not bleeding out. Let's start with the crevices. Once we increase the value to a 0.6, it sharpens up the crevices. And we can also increase the global glory for it, just to make sure that mass is not a sharp. So we can use a value of 0.1 is to blend that in a little bit. And that'll work well enough for us. But we can go ahead and minimize this folder that we had for the logins. And actually we're done with what supports as well. But we might as well minimize the folder as well. 16. Texturing Metal Material: And we'll be done with these folders. We can go ahead and minimize them. Excel, and select the one on the top so we could add things on top of it. Now we might as well add some metal material onto your nails, as well as the metal onto the door handle. In order for us to do that, we're gonna make use of the shelf itself again. I'm just going to expand it a little bit with its material selected. But I'll go ahead and open up the filter tab. And then within it, let's go ahead and buy the metal. For a battle that I like to use is going to be our ungraded. And that way we can apply it onto the scene is by simply holding it and dragging it onto our object like so. Make sure we drag it onto the house itself. Otherwise, the material is going to be applied onto another piece of a model. And we don't want that to happen. Then either be dragged it out. We get iron grinded within a house, a mat, and on top of the folders. Now I'm just gonna go ahead and reset the UI is to minimize the shelf itself. Now if I graded, the first thing that we can do is add a mask and add a color selection to it. Then we can go ahead and pick a color and a touch of color that we want to pick. There's going to be these dots over here. So darkish purple ones, like so. And we'll also want to select the handle over here. So let's go ahead and select the handle. With the selected, we can now go back and make some adjustments to the metal material. So let's go ahead and click on it. And let's go downwards a little bit. We're gonna probably SAB. Then the first thing we want to change is this roughness, areas way to shiny or what we're trying to achieve. You can leave it to a value of 0.7. Let's go ahead and type that in. And also, we're going to want to lower down the color value of the material itself so that we can go ahead and select the material itself. Like so. In all we want to do is low but overall value or under surmount, that seems to be quite well. Just so it wouldn't be as eye-catching in comparison to the rest of the house. And that's pretty much it for the metal. And now we can go ahead and move onto number, which in this case it's going to be itself. 17. Painting a House Roof: So for it, we can make a new folder and add the fill layer and drag the per layer onto our newly created folder. Then we can go back and select onto the folder. Click Add mask. Mask with course selection. Bigger color. Design will want to select a roof tiles that are top. Though. Let's go ahead and do that. And we can go back onto the bilayer and put a base color. I'd like us to get a reddish color, a reddish tint to it. Quite highly saturated red will work nicely for us. Next, for the roughness, will want to lower this roughness by quite a bit. So we can have a value of 0.55. This sword would still have a little bit of a glossiness in comparison to the rest of the house, but not too much and not too much. So we wouldn't have a weird juxtaposition. Next base, we can add some collaboration to it. Let's add a fill layer, and let's remove everything else except for base color. Hold Alt, and click on the color and put a base color. Let's select the slowly saturated greenish tint, which I think will work quite well enough for us that afterwards we can go ahead and add a mask with a bitmap mask selected. Let's leave the top section and therefore clouds like a select clause one. And to make adjustments, let's go into its properties. And let's lobe it's value by quiet a little bit. So we can keep a value of 0.2 pi ZAB. Some nice consistent variation within roof tiles. And also I'd like to increase the contrast, this to sharpen it up so we can get ourselves a contrast of 0.5, like so. Then we might as well blurred this detail out as well. Let's go and add a filter. And a filter. Let's go ahead and find a blur, blur option. And let's go ahead and increase the blurriness often. And we can go ahead and increase it to a value of 0.35. Just to make sure everything is nicely blended in within a roof tiles. In regards to the color of the values are quite like the mass we're having right now. The color differentiation is a little bit too much for us. So we're just going to lower the opacity off the base color. We're just going to lower it by quite a bit. But say we can keep it to a value of 23. Going to want to have a slight variation of tones that are roof tiles, just to make it look like it has a different thickness of the color paint painted on top of it. So it just looks quite nice. We can move on onto yet another layer. So let's go ahead and add a feature layer. We have this layer. We're going to make use of the verb richer mask of the mesh and just add some extra details to reptiles. Let's firstly go ahead and change material for it. Double material I'd like us to use is going to be somewhat of a more orangey color. Took a lot like this will work quite well enough for us. Then asked for roughness. We don't want it to have the same roughness as the foundation read, but I don't want it to go off too much off of it. And also wanted to have the corners of the tiles are a little bit lost year in China. I'm gonna go with the value of 0.45. Then I'm going to check the way the glossiness is, just to make sure that it is the right value. Once we're happy with the value, we can move on onto making its mask. Let's go ahead and add a bitmap mask. Then we're going to search bar. Let's go ahead and search for house a. Then let's find a curvature map from mesh house a mat. And we can go ahead and select it. And right away we can go into the layer mask off of it, is to view how it looks like. Let's hold Alt and click on the mask. And then let's go and add an effect. And it will want to add levels. So we're going to make some adjustments that are curvature map. We want to remove all the gray areas, which is this bump over here in our graph that we're going to have to drag all the way or dark arrow on the top over its bump. And we can land it into this value over here. And between those bumps and afterwards. And we can move input maximum just a little bit closer to the curvature of the graph. Like so. And now I'd also like to change the input gamma, the arrow in the middle, just to drag it left a little bit lead place so we can get ourselves to a value of 0.5. And so we're going to have a little bit more real contrast. And then also like us to move the output maximum. There are on the right and a bottom to soak allover the overall alpha of the channel. We're going to have the mass is set to its extreme. I'm just going to set a value to a value of 0.8. And then put the next bit. We're going to have to add yet the number of this time we're adding a filter. And for a filter or adding a bevel option. Now if the bevel option, we're going to want to increase its distance instead. By default are participants was 0, but still have no result are added. But if you start adding the distance, we're gonna get to sort of a result which is basically just going to pick out an extend all the biggest points within or mask. So right now what I'd like us to do is that a value 2 to go ahead and click Enter. And I'd also like to increase the smoothening effect. It's up to a value of 0.5. This will work quite well for us. This way we get ourselves a mass that's extended a little bit outwards. It'll give us a nice general pattern of the overall roof. So now if you click them and go back onto our view, we get ourselves a nice general highlight in some areas of the pattern. And then one more final layer that are like us to do is you've got more detail out of these styles by darkening some of the areas. Instead, we're gonna make yet another fill layer. What is base color? This time, we're going to get ourselves through darkish color over. We also wanted to have somewhat of a purple is shade. I'm going to use the value like this. So it wouldn't be completely black or value. Since this will give us some nice shady look to it. Over this color mind. We can also change the roughness value. And I'll put a roughness value would like us to use is a value of 0.5, a value like this. And now we can add a mask to it. So like we did previously, we're going to add a bitmap mask with the house a curvature. So this one over here. We can hold Alt and click on the mass to open up pits mask viewer. Now let's add a level, which is level we're going to do somewhat of an opposite to what we did previously with far lighter layer. So we'll want this arrow on the top right. You'll go within this value over here. And we can get a value somewhere that a 0.5 to five. And then as for Black value, I wanted to drag it. Here's our rule where the graph starts increasing. So a value of 0.37 seems to be doing a trick. And then ask for input gamma. I'd like us to get ourselves to gamma through left just to increase the sharpness of the mask. And now one more thing left to do is we wanted to change the way the mask behaves. So we want to have the crevices instead, instead of the tiles. And so for that, we'll want to invert the levels. Let's go ahead and click on this button over here. Now we can add some blurriness to it. So let's go ahead and add an effect ADB filter, like the filter and add a blur. What does blur? You don't have to keep it as to high value, we can get ourselves a value of 0.2 K. So then one more thing that we can do is get some variation within this mask itself. But let's go ahead and add affect Advil. And within this grayscale, we're gonna search for clouds and said, this time I'd like us to use clouds free is to get more of a variety within the mask. And I'd like us to increase the mass 2.4. Recent contrast a little bit, the value of 0.3. And now we'll want to change the blending in forties clouds from normal to subtract. And we'll also want to change his capacity for this part of the mask. So within this clade list, we're going to change this value, though from a 100. We'll want to keep this to a value of 25 x. So this, so we could get a little bit more variation. Differentiation will finish mask itself. Now if we click em and have a look at it, how it looks like, which gets basic highlights in the crevices, software mask. 18. Stylizing a Concrete Chimney: We're left with couple of more pieces for this house. So first of all, let's minimize the roof tiles of the folder. And now we're gonna be doing this section over here, the chimney itself decider of let's get ourselves a fill layer. Oh, let's make sure we have the folder selected on the top. And let's click the bilayer and says we're going to be adding multiple layers. And we wanted to keep the same mask. Let's go ahead and create a folder, right, that the layer within the folder. Now, let's go ahead and throw folder itself. And we'll want to add color selection to it. Go ahead and do that. Pick the color. We're going to have the chimney itself. We also want as decorative breaks, as well as this part on the top section as well. Rarely went to edges. But I need to select the stop bit over here. You can leave it as is planning to do something later on with it. So we basically have three color selection and values like that for the chimney. Now with the selection done, we can go back on triple layer. For a sphere layer like this chimney to be, to have a somewhat of a cartoonish looking concrete style to it. So the first thing I'd like us to do is get ourselves a roughness to be quite rough. So directly in a value of 0.9 will do the trick. We're going to check the roughness real quick by a change in lighting. Now the next thing, I guess to change the base color for it. So I sandy type of Brown, quite well, a little bit more saturated at a base color that are basically either we have to this house. Now we can write away, move onto yet the number per layer. So just like we did previously, we've gotta get some collaboration out of it. Go ahead and click old and normal color, channel it so that the base color, we want to get us all as a brownish color. So a darker color but Brown. Where for a little bit more with different tint like this type of a brown color selected, we can go and add a mask and a bit my mask leaked information on top and social cloud. We're going to add clouds. By the way, we can hold Alt, Enter it's mask. Then we're going to click on clouds properties. Now the first thing that we wanted to do is increase the balance. We can get a value of 0.2. And the next thing I'd like us to do is we go up a little bit within its properties and will want to change the UV transformations. By increasing the scale. We can make the detail more repetitive and more off the Detail itself. But by lowering the scale, we get less of the detail and moral blurry or mask. And we can change this to a value of 0.5. So this way we got ourselves a nice detail for the mask. It looks quite well enough for us. We can click the letter M will back onto the material view. And we have this sort of difference within its own Briggs oa, but will not look quite as great. And they have a different texture scale within a UV said. And so we might as well remove them from the mask. So to do that, we're going to add an effect and will want to add a selection like so. That in this case, we'll want to invert the value of an output node by inverting it, we're gonna tell it, or color selection is going to make the mask black instead. Now, if we select the bricks, we're gonna get ourselves the mass to be black. Like so. What is brick decorations that avoid this? Collaboration will not affect these breaks. And so we can leave them off as it is. Now. It's for the bricks themselves. Want to add a separate filler. Then let's change the material channel to beat a color only by holding Alt and clicking or most button. And as for base color, we got ourselves a sort of a brownish color like so. Then afterwards we can add a mask with the gold selection. What is breaks? Just like that. And afterwards, I'd like us to get a color variation for this top section of the chimney as well. So let's go ahead and add yet on our fill layer. Get ourselves only the channel for a color and put a base color. We're just going to get this lightened brownish color like so. Well with this color, we can add a mask. At mask with color selection. Pick a color. And let's add a top chimney like so. Not on. Finally, just looks quite bland though. I'd like us to add some extra detail. We gotta settle some marble look or concrete before it. We're gonna be adding a bilayer that contains a mask. But before adding a mask, let's sort out the Properties tab. But a type of material that are like us to create is going to be a charcoal look. We're just going to add a somewhat of a black color. We have quite a large roughness. So let's change this to 0.95. Like so is to have vita i amount of roughness, so there wouldn't be much of gloss. This looks quite well. Is it a full material? So now what we're going to do is add a mask with a bitmap mask, like so. And then we're going to find ourselves a grudge map. Wonder we're looking for is a grudge concrete branch, concrete, old. So this one over here. So this one has quite a consistent and dried up looking Alpha channel two it, oh, let's go ahead and use this one. Now to make sure we have the right consistency. We're going to go onto the property's value. Make sure we are getting more detailed. We can these parts, we're going to change the scale from one. And let's go ahead and change it all the way to four instead. Like so. Now afterwards will also want to increase the contrast divs to sharpen up the mask. But let's go ahead and change it to a value of 0.35. Like so. Then we're only going to be wanting to use this mask. Only for this concrete look behind the breaks, we don't want it to be affecting it to bring declaration itself. So for that we'll want to add an effect and add color selection. And then it will want to invert the color output value to black. Then we can pick a color that's like the books themselves, is to make sure that it was being removed. Just looks like a good base of the mass photos look. Now we want to make sure that we are controlling whether it's mask is being applied. So for that, we'll want to add an effect and will want to add paint layer like so. Now with this Bain layer, we can go ahead and change this from normal and change it to subtract instead. And afterwards, we want to click for to go to polygon fill and will want to change our poly fill mode to be I mash bill instead. This way we can get to select the entire chimney. And now with this selected and a color being set to one, all the way to a white, we can go ahead and select a shimmy like So, just to remove the entire mask. And then afterwards we'll want to hit one will go back onto our normal brush. Then we'll want to change our brush color from white to black. Though within a property Spain tab will go all the way down. We can change the grayscale Ford is brush. So if we were to be white, so I'm going to do anything because why it is actually subtracting the entire mask. But if we were to change it to black, we can just click X to invert a mask like so. Now if we're to paintbrush, we've got ourselves a suitable value using it, but we can do is we can get a couple of brushstrokes. Next, rubrics like so. We can also use the brackets will overvalue the size of the brush. All we're going to do is get a couple of brushstrokes around the brakes like so. If we want to remove it, we can click X remembered the Properties pane tab and to get ourselves y-value. And that afterwards, we can just use it to remove some of it. And then clicking X will go back onto black, which we'll be adding it due to paint. It is subtracting it. So using that, we're just gonna go around the bricks and get ourselves some dirty effect to it. Just to stylize it a little bit. But let's now make it anything too much. Just keep it minimal. But we're just adding it near all the bricks just to give it a nice art side look to it. When I'm adding it anywhere else. Since we still want to keep an overall aesthetics of a cartoonish, clean look. Again, we're just adding it older breaks like so. We can go up with an a property spin tab and change the size manually within his brush tab over here. And we're changing it like so. You get different burst scale or small or as big as you want it to be. But again, I just prefer to use the shortcut for it. Anyway. I'm just getting some of the brushstrokes, clicking extra change the color for it. And while it's wide, it's removing all the extra excess from the mask. Just like that. And that's pretty much it from the chimney. But we can go ahead and close down this folder like so. Then the final thing that we're left to do with is getting ourselves to end up the chimney as well as the window is done. So these areas over here. And so for that, I'd like us to create a bilayer, just a normal fill layer. We, first of all, let's make sure we get the folder selected all the top. And let's go ahead and create a bilayer and put his layer. Let's go ahead and show it away. Add a mask with a color selection. Then let's go ahead and pick a color. And the one that we want to pick is going to be the black bits over here. So going to be selecting like this. And also like us to selected or chimney on the top with this piece over here. And let's go ahead and select it. And now we have the window sections as well as the top of a Junie selected. And now what I'd like us to do is first of all, go back onto the material and then us for base color, I'd like you to make it completely black. Even though normally I wouldn't do it. Just to go with a cartoonish look and remove all the detail from it. And then the next step I'd like us to do is within the roughness channel. I'd like it to increase it all the way to wide. This way. The black will not have any reflection to it whatsoever. Finally, what I'd like us to do is I'd like us to make use out of the high channel within this material over here. So to make use out of it, would like us to do is I like it to get a value of a negative attitude. So if we were to drag it all the way to negative one, we'll just get ourselves. So an information detail that makes it look like it's going inside of an object when the lighting is being applied. This also applies for the chimney. But most importantly, I wanted to have this height information applied. What a window sections. Since when I was adding the color 3D maps, I was not actually adding any depth through the normal map within the high poly versions of the meshes. It's not actually having any death within it whatsoever. Since I only had a simple planes attached to the top sections, just all could paint id maps within them. So because of that, we're needing to add the height information, the high detail to it, which again puts it then within it, adding more deaf to the overall object. 19. Reapplying Material Textures: We can now move on to another house. However, in this case, we're going to make use of the materials that we just did from house a and get ourselves materials onto house be instead. So that way we can do it. If we were to have the house a mat selected, we can now select the fill layer from top hold Shift and then select the layer at the very bottom like so. We don't need to use the layer one since that is the fault one that has no information. And we just didn't delete it. So now with all of its elected, we're also going to be deselected a folder that's just above on a top, folder seven, which is a chimney, that we can do so by holding Control and left mouse button, again, holding Control and the selecting this concrete folder like so. Just to make sure we're not selecting this one, then this Arbor Building does not have any chimney or any concrete material to it. There is no need for this material to be copied. And away, we follow those selected. We can now go ahead and click Control and see you copy all of the materials. And go to house, be mad. And then within it. And within it, all we need to do is click Control B. Make a paste within the house. Even with all the materials pasted, we're still not quite done just yet. And some of the materials and get exported properly. Now, the ones who have a color selection mask applied are going to be just fine. Since the color selection that were used are I actually identically same. So the roof, for example, heads, yellow tiles of the color idiom app. So even with a calorie, the selection haven't selected to be of this House. The mask is going to be reapplied onto this mask without much of an issue. That's not going to be a problem for us. And these are going to be fine. Also the other mass that are going to be fine are going to be applying highlights on the side. So if you have a look on the planks themselves, you'll notice that the highlights are actually using the curb generators. And because it's using the curve generator, and it automatically applies a different curvature map. So previously it was the curvature map from mesh house a mad over this time because it is being applied onto a different mesh. It's using a different curvature map, in which case it is how it's beam underscore mat. That's quite easy to reapply the generator curvature maps lake, so which is nice enough. Now OS photo roof itself, it is actually being applied quite nicely in this occasion as well. However, in some cases the mass doesn't actually apply as well as this time. That is because if we have a look at a folder itself, religious scroll all the way up onto thread folder prototype itself. So the folder itself is actually using different mask data generator. While previously we used to generate curvature. This time we were using the fill layer and a finite well in this case, the curvature map has applied it properly and switch from house a underscore math. A house be underscore math curvature map. If I did that, sometimes it doesn't actually always like to switch around. So if by any chance you get no highlight from the lighter colors or the darker colors, all you'd have to do is locate the fill layer that we did previously. So this one over here, I can check it by hiding and on hiding the layer and go to the fill layer. Check the grayscale. And if it's not the right one, we can always go onto it and just find ourselves to the appropriate one. So in this case, it would be hows b for which are map to this one over here. In some cases, while texturing it, I find myself that it does give errors every once in awhile. And that is a reason why I just wanted you to know that while using this, you just need to be a little bit more wary when reapplying it onto different models and meshes. Again, this time, it did applied quite nicely to us. So we don't really need to do anything else for it. And I'm just checking it just in case the rest of the house. I'll also turn on the focused mode just in case just to make sure that everything is fine. The one more thing that I'd like us to do is get ourselves to plank material. So the first folder that we did, well, the one and we'll need to reapply the color selection or a tablet as well. And it's, this bit is not actually using any material right now. But as because I have a different color selection for it. So in order to fix that, if we were to select the folder with the wooden planks material, the mask of itself. Then we can go on three-column selection. And for it, we want to pick a color and just simply add these blanks on top like so out away, it'll be automatically applied onto the top section as well. Also, I'd like us to select the supports over here. So let's go ahead and pick a color and get out of it as well. We don't need to create new material folium, this'll work just fine. And how if not done, one more thing that I'd like us to do is just get ourselves the same color as we had for these blanks as well. You'd be on the top over here. So for that, we're just going to locate the fill layer that we did previously. I believe that's going to be failure-free. We're just making sure that that is the one by od hiding of hiding it. I can see that the collaboration is changing over here. So we're just going to go ahead and select this mask for the Philae are free. Then go to color selection and pick a color. You call it there were picking is the one on top, like so over here. And that's pretty much it. We just needed to apply this collaboration through top section with this new color selection. So let's go ahead and close down all the folders. Unhide are Tetris medalist. And move on to another piece. The oneness that we definitely need to change though, is going to be the log ends over here. Then we go ahead and find the folder, which was folder for. If we go ahead and go within this folder, most of it was using generated texture maps. But there was one place that we did things manually. And that is going to be the very end log of the bits. That is going to be the folder within a folder that we created that it's pulled the five we had. If we were to open up the mask, we'll see that a Babele at a paint layers are being applied. However, since the paint layer was done by manually clicking on each bit of the logins. It isn't going to work in the same way anymore since it is now a complete different mesh. What do we need to do is we need to click back onto the paint layer. Then we need to right-click and go ahead and add paint. Afterwards, we'll need to delete the one underneath it. So we're going to go ahead and delete it. We're gonna be able to get ourselves a new fresh paint layer, like so. And so with this new paint layer, what we can do is we can just redo it in the same steps as we did previously. So let's go ahead and click for to go into our polygon filled tool. Then will want to select each chunk fill with the color set to white. We're gonna go ahead and click on every single bit lake Do we did previously. So just like that, we're going to select all of the n bits of the log. And since the Bevel tool is working as intended, we are going to get the same results back. So the bits with soft enough edges trees getting him away. So I'm just going to go back into the focus mode real quick. Just to get myself a better selection, better view forward selection. And we can finish it off like so. Now we can go back outward focus mode just to check out looks. And let's not forget to click one to go back onto our pain tool. But we wouldn't have to see all the wireframe. 20. Creating Stylized Water Material: For our next step, we're going to be texturing the river or here. And so for us to do that, we're going to have to locate it within a dexterous catalyst. So let's go ahead and find ourselves river Matt. So this one over here just underneath her house, be it afterwards. What do you notice? Is that this only a plane before it to hide it, you'll notice that it's just covering the top section and it's completely flat. But what we want is to get herself C therefore this river. And in order for us to do that, we're going to have to make the river transparent. So in order for us to do that, we're going to have to make use Arabic different shader in order to achieve such a result. So the way we can do it is right now currently we're using a main shader, but it's River. But if we were to go ahead and click on it, we get an option to create a new shader instance. Though if were to go ahead and click on it and create a new shader, we get an option to switch it up to a new one. So the way we can do it is for it to go to the sharing settings in the right-hand corner. So over here, we're still using the default model, which was the PBR metal roughness with right now since we have a different one assigned to this material Tetris settling, we can go ahead and change this one without affecting other layers. So right now, the shader that we're going to be using is going to be the PBR metal roughness with alpha blending. Since this is the best one to use when we have semi translucent materials. So let's go ahead and click on it. We also can change the name of Shader within a shader settings. So right now it's the shader copy. If were to go ahead and change this to a shader transparent. It's going to be visible over here as a share of transparent. Anyway, once we select the shader, you'll notice that it doesn't actually change anything within our view port. And that is because we haven't actually assign any or passing information to relier. So for us to sign it, we're going to have to want to create a fill layer. And then it will be needing to use a material channel. Within all of those, we still don't have the capacity to layer set within it. And we're going to need to add, deposit a layer within the shadows manually add. So for us to do that, we're going to have to go onto detection set settings. So this one over here and scroll down a little bit until we get to the channel tab. And we filled channel tabs. You'll want to select channels plus symbol. So this one over here to add another channel that it will want to locate opacity channel like so and selected. Now we're going to have deposited channel within Natasha said settings. And if we were to go back onto our layers, you'll notice that the basicity channel is going to be within the material channel set list. Over here is going to be off by default. Since all the previous layers that we created with our capacity channel enabled is going to have the basket of value shown, but it'll be disabled by default. You have to make sure that you'll need to enable the opacity layer. So with this, a basileus enabled, you're gonna get yourself disbarred, turned on as well. So just to make sure that if you're not seeing this capacity tab, we're going to have to make sure that this opacity channel is enabled within your fill layer. So with this turned on a few, you lower it. You'll notice that the transparency of our river is going to change. And it's going to have a different transparency value. Right away we can change this capacity. Would be your value of 0.3. Like so. So we'd have some semi translucency were not completely transparent. And then we're also going to be changing its color. Instead of a grey, going to be changing it to our cyan color. So December value will work quite well for us. Then as for roughness, we can leave the roughness as a default point free. And that will give us a little bit of glossiness, that overall color. Then we have a nice foundation for overall layer. But I would also like to add some artificial depth to the river over here. Make it look as if this material has more viscosity to it in order to imitate a semi translucent epoxy resin within this material before we're going to want to overlay another layer. So let's go ahead and add equal layer will display a will only need to use an opacity channel. So within a Properties tab, we're going to hold Alt and click on capacity layer like so. Just to make sure we're only using the, any information. And we're going to be keeping this opacity set to one like so. This way it overlaps the layout. We're going to add a mask, which user bigger mask. In this case, we're going to be using a thickness map of the river. So this thickness map from mesh river Matt. We go ahead and select it. We're able to make use of this thickness map because the high poly mesh of the river is not just the plain like this one over here. And it does actually have a thickness variation that goes alongside the bottom of the river, which gender low poly mesh can bake off the thickness map off of it and give us the thickness section map that we can make use of. So if this texture map applied on to the mask, we're going to make some adjustments to it using the levels like so. And the level variety that we want to use is actually we can hold Alt and click on Mask itself, make it more clear on what's going on inside. Who basically won the section in the middle, you have less capacity in comparison to one on the edges. Though for that, we're going to go into levels and drag the black arrow in order to make sure it increases the darkness of the mask or the edges. The value that we can use is, I'm just going to drag it to a value of 0.5 free, like so. And then we're also going to be increasing the input gamma. Just to get more of a contrast, we can change it to a value of 0.65, like so. And we don't have to touch the input maximum is this mask is quite alright. We have a look at it. The edges on the side are black, while the bit in the middle has some white mass to it. And now if we click em and go on tomorrow material view, we can see what it did, which basically it created up icy layer that has less of a transparency within the middle section over here. Now that looks more like it, like an epoxy resin being filled in within this crevice in the middle, giving us a fake thickness. Although keep in mind that this sort of artifact only works when a camera can be only placed over the top of it, since it only gives a visual illusion that this material has thickness. Well, if we were to go ahead and get closer to it and look at it from the side. You'll notice that it doesn't quite work as well. So just keep that in mind while working with the future projects. And if you're making something or similar material, that one more thing that we can do is get ourselves more collaboration as well as more intricate bicycle 4x2. It. We can do so by adding a new film layer. Now let's put a slipper layer. We're just going to be using this sort of agree value. Then afterwards is we're only wanting to use opacity on color layers. And they're planning to change the roughness. You kinda consistent smoothness because of the type of material that we are using. Like us to go ahead and hold Alt and click on the column material it afterwards just normally clicked capacity channel like so. Just to make sure that we're only using these two channels. What information and so roughness values wouldn't be affected. So now afterwards, you can go ahead and add a mask. So let's go ahead and add a black mask. And we're going to be adding a generator with the curvature map on. But let's go ahead and buy the curvature map. So that asks for a curvature map. We can actually go ahead and go on to the mask itself just to visualize how it looks like. Oh, let's go into it. Let's go back onto the curvature map. And now we'll want to increase the global balance, which is a little bit just so we could get the edges a little bit more. Though. Let's set the value to a value of 0.64. So this gives us a good effect on the edges. And afterwards, we'll want to sharpen up the black and white values. So let's go ahead and increase the contrast. You will quite a large value. We're changing it to a value of 0.75, just so we can differentiate it between black and white values. And afterwards we'll want this moving it all up with the global blur. So let's go ahead and change this to a value of seven. So this way we are getting all the edges within this mask and smoothing in em out. And now let's click em to see how it looks. And we're getting to a result. However, this effect is a little bit too much for us, is we're getting a little bit too much of an intense variation. So we're all going to be lending them all in together a little bit more. In order to do that, we're just going to change capacity within the mask itself. And so we're just going to use the spit over here. If we were to go ahead and lower this, we are going to be able to load a mask and change you too are darker tone. So we want to keep it to quite a low value. Let's go ahead and change this to a value of ten. Just so to be barely visible. But it's still going to give us the result that we want. And that's pretty much it from the river. We can't add much more collaboration to it. Since it is a single a plane and it is going to be more visible, the more we rotate the camera around. And the more complexity, the more visible it, it's going to be that it has actually no deaf to the river. Once we're going to start rotating the camera around. 21. Texturing Clothes Hanger: For our final piece that's left unfinished inside area, we're going to be doing this hanger over here, which in order to create, we're going to make use out of the variety of skills we've learned throughout this course. Decider up, let's go ahead and make use out of the other material to create a previously. To do that, we're going to go ahead and find ourselves a tree mat within the texture set list. Let's go ahead and select it. And let's close down the folder that we had opened up. So in this case, we want to make use out of the rope that we did previously, as well as the tree bark material. So in order for us to do that, I'm gonna go ahead and locate these two materials within its tree. First of all, let's go ahead and find the tree bark, which is going to be folded free, and then ask for a rope. That is going to be the first folder that we created. So basically we'll just need to select the first folder. And then while holding control, we're going to select folder free like so that afterwards we're just going to copy it by clicking control c. And now we can move on to the close anger. So within a texture, settlers were going to be finding ourselves a clothes dryer. Let's go ahead and select it. And afterwards we're going to click control V to paste both of the ball is in. Now in this case, the coastal action did not have the same color 3D maps that we can easily fix that. First of all, we go to the color selection for the rope, and we're just going to delete the previous color and pick the color, which is going to be the cycle over here. This little sort out our rope issue us a nice raw material. And afterwards, we're going to go on to fold itself or reform the free electrical selection previous color. And to put color, we're going to pick the dark purple over here. Now we're not done with the tree bark, just yet, somewhat to make further adjustments to it. Within the folder free, we're going to select the base foundation material, which determines the color. But let's go ahead and select it. Then the things that we'll want to do is first of all, we want to change the color just to darken it up a little bit. I'm just going to change it, evaluate this. And then afterwards. I also want to change the roughness is about 26, a little bit more glossier in order to give them more plastic carnival look. So let's go ahead and change it prompts six, we're gonna change it to 0.45 instead. Like so. This'll work much better for us. That afterwards, we wanted to wipe it up the color a little bit using the Pilbara eight, which we had previously. So let's go into his mask. And it will just want to increase the capacity by a little bit from it. We can change it to a value of 11, like so. I also want to decrease the value of roughness within its perimeters. So for that, we need to go back onto its material and then increase this roughness value. And we're going to change it from 0.3 to 0.4. And now we're done with the wood. We can close down as folder. And to move on, we're going to get ourselves to grass scholars as well. So we can make use out of the previous material that we made. What is aggressively here, just to get ourselves identical grass material. Though for that, we'll want to locate within the texture settlers brass mat. Let's go ahead and select it. And then this extracellular is does not have all the materials that within the folder. And we're going to go ahead and fix that up just to make it a little bit easier to put them on, onto next mesh. So let's go ahead and select the top layer. Then let's collect folder so we could create a folder on top. And all we're going to do is select both of these bilayers and we're dragging it onto folder like So. After which we can close the folder down, like the folder itself, click Control C, we copy it. But afterwards we can go back on the clothes dryer. So let's go ahead and located within our sector texture said list. Click on the clothes dryer, minimized opened up folder, like this folder itself. And we'll get pasted on top of the folder, click Control B, and we can paste it in like so. And afterwards, we're gonna make sure we are adding a mass to it. So let's go ahead and add a mask with color selection. There. Let's go ahead and select grass over here. Now we can close down this folder and all we're left to do is this globbing area we hear over if you notice it, it hasn't actually happened. It's proper shape. Since the low poly version is going to have less polygons in comparison to hyperbolic version. And the way we're going to fix that, we're going to want to get ourselves a shader. And this time however, we're not using a translucent shader and instead using a cutout shade instead. But for that, we are going to want to select the main shader and their texture settlers of the clothes dryer. And we'll want to add a initiated instance. Then afterwards, let's go onto the shader settings. And let's click PBR metal roughness. So this time instead of using the PBR metal roughness with alpha blending, and we're going to be using another one called BBR metal roughness will alpha test. This one is used more for when capacities either one or 0. Perfect for cutouts exactly for what we're trying to achieve. So let's go ahead and select this one over here. And then we might as well renamed the instance shader From age eight or copy. We're just going to rename it to a shader cutout. We are renaming them because there's no easy way to tell them apart. So the shader, we can go ahead and go onto detection set settings of our clothes dryer. Then for the channels, we'll need to add an opacity channel. Well, let's go ahead and add an impasse city like so by clicking on the plus symbol. Now we can go back onto our layer channel. And since we're only adding the passage channel after we're done with all the other materials. The upper layers will naturally have the capacity channels turned off by default, which is quite a useful operation. Personnel has been moved on. Now we can go ahead and make a feature layer with the oldest selector on top and create a folder. And drag the filet or within it, like so. Afterwards we can just go ahead and make use out of this filler just to make a cutout shape. So let's go ahead and hold Alt and click on the opacity channel like so. Then it will want to drag the capacity all the way to a black slick so make everything invisible. But naturally we only want to have some bits to be transparent instead. Though, we'll want to create a mask with gold selection. Then we'll pick a color. And we're simply going to pick the color that's outside of this, that's outside of the sections over here. So let's go ahead and pick them like so. And right away we will get this sort of a result with clock edges looking like they have more detail. Now we can texture the clothing on top of it before it will want to have some material detail similar to the rope. So what we're going to do is get ourselves what are the materials you use it on it. So let's go ahead and add a filter editor with the material selected. Then we fit it. All we're going to need to find ourselves is within the materials tab, photocells, a fabric, one like this over here. Then put the fabric we're going to be using the fabric base will had subsided. This one gives us quite a nice texture. Then we're just going to hold it on to the material and drag it within a folder. Right underneath it. You'll get the material within a folder right away. And then since it is a pre-made material, capacity and normal channels are going to be turned off by default. So we'll only need to be worrying about them. And afterwards, what a color, we're going to be using different colors for each one of the pieces that we have, the material. You could go ahead and add a mass to it. So right away it, let's go and add mask at a basket of color selection. And to pick a color. First of all, we're going to use the yellow color here, is we want to have different collaborations throughout. We're going to start with the first one on the left, like so. So we've caused selections, selected. I'm gonna get us close to scholar, but actually I'd like us to change the color. Have different variation. Though. Let's go back onto material. And so the color data like us use is going to be this type of call over here. So this'll work quite nicely for our first piece of cloth. And as photo pattern, I reckon the pattern itself looks quite nice in comparison to the rope fabric, for example. And we're going to be leaving the UB scale, as is. Then afterwards. Who color in our pieces were just going to do it in real fast way. So the way we're going to do it is simply elect us material like so, like Control C. And then click patrolled the couple of times just to get a couple of 100 different layers like so. And afterwards, we're going to select one of the masks for the first pasted material that we just did. And get ourselves color selection the previous color than pick the color again and select agree and one like so. Afterwards we're going to go onto the material selection, go all the way down and put a color. We can go ahead and select this green color over here, like so. And afterwards, all we're left to do is change a color for the upper piece. So let's go ahead and select its mask. Yet ourselves to color selection. Delete the previous color, pick the color and select this red piece over here. Then go back onto a material to change the color, guard ourselves to color selection and get a self-sustainable color like so. So that's pretty much it out of the collaborations. But by default, this gloss are going to look to clean in my eyes. They'll going to be fixing that. And to do that, we're going to create a bilayer within this folder. And we're going to use a skill area to create some additional detail. So for that, we're going to get us off the base color first. And the type of base color we'd like to use. This time is going to be brownish, though it is taboo color like so. And then afterwards, we're gonna get ourselves a roughness channel as well. But let's change the option's value to a value of 0.8. So we'd have a bit of a differentiation from the material beneath it. Naturally since we just created this filler opacity channel is going to be turned on, which is by default is set to one. So we don't need that. So we can just go ahead and turn off the opacity channel like so. This way it doesn't get in our way. And now we can go ahead and create a mask or it and give ourselves a mask of a bitmap on it. So we're gonna go ahead and delete the section on top and dense afterwards, search for a grudge. Scratched. So we're going to be using this value over here, re-engineered scratched. So let's go ahead and select it. Then we can go onto its properties tab. So for a balance, we can lower it to a value of 3.47. Though. Then afterwards I'd like to lower the overall density of this mask. So we're just going to change its capacity. So I'm changing guitar value for t. So let's go ahead and do that. And afterwards, we can apply a filter to it just to stylize the mask. But before that, I'd like to see how it looks like within the mask view. So that's hold Alt and click on the mask. We can go ahead and add an effect to it. Add a filter. What a filter I like us to use the blur slope. So let's go ahead and use it. Then in density that I like to use is going to be quite high. So let's go ahead and change this to a value of seven. Now that we're done, we're going to go back onto a normal view by clicking M. Automatic itself is going to be applied on top of the entire object, which is going to affect things outside of our clothing as well. Which we're going to fix it by applying a mask on a folder. Though. Let's go ahead and select the folder. So we're just going to apply a mask with course selection on top of it. Then photo color. Let's go ahead and pick the color. And we'll need to select three cloths, like so. We'll just pick every single one of them. And then afterwards we'll also need to pick the area, sort of clubs like so. But we're making sure we're selecting the entire panels of these cloth meshes. So everything within a folder is going to be applied, including the past layers that we just started with. And actually for the folder basked, I would also like to increase the tolerance. Though from 01. We are going to increase it 2.3 is to make sure that the amass covers everything. I would also like to make one more for layer within this folder just to highlight some of the detail. So in order for us to do that, let's go ahead and select the fill layer that's within a folder, the dopant over here. And then let's go ahead and make a feature layer. But we get one just above the previous one. Then afterwards, let's go ahead and make some adjustments within the Properties tab. So we're only going to be to color material channel. So let's go ahead and hold Alt and click on the color tab like so. Then afterwards, what a base color. Let's go ahead and use this dark and gray with a slicer to rational purple, just to give ourselves some hue variation with an object. Now that we have the color done, we can go ahead and apply a mask. And so for the mask, let's go ahead and add a black mask. And then afterwards for their effect, will add a generator and we'll want to search for ambient occlusion mask. So let's go ahead and use ambient occlusion generator. Then right away what I'd like us to do is go within the mask view by holding Alt and click on no mask itself. We can go back onto the Properties tab to make adjustments for the mask. And right away, what I'd like us to do is make use out of these darkened edges. So if I were to lower the global balance with these darkened edges, would like us to do is make use out of them morphine or masks. Going to invert the entire mask itself by using this global univariate over here. That afterwards I'd like us to highlight the detail by lowering his global balance. Since it is inverted over mask. Though we can lower it to quiet a small value. And let's go ahead and low very tool value 0.04. Like so. I'd like us to sharpen up the mask, increased the differentiation between the white and the dark areas. So I'd like us to increase the contrast. Let's go ahead and change the contrast to a value of 0.12. And now finally, I'd like us to soften up the overall mask by using the global blur. So for a blurb value, we can make use of a value that's going to be 2.1. This'll give us some nice overall highlights within or mask. But it's going to be slightly to intensive a mask like us to overall load capacity, what its generator. So let's go ahead and use this value and change it to a value of 50, like so. So now we can click em and check how it looks. As well as some of the detail within the cloth is to bring out some detail within it. We can even stylize this mask by adding yet the number of effect and adding a filter. And for this, we can make use of a blurry slope is to stylize it a little bit. So let's go ahead and shrink away, change in density divider from ten to a 100. And then afterwards, we can go ahead and increasing density by a little bit. So we can use a value of four. In this case. We're just like that. It seems to work quite well. And we can leave it as this. That's pretty much it out of his clothes hanger. We're gonna go ahead and close anim folder and move on to that obese. 22. Creating Glass Globe Material: So now that we textured everything inside of our globe, we can go ahead and finally unhide the glass globe that we have heard our texture subtlest, deselect that. And then we can go within it as well. But let's go ahead and select it. Now to texture this piece, we're going to make use a 100 and transparent shader that we got ourselves previously. So let's go ahead and shut away, change the main shader. And let's make use of the shader transparent that we've gotten ourselves. Excel. Then afterwards, you'll want to go on to the texture settings and add the channel of opacity. So let's go ahead and click on the symbol over here. And then right away we can add up as Lake. So just to make sure that we can control the capacity of this object. And now we can go back onto our layers. We can go ahead and add a bilayer. Now put this material like us to get ourselves to a bluish tint for the glass. But let's go ahead and get associate's type of a bluish green tend like so that afterwards for the roughness, I'd like a foundation to be quite glossy. No, let's go ahead and change the roughness a little bit. From a value of 0.3 to a value of 0.2. And just to make the overall look loss here. And then afterwards, we're gonna go ahead and change capacity. So for the bacteria would like us to use is quite a low value since I wanted to see everything inside. So let's go ahead and use a value of 0.25. And now one more thing that I'd like us to do is get ourselves a metallic channel applied onto this material as well. Since put his material, make it a little more believable as a glass, I find that that applying metallic, they'll give you the proper right of glossiness, which will make the overall glass look more believable. So usually for a glass, I use a value of 0.8, which will, right away, it will give you this glassy look that a material. Otherwise, if you're not using the metallic, find it that it would give you more of a plastic card of a look. But that's why for the glass, weather data would be I stylized or realistic one out to always use a little bit about metallic lost to it. But now that we have the base of a glass ordered, we can even apply some of the dirt on top of it just to make the glass a little bit more detail and give some aeration within it. So real quick, we're just going to apply a filter layer. And then right away, we can go ahead and change the base color. You just type a word like sandy color like so. Then afterwards will want to increase the roughness value. Since realistically do or doesn't have much of a gloss to it, we're going to increase it to quite a high value. So let's go ahead and change it to a value of 0.8. Like so that afterwards, we want to make sure that metallic is kept at 0 is we're going to be blending in with a mask. And we don't want original dirt to have any type of a metallic look to it. And the same goes for the capacity. We wanted to keep. It gets completely one. Since again, we're going to be blending it in using mass values and said, oh, now we can go ahead and apply a mask, add a bitmap mass through the bilayer. And the type of bitmask are like ossified is going to be a grunge dirt scratchy. So this one over here, if we were to go ahead and apply it right away, we get this sort of a result which will blended the dirt and the glass material together. But we want to make some bits of adjustments to the mask. So let's go on to the mask itself. And now the first thing you'd like us to do is increase the type of detail. Right now it's kind of a blurry mess. So we're going to change the UV transformation scale. And from one, we're going to change it to four. So it will give us a higher quality paranormal mask. And then afterwards we're going to leave the parameters as is, since I quite like the mask. And only thing that I'd like us to do exchange capacity of this grunge dirt, this soda overall dirt wouldn't be as intense. So for us to do that, we're just going to lower this value over here for capacity. And actually we're going to keep this to quite a low value. To a value of 15 will look quite nice for us. And that's pretty much it with the texturing stages. We have now gotten ourselves a nice globe that we have painted ourselves. 23. Creating a Render Image: As a final lesson, we're going to finish off this course by making a quick render of our finished project. So for that, we're going to want to click on the top right, but nobody here that says Ira. So let's go ahead and turn it up. Now for the sake of performance while recording this video, I'm just changing a max time of rendering. Your free. Someway recording session would be more stable while I'm changing the parameters. After I'm done with that, let's go ahead and change some of the settings. The first thing that we'll want to do is change up some of the display settings. We want to remove the background image from over here. And so for that, we can go ahead and click on display settings like so. And if you scroll down a little bit, we can turn on something called clear color. Putting this, we are going to be able to remove the background of a Keep in mind that the environment is still affecting the lighting or seen, and that we are also still able to rotate it, which we're going to do afterwards. With this ONE, will get a solid color for the background while still keeping the shadows. If we don't want the shadow detail to be visible, we can also turn off the ground, which will make the background completely solid in one color. But for the sake of presentation, I'd like to personally keep the ground up. Instead leave that shadows will be quite pitting Holocene. Also, if we so desire, we can change the color of the background by clicking on the box over here. But I'm not going to change anything as a life disagree default color. So I'm going to keep it as is. And afterwards, if we were to scroll down within this display settings bar, we are going to find ourselves with the active posts effects. We don't want to enable that and we're not going to change too much within the pulse affects. All I want to do is turn on the vignette. So if were to go ahead and turn around, we can then extend this bar over here. And with this, what it'll do is it'll basically darken the edges off or scene. So I like to keep it around 0.3, which want to affect the colors of our asset within a middle. But we're giving ourselves a nice upgradient within a background. Oh, that's what I like to use that afterwards. And I'll think that I'd like us to do is go down and activate the temporary anti aliasing. With this, we'll want to increase this to 42. You get a sharper renderer. And speaking of which, in order to get an even sharper of you gonna want to enable something that's beneath it. You port settings. We're going to want to enable the McMann bias though from 0, I like to set it to two and say that the Sharpe. And also asked for the anisotropic filtering. We can change this from medium to high as well. We don't need to change them to a maximum value and its effect 1B is visible, but it'll just take more time to render the overall scene. That's pretty much it from the display settings. So we can go ahead and close this window down. Now I can change up the resolution of our image. We won't be able to select the values by themselves unless we click on the override viewport resolution. After we click on it, we can now change the values and user resolution that's not just taken from the viewport. And so the resolution that I want to go is I want to use this image for a video as well. So the default video resolution of the NADP would have to be a 1920 by 1080. So those values, W1, W0 portable have a slide bars on the top of the bottom. But as a writer, that's exactly what I want. If the aspect ratio now done, we can readjust our object. We set it up in a different angle. Controls for that are pretty much the same as within the dictionary stage. But while holding Altman left mouse button and use Alt and right-click as well as middle mouse button to zoom in and out. After we're done with the positioning of an object. We can also change the environment lighting by using the Shift and right-click. And once we're happy with the results that we're going to want to increase. We don't want to increase the sample rendering time again. We're going to want to make sure that the maximum pulse are set quite high. So right now my one is set to 100, which will be more than enough and will basically make use out of the time are towards the right. Now the way to run the rewards is it'll basically writer ended its peace for as long as possible until it either hits the max samples or the max time. Alright, now if we were to change the max time, then it's R max samples is quite high. And after three seconds, we're only donald with the five iterations of it. We're always going to be reaching the max time first. So since we're rendering and glass within our scene, we're going to want to make it render for a bit longer than usual. So for that, I'll change it from seconds to minutes. First. Set it to five minutes. After it's finished rendering. All we gotta do is make sure we save the renderer. So let's go ahead and click Save button. And afterwards we can go ahead and name or a file. I'm just going to call it a snow globe, render us for the same type. We are going to want to change it from PNG JPEG instead. There is, by default, does this painter saves a mask alongside the renderer image, which basically removes everything. We're had a background in which that mass can be removed within photo editing software, such as Photoshop or GIMP. Robert. To avoid that problem altogether, I'm just going to go ahead and save it as JPEG. So after we're done, we can go ahead and click Save. Well, thank you so much for watching. I hope you were able to pick up some new and interesting techniques that will aid you within your future pretty dictionary projects. Make sure to give this course that review as it helps us to ease your final courses. And that's pretty much it folks. I hope you have a great day.