Build With Blender: Texturing The Forbidden Blade - Substance Painter

1. Introduction: Hi. So another class all about texturing in substance painter. Hi, my name is Harris, also known as the fridge. I am a 3D artist working in the industry for the past seven years. Today I bring to you the continuation of my last course, which was modelling of the forbidden blade. This time we're going to be texturing our blade and we're gonna be using Substance Painter. Going through the basics of Substance Painter, how to UV unwrap your models and export them from blender to be used in Substance Painter. And then we're gonna be going through the basics of substance painter, the layers or the brushes and different things that you can be using in that. And also we'll just be looking up on how to export textures from Substance Painter and then adding them important than black to Blender. And then rendering out our scene after lighting it just a little bit so that we can get a nice result. So hopefully you've been following me through the modeling course as well. And if you are, we can continue with that and we can texture are forbidden blade and hopefully get some good results. So hope to see your renders as well and enjoy the class. 2. Preparing Model For Export to Substance Painter: Okay, Welcome guys to this texturing class. Hopefully you were with me in the last class in which we made this awesome little dagger from our reference images over here and mixing and matching a few. And now we're gonna be working on texturing this inside of Substance Painter. So we could do it in the texture paint workspace or the shading workspace. And it could look fine. But I wanted to show you guys a substance painter workflow and how you can move your assets from Blender or any of the 3D program that matter into Substance Painter and start texturing in that and get some amazing results in that. So let's go ahead and start up with this. First of all, what I want you to do is before we make any changes to our file, we just gonna go and save as and dagger. And then we underscore, oops, dagger, and then we texture ring. So that we know that this is where we start to texturing and anything goes wrong in the model. We can just come back to this default state and make any changes. Or we have another extra backup. So we don't need this. I'm just going to go read of this and the camera can stay. And we can just reset our cursor. Cursor. Okay, so for texturing, we will need to unwrap this model. Of course, if you don't know what unwrapping is, it is basically opening up and opening up these objects as if there was like a paper or wrapping paper or fire or something stuck on it and we strip it and wrap it to convert this 3D object into a 2D object on which we can paint on hopefully the image over here. We'll make some sense and tried to get you to know how that works. So for unwrapping our objects, first of all, we need to apply these modifiers because these modifiers are only working in vendor. And when we move to Substance Painter for example, if we have this one, will only be getting half of it and that's not what we want. So we've saved our model. If you want, what you can do is just select all of this shift D. And now we have a copy of our model and we can just go ahead and move this to Our, move this to our archive in which we will have our model and anything else that we can go back to if needed. We also saved our project. Now, let's go ahead and apply the modifiers. Now how you want to apply these modifiers are from top-down. So the one you added first, you will apply that first. For example, let me show you if I apply this, then I apply this. Now we have applied them and now it is hard baked into it. Now we have all the geometry and we have no, no modifiers. But now this is all one thing and we can just use it to edit the mesh as well, which will be really good. And there's another whole process of baking your high poly mesh into a low poly mesh and using normal maps and stuff which we may again to in a later class. But not right now. We did this. Now let me just show you if we can undo. If we would have applied the subserve first and then the bevel, and we get our results are changed because then it applies a subserve. First, it may look similar, but we lost all that detail that we tried so hard to make. So just check your settings once more. Number of subdivisions to perform. And this is the number of subdivisions to form when rendering. This is only going to work when rendering. So when you want to actually sub-divide this, when you apply it, it will apply the level over here. So we would like a higher level. So three is fine. So let's just try this and apply this. So we've got that same with this. Everything is fine, nothing's wrong. We merge it. It's merged anyway. So you can apply our mirrors and now we have mirror applied. Then we can apply that bevel. So now we have the nice pebbles applied and we'll go for three and apply this as well. Now we have a high res model. We can do this too. This one only has a bevel just to play this nice and simple. The Rings. Play the bevel. We can move this to two because it looks better on two things. You've got to three. Now three is over. Two is fine. Same with this. Apply our bevel, apply our nice smooth texture and apply. We have a subdivision subserve fresh list that I guess because we don't see our bevel right now. Do we want to bevel it now because we have these weird artifacts that we were getting. Kinda looks fine, but that's why we want our subserve first and our bevels second wife, you don't bell at all. If you don't bevel at all, It's fine as well because we did do some edge loops. You know what we could do? I just thought of this. This is a model and these spaces are totally extra. It might interfere with ours in the UV mapping. It might not because we can't see it. I guess it's pretty big area. I guess that's fine. We've done the two. If you do come to some problems with this, come back and edit it later. So I'll just go ahead and apply the three subdivisions. That's fine. Too. It's fine to apply the bevel as well. Same with this flight, the bevel. This is only one. Definitely 23 is the way to go and mirror definitely tomorrow this as well. So now we have a nice edge. Now, if you just want to select it all, I'm just going to edit mode. You can see we have nice edge. We didn't subserve, subdivide this. And I think I'd like to subdivide this. Let's go select this, imply this. So let's just go ahead and unhide this and see what happens if we actually add a sub surf on it. You see it kind of tightens up a bit. You kind of lose a little bit of that geometry as well. Um, I think we should apply this observe so we get a smoother result. And we should still be able to see these lines. Maybe if we want to make it a bit tighter. This is making a funny one. Okay, I think that's fine. I think we should apply this as well. Let's say if we apply both of these, that looks nice. It's a lot tighter. We should do get the edges that we wanted. So I guess that's fine. Setup script. Now if we just outage and we can compare the two of these, almost the same. But if you realize that we do get some nicer edges and not these jagged edges. I think we will go ahead and apply a subserve to this as well on the level of two or three, but that's really not necessary to is fine. And then apply. Make it a bit tighter. We apply the scale you apply is blind. So now we have nice topology for this as well. So now everything has nice topology and is high-res as compared to this which is not good. And I'm supposed to unhide this, save that. And now we are ready to unwrap our model. 3. UV Unwrapping Model: Now, if you know how to unwrap, that's good. If you don't, we just go to the UV Editing Workspace. We don't have to, but it's easier to, so we can see it. Let's go with our blade first is select the Blade. Edit Mode, sector bright, we have to be an object mode. Edit mode, press a, select all the faces, and this is unwrapped model already. If you might not have this or it might not look as good. So we'll just go ahead and just go ahead and sexual this press U for unwrapped. You can click unwrap, but that doesn't really work sometimes. And it's not really the best part that we just do smart UV project. This is the angle limits separates these what we call as ui islands based on the angle. And this is the iron margins of increased. This increases the distance between the margins. So keep it about 0.3. That's fine. Area wait, we don't really need what does it say? Wait, project, right? Predictions vector by faces, large area. That's fine. Okay, and that's unwrapped. According to our scene, this is really close together actually. So I want to do this again. Make it 0.1. That's nice and separate. So that's that unwrapped will show you in a bit. Check if you unwrapped correctly. Actually, I'll just show you that now if we go into the texturing workspace, now we have we don't have any materials or missed. I did go ahead and just name them. Gave I will just remove these so that you can see why I did. So. When you click on your blade, you'll have no materials. You just click new and a new material pop up. And you can just go ahead over here or here, and you can just rename it to whatever you want. I'll go with blade. Blade and now we do the same to the other one. This is our cross guard. And this one doesn't have one. So we can symbol or something, insignia. That's where we can add on this insignia. Right. So that's how I did the other ones as well. Nothing fancy. Just so we can have an assigned material to this so that substance patient can pick up which material is associated with which object. So now what I wanted you to do to check is if you just click on the base color and click checker texture, this will give it a checkered texture, which you can see right here. Let's go to our shading. We don't know what's happening over here. We've got a checker texture and tie this so that we have, according to our UV's, UV's. That's how UVs look. And if you just scale this up a bit like ten, that's how you is. Well look, now you want these to be, Let's go into top. You need these to be squared. And you want these to be about the same size or all your models and all around your models, which looks pretty much fine, pretty good actually overhears that way. Whatever texture we apply, it won't have any stretching. Apply really nicely around our model. Okay? So let's just go ahead and do the rest as well, so that we can apply them to the mall and see how that looks. So just quickly, click on your model. Press tab into edit mode, press a to select them all. Pursue unwrapped. You can use all these other acute rejection cylinder prediction. If your unwrapping doesn't work as smart, you reproject is usually the quickest and the best way. Thank 0.1 might be in a much point to, let's see. Yeah, that's good. Decent amount of space inside. It. Looks good. Even this one we can just plug. This is all wrapped because it's cylinder. If we just go ahead and smart your project again, Let's do it again. We didn't really need to, but it's fine. Go into our ring. Unwrap. This is also already a cylinder. So smart you object 0.02. That's fine. Nice margins. If substance does not allow you to accept this, it's probably because it's not within these margins. This is the 0 to one space. Anything outside this box will not be able to be textured. So we just have to make sure of that. I'm just going to keep on doing that. With the other objects. Smart object, smart object, smart UV project. And everything looks fine, seems fine. Nothing's wrong. Everything we clicked on and textured. And now we just apply the same material. How we're gonna do that, just to check right now. If you just select all of them and then select the one that we have the material on the blade, press Control and r. And we will have to link our materials and then they all have the same material. Okay, I did forget. Two, I'm sorry, I forgot to turn on my screen cost keys. I hope that wasn't too mature problem already. So now you see it. Now if you go back to our shading, actually just go to our layout mount. Nice and big. So we have a nice texture over here, nine squares and all round if you go, It looks fine. Same with the ring. This part, this part, everything looks good. This might have a little bit of stretching. Let's check that in a bit. This is kinda normal to have a seam in which there is distortion. But this does have a bit more. So we can change these cylinders a bit. These rings look good. This looks good. This ring does have a little bit of stretch in AC. We can take a look at that. This looks fine as well. So take a look at these two and this. If we go to our UV Editing Workspace again, let's just fix this first. Let's see. Now the stretching is we can be fixed because of these jagged edges, the disconnected from each other. So it stops here, starts here and kind of creates this kind of jagged edges that we see. Okay, so kind looks fine. Let me just obviously we don't need these two sides, but I guess it's doable. If we don't like it, we'll check this out version assumptions. If you don't like it, then we can change it. But it is pretty doable. I guess we won't be able to tell. So let's just keep it at that for now. All these look pretty good. We're going to check this. I think this is pretty doable as well. You shouldn't have too much of a problem. So if you click this, by the way, you can see the selection without selecting otherwise you have a and then you can see, and if you don't select that part, you don't see it. You can always see it with this anyway. So I think that's fine. That's good, that's good. I think we should stop now and move on to substance. So just checking again. We have everything unwrapped and wrap. Just go ahead and save it File save As I did crash. That's why this did do a bit of a weird thing. Where to move in. Let's check our scale for this. Press N and go to our item. Item. Item. Inject them into the longest average is 20 meters and dagger is definitely not 20 meters. It's about maximum, I guess six inches, maybe a bit longer. So in centimeters, maybe 20 centimeters at max. So when you divide this by hundreds, we just grab this scale this down by 0.0101. Now we have a 0.2 meters, which means 20 centimeters. That's still pretty big, to be honest. Let's find it well, there's still a lot more relatable. So that's the actual scale of the model if you just selection to cursor. So now we have it easy. So that's the actual scale of our model. Now we can go ahead and save it and export it. We are nothing else in our model, right? You can just treat the camera is just going to know according to our scale anymore. So we can go ahead and export this. Now you can export this by selecting all or just went to File Export. And you can either do FBX or OBJ FBX and do it wherever you want on desktop. And I'll write. Texturing is fine. That FBX, and if you just looked at a few urgency and a select few selected objects, otherwise, it's frightening thing. Otherwise everything else should be fine. Export FBX, and that should be done. And I guess I'll see you in Substance Painter then. 4. Assigning Materials to Object Components: Okay, so we've opened up Substance Painter right now. If you haven't used Substance Painter before, that's fine. I'll take you through it step-by-step. It shouldn't be too hard. We'll be touching on most of the things that we go through. I'll show you how to monitor a texture, your model as we go through it. First of all, let's just start and then I'll tell you what these are. Everything is four as we go through it. And that should be easy to understand and remember, just click a new file. This is where we make a new one. According to your choice, software of choice. You can change this like short lens Maxwell non PBR, unity and veils. But I think metallic roughness is fine for alpha blend. We can do this either for the overflow and select your file, which we did make texturing. Okay? And resolution is how much you want to, your textures to be. You can upscale this later, but let's stick with two K for now. Direct X is fine, everything else is fine. And I'm just like okay, if this imports fine, that means we unwrapped fine. Everything else is according to scale and there are no issues. If it doesn't, then we'll have to go back into Blender to obviously edit our model. There is something we're over here. What's this? I think this is our plane that we used on the other model. So we'll go ahead and we import this. So now we know what's wrong. So the best way I used to do, I always do this. I just didn't do it this time. Just select what you want to import. I don't even import the empty. So this is fine. And now we can go ahead and export it to FBX and the same name and selected only. That way. We know that none of these archives, because we were getting our archived info as well. That's why it was running our scene. Just go ahead and file New and select the file again. And it will just update with two gay textures. And okay, we don't want this lonely scene. That's why that took a longer time as well, I guess. And now we have our model already to go. Looking fine. So, whoops, I just painted on this. Whoa. Did I just paint on this? They all have the same materials on. My apologies. We can see they all have the same materials on. So let me just quickly go. And this is the blade one. So we've already named them. This is the cross card. We can put this on the cross God, this is the handle. And we'll make another one from the handle so that they are different. Just so that we don't have a problem. Now a 100 top instead, so we know that it's the top one. This is the palm out. This is ranked three. Ring, three, ring to bring one. This is the blade and we can just remove this. Remove this so that we have this is also the blade. So we can just give this a new texture. Call this as we actually already have one insignia, right? Insignia. So now everything has one texture to it. They have different textures to it. If you want, you can go ahead. And this is another method that if you just give it a random color that you want, this is supposed to be a different texture. And whoops, button. And we can make this like pink. We can make these purple and orange and the yellow, DL and dark blue. This can be missing. Green. Rehab green. It doesn't matter, we can just keep their weight as well. That's fine. So now we have different textures. Now what you can do is make an ID, an ID map, which is basically our vendor of all these maps. So you can just click the color and it will select the model. But we have different materials anyway, so it doesn't really matter. That's just another method you can use. Save this. Now. Now. Now we can properly hopefully import our model, export our model, and it shouldn't have any problems whatsoever. Selected objects, the different materials and good thing we found out before we actually started texturing. So now we have that saved. Now just import a new model which is the same one to K and discard. So now we've got our model and we'll just paint on it real quick so that we can just check if we are yeah, we're just painting on the blade right now. So this is the blade and there's no kind of not any problems with that. Okay? So we've important to our models. Now, obviously you scroll wheel to zoom in and out, okay? And Alt and left-click to just move around and Alt and middle mouse button to turn your shot. If you press Alt than they do show you all these cameras, translate, Zooms and stuff, wherever you do need. So that's really good. Now we can go ahead and save this file. Save and just save it to my desktop as our dagger texture. Oops, dagger tech sharing. Because now we won't, even if you crash or anything, That's fine. So we won't look at these right now. We won't look at these right now. Let's start with the blade. 5. UI & Basic Texturing: Okay, So starting with the blade, this is where we see our textures. Remember the lectures, we made the cross guard, the handle insignia. That's where we made it all and we can just turn them on and off from here if you want to see them. Yeah, that's about it. And you can also just use that if you only want to see the blade or if you want to show or hide or whatever. That's where you start this from, these other layers, just like in Photoshop, this is where you'll be stacking your materials up. These are properties of the paint, the paint I'm using. And I'll get into this a bit later. And that's about it. We don't need the Python console. You can cancel that out. And these are all detections and the texture settings. And these are all the textures we're gonna be using. So let's start and then I'll tell you. So we're going to select the blade if you want. You can just unhide everything else. So we only have the blade with us. So now let's apply a texture. So if you go to All, that's where all the textures will come, but they also have this Alpha maps and everything. So we have the project, everything in our project, the alphas are for alpha. I just like for stickers, are like brushes you could say to use for your paint. And grand j's are obviously Grainger's and everything like this, procedural textures, hard surfaces. These are just what do you call it, normal maps. Anyway, skin as well, lots of stuff in it. And then we have this smart materials. Smart materials is basically a collection of materials that people have already made night they come with the substance and they are, for example, if you hover over like this fabric, then you can see that there's already like a textured fabric. Or if you go to a fabric pump, you can see that maybe on the edges that there are some like grime and grungy and everything. It's already pre-made, which you can also make if you just actually use the surfaces and stuff that we already have been given. Given. So we can either go to textures, Textures, we can either go to Materials and select one from here and work from there, or we could go to smart materials. So I'm just going to show you smart materials for now. We do have we can either drag this up if you want, searches, so we can search a metal. This is a blaze. It needs to be shiny and metallic. Steel, bright layered. Doesn't look so good. I want one. Still might be good. A silver armor might work. Aaron. Still ruined. If we wanted to make an old maybe a dagger, and then we could have gone for that. But I am going with something similar to this, which is pretty much clean. This one has a rebel scratches and stuff. As you can see, something like this might be a bit more worn out. So according to the style you're going for, you can choose one of these exactly aluminum as well, still dark and you can always change the colors and stuff for these. So think start where the steel scratched, still stained. Let's have a steel scratched. See how that looks like. So apply the material and loads up and then we can see it. And if you want to change the lighting for it, especially shift and you can right-click on it. Just changed the lighting so you can see how that looks in our model. And you can see how that looks if we zoom in. Now on another thing I would like to add right now, if, for example, if you use this machinery, you can see how it looks over here, right? Like Dustin grime. And if you move it onto this, obviously we're adding it on top so we need to delete the first one. So this layer, and now we have the machinery on, but you can see it looks nothing like this. The reason for that is because when you enter substance painter, the first thing you need to do is bake your maps. So if you go to texture set settings here, and let's go to the last one where we have HashMaps, bake mesh maps, and these are all your maps right now. We have the UVs, but substance painter has not calculated where the curves are, where the sharp edges or are they ambient occlusion, everything else. So if we just bake these, then there'll be able to decide where the edges are and where to put the rest and grime and all that kind of stuff. So if you click on bake mesh, just say your output size, you can set it to as high as AK. But let's just go over to care for now. These are all the maps that's going to export. We don't read thickness because thickness because we have a solid object, it's not anything like skin or something with subsurface scattering or anything like anything with thickness like a glass maybe or something. And we also don't need normal map normal as far as I told you before, when you need to bake a high to a low poly and then you can add your high value over here and it will bake that onto this. The rest is fine. We don't really need to mess with any of these settings. Should it be good? And they can bake the blade because we're on the blade right now. Or you can just click Bake selected textures. So all these textures will be. We'll be baked. Now, we have selected all of these. If you don't want one of these, you can just uncheck it, that's fine. But we do we do need to do all of these. Okay, so everything's alright, and we can just go ahead and bake textures and you can't see the other ones right now, but you'll be able to see the maps being generated on this, like the mental illness, the roughness, the ambient occlusion, I can say ambient occlusion being generated, the curvature is being generated so it knows what's sharp and what's curved. Everything for the ring 12, everything. Right. So I'm just going to fast-forward this. As soon as it's done. We'll back. And then you can see we're about done with this. And as soon as you sign it's done a 100%, okay, you can see that this has been applied and this looks a lot more like the machinery that we were seeing in the crevices and everything where we need this material. And if you apply the stain, what was it? Scratches. Again. You'll also see that there is a little bit of a difference. I'm not sure if you need help with this manner. Anyway. Maybe if you can you can tell a bit better with the steel painted. Look. As you can see that it is in the grime and everything on these edges, the wear and tear or wherever you want to call that. Okay, so let's just go back to R. So let's check steel stained again. We don't want stains. Do we want stains or do we want scratches? I think I'd prefer scratches. Scratches. And we are going to be having these layers. So whichever one you decided on, delete the rest because that will be affecting that. Okay? So that's where we have. These are the smart materials. So in the smart materials, you can just open this folder. This is where all the layers are, which you basically made from just the normal materials and masks and stuff. We can close it down. We can look at that a bit later. And let's just go ahead and apply basic materials to the whole dagger and then we come in, start to paint some more details onto it. So I'm just going to unhide everything else and start paying more stuff to it. So on the crust guard, what do you think would look nice? Maybe something darker. Not damaged, not clear coat. Medieval style, Gun, Gun, gun man, dark stain, dark age, I think. Gun. We could try gun painted. See how that looks. Let's try a different one. Dark stained and delete this. That looks good. I think I like that. Nice dark, nice dark cross guard. We try this drug aged one as well, just to have a look. Maybe it looks good. Not bad actually. But it's very similar to this. Let me just open this and this is how you would want to change the color if you want to add, whoops, whoops. Uv protection and make this a bit darker. So if you go into the metal that's giving the color the finish, we have the color. Now. We have the color in here. Whereas the color, yeah, this is it. I want to make it a bit darker. Add some nice aging to it. I think it looks fine. It's a bit darker and I kinda like that because with our reference, this is a pretty dark. It's grayish. I guess this could be Celebration, could actually make this a little more shiny. I will tell you how to do that in a bit because it's not too shiny kind of ways. But for a dagger, maybe it should have been a bit more. And you see this box that's because of the, the projection, will just set this to UV so that it just uses our UVs. That's fine. Okay. The grip, we could either make it like this or maybe like a fabric or something like this. But this was kind of like a Emerald, like a stone. I'm not sure marble. I'm not sure if they have a marble, so let me just check marble. We could actually try this. See how that looks. Now it's way too big, so we need to scale that down. The way we do this is if we go to our section settings, it does tell you don't go into our settings. And this, which is the scar, which are responsible for the scale. These two. These two and then the green room light spots. So the light spots and the marble, the reference just going to reference and change the scale of it. Now off the reference of the where's it gone? Moisture of the fill of the marble veins. You wait a second, where is it? Let me just choose this 1 first. The model veins here it is. Scale, scale it up. And if you just turn this off now, we can do this. I think it's the moisture noise, That's what it should be. That's not what it is. The fail. Don't think it's that either. Is this marble is marble. Now, it's the ****. It's gotta be there. Oh wait, where's it gone? I'll come back to this. Just go to the half, turn this off. In books, the light spots spots can be changed by dirt. That's right. And we did get it. Right. This is just weird and I'm sure why this is working. Groups. They just destroy that UV projection. Mumble veins, right? So this is a scan through it. I'm not sure what's wrong with that, but that's how it looks. And I don't think that looks good for a handle anyway. I don't know why I was missing with that anyway for so long. Close this and let's just delete this and that. And let's use a plastic or rubber or should we use a hard glass like a glossy one? No advisor. Plus film, dirty nerve, fiber loss. Maybe a five lawsuit work. This isn't scaled correctly. I'm guessing because it doesn't move. Doesn't quite look like it should. So let me go ahead. There is Metal Edge grinds scale. It's auto saving. This can take a bit of time. The grand scale refers. I think this is it. This is it. So again, just the fiberglass Moss. Who is the scale? Let them anyway. I don't like I don't like this. I don't know why I'm using this again. Anyway, let's just go with a rubber baby. Maybe black rubber tire like rough. This kind of a cracked one might work. Yeah, that looks that isn't bad. That looks pretty good. I don't know the color. We can change the color to something blackish. Could reuse Bu plastic hexagon, that striking grip. Grip, right? That looks nice as well. Maybe make that dark. You couldn't go with plus pick movies that a fake leather know, could go with leather. But now, let's go with a plastic losses scarf for this one and see if we can find something that looks bad. I'm kind of liking this hexagon locked because I don't want it to be all just black and white is going to be. But let's go ahead and use this in this as well. Delete that, delete this. May want to scale it up a bit. Actually, let's just change the color of this to something like mutual groups switching from one. Something dark. Room is too dark. Grayish. Yes, and then grayish and maybe the hexagons should be smaller, whereas if they should be able to see them, That's way too small. I mean, something like 20. Well, not 12020. Yeah, just a bit bigger. We'll do the same to this. We can actually just copy that up to screen, just control C. Or we can go and copy layers and then go to the handle and bottom. This has the same one but the gun and delete that and paste layers. The same one if you want to use the same way. Okay. And do you think we should use, let's use a nice, grungy texture on these. I see this, yes. Okay, That's nice, grungy texture on these. So let's go from metal again. Dark Age. Iron forged. That may look good. That looks good. Good. Old Forge kinda looks nice. I think I'll stick with this. For copper. Look actually if we wanted to maybe try a few different ones to planning for me, man, I haven't old. Maybe. That's nice as well. That is nice. We'll keep that over here and go with Ivan forged and the two ones in the end. I'm not sure how he's going to grip it with the thing in the middle. I guess ours is a little thicker. Maybe. We can send that down just the middle one later as well. So that's fine. This has a nice punch to it already. And we can give which one Aaron silver armor. Let's check the silver armor. The farmer loading loading, skipping one or more lines of the same contents. Cache desk usage. Okay, We've got some variation. I guess we can use this just for different steel chrome don't want from Blake it black actually so that it kind of resembles that of the steel. Dark stained. And delete. This loop is two k, So same. Like I might want to change this one to that as well. Yeah. Let's try this. Yeah, I think that gives you more detail. Just like this better leader. Now we have the same one at the top and the bottom. Top and the bottom, and the one in the middle. So this is our basic dagger. Doesn't look so good right now. Could maybe give us some color, change the writing of it. But if you don't want to use this lighting, we do have environments here. You can choose any of these. He's Tuesdays. There's another one called Studio Studio auto. You just click and drag it. And then it'll give you a bit more of a neutral lighting. In case you're seeing in vendor or your rendering software has different kinds of lights. This will give you a more neutral look like this. Anyway, I like over clouds. Now, if you choose a HGRI, that's kind of panorama. It's going to go something a bit neutral in shade, either this one, but I think we'll go with this one. This might be the one that we started with. I'm not sure. That's fine. Different color shades. Anyway, that's what we have for now. So we've textured the basics of it. Now gonna go into a bit of the detail texturing in which we'll be using brushes and checking out what we can do with these layers. And just messing around with a few things just to make this look a little bit more nicer, starting with the front of the blade and then we'll work our way up just like we did the modeling. And we should be done soon. 6. Adding Details to The Blade: So let's start with modeling, texturing properly our blade. So keep it all visible so that we can reference how it looks with the whole thing. The first thing I was noticing was maybe this should be a little more shinier. So let me tell you how to make this shinier in a few ways, also using paint brushes and the material editor. Okay, so if we open up our stained steal drugs chain, now, we don't want to affect basically the base metal. So this is a base deal. And if we just go down and there is a roughness channel in it, a roughness channel in groups. We are touching the cross guard. My apologies. You to go to the blade. Now, we have the steel base and now we have color. Remove the roughness. That's pretty shiny, metallic, the normal height. And that's just the dirt and receiving staffed on it anyway. We don't want to do that. We want to keep all that. So the way I do this is add another mask. We have all these words. Delete. This is to add a group. If you have multiple of them, you can group them like these are grouped into. This is the preset layer. We don't really need this, but just same thing as the fill layer is basically a fill layer is basically we just added it to the steel scratched. You don't need to add that. We can add a fill layer, and that's going to add another colored fill layer, whatever color we want. But we don't need that. And the actual thing is this layer, which adds a paint layer. Now you can paint on top of this. Now, what we need to paint, what we can paint is all these things that we just saw. Color, height, roughness, metal, metallic, normal. So if we paint a color, we can choose a color and we can paint that correct. If we also went to paint a height, which means depth, or if you want to paint inside it, so you can see it's going inside. If you want to paint. So choose out words, it's protruding outward, you can't really see it. So well. If maybe a crank it up a bit. These are the two differences we have here. Set this to 0. Then we have roughness. So if make it black, that's totally matte. If we make it white, That's Toby reflective. I'm saying that wrong way around. That's totally ineffective. Okay. So then metallic. So it's already metallic, right. So if we turned off everything like we don't want to cut out or height. Don't want normal. Maybe the roughness, maybe the metallic. If we just paint roughness, you can see that that's gotten a lot crispier. And if we make it metallic, that means we are painting on metallic as well. So now you can see that we have the metallic roughness on just the roughness. There is a difference to it, a slight difference. I'm not sure if you can appreciate it. Kind of like this metallic. So we're just going to set this over here, a little bit over here and check out that looks then just made it my drainage so it's already pretty rough. So let's just see how that looks if we paint this. So that's what we had before and that's what we've got. Now, if you just look at this, Which one do you like better for? This actually looks kind then to effective. And I think if I just take off the roughness as well, just paint metallic. It's not gonna do anything because you're already metallic. So if we just paint roughness, that's way too much roughness. So we need to pay something like this. That looks good. I think the last one we did is probably the most appropriate. So let's just. Okay, We're saving. So if you want to change the size of your brush, you can just control and left-click change. You can just make this really big. We can just paint right over this. And we can paint the bottom as well. And that's pretty much done. Right? The thing nothing else needed. Okay. So we have a nice sharp metal. Rarely reflective. I don't know. Whatever your choice. Maybe you can do it. You can do whatever you want. I like this. I'll keep this. Come to think of it. I don't really like this. If you want to just change it now. Back against such as displaying kind of toggle between how it was before and after. I could keep it, I could move it. I'll check it out in the end. It looks a little fake now. Turn it off for now, but we'll keep it with save that. And well, it's a blade and supposed to be sharp and shiny. So I think I don't want to add the grime or anything to this, really. Not too much. Or the scratches and stuff from smart material is already pretty good. Where two cases, when we go to flag for k, k, this will look a lot better close up, but it looks fine from far. So what we're gonna do now is make some nice adjustments so we can make this a nice little dagger. What do we have here? This looks odd. I think the normals are inverted or something. Check that out in a bit. So we have this insignia thing that's acting weird. I think the normals are reversed. No issue. We can quickly go. That's why we have this file. Our normals, face or mutation. I think I may just go check our normals. If you go over here, face orientation here, you see this is blue and the rest is greater. That means this is reversed. So we can really click this. Go to Amazon S3 type flip. Flip. Yeah, and then that should be fine. Then we can just re-export this. We just select all of it. File export, FBX, the same thing again. We can just do texturing again. Same name, export. As soon as it's done. Yeah, that's done. So now if we just go into Edit Project configuration and we just click on this to update it. That should update and keep the rest of the textures as well. Let's see the updated to see. So that's fine now. And I think it's going to load in the textures again. Yeah, So now we're back to where we were. This is fine now. So come back to this in bed. We want me to give us, give it a smart material. Maybe something gold and bronze armor. That might look good. Let's try the bronze armor. I get a feeling the normals are calculated on this. So we'll do that in the end again. Let's just move on for now. So this one, we can add some details onto this. We already have some edge where. Let's go ahead and check our reference image. We could add some designs, I guess. So if we go into our brushes, these are standard brushes that we can use. But you can also use alpha as brushes. So I'm going to do that. Alphas. So what do you want over here? Maybe something like a sometimes this. So what we're gonna do is we have to grab the brush. So while we're on the ring one and you're going to the top, close this down, I'll add another layer. You can see this brush icon. This means that you can paint with it. Now, this is how our brush looks right now. So if we want to use an alpha, we just click on this and we got a circle, double circle. They can destroy a circle, double circle. And that's it. We have this alpha. Now let's have a look. Now. This is, you can see our brush is way too big. When I change the size of it. You can change it from here, the size, the flow, the opacity. So we just bring this down. You see, this looks good. And you can also use Control. And you can see on the left, we have all the options. But if you use the right mouse and scroll left to right, can you see the top? We have, we are altering the flow top-left, which basically means opacity nine. If you move up and down, we will rotate it. But this is a circle so you can't see it. If you use the left mouse button with control, then you can increase and decrease the size. And let's just size it down and just click it once and it paints in UC. But why has this painted in? That's what we want to see. If we go to the bottom and see we are only painting roughness in. So what I would like to paint in is a mosque. It's how we do this is if we just grab another, another material that we want, we could use the same one. For this. I think let's just go with height then. If we want to just increase or decrease the height debate. So if we just chapter one and then just decreases the height, and that's it. So we could do that. And we want to do it all around. So instead of just going like this and, you know, whoops, just messing around with it. We could turn on symmetry. This is the symmetry button. Then we have symmetry settings, and then we have a radial symmetry. And we can choose how many we want. So if you want more, you do eight and the angle span in case you want to probably want this on 360, so it covers the whole thing. And then we can just click over here. And if we click, we turn it on. They're there x. That's it. To 60. I'm not sure. If we just check our 3D and 2D. We can check out the lux. One here, one here, one here, 12345, and then 61 over here. Think that looks fine. Yeah, that looks fine. Also, if you want to get it in the dead in the middle, we just go back to 3D. 3d only. If you want to get into the middle, if you go into your display settings and we have a Show Mesh wireframe here. So you can see the wireframe. And if you want to get a ride in the middle, that would help you with that. Anyway. So we have that nice little detail that we added. With the height. We can turn on symmetry now. And what else do you think we could add? Maybe we can add a line going from here to here. That would be overkill. I guess. That's okay for now. Let's move on to this middle one. If good, ring, to check out what ring two is over here. Just for reference. So we can put in some lines. Okay? So what we can do is if we select another alpha, Let's go to our brand. This is our layer, right? So we can just leave this copper. We don't need this. You don't need this either. So we add another paint layer, go to alphas, and let's select a different one. Now. Let's actually choose one from here. Then it's easier to browse through them. I think let's go with a brush long. Now. Let's go with something a bit more solid for those names. Not going to work, but straight stitch generator and we will use this. So we only see how that looks. Something like this one. Or we could use that looks like a nice scratch, right? Let's use this. So we only want to paint the middle part. So we can either paint on the 2D as well. If we just select this here, that's the one. So I guess if I just move into here and just Control, left-click increases size, so it fills it up. Control left-click, and then just rotate it a bit so we can put in one 23. That would be three, right? And let me just do another fourth one so we can get it are equal. So we have them. Then over here. Then if we just choose I think it's this one. This one, right? Yeah. So if you just go ahead and do this two, so 12, That's good. Let's do one here. Whoops. Need to change that up a bit. Becomes the angle is a bit different, that same. Scale it down a bit. Yeah, that's good. And now again, we could have done this with radial symmetry as well, but it's fine. You can do the button ones as well. Let's just do it over here. That's a lot easier. Scale it down just a bit. One, 234. It's not accurate. It's fine because these are all wonky as well. So we should be fine. 1234. Now we have it all the way around. Let's find now every detail going on in this scrapped scratch marks or wherever you want to call that. Good. Also, we did just do the height as well over here. But we could have done roughness, we could have them color roughness. You want what else could we add? Maybe. You have some scratches in here. It's already pretty good. C-spine, chest. So let's move on to our next one. This one, and we already have these. Go back to 3D only. And this actually looks good. I'm glad we did this in the 3D modeling process because that's pretty defined feature. Actually that's a very, very deep, but that's fine. Let's add some more detail to this. Let's try another brush that I could show you. If we go to ring three and close this down, don't need this again, either paint layer. And if we add a mask, There's another one. Add a alpha. If we add like dirt fingerprints, will add fingerprints to where you would actually grab it. Let's see dirt spots. Now, this is going to, again change the height and we don't want to change the height. Whereas it, with this, we want to change, I'd say dirt. We want to add maybe another layer. So let's grab another decent grand juries. We don't really need these random material. And let's search for like a dirty one or a rust. Let's see, iron chain, chain mail, steel rusted, where Rust, fine. Let's try that. If we use this, this is the middle. I think if we just delete this and then add a mask to this, that should do the same thing. That's how we do it. So now if we grab the Alpha for the dirt that we just saw, which one did we just select this one? Dead spots. And then we can add dirt spots where we, where we think we'd like them. And also you don't have to like you can take the hardness and the size and everything. I think I'll go with some dirt. The rest maybe in these crevices a bit more. And just scale this down a bit. Pod scaling the size but the iron, something else. So let's just bring this down. See naked seeds are randomized. So if we go into jitter, whereas it Angle Jitter. Now every time we spray it's indifferent angle relatively. So we could just paint over it if you wanted. Something like that, maybe something like a rusted look for your well, I'm just going to undo that right now. Maybe make this rust and a little bit darker. Go back to this and then we can start painting. Then maybe I can add some to the insides of this. Just as a way of saying that maybe there is something, it, you don't really need to do anything. It's just playing around with it. Whatever you want, wherever you think might be good. There's no science behind this really. Unless you really want to make those hands. Anyway. So that's just telling you how to use some of that. Let's go back to actually texturing this. 7. Using Stencils to Add Emissive Symbols: I really like this one. This one's good to, this one was already good. Maybe we can add some detail to this. We are planning to add an item here. So in emission happen, we add an emission to this like we saw in our this one. I want to add like these symbols and everything and maybe give them a glow, a little bit of a glow, or maybe not, but I could check that out. So let's go to the blade and try that out. Now how are we going to do that? Is because we don't have a alpha with any kind of nice symbols, you see nothing nice. So what I'm going to tell you, teacher to do is what we call as a, whereas it stands out. So let's just save this, go into Google and find some, I don't know what you call it abstract language. Something hieroglyphics is, I don't know. Let's go with like, I think it's like Greek alphabet. This one's pretty good. Viking alphabets. Let's use this as well. Okay, let's go to Photoshop and open that up. This one I'm not the right kind of document. Of course, this does happen sometimes when you download something from the Internet. But no worries, paint is always here to help us. I can just save this as a PNG. Open up that. Anyway. So we have this, many of these interesting. Actually, It's pretty blurred, right? It's not even a good resolution. So let's open up the other one. That's better. Let's just select Color Range and go with black. Select everything that's black. Okay? Turn this Lakoff control I invert and then delete. So now we're left with just the black. Then we can go ahead and get rid of this manually. We don't need this elite that you don't need to do those. This, right? So now we have different symbols. If you want it, you can go and add a whereas at Image Adjustments, Levels and just crunch that up. If we see anything changing. Yeah, we do that like two dots in between. That's fine. We can we can use this. So we're just going to save this. Save it as a PSD, that's fine. Greek. Save that. Now what does a PDF? No, Save as PDF, man, PSD, Photoshop, Greek. Okay, so if we just cancel that out, go back to substance. Now if we click this resource, that's the Import button by the way. And we have our Greek PSTN, and we need to tell that it's not an alpha, it's a texture. If you use an Alpha, I'll just get stuck onto here and we'll use a paintbrush. We don't need that. Important to current session shelf or project. Choose shelf and always stay here anytime you use substance. So if you wanted to stay here, you can make it that current session means as soon as you close this window and go away and you're able to use it again. And project means that we'll be able to use the strongest where using the project. And now we have the Greek alphabets over here. So now we've gone to blade, going to the layer and we're going to create a new, we already have a brushless go to stem cell and go ahead and drag and drop that inside. So now we have this tensor. So if we just go ahead and line this up link, for example, let's use. Rest, S By the way. Groups. Then we can rotate. We have all these like Japan to rotate. It's basically the same thing anyway. So if we just, we can either use that or move the dagger itself. It's the same thing. Let's move the lips. Let's move this to this one. Use these ones. I think I'd like to rotate this object. That seems a little straight. Straighten up, dagger. Move it a bit. Now, if we go ahead and paint, we have the stencils, so we want to paint a color. Let's see, we went to paint a red color, whereas our brush, we want to use no alpha's. Just a regular brush. Size. Size is too small. So enable that. Obviously. If we do something to this, let's make another layer. This layer is for, I don't know what I think is the reflections that we added, right? Which is selective. So we know we are doing there. So let me just say about that. Let me just add another layer and another layer and we'll call these symbols. And now we can just paint on it. You see that we've painted we've painted the whole what you call it the so-called, right? So what we want to do is okay, so we weren't getting these red blotches. I figured out I'm getting these red brushes and I'm trying to figure out why. And I think it's because this is transparent and white substance doesn't really know what transparent is. It wants to find out what is blank and what is white. If we try and just paint the background black, that's fine. And then save it. Then we can go ahead and reload this and add this to our strengths. So now if we, yeah, now we're painting and now the rest is black, so it knows what to paint. Now. Not as good to painting. And also we can just paint this in the 2D as well. Let's see. Now we want, Let's see which ones we want. Let's just panic for symbols. On this. Rotate this. I think it's straight now. The blade is straight now. Okay, so you can just move this and zoom in and place it where we want to. I think we'll start with an R. Now, what do we want to paint? Definitely not read. How about a nice blue color here? And do we want any height? Or do we want any height? Yes. We want to dig in a bit, just a bit. Do we want roughness? Maybe make this rough. Do we want any metallic non-normal now? So now if we paint into this loops, well, as high as we do, we need it on. I think that's a good that's a good size. If we just click here that paint their own, right? And let's see what else. Other Symbaloo one. To paint. This one. Let's paint this one on. Oops. Just rotate it that way. Is it the right one? Okay, Now let's pain Ron, this symbol here, this one thing that's Jim bit wonky. This symbol. Maybe one more. This one here. Now if we go back to our 3D view. I'm just trying to distance or off for a second. So now you can see that we have dug into it with the blue color and it looks good. Now, that looks pretty good. What we could've done, whoops, I'm just starting to paint now. What we could've done is also adds some emission to air, so it kind of goes into that later as well. But if you'd like to try how we do that is you would have to go to your texture settings. And let's see, channel, channels and channels. You go to add during their visit channels. So then, so then when you're here you have an admission and you can click this. And then when you start painting, this will be a miss if you can't really see it right now. That's because if you go into your shader properties, Miss have intensity. And she camera settings, post effects, layer. Turn on glare. Now if you put it on, did we paint emission? Emission is 0. Painter massive Y2, that's wrong. That is very strong. Then we can go with another like a same coloration. Let's just draw our emission intensity down. Actually, let's keep on. Michigan speed. Decrease the luminance of our glare. And I don't like this. So if we go down, we can go to bloom. So we have this bloom and also we can just increase or decrease this, keep it subtle. Luminance a bit low. They give it 0 is still a meeting, but we want the glare. If we go for intensity 0, something like 50. So we have a nice emissive going on. Actually, I want the glare back stronger anyway, that's way too big. So we can just go ahead and ministers. And if you want to do this again, we can have good thing about this is that we are in our layers. So if you just turn this off, we can turn this off. Now. If we, we can't just paint a mission that will ruin the pointer. So we're going to have to do this again. So you can use the eraser tool as well. Just erase these. Okay, and let's go back into 2D, but that's wrong. The eraser. Oh my God. Okay. So, yeah, let's go back to the strands over to go. Add that back in on the normal one. And now we want emissive. And we don't want this square brush gun. You don't want this square brush. If you just go on. Roughness is fine. Roughness emissive. Color is fine. It's about the same. Everything's fine and we can just go and use an Alpha. Let's see. Basic brush. Wears or abrasive brush going. Can we use the basic brushes? On the basic brush? It's fine. Okay, so which ones do we want? Do this, do the same ones. I wanted to do different with this used to be this thing. Maybe a bit bigger. B, b n. One follows this weird shape. Maybe. Okay. This one instead. For I think we need to do size. Let's go for this one. So there we have it. 3d only. Remove distance. So we can see it. And Rehab, we have these dots in our image. If you see like these small dots, It's fine. It could have been cleaner, but it looks good as well. Now, if we go to like the glare and maybe turn it up a bit, would like to appreciate that kind of thing. Right. Nice fluids. Go ahead and erase this because I don't want to miss just don't want a cleaner look, although it won't be that clean, but why are we not erasing? Oh yes, we need to raise everything. Can be get harder. Driving best to just move these obviously, if you just do it in the first place, make it burst, and then B, then it shouldn't be a problem. Some people might like this gives an extra effect like maybe like a plain paint splatter wherever is totally a new student, but whatever you want to save it finds good. Don't want to do all that again, right? We can just go ahead and resolve that. So now we've arranged most of that and it should be fine looking from a distance. Okay, so we have our hieroglyphics or whatever you wanna call it Dan as well, greek symbols. So we are done with that. Now let's go back to the brush. I don't need this. So what would we like to do next? For our DAG? I think everything is good. I want to change the handle a bit. 8. Using Projection to Detail The Pommel: Let's find a different material for this because because I do not like it. Let's go with a word. We have a word. I'm gonna go like a plasticky. What would ship? Would, chest. What I could do charcoal, nitrate would or could you what tends to look really weird sometimes because of the texturing and everything. Looks badge. Let's try the word walnut then. Could go for a wooden but you know what? Mine is not like a wooden dagger, smarter, elite, plastic or rubberized. So let's go delete this treat this inhibition, just make it darker and it would look fine. Nice pitch black, maybe the handle top as well. That look any better? Actually it does look better. Save that. So what else can we do? Let's add our eye. We add our eye is with decals. Decals. It's like a stencil, but stencil goes into roughness and metallic and everything that you want, all these things. But the decals only applies the color to it. If you want the eye to be emitting some kind of a light from it, that won't be possible. So let's go ahead and try decals and import that I, that I have ever nice. I just wondering is as a texture for the project import. Now we have this eye. So we're in Photoshop now and I just opened up the eye and I saved it as a, In part, save it as a PSD. So if we just go ahead and added the eye and as a texture to this project. So we have the eye now. If we replace it with the eye, should start. I think we do have a bit of missing the eye. Yeah, there is there is still a bit of weight which we can remove. If you don't make that. Just to check if it's working alright, weekend. I had a black layer to it. I think I might want to blacken these edges as well. Okay? Okay, I'm getting carried away to me that just as fun and paint it black. And if I just select the ellipse tool and just select the eye, should look good. This control invert and delete. So now we have a nice clean a. So let's save that. And if we reload it, we just drag this in here again. Yeah, that looks a lot nicer. So we have the I that we wanted. I'll just go into the top. Actually, if you go to orthographic view. So we have a flat surface, relatively flat Earth surface. Now, we want this to be, rotate it a bit. So let's just go ahead. Router care can see the eye. That, that's just a way of painting, right? Another way we could do this is if we go into protection mode. And at the same one to the color, we don't want any of this. The same thing to the color. So now we have a few paint over it just to paint. If we just nicely align this, if you can't see the background, you can change it from denser display pasty if we just get an idea and we want this to be aligned to this. So let's go ahead and rotate it. Wrote, wrote fits, I scale it down. Now we can see fit. And it's about straight. And say, just go ahead and paint this. So we are painting in black again. That wasn't happening with the paints. If you just go ahead and undo that and take that out, save it again and just reload that again and put that in again. Now I can go ahead and paint this. That looks fine. That looks good. Actually. Go back to brush mode. Now we have our eye inside this looking really, really cool. I think it looks like a gas go edge. If you don't, like a dragon or snake eye or whatever, you do the same on the back. I don't think Should we are maybe we should have made this like an high maybe bulge up a bit so that it would have been more of an eye. I guess. We can do that later actually maybe in Blender if you want to do the other side as well. So if we just have, you can just do that for ourselves. But let's just go to projection mode again. Since we do have a nice projection, we can see the eye and we can just rotate it as well. Scared it up and rotate. So it's nice and aligned. I think if we change our hardness, then we won't be such a fall off and just increase the size a bit more. That should be center. So now we have a obviously it's because of the light team Come see that so well been the top one we can. So out of production mode and there we have a nice texture on our, another thing as well. Okay, So now that's looking good. Cancel this out. We have a nice thing if you want to actually see how this looks, we can go into viewport. You build. Whereas it God. Now did I make it crash? Yeah, rendering. I clicked it twice anyway. Just click it once. This should render as in width, physically-based rendering. And you can see how that will look once it's rendered in real-time, as you can see, it's rendering that this resolution. Now it's done. And if we change how much time are samples we want, we can get crispier view of this. Now that we looked at it in this, we can actually get to see how it looks like in real life. And if it looks a lot better than we were thinking, it was, still might want to change the handle a bit. The thing I might want to add some, this is too sharp, maybe like dense and stuff into it so it's not so neat. And maybe a few like over here or something as well. So let's go and cancel this render. 9. Using Alphas to Detail The Handle: That looks good, that looks good. This looks way to paint. Let's put some fingerprints on here. So let's grab our handled button. Add a new layer, and let's find an alpha. Fingerprints. Added to the Alpha. Actually, let's grab a top pond flowing, drop. Dirty bloody fingerprints. Let's see. So we want the house to not go for the height, the roughness. Make it very rough. Yeah. Okay. You can see the seam, right? This one, but it's really not noticeable, so we don't need to change it on the uv maps anyway. So we want one of these and we don't want it so strong so we can decrease the flow. So it's nice and light. Even lighter for me. And also, if we set it to wrap around, can we wrap it around? It's been around for around. So we have a big handwriting. So increase the size like this, like it's a proper home, grabbing it and then put it down. How's that? Look? Let's check out our 3D and 2D. That's not going to work. So if I just rotate this bit, and that looks fine. Like this, wrap it, wrap it in a bit heavy. Decrease the flow of it. Increase the roughness of it. Hardness should be like nothing to bless. Yeah. Let's go there. Yeah, That's good. Nice fingerprint on it. Nice fingerprint on it. But let's try. So now we can keep the fingerprint even if we don't like it. Palm one. Pumping. Well we do have a Han. Let's try this. Now wonder if we can undo this and paint these two together. So, well. So let's rotate this like this. Should print on both of them. Think I did just do one of them. So let me just look it over here. Again. I just did it but I didn't. Okay. So over here and then if I go to Button and then more here, how does that look like a hand Fred coming around. I can just decrease the opacity of this a bit. Can we not? This is the layer, so this is the opacity, right? So how does that look? Think it looks a bit too much, doesn't it? Means to be a bit more subtle. So what we can do is we can add an effect. Levels can affect the roughness of the layer. And if we can just move this down a bit, that looks better. It's settled. Then we can just go ahead and copy this effect and put it on to the same one over here, face-to-face. And now that's decreased to that looks that looks better. It looks good. So apart from that, any kind of imperfections we need to add to this, save that. Anything imperfections we need to add do are handled. I guess we could imperfections. But what would that be? A displacement may be a bit. Now, we could try that actually. Let me just go to the bottom one. Another layer. If I just paint with the brush, brushes, brushes, brushes, brushes, soft brushes. And if I paint a little bit of height to this, it's not really making a difference. Okay, that's making a difference. So if I increase the size of it and we dislike, dip it down a bit more. With more, you know, we won't be able to tell because it's a weird kind of chill. So we just get rid of that. We added fingerprints for roughness or wherever else can we add? Roughness? We can add Can we add color, color or roughness or height? We could add some color, maybe add another another layer to it, another layer to it. Let's see what can we grab something that's getting exposed from the bottom, maybe. Like the rubber is ripping up a bit. So it would be what, inside or like plastic, maybe metal. Let's do a metal and nice iron chain mail. Is that iron hammer? Grainy, not supposed to be so smooth? Pure. Steel. Rusted where? Rest. Let's go to smart materials and see if we have a rusted looking one. Copper, maybe. It's too dark. Steel ruined. We could go for steel ruined. So let's add that. Obviously, I'll change this. We can add this underneath. That looks pretty good. Well, I just added it to this. Either steel wound underneath and then we can add a mask. And I think if we start chipping away at the mask with black, blue not dirt spots with a brush that is soft. We should start seeing this right? Metro from inside. Now. I don't want it to, I want it to be like a scratch. Is there a scratch? Matches? Let me see. This week good. Unlike Scratch, like this, maybe we can add a size is find the flow is fine. Spacing with pasty snails jitter. We don't want the jitter. And we could use the angle position. It's not like we're painting this anyway. We're just going to do it a few times. So I'm not going to go like this scratch, right? Could do maybe just one here, one here. Like random scratches. The one is weird. Maybe more on this side. I think that looks fine. Now we see the paint being revealed a bit from inside. Actually, I'd like to go in with mask is only for color, right? Yeah. So we can't really go in with this teal blue and can can we though? The paint on black. Okay, that's fine. Now let's just go to them. The mask, layer, mask to this. Go ahead. So we haven't added a layer on yet, which is fine because right now we're just painting with the black, so it's gonna be white as it is underneath. That's too much. Again, too much. That's fine. Now, if we go ahead and copy the steel ruined, copy it under the button and just go ahead and paste this. Maybe you can see the difference. We should see a still ruin. Underneath. You see it's more defined on what we have. Just gives a better look. I think that makes our handle look a bit better than before. Could have done many things to that, but I think we are done now. We have a nice blade. We have a really battered all the dagger, cross guard. Love the rings to be honest, especially this one. Handle could still be a bit better, but it's still a lot better than before with a few fingerprints and scratches and stuff. And then we have our eye. That looks fine, perfectly fine. But add something on this side, to be honest. Shall we try something? If we go to the high Palmer? If we go to 2D part, maybe we can paint on this. Let's see. 3d plus 2D. Don't know what this is for. Already. Got something on it. Oh, yes, That's where I is. I make another layer on this and we can just start painting. What are we painting here? Color, height. We want some height. I wanted to have an Alpha that is something like something like this. Lighting is a bit off, something like that, but a lot smaller. So if you just choose this and rotate this a bit and scale it down. Then we can click here, shift trachea and Shift click here. And that should weaken nice straight groove. But know what two of them. So let's decrease the size a bit more. Make one here, here, and here. And then we make one here. So now we have a nice extra detail which we don't really need, but I think I'm missing a bit of a fire somewhere. No, I this kind of dug into it. It's fine. Currently see anyway, the detail curve change the color as well. This is just extra, so you can feel free to play around with your model as you want. And we'll go ahead and in the next day, just export this to Blender and see how we can just render it in very quick way. To get a nice look, save that. And let's give it a quick look in our Substance Painter, IRA, which is the physically-based rendering system. That looks pretty good. Nice, dense scratch marks. Okay, that looks good. Let's tap out this person. I don't think we need to do anything else on this. I think this is maybe too dark with this be more of a silvery. Know what it is. It doesn't look so looks like Iran, I guess by Doesn't look like shiny. Must as you know, you can't really see this texture unless you're up close. Over here, it looks fine, but once you zoom out, let me try if we can find a leather. Their cough green creased, damage to that would be nice, fine aged, rough rough, dark seed. Sofa. Sofa, leather. Leather. Leather I damaged. Damaged or leather damage. Let's just check this out. Oh, that's nice. That is nice, isn't it? It's nice, but how does it look? It's a good, obviously it's good, but let's try this one. I want a bit of a brown edge to it. Nice as well. Reddish touch. A dagger handles even made of leather though. What of a sunrise or kind of thing? Because if we look in our references loops, I'm not sure what this is made up, but this is like plastic and metal and sname and a dagger. This is also metal plastic stone. Couldn't have it wrapped around. I could look for more diverse as well. If I want to quickly search for stylized daggers and see what they're made of. What I guess is it would have been like The Goodbye stylized look. I'm going for a realistic look. It's pretty much with something wrapped around it. Like a leather or some kind of fluff. Let me go for like a metallic handle. Not stylized but just 3D daggers. See if we can get something a bit more accurate. This looks like a rubber to me. Just stick with what we had. I guess. To be honest, you can make it any material like you have wood as well. Up to your choice, up to you, to be honest. Plastic, leather. What else do we have? What other options do we have to strike? Even darker? Can I make it bright red? Not like, right, but like, look good. Copy this. Copy this to the top as well. We are getting these nice lines that we drew. Actually doesn't look so bad, right? Makes the central one standout. Let's put our scratches and stuff back on so we can see the metal. So let's put this layer on top. So we get our fingerprints on it. Or handprints even. What's this dust for? Edge damage. Okay, we need to put this on top of this. Close this out and don't want to see that. So where are scratches? Scratches. We've had the scratches over here, right? So if we just copied this mosque and paste it over here, paste into mask. Now we have these scratches. Mr. the same to the bottom. If we just turn off our close this out. Another damaged. Now I'm delete this. I put this on the top. Now we have the fingerprints or stains or wherever you are on. The steel to the top. Hide this and just copy this mosque and paste into muscle as well. Nice scratch it. I think that that looks better. I think. I think so. Okay. That's fine. That affect this, right? So got to bake, these maps were big, all of them again. So if you just go to texture set bank maps and we'll bake them in for k This time, we could go AK, but I think even for k will be enough at this level. So all of our maps, again, even the insignia, which we had rung normals for before. So based architectures. And as soon as this is done, I'll come right back. 10. Finalising and Exporting 4K Textures: Okay, So just got done with this. It didn't crash ones. So if you're baking is crashing, not forget textures as well. Or even more than that. I'm not sure why this is not for k. So I baked into folk anyway. So if it's crashing on for k, then you can just go into your settings where let me just start off. If you go into settings and go down, then in the baking options disabled enabling gpu by dressing and enabled live preview baking process. And I did that, and that's how I was able to do that. So we're now in for K and we would like to improve upon this this insignia thing. So let's just name insulator. Oops, the wrong one. So now because we are using forget textures is going to be heavier to load in and out. But I don't like that. Brass, gold, smart materials. Runs armor wasn't really nice. Let me delete this. Copper worn-out. Gold armor, machinery. Machinery. That looks okay but weird. Matter move this. I'm not sure. Let's go with a normal gold damaged maybe. Yeah, That's fine. Mr. Golden Senior thing I guess actually I score with a silver one. Let's go with from gluten that we keep a nice also the steel bright layered. Let's see how that looks. That's fine. Yeah, I guess that's fine. I'm just gonna go ahead and delete the other ones. Don't even need this. So Vietnam, I think we're done. We even got some nice textures on these. So let's go ahead and export our dagger. Just going to save that. Now to export your materials, let me just wait for it to finish saving. And we go to export mesh or textures. We already have the mesh from Blender. So we don't really need to export the whole mesh. We can just explore the textures. Now, this is where you want to export it. So I'm just going to change this to the desktop and make a new folder. Being on this textures. And it's fine. Metallic roughness. If you would like glass, then you'd like PBM metallic reference. With the Alpha. It's not over here. The outcome and when you make your project, PNG is fine. Eight bits. Actually, if we want a higher resolution, we can go for tiff. Tiff, 16 bit, or 32 bits, based on each textures that we can go for k. It's worth, that's fine. And export. This is where it will be exporting the tiff with all these settings. It's just going to compute it for awhile. And as soon as this is export it. I'll go back and vendor and I'll see you there. 11. Applying Textures to Model in Blender: A black and back in Blender. Well, so I'm kind of used a substance like a vacuum blender. And now we need to add import textures. Until this we go into the shading workspace. Whereas our model, okay, we have these weird textures on it right now. These are just the materials. So let's go one by one atom. If you just press Control, Shift T, open it up, and if you just navigate to the textures. And now we need to for the blade, right? So project dagger, texturing insignia, blade. So if we just search blade and just select all of these, automatically, assign them to wherever it needs to go. And deal, will have to plug in every texture by itself. And then that is a really an easier way to use some of this. Even our emission is coming in with the emission. It does look a little bit different. But we can fix that in a bit after we just add all these textures. And same goes with this. If we just add on the cross guard all these. I think it's probably not plugged into the right ones, but that's fine. This is the ring one. So boring one. These you can just do the rest of the year model. The same way. I'm just going to fast-forward through this. 12. Scene Setup & Draft Render : Okay, So I'm done adding our textures and as you can see, this looks fine. There are some weird artifacts. I don't know why they come up in EV, I mean this material, but if you go to rendered mode, it should look fine anything because EV doesn't really support displacement. So it looks fine in rendered mode. So unless you manage plan to do an EV, you should be fine. So let's go back into our layers and go ahead and set up our render scene and take out a quick render for ourselves now. And what we can do is, first of all, we'd like to make a plane. That should be fine. Do we have our cameras set up? Nope, we need to make a camera because 0 focus in on it. And I had to go to the View tab and just lock camera two views and then I can just zoom in as I like and just set it up. That should be fine. Now, obviously, when we showcase or present any kind of product or asset or game, weapon or anything, it's just going to be a simple vendor as it is. Rather it will be something more like the thumbnail or other images you'll see during this course because you need to present it in a way that it looks good. For now we're just going to do a normal map, normal camera, and we don't have anything. So if you want to see reflections, you would like, would want to add an HDRI. So you can just use any HDRI that you have. I have let me see. I think I have this small studio on. If I can just turn on EV for now. And actually a blue screen space reflections, refractions. Ev. Just to check out the lighting for this. Obviously I look a lot different in cycles. There's just two basic render. And if you just go back into solid view, our actually see the textures on this. You are in solid view, which is pretty cool. We want this to be on a flat surface. So just go to number three and grab our dagger and displays it on the floor. And we'd like to rotate it because we'd also imagine we just save this first. If you want, you can just save as go ahead because we're done with texturing. So now we go with rendering. Then just save that as rendering. We can rotate this so that it's on the floor. So now it's on the floor here, on the red line here. So it doesn't matter if it's chipping in a bit. But here we will see that it's playing on a flat or not flat. And so we'll get a bit of shadows as well. What I would actually suggest is maybe a, let's say a cylinder. It's going to be huge. This scale it down and just place it underneath our object. Since about this high. And if you just shade smooth and quick, normally just give a quick bevel. Apply the scale so that it looks. That is a huge battle because we, oops. Anyway. So that's what we have. So that way, if you just give this a quick, that way, if we move this on top of this instead like that, then we can move this to the ground. Like so. Move it down a bit. I think that touches just off the ground. Actually. There is just touching the ground and we can just move this, scale this up a bit so that it touches. We're actually bringing this up a bit. So that lands nicely on this. On this block or something. You can make this like I wouldn't bug thing or whatever you want. But it does give them a bit more character or something I'd say. And to some extent, now, that looks better. So let's just go ahead and check that out. Save that. 13. Basic Lighting: Let's add a light 0.9 here. And it's going to be huge because, because we are at a very small scale right now, as you can see, and our item is just 0.2 meters. So that is the realized scale, our dagger. So if we just turn this on, whether to see some shadows hopefully on the ground. Now, that is very, very right. So turn this down to like one watt maybe. And actually we can get rid of this just for some nice effect and change the slide to like, to watch maybe or three watts. Three watts does look alright. Obviously with EV, we have to like turn on all these shadows and everything. Where's it gone? For good shadows, hybrid depth and all these things that we wouldn't really need, but you still can't really see any shadows anyway. So that looks fine. But we do want some reflections. So what we're gonna do is if we go to the shading, going to the world settings. So where is our texture? So right now it's at 0. But if we use a mix shader and makes this shader with a diffuse shader. Where is it diffuse? When other background one, then that's fine as well. And then we can make our background black and have a light path so that our camera ray is only works in cycles. Either the camera, the reflection, so it only works as a reflection and trans to one. So let's go into cycles right now. Wow, that looks so nice. Let's go into cycles. Cycles. Save that so it doesn't crash. And move two cycles. Now we go rendered. We are getting this nice shadow. So if we turn this to 0, Yeah, it does decrease the brightness. So if we go with their reflection, they only want the reflection for this. And then if you go to one, yeah, I think that's only giving us the reflections. If you want to. Just crop it to this so that you can quickly see if it is actually working. 99 as well. This is unplugged in the world is going on. So if we go to reflection again, so now we have a fractions. If we turn this to black, that means it's 0. And if you swap this around. So even if we have this one, black or white doesn't make a difference. This makes a difference. So I'm going to keep this unblock, right? So now we know that this is working. Okay? Whoops. Okay, So if you want to have only your reflections, so if we add a mix RGB to the note to this, to this, this in-between. There you go. So if we add a mixed RBG GB on another light path and use glossy depth. Now, glossy array into the factor. Let me just show you this. So we're using, we're having, getting reflections in this. And if we just change this to black. So I mean, if we are just not using this, then it's going to lie up the whole scene. If we go to white, you see how brightnesses, but if we have on glossy rayon, so we don't use the light, we just use the reflections. That's how you do that. You have this also if we just add this directly as well. And if you don't include this and just go to our properties, re visibility and turn off diffuse. That will also do the same thing. So now we've only getting reflections from our from our scene and we're not getting into defuse that the color of this. So let's go back, let's change this to this. Let's go back over here. This is a wonderful mode as well. So let's see how that looks. That's fine. Obviously this is dark, so that's not being used our HDRI, but our reflections are coming in. If we just take a look over here on the bright spots, if you can see it. I mean. Okay, So we're getting those reflections. So that's good for now. So this is our Render. 14. Final Render: And we just save that, set, our Render Settings. 32 or 64 is good. Cycles GPU, everything is fine. We don't need to mess with any of these things. We don't need that either. A final render is fine and everything else looks fine. So render this and come back soon as it's rendered. Okay, so our render is complete. As you can see. Obviously it's a white background and just take away a chunk, but it still looks pretty good like our text string. And actually it looks pretty good. And the more you work on texturing is kind of a thing. If the more you work on it, the more battery can get. I mean, we could have done so much to, there's so many things to this. I just showed you the basics of how to texture and how to use Substance Painter and all these kind of weird, funky things that we did over here. And also as I said, you can present it in a different way as well for your showcasing on art station or wherever. Make your portfolio or just install whatever. So I hope you guys enjoyed, hope you guys learned something especially texturing. And I want you to practice and maybe make another model of yours. Model of yours. If you did follow me throughout the last class as well, where we actually model this dagger, then hopefully you can post your own models of the daggers or sores or wherever you guys made with the textures this time. And I love to see how that, how you guys have followed through and how much you guys have learned if you need any help or anything, feel free to leave a comment or any questions and discussion. And, um, I'll be happy to help you guys. Hopefully, I will be making another one related to animation of this stagger. It won't be an extensive class. It'll just be a short class. Just for fun. Not really to learn anything, but just to maybe showcase your dagger or weapons or assets in a fun, yet interactive and animated way. So hope to see you guys soon. Rupee learned something. Thanks for watching.