Learn 3D Texturing in Substance Painter 2022 All Levels!

1. Course Introduction: Hi there. My name is Sean Fowler and I've been a professional 3D artists and the freelance industry for over ten years. And I'm thrilled to talk to you about my newest course, learn 3D texturing and Substance Painter, all levels. Comprehensive guide in not only to learning but practicing in honing those developed skills within Substance Painter, to that end, will be supplying a fun 3D model for you to learn and practice your texturing techniques. And that's our brave, courageous space turtle. Having said that, we'll start off with the breakdown of the viewport and how to import your provided practice model into substance painter. And from there, we go over the basics and walk you through the process of baking out maps to set up your folder structure where we officially start painting. Of course, it goes without saying that aside from the fact we'll be learning 3D texturing in a fast and easy to follow workflow. Some of the other things will go over are as follows. A breakdown of the basics by first understanding different workflows, such as fill layer texturing versus paint layer texturing. You'll be creating some fun opacity textures and how to experiment beyond our own version with your own unique texturing version. In addition to that, we'll show you some interesting and unique blending combinations of materials and smart materials are provided demonstrations for you to build off of. You will be establishing a solid foundation in masking, as well as learning how emissive effects work. And finally, we'll cover substance painters built-in renderer irae to produce an industry standard render shot for print or portfolio purposes. Now, by the end of this course, you will have a strong foundation in understanding 3D texturing within Substance Painter and understanding to establish your own unique texturing style. And to that end, let's start texturing. 2. What To Expect Here: Alright, let's get started. In this video, we're going to outline the course curriculum here, as well as establish some guidelines for you to help make your learning process just a little bit more smoother. And in fact, let's start off with those learning guidelines so that we can get those out of the way. One of the first guidelines, so I'm gonna go is this please, please, please re-watch the content. In fact, go beyond that, I would say if you ever feel loss, definitely stop rewind, re-watch. Stop, rewind, rewatch. That's very important. You wouldn't believe how much gets missed that you would pick up on a second try around. So that's pretty important. Tip number one, guideline number two is, please surpass the concept. Dare to deviate. You are more than welcome to copy what I do and follow along with the course, but I'm not going to lie to you. Learning Substance Painter also involves your own personal exploration. I want you to feel free to go ahead and do your own designs at once. You are at a comfortable point. We will hold your hand. We will go ahead and tell you how to texture these models and how to work in substance painter. But we would love to see that final stage where you're breaking out of our boundaries to your own texts, dreams, and your own textured models. So definitely feel free to post them or send an image to me. I'd love to critique it and give you feedback on that. So with that said, we can kinda segue into the third one, which is, please feel free to ask questions. Message me, I am more than happy to address any questions or concerns you might have about the course or something you don't understand, just send me a message. I'm I'm definitely available all the time. I'm very good at getting back to people. So with that said, the next thing up is, is we're going to go over the curriculum of this course. Now. As we can tell you, this course is about learning Substance Painter. And we do so with a 3D space turtle model that we give you. It's yours to have as you see fit for your texturing and practice. So definitely it's a lot of fun. We had so much fun trying to make this turtle for you, and we're definitely excited to show you what we have. So with that said, the first section is just gonna be about getting set up. And we're gonna go over navigation of the user interface. How to bring that model in, how to bake the high res onto the low-res so that you have all those fun details. And we'll even end with some basic things like talking to you about fill layers versus paint layers, et cetera. We'll go over that. It's like a beginner setup section. Now, Section two, that's sort of where we officially begin our texturing in Substance Painter. And to that end, we talked to you about starting off easy with teaching you how to do masking and laying out the folder structures. We do that just to be sensitive to a beginner user and making it as easy and comprehensive for them to understand. And from there we go into how we texture skin using generators, how we can contrast between materials and smart materials, particularly around hard surface areas like the helmet. We then talk to you about how we can edit some of those materials and smart smart materials, as well as going over some fun stuff like painting the eyes, which we again want you to deviate and have fun and make your own eyes if you want to, definitely choose your own color if you want. Now, one of the last things we'll do in the head is go over how transparency works and Substance Painter. Now that's gonna be a big one too, because We would love the bulb and we just love having to have fun with making our own textures on here. And we're going to show you how good that comes out in a render for Ira later on down this course. So the glass bulb is sort of our fun are fun lesson that we kinda go over. Now, moving on, we go to the texturing of the body. We start with the chest pads and the gribble, and then we transition into the texturing limbs. And that's where we show you how we transfer details from the chest pads onto another texture map. And then continuing and expediting your process without having to do much rework. So sort of a quick, fun little shortcuts that we kinda teach you how to do there. Furthermore, we go over texturing the shell and then finally finish up by exporting out those textures. We go over that as well. The last lesson is going to be the fun lesson and that's rendering. Now this whole thing is about what you end up with as a product. And hopefully you should have a good industry standard level render image for you to use and share with your friends or portfolio if necessary, which we go over. Substance painters, built in renderer, IRA. So don't feel like you need to have an additional piece of software not necessary at all. Ira is built-in to Substance Painter. So with that said, those are the basics that we're going to be going over. This kind of concludes the what to expect section. And with that said, let's get started. 3. Navigating User Interface: Okay, so let's begin In this video here we're going to talk to you about opening up Substance Painter for the first time, what Substance Painter is and what the user interface is all about here and give you a little bit of a crash course before we get things started so that you're not completely lost. Let's go ahead and start about what is Substance Painter? Well, Substance Painter is a 3D texturing software. You can basically import 3D models in and texture them as you would if it were Photoshop with a UV 2D platform, UV set for 2D preferences, or if you want to texture it like it's Polly painting in ZBrush with a 3D preference. You can do that as well. It's layer based, so it's going to have layers similar to how you would operate in software programs like Photoshop and wear layers stack and overlap and cover up layers that are underneath. That will make a little bit more sense as we texture if that's still feels a little confusing. And additionally to this, if you have a low-res and decide to take it into a 3D sculpting program like ZBrush and sculpt high-res details. You can additionally bake those high res details onto the low-res and then make a continue on with your texturing. So it's all very inclusive. Now, in the next part of this lesson, we're going to talk to you a little bit about the viewport and what each section is, so no one gets lost. Now, when we bring a 3D modeling, you, if you look at see where my mouse is, right here, this is going to be where we put a three. This is where you're going to see the 3D model which you can view, rotate, scale, zoom in and such. Again, you'll, that will make more sense when we see the next lesson. Now, with every 3D model that comes in, you've got to have a UV set or some set of UVs to texture upon so that you can export them out as maps after you're done texturing. Well, when you bring the 3D modeling over here is where you're going to view your UV map that comes with that three 3D model or that should have been laid out before exporting out. Now, you didn't hear, I remind everyone, as I said earlier, you can texture on either side. You can do 3D texturing, which most people prefer, or UV texturing, which most people actually use as an advantage to get some mask assigning done. And so this is basically going to be where your UVs are going to show up at. Now if we move over to the right here, we're going to have three panels and one tab here. We're gonna kinda break these down pretty easy for you. Texture set list, which is very much at the top here, is going to be where the 3D, when you bring it 3D modeling. Sometimes 3D model can have one set of UVs or maybe two sets are three sets of UVs. Well, the number of UV sets shown here, or in other words, the number of uv maps that get displayed in different areas of which you can texture in, depending on how it's organized on the 3D model get revealed here. Now when we go further down where it says layers, we have a very important part. This is like a workshop area for Substance Painter. It's where you drop all your fill layers and layers, where you do all your tweaking and texturing. If you do anything like that, it's going to be shown right here. And it's going to be sort of like your Canvas workspace on how organize all the different layers representing different colors and textures onto this 3D model. It's going to be a very important part right here, this layers, this Layers tab. And so as you'll see throughout this course, you're going to understand why that's so big. Texture set settings is going to be something we covered down in the next lesson, where we talk to you a little bit about the baking. And we talked to you a little bit more about how we can assign additional channels if something's being excluded out in a fill layer. And we dress fill layers later as well. And then as we go further down to the last tab, Properties is something that reveals the anatomy of that which you click on. So if you click on a fill layer, you're going to see the anatomy of a fill layer if you click on Smart materials that you want to drag and that like smart materials that make this piece look like rubber, make a 3D model look like rubber. You can do modifications to that. From here. Once you click on it from your layers, you'll see all the details that show up right here. The properties section. So it's a subsection of layers where you can do even more deeper amount of workshops. So let's think of it like your secondary workshop area. Now, we're going to cover it, close this out with one final area. And that's gonna be the assets library. Now for some people, the way that the user interface is structured, it, some, if you're on an earlier version of Substance Painter, you might be seeing something where this assets library runs horizontal and that's okay. It won't really hinder you very much. Including it as vertical is an additional prefixes, prefix. Adobe decided to go with. So let's talk about the assets library. This is where we have ingredients. Think of it like your ingredients, like your spice rack when you're cooking or creating that texture. It's all about how you combine and create all sorts of different textures, different smart materials, different regular materials. You want to bring them over, drag them over to your workshop area. This layers area, maybe want to tweak or work on it from over here. And then you see the differences, the changes that occur in real time in the 3D model. That's what it is. And it's a very fun thing to experiment with and it's a must to experiment with when you're stacking layers on top of each other and seeing all the different fun results of different flavors that come out with textures when you start combining. Now within here on the assets, you might notice some things. But breaking of assets further down, it's almost like a storage database of different utilities. So think of it like this. We have things that are stored here for different materials we can assign. We have advanced versions of those materials called smart materials, which is in its own unique category. And we'll talk about the difference between materials and smart materials further down. Then we have masks. When we want to add a fill layer over here or a paint layer, we can add a mask like we did in Photoshop, or we can do a customized mask where we, that's what these are right here of which are smart masks. And they dictate a procedural masking behavior based on how things are done in a high-res, low-res bake. Like I said, you may think when I'm talking like this, I might be talking a little too quickly. I am again, just stop rewind. But I also say this as much. It makes sense a lot more when we start texturing all this stuff. And what we do is going to make a lot more sense. Now, if we keep on going through here, I never really touched the filters. It's never really had a big impact on my texturing. So I'm going to skip that for you because I don't want to over-complicate things. But if we go to brushes here you can see like Photoshop, all the different types of brushes that come about that you can customize with a paint layer or a fill layer when you're editing a mask. Then further on we have just some extra library things like alphas that we can use to occlude certain areas. Or we have certain sort of fractal patterns that can be used for wall surfaces, et cetera. And now we have a lot of different areas. So think of your assets library as sort of that utility storage base that has a whole bunch of ingredients that contributes to how we texture a 3D model. So that's now your basic rundown. If any of it didn't make any sense, I remind everyone right now, it's going to make sense. It's going to have a lot more sense when you're going through an texturing the 3D model because we do a lot of repetition to ingrain this in. We don't go with just doing it once and you never see it. We repeat a whole bunch of things held, even including one thing we repeat is the baking process. We structured a 3D model with for, I believe it's 55 maps, I believe we'll have to check. I'm going to say five maps because the bulb was Additional, where we just kind of gets you through constantly repeating the baking process so you know what to do. So let's just go ahead and move on from there. In the next lesson, we're going to talk about importing a 3D model and talk to you a little bit about the process of baking a 3D model out. So with that said, stick around and stay tuned. 4. How to Import the Model: Okay, so let's get started. In this video, we're going to pick up where we last left off and we were going to import a 3D modeling. And we're going to talk about how to rotate, zoom scale pan that's modeling and go over some things like the texture set list and end off with baking. So with that said, let's get started. So to start off with, let's bring a 3D modeling. And so we can gain a little bit more context of perspective and understanding all the things in the last lesson to make it easier. For that, when I bring it 3D modeling, I go up to File. I hit New. Here, you'll get a pop-up window of a new project. This is going to give you, it's wanting to ask the parameters of what this model is and what kind of maps you want and what kind of file side and normal, normal map format, et cetera. They want you to do the settings for all of this. So we're going to start off with PBR, medical roughness. This is an easy one for beginners to go with. It's a pretty good way to understand and learn substance painter for the first time. So it's a one we like to go with. Now below the template we have filed now, this is where you're choosing your 3D model, your low-res model. Now, we have a low-res model for you in the resources folder. So you're going to have to open that up. Once you click on that and it's fine that resources folder open, you're going to want turtle low-res FBX. Let's just go ahead and click on it and hit Open. Now that the low-res has been loaded in, Let's go into the document size and I'm going to set that to 2048 for now. And for normal map format, I'm choosing OpenGL, that's just pertaining to the normal map on the green channel being inverted or not has an effect on things like a unity versus Unity on Mac vs, which is OpenGL to unreal on PC, which would be Direct X. It has a direct relation to that. Now I left everything else off. Use UV tiled workflow in poor cameras, auto unwrap, make sure that all of these are off and just hit. Okay. Now, if we go ahead and zoom out, which is wheeling down on the mouse button, you're going to see your model. Now there's a couple of things that you're going to see if we rotate it around with left Option, left-click and drag. And if I hit the FK to recenter it, you're going to see half of this guy missing. And why did we do that? Well, because we're going to also show you how to update files. We're going, this isn't the only low res we have. We want to show you how to update a fully complete file. Now, one reason, the second reason we wanted it halfway is the save on uv space. So what that means is we intend to bake out the details of the arm, the details of the chest, and the details of the map, and then just mirror those details all the way over to the other side, an updated low res. And that is very important. Why do we do that? Because if we UV this and this, this, and this, and this and this, well, that would really make the UV resolution smaller because you got to make space for the other side. So we're trying to just sort of give you as much time to not only understand why we are trying to save on uv space, but also how to update models as well. So let's go ahead and get, get on with how we navigate this guy. Now, again, if you hold left option and left-click, you can rotate this guy around. Of course, if you hold wheel mouse or wheel down, we'll up, We'll down. You can also zoom in and based off of where the mouse is, you can zoom into that pivot point like so. Also, if you hit the F key, you can frame it into view like so. If you hold left option and middle mouse, you can pan this guy. Additionally, you can also hold left option and right-click and drag horizontally, presume. Now, depending on if you have a command kidney or I have a Mac, so it's Command. But it might be control for PC. We have a deal where if you hold left command and right-click, you can change the radius of the brush. If you hold let command and left-click and go up and down, drag, you can change the rotation. And if you try to do left Command, left-click and drag horizontally, you can change the flow. So those are all things we're going to get more practice on down the road. But let's now take a moment now that we have that, let's go over to the right side here. And as you can see, as we talked about, this is our UVU VY UI. This is where we texture our UVs. Let's hit the F key, like we just learned a moment ago and bring that in. And it's somewhat similar if you look at the layers, a layer has been automatically assigned, It's almost similar to Adobe Photoshop. You can do the same level of texturing, which we will go over. But additionally to that, just like over on the other side, we can zoom in, zoom out. We can even rotate. If we look at our left option, we can rotate this way. I don't really recommend changing rotation of uv maps, but you can not only rotate it this way by holding left Option, left-click and dragging up and down. But you can also hold Shift in addition to all that to make a snap. And so that's a sort of an interesting little play. Now, another very, very intriguing thing about this is if we take a look up at texture set list. Now this is the last thing we're going to look out before we begin to start to do a bake. Now you'll see five texture set lists or as we would say, five uv maps. In other words, when I click on a different one, you're going to see a different UV map, different UV map, a different UV map, and a different uv maps. So the question is, why, why do we have five? This is a character, doesn't a character only need one UV map? Yes, it does. But this is an educational course and this is an educational 3D model. We're trying to give as much time as we can to breaking up lessons through each map so we can improve on. So this is gonna be the difficulty level one. And then we go and build off of that into level two, level three and so on. So we're gonna go through all of that. In addition to that, the nice thing about all this is is you can turn on the visibility of all of these. And we kinda like the idea of just turning off the visibility of all the maps because the head is going to be the first thing we work on. So with that said, I'm going to go ahead and pan this guy in and zoom in like so. And this is where we are going to do our baking now. To do baking, what we're gonna do is in case anyone is lost. We are going to take a high res of this turtle and bake the details of it onto a low-res. Additionally, we're going to be baking extra maps on there. And those extra maps are going to serve as a way to map out procedural generated processes. So in the next video lesson, we're going to actually, I know we said we're going to do it at the end, but I feel like I want to go through all of this first and then just sort of kinda go through and show one thing at a time. I want an entire lesson pretty much based off of just focusing on the anatomy of baking out maps. So get ready on the next lesson, we're going to talk to you a little bit about baking. So stick around and stay tuned. 5. Baking Out Maps Breakdown: Okay, So let's pick up from where we last left off in this video. Now we're going to bake our first high res. And to do that, we're going to actually make sure everyone has the right context. We're starting, we have more than one high reds because we have five maps here. We have five high rises. Why do we have five instead of just one? And we bake across all of them and just make it simple like that. Well, the news is, is that you can do it. You can combine all the higher as is up and just bake them and that's not a problem. The only reason we don't do that is two reasons. One, this is an educational model, so we're trying to establish repetition by giving you many opportunities to bake onto one thing. And then the other reason is file size constraint limit of the high res. Sometimes it's hard to meet with the file size limits of the learning platform. So we got to break up the high roses. And so again, we create all these different maps here to give you a lot of time to texture or something and have fun with it. But in so you gotta have more than one high res. So we're going to talk to you about why we bake now. And the reason that is is because we have a lot of materials and smart materials that uses data from texture sets, settings. Do you see all these maps here? Well, when you do a bake, it creates maps like ambient occlusion or curvature. And it goes through and plugs these maps into their shader, which is gets seen in the property channel automatically. And so as a result, you get a very cool looking view based off of the parameters of the particular map. For example, if you have a curvature map and you have something like steel paint, while you're going to see all the edges of the model affected by a secondary paint layer that is based off of a curvature map that is being plugged into that steel paint smart material, which you'll see in the properties channel. So there's a little complicated, but once you see how easy it is when we drag and drop, it's so automated that you don't have to really think too much about it. So let's go ahead and just get started with it. And for those that don't know, this is something we should have said before. Hold Shift and right-click and you can kind of adjust the light. So one of the first things I'll do is I'll turn off the visibility of all the maps except the head map because that's the one we're going to work with first. And I'm going to zoom in and then pan that guy out a little bit so we can see it nice and well, I'm going to hold Shift and right-click to make sure the lighting is where I want it. Now to get started with baking a mesh, Let's go to bake mesh maps under texture set setting. Now, once you click on that big mesh maps, you'll see a whole dialog box with all sorts of settings about each map in the parameters you want to adjust. And honestly you don't have to get too deep if you're a beginner right now, you can just leave it there. So decide on what you want the size of your file map to be. Some people can handle a 4096, but I'm going to tell you right now for you beginners, you might want to go with a 2048. If your computer is not fast, you might want to go with that. I'm gonna go with a 4096, but I might start off with a 2048 just to be on the safe side. Now, we have high poly parameters. This is where you can choose just because you don't have a high res doesn't mean you can't just still bake something on there and create these maps. You can still use your own low-res as a high poly mesh and create maps out of that, which is just fine. But because we have a high res with more details sculpted into it, we might as well take advantage of that. So to access our high res map, our first high res, we're gonna bake onto this. We're going to first choose to access your resources folder. And you're going to look for where it's making sure you have downloaded the head map, FBX. It's right here where it says high-definition meshes. Go to where that little paper flip sign is. Click on that and look for your head map FBX, and open it in there. Now that you see it loaded, you have some more things you gotta still do. We gotta get through this. So one of the first things we have to do is for the record, you see down here, this is very helpful. This gives us a description of what everything is. So if you want to learn more, you just kinda put your mouse over it, anything, and it gives you a little bit more information on here. So very important learning tool to go outside of. Now first thing we have is anti-aliasing. Anti aliasing is pretty big one. It makes our render times and our baking times. I should say, they go up but they kind of dictate the smoothness of a line versus a jaggedy edge to a smooth line, you get a nice clean bake with anti-aliasing. Unfortunately, though with anti-aliasing, most people choose two-by-two. I'm going a little overboard with four-by-four. This will drive up your bake times quite a bit. It's one of the biggest ones. The other one I'll go over in a second here. But you see where it says Match, change that by mesh name. That's because when we look down here we have the low poly mesh suffix underscore low and the low poly suffix underscore height. What does that all mean? Well, when you choose Select by name, then like if this head is labeled in an FBX, the model is called head underscore low as the suffix here is. And you have a high res separate mesh that says ahead underscore high and it's a low suffix or I'm sorry, it's an underscore high suffix. It's going to make a cleaner bake when it intersects with other models. So that's just sort of a food for thought. Make sure you understand that. Important to note though, caps sensitive on all of this, including how you even spell the name because even the prefix is cap sensitive. So we're not going to do too much more past this except go over to more things. And that is ambient occlusion. I've chosen to put my secondary rays up to 150. That's going to make the bake go slow for a while. That's gonna go pretty long. The higher your raise, the longer your ambient occlusion. Go for a bake. So keep that in mind. The other thing here is the max frontal distance and the max rear distance. This is always a little bit of a tricky thing because you typically will start off with 0.01 on both of them. But I had to do some finagle into catch a lot of artifacts. So I want you to change the frontal distance to 0.0130.025. And then whatever we need to do, we'll just go ahead and adjust further. If you did 0.01.01, it's still get a bank. But you'd have like, for example, an artifact on the cheek that you'd have to make some distance to. But this is all sort of just sort of adjustments to how above or how far it can shoot rays between the low rose to catch everything in proximity distance since this is a proximity bake process. So when you're all set and done, let's go ahead and hit Save Settings. Go back on here. Let's go ahead and choose Bake head map. If you choose big selected textures, you might go across everything. Let's just do just the head. We're baking just the head. Now this may take a bit of time depending on what file size you had and depending on if you're doing 4096 or 2048. But as you can see, mine's going by pretty quickly. Except for the ambient occlusion, which again, I told you ambient occlusion maps, they take awhile. So this gives me also an opportunity to talk to you a little bit about this back face calling here. Now there's no real features for back face calling on a 3D model to turn off. But one thing we can do is when we go over the lesson that talks about upgrading a model with project configuration, then we can add more geometry to fill in the Backspace. Now as you can see, the ambient occlusion that's sort of addressing the shadows and the crevices of the maps or giving you a nice sheen. The normal map is sort of projecting the details of the bumpiness onto a map. Curvature map has things pertaining, most relevant, too hard surface curvatures, how it handles edges and how wear wear and tear comes from. Things like thickness map. They're pretty much risk things like glass or subsurface scattering. There's a whole bunch of depth in all of this, but you can kinda see all the results if you want through here. And kinda get a little bit of an idea of where everything is. So far the bake seems relatively clean. So far. I always say so far. Once we got what we need, we can just sort of go back. And we can have our model. So as you can see, our model is kind of going through this whole process and it's going to complete itself. And we're going to repeat this now. You see all the different maps on here. We're going to repeat this now. We're gonna go through each map now and bake all those details out. And then we're going to finally mirror them all over once we're done. So let's just go ahead and let this map take its place. I'm gonna do couple more examples. And then it's gonna be in your court where you have to take the helm and you have to be the one to bake. Alright, so I'm walking you through this one. But you got to at some point bake and learn. Because this is learning Substance Painter, you gotta kinda go through and learn. I think we're almost done with this. We're going to, once this map also gets taken, one thing that we are going to do is I'm going to show you a little trick I like to do in baking or is do some tests backings. So when we open up our hierarchy, are other maps to be baked. I'm going to only do like low-res back bakes of just a single map to see everything going through, right. We'll just go ahead and show you what that looks like coming up after this particular bake finishes. It looks like we're almost through. For the record, the thickness map is the second longest bake that takes. If you have GPU rendering also on your PC, that's going to make your bakes go a lot quicker on Substance Painter. But you got to make sure it does go through because if you if you don't have GPU render, ray trace, I've seen a lot of people have crashes on their computer. And if that happens, you might have to disable GPU ray tracing under Substance Painter preferences. If you get these crashes, you shouldn't. And it looks like we're almost done here. Bear with me. Just feel like we need to have a countdown 109. All right, so now that we have completed it, go ahead and hit Okay, and take a look at your map. And it should look relatively clean up like so. So now that we do that, let's go ahead and go to a different map. Now, let's turn on your body map. That's at the top here. We turned off the head map. Now we're gonna do that same bake. And this time we're going to go through and do it slightly different. So now when we put bring up baking, I want you to click on this and take out that high res because we're going to be baking with a different high rates and that's the high res of just this model. So let's go ahead and click on that paper and click on body map two. And again, you should go through your everything should be saved because we save the settings mesh name high-res. Let's make sure ambient occlusion is also, we see ambient occlusion is now pumped back down to 64. Let's go ahead and bring this back to 150 and hit Apply to all groups. And so we have everything here. So this is what we're gonna do differently this time. So pay attention. I'm going to take off all these bakes that you see here. We're doing something different now. Why am I doing it this way? Because I want to just bake out a normal map. This helps because if there's any troubleshooting, you can just simply do a bake and then just look at the normal map. You can see most problems and errors that come from a normal map. And to be truthfully honest, this does a pretty good job of catching most of them. The current settings that we gave you. There's a little bit of artifacts here, but that's probably more related to deleted geometry of the high res here, like take a look back here. This is deleted geometry. It's stuff that will not be seen. So I'm not really going to take this into account because moving around Settings here may affect settings upfront here. So this is a clean Bake To me. I'm okay with that. So now that I have that, I'm just deleting that off. And this time I'm going to turn back everything we just turned off, make sure that's on there. And then we're going to do our high res bake. Now, let's go ahead and make sure we're choosing bake body map, not bake select textures because we're baking certain sections to certain sections. And now let's just hit that. Now I'm going to go ahead and screen saved or a quick, fast forward. So on. After this is done, we'll go ahead and skip ahead to the completed projects. Okay, so now we're finished. Now that we have completed our chests, that is that map. Now don't get too bogged down or overlooking to look for the greatest impact. The imperfection. There's always gonna be some small imperfection, but smart materials and materials tend to always cover them up so don't get too crazy if it helps. A lot of the times, sometimes a model, you could just blame it on me if you want, but don't try to rack your brain and going to meticulous in the frontal and rear distance settings. So now that we've given you a couple of examples, we're gonna give you a couple more examples of the same thing. This time I'm gonna go on to the limbs model right here. And we're gonna do basically the same thing. And I want you to think now what the size of the map is. Making sure to remove the high res and making sure to do just the test at first with the normal map. That way because in normal map takes pretty quick amount of time on here. So put that in and go ahead and go look for the, for the limbs map. You're going to look for the high res limbs map FBX, limbs map to FBX. And then that's just going all you need right there. We're just going to now bake out the limbs and look at it just with the normal map to see if there's any red lights that fire off. Doesn't look like too many. Like I said, the settings that I have are in fact pretty they're pretty decent. There's a little bit of resolution problem here. And that has a lot to do with this being a very dense map as well. And the, I'm sorry, not a dense map, but the high res. Take a look at these dark edges right here. This is a good learning exercise for you. A lot of people will think that it's because of the edges. This is actually from the normal map. And this is what it looks like when you decimate a high res, too many times you'll get these hard edges. And again, we had to do that per file size constraints because we have to be at a small file size to upload on a platform. So we just had to make a choice right there. We can offset it a little bit with the higher resolution, but we're going to still stick with 2048. So what I want you to do now is after you've completed your test, do your bake, and then we're going to come back after we're done. So now it's up to you. Don't forget, turn on everything here, go through. Make sure it's by mesh name. Make sure it's by underscore low. And make sure your Ambient Occlusion has the right number of rays on there. Those are the there's a lot of other things you can do, but I don't want to overload anyone with too much because it's not that critical. So with that said, I'm just gonna go ahead and hit bake limbs on this and make sure of course, everything is turned on like so common towards the end here after this, it's just gonna be one more map and we'll see you at the end. Okay, welcome back. And here we have just finished our bake. I times skipped a little bit here, but as you can see, we have it updated. So now we have two more maps we gotta go through. That's going to be the shell map. And also the bulb map will finish lastly, with the bulb map because we want to do a demonstration of a type of map bake that can be done without having to resort to a high res texturing process. So let's go ahead and first finished with the shell map before we get there, because we want to give you all these different types of examples of how to bake. So let's just move on from there. So if I go ahead and turn on the visibility of the map and left-click on that shell map and turn off the limbs map. Let's look in the back here. And it's just like we did before. And it's the same process once more. It's just where you're kind of testing everything out with normal maps. I already know it's gonna be kind of this is a pretty clean, easy map to go through. So I'm just gonna go through and just do a full bake anyways, but you're welcome to try and test. But I would caution you don't let yourself get too crazy. Don't let yourself get too nitpicky on the slightest miscalculation or the slightest dirty piece, it will drive you crazy. Again, trying to correct it. If it's like a major artifact, definitely do something about it. But if it's the smallest minor thing that a smart material we'd go through. I'd let it go for now. So we checklist again and what we're going to do output size first, we want that 2048. You can do 4096, but it's gonna be a long bake. We want to clear off our high res here. So let's minus that off and load in a new high res. This is the shell and the shell map. So let's choose the shell map to FBX. And let's keep going all the way down. Make sure mesh by name is checked and it's underscore, low underscore. Hi, check our ambient occlusion. We did hit apply to all so we didn't really make any changes. So everything seems to be in order. I remind everyone. Again, we have anti-aliasing turned on the end also, before we get to it. The three factors that drive up bakes on Substance Painter, our output size, anti-aliasing, and ambient occlusion secondary rays, those are the three biggest factors that dictate the bake times. So let's go ahead and just bake this out and then we'll get back to you. Okay, so now we are complete on this. We got this shell map, only one more lap to go, only one more map to go, and that's the bulb. The bulb is a unique one that we wanted to include in its own little UV map for its own purposes because this is gonna be a transparency object and we wanted to have a separate area to talk about transparency. Now, the other reason was is we found that the bulb didn't really require a high res. And there are gonna be some situations where you bring them modeling and you don't necessarily have to have a high-risk sculpting. May just want to texture on the model itself or do some hand painting. That's fine. But nevertheless, it's still recommended that you use a bake mesh maps even if you don't have a high res. The only differences, first of all, making sure there's no high res that's located in the high definition meshes. And also you just need to simply clip right here. Low poly mesh as high poly mesh. Now you can go ahead and just go through everything else like you normally do. Make sure all the ambient occlusion rays are fairly good and high. And then you can go back to once again, baking this out like everything else, the high res is a little bit quicker. It should go slightly faster in certain areas, but this is the last area here. Before we move on, before the lesson ends, we're going to do a real quick tutorial show on how to upgrade this Edit Mesh project configurations. And so you don't get left out. So let's go ahead and have this bake. Okay, now that we have everything that we need, Let's just go ahead and you should have a baked out bulb-like everything else. And now that you have everything there, in the next lesson, we're gonna go over how to update the, the 3D model with a posed version of this so that you have something to work with. So with that said, stick around and stay tuned. 6. Understanding Fill Layers: Okay, so let's get started. Now that we have done our bake, It's time to complete this model and make it look like a full model. And show you the last piece before we start getting started with texturing and that is updating an existing model. Now, we update existing models because sometimes we want to make changes or add extra things to them. Now it's very important if you do this, you should try to do this as best you can before you texture anything that's a lot to do with it can, often enough, since there's so many automated procedures that can interfere with some procedurally generated proof processes in Udemy. Let's just go ahead and update this now that we have our bake. So first thing I'm gonna do is you're going to access your resources folder and look for a project folder that is the low-res. So if you go up to Substance Painter up here and go to project configuration, this is where you're going to update or make any existing changes to your model. It's right here where it says file, you hit Select. And one of the first things you'll do is go to your Udemy resources folder and select the turtle low pose. Hit Open and hit Okay. And it's going to rebate and recollect and read data, collect everything back. So now you can kinda see an update to this. So with that said, let's go ahead and get started. Now, this beginner level section is going to actually start with the head map, which is gonna be this map. So let's go ahead and just turn everything else off. If you'll look also in the background, I updated the model to have some extra geometry in the back. That way we can have a little bit of fixed to the ambient occlusion. Just wanted to give you a little bit of a reason why we can have the purpose of updating a model. So let's continue to turn everything off. And now let's just go ahead and pan in. Like so. Now that we're ready, let's click on that head map. Right up at texture set, set, a texture set list, and click on Layers tab so we can begin. Now, the first thing we are going to do in this whole lesson is talk to you about fill layers and paint layers. Fill layers and paint layers are the most basic four pieces or construction blocks. And when it comes to constructing a texturing, a 3D model, however, I am going to say a majority of the texturing workflow is gonna be a fill layer based workflow because it's very editable, It's very customizable, it's non-destructive and we can make a lot more changes quickly, and it's a lot easier to grasp. Nevertheless, wanted to talk to you a little bit about paint layers first before we go into fill layers. Now, to create a paint layer, I'm going to go ahead and delete that first layer and just start beginning. If we hold our mask over and say Add Layer, we create a paint layer. Now if we put our mouse over it, you'll see a circle. You hold left command and then just make the circle big. You can paint on it. And you can change the size from over here because remember this is the parameters or the Properties tab. It talks about the anatomy of whatever it is you click on. In this case, it's a paint layer. So we're talking about things like the size of the brush or the flow and how often or the spacing. So you can do things like customize your brush. You can also go through, I like to hold command and right-click and change the hardness of the brush. And you can kinda see all this different layers. We'll further, further down. We can see we can change things like color as well. So now I can just kind of color things. Now, if you ever want to get to a point where you want to erase things, you can always hit the two key. And that will act as an eraser. You can kinda see it change from there. So Q1 is changing to paint, which you can paint, and you can change your color like so. P2 is erasing, like so. Again, like the regular paintbrush on key one can change all the parameters of your brush size like so. Now this is pretty easy. This is pretty simple stuff to remember. But one thing I will have you take look if I make a little streak here of red and you'll look, it's recorded on this layer. We can change the opacity of that up here by this right here. So we can change its blending opacity mode right through here. In addition, we can have certain blend modes. So if we want to blend it with layers that are below or above us. We can do that as well. It's just like Photoshop. Another very, very interesting thing about paint layers is we have other channels. Height, roughness, metal, normal. So if I change, for example, the height, you can kinda see that now when we paint, we can paint height on there, like so. And just like with the base color, if we choose the parameter of basis, we can control the opacity of that height on how high it goes. So it's pretty cool. Now with that said, a fill layer which can do all the same things, is sort of a layer that encompasses everything. Now, everything is a little bit trickier because what if you have everything, how can you control where everything goes? Well, that's what we're gonna do next. We're going to first of all talk to you now about a fill layer. So let's just go backwards here and say, what is a fill layer? Well, we saw this brush here, that's a paint layer, this little bucket right here, that's an fill layer. We're gonna go ahead and add a fill layer. We get a slightly different set of parameters. Quite frankly, we get less options than the paint layer. And that's a lot to do with the fact because you're not really painting anything in a Fill Layer. Now, let's go ahead and just sort of go through this here. You can kinda see all the different heights and channels, just like there were in the paint. You can change the base color. So let's do that red again. And if you see it affects the entire model. That's because that's what a fill layer does. You can kinda see this whole square right here. It fills in everything. As you can see, you can adjust. I would not really do that. It's probably going to be for UV texture scaling. But I will say this. If we have it completely engulf the entire area. How do we control where the color is and where the color isn't? And that's why we use something called masks to edit in control and manipulate where fill layers are revealed. In addition to this, fill layers can constantly be changed on the fly. Like so. Which is a pretty nice process if you think about it because paint layers, you have to repaint certain areas. So that's the biggest difference. So I'll paint layer, you have to actually manually painted a fill layer. You have to manually kind of it engulfs the entire area. Basically, it's the same thing, but you don't really control where it goes. In the next lesson, we're going to begin our texturing process by getting through with establishing how to manipulate, fill layers through masking. So that said, stick around and stay tuned. 7. Laying Out Folder Structure: Okay, so now that we've talked about fill layers and paint layers, we're going to talk about masking. And we're going to talk about masking because it's a very, very important component to get down and master if we're working with fill layers, because Fill layer based workflow is going to be what we're due for texturing all of this. So what is masking? First of all, masking is the occlusion of pieces or objects or elements of textures in this 3D software, it covers things up for things below to be seen if they are not covered up. Give me an example what a mask looks like. You see this fill layer right here. Well, let's add a mask to it. And I'm just going to hit Add black mask and suddenly it disappears. That's because a black mass is covering over it. Anything which is black brings it to darkness and turns it off. Anything that is white. Let's it show again. And anything between it shows the value of it. So for example, if the mask is gray, you would see a gray or half version of this color right here. So let me go ahead and add a white mask. And you can see my point that which is white shows that which is black covers up. So that's the basics of it. A mask, we first click on that thumbnail, we right-click, we choose the either add a white mask or add a black mask depending on covering up or showing it. Now, that's all well and good, but the whole entire piece is covered. So how do we regulate certain sections to be seen and certain sections to be covered up? That's the next part we're going to go through. So first thing we do is we click on the mask itself. And then when we click on the mask itself, we have some choices. We can basically first of all, by default, paint the mask. That's right, we can paint the mask. Or if we hit the X key, we invert the value. And if we painted by, first of all, covering the mask up like it's shown up here. The thumbnail is with a black value under the Properties, hit the X key and it goes to the white value, then we can start repainting back the mask like so. Now, additionally to this, there are more ways to select and even quicker ways to help us get through all of this. One such way is going to be over to the left here. It's this polygon fill tool. And we click on this and you'll see the Properties tab changes completely. We still have our color value, but we also have four tabs here. For example, mask by selection of triangles, mask by the selection of polygon faces, mask by the selection of a separate polygon face mask by the UV chunk fills. So let's go over each of these. If I go ahead and go ahead and cover up a piece here, Let's hit the X key because we're on a white mask and we need a black value. You can see there's always two tries to every polygon, we cover up everything by a try. Additionally, you can see that the polygon Phil will cover up pieces of polygons. You can also kind of left-click and drag. So you can kind of get a little bit of a quicker process through it. Let's go back in here. There we go. So it's kind of a process in which you can just select, de-select as such. So you kinda have a whole process in which you can control things. Now additionally to that, even is the the mesh Ville, which basically, if this is a separate piece of polygon model than when we click on it only this will be separated. If this is a separate piece only this will be separated. If this is a separate piece only this will be separated. That's basically what Nashville is. Obviously. The helmet is a separate piece and so forth. Now, the last one, the UV selection tool, this one is for this area. For example, we UVs a shell for this area. And we can basically manipulate selection like so. So now that we've done this, we're going to instigate a sort of, I'd say a little bit of a practice run for everybody. Taking what you've learned and putting it into practice. What I'm going to do is this. Get ready for your practice because this is you're manipulating masks practice. We're going to create some folders. I'm going to call this folder just folder one for now. And I'm going to create a fill layer. And this fill layer is inside the folder. Let's change the color of this filler to be something like red. Like so. Now that we have this, let's go ahead and duplicate this three more times by hitting Command D, or just simply hitting duplicate layers. Alright, so we are pretty much four layers right here. I might do one more just for kicks. And what I'm gonna do is I'm going to turn the visibility on each of them off. This is now the practice. I'm going to left-click on that icon, add a black mask. And now we're going to have sections of this area manipulated and controlled. I want to mask for skin, I want to mask for, I want to mask for clothing in each folder is going to be for each area. So let's start off with the skin right here. So if I have a black mask and I want red to show through forestall, go ahead and click on here. We're using UV selection, but I said I wanted to mask for eyes. So let's go ahead and use a combination of several things here to get what we want. Let's zoom in here. Like so. And I'll hit the X key and we'll go ahead and on. Mask the, the pieces. Like so, just kinda get through it real quick. Now. We'll probably still trim some stuff up. That's okay. Because all I want you to do is just get practicing on kinda covering all of this up. Like so. Okay. So now that we have that we still see it's a little bit, There's some areas going on over here, so let's go ahead and just kinda clean it up by paint instead. So to do that, I'm just gonna kinda go in and think I'll just, if I hit x, I can just undo. And one thing I like to do is I like to hold Shift and create sort of like that line. You see that line right there. It's basically going to give me like a straight line. And it's kinda nice to kinda trim. And then you can just hold or not hold butt, press X. And you can kinda just kinda bring everything back again. And of course, you can hit Command Z and undo. Just kinda through like so. Again, I'm pressing X to invert the value of this brush. And this just takes a little bit of practice. That's why we're doing this practice. And all we're doing is we're just kinda creating or creating sort of a the opposite side here. Whoops, I keep forgetting. Kinda see how I'm just basically manipulating the mask here. Because what I'm doing is I'm setting things up so that I don't have to constantly paint this line. I only need to paint this line once. I only need to set things up once. I could probably, if I worked with paint layers, I'd have to repaint this quite often without a mask and that's why I'm against it. So we got the mask excluding the eyes, which is good. And there were in a name, this folder skin That's just by double-clicking on it. Let's click on the next one and open this folder up. Let's make this some other color, maybe blue. Alright, now once more we're going to add a black mask. And this time, I am thinking I'd like the mask to be on here. So let's drag this underneath the skin. And let's go ahead and choose which method of selection should we choose? We choose and polygon fill. Maybe this area might not get it. So let's go ahead and choose this area. Uvs. There we go. All right. I'm thinking I like that. I may want to lead this area out. So let's go from this to the polygon selections and go black by hitting X and choosing to occlude all of that. So this is all, this isn't just max masking practice. This is also about trying to establish a sort of of trying to establish a kind of a a pretext of work that we're going to be doing within each folder. So think of it like that. Now that that's been taken care of, Let's go ahead and make one for the helmet. But first I'm just going to call this let's see, hood. Then for this one we're apparently does not have any sort of fill layer in it. Oh, I know what I did. You know what I did. You want to know what I did? I took the fill air out but I didn't drag the folder and there so let's go ahead and just bring that in. It's bring that into the folder. And let's do something very interesting. This mask needs to be on this folder. So let's left-click on the mask, right-click, copy the mask. And then let's just go ahead and remove the mask at a black mask. Now, we're going to copy and paste into that mask so it's back on there again. All is good. Let's call the folder hood. Apparently I made a mistake there. Apologies. Now the next one the next one's going to be for the helmet. So let's double-click on this, call it helmet. And now let's go ahead and open the fill layer up. Let's change the color once more to be o, something like that. And once more we're adding a black mask. And then we're gonna go on ahead. And we are going to look like that. Now we have a area for the helmet. We only got two more places left. So let's go ahead and do this. Let's start with the eyes. Double-click on that folder, call it eyes. And let's turn the visibility of that all on. Let's change that color to something else. Maybe something bright and distinguished, and add a black mask on there. Now we have a scenario where the eyes are showing. But should we go ahead and repaint an entire mask for here, or can we just simply drag underneath here and then simply go through and basically drag it through. Like so. If you're wondering why it's like that, it's pretty simple. Honestly. It's because of the mask above covering up everything. See if we turned off this mask, then let me go ahead and put it through. The eyes would just disappear. If I did an entire UV chunk, Phil brought it back in and then it would fill the whole area. I turned the skin on. Remember that mask is covering everything that is below here except what we put. That's about it. Now, that's probably going to be something right here. I feel little bit like we could we could let that slide. Let me just make a little itty bitty tweak. Then switch it a little bit because sometimes it's a little bit of an ugly. One thing though, you'll get more precise results if you had a higher resolution, but that's not gonna be my issue. All right. So now that we have everything taken care of, we just have one more area and we're going to just call that Extras. And that's for all this stuff up here. So let's go ahead and turn that on at a black mask. And if you want, you can add a black color just to make it all sleek and swag. And then let's just go ahead and bring that in through. We did Nashville. So let's just bring it back through meshes here. And like I said, all this is, is we're just laying out our masks. That's it. We're just laying out our mass. So when we do all the work, It's pertaining to these specific designated areas, like so. Alright. So now that we got everything taken care of, The only thing left is to move on to our first area, which is skin. Take note up here. There may be some extras that we have to deal with, like for example, the hood right here. Now, if you need to do some extra editing with that, go on ahead. But I believe this is where we have to manipulate the skin a little bit more to show the red. So I'm kinda clicking on the red mask and I'm choosing a white value. And I'm kinda going through like so. Just kinda painting back the skin here. It's a white value of the mask and painting on skin with this particular order. Now it's very important at this moment that you don't rearrange the order of the folders because that's going to have an effect on the mask itself. You can do it here if you want to paint. Or you can kinda go in here and do it from here. I kinda like eyeballing it and using the model because that's just easier. And remember, this whole dragging process right here that you're looking at, that's done through holding Shift. So this whole lesson has been about working on establishing masks and learning how to manipulate masks and how to assign them and control where they go. And it's going to be sort of a very pillar foundation that we work on here. Because what's going to happen after this is we're going to build off of this very basic concept to more advanced concepts like smart masks. And we're going to also introduce you to automated, which are more automated mask application skills. It's gonna be pretty fun. I think you'll like it quite a bit. Smart masks are quite fun too because they use procedural processes within the baked maps that you've created. So with that said, you don't have to have these exact same colors, but we have our folders laid out. The first thing we're going to start up with is the skin. So with that said, stick around and stay tuned. 8. Texturing Base Skin: Okay, so let's continue. Now in this lesson we're going to move on to work on our model. Finally, start getting into texturing now that we have everything we're going to address skin and you using skin. We're also going to be looking into generators which are basically like a procedural mask and automated mask under certain parameters. It basically uses maps that are baked out. It can use also smart masks that are plot that can be plugged in like these that you see here. So we're gonna go over how generators work and how we can blend them to create an interesting sort of stylized type of skin. Now, to get started, let's go ahead and take a look at our skin folder. And let's just open that up and you see that fill layer. So let's go ahead and rename that fill layer. Let's call it skin or dark skin. And now let's just go ahead and let's just change this. Let's give it a green now. It's your green. You can use whatever green you want, but we can use this one. If you want. You can also address things. You have several other things in a fill layer, like normal map, metallic Channel Roughness, channel height. And you can enable it as it's defaulted on or disable it, like so. And then those channels won't have any sort of effect. But in this case, I think roughness is the most relevant one. If we scroll through, you can see the difference between a chalky skin and a complete class. I'd like to give it a little bit of a specularity just so we can kinda see the normal maps somewhat. And we'll just leave it like that. Now, let's go ahead and duplicate this by right-click and hit Duplicate Layer. And I'm going to call this light skin. Now that we have all that, let's go ahead and break into changing this light-skinned to a basically lighter green. Now that we got that, let's go ahead and build off of what we've learned, which is assigning masks. So we add a black mask first and that will cover up that light green. And now again, only the dark green comes through because black does not show and white does show. And let's click on this mask and right-click and add a generator. Now, once you add a generator, nothing really changes. That's because you need to define where the parameters are. So let's first off, click on generator and you can see all the ways to tell the mask to behave which procedural process. And if you put your mouse over it, you got it, you get a kind of a preview of what everything is. So I would like to go with a generator based off of ambient occlusion. And if we click on that, we can kind of see the process. I can go ahead and enable the generator and we don't see too much going on right now at this moment. So let's go ahead and change that as we say, to the global balance. Because again, just like as you click on the Fill Layer thumbnail, you'll see it's anatomy. Click on the mask. You'll see parameters for its anatomy. And of course, like everything else, you click on the generator and you get a whole another section of its anatomy to work with. And you can kinda see all these things. So this is where you have to start now having a little bit of fun. And just kind of, I would say, experiment with everything. So we can invert this generator or we can through global invert, or we can just kinda keep it like that. That's always a possible thing. Don't be afraid, I'd say to ever, ever, ever have fun. Just simply adjusting and seeing the different effects that you can have, things like that. But I want you to kind of look at this and just kind of make a sort of how it your own little testing parameters. So yeah, I think I got something I want now I'd like to go ahead and go back through and start tweaking all the different colors and see if there's just a simply to experiment. And remember, you don't necessarily have to commit to anything. That's why we're doing everything through fill layers because we can just kinda click on everything and just experiment to see where everything goes. Now, I'm gonna go ahead and kinda zip back. Uh, kinda like how the generator was giving me that subtle green. One thing I think I'm gonna do is I'm going to add a, do something that's very interesting. And that is, I'm going to add a little bit of ambient occlusion all around because I feel like it's there's not enough ambient occlusion. So let me go ahead and show you something real quick. I'm going to turn off my fill layer. I'm going to bring this fill layer all the way to the top. It doesn't have its own folder. I'm going to double-click on it, call it A0. Just going to disable all the channels, so it's just base color. And I'm going to find my Procreate map and we can see we have the ambient occlusion now picked in. So we got a little bit more shadow. Let's go ahead now and take this fill layer and set it to Multiply. Now we've got something that's a little bit more accustomed to it. So that's gonna be one approach we have. We got a little bit more of a start off. Let's go back into skin now. And so far I'm okay with this as a start off point. But the one thing I do want to give a little emphasis to is this is a generator. So that means that when a generator gets assigned to a mask up here, you can't change the mask anymore via selection or paint tools. Which you need to do is click on the mask, right-click and add a paint layer. And then you can mess around with the maps. Once again. Now feel free to get a little crazy on this part and just get how I, how I would say creative. Like for example, you see how I'm putting dots around here. If you wanna do something like this, you can do that. For example, make a darker green of all of this, and then put a mask on there. And then just have some fun doing some dots. Let me show you what I mean. Let's just add one more fill layer, double-click on it, call it dots. And we're going to disable all the channels like so and go through the color. And this one will have its darkest dots, will add a black mask. We'll click on the black mask. And now we will go and paint in all these dots. So let's first off go to our library and choose our brushes because we're doing paint. Now, we can't really go through and we can find dots right there. And if we just kind of just go through, we can have it a little bit of fun with the dots. Now, you might think to yourself, Let's do much this, it's a little crazy there, right? Let's just have a little fun first off, because I don't really know how something's going to look until I mess around with the opacity, which is sort of the trick to blending all this in. So let's just do a little opacity. We can just, and it's kinda like the subtlety. And all of this is where it kinda comes in. So we have a little bit of a start off. This is sort of like a little bit of a base. It's still a very sheen and very clear piece. And it's something, and because of that, I kind of want to give you a little bit of a preview taste to something called smart materials. And smart materials is going to be saved for you on the next lesson, it's going to address a couple of things. We're going to first of all, use smart materials as an opener to explain the helmet. And then we're gonna go back and turn, show you how to use smart materials to give a little bit more of a skin that's a little bit scale textured here in the green skin head here. So with that said, stick around and stay tuned. 9. Understanding Smart Materials: Okay, so let's continue in this video now we're going to talk about materials and smart materials and how we can use them for our helmet and finish off with our skin that we see here. So let's begin. Materials in substance painter or like preset textures that you can plug into your layers workshop area that can be used to modify, and they can be edited to fit a particular texture that you desire. Smart materials are very similar in this regard, except they incorporate more of the procedural processes that are alongside with baked out maps to help you go there. Smart materials also have generally a culmination of multiple layers. And so in other words, when you see a smart material, it's typically going to come in the form of a folder. And when you open that folder up, you're going to see a bunch of layers as a result, all of which you can edit and go through. So every smart material has a different number of anatomy within it. It's folder and to which you can edit each piece. It's therefore a little bit more complicated, but you get a lot more of a fun result. As a consequence, generally speaking, smart materials do have a tendency to make things look better because of its procedural incorporated processes of multiple fill layers that have generators, etc, upon it. So with that said, let's go ahead and give some examples. The nice thing about materials, are there a lot simpler to understand and control? You can cycle through them also quite a bit. So let's just go ahead and assign a material to this piece to give you an idea. Now, we're going to close the folder of the skin and look for the folder of the helmet and open that folder up. And you can keep that fill layer on if you want. It's not necessary, but let's go ahead and go and find where our materials are. If we go to the asset section here on the left, you'll see up here where my mouse is, that the first one to the left highlights materials. The next one to the right. This is where smart materials are. So you got a library of materials and smart materials. Let's just choose one and add one on there. So I'm going to choose plastic PVC down here. And we're going to add it and you can kinda see an already interesting looking material. So we got something already to start off with. But again, just like before, maybe you want to blend some of this with another materials. So let's, let's make it a little bit more interesting. Let's have more than one material on here. Let's choose copper pure. And again, they all function the same way in the sense that they're fill layer. So what you're going to need to do is how you've been doing it with all the folders here, you're going to have to add a mask. And yes, we can add a mask within a folder that has a mask already. So let's add a black mask that's going to cover up our copper pure. Let's just go ahead and delete the fill layer. We're not going to need it anymore. And now there's no generator that's attached. So I can just do standard texturing. And if you can kinda see, you can kinda see the differences here. See I added a black mask and I am now choosing a white value. And this is showing up here because of the selection of the folder. So what I'm going to want to do is I'd like to have these trims be copper pure. Just for now. We won't be done with them now we can do this two ways. I'm looking at it and I'm telling you right now, I think I can do it either this way where I kinda go through and I'm just kinda holding or better yet, I can even go through and do it this way as well. Now if you have a little bit of a step in here, you can go through and adjust the spacing so it doesn't skip a step. So things are a little bit easier. Remember to hit X and it's almost like the I C. And now you're just kind of going through and you are just about fact. I'll tell you one thing that might be easier. That is just simply going through, whoops, sorry. Do it like this. And then keep going, keep going, keep going, keep going. It gets dark. Just hold shift until we can see some light somewhere. Like that. That might make things just a little bit easier that way we can kinda culminate through, get everything that's on the edge. And then like right here, right here. Like so. Because this is all like a normal map, I believe so we can't really select a geometry of this because the geometry I don't think aligns with it. So now I'll reverse and hit X for subtractive. And it's just a lot easier to do subtract gene. Why? This is kinda what you wanna do. You just want to just take your time and go through and have a little bit of fun. And I remind everyone if I haven't said it enough that we are using a we are using the shift to create this line. We're holding down. We're holding. We click, left-click, then we hold shift, and it gives us our little space. One thing I was a little neglected to talk about to you, all of you is hitting the L key is a way to, or I'm sorry, cemetery mode, we can probably do that. I want to just stay away from it just for now though. Because I don't want to do any symmetry because the truth of the matter is, is we've mirrored just about everything over. So if we've mirrored everything over, you're never really going to need symmetry for this model. Now usually hit the L key if you need it. There we go. And we just keep going through. We are kinda just trucking along. And you're picking a little. It's kinda like drawing on a drawing, a cartoon or staying inside the edges. Just have a little fun with it. Hold, Shift and right-click and rotate across to get the light readjusted. If you have too. I'm just kinda going back and forth with the X key here. Between subtractive and adding, subtracting and adding. So that you can kind of take away or put back in. Kinda see at the bottom right, viewport how the shader changes. You can kinda tell when I'm hitting the X key. So that's all pretty nifty. Almost there, almost there, almost there. And perfect. So now we got what we need, but maybe you want to make some changes to this. Maybe you want to adjust the color of this. Well, that's perfectly fine. Don't accept your material at face value. That's not completely necessary. You can, if you understand fill layers at this point, then you understand how to apply it to materials. That's why we're going with a fill layer texturing process, because we want that information of recognizing that to transfer over when you're using materials and smart materials. So it makes it easier to see. Paint layers doesn't really do a good job of that, since it doesn't. But you can just see right off the bat, we can do just about anything we want. I could actually settle for this. We can kinda see an interesting look. I think also one thing I might do is to draw a little bit just on the top. Let's make sure we have fairly we can. Then we're going to do a lot of that. We're just kinda cleaning up the area of these fill layers. And you can kinda see this is the beginning part of understanding. Fill layers. Now, if you want, if you're looking at this and you're seeing, oh, the texture of this is the same as the texture of that. Like it's bumpy all around and you want this to be a little bit more smooth. You can always do that. Copper doesn't have a height value. At all. But if you wanted to or a normal map of value. But if you wanted to have something that over lines over this, you can always just simply hit a fill layer and take this off and go through and hit height. First of all, making sure that blend mode is set to normal and it accepts the same map as the copper pure. So we would add, we would first copy this mask, call this bump, bump trim, and then add a black mask to it. And then paste into that black mass the same thing. So now you have a smooth piece here and a little bit of bumpiness here. And what I did was I changed this to the height normal, and I change the blending mode to normal. So it would go over this here. Now, we can kinda got a little sidetracked here. So I apologize about that. We can do a couple of more things on here. Because when we did this, we also accidentally made some things a little bit wonky here. I only wanted to show this to kinda give you an idea that you can kind of make a little bit. You can override the normal maps as well because the normal and the height maps, you have a tendency to blend in. So we have to kinda do a little extra work by creating a layer, switching the layer and switching it to normal, and making sure that it's enabled as well in the fill layer. Just wanted to kinda do a demonstration to show that smoothness. Look at that. Let's just go ahead and do it here. Sue though. Because I'm copying this layer I'm going to have to go through like so. I'd have to do this same process that you're seeing right here on to the normal map as well, which is the one we just copied because it's operating off of the old map. Could just copy it and go through, but I don't know. Sometimes it's relaxing just to see this. But I just wanted to show you a little bit of how that worked. Like so now that we have a little bit of a demonstration of this and how this works. We're going to finish this lesson up as it's a little bit long. We want to finish this lesson up with a smart material. And a smart material is going to be used for the skin. Now again, if we go ahead and close out the helmet and we go ahead and open up the the face again or the skin. Let's go ahead and add a smart material and have this smart material. Choose creature tongue. Remember on up here. And I'm choosing creature tongue. I'm going to drag that just below my dots just for now. And you can kinda see, oh, it's this look creepy looking slimy thing. Well, look at creature tongue now it's, as we said, it's in a folder, and that folder is comprised of multiple layers. So what we need to do is find the layer that dictates color. And in that case, it can be several layers. So if it gets too close, if there are two intermingled, another thing that can be done is you can go to the base color and just switch the channel that base color and turn off all opacity of that. And then you can get your colors back like so. You do lose a little bit of the turtle in all of this, but hey, that's okay. So now that we have a little bit of this taken care of, if you want, since this is the top layer of this dots, you can use this as a place to dictate a little bit more on. Like for example, maybe you want to the specs to be a little bit more specular on the dots. You can use roughness to kind of. Now, let's see if we can do something here on the roughness. Because I believe the creature tongue is overriding the roughness. Use that to dictate a little bit more. You can kinda see we have a little bit more closer. Point to the dots. Now if you want to keep the dots off, that's fine too. You can go to the base and maybe lower it down once more like that. So that's sort of a difference we've seen now in this how we can apply materials on here several materials and use masks for them. We've demonstrated how to use smart materials and what they are and see their effects, as well as how to edit those smart materials through the opacity on the base color. Sometimes it's just hard to find in a smart material base color because we got this color regulating color and this layer regulating color. And sometimes it's just easier to turn off the color by selecting Base and lowering the opacity down. That's just a lot easier than trying to go through the whole thing. So in the next lesson we're going to work on is going to be sort of taken what we've learned and applying it pretty much just to the remaining two places here. We're going to do this area right here, the extra accessories and this little hood. So with that said, stick around and stay tuned. 10. Material Assigning And Editing: Okay, welcome back. In this lesson now we're going to build again, once again off of what we've learned in the last lesson and start assigning some materials to start expediting our process in these areas like this area here and the earpiece here and the hood. Just to sort of give ourselves more chances and opportunities to familiarize and explore with different smart materials. So let's go ahead and get started. Now when you start, when you start picking out and coming up with a color theory that you might be okay with on the helmet. Go ahead and think about like for example, this piece right here. What's this piece? Like a full mesh looking piece. This could be a metallic looking piece. This could be any kind of thing for metallic to plastic. I'm almost okay with this, but you can make it whatever you want. You can have different colors on the top or the bottom. It's up to you. So I'm probably going to say that the rule of thumb you should have is try to do your best not to make anything. It's a consistent color. Use color or different changes of color to contrast between two places. So in other words, this has to be a different material from this And maybe a lighter tint than this to help contrast and see this a lot easier. Same thing with this. So let's start off with this foam piece. Let's go ahead and open up that extras here. And let's look into our smart materials because I like smart materials. One thing I've always found is this fabric baseball hat goes well for any sort of foam ish look, so I'm gonna go ahead and choose that. And then I'm just going to drop that in the extras folder at its own little black mask. And as we've always done, let's just go ahead and collect and hit a selection tool. And let's just go ahead and add that back in. And you can kinda see we got a little bit more of a piece. Now, if you want, you can have another piece right here. You can do anything you want. You can just the sky's the limit. So it's not really a truth or dare or I'm sorry, like any sort of right or wrong scenario, you can put whatever you would like. You can even experiment, which is something I honestly would expect, expect people to do. So you can try, for example, plastic glossiness. And then maybe you feel like how that goes and just explore that just with this area right here. So we'll have it come out here. So then for here you can do anything, maybe a lighter metallic look. For this little area right here. Might want to put something here. How to black. And then do maybe you might think this is too much of a, of a contrast. Now, don't, don't hesitate to go in and look for the color in all of this. Wherever that may be. Looks like the color might be here. And just kinda click on the parameters are, I'm sorry, the base parameters. And look for a way to change out its color a little bit more. If you want to add to anything in a fill layer, you can always do that as well. One nice thing about this is that it will blend if it's inside. So you can change the colors around. If you want. You can always go with something a little bit easier like that. So once you, so this is kind of, um, I'm just throwing things randomly together to show you how fast I can come up with something. And now I, it's not necessarily a pre requirement. If you want to do something like this or you can also kind of texture around here and hit the X key. Maybe do something like this. We trace the ends of the helmet is being applied. How we trace the eyes is being applied. You can do something like that. It's not really a sort of wrong answering any of this. This is just you exploring your own colors. So that's why I say color theory or exploring your own combinations of how colors look next to each other is important. So something complimentary. And that takes a lot of just time and giving yourself a moment to experiment. So let's try this one more time, except this time we're going to try it on the hood. So let's open up the hood and let's look around. Look at some of the fabrics here. We've got a stretchy fabric. See what that looks like. That's kinda cool and neat. I think the superheroes similar to that. It's a little bit of the similar thing. Kinda see a little bit more like that. If you don't like that little hexagon pattern, get in there, change it. If you'd like it looking like that a lot more. That's kinda neat. You can do that. But this is also something that I say, go in there and experiment with. The, what I would say is the the the anatomy of the fill layer. And a lot of that comes with clicking on the masks and what's underneath them. Because again, these are all fill layers and they typically have generators on them. So where you're going to want to go is the masks themselves. And so you click on the masks and you click what's underneath the masks. Not necessarily what's on the Fill layer. There are things there, but I never really have had to make much adjustments there, but just work with that. So I got something like right here that's kinda cool, but maybe I want it to be a shinier and there's nothing here for me on that. You can always just as we did before, we added a fill layer on here and change the color channel. We can do the same with specularity. So I'll add a fill layer within this fabric, superhero smart material. Turn off all the channels. Just work with roughness. We can give ourselves a little bit more of a sheen look, a sparkly Look. That's kind of a breakdown of that, that we kinda see a little bit more on what we can do to hold that specular. And that's all you need from that. I don't need that hexagon pattern, which is to keep that off for now. Let's look into the black. And let's see here. I can look into it. Let's see. We can just, I want you to think, is there too much Blackwell, make it look less black and see what that looks like. I want experimentations of, of what something will look like. So I want you to have fun really. So we are kind of, we showed you how quickly we can get through all of the texturing like we just did so quickly just by adding such a small degree. And that all came from simply how we set everything up towards the beginning here, creating our folders, creating all these assigned masks to certain sections of the folder. So that we can just simply drag and drop and start experimenting, having fun. We are also trying to encourage, once again, experiment with the anatomy of smart materials and learn and learn, learn. I would say I would teach you systemically on it. But the problem is, is every smart material is so different, so you got a different set of circumstances. So like with the hood. Now we have let me delete that one. We have this fabric superhero, multiple layers. And I checked in here and I said to myself what I like about it, What I don't like about it. Well, I didn't like this hexagon pattern, so I edited that out. I wanted to see a lot more blue in there. So I then messed around with the opacity on here. And we also know something about generators which co, underneath the masks. So we messed around with what is constantly going to affect the degree of how far something gets effect. This is usually in the levels area, but it's a different set of parameters and levels to work with in every generator. So every smart material generator just has something different. You got to give yourself some time to just simply just push buttons and turn knobs and teach yourself how to do it and you're going to get what you want out of it. So with that said, in the next lesson, we're going to work a little bit more and with eyes and finish this off with eyes. So with that said, stick around and stay tuned. 11. Painting The Eyes: All right, work now coming close to the end of this, we just got the eyes and the glass bulb to take care of. So let's just work on knocking out the eyes. First of all, the eyes are pretty easy. It's just sort of utilizing everything you know, so far. It should be a cake walk for you. So let's go ahead and collapse everything in. And let's go ahead and open the eyes. And we have a fill layer here. So let's rename that fill layer on that eyes folder, two eyes, the whites. Then we're just gonna go ahead and we're just going to change that to something a little bit more closer to white. Now that we have that, we don't really need to make any changes. Let's just add another fill layer or you can duplicate this one, but I'll just add another one and call this black. And I'll just simply add a black parents on here. Like so. Now that we have a black appearance like so, let's just go ahead and disable all the other channels here. So it's just color. And I'm going to add a black mask over that, covering up everything. So now with this, let's just go ahead and paint this back in. Like so. And again, I'm on the mask. When I'm doing this, I'm on the paint. And I'm just simply adding a little bit more to it. Like so. Alright, so now that we have that, we can go ahead and let's just see here. I'm just gonna kinda take my time on this one. I'm just going to kind of add a little bit of just a little bit of fun. Now let's just go ahead and once more add another fill layer. And this time I'm going to add a different color, maybe something like a light blue. So let's just go ahead and experiment with a fun light blue color. Do the same thing. We're going to call this blue. And I'm going to add a mask. And you can kinda see the pattern here. Maybe make some adjustments to the hardness which you might have to do. I didn't simply held left command and right-click and scrolled and dragged up to make it a little bit harder. And don't forget to adjust your spacing. If it hasn't been adjusted. Maybe something like that. I'm just very, very carefully moving things around here. Like so. Okay, so now let's go ahead and turn the opacity of those blacks down a little bit more. And let's add, we can do a paint layer. Also. Don't forget if you really want to, you can always do a good old-fashioned paint layer. Just go down and make sure you have the right color. Like black. And let's just go ahead and make sure we have a hard surface. Remember you can hit right-click also. Edit the hardness of the brush as well. When I make my decision, I kinda always make it based off of how something looks like right here. And then I'll just call those dots. If you want, you can always add one more fill layer and just have that reflect sort of like a glossiness about it. Like so. Now, just something to have a little bit of fun with. If you want to make any sort of adjustments, definitely, definitely go for that. But this is a cartoonish look. So we're just kinda, kinda have a little bit of fun with it. Like so. So now that we have this, the next one we're going to do is the class texturing. We just wanted to have something that's more fun, cartoonish this time we've done real are looking, eyes and other substance painter tutorials. We just wanted to do something that was kind of a little bit more goofy, easier and simpler and fun day that people could have fun with. That's the whole purpose of this one. So with that said, in the next tutorial, we're going to talk to you a little bit about concepts like transparency maps. So that's going to be the very fun one that comes ahead. So with that said, stick around and stay tuned. 12. Texturing the Glass Bulb: Okay, So let's finish this whole head off. The last piece we're going to texture is going to be the bulb. And for that, we're gonna be talking about transparency. So what's going to happen is if you go up to texture set list and see where it says bulb, let's go ahead and mark the eye and turn that on. This is what we're going to try and make transparent. This is also something we wanted to have separate as its own set of UVs. So we can have a special section for this to deal with opacity. So let's go ahead and now click on bolt. Now to enable opacity, Let's take a look here. I'm going to delete the layer here and add a fill layer. If you look at the channels here, you'll see color, height, roughness, metal, normal. If we click on texture set settings here, we could try to add opacity in there. But as you see, opacity is under an unsupported by shaders. So we gotta change the shader in order for this to work. To do that, we need to go up here just to the right of texture set list where it says shaders settings. It's PBR metal roof. We need to change this to PBR metal roof with alpha blending. Now, when we click on that and click off, we have to hit the plus sign under texture sets settings. And now you'll see opacity is there. Now that we have that, let's go back to our layers. And if you look, you'll see, let's just go ahead and double click this fill layer and call it glass. You'll see that a OP stands out. But if you also notice that it's turned off, let's make sure to turn that back on. That way we see the channel and we get a slider here. So now we have ourselves some opacity. It's also very chalky, so we gotta go ahead and deal with that first. Now, let's see if we can make this into glass. Let's see what we can do. What are the parameters we need to make this shyness glass? While we need color to be black. For starters. It's a little bit there, but now it's like a frosting looking glass. So we need a little bit of reflex e-tivity on here. We don't need any height because that's not a factor in glass, but roughness, that can be a factor like so. So now that we have a little bit of glass, we have a little bit of everything here. It's a little bit easier to see. So we demonstrated how to make a little bit of glass on here. But also don't let that constrain you because there's a lot of ways we can create glass, including with smart materials. Now if we take a look over here to our smart materials and bring in something called glass visor. You can kinda see it gives us a similar look. And it's kinda neat. It's kinda cool if you want. But just keep in mind that the glass visor is just something to think of it like Oakley's. So I'm gonna go ahead and turn that off because it has a preset for a very specific look and I'm not entirely sure I want to be there just yet. So let's look into how we can maybe texture this up a little bit. Have a little bit of fun with it. Let's look at it. Maybe I want to do some blue frosted stuff at the end here. Hello. And maybe have a little bit of interesting looks. There's a whole bunch of different ways we can do that. We can do that with fill layers, we can do that with smart materials. Maybe there was some particular smart material we can go with. I could go with steel painted stained. I know that's a pretty good one to go with. And if we take a look at it, we have ourselves an interesting look. But it's not very blue. And let's just go ahead and just drag it above for now. Not too bad. Not too bad. It's a little thin, but it gives me a little bit of what I want. I'll now looking at the glass visor and I'm thinking to myself, maybe we can combine the glass visor with the steel paint. Let's see what happens when we drag a smart material inside a smart material. Not really anything special, right? Okay, so let's turn that off and figure out why. Well, if we look at a smart material and break down the anatomy, the glass visor has pretty much only to fill layers. It's a glowing edges and a base. Only problem is glowing edges requires an emissive channel to be present. We don't have any emissive channel assigned. So let's go ahead and fix that. So add a channel. Let's choose emissive. And now we got something that's a little bit more fun and cloudy. So let's go ahead and drag and try that one more time this time, because now we got some sort of bright blue and it's very fun. Let's go ahead and bring this into the bottom here. We can see a very interesting look. That's very intriguing. I liked that look. I think that's about the color of frosted blue that I want. I would like to see the head a little bit more. So here's what I'm thinking. Let's go ahead and combine these two now that we have them into a folder. And drag and drop these two into a folder. And then we're going to talk and call this folder frosted. And now we're going to add a black mask over it. So it's just this piece. Now let's add a generator. Now, let's experiment with some generators here. Let's see, we got curvature, we got ambient occlusion. It can give us all sorts of interesting things. So let's have some fun now we know it kind of does a little bit, something like that. And remember what we said, if we want to invert the generator, would just go like that. So that's kind of interesting, That's definitely kinda fun. But maybe I find this to be too clear on the center. Maybe I want to make this a little bit more slightly frosted. Well, first thing I'm gonna do before I do anything as is go ahead and add. Remember, this is a generator. So we need to click on the mask, right-click and add paint. Maybe I'd like to add a little bit more. Just a little bit more visualization of what I want to see and what I don't want to see from this angle, maybe I want to still keep the silhouette there. So now that that's all taken care of, Let's go ahead and duplicate this guy. Like so I just want to see on a map this point where now I'm at experimentation. Now I'm going to go with a white mask which automatically deletes the generator. And now I think I want to go ahead and add a black mask. And then we're just going to go down here and just do a little bit of painting. That way we can blend some of this and a little bit more. Maybe I'd like to do a little bit more over here. Just so it's not like perfectly blue. So now we've got something going on here. Now for anyone that's a little confused about how we got this texture or how we got the frosted looking texture. I'm happy to go over this again because I know that can be a little confusing. But you have to remember one thing. That first we start off, if I turn off the visibility of everything, we start off with a glass mask. We then go to our frosted texture, which is being occluded, show in the very center here with a black mask. It's covering up the frosted texture in the center so that the glass below is being seen. Then we're going, we take that duplicated piece here and just simply add a complete black mask and cover it up. Then that is being given a low dark gray value to kinda cloud up the blending a little bit more. Now, you can do other things as well. For example, like mess with the base color attributes to help with a little bit more contrast to seeing things. But you're going to have to go through multiple channels to sort of control where you want to see that. Now with that said, the whole idea about let me see if I can. The whole idea about the frosted texture is this this this folder, frosted folder has to smart materials. One is a steel paint that we have on here, and then the other one is a glass Pfizer. Now, the reason it's blue, wind from gray to blue is because in the glass visor, there's this glowing edges and emissive. This will always overpower any diffusion of the steel because emissive effects always override any sort of color whatsoever. This is some very soft emissive effects. And as for the transparency, transparency is being shown at once again through here. As there's no transparency here. We're seeing it here instead. So that's kind of a breakdown on the glass. It seems a little bit confusing if it's your first time seeing it, but we wanted to have a little bit of fun with you and trying to give you a little bit of a, just imagine the possibilities scenario. So now that we've kind of figured that out, the next place we're going to go is texturing the chest. And we're gonna, now that you've gone through this, it's gonna be a lot, lot easier because we're going to be doing much simpler concepts to kind of relax you a little bit more. So with that said, let's go on to the body. 13. Going Over Chest Pad Texturing: Okay, welcome back. Now that we have the head completed, we're going to move on to the next section, which is going to be the body. And this is gonna be a fun section we're going to build again off of our principles, but we're going to take it up a notch with a little more speed so we can, so you're going to be relying less and less on the video and more and more on yourself. That because we kinda held your hand in that first section. But this time we're going to do similar stuff we did, but at a quicker pace. So let's go ahead and get started. So if you remember before what we're going to do the body section first. So let's turn everything else off for now. What did we do in the beginning of the head, if we can remember. If you want to pause and take a moment to thank, fine. But if not, I'll just say right now, we start assigning pieces and our folders to sections of the body. So like maybe I'll have a folder mask for everything to be dropped in for the pads here or the greebles set of strip that comes in the center here or the body. So I'll have, let's see, 123. We'll do three folders. So let's go ahead and make three folders. Let's go ahead and double-click and label these folders. So we'll call one chest. Pad, will call the other one center gribble. Then we'll call the final one body. And like before, we're going to put a fill layer in all of them. So let's create three fill layers. And let's just make it different color for each one just so we can just make sure we're doing everything proper here. You don't need to necessarily label these or anything like that. We're just going through and putting these in one at a time. And I'll just drag you can kinda see me dragging through here. Alright. So the chest pad is the first one. Let's go ahead and right-click and add a black mask. And let's just go ahead and just simply choose. Let's do mesh fill as our choice because these are separate meshes except for these areas right here. But you can kind of get a little mundane to double-click and go through all these. If you can recognize the UVs here, then yeah, that would be great too. But if not, you can just simply go through and actually almost makes more sense to just drag across, but I'm already there. So let's undo that by hitting X to invert the value X again, to reapply the the white value so we can occlude or control our occlusion in certain areas. We go. I'll just use my spots like so. Alright, so we got our first model taken care of. Now let's do that center gribble, add a black mask, cover that up. And let's just go ahead and bring all that fun stuff in. Here. I think one thing I did do is There we go. For now, let's just leave it like that. And finally, the body, I'll just go ahead and leave like that since it's already pretty much covered as the remainder. So now that we got our folders designated, let's just dive right in. Now, we're moving a little bit quicker. We're getting things a little bit more compact into a video lesson because we want to just kind of up to paste and get you quicker moving to it. So with that said, let's just go on ahead here and try to look for a piece like the chest pad here. One of the first things we're going to do is I'm going to kinda do some dragging and dropping with some smart materials in here. So let's go ahead and designate this one. We can kind of experiment out. And I just kinda want you to have fun experimenting. Just choose your own pieces. And if you feel like I'm looking at this right now and I kinda want to die down the height map. And that's a smart material, so I don't want to have to go through all those fill layers. I'd rather just kinda. Gonna smooth it out like that and I'll leave the roughness the same. What I'm choosing is plastic glossy under smart material. And now I think what I'm gonna do is I'm going to focus in these pads on just the top pad that you see here. So right now, I'm just going to add a, another mask on top of the plot, glossy. And more. I'm sorry, I'm going to add another folder and put the black glossy on their name, that folder. Outer pad. Then in there I'm just going to add black mask, like so. Then these areas here are going to be sort of like the areas that we will choose to define the whole thing by now, but I like that. Let's go ahead and kind of okay with that. But we want to have like a texture that goes underneath here. So I wanna go ahead and choose. One of my favorite go-to is always gonna be steel Dark Age. It's my personal preference style. We can see already what that kinda gives us. It's a little bit dark. So I may find myself experimenting with some other maths, but let's just go ahead and go with steel Dark Age for now. And let's add a generator now to my plastic glossy. We're moving a little bit quicker now. Then this time we remember when we added a generator before, we loved using that ambient occlusion. Well, this is part of that experimenting now, so we want to see other things. So how about this metal edge tear? It looks like we need to invert it to bring that blue back because it's only addressing the corners here. So let's invert that. Okay, so we've got something a little bit more interesting on this top pad. Let's, let's go through and just press some buttons and see what we can get out of here. Grunge amount, where amount. I kinda like that. See here the occlusion scheme. A little bit like that. Curvature way. You can kinda just see what I'm doing. I'm not like committing to anything. I'm just kinda just kinda looking through and seeing what I like here. If you find yourself unpleasant or don't like anything that is showing, you can always change that generator and go back to ambient occlusion. And just to see how that looks as well. For example, you can kinda get a cool looking piece like you're seeing right here. That's kind of a neat look as well. So I'm kind of drawn to that amount, a little bit interested in that, but I also think to myself, This is plastic glossy. Let's change out the color a little bit. Maybe something green, something fun. Like that. We on the blue side and saturate that down. Kinda like that. I'm okay with that. So we got ourselves a little bit of a headstart on here. But if you feel like you want to go further than that, you can just remember, you know, we can do things like modify this further by some manual painting. That's just where you click on that mask and add a paint layer and then go through some of the choices up here. So if my thumbnails a little bit slower, but you can go through and try hatches fills who I liked the dirt brush. Maybe we can get something out of the dirt brush. There were oops. We still first need to select that. Here we go. You can kinda just take your time. You can just sort of go through here. Maybe you want to see something here. And here you can kinda take a moment to just sort of paint your story on here. So feel free to take that to the next level if you want. And the same thing goes for over here. Now, one thing I'm thinking I might do is I might do a one fun little thing and I might just add another smart material on top of it. Just the kinda deal with these guys on here. So I'm wondering what I might do for that. Let's try to do something here. Let's do something interesting. Let's duplicate this plastic Class C right here. Let's just duplicate the layer, like so. Now let's change the layer color. Which is you can do. And you know, you're thinking, why am I duplicating the layer? Why don't I just make another fill layer? There's no rule that says I can't. There's plenty of choices that you can do. There don't think that there's a commitment of one thing. I don't like how that looks. I think I got that on steel dark. Alright, so like I said, let's go through this time. Let's add a black mask on the whole I'm sorry, a black mask on the second. Steel dark. And then let's just paint in a little bit more of our original guy in here, like so. So once you establish this, think about how you want to change out the colors. So they're a little bit more complimentary because right now they seem awfully bright. Go ahead and trim it out a little bit more. Just having a little bit of fun with it and nothing really too insane. Maybe even change my brush so I can actually get some little bit more solid on this book. Like so. Okay, so now let's do some adjustments with that color a little bit. It's a little saturated. So let's see here, plastic green. Let's desaturate that a little bit more. Maybe make it a little bit. Right? I'm just kinda tweaking right now. The colors between the two plastic glossy plastic gloss these I could just rename those blue and green. Like so. We can kinda go through and choose firstly, I'll choose blue and kinda like a little bit of turquoise in there. So we may just go with something a little bit like that. Maybe. Then let's see if we can do something with the green. And you can kinda see this is why I like fill layers so much is because once you have everything you want, know where everything is, you can kind of pick your color palette. That's why I said kinda go with your own little unique color formula. You might even like red or something like that. I'm going with grain because it's a turtle. Like, hey, that's the flavor of this month. Okay. Maybe something like that. Okay, so now that we have that taken care of, Let's go ahead and check out our heights and make sure that's taken care of up there. So we kinda see a little bit more on how we've established a little bit of blue on there. If you want to bring anything black, Let's say, for example, you want to bring back some of the blue here you can. I click on the generator, which is kinda bring in the blue manually if you want. So that's sort of our little break down. You'll notice how quickly we went through that. We didn't hold your hand as much. Now again, this is sort of an incremental difficulty. And part of that difficulty is we're going little bit quicker and a little bit quicker. And if it seems like it's too quick, then I would say backup a little bit and repeat lessons until it's hard grained into your head until you can finally move on and keep up like you can just like look at what I'm doing and have it committed to memory because you don't want to just fall on the line of getting tunnel vision and copy exactly what I'm doing. It's very essential. You go outside of the course material to explore all these different things I already gave you, for example, like an example of two combinations of smart materials, like plastic, glossy on top of steel dark age, being partially covered with a generator to show that to like ambient occlusion. So that's sort of that area. The next one we're gonna do, we're just gonna do a little bit agreeable and body work for these bottom two. And then after that, we're going to show you how we can transfer all of this into other maps, which is a new feature and we'll take our time on that one. So with that said, stick around and stay tuned. 14. Wire Texturing Techniques: Okay, so let's go ahead and finish this body piece up. In this lesson, we're going to finish some of the background table and then go over a little bit more on maintaining or editing the roughness of the chest pads. If you think think it's overly shiny, for example, we can go ahead and make some adjustments there. And then at again to remind everyone in the next lesson, we're gonna go ahead and show you how to transfer these details, two different maps, particularly like the limb map. So let's go ahead and get started. Now, let's start with this gribble here. So let's go ahead First off and click on the folder for our center Gribble. And I'm just basically going to go ahead and just pick a smart material like copper wire and drop it in and that's it, you're done. Now. Now there's more to it than that. There's plenty, plenty more to it. For example, as we have talked about before. And as you should now know, up to this point, we are really encouraging strongly about modifying, editing and combining materials to teach yourself new methods of quick combinations in certain areas. Then, once you establish that, to do your own personal unique paintings or your unique texture things outside of the presets. So let's give some examples on that. So like for example, combining with the steel paint and the clear coat. And then we went over how we use things like generator by adding a black mask, adding a generator and choosing like say the mask edge tear. And we'll try to invert that. Then we want you to once again like do things like mess around with the generator, experiment with the generator and see all the different things on here. We then encourage you to make editing with the smart materials so you can learn and understand more deeper on fill layers and how they work. So you feel the colors a little too bright. Maybe something like this along with something and maybe a little more blue, or maybe something a little more green, go through the spectrum and just have some fun looking for what you want to see out of it. So feel free to have fun going through that process. Now, the next thing we're going to do is sort of a reminder to people on roughness. If you feel that you want to change the roughness, if you feel this is overly shiny, we can start changing that, manipulating that in a variety of many different ways from both procedural two basic Fill Layer two, basic painting, the roughness. And we can do three ways AND, or, OR in fact we can do for ways. And that would be smart masks as well. And we may go over that a little bit. But let's give you some ideas of things to explore As we want you to edit your own unique pattern onto here. So like for the outer pad, Let's get into the outer pad. We structured ourselves by these folder for the chest pad, a folder into the outer pad. So now let's go ahead and we have a green texture for here, blue texture for here. And we want to manipulate and create a roughness manipulation for the overall arc of all of this. Well, that's fine. Let's just start with something simple. We don't need a material or smart material, we can just hit fill layer. And just like Photoshop, this is layer base, so anything on top is going to cover anything that's on the bottom layer. So let's go ahead and say to ourselves, well, we only want roughness to cover everything else. And we don't want things like color or metal or height or anything else to affect it. So let's just disable all the channels here on this fill layer except roughness. We're left with a sort of already default sort of steel paint looking metal that you can mess with or make chalky and all sorts of ways. That's up to you. So go ahead and pick your play. And from this point on, you can do anything you want. We mentioned smart masks. And smart masks are basically preset generators. Sometimes they can have extra modifiers attached to them. Let me give you an example. If we take a fill layer and we call that fill layer for roughness. Three S's. And all you would have to do is basically just click and drag that mask onto there. And you're not going to really notice any change because you got to go through the generator. We did start with a black mask, so let's go ahead and invert that. And you can kinda see not much of a change because we may need to do some things like edit, for example, the levels, which is a fun way, and that's already given us some interesting looks. And now you want to go ahead and just kind of experiment and find what all these different nods do, because there are so many. So it's very, very, very, very important when going through all this that you are very open to exploring. We're just setting the path for it. So that's one way we can establish some materials. Another way we can do this is just, let's start from the black mask again. We can just click on that mask and say, let's add a fill modifier onto that mask. Let's just put a texture in there, like a procedural texture. So if I click on that fill and then go down to see where the anatomy of that film modifier is under properties. Let's click on that gray scale and let's go for typing in dirt and just seeing what's going to be pulled for us up here. And let's look for some fun dirt. Any kind of dirt, you can do dirt spots. And if you hover your mouse over it, depending on what you want. Let's say I chose I chose my own kind of dirt. I thinking I liked this one. Dirt cloudy. Now, you may it may look like it's overly kind of overly little shiny. So you can once again sort of manipulate that by looking into the parameters of this dirt cloudy. Like for example, you can change the parameters here or you can manipulate the hardness first and see how that definitely changes the parameters of cloudy. There is all sorts of ways you can do this. In addition to dirt, you can just go ahead and just experiment. Just try different things on here. So I can, these things give you what you want. And some of them are standalone Alphas. So I want to look for something that's kind of like dirt spots, that it looks like one that can be interesting for me. But we need a little bit more, little bit more fun out of it. It's not really giving too much. What if we invert this though? Now let's see what this looks like. There we go. There's our kinda see ourselves a little bit of an interesting texture along with that as well. I guess that's one thing we can also do is when I say this, don't forget to. If there's an invert parameter, always make sure you're hitting the invert parameter. Because we don't know what something fully looks like unless we first inverted like so. You can kinda see all the different types of manipulations for Russ. Now you may want to just stop all that. And if you want, you can just do an add to paint layer. And then just simply go through the brushes and simply choose something like maybe artistic hair, soft sponges like here. And just sort of manipulate the roughness like so. Or manipulate splotches of the roughs. You can kinda go this route too. So there's all sorts of fun looking ways that we can have width of messing around with the parameters, both procedurally, manually with a brush. You can right-click and change the brush presets there by hitting just again right-click. It's just you. Having fun. And exploring is probably, like I said, the most important part on this. So with that said, let's just go ahead and just wrap it up there. And in the next lesson, we're now going to show you how we are going to take everything we have here and just move it over to the arms with minimal amount of work. So that said, sit around and stay tuned. 15. Texturing the Limbs: All right, So let's continue on. In this video, we're going to move on into the limbs area here. So we're going to show you how we transfer some of our detail from our body onto the limbs, which is going to be a pretty easy and simple process if we think about it. So let's just go ahead and dive into it and get started. So I want to take all the information I did here, or at least aspects of them information and put it onto here. So the first thing I need to do is look at all the maps that I'm gonna be transferring to. I'm going from my body map to my limbs map. So I'm just going to turn off everything like so. And then I'm just going to first of all, select my outer pad. And I'm gonna look at all the folders that I have here. And really what I need is just two layers. I just need the blue layer, which can be done here with the PVR, plastic and Steel Age. And from here, when you hold Shift and left-click down, click the steel age, and then right-click. From this point, simply hit Copy layers. Now, take a look at everything here on that thumbnail of that mask. If you notice right there, this mask matches this map. So if we go to our limbs map, Let's go ahead and delete that layer and hit paste layers. Now if we take a look at that same thumbnail again, you'll notice the mask changed. That's because this is a generator. So what procedurally generated mask, therefore, it's going to automatically rearrange itself to what is being shown here. A normal mask if you transfer across maps isn't going to do that thing. So we got to keep that in mind. Now, moving on, let's go ahead and make some adjustments and then reapply our greens like we did before. So this means of course you can go through your generator, your ambient occlusion generator. And maybe you want to put a little bit more blue. You want maybe a little bit more contrast. Or maybe you would like to work with another generator like Metal Edge. And that's, we're going right back to it. You need to be in that open mindset of experimentation. And I'll just move some things around, have some fun with it. I kinda like kinda like this one, but the ambient occlusion one. Still some areas that I also would like to experiment with. I also will say, based on what you've learned from the last lesson, we can also do the smart masks approach. Like if you just wanted to just drag and drop and see what something looks like through their go through the generator and inverted to see what that looks like. You can do that too. Again, just like I did, except I believe I used the smart mask sand as my generator. We then look at it. We just say to ourselves, Okay, This is pretty cool, but let's see if we can have some fun with exploring the parameters. Let's see if we can do the global mask. You see what I'm doing right now. I'm just having fun with all these areas, trying to just get a very fun texture out of all of it. And I kinda like it like that. Now that you have it like that, you have your blue. Let's just go ahead and re-establish our grains and areas we want to choose. So I'm just going to right-click on that mask or I'm sorry, that smart material thumbnail. And I'm just going to duplicate that layer and I'm going to call that green. And then I'm just going to go ahead and change the anatomy inside that smart material to a similar tinge green that we have over here. You can also use the tear dropper and kinda go with something like this if you want, and then try to match it a little bit more. Now it's up to you. No wrong answer here. Then, like before, we can either do a fill or just what I like to do is put it in a folder to make things simpler. Grin. And that's just this green area going into a green folder. Because again, this is a generator, like so. And we can't manipulate generators. So I'll just add a black mask on there. And choose the path in which I want to take. Maybe I want these areas to be green. Maybe I don't want anything here to be green, or maybe I want this area here to be green. Or it's completely up to you. Which path you want to take with this. Or you can also just do an inversion. Just to, again experiment to see what something looks like. You can kinda do that. One thing I will say, I kind of like I think I like this area being green here. Then this area being green, then this area being blue. Just kinda going back and forth. So we have something a little bit like that. So let's go ahead and just add. Now, at this point, I'm going to do the same thing here. I'm going to mask out the blue paint here. So let's just steal Dark Age showing. Make sure, oh, I forgot. This is a generator. So let's put that in there. Then call that folder blue. Add a white masks so we don't change anything and just go ahead and make sure the value set to black. That way we have something right there. We can now maybe mess around with putting a chalky color in there just to get some contrast going on. Like so. So let's just go ahead and finish up with one more thing here. I'm just going to add a smart material, just to add some more things on there and get some practice in here. It's going to be, let's see, a new folder called biceps. And I'm just going to add that in there and add a black mask. Let's bring it in here. And maybe here. Then we're just going to add, go through the smart material. At a black mask. A generator could just add a white mask and non-degenerate. Just want to have some fun. Then I'm inverting the value so we can have something a little bit more interesting. So now we got a little bit more of a area. You can kinda see already how quickly I went through this, but we now still have some areas we can still take care of. One thing I do want to do is finish up the arms in the next lesson with a little bit of of some Gribble. And so that's going to be sort of like the next one that we work with. So like let's say hold on a second. Make sure that that's all been affected. Good. Just want to make sure some things there. So from this point on, we can also do things. I may try to create a little contrast here. You can do that through the polygon or I'm looking at this bicep and I kinda wanna cover up this area here. So I can do that through paint or through polygon selection. Make sure we have a dark value. Go on to expect, don't hesitate. If you want to have a little bit of fun on here, you can maybe want to generators taking away too much so we can't make any of the green go through. So let's go ahead and say if you want to go further, that is what we're trying to say. Go further. We don't want to take anything too far because we want you really, really, really to focus on grasping concept before mimicry here. So you're understanding the concept of masking and how we control Fill Layer Smart materials, materials and manipulating them how to blend on top of each other through generators and smart masks. We want you to break that barrier and focus on things like color theory, on how you can manipulate, mix and match everything too. So we want that interaction. So in the next lesson we're going to just work on just filling in the insides which will be somewhat similar to the outsides and do a little bit of work with emissive effects. So with that said, stick around and stay tuned. 16. How Emissive Effects Work: Okay, So let's finish this off. In this video, we're gonna go ahead and finish that under wiring gravel underneath, and also give you a little bit of a brief explanation on emissive effects and how we can apply them to wires. We're also going to talk to you a little bit about the pros and cons of that. So let's go ahead and get started if you haven't already, Let's go ahead and put some something in here for the walk. These little blades here underneath just to have some fun. I don't care if it's just something real super quick, like a smart material with a black mask. We don't necessarily need a folder here. You can just click on all these related areas that we're seeing here. And it's just a quick run here on this. I'm not necessarily married to It's sort of a secondary effect. Or we're going to really be focusing on is a couple of things, the wires here and how to break them up a little bit. So one thing we can do is like we have small wires in here and we have a bigger wires. And for that, we're going to talk to you about fill layer again and how they can be modified with additional channels. Now we already went over this with the opacity when we added an extra channel in there. But we didn't. Opacity was the only extra channel. We add it. We didn't add anything more. Let's go ahead and take out to miss it so I can actually show you again. We're going to add a fill layer in here. And it's gonna be at the top. We're going to call that emissive. If you look at all the channels here, you'll see everything is its layer base, so it's covering up everything. Let's just turn off all the channels just for now. And now it's almost like an empty node, this fill layer, it's not really affecting anything. So let's add an emissive channel into it, this fill layer. So every time a filler comes up, emissive comes up as well with everything else here. So we'll add a channel. We'll choose emissive, circled back to our layers and we'll see a message show up right there. Let's turn that on. And you're not going to see any difference because it's in black. So if we turn it to white and you're going to see something happen, now, you see this glow right here. You probably don't have that. So let's go ahead and back up a little bit before we go over glowing effects here. So let's see if we can find them trying to trick myself here. Let's go ahead and activate post effects. Let's make sure that it looks the same as your screen. Now, as you can see, we have an emissive channel. It basically overruns everything. It's like a super blown out ambient, the way it just takes out everything here. If it's a 101% color, it's going to be in white, It's just going to take out everything. So let's choose a color like maybe something of a light tint blue or something like that. And go with that. It's at a black mask to it. And select our Selection Tool, polygon fill. And we'll do mesophiles since these are separate model objects. And we can just kinda go through and pick out. I'm going to go for like just this super thin wires. I'm not really going to go for anything other than that. Maybe just like one wire over there. So I'm just kinda choosing out really super thin wires. Then for the rest of what I think I might do is just add a bright color to help contrasts out the other pieces with a material. I'll just add black, like copper. Now that's not, we're not going to go with this as a choice. This copper, we're going to go ahead and modify. It's still a little bit more to be desaturated because this is an awfully, we want to desaturation of a model, not necessarily one thing or another. Let's go ahead and modify that copper now and see if we can manipulate it. Something like that. We can also do things like just won't think roughness is affected in this area. Kinda is. We add three other layers where roughness is probably a factor, so it's up to you. You can just add an overarching fill layer and just make that be the thing that dictates roughness. But just go with that. Let's just have a little fun. Try to pick something that can contrast out a little bit. From the top blades and the the small wires. Like little bit, maybe something there. So now that we have our MIS of effects, Let's take a look at our emissive layer and our copper wires. Let's take a look at some emissive effects now. Now to enable a miss of effects, you've gotta do a couple of things. First off, you gotta go up to the shader settings, which are, I'm sorry. You have to go up to the display settings. And then you have to go down where it says activate post effects to turn that on. And then you see where it says glare. You might have to mouse over to where this checkboxes and turn that on. So now we have a little bit of a glare. Now, it still doesn't have a bloom. So one thing I want you to take a note is when you open glare and scroll down, it makes sure the shape is set to bloom like so. And then finally to add some glow intensity, you just click on is we have display settings right here. Click just below that, and look for the immensity channel. Now, this is where we come to a good thing and a bad thing on Substance Painter is that these settings, you can make this bloom, but you're going to make the overall area bloom as well. This is a render setting basically for effects. Now, one thing that can be done is that you can, for example, if you're trying to do a rendering, you like the bright blue, but you don't want this to be so bright. You can do a render with one where it's completely bright like this. You can do a render where it's just completely down like this. You can, or further down like this, you can do two versions and then composite the two on what you want to see in Photoshop. You can do something like that. In other words. So with that said, let's just go ahead and move on from here. This was sort of a crash course, a little bit on how to get you in this mindset of understanding a little bit more, getting a little bit more practice with things like the emissive effects and doing some extra editing. Again, we're on fill layer, so it's non-destructive. And I said this over and over again, experiment to your own color theory and go beyond what you're seeing here. So if I'm, when I say go beyond what I'm saying is like you saw me do this color, do a different color, or you saw me do these selected wires, do the inverse of these wires, and then see if you want different areas. Or maybe you want to use the mask and paint, sort of like a line right here where this area is. And you probably have to go a lot smaller than that. Paint a line along here. You'll have to take your time to really trace it and hold down that Shift key. But it's just the same concept. You can just kind of paint a line all the way through. So I really do want to focus on that. Go beyond my work is the goal in order for you to learn. So with that said, we're just going to have one last section and it's pretty easy section. It's the, it's the shell section. And after that, we're gonna go ahead and finish up with some rendering. So with that said, sit around and say tin. 17. Texturing the Shell: Okay, so let's finish up on the last section here. Now we've finished with the wires and now we're kinda, I'm going to hold Shift and right-click to rotate the light around. And we're going to talk to you a little bit about this area right here. Now this is our fun little shell area, and it's not gonna be too complicated. So let's just go ahead and upgrade and kind of go through and click on our shell map. And I'm going to hit the F key to center this around. So it's not really going to be too difficult. We're gonna do is we've always done create a couple of folders. We see that there's an outer section here and an under section here. And we can do one of two things. We can click on it, each one, or we can just use the areas here as our clicks. Now I made the UVs a little bit smaller underneath since you don't really see too much of it and a lot of it's dark and doubts, so bear in mind with that. So I'm going to first call folder on the top outer shell. And we'll just go ahead and call this inner shell. And so let's just go ahead and let's start off with the outer shell. Let's first of all just put something in there. We don't have to put a fill layer. And because we're getting now pass that whole area of understanding, Let's start off with something basic. And then we'll just go ahead and add a black mask. And then we can select everything to be for the outer shell that this plastic PVC is going through. So we can do mesh by Phil and you can go ahead and click everything here. Or if you recognize the UV shells in what are the outside and what are the inside, you can just go ahead and do it this way. It's the small grained ones are the ones you got to watch out for and not select. So now I'm gonna go ahead and copy that mask. And I'm just going to add a, another mask and I'm going to paste into that mask. So we'll have the same thing and we'll invert the mask. Let's see what that does. If we drop something into there and we should see two results. So that's sort of a quick way to deal with the masks without having to re-select everything all over again. So with that said, let's just go ahead and I'll work around with, I'm not going to use plastic glossy pure. I'll maybe just go with something like oh, maybe just still. Or maybe something a little lighter. Still. Probably. So many things. I like clear coat. I've always liked clear code. So we can just go ahead and stop there so we can then do things like steel dark in the I'm sorry, still dark in here. You can kinda just just drop some stuff and see what it looks like and then make a decision. You don't get tunnel vision with what I'm doing, just start experimenting. But I'm still going to walk through what I'm gonna do. We're gonna do, let's say smart materials. I'm sorry, smart materials, regular materials, plastic, PVC, and underneath, I think we'll go with let's try steel paint underneath. Okay, so now we've got something that's a little bit more cast iron metal. Let's add a generator to that. And let's go ahead and choose our metal edge tear for that. Oops. I'm sorry, I did something wrong here. Let's go ahead and undo that. Add first the mask. I must not have clicked it. Then let's do our metal edge tear. Let's invert the value of that. It's bumpy. So let's modify and edit that. There's a whole bunch of things and smart materials we don't need. So let's just underscore all of it in the folder. Like so. And I'm also going to do a little bit of time just taking a moment to see what sort of Everything is. What I wanna do is, is there's the, there's two sort of textures. There's this cast iron texture and there's this little grain texture. And I got to now figure out and problem-solve how to get rid of one over the other. So I'm not going to try. It seems like I can destroy one without the other. So I'm going to have to go into steel painted and do some manual editing. There. Sometimes just going through and turning on or off to see where it's at helps. And I would say probably right here. Right there. It was wrong. I forgot that. If I'm inverting the mask, it's gotta be up here on the plastic edge. So now we have that taken care of. It's pretty decent. Now let's mess around with the generator and see if we can have some fun. Some of the warp. Like so. We're going to have a little bit of fun where contrast, like it, a little bit more messy, like that. You can just enjoy what we're getting here. I like the idea of the white edges a little bit, but I'm thinking, yeah, kinda like that. It kinda accentuates the edges and the tears a little bit. You can bring them out a little bit further or a little bit like that with the curvature way. Curvature weight is affected by a curvature map and it looks like that's been turned up. So that's already a little bit of what I want to go for now, if you want to, this is a lot to do with color theory to, so that's kind of where we experiment to have some fun. You want, you can, if you want to create a little bit more contrast, you can kinda do that as well. But don't forget that when we're looking at our steel paint, It's right now being procedurally manipulated by the mask generator above. So that means that we can do additional things like clicking on the mask, adding either a paint layer, like so, like a modifier. And we can just go through, select our brush and start painting things or right-click and do a modified brush by scrolling down and clicking on choosing all the different Alphas with DEC textures and oranges. And then afterwards scrolling down to define your value parameter. Those are also processes that can be done as well. So that's sort of the whole gist of that. I'm okay with everything here. I would like to say that if we can do maybe more things underneath, if you want, we can. This is I'm trying to do less and less so that you can be more open to filling in the gaps in there. Like for example, you might wanna do steel armor and then do the same concept at a generator into that steel armor and go with the same whole idea. Invert. Just sort of manipulate the generator that way. I think I did that to the mask and not the steel plant. To the wrong one. I dropped it right on top and it didn't go in. There you go. Now we can kind of see it a little bit better. Now we can see all the fun things that go into it. Bring that in and try once more. I'm adding a white mask this time with a generator and clear coat. Now let's manipulate the wear and tear. You can do that as well, just to have some fun. But don't do too much or get overly hung up on the the underlying detail. It's not seen as much as the top detail. That's kind of where I'm hoping that you will put most of your time at. So this is a conclusion. Now we can bring back all our materials. We can kinda see now everything's been kinda completed out. So now what we're going to do is we're going to talk to you a little bit about the rendering process in irae. And we're going to go over think fun concepts like activating the bloom, the missives, putting them together, going over render times and the pros and cons of IRA and where to take it from here. So with that said, sick around and stay tuned. 18. How we Export Textures: Okay, welcome back. Now in this video, we have all that's left is to worry about is rendering. And we wanted to give you a sneak preview of some settings that we set them with to give you some render results. Because as you can see, this looks probably different from what you saw in the last video. But we also thought it's a pretty important thing to be talking about exporting textures once you're done. So we decided that in this video, we're going to show you how we export out textures. And then in the next video, we're going to backup this and show you how we got this little setting here and how to render out a piece in irae, like you see right here. So for now, this video is gonna be about exporting textures. The next video after that, we're going to talk to you about irae and rendering and producing your own little baked out beauty, pass an image. So let's go ahead and get started. Once you're done with everything, you're going to go up here to where it says File and Export textures. You're going to have a pop-up window in three tabs come across. So we're just gonna kinda go over this. Now, if you look first at the global settings, you'll see here five maps. Like we said before at the very beginning of this course, this is a practice educational models. So we put in five maps, five uv maps. Generally speaking, you're not really supposed to have that many. We just wanted to give you as much practicing time as we could and how to give you opportunities to switch between different textures, for example, we wanted to, and how to copy those textures across maps. We just wanted to basically make this educational. So in all fairness, one, maybe two, uv maps is what's going to be for a character. But still, if we click on each of these, you can kinda see all the different attributes like color here. And it sort of, It's a little confusing at first what this is like, all these things that you see here, these output maps. But if you want to know exactly what is getting exported out, just go over here to where it says list of exports. Now again, this looks like a long, long, long list of textures, right? Well, don't worry because in the end, if you look up and see, like in an untypical PBR metal workflow, more metal, metallic roughness workflow. This number is all you need right here where my mouse is. This is the amount you would need pretty much for a character. Again, we just added a whole bunch of UV sets on here so you could get a lot of practice. So you wouldn't normally expect or export this many maps out, but it's good to actually get everything through here. Another thing we'll take into account is if you look at the name title here, we have color. If we go through and let me hit cancel so I can go to a fill layer and give you some perspective. Get back into textures. If we take a look at a fill layer here, and it's alright here. If we take a look at, for example, a base color PNG coincides with what the color is here, and emissive channel is coinciding with an emissive channel here, the height is core siding with the height here, metallic normal, roughness, metallic normal and roughness. So the number of channels our corresponding with the number of maps. Now from there, depending on where you export it to and what preset you would go through. You would take a shader that has all the different channels and plug all these maps into it. But that's breaching into rendering and different softwares. And this is mainly about how to texture and Substance Painter. So we're kinda holding out there. So let's go ahead and go back to settings and output directory. This is gonna be like the location in which you export all your textures too. So I have a little folder setup there for you on that output matte template is reflective to what kind of channels we're seeing here. It's sort of our beginner level level template. This is a course instigating to the file type PNGs. And then the size. Do you want all the list of textures see they're all at 2048. That is a pretty big, or do you want the texture size to be something smaller? Like 1024 or 512? You can control that size. I don't touch anything on the dilation, infinite. As far as output maps go, output maps is a place. That's a little more complicated because we have a whole bunch of areas in which we can export to. For example, if I was going into Arnold, I would probably click here for Arnold in Maya. If I was going to do something in Unity, I would probably choose the metallic standard or probably, yeah, I probably just go with one of the Italian pipelines. So that would be where I take all of that. It's, you click on, basically, ask yourself the question, where's this going? And what type of Renderer or it is? And see if we can match it to this. If it's Arnold in Maya, I like to always start off with Arnold ai, Standard or legacy. Now, the other thing is, is that a lot of times you can just go with regular PBR metal roughness. We have key shot which comes from ZBrush. It's ZBrush, separate software renderer. And we have an updated version of that. So you got to ask yourself, where do you want this to be rendered? Now we're doing our own render in IRA, which is built into Substance Painter. So you don't necessarily have to export any kind of textures. You can just sort of texture right in here and do your own little portfolio picture piece if you wish. But like I said, some people want to go in Arnold AI standard. I prefer Arnold ai Standard from going into Maya because maybe they want to do a video. You dims are referring to something that is regarding the UV's. If you have UDM UVs. Like I said, this all comes down to if you got Unreal, you want to render an unreal. You're choosing the preset for unreal before you texture out, you basically make your call on it. I'm going to keep it on PBR, metallic roughness. And then I'm just gonna go ahead and do a quick little export so you can see what it all looks like. And then once we kinda going behind here, you see all these maps. And it can be a little bit confusing actually. But if you just look at the titles at the end, like if you look proposed pose, pose, pose, all the way. That's pose. Okay. So I'm just gonna go ahead and just keep an eye out on all of the the UVs that match with it. So Shell is their limbs are here and head goes here. And then bulb goes here, and body has an extra channel goes here. So then I would create folders for each of these UV set maps. For limbs is here, bulb is here, shells is here, body is here, and head is here. And we can kinda give ourselves an idea if we open up one of these, like this map here, it represents the color channel. If we turned off everything, it's just about the color. This represents everything that was color in what we did. Alright, this channel here is the same thing except it's representing the normal map on everything we did. So it just keeps on going on. We don't have any immersiveness, so it's gonna look completely black. We didn't really do much with emissive on the head texture. We did a little bit with the bulb. You're probably going to see something with the bulb. But nothing else there. So there was not really anything else down here for a height map, we didn't play around with the height channel at all. The metallic, definitely there was some information that we did with smart materials on the edges there. So you can kind of get an idea of what everything is through, plugging it in. So that's just a breakdown on this, on exporting out textures. We wanted to have something just to show you in case you intend to take your textures and go somewhere else. We wanted to give you a little heads-up insight and let you know there's definitely an option. Like I said, it's not necessary to take your textures and go to a different rendering software. We're going to just do a cool, fun little render here and do a nice little picture for you. But with that said on the next video, we're going to backup before all of this and show you how we got all of this and talk to you about irae and how to set up for a render image and how to export that image out. So with that said, stick around and stay tuned. 19. Learning how to Render in Iray: Okay, so let's finish up. In this lesson, we're going to go over Iran getting a little crash course on that and do a quick little Render. We're going to do a little quick run-through on some of the features and settings we go so we can give you a good, decent quality render that you can pump out. And again, like everything else, there is plenty of settings here we go with one, but we also show you to go with more than one. So that will make more sense when we do the things like panoramic global lighting. So that will come to make sense. So let's first of all decide which angle we want to work off of. Now, one thing that you can do is to enable irae. We first have to go to the very topic here and where it says rendering IRA. And if we turn that on, That's basically going to give us irae, like you see here. And you'll have a little Render. And if you hold left all just like it is in the other settings, you can rotate around and pan as well as much as you want. Now the frame rate of this goes up higher and higher. If you render with lower and lower textures. So keep that in mind. You also click out of there. The render will also click back to its substance painter of viewport. I kinda moved everything around here and kind of slided that so we can see a little bit more of this. Now, the next thing we want to do before making our full render is to start off by going up to display settings. That's again that little box screen just to the right settings and texture set list. Want to click that on. Now if you remember, this is where we also enabled things like glare and emissive effects if we wanted to have anything like that come through, this is pretty important place to be. Now, from this point on, we can have to turn on a couple of settings. First off, you can enable shadows as well as the opacity of the shadows. So this is all real-time effects that will affect the eye ray. If we go further down, one thing I'll have you take a look at is the activate post effects. Now, this is where it starts to get pretty important. It's kind of a big deal on this because this is where you want to do all your fixed, fixing and texturing and tweaking somewhere around here so that you can get as much as you done, as much done as possible. So for example, let's say I would like to turn on the color correction. And that's going to give us the ability to manipulate the color in real time. I'm week have a Restore Defaults down here. If you want to go back to its default area. For the record, we have saturation, contrast, brightness, all these things where we encourage you just to sort of go through and experiment with. Just kinda look through and see what everything does, and then restore the defaults. And this is your learning process. The one thing I will say on my personal workflow is I don't touch color correction until I dress. Another area, which will be C here, not the vignette, but let me go further and further down. Let me see if I can find it. Because having fun, here we go. The color profile. The color profile is going to be something that you're going to want to effect first before anything else. If we go through these profiles, we see all these different choices that we can go through. And it gives us a different look as like a different filter to work with. And what's nice is, is if you go through all these, you can kinda see a very different look. You can see how everything kind of throws out and shows something interesting. And now you get highly contrast the bowl renders. For me. I'm going to go with this one here, our EC seven O nine. Kinda like this one. Now that I have that, remember when I said before touching color corrections, choose your profile. Will we chose our profile? We're going to make a little bit more adjustments on the white points so we can see it a little bit better. Now, we're going to go through the process of just tweaking some small stuff. Here in Substance Painter. We can, we can tweet contrast to work. We want you to just kind of have a little bit of fun. I think contracts should probably just stay slightly. It's just the small changes that you make is the important part in. This is an interesting one right here. So let's see if we can kinda see how we can give an interesting look about that. That's kinda neat scenario. Here. Let's keep it there. I don't want drowning out my colors. Right. Now if we keep going on, depth of field represents the depth of the bore of this. So like, you know, we kind of go through and we can kinda see the measure of blur. It's like basically going to be blurry from here. If you hold left command and middle mouse, you can set the focal distance point to be different places. I'm sorry, I chose the wrong one there. I'm just kinda want to bring things in, maybe blur out the back there, but keep a sharp end right here. That might be interesting. Let's say vignette. Vignette is something that helps us kinda darken the edges. So I think like if we really turn that up all the way the vignette, I would go back into color correction and compensate in any areas. So like if it's the right or the white balance temperature. A little bit of that, maybe less compensating here. Let's go ahead and look at that temperature again because we kinda lost it. You kinda see what I'm doing right now? I'm just making these tweaks. I'm just sort of mapping in my head what everything does. And then going back, every time I add something, I go back into my color correction to compensate for it. So with that said, we can also add in anti-aliasing so that that helps better subsurface scattering is for more transparent things like skin or translucent materials. We don't have any sort of scenario with that. For everything else, we seem to be good. So we have our first default. Let's go ahead and look into some extra things. Environment map that's just affecting the lighting on the outside giving us a different light. And you can see all these different panoramic views. Again, just like with the color profile. Like that's an interesting one right there. How it kind of gives us this look. That's pretty neat. We have all sorts of interesting looking pieces. So we want you to be very experimental. And don't forget to rotate around. Hold by holding Shift and right-click to see if you can have some fun with the look of this model. That's sort of a sort of a fun thing to go through and explore. Let's see here. Kind of like this one a little bit. It brings out the most color on here. But that other one that we did, which was this one that was kinda neat to gave us a greenish more look. I'll go ahead and go with eight year. But don't feel like just because I'm doing this, that you have to do this, you go through all the environment maps, make sure your lighting is correct by holding Shift and right-click and dragging across. And then have some fun there. There are a few more things that we have to do still met. Want to make sure if there's anything I missed here that's gonna be too terribly important and not just yet, There's two more things that we really have to do. And one is first, let's go ahead and bring the rendering. We see a background here. I want to get rid of that background. So let's go ahead and we have the display settings here. If it doesn't show up, just simply click off it. If it comes in looking like this. Just kinda go over here and hit Display settings and just kind of docket in like so. So let's start looking for our floor. We want to actually look for some place. There she is. The ground floor. Notice we have that. Well, right now the ground is kind of like that. That gives us sort of a shadow that's going to be there. That's okay. But we want to get rid of this background. So that's what clear color is. And with that, we can kind of go through and just sort of, I would say, we can erase the background and assign sort of like a, a, our own little unique peace. As you can see. And if I hold left Alt and middle mouse, I can recenter that guy a little bit more into the center right there. I'm getting sort of like a pretty cool-looking scenario, which is basically what I want, I want to go with that. So with that said, I think this is where we want to kind of leave off. Now, the last thing we're going to go over is the quality of I render. Now the quality of I render is a interesting thing because what we're going to do is we have Min samples and max samples. Let's not change anything on here for now. We don't want to confuse anyone, but that's the number of samples that we have on here that define what, how grainy this is to how clear it is. And for some people, if we go back, if you want to make any changes like make this less glossy and more translucent, you already know what to do there. You just have to go through the bulb and just add a fill layer and adjust the roughness. You know what to do, how to create a glass so you can do that. Max time. This is where it all comes down to. I'm going to set this to minutes. And what will happen is, is when you say max time, ten minutes, that means it's going to keep on rendering for ten minutes based off of this number of minimum samples to this number of maximum samples. I am okay with five samples to ten because I can still get what I want out of it. But I want you to be in the mindset of going through and thinking. This is how I want to, kind of, the longer this takes, the better the results are. So I'm going to go higher if you want, goes out, stick sampler enabled. See these little white spots. It kinda helps with that a little bit. It just kinda helps just to address certain areas with that. So with that said, we have a couple more things we just need to talk about. And one is override viewport resolution. This is where we can define the size of our our export to be image. And if you want to go with something is exportable, and you can certainly do that by just simply changing the document size here. You can go with a portrait piece or you can go through and just simply hit to a 1024 by 10242048 by 2048, resolution 4096 by 4096. And you take it into Photoshop and you raise it down to 2048. It's all up to you, your choice, your call in all of this. So there's definitely not no such thing as a wrong call in any of this. So with that said, there's not too many other things that we're going to say, except if you want, you can change the Min samples to one. Always, never really do that because it's not, the default really is all I need. So with that said, that's pretty much how we do it. If you want to export the image out, you just click on Save render and you can label it out as you want. So I'm going to tell you right now, this is the concluding part of the course. This will also be a, a sort of a prelude where we wanted to remind everyone that please go outside of the concept of what is taught to you. Here. It is a very, very, very, very important aspect to go beyond what is being taught to you. So when you see me doing things like this, and you see me doing Whole bunch of textures like you see here. And I'm showing you how to do smart materials and smart masks. Again, I'm trying to also get you to see how to do something and explored the hundreds in different ways it can be done. So that's, that's probably what I am going to most four, you're going to drive my Min samples down. Still see it a little bit noisy here. So I'm going to go ahead and work on that. My reset me, but care. The other nice thing about this is that if you want, you can always make a very much a bigger piece and really get a super high resolution render that you can downplay. But I will go ahead and also say that I really, really am interested in seeing the different renderers that come out of this, the different lighting schemes that come out, as well as Different, how shall I say, different color choices, which are super important in grasping texturing. I did a green, blue, I chose green because it's a turtle. It's nothing like anything overly complicated beyond that, it's not really a whole ordeal of a mess that is that much more deeper or confusing than that. But I really want to see exploration and growing and going beyond the concept that says it's said at the beginning, keep texturing, please. Keep growing beyond what I teach you and keep surpassing what I have in front of you, get more creative. And that means to invent. You see like for example, this bulb invented, use a user interface of a fill layer and draw some designs with the emissive channel on a black mask. And sort of break the boundaries that you're seeing in front of me with an interesting and unique user interface on this little bulb. I really hope that, that people will consider doing that. Please. Definitely break and surpassed main because that is the whole purpose of this entire video is to get you in a mindset of texturing better than what the bar is here. So with that said, I hope you have enjoyed this whole texturing process. And of course, you can use this model of for your portfolio when it comes to demonstrating your texturing or rendering skills. Or if you're a rigor, you want to rig it. Or if you wanted an animator, you want to animate it. It's yours for portfolio and you have my permission. I'll ask for credit on the model and the sculpt, and that's about it. This is yours. And I really mean that I really hope and wish you the best of luck in your journey in your, whether you are just a casual 3D artists for a professional 3D artists or an aspiring to be professional 3D artists. I wish you that lock in that just like I said before, please. Just keep texturing. Thank you again.