Substance Painter 2023 Novice to Pro

1. Class Introduction to Substance Painter: Hi there. My name is Sean Fowler and I've been a three D freelance artist for over ten years. I'm thrilled to introduce to you my latest course, Substance Painter 2023, from Novice to Pro. In this course, we'll delve into the world of three D Texturing using a PBR workflow. As well as explore how to seamlessly integrate these textures into the Unity game engine to ensure hands on practice will provide you with both low resolution and high resolution Si helmet models to help practice with and experiment various texturing techniques in substance painter. Now on top of our helmet tutorial, I've also included several introductory lessons that cover the essential features tailored to the beginners. As a quick review now for that, you'll have the opportunity to work with a low res flying saucer model. This beginner exercise will allow you to understand fill layers and how to manipulate base color through masks. Setting a strong foundation before we progress to more intricate aspects of texturing with our sci fi helmet model. Now my goal is for you to gain the necessary knowledge and expertise in three D texturing. Become proficient in creating detailed three D models in a remarkably efficient manner through the power of substance painter. Now without further ado, let's dive into that exciting world and begin this creative journey together. Let's get started. 2. What to Expect Here: Okay, so let's get started. In this video now, we're going to go ahead and do a breakdown of the course material in terms of what to expect in this tutorial, as well as give you a couple of tips to help you learn and maximize your educational process when watching all these videos. So one of the first tips I probably would have is that before anything, this is an online course. So if there's any point where you feel slightly overwhelmed or maybe I'm talking too fast, take advantage of that fact that this is, again, a video course tutorial. Stop, rewind, re, watch as much as possible but you wouldn't even how much you would also catch additionally watching it a second time. So feel free to do that as many times necessary to get through if there's any point. Again, if I'm talking too fast, please by all means, stop, rewind, rewatch. The second tip that I have is this. Don't necessarily constrain yourself to what you're seeing in front of you. Go beyond the concept, that means go ahead and explore different concepts of the same thing that I'm teaching. If I'm going through and teaching a particular color or doing a demonstration of the helmet and texturing through one color, I want you to have fun exploring different colors. If I'm demonstrating smart materials and generate smart mask manipulations through it, please go through and try different smart materials just to get yourself exploring more and more by then. The objective here is to get you to not be constrained to a course, but get you to understand the concept of it. So you can be free to try different things comfortably and confidently. Because that's really how you learn any three D software. It's not by constantly constraining to know only what is taught. It's about exploring past it, by experimenting with. That said, let's just go ahead and get started now. This course is outlined with a couple of models that you're going to be working with. The first one is going to be a introduction to the basics for which you will be importing a supplied flying saucer model where we go over the basics of substance painter for that first time beginner. Now this beginning section is only for the very first time beginner. It does not require somebody who is open substance painter or understands the basics. If you wish you can move into the texturing helmet section where we begin the interface breakdown for that. But to get started, the introduction to the basics, we go over things like importing the model, the interface. We'll talk to you a little bit about baking out those maps for the first time without a high res in that particular situation. But most importantly, we go over things very simply by just constraining it down to color. Now substance painter deals in many different channels and maps. Roughness, metallic, specular, glossy, miss of many different types of maps. For some that can get a little bit crazy, we want to take it very small if you're a beginner. In this introduction to the basics, we'll only focus on how to apply color, starting off so that you can get a little bit more of an idea of how to manipulate things. We'll do that starting with brushes, fill layers, and selection tools. And we'll advance how we can do the same thing through fill layers and manipulating and painting everything back through masks and generators. Now once we move on, we begin our texturing of our helmet. Now this is where it starts to get fun for us now this is where we get to enjoy the real power of substance painter and we give you a little bit more of an intro to more channels like roughness and metallic maps. Now from here we're going to just again go through the process of applying a bake. We're going to bake out new maps for that and we're going to use for the first time a high res to project all the details down to. We'll then begin to start texturing the helmet through various means by using generators, smart masks, and emissive textures to help give us an interesting glow effect. Then from there, we will go through to texturing the face plate, where we branch slightly off from smart materials to working a little bit more with creating custom fill layer materials and how we can blend that in with smart materials, just to have a little bit of fun. From there, we go ahead and go through the process of exporting out our textures for a three D software. Now we'll be using the Unity game engine to make that work. Where we go ahead and demonstrate how we can bring a Three D model in along with its textures. How to set up a shader and plug all the texture maps into that shader. Lastly, we go back into substance painter and go through the process of setting up our missive textures and have a little bit of fun with rendering with Substance Painters built in renderer. With that said, let's go ahead and get started. 3. How to Import Model: Okay, so let's officially get started in this video we're going to begin our course off by going over substance painter. First we import a basic three D model of a flying saucer that we're going to use and go over the interface in the process afterwards. Now again I remind you we have two different models. We have a flying saucer for this beginner section and then later on in the next section we're going to have a much more detailed Si helmet with a high res to go with that. We'll go over later on down the course. Let's just go ahead and just bring our model in. If you've opened up substance painter, you'll probably have a prompt sign which you might have to close out. But once you have, go up to where it says File and hit New. Now one thing I'd like to talk about before anything is in this beginner section learning substance painter can get a little bit complicated, especially when you start entering into the PBR workflow. Mainly because that has all different types of maps, from normal maps texturing to a mi metallic roughness, channels, all of things that you can go about texturing. But before you can learn all that you got to, it's like learning how to crawl before you walk. So we're going to start off with something very simple in terms of texturing, where we just focus mainly on color. And creating color on a model and exporting that out, which comes towards the end of this section. Let's start off with new project. In the template, there are many different types of templates that we can go through that have a variety of different maps. For now we're just going to go a non PBR, specular glossiness. A good way to start off with the document resolution. I'm just going to change to 2048, the normal maps we're going to go over in the next section. We're going to leave some things out because we just want to get you just started easy in here, but we'll talk a little bit more about normals in the next section. Now to bring in a model, take note to where it says File and hits select there, you're going to see flying saucer. Now that is the OBJ file that should be attached in your website that you download from the resource file. Hit open and you'll see it right there, get loaded. Everything else you can just leave for now. We have UV's attached to it so we don't have to do anything special. Let's just hit. Okay. When that happens, you'll get a flying saucer. Now if you're working with a mouse, you can just wheel up and down to zoom in or out. Additionally, holding left option and right click and dragging horizontally can also zoom out as well as vertically. If you hold left option and left click, not left option and right click like this but left click, you can go ahead and rotate this around. And finally, left option, middle mouse pans this. Let's go over everything around us in the interface and start talking about that now. To begin with, in the default window, the default viewport you're going to see on the left a viewport of the three D model itself. Ideally, you'll be doing a lot of texturing through here. If we go to the right side of this, if we wheel up and down, this is like the UV's that come with this model, which are typically done in another three D Modeling software from Blender, Maya or Max, or even Z Brush to get established before we export out and bring into substance painter. Now one thing I'd like you to note that if you hold shift and right click, you can change the light lighting around here. If it gets a little shaded over here and you want to texture something, just hold shift and right click and you can start texturing like so let's go around now to all the places on here and start talking about the interface a little bit more. If we, I'd like to go ahead and make your main focus on to the very far, far left. And you'll see a series of icons vertically going up and down. It's like how Photoshop is laid out, where it has all these icons laid out. A lot of this has a similar structure to it, and if you can take a look at paint. Polygon, Phil? Those two are the ones you probably want to focus and write down If you do the most because you'll be working with these two the most in manipulating masks and texturing, take that into account. Now we go through a eraser is for things like if you have a paint layer, you can erase things that you make on here. It's pretty standard if you look at it, like if I try to left click on paint, I drag across, I can do a little bit of a paint. Tap that paint brush, we can see physical paint, which I want to also keep a little bit away from just for now. Hold, right click down and you can see all the parameters of the paint brush along with manipulating things. You can see right now it's white, we change it to red, now we'll get a whole bunch of red. Then it goes to the brush, we can simply erase everything. Now, the next thing I want to talk to you a little bit about is it's one last thing. It's changing the size of the brush. Now this is done either by tapping right and just making it big. Or you can just hold left command and drag across and that will also change the size. If you drag up and down, it will change the softness. If you hold left command, left click, you can change the rotation. Finally, left command and left click across changes opacity. It's like four different things there. The last hot key, I would say a look up to where it says edit and see where it says undo a stroke. This is going to be different for PC, as you can see. For Mac it is command Z. If I hit command Z, we'll go through the process of undoing things manually. Now if we go through fill properties is something that pertains mainly to manipulating masks. And we're not going to talk too much about it, but it will be something further on down the road. We want you to know that when you are texturing anything, please experiment through all of this. For example, we have a smudge tool similar to Photoshop. You can go through and create a smudge effect as you see fit on here. Let's keep going now to the right. We're not going to go through every single one, We want to go through the most relevant ones to keep you going. But to the right, we'll see an asset library. Now this assets library compiles of several different tabs represented by a horizontal set of icons. Smart, starting with materials which are like preset textures that are built into substance painter. Smart materials are the same thing as materials, except they use a procedural process through baked out texture maps from high res models, typically to establish a very unique and more advanced aesthetic look than that of materials. It also is a little bit more taxing in memory when you use them. Smart masks is using the same principle as smart materials, except it's just showing you how to occlude the layers of fill layers, paint layers and even materials and smart materials in a procedural process. Now these three are probably the most important three of the bunch. The only other one that you're really going to have the most use on is brushes, where you can see a whole bunch of custom preset brushes. It goes without noting that these little dots here represent a dynamics, a dynamic simulation that goes through. We do a little bit of that dynamic simulation in the more advanced helmet process. Now we're going to be tabling that as well. Think of material or the assets library shelf as like your spice rack. It's this thing that has a whole bunch of ingredients that you pull from and synthesize together. Some materials here, some materials. Here you're changing out the attributes in the channels, blending it with your own personal fill layers. Or blending it with your own personal paint layers. Where do you put all of these things at? You will take note where we put them over here, where it says layers, it's like. Dragging and dropping everything across here. This is a good example of one. I'm going to hit Undo to give you a little bit of an example of that. But right now, none of the smart materials work, mainly because there's no baking process that was applied. But let's keep going here so we can get through all the user interface. Now up to the right here is the texture set list. This is usually where you see the UV's that come with the model, which since there's one UV set on this model, there's going to be one set of UV's. And it should go without saying that a model can have more than one UV set attached to it by assigning multiple different shaders. You'll also learn that traditionally in the more advanced helmet model, as we go over that in more detail. Further on down the layers here we see a tab called layers. If this is like the spice rack of ingredients, This area right here where it says layers, this is like the cooking cutting board where we mix and mesh like the pot, the pan that we put everything in. It's basically like your work space. You're going to be manipulating all the different pieces and ingredients. Almost like a director tells an actor how they should behave and where they need to be in all these different spots in the model. All right, if we click on the Texture Set Settings, which is the tab to the right of the layers, we'll see general properties. This is an important area when we are starting our whole process of importing a model. What this is, is a place that has a viewport of all the channels that come in a typical fill layer and which you would see here. Then we have what's called if we scroll down here, mesh maps. Now mesh maps is one of the first things that you're going to be working on when it's bake mesh maps, that's the first thing you're going to be hitting even if you don't have a high res baking, a model of the low res onto itself can yield some beneficial results in assisting you with smart materials or smart masks. In order to take advantage of some of the strongest procedural processes in substance painter, you need to be able to first bake mesh maps out and you can see all of these different maps that can be based out. You might be even thinking these are the maps that get exported once you're done, but that's not true at all. These are default maps that are used to be plugged into all these smart materials to help give it an aesthetic look. A good example is let's take the curvature model, the curvature map. If we baked out a curvature map, we'd see like a whole bunch of white highlights across the corner of here baked out in a flat UV map representation. And then it would then be plugged into one of the channel attributes of a smart material or a smart map making The smart material of say, old iron show in certain spots here, while a lighter iron on the curves would show up. It's a very important process. It shows a lot more when you have a high res as opposed to baking just the low res on top of itself. But still it does give you some noticeable results. Now one last thing before we end this, and that is that substance painter comes with both a unique viewport for baking mesh maps out as well as its own built in ray, its own built in rendering system called Ray. To access for example baked mesh maps, I can hit that left click button and you can see the whole process of the maps being brought in. You also take a note to some of these hard spots right here. That was me personally making an intention of hardening the normals. Demonstrate how this software looks for any hard edges and tells you, hey, these normals need to be softened or averaged out. We made them pretty hard anyways because we don't have any, a high res to go through even though it's displaying an error. The error was made intentionally on here and it's just a feature that's extra that comes with substance painter. But as you can see we have a whole nother viewport for baking out our high. We're going to, of course, in the next video, go over a little bit more detail in talking about everything here. Then afterwards, we're going to talk to you about conveying color. Because remember, we're not going to go too far deep into this where this may all feel complicated, but like I said, we're just going to be focusing on color right now to help you out and get you started. Now to get out of this, just go ahead and hit that return painting mode and we'll show you the viewport for rendering real quick. So you understand that if you go all the way up to here where it says brush, just hit ray, we can see the default ray again is covered towards the end of this whole course. We show you ways, how to manipulate and take away this background and give us a pretty cool result that's pretty unique for you, but it does work similarly the same way. Hold shift, right click. You can manipulate the lighting. You can change out the lighting of the background image so that you have a different look and so forth. Don't feel like you're constrained to it. This has been a breakdown of the viewport, a bit more the interface and how we're working with everything. The only thing we have led to cover properties. The properties is basically detailing the anatomy of the component you're selecting. I'll give you a real quick example. If I assigned a fill layer onto here, you would see properties gives us detailed information about the fill layer here. If I added a black mask on here, then I wanted to texture it. We see brush is highlighted here and all the things that we can go through to bring some occlusion to show that black fill layer. And then we can change everything. And it's showing brush because brush is selected here. Additionally, that just happens naturally when you select a mask. If you select the fill layer, you'll see different properties are shown. Of course, if you go into mask and change that other one to polygon fill, you'll see four different selections and not as much. The bottom line is a properties gives us a lot and sometimes a little, but it's just the right amount for what we need to make our necessary changes essentially broken down. It gives us detailed information of the anatomy, to the component in which we select, and it's like our controller system and how we obtain everything. I select UV shell, now we're making everything on this UV shell black. We'll go a little bit further deeper into that as we go through, but I just wanted to give you a heads up on properties. With that said, we've gone over importing our model. We've gone over talking about the left side of our spice rack that we have, or as I like to call it our materials. We wanted to not go too far into anything here with filters. We really want to keep that away from you, just for now, since this is a beginner course. We talked a little bit about our brushes and these four tabs are going to be the main tabs you're going to be focused on for now. So with that said, let's go ahead and move into the next video, which we'll talk about is baking out the maps. So stay tuned. 4. Baking Out Maps Breakdown: Okay, so let's continue on in this video. Now. We're going to go over the process of baking. And it's going to be a very simple, simple process of baking. Nothing to advance or calculating here. Now, in the last video, we went over bringing our model in. We broke down all the viewports and highlighted the ones that are special and take the longest. Now one thing we will say is we didn't go through and go through every single button on here. One thing we forgot to mention that's very important, is that please, please take the time to experiment and press buttons. If you get to a point where you create a Viewport window that you're not sure of Trpl around and getting back to it, but you can always just hit reset I under Windows, please remember you can process through now. There's still some important ones to go through, for example, like the display setting and the shader setting. But again, we'd like to go further down with that and talk about that down the road with rendering. We leave that out for now. Now let's just go ahead and do a bake of some maps on here. If I go through to do a bake like before we go through Texture Set setting, we go through bake mesh map. Additionally, you can also hit Baking up here or eight. Let's click on that croissant. Now if we see on here we see our three D model in a new viewport, you also see some purple lines. That's an added feature that helps you say that these normals are hardened and you need to take it back into a three D software and work on them to average amount. Now I will say I intentionally made it, so I made these normals intentionally like that. Just so you can see it, because there was no normal math that comes with this low res. That's okay for now. Since there's not going to be a major process that goes around for a high res, I'm going to go ahead and move over to where it says mesh map bakers and you can see a checkbox on all of these. These are all the maps that get baked out from what would be presumably a high res. Again, since we're baking this onto itself and it's not exactly a high res, we don't really need these. Let's just go ahead and I'm going to take off normals and ID map. I just want to mainly focus on ambient occlusion. If we click on ambient occlusion, you can also see the quality of the ambient occlusion you can make. For now, I'm just going to leave it at secondary rays. 64 rays. You can raise that for higher, but ambient occlusion rays really take a long time. We go over a little bit more detail about each of these in the more advanced section of the helmet. Let's keep our map simple. It should also go without saying that the output size reflects the texture size of all the maps we bake. We have 512. We can also bake up to 2048 if we want. If you put map or your mouse over everything. If there's anything I don't explain or get right, just put your mouse over something and you will get a and just let it stay there, You'll get a little bit of a detailed explanation. You'll also see it down here as well. Moving on, this is the place where we would put a high, but again, we don't have a high. But if we did, we would click on this little high definition mesh and it would give us a finder where we plug in a model, like a model you bring from Zbrush. In this case, we're going to be using the low poly mesh as a high poly mesh. I'm going to click that on. A lot of things that you see through here are going to be manipulated through max frontal distance. Now you can see it since there's no high res mesh to compare differently from here. But once you bring a high different file from the low res which will be definitely demonstrated on the helmet, you will see a visual representation of a cage that gets bigger or smaller based on how you tweak max frontal distance anti aliasing. I can turn up to super sample four X. I like to keep it there but you should know that does drive up render times or baking I times mesh by name. We're going to go ahead and leave for the helmet. Everything else is going to be something you won't have to worry about until we bake out our his. What's going to happen when we bake our textures out? Well, this is what's going to happen. Four maps are going to be, be, ideally for most of them, it's going to be all of them as I would have it. And so we can have as many smart materials, take advantage of as many things as possible for a parameter. But since this is just a beginner model where we want to focus on color, we're just going to focus on these four. And you can see the process of this whole thing being baked out. Map to map like so You can see it's going through and establishing all the variants, all the different types of curvature maps and you can get a little bit of a representation of its progress. The green maps, I believe we're now on the thickness map. It should be finishing up. The thickness map and the ambient occlusion map in any bake will be the longest. Once you have what you need, you can return back. Now, it doesn't really seem to change that much, but you can see a little bit of a difference representation of it through here. This is all the ambient occlusion spots where our separate model is showing. Furthermore, if we go through the Right In Texture Set Settings tab, we can see those F maps baked out. This was a demonstration, a real quick, easy demonstration of baking out our textures. Again, we wanted to do a limited version for a beginner start off before we go into a more advanced one with our helmet that's going to be down the road when you start in the next lesson. Now we're going to work is going to be how paint layers and also the newer paint along path feature in substance painter works with that said stick around and stay tuned. 5. Learning the Paint Brushes: Okay, so let's get started. In this lesson we're going to talk about paint layers. And the paint along path in substance painter that this is going to be, again, more of a newer feature, especially if you are working on the 9.0 version of substance painter. If you're working on an earlier one, you might not have the paint a path. It's not a big deal as long as you're on 8.3 But you can still get away with this course being useful with an earlier version. But ideally, you want to have your latest subscription update Before getting started with that said, let's do some demonstrations of how layers work and have everybody now understand this. Very important that when we are texturing our helmet, we will be taking a fill layer texturing workflow which is going to be contrary to this. But we want to make sure you understand the basics of how paint layers work and how they contrast with fill layers. Let's go ahead and get started with that. To get started, we first need to make a paint layer or a layer. This is similar to Photoshop in a lot of ways. When we are on the layers tab, we choose add layer, that's that brush. Now on here, it's basically represent a paintbrush. If we choose left click paint brush, if we right click, we scroll all the way down to the height of the emissive. You'll see all the channels that are on these come with the preset that we set at the beginning of our project. Don't worry about any of them right now. They're not going to impede you, but I just chose green for the color that I want. And now I'm just going to go ahead and paint. Now you see a little bit of a bumpiness there, so I'm going to go ahead and get rid of that for now because I don't want you getting too wild about seeing depth or normal maps that right there that seems to be manipulated through height and normal. Let's go ahead and take care of that and repaint all of that again, and you can see there's no bumpiness to it. Now let's go ahead and undo both of it by hitting command z D. And you can see all of this through now, you see a little bit of a haze glow there. That's usually because of the other attribute materials coming in. Again, this is all entirely about just expressing color. I'm just going to disable them for now. You can see strictly only color is being put through. Now if you want to change the opacity of the color, you just hit right click and you can see all the presets from flow stroke capacity. And you get a representation of all of that through half capacity you can work with as well. You can see also the size and options are up here. Additionally, if you want to work with anything different now spacing is another one I like to always have on. But it's really coming down to just going through the process of hitting paws and just experimenting with different colors. Now you can go through and do a manual process of coloring all of this through, but it's not really going to make a difference. Now if we hit the two key, or up here where it says As, we can also erase all of this. Now as it stands right now, I have a little bit of a default. So I'm just going to go ahead and just hit the eraser button on there, make sure I have the right racer elected. I need to make sure of one other thing that is why it's not doing it. Take a look now for anyone that's wondering why wasn't erasing. It's because I had the diffuse turned off. That brings us to our next point that this eraser can erase specific attributes of what you want to disappear. Like for example, let's say you want to erase everything except the spec, but you want to keep, that's the color, gloss, height, and everything else you can erase off of there. Let's give you a good example. I'll start in my brush, I'll go ahead and put height on. Let's go ahead and just put a little bit of a brush there. Two. We're now in Acer mode. Now if we right click, we get all the attributes for As. Let's say I just want to erase just the height, but I want to keep the color we just go through. We can do that as well. That's giving you an idea of how that works. Of course, if you go through and hit color change on here, you can have all of fun working with different colors as you see fit, having all of fun working with different attributes like. So let's go ahead and now delete that layer and make a new layer. Once again, a paint brush. We'll finish this off now with the path, the paint, a long path curve. Now this is a little bit more of a trickier. One first thing we're going to do is we're just going to left click on that. We see our mouse change. Now the path is an interesting one. It has a little bit more flexibility for editing and it's good for creating things like stitches or maybe a little seams on clothing, welding points. It can create a lot of things. But first we got to understand the basics of it. If I hit left click, so you can see a path. Now you're probably wondering what this pattern is. Let me go ahead and undo that. And go back up here. Reset to the default and change back my alpha to something a little bit easier and circle. Let's try something fun. You can see a little bit more of this is how curve works. Now take note in a couple of things, you see four points and it works like a Bezier curve, but you can actually add more points as you see fit across everything to have a little bit more fun in manipulating every curve. Like now, this isn't too heavily mandatory right now, but it is an extra feature and I think it's really shines good when you're making shoe lace leather or things like that. The other thing that we want to take, if you hit right click, you can continue to edit this on the fly, like for example spacing. Or maybe you want to have a simple pattern like so perhaps you want to experiment with the jitter of it. This is now where we start to have a lot of fun doing a lot of different unique things on here. We want you to be, well, I would say experimental on this. Of course. We can choose different colors. You can see it updates on the fly, That's one thing that it differs from. The paint brush is that we interactively update the curve that we are on. Now when you're done with your curve, you can just simply hit return. Now be it. Now if you're wondering how I connected the two paths like so, pardon me, all I did was hold left command and just click on the very end to connect the two. It should go without saying that if you want to delete a curve, you can just marquee, select over the two and delete. Same thing over here. You can just click and delete. Let's now apply this and how we can see this in the process of erasers because this is how we're going to finish it up for the erasers. We're just going to hit two like before. We're going to go through and check out everything. We have spec gloss. Let's turn it all on now. What do you think is going to happen? It's going to be that everything gets deleted. What if we, instead of height like last time, let's just do color and have everything stay the same. Let's go through and just choose just the color to be the thing that gets deleted but everything else remains the same. You see, it's a little bit of what we want to see, but I'm looking at it and I would like to see for now. Just one thing. If we go back into, for example, diffuse, we'll go ahead and delete everything there. That's because what happened we, when we hit the erase, it was everything here. We were basically erasing everything. Now let's do the inverse to show you everything in reverse. Let's do the diffuse this time. And you can see the opposite happening. One last thing I want to talk about, let's take a look over here. Let's say we want to erase this area. Make sure everything is turned on. Now you're going to find yourself pretty much erasing everything. First off, let's make it a little bit smaller. Right click, and let's go find alignment. We see a tangent wrap, Let's start with B's and do that same area you can see we can now erase without having to adjust to areas next to it. Makes it a little bit easier. That helps us to do adjacent racing, but like I said, this is something you can definitely have fun with if you want. Change out different patterns, make different shapes to see the same thing. It's something that you can have fun with because this is Editable. First you click on the curve and then you click off of it. It should also be noted that you can do 90 degree curves by just double clicking like and then making it return. You can do that as well. So with that said, what we've covered here is the basics of brushes. We wanted to go over how to manipulate brushes, how we can plug in different alphas and experiment with different things. Another thing that we wanted to do was talk about how we can in certain parameters, for example, if we wanted to erase nothing but just the color, but keep the specular information there, we could. That was something that we wanted to see have happen. Any interesting highlights that you might want to do, you can do. Think about how that applies to bump and normal. This is about showing the expanded boundaries of what you can get away with. From there, we're going to then move on into the next layer where we're going to be talking about, fill layers and masks. And that's going to be a super important one. We wanted to show you this one out of context so you understood the tools of the newer substance painter so that you could do what we have very encouraged everybody to do and that is go beyond the concept. This is an example of having an arsenal tool that you can use creatively to go beyond the concept for texturing. Please feel free to use the path along in addition to anything that we texture with. That said, stick around and stay tuned. 6. Understanding Fill Layers and Masks: Okay, so let's continue in this lesson. Now we're going to be working on giving you an introduction to fill layers. Now fill layers is going to be the bread and butter workflow that we work on with our main and more advanced model, the helmet. Understanding the anatomy and how to manipulate it is going to be important and how it differs from paint layers and why we're going to be choosing that. Finally, we'll be finishing this off with doing a demonstration of creating a mask over a fill layer and how we can manipulate it with the basics in substance painter. Let's go ahead and get started. Now if we look at everything, go ahead and left click and delete all layers. Now before you will take notice that there is a add layer paint brush. Now that is how we create a paint layer. But to the right we want to add a fill layer, That's that bucket with a drop coming out. Once we do that, we see a fill layer come in. Now your color may just be like a default gray and that's just fine. But if I change around the color, you can see all different colors. Basically, a fill layer affects the entire model or more specifically the entire texture set list. Now as we said earlier that fills that the properties little tab workspace details the anatomy of what you're selecting. Since we're selecting a fill layer here, we can go through and check out all the different features. Let's go ahead and dive into that. If you look this little representation, this is what covers all the fill layers. It's in the UV section. If we go through, we see like how everything can be manipulated through the tiling of it. It's actually nice to do that, but if we take repeated off and hit none, we can manipulate fill layers to be in quarantine sections. Now, we don't normally do it like this, but it is nice to give you an idea of what this little border barrier represents. If of course we turn the UV rep back to repeated, it doesn't matter really if we turn it down or not. Let's go ahead and go through all this. Now, in fill layers, we have different channels representing different maps. Now, these maps don't necessarily represent the maps that we baked out. They're just maps based off of the preset that we created when we went up here to hit file, new project. In this case a height map, spec map, normal map, glossy and emissive map is plugged in. There is no custom maps that we made like our ambient occlusion. We can see nothing gets plugged into here, it's just a blank slate. Now as we go through the more advanced ones, as we go through different set ups or presets, like when we go to File Project and hit New. As we go through different templates we'll see different, will have different settings. Like take the PBR, metallic roughness with alpha blending. That's going to have a different set of channels for us to go through. Like for example spec will no longer be there, it will be more of a roughness map. Glossiness also taken out will also have metallic maps. It's different presets but we chose this one because it's a little more simple. Additionally, like we did with the eraser and like we did with the paint layer, we can disable all these channels. We can only effect a specific thing. For example, left clicking on each of these channels means whatever happens, we're not going to affect spec glossiness, height, or anything like that when we are working on here. Now if you recall, I did say that we are going to be working primarily in color and how to manipulate color through fill layers and masks because it's a very important foundation to have a strong skill tube because it translates to so many things. The other thing is, is that fill layers create things a little bit easier for us. For example, it's just one color at a time per layer that we're dealing with, as opposed to a mass. As opposed to a paint layer where you can have like, for example, a multitude of different colors going on in one layer. And that can really, really get pretty confusing when you're trying to clean up. Because some of the more advanced texturing processes that are done in substance painter really do require some organization. If we can keep things labeled one thing at a time like this fill layer is red color, we know that it's just applying to a diffuse of a red color. That's how it works. It affects the entire model and it's pretty easy. We have extra features here which we are not going to go too much into. But you always want to make sure everything is simply put on repeat and the projection is done this way. We're going to go ahead and do one more demonstration, and we're going to try to show you how we can manipulate fill layers and give you through a mask, give you the basic foundation of our fill layer texturing workflow. What I'm going to do for that is I'm going to go ahead and right click. And you can see where it says duplicate layers from the Mac it's command, it should be a different key for the other one, you'll see a copy of that fill layer. I'm just going to go ahead and change the color to a blue. The whole model changes again because it's a fill layer. Now this time what I'm going to do is I'm going to put a mask over it. In other words, think of it like a black sheet that covers everything up on here. That what happens is all you see is what's below, which is the red. To do that, I'm going to left click on that blue icon. I'm going to first double click and hit blue Color. Do that again. Left click on that blue icon. Then right click and hit Add Black mask. Now a mask is represented by a little bit of a second color icon that's usually white or black, or any gray value between that goes adjacent next to this, you can see what happened. It basically covered everything up here. It's quite frankly, near invisible. It's almost no different than turning the visibility of the layer off, just like you would with red Turning the visibility of that eye off, again, that's because of that black mask. If we go through left click on the mask, we get a whole bunch of options to manipulate that mask, including invert mask. Now if you want to know what invert mask means, it means taking every value of what is black and making it the opposite. This is a black mask, it becomes a white mask. If it's a dark gray mask, it becomes a light gray mask. It just inverts the values. If we make it now a white mask, we see everything that's on top. Now the whole layer of the blue color fill layer is being shown. Now this is nice because what happens now? I'm just going to go ahead and just go back to add black mask covering this up. As we see right now, we get a little bit of an understanding. Everything that is white, you see through everything that is black, is darkness, It covers it up. You can go through and apply this principle in any way you see fit, including for example, just editing it and painting certain portions of the mask. Now we're going to do this, we're going to go ahead click on this black mask. Now there are four primary ways to manipulate portions of the mask that we see some of it coming through on here. Or inverse the mask to have some of it bleed from the mask that is below. Those four ways are we can paint the mask like so. If we left click on the mask and then left click on the brush, we get an opportunity to paint it through white or black values through the gray scale. If you hit the right click mouse button, you can see all the different types of gray that you can go into and we can paint the mask back like this. The second way, which is also very common is we can select portions of it through the polygon Phil. Now the polygon Phil has four subcategories of its own in how you want to bring back more details to. Let's go ahead and talk about that for a second. If I left clicked on this and just reset it to a black mask covering everything up and I wanted certain things of the blue to come in. Well again, I could do it through a white version and bring in that blue because this is a black mask. And we want white to be what has some things up here come through. Or we can go through polygon Phil, and select the different ways we can do it through portions of the model. Like in this case the first one is one tri at a time. We can go through and do it through polygon Phil, which is two tries at a time. We can also do it through mesh, Phil, which basically covers any separate piece of geometry like you see here. Or we can do it through the UV chunk fill, which if you look over here, is determined by the UV's that are set as you can see. Now the last way is more of that updated version of everything. It's the way through the paint, a long path. You can edit it through that way too as well. But you've got to remember to set the proper gray scale to be opposite of what the mask is here. You can see you can do the same thing here, just like we did in demonstration. We can manipulate mask flow that way. It can be a little bit confusing, it can be a bit crazy. I know that was three ways and I said last. But the final way was through mask generators. That's going to be something in the next lesson that's going to get its own area. But I wanted basically to recap and give you an understanding of how masks work. Again, if this is a blue layer and we want to cover it up and have certain aspects of it show add a black mask and then click on the mask. Decide what you want to see in this blue layer like so, either through the process of painting it manually or selecting certain pieces to be blue through the UV chunk fill or doing it through the path along. Or finally doing it through which will eventually be showing you mask generator. Again, this is all done through a value of white. Because we added a black mask, it's the opposite. So we're having things come back. If we added a white mask, we would basically say to ourselves, okay, what do we want to bleed underneath here, the red shows. Well then again, you would first then have to hit the X key to switch the value or hit right click to go back down. And you can just simply punch holes in the mask to allow the red mask to see. It's a little bit of a tricky thing of a process if this is the first time you're seeing it. But we thought it was very important to do the basics here. But feel free to hit the x key and just switch between, you can make all sorts of funky things, but this is the basics that we want to go through to get you an understanding of it. The next lesson we're going to go over mask generators and how we can edit things a little bit more procedurally. In this whole process, we're going to be building off of what we've learned. Again, my advice to everyone is re watch this video but also keep practicing it. Again, keep practicing understanding what white does to a black mask, what black does to a white mask, and how it gets affected to the layer below. Just practice with two layers, one with a mask and one without to really grasp it. With that said, stick around and stay tuned. 7. How Mask Generators Work: Okay, so let's continue now that we've, hopefully you've gotten a little bit of practice going back and forth between adding white masks and applying brushes with the opposite value to understand the process of what black mask does to cover up or versus white mask on a blue that lets things bleed below. You've gone through and practiced that a couple of times, If not, that's okay. We'll go ahead and we'll just go through this some more because you're going to get a lot of practice on this. It's a very important foundation to understand what I'm going to do. Now, I'm going to show you that fourth and final way, which is creating a mask and adding a generator. Now a generator is like a smart mask, and I should probably talk to you about a smart mask. If we go to the left here in the assets and go click on smart masks, you see all these weird looking interpretations of types of occlusions through black and white values. You may be wondering what all these are. Well, these masks take baked out maps that we made and apply them into certain channels to procedurally generate a look through a mask. In other words, it's covering it up in a stylized way through a procedural process and you get all sorts of different looking procedural processes. It may seem a little bit weird and off the best example is just simply to get in there and show you. Now, smart masks and generators are almost the same thing because pretty much all the smart masks, almost all of them, pretty much are using a generator in the process. That's what we're going to be doing. But we're going to just be doing things a little bit more broken down by simply manually adding a generator. A generator is going to be a procedural process. It's going to be used to blend these two fill layer colors together. We're going to go from there. I'm going to left click on here. I'm just going to start new and fresh. We're going to just go ahead and just click on here. Delete the fill layers. I'm just going to start, I'm going to make one fill layer through clicking on that bucket. I'm going to turn off all the channels because again, all I want to work with is color. And I want to teach you how to manipulate and only organize things through color. Next thing we're going to do is we're going to choose a little bit of a greenish gray like that. Then I'm going to call this base color. It's going to be the color we see the most. I'm going to go ahead and create another filler, and I'm going to drag this below. And I'm going to go ahead and do the same thing. Just give you any opportunity for repetition to just say this is all about manipulating color. Let's not think about these other channels just yet. Say that to the more advanced. I'll start by clicking on this little clicker here. I'll get that color. But then maybe a little bit more of higher value. I'm going to call it Edges Edge. Where, all right, what I want is I want this layer to affect things on the edges. And I want this to be my main base color for the model. First thing I'm going to do is I'm going to apply what we've done before. I'm going to add a black mask. Now we're going to add now a generator. By first clicking on the mask, right click on that mask, then then saying, a generator below a generator will apply. Nothing's really changed and everything should be expected a dark mask covering up this darker base color. Let's add a generator. If we click on generator, we can go through and choose a variety of things. I'm going to choose metal edge were if we click on it, we can see a difference in what's going on. Here we see a little bit more of a shade. It right now is giving me the inverse opposite. What I want is this light color to be on the edges, not the dark color. That's because I assign this as a black mask. When I should have done white, if you're dyslexic, it can get a little confusing. Not a big deal because when you get a generator and you assign a parameter onto it, you get a whole bunch of new parameters to work with and to invert everything. So that you see the opposite effect of this and switch places on everything. You just simply hit invert, and now you can see a more parameter version. Now you're wondering how does it know to go onto all of this, see how the white is now bleaching in, in all these metal edged areas. How does it know to do that? That again goes to how the maps that we broke out, like curvature map as well as the ambient inclusion map, they're all being plugged in to work a certain look on here. We should have baked a world space normal to help, because it does use that as well to give us more of a look. But we can go ahead and work with this. Now if you take note there's a whole bunch of parameters and I want you to just simply go through and mess around and start having teach yourself how to know what affects what, you cannot learn anything without first going through the process of moving things around like metal edge smoothness like that. A little bit more curvature weight should always be maxed out, but you can see already right off the bat, we have a little bit of what we want. However, there is a little bit of a problem, this whole generator affecting just the entire model. Maybe I don't want it to affect the entire model. I want it to affect certain portions of the model. Well, that's possible too. We can definitely work with that as much. To do that, we're going to have to show you and explain some of the limitations about a generator. When you add a mask, you can edit it through paint, through patho, the polygon fill, and so on, but when you add a generator on there, you can no longer edit anything. So we're going to talk about how we can manipulate that and get that back to help you organize a little bit better. But one thing I do want to take into account is now that you have what you want, feel free to manipulate the color of this a little bit more. Because that's what I like about all this. It's not like a paint layer. Once you paint it, you got it. Once you have multiple colors, you got it. It's one color at a time, dealing with anything you want and combining it in as many places as you want. In the next lesson, we're going to talk about how we can manipulate this mask here to cover up certain areas like maybe this bulb here is not what I intended to be, or maybe the lights here are not what I intended to be. Just to help you get your bearings on everything. With that said, stick around and stay tuned. 8. How to Edit Generators : Okay, so let's continue this one, we're going to do some editing. Now to our generator we see we have a basically consistent cloudy texture. So we want to go ahead and see if we can clean some of that up. First thing I'm going to go ahead and do is I'm just going to go ahead and duplicate this layer. Now I'm just going to go ahead and just add just once again, another black mask on here. What we'll do is we're going to simply paint back all the areas around here like we can ourselves. A little bit more of a variance of control different from before. Now if you're saying to yourself, well maybe I want to cover up this area. I would use like this globe area. I would use another fill layer and assign a texture for that on its own. You can see what we're doing is we have the exact same color covered up with a black mask and it's covering the procedural processes that we see covered up all around us. This can be helpful in making the revisions of deciding what you want to see in this procedural process before and after, to give you a little bit more of a variance if you would like, just to give you a little texturing. That's just something that's fun, that we can do. Just to give you a little bit of an idea. Now I've been covering it up with 100% pure and 100% black or white. Don't forget, you can also turn down the flow. Hit the X key to invert it and maybe bring this down a little bit if you want. Maybe go Y or X key again to bring it in just very subtly, you have different intensities on the side. It's not 100% loss. Now again, we're focusing only on color and how to manipulate color in different opacities. Keep that in mind. Now next thing we're going to do is we're going to take everything we've learned and we're going to see if we can try to apply the same concept to this little barrier here, this little border area here. And this little outer ring here. Finally, to the fin, this little fin that we see here. Let's go ahead and see if we can do that. I'm going, I'm going to double click and call this base color correction. Now we'll go ahead and make a new fill layer with this fill, we'll call it trim. With that, I'm just going to go ahead and disable all the channels because again we're working just with color. Then I'm going to go through and turn the visibility of it off just so I can see the color here. Because what I'll do is I'm going to click on here and I'm going to click on this little here. And then left click to get a sample of the color we have. And maybe then bring it directly down. We have something a little bit deeper. We click on that again, we can see what we have. All sounds good. Looks good, Everything's there. Fair enough. Let's go ahead and add a black mask over it. And I want you now to try and use everything you know to get to manipulate this black mass, to color around the corners here and color the area right here. Now an easy trick, just a little heads up, is to do it through the UV set section right here. Just keep that in mind. If you have to switch your alignment right now, I'm just going to keep it at tangent wrap and see what it looks like. But I'm just going to hold left command, right click, and translate that up for a hard texture. Left command, right click to change the, the size, the radius, size of my texture here. It's like it's a little trickier here. All right, and I'm just going to go through here. I'm just going to take a look right now. I'm also going to manipulate the space as we see here down. So I don't have anything going too crazy. I'm just going to bring this across now. It's going to look a little bit dark. That's okay. I'm just going to clean up a little bit like this. I'm just going to go ahead and just bring it in and then I'll just minus it off on the outside now. It's a bit dark, so let's go ahead and change that color out. All right. So something like that maybe. All right, we're getting a little bit more of what we want to see here. Getting a little bit of an easier time on here. Let's go ahead and go through the process of just minusing everything off here. Let's click on there. I'm going to hit B. I'm just going to simply, this is again the practice where you're just practicing hitting x key and back and forth between the x value and the y value to just give yourself a little bit more of a tangent space. I'm shipped also and doing it in short burst to give myself a little bit of a room to execute, it looks like we got a little bit there, can kind of see what I'm doing. I'm just taking my time. All right. A little bit more here. That was the wrong one. You can kind of see what I want. I just want to have a little fun taking my time. All right. So we see that taken care of. We can do the same thing now with the strove lights, but I'm going to save that part for the last part, this whole area. Now as you can see, we have a little bit of our trim taking care of now that we have. I want you to take note that diffuse like Photoshop has different blending modes on here. I want you to look at all the different types of blending modes that exist. Like for example, there's a screen mode which is a, you know how screen mode. If you're familiar with how the blending modes work in Photoshop, this is pretty much no different. But it's also important to note that you manipulate the opacity, So I can also take that same color, and if I go in to multiply and turn it down, I can get something very similar to what I have here as well. That too is an option If you're looking to go through, I see that we have forgotten this area. We can go back here. We don't have to go through brush to brush on this. Let's just go ahead and just simply deselect it through our polygon. Fil. With that said, as you've seen it done here, your next lesson is going to be about trying to get the same thing done. But this time I want you to do it for two areas. I did a demonstration on this border area. Now I want you to do the demonstration for this outer plate area. I want you to also see if you can do the sub area down here. It's not too easy to see, but we're just going to go ahead and let you do it. This is about exercises quizzes. Now that you've seen it done here, recreate and do the same process. Remember the color that you see here. Look again at trim dark, I set the blending mode to multiply and then I turn the opacity of the entire layer down here to make it re blend. Keep that in mind, you have to be experimenting with all sorts of variables of functionalities on what substance painter can do with that. Said, we'll do a real quick one. I think I'm going to texture the fin out as red here. We'll go ahead. I wanted a pure red black on there. I just want to put it in like so. All right, so we got a little bit more of that taken care of. When you see the next lesson, you should see something very similar to the outer barrier. Again, we're not doing the outer barrier on video because we want you to do it yourself because it's the exact same thing as we did right here. With that said, good luck on trying to get the outer portion of this textured. This is your big quiz before moving on, and don't forget to change the opacities after you set them from multiply down to 57 or whatever you see fit with. That said, good luck and stay tuned for the next one. 9. Emissive Breakdown: Okay, so let's continue in this video. We're going to finish up by showing you a second way we can manipulate generators instead of simply just adding another fill layer on top to edit everything out. Finally, we're going to go over how to go through a bonus part of this, which is give you another channel to work with on emissive effects. Just to get your feet wet, to surprise you with a lot of what's to come down the road. Now, I know we said we'd be focusing on color, but since we're ending the near end, I wanted to introduce you to a second channel to help you understand and get you warmed up to the PBR workflow of texturing, because you're going to be working with multiple channels like roughness, height, normal, et cetera. So let's go ahead and get started Now, before anything, I'm hoping that you did the texture border your way. Now, some of you may have done it the old school way like we did in the video where you just hold shift and went all the way around, very well could have done it that way. Another way you could have done it was you could have just simply gone through the whole process Just by selecting everything and hitting X and selecting everything back, that too would have been acceptable. Either way, as long as you get the result, that's all I care about. What I'm going to do now is I'm going to show you one last way we can manipulate generators. Now. Again, let's turn this base color correction off. I'm going to show you how we can manipulate generators through folders because I want to also give you an opportunity to introduce folders into and how we can organize our layers through a folder structure. Because that too is going to be a big, big deal. Because if you think this is a lot, you should see how far we can take it further down and folders really helps us keep us organized. First things first, let's look at that base color. That's the one with the generator. As we know, when we try to click on the left max of that generator, we can't do anything in any value, we can't edit it. One thing we can do though is we can create an ad group. Now ad group is just going to basically add a folder. You can call it base color folder and then left click on that layer and drag it in. If you click on it, you can collapse it or bring it back. Just like fill layers, you can just left click on the folder and add either a white mask or a black mask. I'm going to add a white mask because I don't want anything to change. I'm just going to click on that folder structure and then you can see we can manipulate things that way as well. Of anything that is on the bottom is going to show, whereas anything on the top will not, bottom will show. That's pretty. Anything on the bottom will show because we're covering up what is on the top. That said, that's just one way we can do that. I just wanted to point that out before we bring our folder back in. So with that said, let's go ahead and talk to you a little bit more about emissive because I'm going to do one last texturing revision and we're going to add a little bit of Is 0, missive texturing onto the saucer, particularly on the bulb and possibly these lights around. Like before, I took my fin name for the fin, I just simply called it N fin. I'm going to add another fill layer this time I'm just going to turn off everything except gloss and emissive. Now emissive is a channel we haven't worked with before, but if we turn it up, you can see how the ambience is cranked up so high it doesn't really do anything to us. It just makes it pretty high and bright. Pretty much cancels out all noise. With that, I'm just going to go ahead and call this bulb more bulbs and I'm going to add a black mask to it. We can now paint this in any way we see fit from a process of making a soft mask with a low flow and just bringing the missive in That way We can, of course, if you do that, don't forget you can see when I pass it splashes onto here. Let's go ahead and hit right click and look for alignment and change it from tangent wrap to UV. See if we can do the same thing now and we can get our results like so. Now if you take a look, let's see if we can duplicate this again. I'm going to double click and call it small bulbs. And I'm just going to add a black mask again. This time I'm going to change my selection to polygon. Phil, I want to select all these bulbs around here and here, make sure my value is straight to white. And I'm just going to go through, I'm just going to select everything. See how fast I'm getting through it all. That's how it's meant to be. I'd like to change this to a different color, maybe. All right, so we have a different color now. This is all stuff that I would say, we're getting ahead of ourselves. We were supposed to really be about just talking about color and keeping you focus on color. But again, we wanted to show you a little bit of missive. Now if you're wondering where's the glow, I will say the glow is part of an effect. An effect for every software requires enabling different features. Like for example, if we go up to where it says display settings and make sure that activate post effects is turned on. Let's say over across and turn glare on. Then once glare is turned on, let me see if I can and I'll choose the shape to be bloom again. We're going to go over this in a lot more detail in the final rendering of the helmet. Then if I go down to shader settings and go through, let's say missensity, You can see now that post effect look that we have. You'll also notice another thing, and that is that it creates the same glow across everything. So if you're looking to manipulate different variables on this, you can just go up to where it says emissive and change the intensity down individually through here. Okay, So keep that in mind, this has been more or less just a taste of things to come. Now, in the next lesson, we're going to talk to you about how we go through exporting everything out that you're seeing right now. Okay, that's everything from going through the process, going through the process of seeing whether or not it's diffuse color. And since we're employing emissive effects, we're also going to be showing you how we export out the emissive effects through presets and so on. That said, please take your time, have a little fun, enjoy the whole process of this as we go through everything from there. We'll see you in the next one. Stick around and stay tuned. 10. How to Export the Maps: Okay, so let's continue. In this video, we're going to go down a brief basic crash course on exporting your textures. And again, this is why we wanted to keep our textures so low because we wanted to focus just on color so we could keep things simple for you to understand it first. We also wanted to let you know that we are going to go through this process all over again. A more advanced scale with the textures for the helmet as that will be more. And of course, we'll show you how we program and plug that into other software such as the Unity Game engine. Let's go ahead and get started. Now that we have everything that we see here, we have a color, we demonstrated a little bit of things to come within a missive glows. If you try to render anything, you're probably going to see some black and white gray scale. A lot of that has to do with our non PBR workflow. I'm going to say right now if you went through new project and through the same thing with P, B, R, metallic roughness, alpha blend, you'll probably be able to get what you need for a render on. But we have a non PBR workflow. Don't worry about it. We're not really doing rendering with this asset, we're doing rendering with the next asset. And of course that comes at the end. With that said, let's go ahead and demonstrate how to export textures. If I go up to file export textures, let's go ahead and take a look at what we have, a course three tabs. I want you to take a look right now at the flying saucer that's pertaining to the shader. And if we go to the right, we have the general export parameters. Output directory is detailing the location in which the textures will be exported to. This is the course, the template. If you want to learn more, you can go ahead and click and get an idea of the maps that will be coming out, but more importantly, the list of exports. These are the maps that are going to get exported out with your texture, size, and file type. In this case it's going to be 2048 PNGs. You'll see diffuse emissive normal spec glossy. Now the reason you're getting four is because that's the export process for the non PBR specular glossiness. If you go through and you can see those four in a little bit more detail, we go a little bit further in trying to understand this in the more advanced export for the helmet. But you can cycle through and see all the different presets of different maps that we want to go through. But again, we're keeping it simple, we're keeping it easy. All we want to do is just design by left clicking here and finding a place for a file that you want to go through. I've already designated mine. You go on ahead and click and designate yours. Everything is going to be PNG for now. Once that goes through, let's hit export. Okay, now that we've hit export, you'll see a confirmation of that. But let's go ahead and take a look at what we have. I'm going to hit cancel. I'm going to bring in our list to see what we just exported out. Now if you go through all of this like so let me go ahead and bring it up. One, you can see the color map we exported out, and you can see emissive map that we exported out. But take note to this, this is the normal we exported out. This is the glossiness that we exported out. You may have already noticed that they're completely blank. The reason that was was because if we look at all our fill layers, we did absolutely no work of creating normal maps or establishing normal maps. We did no work in enabling any unique texturing on the Glossiness channel. None of that, it's going to stay gray. All we wanted to focus on was just a color map. Right now, the emissive map was a bonus, but not 100% necessary. Now again, when we go through this and we're going to go through this again a second time, we're going to go through it with a lot more detail, with a lot more maps, Including an emissive map that's pretty much all black and has all the spots covered for the camera on the helm, including the emissive camera inside. Just keep that in mind. This was just to show you how we export a texture out. When we get to the export texture of the helm, we'll show you how we plug those into a shader for another three D program like Unity. With that said, this is the basics. This was the start off, you just want to get this far, no farther, don't worry about rendering. Don't worry about anything else. Just get as far as this point. Understand how to move the light around, understand how to pan, understand how to apply a fill layer and put a mask over it. And understand the various ways of manipulating that mask. Through brush, polygon, fill, excuse me, polygon fill through paint a long path. And of course, through assigning generators as well as smart materials, I'm sorry, smart masks. That was the main gist for establishing the basics. And we're going to be building a foundation off of that into the next lesson which is going to start with bringing in your helmet and baking out a helmet with a high res. We're compounding what we did before and adding more. Now if you want to know the difference between that and this saucer and the helmet in the saucer. We were just baking its own model out against itself. Now we have a very high res detailed mesh created in zbrush and it's projecting those details to a low res mesh. And that's going to be normal maps, ambient occlusion maps, curvature maps, et cetera. We're going to go into a little detail on that in the next video. So with that said, let's get started. 11. Baking Interface Breakdown: Okay, so let's get started in this video. We're going to go on ahead now and we're going to work on our helmet. First things first, we got to bake out the textures for this helmet. Now if you remember in the beginner section, we were trying to do something simple which was just to make color on on a object, just to show you how color works. But now we're going to go ahead and take it a little bit more advanced, where we're going to go with a PBR texturing workflow. And now that means we're going to have to bake multiple maps through a high res projected onto a low res. Let's go ahead and get started with that. First things first, let's go through file and hit new Change your project. We were starting with something very simple like non PBR, specular glossiness. Let's just do something easy like PPR, metallic roughness. From here we need to select a low res to plug in and that's going to be our low res helm. Let's go to File Select. You're going to go ahead and take the FBX file from the website and download that off and bring that in. We'll hit Open Document resolution. It pertains to the texture size. I'm just going to go all the way to 496 and we're going to show you how we can down that. Just for starters, normal map format that pertains again to the normal map on a Mac, but we're also going to be bringing this into Unity. Let's just do this. Open G L. This model will also have its own UV, so we don't have to worry about Unwrap, although that is a feature. Ideally in the game production workflow. You do want to try and do your own UV's so that they're readable and clean. But just so you know, a substance painter does offer that option. So let's get to, okay, we have our model in here. You might get a few errors down here. Ignore that for now. That's not going to be a big issue. Go ahead and go over here and hit the K to the right. You're going to be looking at a whole bunch of who of UV's. But the one thing I want you to take a look at is up here where it says texture set list. Now that is important because we are going to be making two maps. That means that this model is divided into two objects. One is the the other one is the helmet, and they have therefore two different shaders. And this allows us to create two different UV sets. Now, all this was done through a three D modeling software of Maya, but it could have been Blender or Max. It's just where you separate off all the meshes and combine them out and assign a shader to it. And then whatever UV's you put in that area will match here. Now, why did we do it like this? Why does it have two different texture set lists? Well, that's easy because we wanted to give you more practice. Usually it's one UV map. If you're more advanced, we can talk about Dems on a later day. But typically we want to keep things simple. This is a practice educational model. That's why we have two different texture set lists to get you practiced at creating and applying high res to multiple texture maps. With that said, everything is going to be a little bit different from older versions of substance painter. This version of substance painter has a pretty fun, unique workflow in baking out its map. To do that we first have to go through and hit underneath texture set lists, you'll see a tab that says texture set setting there. We have bake mesh map. You can also look up here to where this croissant is, where it says baking. And you can access it there as well along with hitting, just simply a. Once we do that, we get a new viewport. It may be a little bit intimidating for some seeing all these things, but this is going to be pretty easy cakewalk. Now in this viewport, this is where we take that high res and project the details on. First things first, let's load in a high res. Now if you look in mesh map settings, we can see a whole bunch of things here. And if you're wanting to project a high res, that's going to be done here. But first things first, let's go through the output sizes. Now you can choose in this I'd like you, the student, to go with 2048. If you have a super fast computer, then go 40, 96, but for most people I'm going to suggest 2048. That's one of those things that can really crank up your rendering time. I'm doing 40 96, just to bypass all of that. As I go down here where it says high definition meshes, that's where we load in our third model that we have of the course, the highs of this helmet. Let's go ahead and click on this little paper piece here and click on Sci helmet high. Now again that's found in the website from which you download. Now that we have all of this we can go through, we see anti aliasing. I'm going to turn this up. We can do supersampling 16, or we can do supersampling four. I'm just going to go with four. For now, there is match which has always and mesh by name. This model was an optimized for a mesh by name. And we wanted to do it that way intentionally because we wanted to explain the errors of what happens when you have mesh by name, not there. Now you may have noticed also this changed into blue. That's mainly because of our high res coming in here. You can even see a little bit of those details coming in right now. Additionally, you get some baking visualizations, but we'll go over that later on. The second half of this bake, now that we have that, if we go through, we're going to talk about mesh by name towards the end of the course. And of course, low poly mesh suffix, high poly mesh suffix applies to mesh by name. Again, we'll explain that. The mesh map bakers, these are all the maps that get baked out. The high res maps that get baked out and they are then in turn plugged in and used for procedural purposes of smart materials and smart masks. For example, there may be a curvature map that maps out all the curves around here and creates a pretty cool she smart material can make a cool little sheen map where all the curves are and it's using procedurally baked out processes from the curvature map. Again, this is why we need mesh map baker so we can work with our smart materials and our smart maps. Now with that said, I want you to take notice that again, texture set list is up here and we're going to go ahead and left click on the attachment. First means that we're going to be baking this out twice because it has two texture set list. We're going to start with just the first one. If we hit bake selected textures, it's probably going to bake everything out. I want you to bake one texture set list at a time and if you select bake attachment under this triangle, you'll get that for the most part. Another thing that we're going to mention is that if we go back up to common settings, you see this little cage here. This is one of the big features that came with 8.3 And it's a pretty nice, cool feature that we can manipulate size with through the max frontal distance. It helps us see all the errors that we'll get if we don't have the proper expansion of the high res cage where the rays cast. Because we'll get some errors here if we don't cover this up. Generally the idea is you want to try to keep this as tight as possible and by of course eliminating all the red fragments. Now with that, I'm going to say this right now, even though that's usually the idea, it's not 100% perfect. Even if you cover up all the red areas, you may still get some errors in certain places. You might have to go still old school and do a couple of revisions like so. With that said, we have everything we want. The only thing we need to change down here is ambient occlusion, and for that I'm going to overkill the secondary rays. For you guys, I'd say 90 to 120 is probably where you want to be if you have a slow computer. But I'm going to go all the way to 256, then I'm just going to bake this. Now again, this is baking the attachment, in other words, this piece here, and all the UVs for this area, because I have it selected here, it's selectable down here. Let's go ahead and make sure everything is available to us. Let's just hit Bake, and I'm going to do a time skip so you can see the results. Okay. So now that we've finished out our bake for the map, that's basically this model and the UV set for this model that we saw. We got to go for the second UV set which is for the helmet. Again, this model comes with two different UV sets. Traditionally, a model doesn't come with two different UV sets, it's just one. But this is, again, a practice educational texturing model. We're trying to give you as much practice as possible. If you'll take a look, there's nothing right here that you're seeing. And that's because we're on helmet. But if we select back into the eye, the one we just did, you can see all the maps now that have been generated because of that. That's confirming that the bake went through. Another way you can confirm is if you go to this baking visualization and turn the eye off, you can see some of the work that went through in all of this. That said, last thing I would say is if you hit the key, you can cycle through all of the different maps that you went through with. That said, since we're now on the baking visualization and we said we'd go ahead and try to explain this. This is what we got right here where my mouse is at. This is a feature added to the more newer substance painters to help identify visualizations. For example, under the high definition mesh, we have color coordinations to help us see. For example, we can have visualizations of the color here. We can change the color coordinates to be something different. If you want those match errors that you see, like when turn, distance is turned off, you can sign different errors there. Let's go ahead and undo that. Of course, for the cage is the baking area for the rays that we see. You can see a yellowish tan that surrounds it. So you can sign again, different color to represent it. But same thing with the wires if you want help with that. The UV seams are meant for troubleshooting anything from non manifold geometry to softening normals on here. That's a quick breakdown of that. What we're going to do next is we're going to repeat the process again. If we go to return paint mode and select our eye attachment, you can again see all the different UV's that went through for this. Of course, if you want to bring it back to its default, you simply hit that key like so. So let's get back into the bake mesh, either through our little croissant icon or bake mesh maps button or hitting the key. Let's go into helmet now. We're going to go ahead and click on helmet. You go ahead and set that to 2048. I'm doing 40 96 because I know my computer can hold it. But I don't want you to get overly bogged down. If yours can't anti aliasing, I'm going at four X right now. Match by names. We'll explain that after this next bake. Well, we may actually explain it right during the baking process. But everything else, if you want, you can select all maps, but make sure you want to select all meshes. Once again, make sure to double check your ambient inclusion rays anywhere 90-120 If you do 256, like I'm doing with 496 output size and anti aliasing turned on, you're going to have a render time if you don't have that GPU rendering again, 2040, 84x sampling on anti aliasing and of course 90 to 120 on your ambient occlusion. So we'll just go into that. The last thing I want to talk to you a little bit about is actually going to be regarding the frontal distance. Now, the max frontal distance sometimes works a little bit differently. I've tweaked a few numbers, and even though we've covered most of the area right here, the max frontal distance, I found 0.017 And hitting return will probably give us a little bit easier time covering some areas that get missed on here point like maybe down below. And then of course 0.012 on the rear distance I found helps. That goes back to what I was echoing before. That just because the cage is covering and eliminating all the red spots doesn't mean that you fix all the red spots. There still can be areas in these red spots that we haven't seen before. Bear that in mind. One thing I also forgot to tell you, we made our model intentionally, a little bit flawed, so you can understand this hard edges here. Let's go ahead and do a demonstration of what we're talking about here on this. If we turn off the mesh on here and give you a demonstration through the cage, we can see there's some geometry flaws. That's the stuff that you want to look for and try and fix as best you can. Now this stuff may actually be a little bit more with some things on the high res but we wanted to make sure that you understood a little bit more about what errors you can run into that you want to double check and make sure are sound and okay. This is what it looks like right now. We have made sure to bake this through before giving it to you, and we wanted to make sure it was a sound and clean model. Don't worry if you get any errors. The bake will go through and you will be able to texture on these three D models. We'll go ahead and give you a little bit more of an update as needed as time goes by. To recap frontal distance, we put 017 max rear distance, 012. We're on the helmet one and you know your output size. Make sure to click on here, click Bake Helmet. From this point on, let's just go ahead and hit bake helmet. Now we're going to be baking out this helmet like so. Now one thing to take into account, and we thought we'd mentioned this, now it's currently baking the helmet. The second part of this, if we look over here to our eye, we can see some details. But I want you to take a look right now at this wire that you see right here. Notice how it's baking, also onto here. There's a couple of reasons why that can be. One is maybe there's some more tweaking to do in the max distance, but sometimes the right setting can't get everything because you might be able to get it right here, but then you're going to get some issues somewhere else. One thing that really helps is how a three D model is prepared. This FBX Low Res was intentionally prepared so that it could reveal mistakes and how to fix them. Most of our other substance painter courses we have optimized a certain way, so this doesn't happen. But we wanted to show this to you intentionally so you could understand a little bit more about how to fix this problem. One of the most common ways we do it is if I go over here where it says match. You may recall earlier that I said there's a mesh by name. If you switch it to that and then then go through a baking process, nothing's really going to change. It's still going to be the same. What you have to do additionally to this is mesh by name. You have to also make sure your model is optimized with all the right naming conventions. That means that all these pieces here have to be separate pieces. With a proper naming convention of a low res that matches a proper naming convention. Exactly. Caps included with a high res and has a suffix that corresponds with the low res and a suffix for the high res that corresponds. I know that sounds like it's a what I just said, like huh, wait what? I'll break this down again. Imagine you are taking this low res three D model and bringing it into blender or Maya. And you've broken up all these pieces. Every little individual piece is a separate piece. This little piece right here is a W's separate piece from the model, and we call it wire underscore low, just as it's said here. Caps is important. Then we export this out. Then we take a high res and do the exact same thing, wire underscore high. Then what's going to happen is if they're the same piece with the same prefix matching but with a corresponding low fix, What's going to happen is, is it's going to bake and match it, name to name to this place. And leave this area right here alone and not bake anything to it, because this will have a different suffix name that will keep it from splotching. Another example like let's say this is low res here is wire on E underscore low. We would also have to go into our high res and make sure this exact same wire is called wire one underscore high. And then they will match together and bake only here and they won't splotch into here. Now in most of our other models, we just had them already pre created in a different way. But we wanted to show that to you and reveal some of the flaws. If you prepare a three D model in a certain way, what it can look like, sometimes you can fix some of this and sometimes you can't. Now let's take a look at these wires. You may look like there's some baking errors right here. Well those baking errors are because the high Res does not have any wires to match in the exact same proximity base for baking. But that's okay. We're going to go ahead and cover it up anyways with some color and you won't know it's even really there. But that's said, let's just go ahead and let this bake and we'll finish the lesson. Okay, so we finished our bake now and we have our model. Let's go ahead and it out to return to paint. And you can see now we have the designated model that you see before you. If we hold shift and right click, we can rotate around and see everything on here. Now the next step will be to go on ahead and Texture again. If you want to hit the key, you can go through and cycle through all the maps you went through. And then of course if you want, you can go through and hit the M key to return back to a default if there is anything that you want to fix. For example, this area right here, we see some blotchiness that comes from. Again, two separate areas that mesh by name could fix right around here, But it's not really too big of a deal because it's going to be very dark and covered up, so you're not going to really notice it. But aside from that, feel free to experiment as much as you want. One thing that I forgot to mention, that's going to be real, super quick. Now that you get the idea of how a baking process goes, one thing you can do is, first off, after you've established your bakes for both maps, go ahead and save out the file and make sure everything is saved. And then go through the process of maybe select all mesh maps. One thing that can be done is you can just select just the ambient occlusion, Select your rays to be really super low, and then go up to common settings, Select maybe like 1024 and turn off super sampling just to do a quick little bake that you can do some guest tests to revive all around the area. That's just going to be something to take into account later on down. That's said we're going to move on now into the next lesson where we will begin texturing. Stick around and stay tuned. 12. Laying out Frame Base Color: Okay, so let's begin now in this lesson, we're going to go ahead and get started texturing our helmet. Particularly the frame that surrounds all the areas such as the temple region here, the mandel jaw area, and the cerebral area on top in the face plate. We're going to start there, of course. To do that, we're going to be working on doing a start off base palette with some smart materials and then how we can categorize and organize them under a folder through which a mask will be in control of designating what gets seen and what doesn't get seen through all of it. Let's do a demonstration of all that now before I begin. If you're on texture set settings, go ahead and choose a lower resolution if you want. For me, 40 96 is fine for now. But I wanted to do this so I could show you that you could just down to lower versions to help improve your frame rate. That's just for you to know. Let's go over to layers here. If you remember, our little spice rack. This is all the ingredients we pull over to the right side here. Let's look for something like steel scratched for now. I'm just going to go ahead and work with that. You hold shift and right click. You can see that. All of that. I'll also put in, let's see, plastic glossy. These are two smart materials that I'm adding and I'm drawing them all the way over now, one is covering up the other one if I turn the visibility off on the top one and then you'll see what's colluding on the bottom. And of course, we're going to just go through showing you a little bit more about smart layers. Now remember, smart layers, or I'm sorry, smart materials, my bed are basically a material that's compiled of several different layers to create a desired looking effect. If I like, they're generally going to be identified by having their own little folder structure and a whole bunch of layers. Some are small, like three, others can be seven. You can then go through all these layers and of course, edit the attributes as you see fit. In addition to this, if you can recall, we are now working on a PBR metal roughness. If we look up in a layer, you can see a channel for each of the materials that we start with. We can now edit the opacity through that. What do I mean? Well, let's take a look here. This bumpiness that you see right now from the plastic glossy. Let me turn that off. Let's go ahead and maybe tone down this bumpiness now, what causes that, you should ask? It can be either the normal map or it can be the height map. Generally, we can test to look for where it is. We can start with height map and click on that. If we click on that, then we can go over to the opacity. And we can see already that by changing out the opacity to make this a little smoother can have some effects on here. No, I'm not sure if there's too much manipulation on normal map from it. But you can experiment just to see how it changes. It doesn't look like there's any really it was height map that was affecting all that bumpiness. Now we have a little bit more of a sheen here, but think about roughness. You see some areas are dry, some areas are a little bit specularly different. Again, what would that affect? That could affect the roughness channel. So you can go ahead and go to the roughness channel and then manipulate things like that. It's almost like working a fill layer that's custom. Now that we have all of that taken care of, let's make a folder that's going to basically have a mask attached to it and it's going to hold these two smart layers. And it's going to basically hover and cover out all of the frame. To do that, we need to first make a folder, and that's usually in the folder icon above ad group to switch back into base color. Again, let's go ahead and drag in our two smart materials. I'm just going to double click on that folder and just name it frame. Now from here, let's just simply add a black mask. Adding a black mask basically means everything in the folder is now covered up because the mask is black. Anything that's white, it shows anything that's black, it covers up. Now we can paint this and reintroduce certain sections through either a white brush or a selection tool or so on. Again, I can paint the mask back like I just clicked on a brush. I went all the way down here and this is where we manipulate our gray scale. In addition, you can hold right click and get the same process here. I'm going to hold command Z to undo that. Again, hoc keys for undo are also up here that we can paint things this way. We can hit the X key and paint back out if we want because we're switching between black and white over here. Or we can do it through a selection polygon pill, which if we click on here, we see things change again. We can do this through polygon pill, we can do it through mesh pill, or we can do it through a UV chunk fill. Now of course I'm going to choose UV's because I can recognize the UV's that I want to see, and I see a white mask. I can just simply direct marquee, select everything that I want. You can see how quickly I can get, all the pieces want to have textured applied on here. Now if we take a look around here, we've got most of everything that we want on this frame. However, some areas like right here are going to have to have another solution, either brush or maybe polygon. Phil, where we can go through the process. We can try it like this, but you see you wanted to hold through this line. Maybe a brush might be a better solution. Make sure it's hitting X and you can paint. Additionally, hold shift, tap, left click. You can do it this way. It also goes without saying because this is a newer version of substance painter, a fun one to work with is also going to be the paint, a long path like right here. Let me show you with an X modifier, you can see that's what we mean by paint a long path. So let's go ahead and do this a little bit so you can get a idea. Because I want to show you another way we can do this before we end this one paint along path. We can also do as well where we just simply can manipulate things manner. That's also an opportunity as well. I want you to think that there's a lot of different ways that we can do all of this. If we want, there's no right or wrong way arriving at the same solution several times. Go ahead and go through, just get through all the pieces here and see if you can get a frame. Make sure that you get this area right here. That also means if you need to, maybe modify the brush a little bit. Maybe for example, the hardness of the brush, That's fine too, just to give yourself a little bit more time on it. Take your time, because in the next lesson, once you finish this area, we're going to talk about blending these two fill layers together through a generator and continue on with our lesson of combining smart materials. Because again, don't just drop smart materials, Do something with them, edit them in any way, shape, or form. Like for example, we're going to be doing a generator to cover up some of this to allow the steel scratch to show through. As you can see, that's going to look pretty good. But that said, stick around and stay tuned. 13. Creating a Frame Generator: Okay, so let's continue in this video now. We're going to learn to blend together our two smart materials that we created. And we're going to also learn a little bit more about other assets that we can use in our asset shelf such as dynamic brushes as well. To blend a little bit easier between the two materials, as well as learn the symmetry feature within substance painter. Let's go ahead and get started now. One of the first things we're going to do is we're going to do a little bit of editing on the smart material plastic glossy. Because blue is default color, that's not necessarily what we want. I did remind everyone we want to keep things a little bit on. Remember, it's used for a base line, it's not taking it at face value. Let's change the color. Let's keep it simple. Let's just worry about looking for color. If we do that, we first of all open up the smart material for plastic glossy. We say to ourselves, okay, I want to change the color. Probably the first layer where it says plastic base is where color is going to be. And you can already see the anatomy of the fill layer in which you can go in and change. I'm going to choose maybe like a little bit of a red is looking color. Maybe a slight dark, reddish look. Something along those lines right there. That might be a little bit easier for me now. From there, we're going to close up that plastic glossy. And now I'm going to add a generator to the plastic glossy. It starts covering up parts of that material, the plastic glossy, so we can see a little bit more of the steel scratched below. To do that, first we'll add a white mask. You're going to add a black mask. A white mask is what I'm going with. And I'm going to say hey add generator again. I left click on that mask and then right click and hit Add Generator. Now a generator is almost like a manual set up version for a smart mask. We may go a little bit further into smart masks as they are pretty important for substance painter as well. But we wanted to get you started with this since metal works really well with it. Once you get a generator and you're clicked on that, let's just click on the generator and I'm usually going to choose metal edge. Were if you look at it, nothing really changes on here. It just seems almost like it's covered up in some ways. Let's go ahead and invert that mask already. You can see some of the details now that show because of it. And I'll show you an on and off representation feature there. That's one thing that we can do. Now feel free to go ahead and experiment with the generator and turn all sorts of ***** so you can get the desired effect that you want. But I wanted to give you an idea of what this looks like. Again, if you want to invert that, you can either invert the mask by hitting right click invert mask. Or you can simply go to invert down here and generator and invert it that way. Maybe I want to go with a little bit more smoothness on here. Maybe I want to go through the were. Take a look right now and you can see a little bit of bumpiness going on here. What that is is that's the steel scratch that's making that bump because it's bleeding in and it has its own bump value. If we turn that down a little bit, you can make that go away as well. Additionally, I might go through the normal and just play things a little bit safe just on both ends. So we can have something that focuses more on roughness, on all of this. It's like a worn paint. Let's go through this generator. I find that the wear is a little bit high to my liking. I may want to just keep it something simple and relatively simple like that. Just to start off with, once that's taken care of, one thing to take note is when you assign a generator or even a smart mask, you can't really do too much editing into the mask because it's procedurally plugged in. You can't edit it like we did with the folder frame. When a procedural generator is attached into this mask, we have to do a couple of other things. One thing I'd like to do is just simply add another folder and put that folder in here, and I basically will call this folder a plastic. To keep track of everything that way. Now if I wanted to occlude everything, I can just simply add a white mask and go through and paint and continue editing more details on top of the procedurally generated details that we have attached here. Again, this goes to you. There's no wrong way in any of this. You can go through and edit this all to your liking where you see fit. This is not something that is a right or wrong answer right now, it's just you having fun. I'm going in with something like this. When we're done with this, the last thing that we're going to talk to you about is the symmetry feature and how we can manipulate it with some dynamic brushes. Now, dynamic brushes are not something that we talked about, but similar to generators. Dynamic brushes take advantage of what's going on with the map to give you an idea. If you look at that generator we scribble down here. You remember those maps we baked. Some generators use different things, but in this case they're utilizing what was baked out from the high res of the curvature, the ambient world, space, and position to help us give us this desired look. Dynamic brushes, which is all the way up here, does something similar. It will probably work with the normal to help create a dynamic flow work through. Let me give you a little bit of a demonstration. I went to my assets. I chose where it says brushes here, and I'm going to go with leaks for now. Now what I'm going to do next is I'm just going to go to that mask that we just made. And I'm just going to paint through like. So now I think we got a bit of a, I forgot one thing I have to do with these. You got to double click them. But if we paint through, you can see a dynamic effect. Now it's of course on a mask and this is a white value. I got to hit X. And you can see a little bit more of an effect go through. You can see we're having a little bit more fun now. Again, this is editable on top of the procedural because we're working on a second folder and we're not working on that generator. Also, don't forget if you hit right click, we can maybe lower the size. May have a little bit of fun with the flow. You can reset everything if you want to default and see what you can get there. We can have a little bit of fun with the flow jitter, just to look for different effects. Just like a wear and tear effect. Maybe I'm going to start here a little bit below the line and give us a little bit of a look. You can see how it just skews off and that's through the normal map projected on here. You can get an idea of how that works here. Now go ahead and feel free to do this with a lot of things, but we're going to go ahead and we're going to just close this lesson up with talking to you a little bit more now about symmetry. Symmetry is activated in one of a couple of ways. One you can do is hit L, You can get symmetry brought up like that. You'll see a little line come up here. And of course, if we go on here, we're going to get some options like setting right here. We have the X access, so it's moving left or right. We can change that crew here with the setting. I normally keep it at default, that's why you want to make sure it's always centered. Definitely, you can do a little bit of fun with the brush this way. Now another thing that we can do is as you see me painting through, you may want to break it up, So don't be afraid to hit the X key. That way we can cover, we'll get some negative values. Now I'm just going to go up and down on here. I'm just going to break up the piece. As we see, you can see this is just with the leaks. One, I'm not really trying too much with some of the other dynamic brushes. I usually see them through the little purple spot right there. But another thing that you can do is hit right click. Maybe choose the size of the brush a little bit more. That way you can get different variants of leaks in different spots. But try if you can to not have anything that is consistent, like don't have a perfectly same straight pattern. Break it up through the x value through different areas and just have a little bit of fun on here. You can see it like this. I hit the X key here and then maybe go through and hit the X key again to minus it off or minus it off with a different size value under black jus simply go through, you can see how the dynamic strips down on here. What I want you to do now, I'm going to go back because I liked it the way I originally had. I'm just hitting control, I'm just going to go ahead and fill in my area. Then I'm going to hit X, make it a little bit bigger, slightly, and do that one. You can see I'm just having fun, just having fun with the leak. Now this is one dynamic leak. This isn't the only one and I want you to get into that habit. There's 1,000,001 features on here. Don't go through and just think this is where you start. Spawn spread. Spawn factor. You want to see what these things do as you experiment through the size fade radius. All those things are going to really have a factor in the thing about the life of how long these areas run in. Keep that in mind. That's said, we want to also conclude by saying that just as there's a generator on here, you can also have a little bit of fun by trying to go drag and drop different materials on here just to see what they look like. That's a very big fun one to do, that a lot of people enjoy. That's going to probably be something that is up to you if you ever wish to go through, But for now, we just want you to get an idea of how that works. In the next lesson, we're going to continue on with our texturing. So with that said, stick around and stay tuned. 14. Texturing the Frame Borders: Okay, so let's continue in this lesson, we're going to go ahead and do some, add a few more materials in here to help break up the frame so it's a little bit less, just one color for that I'm, let's see, I'll choose steel, medieval style. And I'm going to just put that right now above the plastic but still within the frame. And you can see, again, like it covers up just about everything. Let's just go ahead first, I'm going to go back to base color and add a black mask to cover it all up. I'm going to paint everything through. I'm not going to use anything fancy. But I will have you notice that I do have my L on for symmetry. I'm going to choose to paint around here. This area maybe around here as well. And the border that is around here, just so I can get some defined border areas. Now you stylize maybe want to go with something that's a little bit a little bit easier. We can do basic hard, basic soft. It's up to you on all of it, but whatever you do, make sure you have that spacing set down as low as possible. You can see already we have a little bit of a good head start, but notice I'm going to probably go with, let's see, probably something along the lines of this. I'm probably going to go ahead and just choose for now, this. And then I'm going to show you a trick if you want to switch out some of the materials and try something new. Let's just go ahead and don't worry about any get everything relatively painted out here, I'm just going to bring it all around here. I'm not holding shift but you can because I'm going to be cleaning it all up afterwards. I'm also making sure to grab that line because there's a little bit of darkness that will help us segment and see things a little bit easier. And you can see it's also showing up on the left hand side. If you're wondering why that's the case, you can't paint into there. That's mainly just because we didn't paint the mask on the main frame folder to have this, that's why you're dealing with all that funness right there. Make sure we have a little room on the folder of the black mask so we can see. All right, so now that that's taken care of, let's go ahead and do a little bit of trimming and cut some things off just to have a little bit of fun I like. So even here, feel free to hold right click shift and drag across to see a bunch of different areas if you want believe that that is from the main frame mass. I got to clean that up there. Okay, so we got a little bit more on here. Let's see, maybe go ahead and paint this top guy out. I think that might be all that I need. I may paint that back area a different color, but we got this top area right here. We got to also deal with, let's cut and trim that out. Make that that isn't going to be giving us any problems. If you have to hold command right click, drag across to change that mouse going ahead. Okay, so let's say we have ourselves. I'm going to show you now how we can switch these materials around. Let's say for example, we have what we want, but we feel it's a little too overly speculate. I can't really see the difference between these because the light is reflecting. Maybe you want something that's duller. Well, we painted a mask on here. I don't want to have to repaint this mask. One thing we can do is we can go to that style medievalisedjust. Simply go through and hit Copy Mask, which is down here. And we can make a folder and bring that all in like so. We can just title it border frames and then add a black mask on there. And the left click on the mask and then right click into Paste Into Mask. You'll get that same mask put in there. Now we can just simply drag any folder we want in there. That also means dragging any smart material we want into that folder to see what results we can get. Maybe that might give us a little bit of a different case. Good example of that, maybe we can do. Steel gun Matt is duller but easier to see. You can see it contrasts a little bit more. That's mainly because there's no specularity. You might want to do something like that and see what you can pull out. That's definitely a possibility. It also helps you to a little bit of the areas you missed and that we can clean up. Or if you want, you can just have both of them on and maybe turn down something like for example, let's go to roughness. Since it's the seal gun, matt's roughness that makes it so different. We can blend between these two to give us a little bit of a sheen. Another thing we can do is we can simply add a fill layer on top of that. Disable all the channels. This is, again, I'm not going to necessarily do all this, I'm only doing this to show you the idea concept behind all of it. That's mainly it. I'm not really going to be showing you like or say do it this way, do it that way. The official way I'm doing it is going to be done through the steel medieval. I like that one probably the most. That's going to be the one I go with. But I wanted to give you these other options because I wanted you to experiment with it. If something like Steel Medieval is too much, you can change out the roughness with a fill layer. Because it's on top of Steel Medieval, it's in the folder and you can help get yourself something a little bit easier. Additionally, you can do something like plug in a, let me give you a good example, Clouds, then let's go ahead and maybe put in a texture in here. And change the scale of the texture in any way, shape or form. That was probably not the best choice. We could probably do something more fractal. We can just choose a different way of exploring all of that. As before, all of this is really being done to just give you an idea of all the things that we can do on here. That's just giving you an idea, that's just trying to get your mind in thinking, working mode about things you can do. So what I'm going to do next is I'm going to take a look at the sides here and do just some minorizedleanups that will be involved in me cleaning between the border frame and the regular frame and making sure that everything is being seen necessarily that I want to have seen. With that said, stick around and stay tuned. 15. Establishing the Mandible Base Materials: Okay, so let's continue in this lesson now. We're going to be moving on into the jaw line section here. The last section, we finished up a frame. This time we're just going to go ahead and texture out the mandible here. Now if you look at everything, we have a folder pretty much for the entire frame. Here we have that steel painted clear coat that we have experimented with in the last lesson. To go ahead and take that off, just like what we did in the frame area. We're also going to now try to do a little bit with now the mandible area. I'll go ahead and make a new folder and call that jaw job. We're just going to try to create a little bit more of an opportunity to do something similar to what we did, except this time we're going to use the UV textures to help guide us along through the maps of the ambient inclusion that we baked out, what that looks like. Let's go ahead and just put another steel scratched in there like before, you can see everything gets encompassed. That's because this is above the frame. Let's add a black mask over the folder. Not the smart material. Then let's re bring back in just this area. Now I can choose a whole variety of ways we can do this. I'll start with just doing it through the polygon, Phil, making sure UV chunk Phil is selected. And we can bring everything in that way. Now that we have that, we're going to do one more smart material. We worked a little bit with that steel paint. Let's go ahead and try steel paint material and see if we can do some editing manually with the UV's to get it in certain areas. What I mean is I'm going to drag this steel paint in. I'm going to put it above the steel scratched. I just want to. In this area. This area. And the strips here. Again, I'll go ahead and for that add a black mask. And we can do this one of several ways. You can use the curve projection, then you can get the projection going this way. Of course, you're going to have to make some adjustments to your size as well as your hardness, because that's all going to be, again, important to get the right diameter of. When you're done, you can just just hit return. I'm going to keep things a little bit simple here. One thing I forgot to mention is make sure that you have L for symmetry turned on since we can affect both areas here like so we're going to go ahead and use brush to cover up my way. I turned the hardness up and I turned the spacing so that we can get everything that we want. Again, I'm selecting the mask of steel paint and I'm just making sure it's on a white value. Let's just go ahead and we can do this here. Just like you see different color hold shift and right click, you can get something similar. I'm going, you can, for example, draw it through here. Don't worry if you go outside of the borders, that's not going to be a big deal yet. Then I'm just going to hit the key, hold command shift, right click. And we're just going to hold shift to minus all of this down. Sometimes that's just easier to do. Then the other way, you can always do that the same way over here you'll notice again we're affecting both sides of this. Be careful not to cut into the blade though, so you do want to check in like right here you can see it's a precarious. All right, Now that we have that taken care of, maybe I'll do a little bit of a mandible area right here. Let's do steel painted after that. I think I might go ahead and call it. You can see the area here as well. Let's see if we can show it a little bit better like right here, for example. This will be a good spot where we can draw in our colors. But I'm just going to go ahead and do it. Nice, elongated pattern just to bring something in. Then I'm going to hit X to mash away. Now again, you can figure out ways to do curve, but sometimes it can be a little bit tricky to find all the right places in which curve is going to work and which curve won't work. You got to decide of personal call whether or not you want to do curve or just brush when you're doing these manual revisions that you're seeing right here. Of course we need to clean up this area right here, you can see a little bit more here, we get a little bit more of a cleaner area. It's just double check that other side. I'll do L to turn that off because I'm only going to be cleaning here. Like that's all she wrote. That's all we really need to do again, just take your time cleaning up all the areas that you see fit. If you want to make the steel paint also for this area, that's certainly your choice. That's optional with that. That's all we're going to start off with for the base beginning part here. We're going to move into the second half of texturing this mandible jaw that said stick around and stay tuned. 16. Finishing Mandible Texturing: Okay, so let's continue now in this lesson, we're going to go ahead and move on into getting the rest of this textured. And we're going to show you how we can apply some tricks with the mask to help save time by inverting masks and giving examples where inverting masks can become helpful. Let's just go ahead and start with that now. Let's say I want to now texture all of this. Do I have to repaint it? Not necessarily. Let's say I want to do something right around here. Maybe if I want to add a generator. Do I have to repaint everything? Not necessarily. Which should I start with? I need to add a generator to do something similar to what we did here. With the steel painted black here, it bleeds down. That's not a problem. May have a mask right now. Let's first things first, let's go ahead and click on that steel paint and copy that mask. Not clear that mask. Do copy the mask that's going to be down here. Now I'm copying the mask because if you're going to add a generator on here, a generator needs to go here. Therefore, you need to put this whole material in a folder, just like we did in this one. Let's go ahead and add a folder. Put that in here, call it black. Add a mask on there. A black mask, of course. And go ahead and we can just paste our material right in there. Like that allows us now to make this into a black mask or a white mask, depending on which way you want to go. And then we can add a generator to it. But if we add a generator to it and do the classic way like we did before and invert the selection, we get something very similar with like features that we can program. But I feel like we have an opportunity to show you something else. One of those opportunities is to go through and discuss smart masks which are like generators. Basically, they essentially are where we drag these materials in the asset section under smart mask, all the way over into where the mask section is. Let me go ahead and give you an example just so I can get you to get experimenting. Let's start with occlusion. You can see how occlusion gives a different result and has a different set of parameters under the mask, you even see the generator right there. And you can then go around and tweak some results. Of course, you can invert the process to give a different look, and you can see how it gives us different results. Now I can just go ahead and delete that, because I just wanted to show you, well, just one example. If we hover our mouse mask, mouse over all the different types of pieces, we can come up with some very intriguing results. Like here's one called dust occlusion. That might be an interesting one again, Go on ahead, drag it into the black mask. Make sure you clear the last one, and then just simply go through and see what everything looks like. Just have a little fun with it. It might be an interesting look. It may be a intriguing premise. It could be something where you could maybe put some color in here. Between the black steel and the steel scratched right around here. No such thing as that which you cannot do. You can do all those things. With that said, I'm going to put now a texture over here. We're just going to leave this now alone for just a little bit. We can make the changes of our choice later on, but we're just going to leave this alone just for now. We're going to go over to Smart Materials. I'm going to go ahead and look for steel painted and I'm going to drag this into my mandible jaw right on top, since it's only covering this area. It's covering everything up. But I just wanted to cover this area up. Well, do you remember at the beginning of the video when I copied the mask and added a black mask? Let's just do that real quick. I'm going to add a black mask over that steel material. I'm going to, once again, as I did, this will be a second time I'm going to paint that mask. It comes in the same places, but if I left click and invert. Now we have everything that we need right there. That's the whole interesting part about all of this that we can get into. Now this is again a mask that we're doing. But we can repeat what we did here and maybe add a generator to this area. That's entirely possible. If you want, you could if you also wanted to just go through and maybe add, maybe you want to add some. See what I'm doing right here is just like texturing this all area out here. You can do something like that. Not a big deal. Not a big problem. I'm just going to go ahead and then I'm just going to simply go through base here and I'm just going to mess around with the color. Maybe make it a little bit more green. But the nice thing about Phil layers is that we can go up a little bit more fun with coming out with looking materials in all of this. Like we can do maybe a desaturated dark green if we want. I'm not going to tell you which color you choose, but you can see I'm editing the smart material to be something a little bit different that you can have a little bit more fun with it. Then of course, with the wires, I'm just going to go ahead and choose a steel painted default for the wires and see how that looks, what results that can give us. Maybe I'll just add a black mask and just do it traditionally. Good old fashioned way. Just do things this way. Now, it's pretty hard to see with everything, all of the materials because it's blending in here. Let's go ahead and go to that black steel and mess around with the generator and see if we can invert that. See if there's a curvature slider here or anything like that. No, but give ourselves a little bit of a cool grunge look on it now. Don't get too tunnel visioned on what I have. I may have something that doesn't necessarily have to be what you have to settle, for example, I got the steel painted. Maybe I would like to do a different color Noise on here. Let's see here. Hmm, let's see if we can do something. Something maybe like that. Slightly bluish. A little bit. Just to have a little bit of fun then. This is the game is I want you to J. Once you learn and get comfortable with everything, just start messing around with different inclusions. If you don't like the original one out of black mass, go into it and do a generator like we did before. Maybe metal edged tear. See how that looks Inverted. Probably go with that. Helps us see the lines a little bit more. When we see the grunge, grunge mount, that helps a little bit more. If you really want, you can maybe add a little bit of what you see over here. Over here. That's possible as well. Don't try to find yourself getting too bogged down on anything. We want you to be very free to explore your own interpretation. I may find myself doing something like, for example, plastic glossy, bringing it into the mandible section, add the black mask, and add a folder into. It will make a generator for this guy with the same concept, invert the mask. Bring this into the folder at a black mask. Then maybe I just want to paint like for example, this area right here. I want this area to be somewhat similar in a way to the frame. You can do that. Just need to keep applying and giving yourself as much opportunity to the rules as possible. I'll go through edit out the material color, then I'll go through the generator to do some work on the ware level. So if you find a bumpy, you can always go and change down the mandible roughness or the height starting to bring that down. So a lot of these things are definitely doable that you can make work. I just want you to be open to the one rule that we're trying to apply is repetition through practice, and that's why we are reapplying the same one. Call this one red. Again, I want you guys to break through on being a little bit creative here. I can do something similar to like what I'm doing right here. You don't even have to commit to red. In fact, I'm using Red as the tutorial course, but it's not necessary, it's just what we're using right now. You see right here, I'm just holding shift. I'm drawing these lines, See how we applied that. Again, this area right here also can be manipulated. If you want, you can go through a whole bunch of different materials and add something for that. It's not necessary. I advise a little bit against it for now. I'm wondering if I'm thinking that we might be able to make this pop with steel charcoal. Okay, let's see if we can put a steel charcoal in here. We'll copy the mask here. This is the one for the. I just want to test this. Just me going through and testing something. That's all. And of course I'm adding a black mask over and I am going to paste into this mask. And I kind of like that one. That gives us a little more specularity with the piece. But that said, I'm going to show you one more thing that I did wrong and that you need to remember, I had the L key on. What does that mean? That means we don't have a lot of things going on over here. I'm going to go ahead and finish up on the other side. And then from there we're going to go ahead and move on into the temple region. With that said, stick around and stay tuned. 17. Texturing Temple Region: Okay, let's continue. We're going to now work on this little temple region area right here. It's going to be our next area, like before, we're going to do a couple of things. First, hit that L key, so we have some symmetry. Let's create a new folder up here, make sure it's on the very top, and call it temple claps down that mandible jaw so we don't get confused. We're going to do something very similar. I want you to feel free to stray from me now because I'm just going to be emphasizing repetition we like before, we're going to assign a baseline material onto here and then add a black mask into it. So then from there we'll go on ahead, we'll add a black mask onto the folder. So then since this is a UV shell section, we're going to go ahead and go through and just texture out just this region that we see right here. Now I'm going to go ahead and focus a little bit on the braces for all of this. I think what I'll do next, I'm just going to open up my folder. I'm going to put a steel painted piece through here in the same area just to see what that gives me. I'm going to add a generator this time to it. Just like before a generator can be anything, we can do generators the same way we do, it's like we got a weird looking generator. I think I may have added the wrong generator first. We need to add a black mask. And we need to add the generator. There we go. Now, generators can be done in a whole variety of ways, but in this particular case, I think what I'm going to do, I'm focus the steel painted material to be on the braces, only now that we have our edges, we can also work a little bit on level and see how far we want to bring all of this in. Let's see, the grunge. It's not too bad, but I would like to. I'm just going to be making a little bit of some choices here to see what they give me. I'm making my own customized ambient occlusion level. Now I'm just going to add a folder for that steel painted to go into, I'm just going to add a black mask over that. From there, I'm just going to manually paint in these braces to point into a area that we want to see. We get a little bit more of a look. It's a little bit more unique, something like that. A little bit Now feel free to change steel scratch to anything else. Maybe to help contrast a little bit easier. Maybe you want to see different materials on here. Definitely no such thing as getting that wrong. Like so it's certainly a perfectly fine thing to test the waters, to look for something that can contrast differently out. You can see a little bit more of an interesting piece with maybe if you want you can add a white mask. And then just maybe do a little bit of a black mask over the steel coat. Just give it a little bit more of a sheen. You can do anything like that. Or you can have a little bit fun just working with something like some light copper to work out. And add a bit more of a contrast scene like right here. You can do that as well. Of course, you'll have to hit X to trim back and clean up anything that you want to see. No such thing as getting it wrong just except as long as you're choosing to experiment, you can't ever get it wrong. That's a very easy way to get this through, like the idea of just doing it that way. Keep that in mind when you're going through all of this. You can definitely have fun getting lost in all of it. But I want you to enjoy just exploring everything. This is definitely something that you should just be experimenting and just seeing what you can do differently. Another good example of experimenting, like let's say we take this metal sheet. If you want to have a little bit more contrast between that which is painted with the metal underneath, you can always go under something like frame and maybe edit the plastic roughness down a little bit to give an opportunity for the metal to sheen through a little bit more. You can do something like that if you want. If you're looking for an opportunity to make this look a little bit more unique, that's definitely a possibility. Please, please, please have fun. Have fun, because that's very important in all of this. Of course, when we go through everything here. One thing that we'll go ahead and end with is don't forget this part. One thing I always like to do is make a fill layer and call it a. It's not necessary for every piece, but I like to test the muddy waters with it. I like to put the ambient occlusion in on the very top and put multiply on. It's not necessarily something you have to do, but it does give accentuation like we see it right there. We change the color because it's a base color. Here we go to color here. If we change it to multiply, we can have a little bit more of an accentuation of everything. It gives a little bit more contrast to the scene a little bit more versus, as opposed to when it was just all bleeded out. You can see a little bit easier what you're bringing in all the crevices, you can see a little bit more in all the areas where it was baked out. It helps to see everything, Keep that in mind. With that said, the temple region was just mainly for you to have some fun doing. Just some fun stuff. Just you going through having a blast, trying to make everything work from the roughness here you can see I'm messing around with the roughness under the metallic contrast to get something that's a little contrasting with the steel paint. You can see all the different areas that I'm having. If you ever feel like you want to get another layer on there, you can always just duplicate it. Then maybe turn it down a little bit. You can give yourself a little bit more shadows. This isn't even getting into the post production phase. I'll probably just do one just for now because I don't want to double multiply anything out just yet. I'll just keep it like that. We're going to now move on into the top region here, which will be the head that said stick around and stay tuned. 18. Texturing Cerebral Section: Okay, so let's continue in this video now. We're simply going to go ahead and fill in the top part here, which is going to be the last section of this outer frame before moving onto the face plate for this, this is going to be real easy like before. We're just going to go ahead and create a folder and call that head in that I'm going to go ahead and drop a smart material in here. I think I'm going to go with steel are this time because I found that one gives us a good ambient occlusion that I enjoy. We'll go ahead and put that in there on its own. It looks pretty decent. Gives us a nice little dark spot, crevices, but again, we have three spots that we're going to look at. And that's like this spot right here, this little slant face plate, this underwire Greeble in this center part right here on that mark. I may just also hit the Lk just to make sure everything is done just right. We can go there. That said, let's go ahead and add a black mask on there and reapply everything to the top and edit the mask. It occludes only to the top. Now I'm choosing polygon fill with UV chunk pill as my selection tool. I'm just double clicking on that. That's because the whole area is like a UV chunk. Then we can get started. There's a lot of ways we can approach this. 11 is I look at this and I see what I like, I feel like the ambient occlusion covers up a little too much. If you remember, on the end of the last layer, I had ambient occlusion help pop out all the details, but it made it a little bit overly dark. I would like to exclude that. What I'll do is add a mask on there and turn my value to black. And just undo that, That way we have a little bit more viewing sight of this area here while keeping everything else still popping. Now I'm looking at this slant, this is where I'll texture it first. And just to save myself some time, what I think I'll do is I think I'm just going to go ahead and do what I did in everything before. I'm going to move the frame up just a bit above top head. I'm going to go ahead and simply rearrange the mask. It includes this area right here. Now I might have to do this in two different areas because I want to see the red which is under plastic. I believe that has a white mask on there should just be only the folder mask. But we may have to do one more. We'll see, it's all good. I may just go ahead and take everything I did in leg work and save time by reapplying the mask here. Again, that's not too terribly bad of task. It's actually easy. You can do it in a matter of real quick processes, super, super quick like that if you want, just to give yourself a little bit more space and time. And then I might do the same thing with this area right here. Going across and hitting X and just cutting off everything. Like maybe doing the same thing, again like that, just having a little bit of fun, maybe making this go down a little bit here, maybe just a little bit here. Let's just make it a little bit more like that. There is something going on right here that probably is occlusion from another mask, possibly even the border frame. Yeah, the border frame is causing all that. Let's just go back and cover this part right up. That way we have a little bit more of time through here. If there's anything else you missed, definitely take the time to go in and. Cover it through. But you can see how we got through all of that pretty quickly. In fact, on here I may just do something a little bit different. Right here you can see already we got like a pretty quick result in a pretty short amount of time. That's pretty much what we want to teach is getting good results in substance painter and a very fast amount of time, keep forgetting. All right, we go like that. I think I might just go through the border frame here and you can probably just go through and maybe just do the simple little U B chunk fill and you can kind of see how quickly we run into everything as I did it in the wrong mask. I want to maybe do it on this mask. No, not that mask. You got to remember. There we go. Because I had to do it both on the frame to allow it and then also on the border frame. So you can see we got that done relatively quickly. We got ourselves a little bit quicker of a model. So with that said, now what we're going to do is, is we're going to expand into doing the face plate next. Like I said, I want you to take your time in all of this. I want you to take your time with experimenting, with everything. Don't forget to make an adjustment to the AO if you want, not necessary. So that you can see a little bit more of the wires in the back here. If there's anything you want to change, there's no rule that says you can't change it. Keep that in mind, if you like this looking maybe a little bit more bumpy, for example, with height, you can do that by going back and looking at the steel scratch and turning that back up. You can always do that if you want to see something more in the normals with steel scratch, you can also do that as well. Just make sure you're constantly in an experimentation state to look for new ways to bring this out. With that said, stick around and stay tuned. 19. Creating Custom Fill Layers: Okay, so let's continue in this video now, we're going to start work on our front face plate. Now in the past when we were doing this whole frame, we got a good amount of practice with smart materials and generators. Now we're going to change it up just a little bit to add a little bit more onto there. And that's going to be creating some fill layers from scratch and working in different ways with procedural generation to see if we can create something just as compelling. For that, we're going to create custom fill layers to create some patterns of hexagon textures and see how we combine that with smart materials to blend down. Let's get started. First thing I'll do, I'll go ahead and turn off my eye attachment. If your computer's chugging along for any reason, you can do a couple of things. If the frame rates down, you can crank that down to 2048, or if possible, if you want 1024. Another thing you can do is get back into layers. You can just simply turn off everything around you if you would like. That's also workable as well. I'm going to go ahead and start by creating a folder, and I'm going to call this folder face plate in this folder. I'm going to add a fill layer inside of it. Make sure it's in there. I'm going to call this folder X. Now if you take a look, you should have a little bit of the anatomy of the basic fill layer like you saw before. If there's anything that's not there, just go through and add what you want on here. If the opacity isn't there, go through and add opacity and so forth through anything. But we seem to have everything that we want as is. So I'm just going to leave it alone with this. I'm going to put a pattern, a hexagon pattern, on top of here. It's going to serve as the baseline start when we start combining textures up. Then we're going to put a second fill layer across that addresses things like color and specularity. It's like we're combining a couple of things into one. Now I'm going to explain why I'm doing two in just a minute or the end. But for now let's just focus on getting this pattern. First thing I'll do, I'll hold an add black mask and you may think, oh, he's going to go for a generator and that's not necessarily true. Let me go ahead and show you what I mean. First, let's go to the click on this little square, change the base color to red. Now of course everything's covered up because there's a black mask instead of generator. I'm going to say add fill. Now you may be looking at this and thinking, what's going on here? It should be completely red. Why is it pink? Well, that's because the mask is gray. You're getting half of the value of what red is, which is pink. And if you go down here, you can change the value of gray to white to get that full red or that full black. Additionally, you can also go in and click Gray scale and put patterns in here. If you double click and type in hex, you can feel free to go and find yourself a nice little hexagon pattern. For now, you can get a little bit of a idea. I'm going to choose this one hexagon border, and you can see it's completely black and white. So you're going to get a black and white representation of the full value of red and the full value of occluding it. Right now, it's pretty big. You may be thinking again, do I adjust it in the scale area of the tiling? Well, you could, but that's not going to do anything because again, all that's going on in this fill layer is just the red color. You could be thinking the same thing here as well, but it's just going to repeat where we need to change. It is in the texture pattern itself, which is in the fill that we added, which is being plugged in with the hexagon border. If we do that, you can get a little bit of a result if it seems a little squashed and stretched like it is right here. You can do some things to change that. I'm going to get something along those lines. I'll just click on this little lock here so I can maybe change it that way I get it a little bit squashed in the x value. Then I'll just go scoops messed up with that one. First of all, get the size that I want. Again about that, click on the lock. Now let's change it to the right about there. And I'm not going to touch the lock then now that we got something a little bit taken care of, I can do some things like for example, I can change this to a black value. That's definitely feasible, possible if we want. Additionally, we can invert the value of this, just like we do with generators when we click down. Let's see here where the invert is, right down here where it's a fill parameters. It's right now in false. We ahead and invert that If we see fit it's still affecting everything. So let's go ahead and add a mask on there and just simply fill in the border. In this case it's going to be a UV chunk fill. After adding a black mask on the folder and selecting polygon fill tools, we can just make sure it affects just this area here. Feel free, again, to adjust anything you want. Anything you want. It's not going to be a right or wrong question on here. I'm going to make it slightly bigger. I think that's actually what I'm okay with right there. Look at me, Mr. Nitpick. I can do that. Yeah, that's okay. We got a thing going on here, that's fine. We got a little bit of the texture that we wanted to see. If we go through here right now and we see all the things that we have going on here. One of the next things that we can do is just mess around and I'm going to add a second fill layer, you could say. But first things first, I'm going to add the fill layer. I'm going to put this second fill layer under the Hex. And I'm just going to call it secondary Phil. Phil. So now this one we can go through and I'm going to add the same similar effects like we saw before. You can see some things are a little bit off. I'm going to disable all the channels except roughness like to actually hold onto those. A color put on a low stream that allows me to see some of the patterns and textures a little bit easier that we're working with here. You can understand why we want two layers here. If I disabled the roughness here, then only the fill layer of what's going on here is going to be seen. That's why we want to have roughness. So we can see that it goes both ways. If I disabled the roughness on the secondary filler, you don't have a second roughness to contrast up against the one above. Because these are operating off of two contrasting roughness scales, allowing us to see all these cool looking effects like. So that's neat little trick. You could try a second one with a super glossier one, but I don't think you're going to get the same results. If you do, then be very happy with yourself. But it's not, I wouldn't try to do it at all. In fact, I think this one's the nicest looking one that we can do, even if you try to mess with the opacity of the roughness and try to do like a third one that sheens around it that you can get something cool. If we turn it on and off, you can see the difference between it. It's like you have three different roughness scales. You can do something like that. It's not too much of a big deal. I like this effect a little bit more. The only thing left now is to think about perhaps tweaking color. That's probably the only area that I would see is like the last stage, you can do color in a whole bunch of different ways. For example, we can do color in a black and white setting. Let me see if we can do that. Maybe we can have a fill layer. Like the fill layer we just put up there for a area that manipulates the color and then these two manipulate more in the roughness. I'm just going to go ahead and experiment around, see what we can get and see if we can have some fun with it, something like that. Then let's see if we can mess with the color a little bit more. Let's first of all see the inversion of it just to see how that looks. It's just, again, me having fun and then checking the color value higher. I keep forgetting that one. And then seeing base color. Switching the blend mode possibly into screen to see if you can show through the layer above. It's probably not going to do the best. What I may try doing though is working with doing something like this control copy put above, mess with nothing but just focus on color the convert and then changing color to a blend mode. Below, multiply, kind of, I keep forgetting, see overlay on there. Overlay kind of gives us something that's a nice, cool looking red. I kind of like that look, but I'll probably go screen a little bit more easier. And then from there, something like that is actually a lot more doable just to give a contrast for both color and roughness to help see the area a little bit more. All right, The only thing I may change is maybe just a final tweak in everything here. And don't worry, I'm going to explain all of this. This is me just simply having a little bit of fun going through everything. I'm going to leave that fill layer too. I like that skill a lot more. 21, 29, there we are. Bring it in. That is all I really need. All right, now that's all done. I'm going to make a folder called this hex and then bring everything in. This was me just experimenting and having a little bit of fun. So let me go ahead and talk to you a little bit more about what I did. One thing I took a little bit above, it's just something that was pure experimentation. Where I guided you to was this area right here. And you can see through there that there's a reflection change in color. However, there's not a reflection change. I'm sorry. There's a reflection change in roughness. You can see the difference of the hex pattern through the shininess of how the light goes from dull to shiny. The roughness. In other words, I wanted to add an additional way because sometimes light in a certain angle will not catch that roughness. I added a second hex copy, I'll even call it. I misspelled that. Majorly diffuse. Now what I did was I just simply duplicated this out. All right. I took the fill layer and I didn't want anything messing around with it, like roughness. All I wanted was color to be the factor in all of this. Everything else is mostly the same, except for the fact that I inverted the gray scale here. So that I could have a little bit more focus on the color. If you look at Hexa, fuse and look at the fill for it. See the gray scale is like that. Whereas the gray scale for here is white. That allows secondary fill color to match in here. I wanted this to be white on the borders. That way the color will affect which borders I want for color. However, if I changed it to normal, it wasn't going to really show out as normal. Mainly because of the fact that the folder structure in here was overriding that. Well, it's actually showing it now. I think it's because it's on top. But what I was trying to do is do it through screen originally just to see if I could get some blending modes that would help pop the texture piece out a little bit easier than before. In other words, what I'm trying to do, make this contrast through roughness and make it contrast through color as well. We can see things a little bit easier. Then of course, when you have the whole thing there, you can go through the process of manipulating all three of these folders through here. Again, start with the hex, add your fill, get your pattern established, make sure you have the hex border in this area first, which you can manipulate through invert. Choose your color value, which can be anything from here. Secondary fill, choose your color value. This is again going to be what manipulates most everything around here. And then have duplicate the hex across and make it only about manipulating the color of the hexagon pattern. And it comes from this one. Again, we went through a pill, we inverted the texture through here, and then we turned the opacity down. I had a little bit of a hard time making it work because for some reason, normal was not working. Originally, I had to switch screen and then I turned the opacity down so it wouldn't be predominantly like this. This is one that I would say for most of you. Take your time in getting right. You may find yourself having to go through this several times just to get right. I think I accidentally duplicated that. Definitely go through and take your time on it, as I've always said, some fun going off the grid of all of this. Have some fun with that said, that's a little bit more complicated than just dragging and dropping a material. Again, rewatch this as many times as you can to really grasp this area right here. Because we're going to add now smart materials to blend with what you have here. Stick around and stay tuned. 20. Establishing Outer Face Plate: Okay, let's continue in this next lesson. We're going to now try to create a mask that creates occlusion. So this hex pattern is in certain areas, for example, just this front area for instance. We can have it around so that it doesn't go into this back wiring Greeble. We're going to create a secondary texture of smart materials that are going to overlay on top of here and finish off with how we can make the two blend together. It's a little bit of practice from here combining with how we can make some of this come in. Well, let's get started. Let's go ahead and create that mask mask that's mainly pertaining to the faceplate. Now, with the face plate as we have it right now, it's just covering all the faceplate. But this texture that's going to come up is going to be a secondary one that handles the front areas, not the back where this Greeble is. I'll first start off by creating a folder and calling it front. Then I'm just going to drag the hex into there for this, going to add a white mask. I'm not really changing anything then. I'm just going to go through and just occlude certain areas. Maybe use polygon pill, I can use it but I got to also make sure to change it over here. First, click Polygon Fill. Click then into the selection mode I'm choosing that you can see I'll just choose all my areas here. Anything else? I can just simply clean up and hit X to switch like that. That just gives me a good head start on everything. I'm kind of switching between X when going through all this. There's a little bit of area here, a little bit of area there. Just kind of going through all these areas. Yama, Just kind of see, I'm just taking my time. I just dragging through here and you can just see where we're going through and what we're trying to get. It's just this front area that's going to be a mask. The beauty part is that if you take what you've learned in the cerebral part when we did the top, if you can remind yourself how we inverted the masks and went through the process of inverting the mask. I'm sorry, that wasn't correct. It wasn't the cerebral, it was the mandible jaw section. If you can now remember that it's going to do it like this and bring it all, and bring it all back like that. Maybe do a little bit more right across here so you can see a little bit more of everything. That's our mask. Anything that we're off on, you can just simply build back up once again. Now that we have our face frontal mask, it's applying to the hex. Let's now put something that goes over this hex. Now remember we can manipulate the shininess of this to help contrast as we go through right now. We're just going to keep it as is. I'll go through and take what we've learned in the past and apply it and combine it with what we got here. Now we'll start off with steel paint. We'll start off with scratched. Of course, I'm going to put that into a folder. Call that powder surface. And I'm just going to drop it all into there for now. I'm just going to add a white mask. We can do our editing there. Go through the smart material of steel paint, then we just go through and find where our color is. In all of this, we can do some things additionally to it. We can add a fill layer inside of this. For example, there isn't the proper color we want. You don't have to necessarily constrain yourself to one thing. You can add color additionally into this as well and get the exact same result if you want. That's something that's like FYI. But in this particular case, I may just go with seeing what I can manipulate here with the steel paint. Go ahead and see what I can find. It might just take me too terribly long. There's our color. Color right now is being manipulated through a channel of the substance. Material, node steel, rust. Were don't necessarily need to have that. Like steel painted, stained. I was going to change this, but I want to. I've been using the same one for so long. I'm now kind of thinking maybe I might try to have a little bit of fun with some other types as well. Okay, I like that one too. It has a little bit of a scratch or an interesting shape on that. I may just go with that and change my color. I was going to cut off the attribute on the other one and replace it, but I think I might go with this. Okay, so to recap, I'm going to delete that Steel gun matt and just go with steel paint scratched. Additionally, you can just do steel paint stained as well. That's going to have a similar effect. It's cool too, but don't get too affected on where you want it to be. This one is actually a little bit nicer, but you can see what I'm doing. I'm just going through and finding something I like and then just bringing it through maybe something like that. The idea is whatever you make sure that you are having something that contrasts from the that's underneath. I'm going to hit black mask. I'm going to add a generator that's to the top layer of that steel paint. It's getting a little complicated in the order, so don't worry. We're going to go through and invert and get everything showing again. But just to give you an idea, let's see here. We first wanted to create a folder for our front face. That's everything that's masked here. And it has our hex pattern we did in the last video. And this that hex pattern has three layers to it to give us a specularity glare. Then on top of the hex pattern are two patterns which are the steel painted and steel scratched and they're being blended through with the generator. Now these two smart materials are in their own unique folder because I'd like to edit it a little bit. Maybe I'd like to go through and apply something so that I can see a little bit more into this area right here. That's possible as well. We're going to go through and make some extra changes on here for the wear contrast. See I always like to walk through and find a little bit more change here and there, make sure everything is where I want to see it. Curvature weight is maxed out. I think I'd like it a little bit messy. Then once that's done, I'm going to go ahead and edit the folder outer dull. Is holding the two smart materials so that I can see a little bit more of the Hex material underneath. Remember, this is in the front face folder, it is not in the outer dole folder. I'm not going to be covering anything up with the hex like we did before. You can do it a whole bunch of different ways. You can create a custom brush or you can go back to that other way. We did it with the dynamic approach with it. We had those dynamic brushes that we worked with that believe a leak that we did. That's also something that we can do. You just have to make sure you're double clicking on it and you can put a process to it very similar to how you did before. You can see a little bit of the same pattern as before. And of course, you can do a little bit more. Now you can see it and you can see it. One thing that I would have you do if you want is go through the process of having a little bit of fun regarding contrasting the hex edge so it can be seen a little bit easier on top of the red steel painted smart material. That can be done in several ways. We can do it through the hex diffuse color, which I may just leave alone just for now. We can do it through a little bit more of a darker shade, red, for example. A little bit easier time there. Then we can go ahead and do it also in that same one, we can look at roughness to see if we want to maybe see things a little bit easier there. We can do that. That will help us out a bit. It helps us to see those streaks a little bit more then you can go back into again, the dull surface. And then re imagine and go back and forth between the x key like that. Another thing you can do is take note, we can go through the whole process of doing different values. Because right now what I'm doing is a value of strict value of 1.0 of black and white. Can also do softer values if you want where it's somewhat blending in here. Then you can just hit right click and then do a full one a little bit earlier on here. You can do something like that. I think I just did it wrong. I had the wrong one. It is interesting to just try and experiment through it. You can also don't forget to turn the size down to give yourself some more room. I want you to just have some fun just blending these two materials in. You don't have to commit to everything. You can just start off again. Go through, you can add a white mask to that folder. Start again if you want. You can start with a different brush. That two is different. That two is possible, okay? Another thing you can do is just get in the habit of being experiment. Just go through and have fun seeing what things look like through the whole process with different brushes. Whether they're manual brushes or they're charcoal brushes or dynamic brushes like this could be an interesting pattern that you can go. I want you to feel free to go through F, the best one that gives you an opportunity to have fun with. Make sure when you try, try them at different value sizes like how I'm doing right here. And then switch out the map and make it a little thicker down here, inverting the value. I want you to just enjoy having all sorts of things to work with. Another thing you can do is just add a mask on there at a generator. You can do the same thing you did before and just do a metal edged tear. Invert that mask through the generator and see what kind of tear you can establish just with this. That's something that's possible as well. You can do things like turn your grunge down quite a bit, go through and make it like messy like that. That's definitely something that you can do. If you do that, I probably would say return back to making it less shiny, but that's up to you. You can see that too, is a fun looking metal piece. But of course we're going to be texturing things like around here and here to be different. Don't get too crazy. Or if you want, you can just simply ignore everything, add a white mask and go to your leaks brush. That can be something you can do. Even a sandstorm, which is a fun one because they do these simulations and these simulations are fun to show what you can do. I would simply go through, and quite frankly, much fun as you can, just experimenting with all the different avenues of possibilities. And make sure you're switching between both size of the brush and the value of X, of black and white values you're subtracting. You're putting in areas, just try to find something that's a little bit aesthetically fun to work with. Maybe I'll make the brush a little bit easier, it freezes up like that. Just simply bring it back and then we'll just have a little bit of fun with it. All right, so that concludes that the next one is we'll do some secondary texturing around these metal spots around here and on top of here and finish up on the camera next. So with that said, stick around and stay tuned. 21. Finishing Face Plate Texturing: Okay, so we're now going to finish up our helmet here and it's going to be relatively simple. I'm going to fill in this dark area with a steel dark age. And maybe go with something a little bit more of a lighter steel here to help contrast with some different colors. Let's just go ahead and get started with that. To begin with, I'll go ahead and go through my smart material and select a steel dark age. And just simply put that in there and see all that steel dark stained. We'll go ahead and do that way to show us what we got here to help out save time with a mask. May just go ahead and just put this directly in the underneath the front face folder. That way I don't have to make anything too crazy with a mask in this area here. Finally, I'd like to texture around here and maybe on top of here just to give some extra textures. And that's not going to be too hard. I'll just do a steel scratched, could do a steel rust surface. There's not really such thing as a right or wrong. I like something that just want to go through and break down the different areas. You can see all these areas. This is a little too overly bright. I may just go with my seal scratched on here. I'll add a black mask like so now I'm going to texture these two areas above. That's going to first be me hitting the L K. If you remember we did that before. I'm sorry. I'm going to go ahead and hit a black mask and then re texture it all that way with LK. I'll just do this a little bit easier and quicker through the UV's to get what I want. Turn L off. I can just do the same principle over here as well, just to help us out. If you go outside the lines. No biggie. Just remember you can hit the X key, change the value to black, which changes the color of the mascular texturing. Nothing is going to be too detrimentally affected. To help blend that in, I'll take one quick over here to help me blend that in a little bit. I'm just going to go ahead and change the opacity of the base color on this steel scratch, just to make it a little bit as it goes through. In that way it matches in a little bit more. It's just like that one extra little piece. You can also feel free to break things up a little bit more. Maybe you want to do steel around here, just make sure you're not defecting the wires and such through. When doing that, we get that. Of course, we can do something similar in nature here if you want or if you would like to do something fancy. You can do something like this. Maybe have some of it be red and some of the stain just to help you out and get some different colors in there. And bring a little bit of this into it as well. If you want just to find different spots to help you out. I probably where that is there. All right. You having fun, you getting creative. That's all this is, All right. A good example of experimenting that I'd like you to try right now and just select your steel scratched. You can work with just slowly blending everything if you want to make things disappear. Just to have a little bit of fun, just getting yourself antiquated. And then of course hitting X key to work your way around. This is mainly the centralized theme about all of this is entirely been about experimenting. And then just go through and lighten the load of it by messing with the values to make them a little bit lighter. Don't make it 100% one or 100% two, just to have a little bit of fun. All right, now that we have a little bit more of this taking care of, we pretty much figured out our model and we're now going to move on into the final part of the helmet, which is going to be the cameras, and that's going to give us an opportunity to work with missive effects. So with that said, stick around and stay tuned. 22. Assinging Smart Materials to Camera: Okay. So, let's continue on now. All we have left is just to worry about is just these cameras here. I'm going to go ahead and get started with that. Now. To start with, I'd like to go ahead and create a little bit of a, it's going to be pretty simple, but it gives us an opportunity to work with a missive. Finally, for this character, again, I remind everyone for a missive. If you're looking for the extreme glow glare effect, that's a special effect and that's going to come on later on in the rendering process of this helmet. So keep that in mind, but for now what we're going to be doing is just applying emissive painting on here. Not the glow itself, but emissive painting. First things first, I'm going to create a new folder. I'm going to call that folder camera. I'm going to drop in steel painted and steel scratched. It's just like before. We've done it many times. First we add a black mask and then we add a generator. Then we add some metal edge Were then once you're done, invert the mask selection. Now once you've got that taken care of, let's go ahead and go back to the folder of the camera and add a black mask and choose to only a clue in the camera. That's going to be done through the polygon fill and I'm choosing the mesh fill for this. I'm just going to click on all of these areas right here and then deselect it. Now from here on out, feel free to make any adjustments that you see fit on here in if you wish or maybe you want to see what this looks like, just going through the scales of the generator, all the parameters for it, just to assess like that right looking glare if you want, and then constantly circle back into invert to see what it looks like. Def, definitely nothing wrong with that. I encourage you to go that route. Like this route right here, I'm probably going to stop on that end. Finally, we're going to go ahead and add some emissive effects. That's not that hard really. All we need to do is just simply add a fill air within the camera folder. Let's call this emissive. Let's disable all the channels because all we really need is the emissive channel. And it starts off dark and it goes in to light. And you can see how the ambient doesn't change too much. I'm going to keep it like this, choose this as my color. If you can find a missive or if it doesn't show up there, just make sure to double check into your texture set list right here and check your channels. And hit a, just find a missive through there. They should be there with the preset that we chose. But that's just the heads up, of course, like before, we'll add a black mask and we'll repaint in the effects where we see it. I'm choosing brush and I'm going through and going to choose a very soft brush size. But again, you can choose anything you want, like basic soft you can double click on, just simply bring in the emissive effects, hold left command and right and scroll across to make that a little bit smaller. You can see this overrides the, the dark material selection. And that's again because of the fact that what is it? It's because of the fact that emissive is like the ambience being turned up quite a bit. Also, take note on how there's still some ugliness here. The roughness isn't really shiny, so it doesn't look too much like a ****. Well, we can maybe do something there with the roughness if we want. We can, for example, tweak the roughness that way. We might have to take this out of the folder because the folder roughness might be overriding everything. But just on the safe side, one thing I like to do is go to the roughness channel, make sure it's set to normal. If it is, I just like to make sure Set that way. Also, if it's a normal map issue or anything like that, then I'm going or a height issue, I'm going to make sure all of those parameters are additionally set to normal. And I'm just kind of going through the roughness, I'm going through the normal map, just making sure that nothing is blending below. And that should help us out a little bit more. But if we get a little bit of a, a color in all of that, I think the one thing we're forgetting is even though we set everything to normal, we forgot to turn everything off. The height was what it was creating the most. Even though I sent it to be normal and override, it still wasn't going through. I think the height is turned on. Normal didn't really need to be. What it was was the normal map was being overrided. Materials below I'm the height map height channel was being used, blending into this area from materials we made from below. We set that blending mode in height to be normal and not blend like it is here. That allows us to override everything that's on top so we have a little bit more of a cleaner sheen of a missive effect. That said, we're going to go ahead and conclude this. We're going to now move on into the attachment, building off everything we did including the emissive, and take it from there. So with that said, stick around and stay tuned. 23. Creating Custom Lens Layers: Okay, so let's continue in this video now. We're going to continue on into our eye attachment. We finished our main helmet and you can see the hexagon pattern on this front plate here and how we got that established through several different filler customizations and how we blended it in with a smart material on top of it. And how we went through generators. We also went through a demonstration of some of the dynamic brushes off to the side to help you catch up. And finished with a little bit of understanding of the emissive effects, the Ems behavior for the eye ****. Of course, like we said before, we're going to talk to you a little bit about how those rendering effects glow later on down the course, What that said. Let's go ahead and get started with this eye attachment. First thing I'll do is I'll turn off the visibility of the helmet and click onto my eye attachment and we now have a new map. Again, this is an educational model for you to learn off of. We have all sorts texturing maps for you to practice. I'm going to go ahead and add a folder in here. Left click on that, and I'm just going to call it for now, ****. Now what I'd like to do, create a **** area for this eye attachment to begin with. And for that we're going to be working with opacity, roughness, and color. And we're going to have three different fill layers to dictate and control all of that. We'll then finish off with creating like a metal barrier that surrounds all of that with that metal barrier. We'll show you how we can edit a smart material to add a little bit more height. With that said, let's get started. Now, in this ****, I'm just going to go this **** folder, I'm just going to ahead and just click on it, add a fill layer. I'm going to call this hex capacity. And we're going to build off of what we've already done so far on here or build off of what we've done so far in the last lessons. I'm going to first disable all of the channels except the opacity channel. Again, if you don't have this channel or the emissive, make sure you go through texture set setting and add those channels in both through here and look for opacity. If you can't find them, go ahead and make sure you click on that shader settings and be sure that PBR metal rough with alpha blending is turned on. Let's keep going. We'll just click back into our layers tab. Now I'm just going to go down here to Opacity and I'm just going to type in hexagon or hex, and I'm going to look for hex border. Now it is a alpha channel, the opacity and therefore an alpha map. In other words a black and white map is going to show up in this, repeatable in this process. Again, which is black is covered up, which is white is showing. Right now we're seeing white borders showing through. Let's go ahead and invert that map. Let's just simply go to parameters change false to true. And you can see the borders are now the ones that have become black and everything else is turned white. Now all that's left is simply to change the scale of this alpha channel up. Let's just bring this down. I'm going to choose something like 1905. You see, it gives us this, but it's also covering everything that you see, this alpha cutout. I'd like to go ahead and go to our folder and merely add a black mask. Now that's going to cover everything up. Let's re draw where we want this to be at. Left click on that mask hold, left command, and right click and drag across. Additionally, you can just hit the Spacebar. Spacebar, but right click to change your size. And we'll just go ahead and draw it in that way. And I'm just going to click it in like so. Now if we take a look some of the light by hitting Shift, right click, and dragging across as it stands right now, it's like an alpha cut out. It's not really glass or anything. You can see the light is reflecting, but it's 100% see through. The first thing I'd like to do is help you understand this a little bit better. We're going to make a fill layer that makes this look a little bit more like a **** or a piece of glass. I'll just click on Hex Opacity. I'll click on Fill Layer. I'll double click and hit Roughness. Actually, I'll just. Glass. Since this is being affected through roughness, I'll turn everything off except the roughness. Since this is on top, it's going to affect all the roughness that is below. I'm just going to turn this dial down. Take a look at that light right there. You see where my mouse is. We put it over. Let me see if I can get another angle on this. There's the light right there. If we put it over, it's 100% clear. Let's go ahead and turn the opacity a little bit. This can look a little bit more like a glass. Now this is where we get to work a little bit more with the various base channels. To tweak the parameters, first thing you'll do is go to layers where it says base color, change it to opacity. And then left click where it says 100. And change that down. Now it looks a little bit more like a glass and you see a little bit more of the light going in between. It has a little bit more closer look to a glass. It now, additionally with this hexapacity, let's see if we can change out some of that color. Now, right now it's just this default, high pitch gray, maybe. Let's have a little fun with something a little bit like that to work with. It's definitely looking a little bit more like what we want to see. We still have one more thing left and that we had to working like a white border of hexes. It's got to be able to blend well with the border that is above the hex opacity borders. Let's go ahead and do this One last thing before moving onto our metal border. For that, I'm going to go ahead and hit Filer. I'm going to go ahead and turn off everything except color and opacity because I'm going to be manipulating these two. First thing, color, I'm going to choose the exact same piece. Because what I wanted to do is I want it to be the same pattern, and I want it to match with this hexa pattern as well. If I look down here, it's 1905 for tile. I'd like it to be exactly the same when I drag it across in 1905. All right, Right now, everything is covering this up. Everything is covering up hex opacity. And I'll even go ahead and double click so we don't hex border color as it stands. All we have is just a black and white channel. It's an alpha map. It doesn't have any color or anything to it. What we got to do is figure out a way to make this blend with things that are below. If you look to the right, there are blending choices that we can do since it's completely black and white screen is one of the better ones to help make this go all the way through. Now, you may have noticed nothing changed. If you're wanting to know why it's because I'm up here and I, I'm still on opacity. I'm not affecting color. Let's undo that and get back to normal. Let me choose base color again. Now, let me go ahead and choose Screen. Now we got everything blended, but it's now 100% solid. Why is that? Well, the answer is pretty simple, and it is just that opacity. There's another opacity channel on top of the hex opacity. And it's right now affecting everything that is below. If you wanted to, you could dim it down a little bit this way to affect what you see. Like for example, you can change this to be like, for example, a little bit lower down to here maybe. Then you can go through and make some choices with the hexopacity be changed as well. This is where that tweaking comes into play. Additionally, you can then work on making a little bit more of a solidified color. You can make this go through a little bit more easier. I am going to make it look a little bit like that. If I find these white borders are too strong, that two is something you can work on. Let's go back to base color. I find this white too strong. Our hex color is on screen. Let's just turn this down a little bit and you can make that blend. Now it's starting to look a little bit more like a glass. Let's go ahead and get back to it so we can review. The opacity of the hex color is obstructing the opacity that is below, which is hex opacity filter. If we turn this off, you're going to have the full opacity effects of what this is. However, because we're on base opacity and we turn the channel much, much lower down. We've allowed a lot of what the opacity attributes below to shine through and get some results. This does have a little bit of an effect on that. We have to do some tweaking to get what we want to see. For now, I'm going to go ahead and keep it like that. If you want, you can make it a little bit more predominant like just you can see how it's looking, a little bit more like a hex shape. If you want that color to look a little bit brighter, you know to go into the base color and turn up the opacity there. This has been mainly about cycling through different channels to help get you antiquated and familiar with adjusting capacity difference is through here. Now that we have that done, let's just go ahead and finish up by putting like a little bit of a border around here. What I'm going to do is I'm going to create another folder and I'm going to take that folder, I'm just going to call this folder steel ****. I'm just going to go ahead and take a smart material this time, nothing too crazy, and drop it into that border like so. Then I'm just merely going to add a black mask. I'm going to, I want this to go the area right here. I don't want it to go past this line. I may stop there, but I just wanted to be a there. I'm starting off with a white circle, which you can find through a brush like for example, basic card, I have the value set to white. Ideally we want to make it just a little bit bigger. I'm holding down the right click key to go through all the processes. I'm making sure my spacing is down, I'm sure that the hardness is turned all the way to the max. I haven't mentioned it, but if you can try to switch this to UV, it helps a little bit, If you're texturing and creating like a little bit of opacity in the back, it helps to separate between the two. I'm just going to go ahead and just draw in a little bit of everything. It's a little bit of a process, it's like that, but it's also like playing operation. Don't go outside of the lines. You might just hold the left click down a little bit and just very smoothly. Just then I'm going to make a smaller draw size and hit X. You can hold space bar to do that as well. Then I'm just going to go ahead and draw a little bit of a barrier here. A couple of things we need to clean up on. You see those hexagon patterns? That's easy to fix. But another thing is I think I want to add a lip in there. We see a little bit more. What I'll do is I'm going to add a fill layer. Turn everything off on this fill layer except for height. And I'm just going to bring it up a little bit, we can see it a little bit more. Again, if there's anything that you wish to change, just take a look over anything that feels like it's a little bit of, don't hesitate to redraw it in any way. It's just very normal, like it's a little bit thin right up here, maybe a little bit here. Just working it through and see how we have a little bit more of a lip around there. Then you see those hex patterns going through. Let's go ahead and clean all that up. And I'm just cleaning that up in the **** mask. I'm drawing that out. So you want to make your way of going all the way around and cleaning up like that, that's giving you a little bit of a breakdown on the glass material. Again, just go ahead and keep having fun with this. Remember that sometimes this is pretty hard to get on the first try. That's why we have these video tutorials so you can stop, rewind and re watch again as you're learning. That said, we're going to continue on with our eye texture and move on into the next part, which will be the connector. Stick around and stay tuned. 24. Texturing Out Connector: Okay, so let's continue in this video now. We're going to go on ahead and just do the texturing of the connector here. And that's not going to be too hard, it's pretty standard. We'll just go through at a beginner point and just drawing a folder and call it connector. Just do a couple of smart materials and encourage just about everyone in there to go through as many different combinations as they want. For example, I might start off with the combination steel painted. I'm kind of leering towards steel gun, but we'll have to see also like steel paint and stained or scrapped. It's kind of a little bit nicer, but let us go through and just see what all of the different variable choices are here. I can also do just kind of drop it in, see what it kind of looks like on there, and decide whether that's something you want to see or not. And that's pretty good. I also don't mind the let's see here right now, all I'm doing is just simply taking my time, just going through and bringing in a whole bunch of choices on here. See here, like for example, we got steel painted. I like that one probably has a bit of a little bit of what I want to go for. I'll start off with steel painted. I'll go with steel gun just to see the two how they blend together. Now make sure that these two are blended in. I'll go ahead and assign a mask and make sure that it's only these areas here that are getting seen. The connector, we'll start with going into our Pon. Phil, I'm I could do it that way but I think I'd rather do it to mesh. Phil, feel like that we'll get through everything we need. Once we have that, let's go ahead and add a generator into it. You don't have to add a generator though. You can go through the smart masks as well to get what you want, but I just want to see what this does if you get this opacity look. That's typical of something that happens when you don't add a mask. Make sure you're adding a black mask. And then add your generator. Repeat this. I added a black mask. Added generator. Now let's invert that already. I'm happy. Little bit. For the most part of I don't want to do anything at face value. For example, I would like to go through and maybe go through the process of enjoying a little bit of fun, tweaking out the colors of the smart material, for example, or the generator. This is where, again, we're trying to get that opportunity to repeat the process so you can have as much time as possible. Establishing a foundation of experimenting with different sliders through the generator, knowing where everything is, including how to manipulate color and smart materials. Something like this could be a interesting color combined with metal edge tear that could be an interesting color. That to maybe edge smoothness doesn't give us too terribly much the ambient occlusion masking. It's a little something we can do but then I'd like to tear down the contrast and I'd like to tear down were level and then see what more ambient occlusion looks like on there. You want to keep at that point where you just want to see all the different choices you can make. Let's see here. That's probably all right with me right there. Now I am seeing a little bit of where I don't necessarily want to see the wires in all of this. I may leave the wires out in this just for now because I don't know if I want to do something else with them. One thing I am thinking though, I know I don't want to do anything with these wires. But by that I mean I don't necessarily want to do any too much texturing or anything like that with them. But one thing I want to do is you see all these artifacts and this comes from, again, the fact that the high res doesn't have the thin wires and the low res, it baked on top of that right through to this area. That's why you have that look. I disregarded it mainly because one of the things I eventually wanted to do, and it's not part of this lesson, is I wanted to do emissive effect with the wires. I can give you an example. What I mean, I'll take color right here and work only the emissive channel. And maybe I'll turn that around by putting a color into it that can give a pretty cool looking effect depending on what you want to see. Right now, I have a folder with emissive wire, one, like for example, I have a folder that's only showing for the emissive in the mask. And I put it in there I can do a deal where I can create some glows. And I wanted to keep that from people for a while because I didn't want too many processes going through because this is more of the rendering process. But I'm thinking I might just show you simply so you can get an idea of what to expect. Let me go ahead and give you an example, like if I go through and add black mask on this and maybe have a couple of emissive wires for this one. And then I'll duplicate that with control D or right click and duplicate it. Add a new black mask. Go through and maybe change a different color to something else. Just doing this so you can get an idea of what it looks like or where we're going to be going with it. Maybe something that's a little more complimentary to the blue, maybe something a little more green. Just to give you an idea where we're going to be going with all of this, then I'm just going to reapply again, different areas for it. This is just again, to show you the potential where we're going with it, but we didn't want to do it on this video lesson. We wanted to do it on more of the rendering area, but to enable the missive effects, you got to do a couple of things. First, you got to go up to shader settings and make sure not shader settings, you have to first go up to display settings and activate that post effect. You won't get the glow just yet. And it's mainly because of the fact that shader settings, you got to go through a missive intensity and crank that up. You can see already some cool looking effects on here. Additionally to that though, the checkbox tends to be cut off, but you got to activate post effects and turn on glare and then switch shape to bloom. That's going to be where you find everything that you're looking for. We were hoping to do something like that on here. Later on down the road. As you can see, we didn't want to go too too far into it. As you can see, we just, again, the reason that's not glowing is because it's on a really low fractal. But you can see we can mess around with different variances, different colors. You can see all the different cases. Or you can have a variety of different red values that too can wash away. Like maybe a red here and a more desaturated or different color red here. We didn't want to go too far into it, as you can see, we just wanted to keep that a little bit of a secret. But we figured we'll give you a little bit of taste of it and I don't think that's all the wires yet. When the time comes for rendering, we're going to dip a little bit deeper into all of that so you can have a little bit more fun with emissive effects. Again, that's just activating for things like the post effects on here. We're not really even touching the surface on things such as, should we say it, things such as shadows aren't even enabled here right now. As we can see, you can see them, but they're not like really having high samples. But we just wanted to give you a little bit of taste of where that's going to be going. A little preview once we finish our eye connectors that said that was just to dip your feet wet and give you an idea where we're going and why we didn't texture these little wires the same way we did the main connectors that said we're going to move on to the next part of the eye, stick around and stay tuned. And while you're at it, go ahead and turn off the, the shader of post defects by just clicking on display settings and hit Activate and stick around and stay tuned. 25. Detailing the Eye Sphere: Okay, so let's continue in this video. We're just going to go ahead and finish up what we have here in the middle lie, which shouldn't be too hard. Now, I gave you a little bit of a taste on the emissive effects with wires and just for now, I'm going to turn that off and save that later. And I just put like a steel painted coat in there so I can not have myself distracted. I'm going to go ahead now and just start in with the center area here. We'll just do a couple of smart materials, start off with plastic glossy or let me look at this. We got some interesting ones. I like the plastic scuffed plasty. Again, this goes back to keep experimenting, looking for fun ones to mess around with. You might find an interesting shape in all of these. I'm not going to say like you have to get tunnel visioned in what I do. It's not necessary. But please just always be in that state of constant experimentation. And of course I'll do a steel scratched on there, so we'll put those underneath here. You may be thinking like before we're just going to add a generator. We're going to do something a little bit different. That is, I'm going to add a black mask and we're going to put a smart mask in just to keep things a little bit different. I'll go through the assets library on the left here and select my smart mask. And it's just like creating a generator, but just a little bit quicker. You have all sorts of fun ones that you can get through here. They are fun. I think I'll test run ambient occlusion strong to see what that gives me. And I'll just click and drag over the black mask. It already gives us our editor. Let's click on that mask editor and see if we can invert some things. Here you can see we have indeed inverted some things. We have a little bit of a bump from our height. So let's go ahead and disable that. You should have a little bit of experience there with that. Let's see if we can do that right now. Let's go through height. Let's just go ahead and turn down the classic just so it's a little bit more readable. We like this effect. It's giving us right here. There's something to be even said right here how it affects which could be something down the road. Let's go ahead and put this into a folder. Now, this is your part where you go and you adjust the parameters. Repetition, Repetition, repetition. I want you to start thinking of all the fun ways you can have some fun here. And there may be a scenario where we may be wanting to do a little bit of testing. But first things first, let's edit this smart material with the color. See if we can get it to match something here, like our reds, something like that. Maybe I do like how it just blends into a dust look. But don't forget, steel scratch is a base. Go ahead and drop other smart materials in above steel scratch just to see what they look like. Just to have some fun, just to get comfortable, just to commit, any excuse you can to do repetition. A good example, let's try steel, dark age that gives us a nice strong ambient occlusion just to see what that gives us and you can see all the details gnarled out. And that's a cool look right there. See if what happens if we just turn the height but the base color opacity down of the entire smart mask and get something pretty neat there. It's intriguing. Again, let's go through height and mess around with turning that down. That's got its own little unique flavor. I like that as well. Let's go ahead and turn the folder off and compare and contrast what we have. I like that style, a little bit of both. It's up to you how you want to take that. But now that we have a folder that's pretty much covering everything, it's meant only to cover the center main ball. I'm going to make that main folder center ball. If you turn it on or off, you can see the differences. Let's go ahead and assign it to this main area that we see right here. To do that, let's just simply go through and add a black mask and bring in what we want to see. I'm probably going to choose the polygon fill. Polygon fill, but the entire mesh pill because this is the main area that I want to see. But I don't want the UV shells covered up. Worked on that. I'm going to, since this is a UV, let's take that off, make sure to hit X. We can see that a little bit more. This is also another piece. Again, I'm working with the UV's here. We got a little bit more of what we want. Maybe one thing that we can do is go through and edit some things like maybe our steel dark age, our plastic glossy is covering some things up here. Let us see that more. What I will do is see too much of that. I'm going to add a second. I'm going to add above it steel for all of this and I'm going to see if I can maybe do a little bit of work here. I would like to add some steel here. Let's go ahead and add a black mask. I'm adding a new material and choosing some new spots here for the wires. I'll add a different material. I'll add, for example, something like a dark rubber or something like that to address some things differently here. Let's see if we can just see what this looks like though with a low flow Pacy can just to have some fun, switch it out again, make it a little bit lower just to have a little bit of fun. Now it's going to be pretty simple stuff from this point on. All I'm doing at this point is just adding some smart materials in, in everything and I'm going to eventually put a folder for them all to be categorized in steel scratch. I'm just going to say we'll do something for the wires. So what do we got over here? We can choose maybe a rubber, maybe a plastic rubber tire might be fun. Let's go ahead and do that for the wires. We can have a little bit of fun with the wires. Now let's add a black mask on that. Let's see if we can add a little bit of a fill for all of these places. All right, so let's see how it looks. So far, so good. Not too bad. Now we're getting there slowly. Got a little bit more to work on here. For example, I see something where we got to do, I'd like to maybe, how should I say it, maybe a second dark age put over this outer area here. Or maybe some a dark steel, steel, dark coat like that. We're just doing individual masks now to give us everything had a black mask. Let's see, here we mask. Looks like. There we go, fixed it. All right, so I didn't need to like texture it. I just simply put the steel painted clear coat underneath the ****. That way this is coming out on top and everything else is on bottom. That works a little bit more for us. All right, we're getting there. Let's go ahead and No, that's not what I want. See here, still fill in, see I like this part. I got to look over here to the UV's to see where I'm affecting this. There it is right there. This is awfully bright and I would like to something dark in there or go through the center eyeball and polygon fill and just work all that. That means working with some masks here in the plastic glossy. Be very careful how we get through all this because we have a whole bunch of masks and it's going to be filling up pretty easy. I'd like is to put something here. I'm probably going to ask what would make the most sense is probably the reason we can't see it right now, even though we're hitting white, is probably because the steel fill in is what's covering it as well as everything else when we turn these two off. Let's go ahead. I'm probably just fighting with the speculator or the generator. I forgot. That's something. Oh well I'm just right now just making this blend a little bit easier now. The red is a little bit cherry and that's okay. We can just go through a different color or desaturate out the base in the smart material. Do that. Something like that. Maybe maybe a little bit, something more like that. That's definitely a possibility, but that's what we want. We're going to go ahead and organize it all into a folder. Call it, take everything we've made and we're going to go through it. All one folder that have anything. Okay. Starting off this steel painted clear coat, I wanted to have this mainly underneath. It's going to be taking care of things underneath here. The **** is coming over it. The reason I put it underneath is because if I put it like on top, it would cover just about everything that we made on the **** work. And I wanted to keep that little barrier, that metal brace barrier. As far as the center goes, what we did was we added a series of materials, individual customized masks to them. For example, with the exception of the center eyeball, that was done mainly through, that's this part right here, that was done mainly through two smart materials blended with a smart mask, which is the dust mask. This one here, occlusion strong, you can see that being plugged through the plastic, glossy and it's bleeding down into the dark age smart material that is also combined with the steel scratch. Honestly, I like. I feel like we get a better pronounce look with it. May just go on ahead and delete off the steel scratch now that I see where it is. Because I like these shadows that are going on here. Now after we do that, we go to the steel fill in. This is the stuff that is around the metal of it. We just wanted to give some different color textures. Feel free to go across and replay all of these textures on here so you can have fun just taking your time on all of it is definitely, we only did like one panel just to show you what we could do. That was it. But definitely you want to be taking the opportunity to enjoy going through all of that. The next thing that we did, we went going to the wires and trying to give a little bit more of a contrast color. Finally, one thing we can do, I'm not sure if it really is necessary. We have enough 0 on here, ambient occlusion on here, but I'm going to turn off everything except color and see just what it looks like if we delete everything off our baked maps come up and then set the base color and then go to multiply. Now let's see how that looks. It's a little dark. Again, change the opacity. We can plug that through with a little bit more opacity there. Now, again, if you've gotten this far, everything I did shouldn't be that hard. Including how to handle even these bras. If you think these braces should have a different color, at this point, you know what to do to experiment with having those Brac go through, steal, fill in, even if you want and change to what you want to see. If that's what you'd like to do. There's really no such thing as the wrong path at this point for any of this. Another thing that we can also do is we can go through and even add another smart material additionally to this if you want just to. Again, just simply trying to test the waters of what something might look like on just these braces. You can do that. It's anything too terrible, it's definitely doable. I certainly do encourage you to go through and be experiment, I would say be creative, be creative. There's plenty of things that you can go ahead and do, but don't get tunnel vision, that this is the only thing you can do. Because again, we have I want you now thinking about base colors and manipulating opacities through base colors if you think that this is siding in too much. This one also, let me see if I can manipulate the polygon on that one. I think we got one of the plastics or the steel fill ins that's affecting that. There we go. Thank again, just keep doing this. The other thing that's nice about all this is that doing this all gives definitely ample opportunity to test the grounds for troubleshooting like I just did right there. Again, this is up to you how you want to fix it. I'm going to go ahead and let you make your own, and then I'm going to make my own. And then we're going to compare notes on the next one, which is going to be about exporting out the textures to Unity. With that said, stick around, and stay tuned. 26. Exporting Textures To Unity: Okay, so let's move on in this video now. We're going to go over the process of exporting out multiple textures now from our PBR texturing workflow and how we can re import them into a three D software package. In this case a game engine of choice we'll be using, which will be Unity. Let's get started. Now that we have everything that we see in front of us, establish most of the texturing that we want done, I may just do one extra thing before going through the process of exporting our textures. And I'm just going to add a fill layer on top of everything because I'm wanting to put a little bit of a glow in the center there. I'm just going to disable all the channels on here except 0 missive and maybe choose a color that I'd like to see on there. Like nothing too insane, nothing too crazy. Something like a desaturated color. Finally, I'm going to name this layer glow. Now, again, there's no glare, there's no bloom effects going on. We're saving that for rendering an eye ray. So I'm just going to add a black mask in here. Just going to left click on that mask, make sure the value is white. And maybe go through and just give it a nice little sheen, glow like. So. Then I'm going to go through all the different channels up here. I'll start with the missive and turn the opacity down a little bit. Has a little bit of a blend look to it. Just one quick little change I wanted to do. Moving on, let's get started exporting out all these textures. Now, as you remember, this model has two texture sets. What that means is that, for example, the helmet is going to be exporting a series of textures out. The eye attachment is going to be a series of textures out as they have two shaders, therefore two UV sets. You may say it's quite a few maps. Is it like this for every game object? No, this is a three D educational model. Just meant to give you as much practice and opportunity as possible. Typically, asset will have one UV set. If we're talking about U dims, it's probably going to come to another more advanced UV and texturing course down the road. But I want the foundation of everyone to understand the basics on UV. Let's get started on exporting these all out now. First thing we'll do is file Export Textures. Once you bring that up, you will see three tabs. One is Settings Output and List of Exports. Let's start with Settings Tab. If you'll see in the Global Settings, this lists all the different UV sets, A K, the different shaders that are applied. In this case the helmet and the eye attachment both checked on. Therefore, both are going to have a setting for you. Now, if we move over to the general export parameters, we have the location where all the maps are going to go. We have the output template, which is an important one for you to understand. We'll circle around that as well, as well as the type of file you can choose. Some people choose Targa files. Tga files. J Peg in this case will be working just with PNG's something very simple. We're also going to be you can choose 2048. If I were you, I would choose 2048. But I exported all this out in 40 96, so I'll be doing my demonstration that way. Now let's go over to this output template. This is probably the most trickiest one around here because a lot of the time you look at this, this can be very confusing because it requires a particular amount of knowledge understanding what each map is doing. Fortunately, Substance Painter gives us these presets for every type of software to help us make our job a little bit easier. Let me give you an example. In this particular case, we would primarily be working on the Unity render pipe line specular, which is this. And it gives us a detail of the maps that are going to be exported. You have this very convoluted looking line right here, but the only part you need to pay attention to is the underscore that comes after this texture set, which is in this case albedo. That tells us this is the color map, there's the texture, this is going to be our spec map. And then we see normal, that's normal map. This is going to be a mission, that's a missive map. Those are the ones that we're going to go through and export. In other words, you're going to see four maps here on eye attachment and four maps here on helmet. Now with that said, I want you to go ahead now and open up Unity. I'm going to keep this little option here open because we want to do something here. If you haven't right now, go to your Unity project and open up Unity Hub. Please feel free at this time to pause the video to get this open. Now, once you've had this turned on, go ahead and hit a new project. Hit Three D Core, hit Create Project. And what's going to happen is a loading screen is going to come up and it's going to be a long, lengthy process of loading and creating a new project for you. All right, now once that comes up, you should have something along the lines of this. Now let's go ahead and just tackle into here. One thing I want you to do is before we export our texture out, let's go over and find our three D model in our finder. Once you have it open, let's go ahead and make sure we have our scenes selected and choose our low res FBX. And drag it in there. You should have your model along with two shaders attached. Now for now, let's just go ahead and leave it just like that. We're going to look at a couple of things about this model. One, you're not really going to see it, let's just drag it in here and you'll notice it is super tiny. Small. Hit the R key and just drag it across from left to right until it gets bigger and bigger and bigger. Hit the key to translate it across. And then hit the key on this light to give us a little bit of opportunity to see a little bit more light. And I'll just leave it like that. After you're done with that, let's left click on this little tab here. I'm sorry, left double click on here. You should see an orange barrier. So keep in mind, I'm working on Unity 2023. Let's go here and see our materials. Now, materials is like another word for shader, like the texture setlist. You even see it. It's called Helmet one. What I'd like you to take a look at right now, it's just edited out because I want to do this from scratch. What I want you to take a look at is all the channels that we can plug something in. You may want to take a look at something like occlusion. Occlusion, referring to the ambient occlusion is a map that we generated from substance painter. However, if we see it's not one of the maps that gets exported. This is why I wanted to go into talking about how we can get and edit and put additional maps into presets in order to match with the shader. In this particular case, let's not go too crazy. Let's just go ahead and just simply add an ambient occlusion because it can get a little bit trickier. Further beyond this, I want you to try something simple. Go ahead and left click on that universal render pipeline, Specular, duplicate it, then right click on it again. Rename it, let's call it Unity to. It's the same one as this one. It's just another preset. But what we're going to do is just add one more map for it to export. Instead of four textures. It's going to be 55 for this, 1.5 for the helmet to do that, let's just go ahead and hit Gray. Let's ask ourselves, what was it that we wanted to export? It was an ambient occlusion map. We see ambient occlusion. Let's left click and drag and put it in there. Not the alpha channel, just the gray channel. And that's it. Now let's go over to setting. And you remember all those presets. Let's go down and we see our unity two that we made. Let's just go ahead and keep it simple and hit Export. You can see all the different texture maps have gone through. Let's go ahead and check our folder on here. Now you will see the maps that we made. It should be a total of ten maps. Let's go now back in to our project, of our Unity project. We have our three D model. Let's just start with something easy. Let's just go and create. Let's go through scene. Let's just go ahead and let's just make this easy. Create a material. This material will be for the helmet, so we'll call it helmet. And now we're going to go ahead and left click, drag and apply it onto this helmet that we see here. Okay. In this now we're going to go ahead and put all our maps in. Let's go ahead and just do something similar. Let's just drag in all our helmet only maps. That's these maps here. And if you want to go back and export these one at a time, go ahead. But you should be dragging in about five textures at a time. Okay, now let's go ahead and double click on this helmet. And I'd like to change this from standard just for now, specular start up just for now. I'm going to go ahead now and just plug in. If we look here, let's go to our helmet albedo. We look here, there's albedo and it's just matching it up like so. All right. Now let's go down to specular, Let's see, we see specular smoothness right here. Let's click on the helmet again and match that up so you can see it slowly starting to make its way into here. We see the normal map, let's bring that in. But oh, it looks weird, it's messed up. We take a look, this texture was not set to normal. You can fix it here with now or you can set it into the normal map here. That will also fix it. But I like to go ahead and just fix it through the shader. It's a, and you can see it's starting now to line up. Now we do have a hype map that we made, but it's a personal call I'm not really going to do too much. Also, I look at all these crevices and all this stuff could be done with ambient occlusion. We see occlusion is our next one. I'm just going to go ahead and put that in. You can also see we have a little bit of a dial for controlling things now. Lastly, I have the emissive map. I didn't seem to bring that in. Let me check to see where the emissive is. It's usually identified by being a very black and dark map. And I can already look at here and see this one's for the eye and yeah, this one's for the eye and this one's for the helmet because there's several dots and there's just one dot for the emissive texture. Let me go ahead and bring that in right now and make sure that when we bring it in we got it all taken care of. Let's click on that shader. Let's go ahead and look to find a Emission. Now you can see this little checkbox here. Let's click on that and drop our map in, and you'll see the emission Now. Now that we've done that, let's go ahead and we can create a folder. I'm right now just going to create another material just to show you this one last time with the material like so. And I'm just going to left click, drag. And now I'm going to go slightly faster. I'm just going to select all my textures out this time around. It looks like that's just about it. Now let's bring it all in. Okay, so we have everything that we want to see. Let's go ahead and get this started here. Let's start off with finding our, our material material. Let's find the diffuse texture for this. That's the specular as it looks like. Let's look for the color. And that would be this. Let's check that eye then let's go through, bring it in there. Next one again I'm looking at this metallic. Let's keep everything the same. I'm going to do specular set up again. We're going to go specular. We see the specular smoothness. Let's go ahead and click on that. And bring that in here like we need a normal map and we're going to have to fix it afterwards. Let's go ahead and bring that in. Hit then of course we need an occlusion, let's bring that in there. That helps us with the R inclusion. Finally let's go ahead and just plug in a real quick emission. Let's check the box on. Let's go ahead and find that little faded, dark green and bring that in. You can see the dark green pop up. Now that we have that all taken care of, you can definitely freely row, we have our textures put in. We can do one last thing on here for making this a little bit lighter color. One thing that a lot of people want to do to try to match a little bit easier is if they, for example, click on a texture of the color, See albedo two, and then click on that little clock. If you go to the default, you can maybe get a little bit more of a lighter, easier seen color that might help. That's definitely your parameter as well. Feel free to experiment, but that is how we transfer our textures in. With that said, we're going to now move on into the rendering phase and, and talk a little bit more about a missive and glow effects. Stick around and stay tuned. 27. Setting Up Emissive Effects for Rendering: Okay, so let's continue in this video. Now we're going to start to get ready to render. But first things first, we're going to do some tweaking to our textures, particularly the emissive textures, and how we can manipulate different intensities through the base channel to give us ultimate optimal results. And then show you how the rendering process crash course works before we go into the next video, which will be more of a more opportunity to explore deeper into all of the settings. With that said, let's start with how we can set some emissive effects up. You can see already I have a bit of a glow and you're probably wondering where that comes from. Well, I explained it before in the video when we were doing a demonstration with the wires. Let's just go ahead and start. Take this fill layer for example. You may notice it's been masked to these areas. Now the reason it glows is because the emissive channel is turned on and the green glow is relatively high that tell substance painter to glow around here. Now, with that said, to enable that bloom effect, you have to have a couple of things again enabled. One is that you have to have your intense missive intensity a little bit higher then that's under shader settings up here in the upper right. Additionally, when we go to display settings, we have to hit activate post effects. Your bar might be cut off here, so you might have to slide over to the right and look for that glare. Look where it says Bloom. You can change that to many different versions. I choose the Bloom effect though. And then you can actually manipulate effects that way. Don't forget though, when you look at glare, make sure that box is also checked as well. Moving on from that, I'd like to now go ahead and since this is a little bit of an opacity of slightly translucent ****, there's a model piece that's built behind here. Now I'd like to get some practice on establishing an emissive texture behind this **** so that you can see it. Let's go back into eye attachment. All right, when we click on eye attachment, let's go ahead and make a fill layer. Let's go ahead and disable all the channels except emissive. And change the emissive color to, we can do something like a green. It's only glowing like that because of our, our effect. We're going to change that in a second here. Let's call this back **** light. Okay, at a black mask, since there's a little model piece beneath here. If you look, this is where the UV shell. If I texture it, you're going to texture into adjacent pieces. One thing you got to be careful to do is find alignment and look to do UV wrap. That way you can give a little bit of a texture. Another way you can do it is just simply go through the polygon fill and choose the UV chunk fill, and do it that way as well. I like to do it though the other way with a brush, if we want to be honest. Because maybe I can work a little bit easier into creating like a little bit of a fade effect. Now you see a little bit of it already. But where I want to shine on this and impress upon you is that we can control the intensity of the emissive effect. Now, right now as it stands, it's pretty high. If we scroll that down though, we can get something a little bit more interesting. Again, I'm now in the display setting and that's controlling the bloom. We turn that emissive intensity all the way out. You can see that it's like a hard line. We turn that down and we see a now blend in that gives us that illusion of that color of a **** that's right in front of it. Now with that said, when we do that, it universally affects all the glares and all the blooms. Let's just go ahead and change that right now, if you take a look at the helmet. You'll see that the opacity of the emissive is pretty low. If we want, we can bring that back up. One other thing we can do, I'm leaning towards this, is just crank it all the way up like that. And then just control all the emissive effects that you have by clicking on the emissive to the channel and then messing with the opacity as the slider. That way you have individual control across every one of these. Like we have the green emissive layer, we're on the emissive channel, let's change its opacity. So let's go back to the eye attachment and manipulate the back **** opacity down. So we can turn that back down so you can see how that looks. Now with that said, there's just a couple more things we can do. We talked about the wires. Wires are your choice on what you want to do people. I don't want to do this where I'm telling you to texture or put missive effects on the wires. But think about this for a second. You can explore and have a little fun with adding some wires into all of this if you want. But I do want you exploring again with everything. Like you can see, like what I'm doing right here with the wires. If they're too distracting or taking away from the lights, it's just blowing out to the adjacent and taking away from the camera. Work with those emissive effects now and just dial it down a little bit, it's that simple. Or maybe the color is just needs to be of a different shade so it can contrast a little bit easier. Maybe a blue works a little bit better. Go on ahead. I'm not going to do too much on the lights, but I have demonstrated that just for you, mainly because I want you to find your own feel for that. The only thing I'm leaning towards in adding in extra is maybe putting like a little metal brace across here. Just a little bit of something before we go on ahead and show you a substance painter. This is something I should have done probably in the eye attachment. I apologize if I'm adding it in extra. All I'm going to do is just simply, it's really super quick. All I'm going to do, add a steel scratched in there right below the 0. Then I'm just going to add a black mask on there. Go to the folder, This looks like this part up here. I'll just texture. It's super quick through here. I'm just going to hold left click, hold shift, bring it across, click shift across. Just get something super quick in there. If I go outside the lines, it's no big deal. Go on ahead and invert this and cleaner up like so. All right. Just something to add a little bit of a motel to it now that we have this all taken care of, we have things set up a little bit easier for us. We can now work a little bit more now on our rendering. Now before anything, I'm going to just show you real quick, super course, just how easy it is to render. All you do is just go up to here where this brushes and see where the camera is. Just click on that. You're just going to give yourself a new viewport. Now I have a different viewport background than you. That's because if you go all the way up here to environment map, this is the first thing I would probably change. You can go through and change it 20 where you want. I have this Dan shipyard building, that's the one I have for this one. I rotated by holding shift right click and dragging across that easy. That's simple. With that said, we're going to now in the next lesson, talk to you a little bit more about the render settings that are in here. And go a little bit more depth into making sure all the qualities are where we want to be to exit out of. Let's just go to that brush right there, and you just click on the brush. Don't forget to save your file when you get to this point. And let's continue. 28. Rendering the Helmet: Okay, so let's continue in this lesson. We're going to finish up by going over rendering in substance painter and going over all the features. Now it goes without saying that when you do any rendering, whether it's in Maya, Arnold Blender, you always want to be going through the process of changing settings and lightings and doing test renders on low sending. Like for example, the eye attachment that you see here in the helmet could both be down to 1024 or even 512. This helps us get through faster iterations of the lighting scheme we want. I do suggest that if you have a slower computer, I am going to be working on a 496 so you can see the results a little bit easier in real time as we go. But as I said, you can go ahead and start at a much lower pace. With that said, let's go ahead and get started on our texturing I'm sorry, our rendering. Now if you can recall, we went and we showed you how to enable Ray in the substance painter. So we can do that again. We'll click on that camera on the top here and that will bring us to a new display just like where we left off, this is where we were. We have a HDR image in here and we want to an environment map called Dance Shipyard Building. One thing I want to do, first of all, I want to get rid of the background. Well, if you take a look at this display settings, you get in a whole bunch of options and parameters to work with on here to help you out in establishing a specific look to Ray for your render. Now you can move the object around the same way you can in the Viewport when you're texturing. It should go without saying though, that you do that. This will be a little bit choppy. If you have like, for example, a four K image and a crap load of smart materials, you will see it bugle out a little bit. Now if you wanted to, again, change or rotate the lighting, you just hold shift and right click and you can see the lighting change. Of course, for me, it's going to be a little bit choppy. I'm just going to bring it back to where it once was here, or relatively speaking. Again, you can see these are the struggles and the fun turmoils of navigating with a high resolution. You may want to think about going through and doing a little bit more of lower texture resolution. Now I'm just going to go ahead and give it just that point. Now if you also look, we see a little bit of specs and everything like this and we're wondering what that is. It's a little bit noisy, a little bit grainy. Well, there's a way to change that and improve the process. We're going to go over some more settings over here. Now if we go through and check off where we want, if we go through and see this little magnifying glass, we'll see render settings here we see min samples, max samples, the minimum samples it's taking which is five rays and this is the maximum 1,000 Now this max time is basically saying how we're going to go ahead and create, how long are we going to render this for, how many times are we going to take these samples? Right now it's set for seconds, but you can see the minutes and hours. I'm just going to go ahead and just for now, crank that up to say, 23 seconds. And you can see how it makes changes based off of that. Another thing you're always going to want to do is firefly enabled. In most of the time, I do have a samples enabled, but it does get in the way of other things as you can see already, and that's going to be the emissive. I will go ahead just for now and turn that off. Of course, you see the iterations as we're going through, it's going through all the samples of the rays, which is going to be five at a time, minimum of five. It's getting through this is. I would say the minimum it can give you is going to be five. But the max, that's basically saying that it's no less than five for 27 seconds and no more than 1,000 for 27 seconds. Depending on the speed, we can go ahead and I can change that to 100. Once we do that, we are going to continue on to render. You can see how it gets slowly and slowly and slowly and it becomes less and less noisy. Finally, you want to go ahead and change out the override viewport. This allows us to change our width and our height. Lastly, if you want to save your image out, this is where you go to, where you can export PNGs or Jpeg images. I'm not going to get into that just yet. I'd like to go ahead and just hold off because we've got a lot of other things we got to go through. First things first, let's talk about this background. I'd like to go ahead and lose it right now. To do that, let's go under dome and change it to sphere. That's going to get rid of this ground that we see here. I'm going to also take away the shadow underneath which is turning off the ground itself. To get rid of, complete the background, just turn on this clear color and you'll have a color image that moves in its way. I'm going to go also go ahead and turn this relatively dark, like a dark gray to help it will contrast a little bit nicer, Let's just keep moving on. The next part is relating to field of view, vocal distance, camera lengths for example. This is going to probably, I'm going to just experiment a little bit here on which focal length I want to see the set. Well, let's go ahead and bring it in. You can see this also is the place that we want to go with when we want to see. Yeah. The depth of field that's like if it's blurring the background but crisp in the foreground. What we're going to do for that is first activate post effects. Move the slider over. Click on that. Depth of field that's over to the right, usually gets cut off. What I'm going to have you do is just go on ahead and click the, the left option key in the middle mouse button. That is going to change some settings around here when you do that. And we're going to crank up the aperture to give you an idea of what happened right there. The aperture is what can blur the whole thing out. One thing to do on here, I said left option for Max. It's going to be left command, middle mouse button. Just be left Alt or left control for PC with middle mouse button. But you can see like what I did was I picked this spot around here when I clicked those two and it made the background blurry and the foreground a little bit more crisp to help us accentuate and focus forward. Moving forward, I'm going to work on a little bit of color correction. I had my own personal choice, which is 1.1 and 1.09 I'm going to turn those on now. Just give us a slight change in saturation tone mapping. I'm not going to just yet. Let's go over some other things. If you haven't turned glare on, that's what's giving you your brightness as is. Be mindful on all of that. If you feel that this is a little too streaky, too strong, the glare is pretty much where you want to work your magic to. I probably will say that the best place that I would make the settings change to In the opacity menu in the layers. If you remember the opacity channel that we manipulated in the emissive channel, we manipulated the opacity of, in the fill layers through our texting. That was on the last lesson. So keep that in mind as we can mess around with that. Moving on now let's put a vignette on it which can help make it look cool, which is like a darker border. Bring up the strength relatively good looking right there already. We're getting something that's pretty decent, pretty nice. If you want to work with **** distortion, you can just make sure you reset everything on your focal distance. If you turn that on temporal anti alias scene I've never had to work with, I'm not going to touch any of that. But I will say that you do want to, trying to get as much experimentation on this as possible. Just turn dials and see what it does. One of the last things we'll do to manipulate this is activate color profile. Makes a pretty dramatic change. That's because we have no resource selected. But if you go through all these different color profiles and you can get a different aesthetic look in color theme. I like to go with the RGB and manipulate the white point just the tad. Then after all that is said and done, I'm going to go now back into see our tone mapping and enable that. Let's bring this up now just a little bit so we can add in a little bit more exposure into this like so you'll see me work a bit between the white point and the exposure if I like. What I'm seeing here also come to the conclusion that maybe we need to make this a little bit more cooler, like just a bit if I find this is too predominant, taking away if it's too bright in the eyes. Remember what we said. We can go in there, we can go into our layers, select our helmet texture, and select the emissive channel and work with the opacity on there. Right now it's set to 23. Let's see what we can do when we turn it down to cut it in half to where it already is. It's chugging along now quite a bit because of the fact that we're on 40 96. Bear with me, you're seeing the consequences of what a couple of year old can do. Again, this is why you're going to want to put in that lower texture resolution when you're messing around in under texture set settings up here. There we go. We got a little bit more maybe. Let's see what that does. That gives us a little bit easier of a look like. So let's turn down the aperture just slightly so we can see a little bit more crispness up here. You can see how it's coming together. Slowly coming together the way we want. And at this point, it's a bit of a process in which we just go through and do just a little bit of change at a time. Just a bit of manipulation. Just small, tiny tweaks is all it is. You can go ahead and tweak saturation, make it look a little bit more red. You can make it a little bit more bright. Just slightly. It is now anyone's game thing. So with that said, this is the final thing I would probably tell you is that once you got it where you want, make sure you go through and hold shift, right click and you have all the color that you want. Just running through. See if there's any other, do just one final run through to look for any, how shall I say angle. I kind of like this angle because it brings out a little bit more in the contrast of roughness in the plate right here in the hex. Maybe you want to work with that, but you're looking at this and you're thinking, I do like it like that but it's a little predominantly right. Again, work with the exposure, turning it down, making sure gamma is there. Then go to the white hot point and make sure that's not too crazy and you can kind of reapply everything you've just done. And let's see if we can. So I'm just going to kind of, I'm just checking different spots here right now for sort of like a areas in which aperture would be a good spot. Like I'm choosing a middle mouse on here with left command and I'm going to try to raise the aperture a little bit higher, just a tad bit so that we can see a little bit more. Then I'm going to try it over here just to see again, see as we do this I'm just holding left command, middle mouse and getting different spots, different locations and you can get a feel for where you want this texture to go through. So with that said, this is a please, please, please take your time and experiment as much as you can scenario here, like I said, there's no right or wrong answer. It's about experimenting and having fun with that said, once you're done getting everything you want, you just go through the, say, render process and export the text image out as if there's anything else you want to do. For example, you want to catch a little bit more of that light, turn it in a little bit closer, and go on ahead and have some fun with it. If you want to make that light a little bit brighter, you know what to do here. Now you manipulate the opacity in the emissive channel for where we created that emissive layer for. You have that knowledge, you have that ability to figure it out. Like I said, I really, really hope that this has been a instructional and educational and beneficial process of your texturing path of learning substance painter. And I remind everyone this model is definitely yours to use and practice as much as possible. And also this can be used for your portfolio if you want. You do have my permission. It is not to be used for commercial purposes of selling or redistributing, or putting in for video games. With that said, thank you again for all of giving us a chance here. Like I said, keep texturing, keep sculpting.