Substance Painter Beginners Guide To 3D Game Texturing

1. Substance Painter Beginner's Guide to Game Texturing: Hello and welcome everyone to our new course, Substance Painter beginners guide to the texturing. I wanted to learn how to texture 3D models. So professional level. What about creating game assets that looked like they were created by AAA games company? What if I told you you could learn how to texture assets that look and feel like they were hand painted in just a few hours. If you answered yes to any of those questions, then I'm sure that this course was made for you. Here it's pretty tutor. We have created a game section course devoted to complete beginners. Even if you have never textured anything before. With this course, you will learn how to texture props and environments and industry standard level in just a few hours. Substance painter, as you may be a word, is a pretty complex program for both beginners amateurs alike. The goal here is to simplify the process and may complete beginners with no prior experience to finish our course. Leaving with skills and knowledge, checks your own assets and environments. When we all sat down as a theme, we designed this course. Our goal was to create a brief, yet informative online class that anyone on any skill level could take filler substance painter, and have created a professional looking game asset. So the entire course has been built from ground up with this in mind, and I'm sure that you will see that we have achieved this goal with this fantastic courts. Best of all, Substance Painter is now free to download for students from Adobe. So there's never been a better time to get started on your own journey in breed texturing world. So let's dive into what you will be learning in a forest and how we have made this possible. The first part of the course we'll be covering, setting up your models, ready for texturing. If you are a beginner, it's important to learn the right techniques from the very start of the journey, we will be going for the most common issues people have when it comes to bake and our texture maps, this will give you the best base possible before you actually learn on being sexually. As we move on through the course, we will be creating a wide variety of materials. You will learn how to turn these materials into something usable in all of your future creations. Substance better at these are known as smart materials. Simply put, the more of these special materials you upgraded and have available, the faster your workflow will become. Now, we all know what the UV unwrapping and mapping can be, especially if you're new to the world of 3D texture. So I'm happy to say that as part of the course, we will be covering amazing techniques to make the process a lot more automated. Next up we will be looking at how to easily create your own materials from textures we can find anywhere on the Internet. This puts the power in your hands as you're free to use your own imagination as to what materials would you like to create. And of course, all of this will be done just within the substance painter itself. The whole thing will help you to keep the process simple while still achieving a professional texture to your model, which leads me to the next part of the course. And it's going to be learning how to create that look and feel of hand painted 3D models. If you're a fan of stylized art and games, I believe you had to have years of practice of experience to get anywhere with your own texturing. Well, I'm here to show you how to start a process and get amazing results in matter of hours rather than years. Finally, to wrap up the course and give you a complete guide, we had to include things like alphas and decals. Mix this in with layers damping and you truly begin to see your own 3D models, which the next level of detail gone are the days of scoping every detail, most of them work can be done with textures. These skills will help you learn throughout the course. I think with this course, we really have achieved that true substance beta beginner's guide, and recovered most of the techniques that can be used within the software. You helped me create the best game texture and more posts for yourself. So come join me and see how far your imagination will take you. My name is Luke, and I'll be seeing you in the course. 2. Substance Painter UI and Asset Import Basics: Hello and welcome everyone to Substance Painter beginner's guide to game texturing. Once we have our substance painter opened up, we're introduced to the home screen. So I'm just going to write away, just close this down like so. And we get ourselves a program, a software that will allow us to texture or freedom matched by default, if you've used something like Photoshop or something along those lines before, you'll notice that there are some similarities in regards to the layout. We have layers, we have Properties, tab whatnot on the bottom right hand corner. But just in case I'm going to play an introduction or a video to the UI of the whole software. So it would be easier to follow along this course. And then afterwards we're going to get into the course itself. So, yeah, I'll see you in a bit. Welcome to the substance painter UI introduction video. Once we have our substance painter opened up and our asset imported within it are graded by this sort of view. Within the middle, we'd have or viewport where we see our assets along with the textures that are being applied upon it. Upon the left side, we have our asset library. This will include all the materials, all the texture maps, alphas and decals that are set up by default within a substance better than going even further to the left. We'd have brushes, didn't really set up to Photoshop. If you've ever used that, we'd have stuff like brushes, eraser, and clone tool set up in that location and go into the right side. On the top, we'd have a texture set list which will include all the materials being applied onto the asset. Right now I only have a material named cubed material applied onto it. That is why we only see one thing applied onto it. But if you're working with multiple materials, you'd see a longer list. On the right side we have display settings, which we can make use of to change the way we're seeing within our viewport. So right now, we can e.g. change the way our opacity is within the viewport and see the type of background that we have. There are a lot more settings within this that we can make adjustments for. Environment settings, camera settings, as well as the viewport settings. However, this doesn't affect any of the texturing. So let's go ahead and close this down. The next cyber setting would be shaded settings. Using the settings we can make use out of the way we perceive our material within the substance painter. But this also does not affect our texture maps if we're exporting it and using different software to render our asset, this won't make any difference. So just keep that in mind. Now, moving on, next step, we'd have ourselves the layers tab. This will show you all the types of materials that are being applied onto your asset and every other information that is being used to make a texture. Right now I don't have anything on it. With by default, this would have a normal layer setup, which I usually delete and start off with a filler instead, just because it has more control over your texture. But anyway, we'll get into that a little bit later. If we were to click onto the texture sets settings, which is next to the layers tab. We'd get ourselves into a different tab which has different types of channels which we can add and remove. This will include base color, Roughness, metallic types of debt is generally used within PBL rendering than scrolling down. We have ourselves baking mesh maps. We're going to go into it later on. But basically we can make use out of this bake out normal maps, ambient occlusion, as well as our generated maps. Anyway, going back onto layers, going down within the Properties tab with ourselves, all the types of settings that we can use to make adjustments for layers as well as for the brushes. This is dependent on the type of layer you have selected. E.g. the normal layer would have these type of settings, whereas the fill layer would have different ones. So based on the type of player you're using, you'd have different type control over the Layer. Properties tab also allows you to make changes for your brushes as well. So if I were to scroll app within this tab, or if I were to click on the brush, we could go ahead and we could go ahead and make some changes to it. The tabs themselves are easy to manipulate and you can easily make them larger or smaller depending on how you want them to be. You can also drag them out and have them be separate or attach it. That a window will be on your convenience. If you made too much change and you want to go back to the default layout, you can always do so by clicking on the Windows tab on the upper section of the substance Bader and clicking Reset UI. Thanks for watching this introduction video. Now let's get back to the course. Alright, now that we're back within the course and we have familiarized ourselves with the program. I'm also going to just quickly reset myself the uy just to make sure that we have the same type of a setup. And we're going to start by importing ourselves an asset to the program because otherwise it's going to be empty as is, which might be a little bit complicated for a beginner. So I'm also going to play a quick video in regards to that, to familiarize yourself with the Import menu and how to actually get a mesh within the software. Hello everyone and welcome to the substance painter basics of importing a 3D asset. Once you open up your substance painter, in order to start up your texturing process, you'll need to import your model into the substance payer software. For us to do that. There are two ways of doing so. The first way would be to locate yourself a free day model file within your file explorer. And then all you'd have to do is click and hold and then drag it into the software like so, this will prompt up a new project menu, which we can then use to import ourselves, say mesh. Alternatively, what we can do is we can go into the upper left corner, click File, select New, and get the same new project. In this case, however, we'd need to click, elect to select ourselves or file. Once we locate ourselves the mesh file, we're going to select it. And click Open. This will set up the location for the file. Both ways are valid and can be used to bring up the same result. Not only have ourselves, the file setup, we're going to select ourselves template. The template itself, whichever you pick, doesn't give much of a difference other than changing some basic parameters, like e.g. the normal map for much, which we'll come back to in a bit. Right now, I'm using Unreal Engine four template. It doesn't matter which exactly template to use. It changes some basics of the project settings. However, you can still export out the types of texture maps that you need in the future. Though, don't worry too much about this. I personally use Unreal Engine four as it gives me the normal map format of Tarek x, the type of normal format will change depending on the template that you have. E.g. if I change the Unreal Engine four to be a unity HD Render Pipeline, I'd get myself a normal map format with OpenGL. However, I'm going to go back onto Unreal Engine four. We get myself a Direct X normal map format. Instead. If you're working with something like blender, you would have to make sure that this map format is set to OpenGL. Thence lender uses OpenGL normal map format. Alright, so next, if you go back a little bit, document resolution, this value will determine the texture map that we're going to be using while texturing within substance painter. By default, for me, it is set to 2048. However, I would recommend you to try going lower if your computer is slowing down a little bit and upscaling within Unreal Engine four and going to higher resolution textures is quite easy to do within the project. I wouldn't recommend you going anything under 1024 though, unless you're using multiple materials within your object. So for now I'm going to keep it as 2048. Then we have compute tangent space per fragment. We don't really need to worry about this. And usually I recommend you keeping a tick down. Next one is going to be UV tiles settings only have this ticked on only when you're working with students, which is basically a type of texturing method which uses more than zero to one UV texture space. We don't really have to be worried about this when we're working with normal assets. So usually I recommend you having this ticked off. However, if we were to use it, make sure it is set to the first one and not legacy one. With this, you'll be able to texture multiple parts at once with a seamless workflow for right now, I'll keep this off. The next setting, import settings. The input cameras. In case you had a camera imported within your scene. Substance Painter will allow you to make use out of it and help you get the same angle that you needed in order to check the way your mesh looks like from a specific point. Usually that's not really necessary when texturing, though, keep this off then outer unwrap only use 0 to unwrap if your UVs are not unwrapped within a different software. If you were to have this clicked on, what this will do is it will delete all of your already existing UV unwrapped and replace them with a new automatic unwraps. This is a nice little feature for whatever you're trying to make. Quick texturing map wherever normally you'd want to have more control over your UVs. And I'd recommend you doing UV unwrapping for whenever you're doing your own 3D modeling, you have greater control for where the UV shells are, as well as the way they are positioned. We do have couple of options within this menu over there, only basic ones, and I'd recommend you keeping them as default if you are using this functionality. The other two settings in Port bake mesh maps and color management are for having greater control. This one would allow us to add our own already baked texture maps right up into the substance painter and color management. It's an attempt to change color space, but we don't really need to worry about it. And I recommend you are keeping it as legacy as it works just fine for texturing purposes. So once we have the settings done, we can now go ahead and click. Okay. Thanks for watching everyone. Now, let's move on with the course. Alright, welcome back to the course. Now that we have familiarized ourselves with the Import menu, we're actually going to make use out of it and import our own custom mesh into the software. But that's going to be happening in the next lesson. So thank you so much for watching, and I'll see you in a bit. 3. Preparing Mesh for Texturing: All right, Welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by familiarizing yourself with the program and getting ourselves introduced to the import settings within the software. Now, once we have familiarized ourselves with it all, we're actually going to start up by getting a mesh within the program itself. We're going to go on the upper left-hand corner, click File, click new, like so. And we're going to get ourselves a new project. Then afterwards, we're going to get ourselves a template. I personally prefer to make use out of the Unreal Engine one. So let's go ahead and do that. The Unreal Engine four, it says that it's for Unreal Engine four, but it works just as well for Unreal Engine five. Just in case you're wondering, the biggest difference is within a normal map format, which is said to Direct X. That's all we need to know. And now we're going to go ahead and change up the mesh in which we want to make use out of. And we're going to click on the Select button over here. I'm just going to locate the resource folder that we have. Let's go ahead and do that. Resource pack licks. And we have couple of FBX files already set up. We have high poly, low poly and we have an example of bad mesh. So as a startup, I'd like you to go over the differences on how the bad mesh was fixed in regards to getting it properly set out for the texturing phase. And a lot of the work comes down to preparation and actually setting it up just to make sure that we have a good base mesh maps in the future, which will allow us to generate some real nice smart materials and textures. And in general, in regards to the artifacts and we're going to get ourselves much nicer results. So, yeah, without further ado, let's go ahead and select the example bad mesh and we're going to go over it real quick to see what's up with it. So I'm going to go ahead and keep the rest of the settings as is. Let's make sure that the order and wrap is turned off because it does have UVs already set up for this course. We don't need to worry about that. If we were to have this enabled, it would simply overwrite those already existing ones. So it's actually really important that we have this ticked off. Afterwards. We can tick off import cameras as well, although it doesn't have cameras, so it won't make much of a difference. But I like to do that regardless. Though. Yeah, once we're done with that, let's go ahead and click. Okay, like so. Wait for our mesh to load in. And we're going to get ourselves this sort of result. And now we have ourselves a mesh. Of course, in order to move around, this software will need to familiarize with the camera movement itself. So for us to do that, I'm actually just going to quickly play a basic introduction video to the camera motion. Welcome to the Substance Painter camera movement introduction video. Once you have your substance painter opened up and your mesh file imported, you're going to be graded with this or result. The window in the middle will allow you to view your object. You can scroll up and down using your mouse to zoom in and out of the object. The way you zoom in, it depends on where your mouse is. So e.g. if I have my mouse on the corner of the asset, I'll be zooming in to this exact spot, but this is something worth knowing. When zooming in and out. Additional camera movements depend on the Alt button holding. Alt will allow you to rotate your camera using alt and left mouse button. By holding Alt and middle mouse button, it will let you pan your camera around. With these type of motions. You're able to manipulate your camera within three dimensional space. Quick tip. If you have your camera outside of your object and you're not able to see it like the letter F. Reposition your camera to the center of an asset. Another functionality for what you can do within the camera view is rotate your lighting around your object. For us to that, we'd need to click and hold Shift and then use right mouse button to move or lighting around. This doesn't just move the light source. It moves an entire environment and rotates it around your asset. What I mean by environment is over to Chris this and Reese, environmental thriller. What we're basically doing is we're moving the environment are round or object like so, which changes the way it is being lit. We can also change the viewport by clicking on the upper-right corner and selecting. This icon over here. From it, we can change it from three D to B to D. This will give us the result of our UV texture maps and we can texture or asset using this viewport. We can also have it's split between the two. And b can be set up to be both 3D and 2D viewports. And also we can just go back and work on it, mainly on the 3D view port like so. Now there's also a setting which can change your view to be orthographic, which you can do so by clicking on this button over here and changing it to orthographic view, this will basically remove all of your depth from the asset. I only use it on rare occasions. But I figured I'd mentioned this in case you're having some weird perspective results that you're not sure of what to do with. But again, going back to perspective, view is usual. The way to go and texture within here is usually the best way. Thanks for watching this introduction video. Now let's get back to the course. Hello and welcome back to the video. Now that we have familiarized ourselves with the camera motion, let's go ahead and check what is up with this sort of a match. So for starters, if we have a look at it, we can see that in the background we have a really bizarre type of a look or the water tower, by the looks of it, it seems like it's still has a shape, but it's not quite there in regards to how we're perceiving it. So when we're looking at it from the top, we can see the bottom down view. And if we're looking at from the bottom, we can see the top-down view. The reason why this is happening is simply because the normals are inverted. If I were to open up the mesh within a 3D modeling software blender. And I actually provided us with the resource pack in case you want to check that out as well. So there's a blank file for that. And basically within it you will find yourselves a mesh that also has bad mesh scene collection. So if I were to hide everything except for that, real quick, I can show you what this is. By default, you can see that the water tower looks quite fine as is. But that is because blender uses two-sided shader, meaning that no matter the normal, the way the normals are being faced, we're still going to be seeing the mesh just fine. However, within a substance painter or any game engine for that matter, usually by default, you'd find that they're only showing you from one side. So that is one way of saving performance in regards to the game engines and Substance Painter for that matter. And in order for us to see that within Blender, there is a way for us to do that. So there's an icon over here that allows us to enable the face orientation. And we can see the entire mesh is being read. So that just visualizes us that this normal is facing the wrong way. And within a pretty soft words, it's usually rubber easy to invert the mesh. Why would that be Blender Maya or whatever? It's actually quite simple. So e.g. right now I can just select this entire mesh, go to the topology, and click Shift and real quick and that'll just recalculate the normals as you can see like so. So now the whole mesh is going to be blue. And once we have it, reimport it, it's going to fix our issue in regards to how this is being seen within substance later. So now we can go ahead and check the rest of the mesh. We can see that the rest looks somewhat okay, but what if we want to get baked mesh maps in regards to the mesh itself, we might get some issues in regards to that. For now, real quick, I will show you what happens when we try to make our mesh. In regards to that, I will go into in more detail in regards to how the bake mesh Maps works. But for now as an example, I'll just do it real quick. I'm going to go into the texture sets settings and bake out the texture map. Again as an example, I'm just going to go ahead and bake mesh maps. Go ahead and select the 2048 legs. So I'm just going to leave the rest as is in regards to the basic settings are just real quick. I'm going to go ahead and select the textures. Again. You don't need to do this at the moment. I'm just showing you what it's like when we have some artifacts within our mesh. This is what we are getting after the bait mesh maps. And as a starting point, you can see that we have some issues in regards to the sign e.g. let's go ahead and see what is up with that. The result seems like there are some overlapping UVs as the ambient occlusion especially darkens up the bits where they should pay any dark in bits and we get some really bizarre type of artifacts. So real quick, I'm just going to within a texture sets settings, locate this type of a sign. And I believe that's going to be under rooftops perhaps. I'm just going to ice click Isolate button over here to just kinda go through each and every single one on until I locate the sign. Again, you don't need to do this. I'm just going to show it as an example. So it's actually what our roof door sign material. And let's go ahead and see what is up with the sign. I'm going to actually, we're just going to pause this video here and we're going to continue on in regards to fixing up the mesh in the next one. So thank you so much for watching and I'll see you in a bit. 4. Fixing Bake Mesh Map Issues: Welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it off by fixing up some of the issues commonly seen within the mesh for the texturing phase. And now we're going to continue on with this and cover up a couple of extra ones that would usually see, I'm going to go into the free due to the type of a view just to see what it's like. And I'm just going to click this one over here. So as we can see, what we're having is basically we have some of the mesh seemingly overlapping with the rest of assets. So that is causing or issues in regards to the base mesh maps, which all it means that within the blender software, we just simply have to change up the UV coordinates. So within this sign, e.g. if I were to go on to the UV Editing and see how this mesh looks, we can see that the rest is fine, but if I have it all selected, I can see that we have some issues. So in order to fix that, all we gotta do is just make sure that we repack that. So by going into our CG-islands, we can just go ahead and click on it and that would fix your issue in regards to that. So that is another way to solve this sort of an issue. And actually real quick, just going back to the water tower since we're on this same material. In case you're wondering, in case you are having a high topology type of a mesh and you're worried about the way the normals are being flipped. In regards to the same problem as for the high topology. You don't need to worry in that regard because within the big mesh bags, usually by default, you're going to have Ignore back face. And if were to take this off, it will basically allow you to bake the topology of the high mesh regardless of how the basis or being blade, they're going to still big onto the mesh properly. So in case you're worried about that, you just simply need to have this ticked off if it is within the high topology. So there is that. Moving on, if we have a look at our issues, so let's go ahead and see the water. The water seems to be the same kind of an issue. So I'm just going to look at the water type of a material real quick. There we go. We have the same issue. However, in this case, when we're talking about the mesh playing split off in regards to the UVs. I treated a little bit differently in regards to that because this is a water-based, a type of water plane. And we're going to use within our scene, meaning that it should be transparent. And because we're going to be using a transparent shader for it, I recommend splitting it off onto another material. Though, the ones that would be solid as a texture would be in one material. And this type of a water plane would be in the numbers. So within a Blender 3D modeling software, what I like to do is just simply select this as a plane and just simply get a new material for it. So with this arm, I'm just going to add a new material and call it transparent mad. Like so. And I'm just going to leave it as is. So going back to the substance painter, Let's go ahead and have a quick look in regards to the high topology mesh within this type of a setup. If I were to go back to the free, the only view again, we have ourselves only a small portion of a mesh that actually makes use of the high topology, and that is going to be the rocks and the cactuses. So for us to bake that out, I'm actually just going to go ahead and go click on the texture set list. Cactus and rocks. And I'm going to bake mesh maps. Then within here by default if you want, if you don't have any selection over here, they'll just try to bake it off with the low topology. So I'm just going to now go ahead and add a high topology using this button over here. And I'll make use out of the hyperbolic. Again, we're going to go over it in more detail in a bit though. For now. I'm just going to make sure I have this on and make sure that only this is being baked out. I'm going to click on this box over here. So only this type of a material is going to make use out of the hive topology. Once we bake it out, we can see that we have certain issues within this one. And that is going to be the reason for it, is basically because the mesh doesn't quite align in regards to the hype topology variance. So right now we have some bits that are kinda go in black and some bits that I just end up being applied anteriorly. But the easiest way for us to fix that would probably be to try out going onto bake mesh maps and increasing max rental business and max rate distance. If we were to set this one to 0.1 on bulk, like so, just multiplying it. And I'm going to bake out cactus rocks again. And this should give us better results. So there we go. Although it's still giving us some bits of artifacts since the mesh does not quite aligned. If we look at the example, going to go on to example real quick and see how this looks like. We have some rocks and we have high topology and low topology. And if I was to show the difference between those two, but this is the high topology and this is the low topology. We can see that we have certain business is going way too far out. So basically, whenever you're having these kind of issues, it might be because the mesh doesn't quite align to one another as well. Then afterwards, if we have a look at it or this sort of an issue over here, we can see some bits. We're not quite going as they are. We can see some artifacts going in-between those meshes. The reason being is because contrary to what we had previously where we had to increase the bake distance in this case, because the mesh has such gaps that are so close to one another, we actually have to decrease this amount. So if I were to change this to 0.01 instead, write a fixed this cactus rocks. Let's go ahead and see how this would look like. And once we do that, we can see that there are no more artifacts in-between those gaps. So that's another way of fixing it. And I believe we have we also have an issue over here where we have certain bits of artifacts going along this way as well. The reason being for this occasion is if I were to go to the 3D modeling software over here. If I were to isolate the view real quick, we can see that the vertices are actually just kinda overlapping with one another. So when modeling, you're going to make sure that it is being fixed in that regard as well. Otherwise, you're just going to have some issues later on. So now going back to the mesh, if we have a look, continue looking at this area in C, we have certain issues in regards to this area over here. And if we look at the roof, we see that It's likely of Tilden. And although right now it baked off quite well in regards to this area. If I were to go between the texture maps, still getting a nice result actually. But usually what happens is in regards to substance painter, in regards to how it's textured. They always by default try to triangulate the entire mesh. If we were to export this mesh, which we can do by going on to file and export mesh button over here, we'd notice that the default type of a measured actually be triangulated. The reason being is that the mesh itself or is automatically triangulated. So although e.g. blender would make use out of the n guns and we could use a type of topology that wouldn't have just a free sites are four sides. It will have more than that and it would handle just as well in substance painter to avoid that, they usually triangulate it. So one way of fixing that, as you can see within the mesh, we have certain bits. Where are they are just simply triangulated. And that just allows us, especially with organic shapes, where they have more intricate type of a form that allows us to have more consistency within our meshes. And when baking them out, we'd get better type of results. But there is that if you're having any issues in regards to e.g. where there's like a triangle where they shouldn't be making sure to simply have a mesh triangulated in that regard. And if you do want to keep squares, e.g. and whatnot, especially within game engines when you animate something that's quite useful, I'd recommend you to have two meshes. One mesh would be complete triangulated if you're getting some inconsistencies in regards to the mesh, where you'd use it to the side of a triangle mesh to be textured out and whatnot. And a second mesh would be a variant of that, would be the original mesh in which was just in simple squares or n guns and whatnot, or whichever way you prefer, make it easier for you to just modify the topology afterwards. Keep in mind though, that if you're doing this kind of way, you wouldn't be able to adjust the UV coordinates afterwards. So just make sure that if you're triangulating, it is going to be the final type of a mesh. And yeah, that pretty much covers it in regards to setting up the mesh and fixing it from its artifacts. And then in the next lesson we're actually going to make use out of the fixed mesh and start the texturing process or rubber, we're going to actually set ourselves at home with proper baked mashed maps. So thank you so much for watching and I'll see you in a bit. 5. Importing and Checking a Mesh: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we covered up the type of artifacts that we could get that would cause some issues whilst texturing. Now we're going to continue on and actually get ourselves a proper mesh within the scene. And so for that, we can either start up a new project or if during the fixing of all the issues we wanted to just kinda update the mesh. I'll show you a way to do that as well. There's a really simple way for us to do that. If we were to go to the upper left-hand corner, click Edit is something called Project configurations, which if we were to open up, we can make use are the file location to change up the measured we have. So after fixing the certain issues and having our mesh export it out, I'm going to select the newer one. So this one over here, and I'm going to hit Open. And this way if I were to click Okay, I'm going to have this entire mesh updated. But as you can see, because we have an updated, they still have those same UV texture maps. In regards to the ambient occlusion and normal maps, which would cause some artifacts. So e.g. if I was to go over in this area, you can see that the detail disappeared completely and that is because that actually it tried to create a new material for it which cause certain bits of issues. So instead of, and I've just realized that the reason is being doing that is because basically when we're creating a mesh, if we were to happen to have a duplicate out of the mesh, it would duplicate the materials as well within 3D software blender. So it ends up creating new ones. And because of it, it'll basically hide the original ones, the ones that I had or baked mesh maps. Or if we add some textures applied, it will also do that. So the way to fix that would be simply to go ahead and go into blend a real quick and kinda quickly adjust this entire mesh. So right now, I'm just making sure that every material is named in exactly the same way as it did previously as it had been previously. And now I'm just going to go ahead and go into project configurations. Go back onto the environment which I re-exported out. And now once I hit Okay, this should be updated like so. And now we're getting some really interesting artifact because of it. But basically, now that we have ourselves with the same type of materials, we can basically add or adjust or modify mesh in a certain type of a way. And yeah, that's pretty much it in regards to setting it all up. I'm actually just going to create a new project out of this instead of using the same one. But if you want to fix this is actually rather simple. All you'd have to do is click on the big mesh maps and kinda rebate all the textures, which we are going to go in a bit anyways. So for now though, just to get a brand new start, I'm going to go ahead and just open ourselves up with a new mesh, the one that's actually set up properly for the texturing purposes, making sure that automatically wrap is turned off. Also, we're going to talk a little bit about your students. I'm going to click Okay, and I'm going to just start discard my old project. And we're going to get this sort of a result, which is going to look much better once we bake out mesh maps. So let's go ahead and do that right away. We're going to click Bake mesh maps. We're going to select the first to be as 2048. Usually what I like to do when texturing something out before the entire process. I like to just make sure that entire big mesh maps don't have any artifacts. And so the easiest way to do that is simply going onto a lower resolution, which is 1024 or 2048. I started off as 1024 or 2048. The main reason for it is because it firstly exports them out really fast. So we can have a quick preview of the mesh. I don't go lower than 512 resolution. It becomes very blurry and very hard to see how the high resolution would look like. And then afterwards the final result is going to be in 40 96, which is 14 resolution. So it's the highest one is going to be giving us a really crisp type of a bake, which will make sure that the entire mesh looks much, much nicer than within a mesh maps. We're going to click on this button over here and de-select all mesh man, the only way that it can go wrong is basically the way it bakes out, which the easiest way to check that would be to just enable ambient occlusion and normal maps. And now we can just simply click Bake selected textures. And it's going to be a much easier and faster type of process in order to check the entire type of a mesh. Again, this is just to check how it looks like. Afterwards we are going to get ourselves better resolution in regards to the four K type of textures. Now that we have everything, export it out. In regards to the big mesh maps, we can see how it looks like and we can see e.g. the rock. It doesn't have the high poly, so I'm actually just going to fix that up real quick. Going to select cactus rocks over here in texture said lists because there's a separate material, we can just separately baked those two off. Though. We have a high poly of cactus and a high-quality of a Rob. And with the cactus and Rock selected, we can click Bake mesh maps, which will allow us to quickly check how it looks like. So now, high-definition meshes, we need to make sure we have it selected because again, this is only a partially hide topology type of a mesh, meaning that only certain bits of that high topology and this is going to be for cactus and rocks. The rest of them can be done in regards to the details. We've just simple PBR textures. But once we are done with that, we're going to click Bake cactus rocks and we're going to keep the default settings as is. Let's see how they look like. And there we go, we go to sell some nice results. So as you can see previously, we had some artifacts coming out of Iraq, but now the shape is fixed and we don't have those type of issues anymore asked for a cactus because we used a low amount of a distance. We don't have anything in-between in regards to the artifacts over here. So that's quite nice as well. And this section in the middle is also fixed, as you can see over here. And now let's look at the rest of the mesh. As a quick recap, we fixed up the inverted normals, which now gives us the right type of a mesh for the water tower. Also asked for a saloon. It doesn't seem to give us any more of the issues because the UVs are fixed as well. And looking down, we just need to make sure that the water is separate because when we're going to be adding opacity to it, we'll need to make sure that it is that as a differentiator. So again, I have a material called glass of water. I had it called transparency material, but I quickly renamed it since that would be easier to see which it was. And also at the same time, I made sure that this water is set up with the same material as the bottles in the bag. Because we have some bottles basically within the crate, which also is going to be transparent. We might as well use the same shader to set them up just to kinda save up in regards to the texture space. And speaking of texture space, if you look at the top right hand corner, we have texture set list. And we can see that there's a bunch of textures throughout this entire environment. Because we need to make sure that we're getting a lot of texture density within our scene since it is a rather large type of a scene. So to get the density, that extra density, we basically split every single piece in the way that we want in multiple categories based on the materials that they're using. So within Blender, if we have a quick look at the mesh, we can see that there are different colored, but basically they don't have to be different color. But you can see that every type of a piece has a different type of a named material. And that's exactly what Madison this case, which allows us not only to kind of split each piece in the same textures that list, it also allows us to kinda isolate each one of those like so, which will help us to texture. And not only that, it also allows us to bake separately in regards to the high topology and how it interacts with the world basically. So, yeah, as in regards to the UTMs though, if e.g. we had them split up based on the UVs, which by default, by the way, if I was to go to a 2D only view, we can see that it is uv space over here to make it a little bit brighter. And usually it uses a zero to one type of a space. But you them's, what will allow us to do is basically use more than that. And it would attach those additional squares next to it and set us up with the texture set list as different materials based on those UV coordinates. So right now again, because this is just a square, we're going to use a more basic type of a technique. But students are just basically an automated way of doing that and would allow us to texture everything at once while still giving us the density. And that would be more advanced type of a topic though. So I am keeping this out of our, of course. And we're going to texture them all in split up type of material packs. And it seems like I have some issue with wagon. So real quick, I'm going to fix that. But right now when we want to bake out mesh maps, because we have that high definition for the cactuses and rocks. We're going to have it as a separate type of an asset. If we want to rebate anything else, we'd have to make sure that we use use low poly mesh as high poly mesh this time. Because otherwise it would attempt to make use out of the same type of an acid as for the rocks. And that wouldn't work out quite as well. So now once I have it selected, I'm just going to quickly big small wagon out. And see what it looks like. That should fix the issue once we have it. So like so we can now go ahead and actually look properly into our mesh within the 3D view in regards to how the image occlusion and how the normal maps are baked out. And for us to do that, the easiest way is actually to change up the view. Within the top right-hand corner we have something called material. If we were to change this, we'd be seeing it not only a material type of review, which includes all the PBR values to get a proper type of a render with also have an option to just see each one of the channels individually. Though there's something called mesh maps. If we were to scroll down, we can see the name over here and we have an option underneath the mesh maps called normals and M, the occlusion. If we were to switch between those two, we can basically check how our mesh looks like in regards to the normal values. E.g. the rocks and a cactus is because they have high topology, high mesh topology. They have all the detail over here. But even so, we still need to consider in regards to the normals and how they are being applied, route and mesh. So e.g. right now through the ammeter occlusion because it's easier to notice as well. We're going to just go through each and every piece and see all the areas and make sure that basically we don't have any artifacts. So e.g. this barrel might be an issue if we were to move it out of the way because it is between two meshes, it's causing us to get an, a darker type of a tone. But if I were to click back onto material mode, which we can do so through the top right-hand corner, clicking on this button over here, going all the way to the top and selecting the material, we can go back to our usual state and see how it is borough logs. And we can also check in order to how it's being affected by lighting and whatnot, but with both the barrel anaerobe, when you get your own data unpack these issues will be fixed. The problem with the barrel is that we copied the uv space from one barrel. So any ambient occlusion on the main barrel at the side was transferred from the barrels in a wagon. They're all we actually gave a separate material to it and UV unwrapped it with a little more love. Though. These are some of the problems you may find in your own built. And it's important to make sure your base are as good as possible before starting detection process. But here when doing this, sort of that up, we got to make sure that each and every piece is looking quite alright within M inclusion and normal values, the rest of the big mesh maps are going to look quite nice. After all. If avid occlusion and normal maps are baked out, they're going to look good in regards to the rest of them. But sometimes not always, we're going to get a perfect type of results we just gotta consider if it's going to be affected within our scene and environment and now ask for rest. Are pretty much done checking and we can move on to basically doing the texturing works. So we're going to start off with that in the next lesson. So thank you so much for watching and I'll see you in a bit. 6. Setting up Custom PBR Material: Hello, Welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left at all by setting ourselves up with the proper type of a mesh which is nicely baked off. And now we're going to continue on in regards to the process of working within Substance Painter. And we are actually going to start off by getting so materials. So for starters, I'm just going to quickly reset my Windows real quick just to make sure that I have it back on to the default. And I think it was just set to a texture sets settings. I'm just making sure again that the layout is staying the same just to make it easier to follow along the course. So once we have all of the baked mesh maps out of the way, we're now going to make use out of the layers tab over here on the right-hand side. And we have couple of options within it. But the ones that we needed to be worried about now are the ones that will give us the materials. We have three ways to actually set ourselves up with the materials within Substance Painter. The first one would be to add layer, so this part over here, the second one would be to add a fill layer. And then a third one is at a preset layer. So this would basically be material. On the left-hand side, we can see the asset library and within this Materials tab over here, we could see all of the materials that are provided by default within Substance Painter. And we can even just hover over them and see how they look. All in all the layers, the fill layer and the material act in a similar way as in regards that it provides a material information. But the material type of a preset is basically kind of clustered up compact type of a version of that. So actually started off, we're going to make use out of the bilayer. 90% of the time we do make use out of a fill layer, there is an option to use a layer, simple layer which will allow us to brush. But within substance beta, what you'd rather do is make use out of a fill layer and use some masking techniques which we will learn in the future in the moment to get some nice overlays in-between the material information. Now though, we're actually going to create ourselves, our material for the terrain, you get ourselves a nice type of a look within this scene. And before that, looking at it, this looks a little bit too contrasted. I'm really quickly just going to change the background. We can do so from the top right hand corner, which is in the display settings. If we were to change up the opacity, we can change up how the environment within a background looks like. And we just wanted to increase it just a little bit like so you get this sort of a look which is going to look much nicer when we're texturing out this scene. Okay, so now that we have it set up like so I'm also going to go ahead and just close this down and we can delete the default layer that we have. Since it is an empty type of a layer by default, it's going to go ahead and select this click Delete like so. And we're going to start by adding ourselves a fill layer. What Fill layer will have is the default type of PBR values. Fill layer. Once we have it selected within a bottom right-hand corner, we have all of its properties. And basically it's a type of a material that we're able to make use out of in regards to how the usual PBR material would work. So if I were to scroll down, we have some material panels over here and we have the usual color, the roughness and wellness of a PVR value. We also have height and normal, which would affect your detail within the mesh. I'm going to scroll down and find myself the terrain type of a material, which should be a go to rain, rocks, this one over here, I'm going to make sure is the one by clicking on the focus mode, which will allow me to hide the rest of the mesh from this single type of material. And we can see is the one that we want, which is this material based over here for our platform. So now we're going to actually go ahead and select the layer. We're going to delete this original one. We're going to click on it selected like so, we're going to create ourselves a fill layer type of a channel which will allow us to apply a material anytime material PVR values and all onto our match. So if we were to go down on the bottom right-hand corner with this layer selected, we can see its properties. Basically. We have at the very top, if I were to scroll down using this bar over here, if I were to scroll down, we can see we have the projection, which is by default set to UV projection, meaning that the uv space zero to one in a 2D space that we saw previously. Is going to be just simply overlayed. Is, which in this case doesn't matter because we just have a simple color. And we have some filtering, some UV unwrap set to repeat. By default, all of these values are going to be fine and we are going to make you use a lot of in regards to the UE transformations to get more detail out of our mesh. That's going to be in a bit though, if we were to scroll down, we also have some materials. And I'll switch again. We can change by simply going and clicking on these ones and just changing up the color, e.g. like so. Or we can also go into the roughness value, e.g. going increasing, decreasing it just like that and make it super shiny, e.g. like so. Again, this is not what we want. We want to actually make use out of our own material. So in order for us to set it up within a fill layer to use some additional detail on our terrain. We can do so by actually going and importing our own type of values. So within the resource tab, what we're going to find is going to be the textures folder. If were to simply open it up like so regard some textures and we want to make use are the West large rock and West rocky. So these ones are going to be helping us detection the rain. For now though, we're going to set ourselves up with the simple type of a material first, though. I think we're going to start with a, a West large rock. We're going to double-click on it and we're going to get these textures. We got ambient occlusion, we got base color, we've got normal map and we've got roughness values like so. So all I'm going to do right now is just simply drag it across, make a selection out of four of them, and then drag it into our assets library, like so, which will prompt up with an important resources window. And we'll need to start off by making sure that they are set up as textures, that there are actually, these are seeing, they're actually seen as textures. So for us to do that, we're going to simply click on this button over here and we're going to select textures like so. And to make it easier for ourselves, we can speed up this process by selecting one holding Shift, selecting the upper, having multiple selections. And then if we were to change this to texture, we can change all of them at once. And for now, I'm going to change, which we're going to store our data, how we're going to start textures. And I would personally like to store it simply as the current session, which means that if we close down this project, they're going to disappear. But that's okay because afterwards we're actually going to be setting them up as a Material which are actually going to be saved up within our assets folder. So keeping it as current session is totally okay. We're going to now click Import and we're going to create a cell as our first material, using it to create our custom material again, with the fill layer created like so, using this button over here, of course, we gotta sell us a new fill layer. We're going to start adding up the channel information. So we're going to start off with the base color. This is what controls the color itself. And forced to do that, all we gotta do is just make sure we locate our color, which is this one over here. By the way, if you're not seeing the naming, we can also just hover over them and see the naming properly like so. I'm just going to locate the base color. I'm going to click and hold and then drag it into the base color, just like that, into its square, like so, which will replace the color information and it will give us this sort of a result. Now, this looks quite nice, but of course we need to get all of the rest of the PBR values to make sure that it gives us a nice kind of reflection because right now it's way too shiny and whatnot. It's way too flat. Looking for the next one, we're going to import ourselves in width, the roughness to make sure that it doesn't look quite as shiny or rough. We're going to drag it into the channel over here, which I'm actually going to hit Escape to cancel this operation. Going to scroll down a little bit to see it a little bit clearly, a little bit more clearer. And I'm going to just simply drag and drop it like so. So we're going to get ourselves proper value. So now if I were to rotate our sun around, we're going to see it in a much nicer kind of a view. Of course, the resolution for now is quite low. We're going to change that up in a bit. But we're going to continue on with this and get ourselves some height value information or some additional detail to make sure that the mesh doesn't look quite as flat. And with that said, we're going to make use out of the normal value like so we're going to click and hold and then drop it into the normal value just like that to get this sort of a result which is already looking quite nice. Paella one is going to be ambient occlusion. By default, ambient occlusion within the materials don't come out as just that. Because if we have a look at the properties fill that we don't have ambient occlusion channel, but I'm an occlusion actually does help in regards to giving us more depth our raw materials so often, as often as we can, we make use out of them, especially when we have such material where it has quite a lot of debt within it. This helps in regards to vacant up the lighting and how deep certain date is e.g. this area over here where I'm hovering over my mouse, actually going to be much deeper looking. So in order to get ourselves that child for ambient occlusion, what we need to do is actually we need to go onto the texture sets settings. We're going to go onto it. And not only can we bake mesh maps, we can also enable certain channels. So I'm actually just going to scroll up like so until we get to the Channels tab over here, I'm going to click on the plus symbol like so. And I'm going to add ambient occlusion. Once we add ambient occlusion, we're going to get ourselves an additional value like so over here, we're going to make sure that this is enabled. I'm actually just going to go to Layers real quick, make sure that the fill layer is selected. And I'm going to enable the ambient occlusion channel over here. If we were to scroll down, we can now see yourselves ambient occlusion value, though with that said and done, we're now going to click and hold and drag it into the ambit occlusion value like so. And we can see that it darken up these bits. And when we move Sun, it actually looks like there's some additional depth to it. So that's actually quite nice that we set ourselves up with our first gusts of material. I'm also going to quickly rename this. I'm going to select this, and I'm going to simply rename this fill layer. So now we can actually save it out as a proper materials. So if we were to double-click on the name, we can change its name and we're going to call this one rock. Or rather I'm going to call this western rock like so. And I'm going to keep it as is. Then finally, to save it out within our assets library, what do we need to do is within the properties filled tab, where you need to right-click. And we need to basically select Create material preset, which once we do that, we can see that within our assets we create ourselves, our own, very own type of a material which actually doesn't like to be renamed. So I'm going to, in order to rename it within assets library itself, we need to right-click on it. And we can now have ourselves a name. And I'm just going to make sure that this is also named western rock, like so. Now this is going to be over here. So now in order to search it, we're just going to make sure that we are within the base material tab. This one over here, we're going to search for rock and we're going to get ourselves western rock over here. Just like that, we're able to create a solid state material, which now we can drag it into our mesh like so. And it'll give us the material right away with everything set up the way we have it. I'm just going to make sure to delete it to make sure we only have one type of material. And now in the next lesson we're going to continue on and actually set ourselves up with a nicer type of terrain look. So thank you so much for watching and I'll see you in a bit. 7. Blending in PBR materials: Welcome back everyone through substance painter beginner's guide to game texturing. In the last lesson, we left it all by setting ourselves up with a custom PBR type of a material. And now we're going to continue on and actually start applying it on tour terrain properly because right now it doesn't look quite as nice. So to start off, we're going to actually make it smaller to get more detail in through this entire terrain. And in order for us to do that, to change up the scale of a material or what we can do is if we were to scroll up within the properties fill tab, there is UV transformation step, make sure we have this opened up and it will have a styling option. With dialing option is super easy and simple to change up the tiling. So if we were to click on it and hold it, we can see how it changes up. Alternatively, we can click on this type of a valley itself and change it manually. And if we want to, we can totally change up how much stretched up it is. So if I were to click this button off, we'll be able to change the X and a Y type of a will be able to change the height and the width of a texture. So e.g. if I were to select a spore on this, we're going to be able to stretch out the wrong insert cases we want to make use out of it. However, I prefer to keep this button on as usually we want to make sure that the texture is staying proportional. So with that said, we also have another option called rotation. If we were to use this, we're going to be able to rotate our entire texture around. And that's going to give us some real nice type of results in regards to how we're able to control which way the rock is going. So e.g. I. Want to maybe change this 180 degrees. We can also click on this value over here and change in one degree. So we just basically flip it around. And that's going to give us some nice results as well. I'm actually thinking that this is still too large, so I'm going to increase this to a value of four. Maybe that's going to look much better. That looks much nicer. But right now, what we have in regards to an issue we're facing is it looks too repetitive because we titled this up by four, is going to get, in regards to the pattern is going to be quite a lot more noticeable. So e.g. this streak across here or this pair over here, we can see them identical. And of course it doesn't look quite as nice so far as to fix that, we're actually going to create a cell as a new custom PBR materials. We're going to click on the fill layer to add it up like so. We're going to start off by going into our resources tab. So this one over here, I'm going to go back on the textures folder and we're going to get ourselves West rocky material. We're going to select all of them, drag it into our acids just like we did previously. Making sure that all of them are selected ice textures, making sure that the current session is thick tone, and then we're going to import it. So now we're just going to do exactly the same as we did before. Base color is going to be this one over here. I'm going to put it over here. Then we got ourselves the ambient occlusion, which actually goes all the way down. But as well put it in right away. We got ourselves normal value and we got ourselves a roughness value. So this is going to be going over here like so. And I'm also going to just change up the tiling to be set to four as well. Or maybe even more in this case, I'm going to set it to eight. And that's going to look much nicer. We want some nice smaller pebbles going across like so. The downside right now is that because we're applying a filet, It's actually going to be overlaid on top of the previous one. I'm actually just going to quickly create a material out of this. I'm going to double-click on this and call this Western rocky, like so. And I'm actually just going to fix up the name for the previous one. Like so. And I'm going to make sure I have this selected. And then within the properties fill layer, I'm going to right-click create a new material preset. And now, here we go. And I'll make sure that this is also renamed so Western rocky. And then afterwards. Yeah. Going back to the issue in regards to setting it up with the overlays. If we were to hide one of the layers like so, we can see that some of the detail disappears. And the reason being is because by default, the way the textures are being layered is all dependent on the way the channels are being overlaid within one another. Within the right-hand side, within the layers tab, we have a tab that says base color. And this will basically show us the channel within each one of the layers for base color. Of course, we can change the properties for all of them at once. But the ones that we are having control in regards to opacity, e.g. which we can do so for the right-hand side. So this one over here, we're only going to be affecting the base color. So even though I turned it down all the way to zero, we can still see the smaller rocks over here in regards to the normal value, e.g. So with that being said, in order to actually overlay them properly, in order to make sure that we don't have a material information from the material that's underneath be overlaid on top of this one. We need to make sure that we change the overlay option or a height value for a normal value that is. So for us to do that, we're going to click on this channel over here to change it from the base color. We're going to change it to a normal value over here. And by default you can see what it looks like. It actually uses the normal type of a blending mode, which allows us to kinda overlay some nice results on top of 1 h. But in this case we don't want this. I just wanted to be normally blending in. So far as to do that, we're going to change the blending mode. If I were to click, we have a bunch of our options put all we need to know is that right now we're going to make use out of the normal type of an overlay, which right away, as you can see, because we're overlaying those rocks, the information from the normal map disappears. So this way, we can actually make use out of this entire type of a material and kinda overlay it with the previous one in nicer way. Of course. Of course, right now, if we were to just send enable it on top of it, it's just going to cover up the entire thing and we don't want this to happen. So the way we're going to fix it is actually going to be by making use of a masking techniques. So I talked before how 90% of the time we're going to make use of the three layers. And the reason being is because when using fill layers, It's really hard to adjust some additional information if we were to try to color it in because we can only make use out of those bilayer type of information. But in order to kind of blend in the values together in regards to having multiple layers. But we can do is make use out of the masking techniques. Though for us to do that, we're going to select the layer that's above it. We're going to click on Add Mask. We're going to start off by adding a black mask, which will right away, we'll show you that the whole, entire material disappears. It didn't actually disappear, it's just being masked out. The black value would mean that the entire material is not being visible is the black is equivalent to a value of zero in regards to computer code. And if we were to change this e.g. to a white mask, which would change your tail one, a value equals to a full material will get the usual type of overlay. So going back to what I said in regards to applying a black mask, what we can do is make use out of the masking in order to overlay some nicer type of patterns within our textures. And right away, what we'll notice is once we have the masking applied, we see that it actually is highlighted in blue in regards to this entire box. But this will mean that the mask is selected basically. And we have some properties on the bottom right-hand corner for this mask. And if we want to go back on to changing up some properties or the material we need to click back onto material like so we now see that the blue square is being highlighted for the material itself and not the mask. And again, this all, it'll mean that we're able to make use out of the properties for this area. So if we want to change up the tiling, e.g. we'd go back onto this type of a square over here. And if you want to make use out of the masking will need to make sure that again, this is being selected for the mask. So now with this selected, we're actually going to make use out of a masking brush. We're going to make sure we delete a filter for the base material. And we're going to go on to the brushes tab over here, which will show us with a bunch of different brushes to make use out of my favourite one is actually if we were to scroll up and you're going to be the artistic brush. I use this quite often to be honest, and it gives us a really nice type of a stylized look. So let's go ahead and make sure we used that. We are going to click on it. We're going to select it. And now we can see that when we hover over our terrain, we get ourselves with an interesting type of an alpha. So the way we'll make use out of it within a property spent that when we have the masking selected, we can see that the Alpha is set up and then next to it, and we can see the white type of a color. All this will mean is that if we were to scroll down, we have ourselves a grayscale. So this white ball will represent the color for the gray scale everywhere. To change this up, we can see the different type of change, but what we'll need to know is basically the white will again represent the white mask. So once we start painting this on, we can see that we're actually able to put in detail for those pebbles, which is pretty nice. One to switch between those students that have just scrolling between gray scale from zero to black. What we can do is in order to change up the brush, we can invert a value with this button over here. Or alternatively within the viewport itself, we can click X, which will again invert this color, which is pretty nice. So once we have it set to black, we can delete the information from the mask. And once we have it set as white, we can add information to it. So it's really, really easy and simple way to make this arrow. And now in regards to the brush, what do we need to also know is how to change the size. So top left-hand corner there is a size option which if we were to change it, we can go ahead and add more detail to it. And then we also have a flow, the second option for a control of a brush. And that gives us some real nice control how we're overlaying the brush. So e.g. although we now have it set as one, if you have a low set as real low, basically not affect the world too much. And this will allow us to blend in the values really real nicely. So if we set it to a value of 30 or a flow, we can blend in the values really nicely and we get some additional information coming out of a material underneath it. That is how we're going to be kind of blending in the values in regards to this entire section. So then with that being said and done, we're actually just going to make use out of the brush. And I'm going to quickly add some additional detail throughout this terrain and making sure that I added where there is a pathway, e.g. so when we're going down the stairs, we're going to have some additional kind of rocky probably type of an area. And then the rest is just kinda using it to split up this type of a pattern of a simple rocky terrain. I'm just using it to kinda tap it out slowly. Get some nicer type of the results over here a little bit as well over here, and like so. Alright, so now that we're done with it, we're actually going to continue on in regards to seeing how we can adjust the material color and whatnot in the next lesson. So thank you so much for watching, and I'll see you in a bit. 8. Adjusting PBR Material Color: Hello and welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it all by setting ourselves up with some nice variation within or texture or the terrain of our environment. Now we're going to continue on working on this real quick. And then we're going to adjust some of the color values and see how we can actually manipulate some of those materials, you get better results. So I'm going to firstly just continue on working real quick in regards to setting this up. Like so. That's going to look quite alright. We can have some over here as well, maybe close to this edge piece over, over like so. That looks quite okay. I think I like this entire result maybe a little bit over here. I'm also going to change up the size of the brush. Maybe just get some additional bit next to the wagon, maybe some over here as well. And I think we can work on it as much as we want. But once we're done with it, we're basically now going to adjust the color variations of each of those materials. So let's go ahead and do that. We're going to firstly start off with the one at the base. So we have ourselves a nice material setup exam. And we can exactly changed up the color by default, since we're already using color information. So what do we need to do is actually we need to overlay another fill layer on top of it. You get that sort of a result. But we can't just do it by simply adding another layer within the channel. We need to actually set ourselves up with a new fill layer. And we can either do it by creating ourselves a fill layer within the simple layer at the top of this material. But e.g. if I wanted to only affected this type of a material that's like above it. The one that we created overlay, the one that's underneath. It would be hard for us to control the color just on one material. So anyways, the way we're going to do is actually rather simple. We're going to create a fill layer within the layer that we already have and we were going to do it is actually we're going to click Add effect. And we're going to choose Fill layer as an effect. And this will make sure that it basically creates a new folder within this layer, like so. Now all we gotta do is just make sure that we have ourselves a proper filet setup. By default, it gives us all the PBR values within a channel. So color, height, roughness, metallic, and all of the rest. But we need to just make sure that we only use color information for now since we just wanted to change up the already existing information for the material. So we're going to make sure that only this base color selected, we can de-select each one of them manually, or we can hold Alt and click on Color, which will make sure that everything is this selected except for the base color. And by default, the blending mode, just like we did with the normal value or a detail basically for the normal values of the texture. By default, this is set as normal with 100% opacity. That's basically mean that we're just replacing the color entirely. But by changing our normal value from a simple normal to a color variant like so. If we were to select this one over here, we can now change up the color itself of the entire texture. So by clicking on this box over here, we can now change up the color and see how it's being affected. So e.g. if I were to get this sort of result like so, brownish type or within, it's already looking quite nice, but this also is blending in entire type of a mesh value. So if only we want to just simply adjusted just barely so it would keep us some additional color variation. What we can do is just change up the opacity for it with zero at one be affected. But if we were to increase it to this amount, we can see that it is being changed and we can see that it's actually looking much better in regards to them overall color. So by just adding an additional layer opacity, we're going to get this result. Now as for the other one, I think we can also do the same. So I'm going to go ahead and select this material that's above it. Going to add an effect at Fill. Make sure that we only have the color material enabled. And we're going to make sure that we also have this set as color and change it to be more of a red type of a tint. I think that's going to be much better. So this or off, a result of being that's going to look quite alright. So really orangey type of look. Of course, the opacity is way too much, so I'm going to lower it down and get it to a value of 20. And just like that, we're going to get ourselves some real nice variation. Like so. Let's say we want to kinda dark in the overall color. What we can do is above this material fill, we're going to add another fill layer. We're going to click on Add opec at the layer. And we're going to again, just make sure that we have the color selected. With this, we're going to lower it to be quite dark like so. And instead of just using a normal value, we're going to change this to multiply. Multiply will do is basically it'll just darken the entire texture color without simply overlaying it. And we can see the type of results. If we were to change this to white, it won't be doing anything. But once we start darkening it up, it's going to give us some real nice results. So the way it works basically right now, if we have a look at it, if we're to change up to a masking, we can see that these bilayers disappear. What this will mean that basically, whenever we're working with material, we have some effects that we can add on the masking layer, which we will do so in the future. And we have some effects that we can add onto a material. And depending on which one of these is selected and we can see the different type of an effects that are being applied. Then one more thing that we need to consider is the order of how they're being applied. So right now, by default, the original fill layer is going to be applied as the default. So this entire type of material is going to be applied. Then afterwards the coloring material is going to be applied on top of it, which will affect the color, making it a little bit more red. Or actually I'm just going to make it just a little bit extra read, Excel, quite like it, like so. And finally, the multiply is going to be applied afterwards. So we're going to get some real nice type of result. I might just want to lower this down just a little bit like so this sort of a look, which is looking quite nice. That is how we apply different types of coloring who are PBR materials. It might look quite complicated at first, but all it is, is just a simple order. And talking about orders, if we do want to change up the way that order is organized, we can click and hold and then drag it. Like so. This will mean that the multiplier is being applied, and then afterwards, the color layer is being applied on top of it. It's important when we want to adjust the type of an order that we have for each one of those layers. But yeah, that's all it takes in order for us to set up a terrain with Ben substance painter. And once we're done with data, we can now move on to our sections. So I reckon I'll end this lesson a little bit short. And we're going to continue on with detection process and next lesson. So thank you so much for watching, and I'll see you in a bit. 9. Creating Base Stone Material Folder: Hello and welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it off by finishing off the terrain for the base of our environment. And now we're going to continue on working with the outside props actually. And we're going to start setting ourselves up with the rock and a cactus. We're going to get ourselves into the material that we need. And I'm just going to lower down this a little bit so we'll get to see the texture set list. And we're going to just simply scroll up until we find the cactus ash Rocks. Let's go ahead and open this up and let's go ahead and delete the original layer since we don't need it. Just in case I'm actually just going to open up the focus mode just to see that they are the ones that we're looking for and yes, they are. So that's quite nice. Okay, so now in order to get ourselves all the detail in, we're going to start off by setting up a base material for the color of the rock. We're not going to make use out of the custom materials that we had. We actually just going to set ourselves up with our own material that's going to make use of the baked texture maps. We're going to see that in a bit. But yeah, as a starting point, we of course need to make sure that we have a nice base color. And I'm just going to click on adding a fill layer. We're going to change up the color to be a yellowish tint. Something to this type of a value. And I think I'm actually just going to turn off the focus mode at the moment just so we can see what we're doing. So, yeah, we got ourselves a rock and we are going to start off by turning down the roughness value because right now it is way too shiny. So we're going to close down the base color. We're going to go down to the roughness value and we're going to increase this to roughen it up. And I'm just thinking to which value we should get. And we should probably take it a little bit lower the value of 0.6 to that value. So it'll give us a nice kind of a default type of a lighting for this rock. Actually, I'm just going to make this a little bit more orangey. So there you go. That's going to fit more with, in regards to the terrain. That's going to look quite nice. Now the next step that we need to do is actually get ourselves some base type of a texture for these rocks as well, since they are quite stylized type of rocks. And we can just simply make use out of some type of a grunge noise to get some nicer type of a bumblebee, because right now it's, although it is a sculpted out, it still looks too smooth as Iraq. So what I like to do is just simply create a new fill layer, like so, instead of just using the channels just like we did previously, we're actually going to make use out of the material mode. And this will just replace the philia to a material basically like we set ourselves up previously. So that's going to be quite nice. Within this material mode, we're going to search for concrete. The concrete that we're going to use is actually just going to be on creed a to just hover over them. Concrete barrier. I think that's going to be quite alright. That's going to give us this result, which doesn't look quite nice because the height pathology, if we're working with more organic shapes, they're going to have a lot of UV seams. And even if we were to increase the tiling too, let's save something like four. We can still see the themes going on all around us and we don't want this to happen. So quick way of fixing those seams. It's actually just by changing up the UV projection. By changing the UV projection from UV protection to try planar projection. It'll basically allow us to project our textures from all six angles like so from up, down and different size and whatnot they're going to meet are basically in the corner. So if I were to increase the hardness, we can see that they actually meet up in these kind of angles like so. But because if we were to lower this down all the way to zero, we're just going to blend in these values together. And that way we're actually avoiding all of the same textures that we usually have. Now the other thing that we need to consider is the scaling of an asset. A scaling of the material that is, so because this is an entire type of an environment that we're using, of course, the scaling is going to be quite different in comparison to if I was to just be texturing a simple rock. So we need to consider that and actually increase this to a value of, I'd say like something like eight, that's going to be giving us a good value. And now not every ourselves. With this, we of course need to consider how we're going to apply this entire yz. And the easiest way will simply be to just lower down the base color in order to get ourselves back with the colors. So if we were to start lowering down, even if we were to lower down to zero, we're still going to get some roughness and some height values of normal map value out of this rock, which is pretty nice. But if we were to just simply add a little bit that extra touch. Let's say to a value of ten, we're going to overlay that a little bit of an extra detail on top of it. And it'll give us some real nice type of a result by simply adjusting the base color and opacity of ten. We're getting this sort of a look. Now. We're still getting some issues in regards to the highest value, e.g. I think it's way too intense to this type of a small rock. So of course, we need to adjust that as well. And the way we're going to do it is we can either go through the technical parameters, just adjusting these values over here, or alternatively, we can go on to the channel and go into the high channel and adjust how this is being applied. So I think this is going to go, we're going to be applying the height value of this. And just by changing this down within a high channel, again, we're going to get ourselves some real nice type of road bump value within our rock. And it's going to look really nice as a base. And it's not going to look as smooth as it did before. And we can even check out the roughness value looks so although we had set up previously, this is going to be completely overridden within this channel over here. So normal, they're still using normal. So we're going to get this sort of a look. And if we were to change the material from a material channel to a roughness value. So this time we're going to use single channels, the ones we used before. Mesh maps are just completely pure baked mashed map information. But right now, since we are applying type of textures, we're going to want to see those sectors. So we're going to make use out of the roughness value within a single channel to see what it looks like. And this is what we're getting basically, I think by default this is too much, so I'm actually just going to take it down lift so to 70. Now I'm going to go back to material which by, instead of just going to this type of a tab on the upper right-hand corner, we're going to click em to go on to the material tab like so. And we can see the type of result that we're getting. So default one looks pretty nice. And just in case we forget, we're also going to change up the channel from roughness back to base color because again, by default this is what's being used. And in case you're wondering why my rock is like that. It's because we need to rebate our mesh maps, which we're going to do in the next lesson. So let's continue on with this. And we still have some ways to go in regards to how we have it set up. For now though, we need to make sure that we're only applying these layers, these materials only on the rocks because these are also combined with the cactuses as well. And obviously we don't want the stone cactuses in the scene. So for us to do that, we'll firstly create ourselves a folder just to make sure that all of the upper layers are going to be placed within here. Then we will apply a mask on top of it. So it'll mean that all of the items that are within that folder are going to be simply placed underneath that same type of mask. So for us to do that, we're going to click on this button over here, add a layer. We're going to call this one rocks like so. And we're going to holding shift, we're going to select the both of them like so. And we're going to of course drag and drop it into the folder just like that. So now we have ourselves a folder. If we were to close this down, we can see that everything is within this material folder, which if we were to hide and unhide, we can see that it is affecting the layers that are within it. Don't be open this up and we can just rename the materials that we have within here. Bottom one can be called base color. And the one above it can be called the micro detail or just detail, like so. That'll be okay. Now, once we have the folder sorted, we're going to click on it. We're going to select it, we're going to right-click and we're going to add a black mask, just like we did previously. This time instead of painting it, we're going to make use out of another tool on the right-hand side, sorry, on the left-hand side, we're going to find ourselves to polygon filter like so, which is a shortcut for four by the way. So if we are within a brush, we can click for and that'll just go onto this type of a polygon fill tool. And we have couple of options using it. We have a underneath the properties polygon to fill tool. We have some triangle fill, we have polygon fail, we have Nashville and we have UV chunk fill. Each one of the bits have unique functionality in regards to how they fill up the, and how they mask out the areas. But we're going to make use out of the mesh fill tool, which is basically just going to find a mesh connected to the entire thing and it's split up. So e.g. this rock and this cactus or have you separate meshes. So if I were to isolate them, they're split off into two separate meshes. They're now going to be affected if our worst to mask one out. So that's why we're going to make use out of the mesh filter. Also, we have color, so zero to one, and usually we're just going to use zero to one. We never usually use the color in between. So make sure that we set, in this case the one which if it's set to zero, we can click x like we did previously to flip them around like so. And by having set, set it to one, by using a color of one for the mask, we can click on a rock and we're just going to apply the mask just like that. So we're going to now just click on each one of those rocks like so to select them. If let's say there are a couple of rocks next to one another, I'm going to click have to make sure I reset my camera. I had zoomed in previously in the right way. If, let's say we have multiple assets, we can hold our mouse button and just drag it across like so to select the square. And it'll give us this result. Now of course, the cactus is not part of the stone, so I'm going to click X to go to the black color, to the black mask and tap on it like so. I'm going to click X again to make sure that the white mask is being applied. And just like that, I'm going to make sure that the entire masking is done for the rocks. So now we can click one to make sure that I don't see the frame to go back onto my brush on the left-hand side, which will give us this sort of a result. And actually I'm just going to make the brush smaller just so it wouldn't get in the way. Today go, we got ourselves some nice rocks. Of course, they're not quite finished just yet because they don't look quite as nice. But in the next lesson we're going to actually start making use of smart masking and bake mesh maps. We've got ourselves better results. I think at this point, I'm going to go to the texture says Settings, yeah, we still haven't set ourselves up with the higher-quality base mesh maps. So we're going to do that in the next lesson. And yeah, thank you so much for watching and I'll see you in a bit. 10. Baking All Mesh Maps: Welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with some nice rock texture material, but it's not quite done yet. It looks to plane and we've been getting along just fine by setting ourselves up with material and making use out of them, without making use out of the, any of the big mesh maps. But at this point, we're going to start actually making use out of them. So to do that, we're going to go on to the texture said settings. We're going to get into the big mesh maps. Again, just like we did previously. This time, we need to make sure that we use low poly mesh as high poly mesh since we have a high polymerase only for characteristics and rock that is though. And we'll need to select all the mesh maps is time. And we're going to set them up as four K resolution because they're going to be all selected and they are all set as four K resolutions. It'll take quite awhile. We're going to leave the default settings as is, they're set up quite nicely for this exact type of projects. So 0.014 max and rare frontal distance. And we're going to sure that the match is that as always, our y's is not going to work quite as well. Then the rest, we're going to leave it as is. And let's go ahead now and finally bake out the selected textures. Like so. And now while we wait, I am actually going to give you more in-depth explanation in regards to the big mesh maps through a simple video, since it will take quite awhile for us to export everything out and bake all the detail that we need in that regard. I'll see you in a bit. Hello everyone and welcome to a substance painter basics video in which we're going to learn about baking mesh maps in order to bake ourselves to texture maps, we're going to go on to the texture sets Settings tab, and scroll down a little bit if you don't see it until we find ourselves HashMaps, let's go ahead and click on it. We've got ourselves the bacon window. By default, this is what you're going to get. They're going to be multiple parameters which we can go through. You're going to start up with the common settings. And within these common setting, all these settings are going to be applied onto your other texture maps. So right now the output size, e.g. by default it is going to be set to 512. I recommend you to either go to 2048 or if you want higher resolution, you can go to for K resolution and select 40 96 instead, this will give you much better results, although it'll make the baking process much longer. So before doing that, I recommend you to always start up by going to 2048 or even 1024. If you want to check the way your extra maps are being baked out, since getting the right results on your first go is usually quite rare. So just keep that in mind. Then afterwards, dilation with what this does is it bleeds out the texture map. Make sure that there are no edges in-between the seams seems themselves are going to be less visible with the setting on. So keeping it out of default 42 is usually fine. So let's go ahead and leave this as is. We don't really need to worry about diffusion. So let's move on. The high poly parameters. In this section, we're able to select ourselves a higher poly version or our mesh by clicking on this button over here, we can select multiple meshes in case we're working with multiple parts. Or alternatively, we can make use out of our default mesh. And select use low poly mesh as high poly mesh, which one gives us any of the normal detail, e.g. but it'll help us to get generate a maps that will help us to texture the asset though right now, because I don't have a high definition mesh. I'm going to make sure I go ahead and click this. So whenever we're using high poly meshes, we're making sure that this is ticked off. The cages are used for whenever we want more control over our asset with the baking, this helps us to prevent the bleeding. But I'm going to show you a different method that doesn't require cage and prevents the bleeding onto an object. So let's go ahead and skip this. Moving on Macs, frontal distance and max rare distance. These two settings determine the ways that rays are hitting off onto an asset. The thing is, we need to balance them out in order to make them not too big or too small. Whenever they are too big, it gets some bleeding effect in-between the crevices from the normal map and ambient occlusion map textures if they're too small, however, the detailed wouldn't be able to get baked in. So if it's too far off from the default original mesh, the hypovolemic status, it might not be able to pick off all the detail if this is too small. Usually, by default, I tried to use a value of 0.03. To get myself the first bake and see how it looks like within the 3D space. So those are the types of settings that I use as a default value. But after a tryout, some settings and check how it looks like with smaller values are larger values. Am I want to go with different types of settings that all depends on the type of object that we're texturing. Then moving on average normals, relative bounding box and ignore backspace are usually good ones to keep tectonics, the back face would allow us to texture or asset while ignoring the inside basis of the asset. So e.g. when the rays are hitting from one end and they're passing through, they're not going to see the inside of your object, which sometimes can cause some issues and average normals. It basically tells how the rays are being hit. So e.g. on this cube, the normals would be facing upwards. The race would be hitting from the UP, which is usually what the way you want it to be though keep an average normals is usually the way to go. Then moving on anti-aliasing, this one helps you to sharpen up your edges and corners for your generated texture maps. I'd usually keep this at two times two for the final result. I don't start with this whenever I make an initial bake for the textures, since this slightly slows down the generation process. So I start off by none and then find the file and results. I'd go up to two times two or even four times four. We don't really need to go anything above. So whenever I'm going with five resolution and also increase the subsampling to four times four, just to get a nicer, sharper and crisper result. So when we were talking about the cage, I mentioned there is a different result to avoid the bleeding onto our mesh for when we're baking or normals and ambient occlusion, right? So this is the way when we're changing to buy mesh name, what this would do is they would compare the high poly and low poly and their names. So when it would have two types of names, it would overlay them on top of one another and bake them separately. It doesn't matter if the low poly and high poly, we'd have more parts, but the parts would be taken out and base separately based on the names. The difference with the names though, is that the low poly would have to have the ending with underscore low, while the high folate would have to have exactly the same name difference being is that it would have to have underscore high. This will help the software determine which is low, in which is high, and that will allow you to bake the mesh information into an asset. If you're not getting any types of bacon results, make sure that you check your bakes by setting this to always. And this will basically disable the naming convention and will help you see how it looks like without the naming. Because sometimes what it does is misspelled the name, even by having a capital letter somewhere and not having a capital letter and the other place, it's not going to match them up. If you're not having any results at all, you might want to consider checking your mesh by having this to always, then moving on outside of the common perimeters, somebody's wouldn't even have any types of parameters by themselves. So e.g. if we go to normal map, you see this says it has no parameters, so we're going to leave it as is. Whitespace normal also does have parameters, id maps, a D maps. Depending on the type of texturing you're using. Id maps help you with masking out the materials or within an object when you're baking them out. This can also use vertex color, which is quite useful for ZBrush. I believe that's the one I usually use. There's also a way to use polar group e.g. which also makes things much easier. But usually when I'm masking out, I try masking them out based on objective ease and whatnot. So although baking them out is quite a fast process, when I'm baking all the texture maps, I just baked them all at once even though I'm not using it. Okay. Then moving on to ambient occlusion. Ambient occlusion would have a bunch of settings. And what you need to know is that if you increase secondary, raise, your quality for the ambient occlusion would get better over the baking. We take much, much longer if you are doing it to maximum, is makes sure to set yourself up for our longer wait time. Now, ambient occlusion at normal maps are used within the PBR rendering forever. Why do we use the other ones? Well, we use them to generate our masks for smart materials. So first of all, whitespace normal. This one have any of the parameters. And that is because it will basically determine the location of an object to tell where the top and a bottom is, which can then be used to apply, let's say mass on top of an object or something of the sort the curvature would tell where the edges of an asset are. This helps us to create a nice edge where for asset. And I will be talking about it later on when I show you the smart materials and the way to use them within a substance painter position. This determines where the asset is within the 3D space and you can make use out of it to tell the mass, e.g. to go diagonally or across. The entire asset, which is quite useful in certain cases as well. And finally, the thickness is really nice for when you're texturing an asset that's partially transparent as it can make use of additional color information. This can also be used for whenever you try to make an additional depth to the object. And it also has similar settings to ambient occlusion. So increasing secondary race e.g. would give you higher-quality, normal and ambient occlusion maps. Both are going to be used for PBR workflow. Over the rest of the extra maps are usually there to help you out within a texturing process, and they will basically help you generate masks. It'd be more specific to an asset. So e.g. something like a curvature map would help you generate masks around the corners of your object. And they will help you make some nice edge where or when you need them up in that, this is the one that will allow you to make some selections. If you have multiple materials, it usually want to make sure all of them are selected. And then you can click bags like the textures to bake all the texture maps at once for every single material that you have. That that's pretty much it. All we need to do is go ahead and click Bake selected textures, which will help you out. Bake all of them at once. Once we're done with bacon out the textures, all we have to do is click, okay, and quick tip. If you want to check out how the texture maps turned out to be, the easiest way to do is making use are the upper-right corner within the viewport. What this tab will let you do is select different channels independently. So if we scroll down, we see ourselves the mesh maps, and these are all the mesh maps that we baked out during the baking process. So we can select Normal, we can select curvature and check out the big maps turned out to be once were then checking them out. We can also go back up and select the material to go into the normal view. Alternatively, what we can do is we can click letters C. You scroll through them. Letter C will allow us to scroll through every single big texture map that we did. So by clicking C, We can go scroll down through every single one of them. Then we can click letter M to go back into the material view. Just like that, you can also scroll down through the channels by clicking the letter B. We go between the baked mashed map, licking the letter M would help you get back onto the material view. Thanks for watching everyone. Now, let's move on with the course. Right? Welcome back everyone. Now that we're done with the baking and we got ourselves introduced with the overall setup or the big mesh maps. We can start finally, move on onto the smart material making. Before doing that though, I'd like us to quickly bake out the high-quality detail as well for our rocks. So with the cactus and Rock selected, we're going to go back mesh maps, working resolution, and we're going to make sure we this time use this. So let's make sure that we have this box and ticked. We're going to click Bake cactus rocks. And again, which is going to weigh this time it's only going to be ten texture maps, so it's not going to be as bad as it was. There we go. Okay, so now that we're done with this, we're going to end this lesson here. So thank you so much for watching and I'll see you in a bit. 11. Creating First Smart Material Layer: Hello and welcome back everyone. This substance painter beginner's guide to game texturing. In the last lesson, we left it off by getting ourselves all of the big mesh maps done. And now we're going to actually make use out of them to set ourselves up with some smart materials. But before doing that, I'd like us to go over a quick video for the introduction of smart materials list to get ourselves up to speed on what they are. Welcome everyone to the introduction video for substance painter materials and smart materials with substance painter software, you can find yourself materials within the assets library absence painter has a bunch of different materials for you to choose if you want to apply them, all we need to do is simply drag and drop them into our Layers tab like so. Make sure you drag it above the upper layers and make sure it gets applied on top of them. If you are working with multiple texture sets, we can make use out of it and simply drag it and drop it onto our mesh. Apply the material with different texture sets by doing it like so, I'm able to apply material onto its different body parts. So what is a material? Well, material is basically made up out of texture sets that use different channels to create a material. Usually they are set up to be or the VBR material workflow. And what that means is that it has a base color, a metallic Channel, Roughness channel. And then sometimes they'd also make use out of a normal map or height map. What this means is that materials are usually set up our base color texture maps, as well as the metallic and roughness texture maps. Now, depending on the type of material that you're using, they might have a different channel map. So e.g. for this brass, it only uses these free, but if we go to the concrete material, it would also use the height map to get more bump detail. What a texture. What's nice about combining all of these texture maps to create a material is that it is going to behave as a single entity. Alright, now, if I were to go to the body and try to change this pattern, let's try to upscale it a little bit like this. We'll notice that the entire pattern is being held up with all these different material parameters. So e.g. the base color and the roughness color. Both of them will be scaled down to fit the value for scale of four. And in turn, if we go back to the material, because the roughness value was scaled up together with the color map, we're going to be able to see that the lines where they're black, because the roughness values were set to be higher. Therefore, there'll be less shiny. It'll be creating a nice realistic material for this asset. So that's pretty much what our material is. And they're used within different types of software. Although they can be varied depending on the type of workflow they're using. And if they're using a PBR workflow or not, e.g. but what is a smart material? Well, first of all, if you go onto the upper left corner and click Smart materials, these are going to be our smart materials. But what exactly are they? Since they are more specific to the Substance Painter and other software tend to not use them. Well, if I were to drag one of them onto our material, Let's pick something nice and let's go with this bronze armor material, e.g. if I was to drag this onto the mesh, the top of its head, e.g. we get this result. If you look at it, we noticed we'd get some detail around the edges. Smart materials make use out of degenerate masks that recreate during the baking process, raw materials come in folders. So if we have a look at it, what's inside and open one up, we'll see that it is actually made up of different layers. So what does that mean? Well, basically beforehand, the one layer that we had was the material itself, and it was just a layer on its own. In this case, however, we have multiple layers which are overlaying with one another. So let's have a look at one of them. If I was to hold Alt and click on the mask, will see that edge damage would give us this type of mask around our curvature. And what does that mean? Well, if we take it off and on, will notice the difference that it actually puts an edge detail on our material. And the way they do it is if we click on the mask editor and then scroll down. Well, notice that this mask editor, this one makes use of multiple vague maps, including world space normals, position, gradient, thickness, curvature, and ambient occlusion. If I was, let's say remove one of them. You'll notice that the entire effect water curvature edge disappears. That is because it uses a curvature map. If it doesn't have that, e.g. let's say we go to texture said settings. And if we were to remove the curvature map, again, you'll notice the entire peg disappears. So for smart materials, you've got to make sure that you have the generated maps that smart material requires. Take. So we can do so by going here. And right now I'll just quickly make a curvature map. By rebasing it. I get myself the curvature applied back onto our mesh maps, which in turn allows us to use mask editor that uses the curvature map. So thanks for watching materials and smart materials. Short introduction. Now, let's get on with the course. Alright, I hope this video was informative and productive, and now we're going to make use of this information and set ourselves up with the very first smart material layer. So we're going to go onto layers. Of course, we are still within cactus and rock's texture settlers. And we're going to open ourselves up with this folder. We're going to click on details just to make sure that the next layer that we're creating is going to be graded right above this. And it's going to be within the rocks folder. Since the creation is always a lot of layers, it's going to be right above the selection of the previous ones. So again, we're going to select the Details tab. We're going to click on the fill layers like so, which will create us a fill layer just like that. And it'll give us this result. By default is just the white type of a bilayer. So right away we're going to change this up to be dark type or color with a high roughness value. So let's increase this quite a bit like so to get this result. And the very first one that we're going to create is actually going to be super nice and simple. All we gotta do is just make use out of a black mask, which if we were to click Add black mask and add black mask, we're going to get the results similar to what we had on the terrain. Again, because it is a black mask, it'll mean that it is not being applied at all within our mesh currently. And we're going to make use out of it to add an effect at generator. And within a generator we can find ourselves a bunch of different smart masks that were able to apply onto her fill layer. So we're going to go ahead and do that, Just that actually we're going to click generator. We're going to go through all of these lists like so. And we're going to start by just applying dirt, Martin material tomorrow mass that is, go ahead and select it. And by default we're going to get this sort of a result which is looking quite nice, but it might be a little bit too much in regards to what we're having right now. We have couple of options. By default. Hello, if we were to lower it down, we have a couple of more options. All we need to worry about at the moment is their level and their contrast. By lowering dirt level, we're just going to decrease the amount. And by switching up the dirt contrast, we're going to sharpen up the entire mask or take it down and blend in the entire value a little bit more. So by just playing with these two values, we're going to get ourselves some real nice results. I reckon. We can increase the dirt layer to this amount and increase the contrast to something of this maybe lower the third level, like so. Okay, this looks quite good. Just looking at it through different angles, looks quite nice. Now we need to consider though, how it's going to blend in, in regards to the entire college cell as it currently is. It's a little bit too much. Although we didn't use black type of a value, the roughness values and everything does just going to be too much and we're not going to see much color out of it. And even if we aren't using a stylus mask, stylized type of a cell within this, we still need to consider how it's going to be applied to not make it too much standing out. And we're going to actually just going to use the opacity, not the one that we had previously with in regards to the base color switching up the opacity from here, we're going to switch up the masks opacity. And the difference being with the mask opacity is that we're basically taken off the mask information completely. But we have changed this to zero is going to take it off entirely. That's not only for the color channel, even though we have this selected, it's also throughout, it goes throughout the entire PPR values. So that includes the color and roughness values. And that means that if I was to go to, from material to roughness value, we can see how much it switches it up. If I were to get closer and switch this, we can see that the way it blends in is through the entire Fill Layer and not just the base color. When I'm working with masks, you gotta consider the opacity of them as well. And I'm actually just going to go ahead and click em to go back onto the material mode. Basically lower this down to a reasonable amount. Something like 70 will do the trick because the nine is a good value. And we're just going to move on with this. I think that's going to give us a real nice result for this type of Iraq. We now need to consider though the rest of the rocks as well. If we need to add some value to them. What can we do in order to get some additional value? Well, we can just simply add grunge amount. There is within a bottom corner, something called Grunge amount. If we were to increase this, we can kinda add additional type of an overlay or these rocks and that's going to help us get more detailed out of them. And just like that we're able to get, uh, so some really, really nice results. So that's going to be it in regards to our first layer. Let's go ahead and double-click on it and call this dirt like so. And now we're going to move on and actually start overlaying this yet even nicer results. So yeah, we're going to continue on in regards to the rocky type of immaterial in the next lesson. Thank you so much for watching and I'll see you in a bit. 12. Setting Up Smart Material Preset: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it all by setting ourselves up with a real nice type of smart mask to help us get more detail out of Iraq. Now we're going to continue on working with this. And as you can see when we rotate our sellers, the sun, this light source, we're going to have somewhat of a flat looking surface because by default, if we were to go on to the roughness single channel, we're just going to have a really basic type of information for a roughness value course. We want to get more detail out of it. We want to make use out of that. You get some nice micro detail within the material. And so for that, we're going to make use of the fill layer, which will only be set as roughness values. So let's go ahead and add a new fill layer. We're going to double-click on this and right away we're just going to call this roughness overlay. Overlay, like so. Then we're going to make sure that we only use the roughness channel. So let's hold Alt and let's click on the roughness channel like so, which will give us this result. Of course, we need to make sure we apply a different type of a value. So we're going to go onto a roughness and we're going to actually make use out of grunge masks, that substance beta has a lot of grunge masks. All we gotta do just within search bar. We're going to search for grunge, like so. And we get ourselves a bunch of different ones. The one that we're looking for is actually going to be called crunch dirt. Let's go ahead and search for that. And I'm just wondering which one it is. It's actually going to be grunge dirt. Large a go. That's the one. It's really nice to split up the different type of roughness value. So with this, of course now it's going to look really bizarre because firstly, it's not set up properly, but to help us visualize how the roughness values are going to look, we need to go from the material to the roughness value like so to see what is actually happening in regards to the information. And because it is split up differently in regards to the UVs. To fix this issue, we're going to go onto right-of-way from projection UV protection to try planar projection. Let's go ahead and select that. We're going to increase the UV tiling too. Eight maybe is a little bit too much. Maybe 44 is just right. Or actually I'm going to increase it to five. We have five is perfect. There you go. Let's make use out of that. But of course, we did have a lot of information already before in regards to how it's being applied, the crevasses and whatnot from the dirt mask. So we don't want to lose a lot of in that regard. But there are multiple ways to kinda overlay our roughness values are different information from the fill layers and about not using the different blending modes. We already experimented a little bit in that regard. We already tried some on, but the one that we're going to actually use is going to be a blend, a value that will only brighten up certain areas because we don't want it to be too shiny for a rock. The default was too much. So we're going to go from the base color to roughness to make sure that we change the Blending value for the roughness itself. Then we're going to change this from normal to screen. And this will basically apply brighter areas onto the brightened, up, onto the dark and pieces. And basically it'll just brighten up the roughness value. It'll make it rougher in regards to that, I'm going to click em and just see how it looks like. And we can see that it has that small micro detail that's going to look really nice. I don't think it's quite as visible in regards to the camera. It is looking much better in regards to that, I'm actually just going to go back on the roughness value, which by the way, the shortcut, but when going from a material to single layer is see. If I was to click see it basically start flipping between the single channels. So clicking C is going to allow you to switch between them like so. Clicking B, on the other hand, will allow you to go between mesh maps. So B will allow you to do that. C will allow you to do that. And again, going by clicking, again, by clicking on em, were able to go back onto material. I'm going to click C to go into the roughness value and going to check how this looks, and I think this looks good. We can also adjust some roughness values as well. So e.g. a, bank balance can be increased, brighten it up a little bit like so. The contrast can be used to sharpen it up a little bit. The mask, I think it's okay as is. And we can, we might as well make another one. Since we can, we can actually get some darker spots using a roughness overlay. So I'm actually just going to duplicate this to make it easier for myself. Going to select this, I'm going to click control C control V to make a duplicate. And straightaway, I'm going to change this roughness overlay to use different one. So instead of grunge dirt large, I'm going to use crunch slats. That's the one that's going to look quite nice. Again, because this is a screen, it's not going to look quite as nice. This is the default ones. We're going to look much better in that regard. And I think in this occasion we need to lower down the hardness just to kind of blend in the values a little bit more. Yeah, I might as well lower it all the way. Now. Instead of using normal blending within the roughness channel or using screen to kinda brighten it up. I'm going to use Multiply, which does the opposite, basically off the screen type of a blending value. Multiply will basically darken everything in regards to the values. And because it was like this already, it was a pretty dark texture. It's going to take up a lot of other information for the roughness value. It's a little bit too much in the default state. So I'm just going to lower this down to a value of 40. Something like that is going to give us this sort of a look. And if you click M, we can see how the rock would look like and it's already looking Much, much better. I'm just making sure that the smaller ones are looking quite as nice throughout the entire environment, then they do look quite nice. Now I reckon we can also kinda break up the color a little bit as well. We're going to do just that actually, we're going to make sure that the overall color is not just a single type of a plane. Look, if we click on see within our Substance Painter and scroll through them, the base color just looks too plain as the default. So let's go ahead and fix that right away. We're going to fix it by creating ourselves a new fill layer. We're going to make sure that this one is only set with base color and roughness. So base color and roughness like so. Sorry, I'm going to hold Alt, make sure that the color is enabled and then roughness enabled. Afterwards, we're going to increase the roughness to this one and we're going to change up the base color to be a bit of a brownish dark tint like so. So it'll look like some nice dried-up type of a dirt. And then afterwards, what we're going to do is we're going to make use of a black mask. We're going to set this up with a fill layer and we're going to make use out of the dirt splat again, this time just to make sure that the variation is there with the triplanar projection that is hardness set to zero. We're going to change this to a value of, let's say seven. That's going to give us a nice result. Here you go. Oh, we're going to get this sort of look, which is already looking quite nice. But I think it's a little bit too much. We're just going to lower down your value of 40. And is before and after. We can see that it kinda overlays it nicely in regards to their overall. And just as a final touch, we also need to make sure we kinda highlight the edges and crevices a little bit more just to kinda highlight the overall shape of each rock. So for us to do that, we're going to add a curvature in detail within a rock. So let's go ahead and create a new fill layer. We're going to change up this base color to be a bit more of a yellowish tint like so a creamy color. As for the roughness value, we don't want to go too high up, but a value of 0.6 will do like so. And I think that's going to be okay for now. Let's go ahead and add a mask. Let's add a black mask, like so. And this time we're going to add a generator that allows us to make use out of a curvature mask. So let's go ahead and add a generator. Let's add a curvature mask like so. And just like that, we're able to get ourselves some real nice results. Of course, we'll need to adjust them a little bit. So let's go ahead and change up the global balance by lowering it down, we'll get. So some really realize type of look like so just like that, we can check the other rocks as well. We can see some of them being a little bit more bad and, and what not. And it's just looking quite nice overall as we're highlighting those edges within the rocky surfaces. So that's all it takes to set it up. I just think it's a little bit too much too intense. So we're going to lower intensity for the opacity within the mask itself. I'm going to just lower it down like so, down to a value of 40. I think that's going to be quite okay. And we're going to get this result. Of course, let's not forget to actually rename those fill layer. So the one before it was just an overlay color. We're going to call it like so, over lay color, like so. And the second one was curvature. So let's go ahead and rename it, occur richer. Overture, like so. And we're pretty much done in regards to setting it up as a smart material. We got some ambient occlusion, some curvature values. And this gives us some real nice type of a rocky result within or seen. All we gotta do now is just make sure that we are able to reuse it in our future projects. And it's actually rather easy to save out a smart material. We just simply go to select the Smart mask, smart materials. We just simply gotta select the folder for the smart material and we're going to right-click on it. And we're going to, if I were to find it within this massive list, there you go, create smart material. We're going to click on this one over here, which will give us smart material called rocks. Just like that, we're able to now, if I was to delete this one, e.g. I. Can simply reapply this again, it'll give us the right kind of result. One thing to keep in mind though, is that it's going to keep the mask for it as well. So in the future, if you are reusing it, just make sure to right-click on it at black mask and this will reset the mask and then you'll have to just simply kinda re-select the meshes just like that. I'm going to click Control Z to undo my step to keep the same mask since this was that for all of these rocks. So yeah, that's going to be it in regards to setting up a smart material. Thank you so much for watching. And then in the next lesson we're going to continue on with the work with setting up those cactuses. So again, thank you so much for watching and I'll see you in a bit. 13. Creating Cactus Spikes Texture: Welcome back everyone through substance painter beginner's guide to game texturing. In the last lesson, we left at all by getting yourself some nice rocks using smart materials. Now we're going to continue on with the texturing process for more organic shapes. And we're going to get herself some nice actors lectures for a city that we're going to close down the rocks folder like so we're actually going to go back onto the base color channel just so we wouldn't forget. And we're going to begin by clicking on the folder itself and grading a new fill layer. The reason we click on the folder itself is because we want to make sure that the fill layer is created right above the folder that we just had. There we have it like so we're going to also at the same time create a group. And we're going to drag this fill layer right into the group. So now we can create a simple mask for the cactus or wouldn't affect the rocks. We're going to add a black mask. And we're going to select this cactus over here, like so. And actually real quick, I'm going to go back onto the fill layer. I'm going to scroll down and I'm just going to change the color just so we could see what it looks like. Just like that. And this is because we picked a different color and we'll be able to see it better in regards to the cactus. And now we can go back onto the mask itself, onto this one over here. And we can use polygon to fill, to just use the object mesh fill, clicking F4. And then I'm just going to apply it onto all of the cactuses that we have. We have one over here, over here. And I think that's pretty much it. I'm going to isolate view real quick. Make sure. Yeah, there you go. We only have precalculus is in here in the scene. We can now go back out of it. We can click one to make sure we don't see the wireframe. And we're going to start by getting a cell is the basic fill layer. So the base color is a little bit too green disk. In this case, I'm going to make it more yellow and I'm going to lower down the saturation, just going to darken as well. That's going to look quite nice. Something like this will do like this one. Okay? Of course the roughness values way too much. So we're going to close down a base color and we're going to increase the roughness value to a value of seven, like so we're going to get ourselves a nice base to begin with the work. And by default, it does look to smooth as a simple type of, if you like, texture will need to make sure we switched it up. I'm going to quickly rename the fill layer though to a base like though and the folder you cactus. And of course now we're going to play around with a new fill layer. Let's make sure we select the base material. We're going to click New Fill Layer. We're going to begin by having just a roughness and black color. I'm going to change this up to a value that's close to black like so. And a value that's actually going to be somewhat like this, a bit more of a glossier type like so that's going to give us some nice results. Now for the mask that we're going to use, we're going to add a black mask and we're going to make use out of grunge. There has some nice grainy result. Let's go ahead and add effect at fill and add grunge, not dirt. We're going to add a grainy. So ranch wife grain is going to be really nice for a cactus, going to give us some real nice results overall. Just in case we're going to make sure we also remove the seamless texture. If we're struggling to see the mask itself, what we can do is actually get hold Alt and we can click on the mask itself, which will give us the mask view within the top right-hand corner, like so. And if you want to go out of it, we can just click em to go out of it. But anyways, by going into the mask view just like that, we're going to be able to see a much better result in regards to how the mask is being applied. You can see it being applied on the rocks as well. That's because we're only seeing this type of a mask result. But keep in mind that above it we have the cactus mask for just the cactuses. So that's why we're not seeing this type of a branch mask being applied onto the rocks as well. So moving on, we're going to make sure that this is set to try planar projection. We're going to increase this to a value of eight. I'd say, Hey, might be a little bit too much. I'll drop it down to six and the Hardness down to zero just to make sure soften up the edges. This looks quite nice. Let's go ahead and check out. Looks like we're going to click em and see how it looks like within a cactus. And there you go. We're getting some really nice pattern already. Of course it's not quite done because we need to set it up in regards to the wavy bits. So let's go ahead and do that. Actually, we're going to create ourselves a new fill layer. We're going to start by getting ourselves Black Mask, get a generator, and we're going to make use out of the curvature mask like so. The default one is looking quite nice, although we should probably lower down by quite a bit. I'd say this amount, this is good amount and maybe increase the contrast as well. Now, let's not increase the contrast. Let's lower down the global balance even more with this amount like so. Of course, we still need to probably break it down quite a bit in regards to the curvature mask. So what I would say is let's go ahead and do that. What we can do in order to break it up is easiest way would be to just add another layer on top of it. So let's go ahead and add a fill layer on top of it, which we will make use of to Kara delete some of the detail from the curvature mass. As you can see, this is the curvature that we had. This is the one that's being overlaid, will firstly need to find a grunge that will help us do so. Let's go ahead and actually reset the search bar. And we can do so by clicking on this button over here, I'll go to the default kind of a naming search. Now we can just search for grunge like so. And I'd say probably make use out of this, although I'm looking for the ego, does streak, grunge does streak is going to give us really nice results. Force, we're going to go into the trie planar projection and set the tiling simply like to eight. This is going to give us some nice results. Are going to increase the contrast and balance a little bit as well. I'm actually going to leave the balance like so that's going to give us a nice looks. And let's go ahead and also take off the hardness all the way. And now in order for us to take off the curvature information using this mask, what do we can do is simply we can go click on Normal and make use out of the subtract. This will just remove all the information, the additional information to help us break up this overall type of mask. We can also increase the balance even more to kinda help us in regards to breaking it up. And it's going to give us a nice kind of results like so. And I'm thinking that maybe it's a little bit too much. Go ahead and lowered down or actually I'm going to go back through curvature and change this to 0.02. This is going to give us much nicer, stronger type of result. And now I'm going to use this to kind of break it up. Like Sophie, that's going to give us much, much nicer type of results. Let's go ahead and go through all the way to the back to see how the ones that are back look like. But these are different cactuses, but even so it will still look quite nice in regards to that. I'm just making sure that we have it nicely set up with the smaller ones as well. Of course, we need to add some flowers. We're going to do that in a second for now though, I reckon that's going to look quiet. Okay? One more thing that we need to do is of course, lower down the intensity for the curvature mask at say, a value of 80, that's going to give us the right type of result. Like so. Before and after AD is going to give us the right result. Go ahead and keep it as 80. And as for the subtraction, we can also lower this down. What will this loop basically is? Make sure that some of the bits are still being applied even though we're using the Subtract mode. So I'd say 95 is good. It'll give us that slight bit of an edge. That'll make it a real nice and subtle change to the edges of the cactus. Now that we are done with this, although I will say that we need some extra spike sections or the actors as well. So I think we're going to do just that. We're going to create some real quick. We're going to add a new layer. And this time we're going to make use out of the height value. For us to do that, we need to set ourselves up with a nice mask. Then, just like we did previously, we're going to make use or a black mask. We're going to create a generator and we're going to get herself scurvy mature mask. Of course this is going to be too thick, but we can't just simply make use out of this either. But we want to have more or less of a straight line going across. So what are we going to do is actually we're going to set it as 0.03. And now we're going to thin out this entire line just to help us out in regards to making some nice lines across for the spikes. So the way we're going to do is actually we're going to add another effect and we're going to add a filter which will help us to bevel out these masks. We're going to get it like so. And this'll help us to kind of get it nicely set up to help us see the mask. I'm going to hold Alt, click on the mask like so. And now we're going to be able to work with it a little bit better. We're going to lower this down to say this amount. And this is looking quite nice. Now we can actually make use out of it. But let's go ahead and click em and make actually use out of it. We're going to go back onto the mask. We're going to increase the height value, which will in turn basically give us some Bump Value, similar to what we have the rock e.g. for the hyperbolic. But in this case, we're going to be using instead of the normal maps, we're going to be using the height value. Which by the way, I'm just letting you know straight away. It doesn't matter if you're using height value or normal maps or details. In the end, they're still going to be exported out within a normal extra map. They're still going to be converted regardless whether or not you're using height map or you're using normal map, though of course, this doesn't look like spikes at the moment. We need to go ahead and fix them up first, we're going to hold Alt, click back on the mask. And let's go ahead and quickly do that. Well now though what we're going to use is a fact layer effect, which will apply on top of the bevel. And now we're going to go ahead and search for spots, which should give us grunge stains, positive Ego, going to give us the right result. I'm thinking that maybe we shouldn't use another one, but know that's going to give us the right type of a look. Let's go ahead and make use out of it. But pitiful, they're going to be too large and they need to be set as try planar with the lowest hardness. And the tiling should be quite high. So 24, even two or even higher doesn't seem to be wanting to go higher than 42, but we can also increase it for a number writing into the value ourselves. So 60 war might be better. We gotta decide on how big the spikes, where you want it to be. So maybe even larger AT is going to be okay, I reckon. So let's go ahead and make use of that. So now in order to overlay this detail onto our previous mask, this one over here, we're actually going to click on Normal and change it to overlay. This will give us some nice detailed kind of spots going throughout the cactus like so. And it's going to make it look so much better in regards to their overall type of a texture. What is cactuses? And I'm just looking for out and seeing how they look like. They look quite alright, so let's go ahead and keep them as is we do. Might want to keep different get ourselves a different color. I'm actually just going to go ahead and do that. Going to go ahead and hold Alt, click on a color for the fill layer. Since we haven't changed that just yet, I'm going to actually darken them up like so. That doesn't look quite as right. So I'm actually just going to get it to be a bit more of a brownish tint. I think that's going to be quiet. Okay. Like so you go. So that's going to look quite nice. Let's go ahead and keep it as is. And if you want to adjust the height value, we of course need to go ahead and enable the height value as well. There you go, That's what we're going to get. So it's looking quite nice. We might want to increase the height value, but not by too much. We've got to make sure that it still looks quite nice as a detail in regards to the overall shape of the cactus. Yeah. We're pretty much done with the cactus base material, but we're not quite done in regards to how they're being presented within the scene. So we're going to continue on with this in the next lesson. So thank you so much for watching and I'll see you in a bit. 14. Using Position And Directional Smart Masking: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left off by setting ourselves up with a bass texture for the cactuses. And now we're going to enrich them even more by learning some new masking techniques. So firstly, we're going to learn how to set ourselves up with in regards to the base of mesh. And we want to darken them up a little bit to get some nicer results and make sure to fit in nicely with the ground itself. The easiest way for us to do that would be to make use out of the position masking. Which in order for us to do that, we're going to create a selves new fill layer. And actually before doing that real quick, I'm just going to go ahead and rename them the materials we created previously. So this one was the one that's an overlay. So I'm just going to call this one overlay color like so. Then the next one was the curvature highlight. I'm going to rename it like that. Finally we go to sell us the spikes. Let's go ahead and call them spikes. And how we're going to create ourselves a new fill layer that's going to be called base brown, brown vase Diego. And with this, we're going to straight up, just darken it down. This is going to be quite okay. Then roughness value, we're going to increase it by quite a bit. That's a good type of a result. That's a little bit reddish tint like so. Okay, so know that when we gotta sell us a nice bilayer, we're going to add a mask, a black mask. We're going to add a generator. And as for this generator, we're going to make use out of the position masking. So what this will do is if we were to select this position masking like so. Once it loads up, it's not actually going to show us a lot because we're going to hold Alt. We're going to click on a mask just to get it better visualized. We're going to go back on their position, mask parameters, properties, and we're going to start playing around with it. So what we have within positioned mask is global balance, the contrast, just like we did previously, they had previously, and I recommend you to set it to global contrast as one. So we would actually see what is happening. And once we increase the global balance like so, we can see that it is being positioned, the top is being masked out and a bottom is being turned to black, which is quite interesting result, if we want more controls, there is position gradient, which if we were to open this up, we'll see a bunch of different options and we can change it from left to right, from top to bottom, front to back. So basically if we have a look at the axis, top to bottom would be basically top to bottom. Is. Then we have, if we were to turn this off, we have front-to-back e.g. which will basically mean that everything at the front is going to be highlighted and everything at the back is going to be taken out like this. And again, we can play around with these as much as we want, but all we need right now is top to bottom. We need to set them up like this. And if we want to invert the mask, what we can do is if we were to go up, there is an option to invert the mask, which is exactly what we want, because we want to invert it and make it that the bottom would be masked out. Again. Of course, because the mask has been inverted, we need to play around with the value a little bit like so we need to take it down to this amount. And once we get ourselves to this type of a height, we're now going to play around with the contrast. So we have conscious set as one which is going to be really sharp. But once we start dragging this lower, we're going to get ourselves a real nice transition in-between objects. Of course, afterwards we might need to readjust the global balance and a little bit get this sort of result. I'm just looking again for the base to be kind of highlighted like so. And this is only going to give us a smooth type of transition. So if you want to break it apart even more in regards to how the mask is behaving. I'm just going to wait until this is getting saved out. Let's make sure to hit Control and S throughout the project to save out the Adobe. Go. Now we're going to go ahead and add an effect, add a fill layer, and we're going to select a nice grunge mask. I'm actually just going to reset the search bar, going to search for dust, like so. And this is going to give us some nice grunge dusts. And I'm just looking for the ones that we're going to make use out of. I think. Yeah, I think we're going to make use out of the grunge. Does the powder soft? Let's go ahead and make use out of that. Of course, we're going to make sure that we are setting it up with treppe lineup rejection. No hardness turned on and quite a lot of tiling eight in this case because again, we're using an entire environment, the texture this out. And let's have a look on how this looks. I think that looks quite nice. Let's go ahead and change the. Where it's interacting with the previous mask with overlay. This is going to give us this result. Let's click em and see how this is actually looking. And it might look alright, but I think we need to increase it by quite a bit. Let's go ahead and turn off the isolation just to see how this looks, we might need to go back onto position and can increase the balance a little bit. There you go. To get this result. I'm just looking at the molar characters as well to make sure that it looks quite nice and I think it's looking overall quite nice. So now the next step is going to be making use of a number type of a masking technique to make sure that we get some additional kind of a color information in regards to how it's based on sun. So e.g. we'd have some sun facing all the way from one direction, then some of it would end up affecting the entire cactus and how it's getting bleached out. So we're actually going to simulate that sort of look by making use of a new fill layer. Let's go ahead and create a new fill layer. We're going to hold this one. Position. No, not position, sorry, directional mask, like so. And we're going to start off right away by creating ourselves a black mask. We're going to add a generator and this time for the generator would like us to use is going to be called light mask. So let's go ahead and add that up. And we're going to get ourselves this sort of a result. Now, we have two options within it that will help us to adjust the way the direction is being positioned. I'm going to hold Alt firstly, tap on the master so we can visualize it. I'm going to actually isolate this entire view just again so we could visualize how the mask looks. So we have horizontal angle which will affect how it looks like in regards to his horizon. You can see it turning around like so. Then we have ourselves and vertical angles. So if we wanted to be a kind of a form from the ground up, we can do so if you wanted to go from the top, we can also do so like that. The default angle, which was something like this, was quite alright. We just need to play around with the horizontal angle and get something like this. So we know that the direction is going to be facing from this sort of an angle. Then afterwards we have some additional options, the highlight, glossiness, e.g. which will basically help us to get more sharper type of a mask basically. And then we also have light attenuation, which will increase, decrease the brightness of this. Usually leave it as the default and it gives me the right type of a mask. And then we also have highlight level, which again is going to play around with the intensity. Keeping it as zero though is going to be just fine. So again, going back to the highland glossiness, let's go ahead and play around with how much we want it. We want to increase it to say, yeah, we're going to have it as 0.53. I mean, that's going to give us the right result, as I said, highlights not only from this kind of an angle, but it kind of helps us to underlay the one shaped pieces that are closer to the main body. So now if we were to click em and see how this looks, we are going to get this sort of a result, although I would say that vertical angles should be a little bit steeper. So I'm going to lower this down to three or four, maybe 305. I'm going to manually type in a value and just to kinda play around with it a little bit too much. I'm going to go ahead and go ahead and use a 295 of a value that's going to give us real nice kind of look. Of course, this by default is a little too much. So we're going to break up the mask. We're going to make use of another type of a mask. Let's add an effect at fill, and let's add this time of a simple branch dust. So grunge, that's why there you go. We're going to add this one. We're going to change it to dry plane projection. Turn off the hardness, change the styling to four up and that's going to be quite alright then change this to overlay. Like so. You get this sort of result. And I think I'm going to change the opacity of the light as well too a bit lower down over value. We don't need to overdo it in regards to how this looks. I'm going to give us this look and that's actually exactly what we want. So it's going to highlight the entire shape. If you click em and make sure we are out of isolated view, we're going to see how it looks. I'm also going to go out of the red planet prediction by clicking on the material is itself and see again how it looks like without the projection inbox. Because otherwise if we had the selected, it's going to have us that massive box for AAA and projection, which we don't want to see when we're previewing our work. So yeah, that's all it takes in order to set ourselves up with them. Nice. I have a material for the cactus. Yeah, that's all it takes in order for us to set ourselves up with a nice cactus material. We still got ourselves up to worry about with, in regards to the flowers themselves. But we're going to continue on with this the next lesson. Thanks so much for watching and I'll see you in a bit. 15. Cactus Flowers Usingn Mask Painting and Layering: Hello, Welcome back everyone to Substance Painter beginner's guide to game texturing. The last lesson we left there all by setting ourselves up with a nice cactus texture. And now we're going to continue working on it and actually set ourselves up with some nice petals on top of it. So for starters, let's close down the folder that we use previously. So this one over here, we're just going to close down. We're going to select on the top of the folder and we're going to add a new fill layer, like so. Then we're going to create a new folder by clicking Add Group. Then we're going to simply drag and drop this into our folder like so. Now, by default, if we were to just simply tried to make use out of this filet, we can see we will have couple of issues. The first one will be that the height map is being overlaid on top of the layer. But because we're using a group and not only just a fill, fill layer like we did previously for the terrain, we're going to have couple of issues. So for starters, let's go ahead and try to fix that. We're going to go from the base color, we're going to go into height. If were to change this from this blending mode to normal, we can see that nothing is happening. And the reason being that not only the blending mode is being affected within a layer, but also because now we have a folder, we also need to make sure we change this to normal as well. And this will give us the right type of a result. Just like that. We're going to get this sort of a look. And I'm just going to go back to the one at the back. So just to see how it looks like. And now I'm going to show you how to make use of the fill layer to actually paint in the detailed manually. And I'm just going to rename this fillet by double-clicking, calling it base color, like so. And let's go ahead and just get ourselves a nicer type of touch for the color itself. So I'm just going to change this base color to be more of a red, pinkish type of a color like. So. This might look quite nice for our cactus. We might change it in the future. But for now it's going to be quite nice. And also roughness value, I'm going to lower it down by a bit. Like so. This is going to be quite okay. Alright, so now in order for us to paint in detail using the fill layer, it's actually rather simple because we already went over the masking techniques. All we gotta do is just go onto the folder selected, make sure we add a black mask like so. And then we can simply click one to make sure we are within the brush paint like so. And then we can just start basically applying this type of a texture and paint in the detail ourselves. The reason we're using fill layers instead of just simple paintbrush tool is because afterwards, even when we're done painting everything out, we can still mask out. Well, let's say we masked out this kind of a flower like so we can still change up the information, the color information, and adjust that afterwards. So it's a really nice way of playing around with values and creating ourselves and nondestructive workflow. And that is why even if you want to paint in detail, I recommend you use the Fill Layer. And it's exactly the reason why I said at the very start, at 90% of the time, you're going to be making use out of the filet instead of just paintbrush. Because once you apply a simple layer, which we're going to learn about in the future. We won't be able to change the detail later on, so there's that. But anyway, with that said and done, let's go ahead and start creating ourselves a mask real quick. I'm still using the brush the same brush better way, which if we have a look at it, is going to be the artistic brush. This one over here, because I like it so much. It's a real nice brush. And to change the size, by the way, I'm using shortcuts that are closed and open brackets, square brackets like so. It was really nice way of kind of going over the flowers that we have within here and just adding those details in manually, like so. And just like that, you go, we've got a couple of flowers over here, so let's go ahead and make sure we add in the detail as well. We're still not quite done with the detail adding in regards to those flowers because we want to make sure we add some a bit of, an extra way of edge highlight, but we'll do that in a bit for now though. I messed up in regards to their painting. So I'm just going to click X, switch up to black masking. So within my gray scale. And just going to remove that mask a little bit like so. And I think that's going to be quiet, okay? Just like that. Alright, might need to add. Over. Here. You go. Now we have our cells, all the flowers section here. Let's go back on their smaller cactus as well. Since it also had a couple of smaller flowers over here. And actually I'm thinking about speeding up this process a little bit. Let me just have a look. If we can do that, we can try to make use out of the polygon tool. And this time. Instead of me, just go ahead and go on to the polygon tool. This time I'm going to make use of the triangle fill tool like so. We're going to make sure that the camera doesn't have anything, any other objects in behind. And we're going to make use out of it with the color set to one by simply just selecting them like so we're going to be able to have ourselves some real nice selection for this flower. The answer of it though is that we'll need to fix the edges over here. And yeah, the transitioning isn't looking quite as nice as we had before while manually painting in. But the upside of it though, is that we actually have sped up our workflow a little bit. We don't need to worry about some of the areas not being filled in. So that's quite nice. Now I'm going to position my camera like so there's nothing in behind us That's also going to be picked up with the mask. So let's go ahead and do just that. Like so this is looking like a nice type of a setup. And we have couple of other flowers over here. So I'm also just going to quickly do a nice mask over here and this one over here. Finally, the last one over here. We're going to do it just like that. Mainly having my camera facing downwards again, so there are no rocks or any other cactuses in the way when I'm doing this sort of a selection. And just by simply holding mouse button and just dragging a square out, we can get some nice elections now we can click one to go back onto our paintbrush. And with this paintbrush we can simply go around the edges a little bit and just kinda manually transition them out in regards to how they look. Again, this will make sure that it's going to look much better in that aspect. I think I ended up texturing the rock underneath. Let me just go ahead and quickly click Control and Z to fix that up. And yeah, I'm going to be quiet. Okay. Now, just in case we have some issues in regards to the masking, if we're worried about the mass being picked up by rocks, e.g. because we can still paint this type of a texture on rocks, what do we can do is actually we can make use of another folder and set it up to be used with regards to the mass that we used previously for the cactus. So the way we're going to do it is first of all, I'm just going to call this folder flower. Like so the one we're going to do it is we're going to create a new folder. We're going to drag and drop our flower for all the interests folder. And now we can just copy our cactus mask and put it on to the mass that we have for this folder. So the way we're going to do it is we're going to create a new black mass for this folder like so, it will remove all the color information because that's what we're using. And we're going to go on through cactus mask. We're going to right-click and we're going to see ourselves a bunch of options. But the one we want is going to be copying math. So it's going to be Control Alt Z. And as you can see, there's also another option afterwards, paste it into the mask, which is going to be Control Alt B. So we can make use out of that. So I'm going to use copy mask and then I'm going to go back onto the mass that we had previously. I'm going to click Control Alt V, like so Control Alt V. And that's going to basically give us this right type of a result. Now as you can see, we still have an issue in regards to the height map. So I'm just going to quickly change this to a normal blending. There you go. So that'll fix us in regards to the spice that we had on the flowers. And I'm actually just going to go back onto the base color height information. From the height information to the base color, like so. I'm just going to check to make sure that they look alright. And I think I'm quite okay with that. But basically we just got to make sure that when we're working with these two, we don't have we don't have them two mixed up because otherwise e.g. if I start adding some mask on the first folder, like so, I'm just going to call this tag, this flower mask, like so. If we start making use out of this and just start painting it out like so. If we go to the upper part, the flower part, we can paint out the bits where the cactus is, but you can see that it's going to give us a patch like so. So again, when doing this kind of like folded layering, just make sure to not mix up the type of masking that you're using and only do e.g. if we have a cactus mask over here in Denver, never paint on that mask and instead just go back to the flower mask that we had previously set up to do some additional like painting in the detail basically. That's pretty much it in regards to the cactus. We're pretty much done in regards to that. We now just need to make sure we add a bit of an extra detail to it. Which we can do is by simply adding new fill layer, adding a black mask. And of course I had the base color selected first, so it will go up above, this filet would go above it. Then I'm going to go back onto the mask, going to select a generator, going to add curvature like so, and going to play around with the value just a little bit, I'm going to turn it down all the way. Going to go add a generator, going to add a generator for ambient occlusion. And we're going to turn it down all the way like so. You get some nice kind of result. The flowers, of course, this is going to be a little bit too much. So we need to take this down a notch. Let's go ahead and do that. We're going to make sure we take it down by quite a bit. Like so. It's going to give us some nice results or the mask like that. And I'm thinking that we should probably only use color channel for this one. I'm going to hold Alt, take down everything else by clicking on the color. And we should probably add some additional type of a grunge to it. Or actually we're going to add roughness value just a little bit. I'm going to click C to scroll through the channels until we get to the roughness value. I'm just going to, anna increases a little bit late. So I'm going to have some nice variation within our flowers when coming to a head m. And I'm going to see how this would look like. And this looks quite nice. So let's go ahead and keep it as is. I'm going to go ahead and check the mask and behind us. Like so. Yeah, sort of flowers look quite nice for the cactuses. We're going to keep it as is. And now we're going to close down the folders like so, and move on to the novice stage. So, yeah, thank you so much for watching and I'll be seeing you in a bit. 16. Creating Stylized Rope Material: Welcome back In prone to substance painter beginner's guide to game texturing. In the last lesson, we left it all by texting or sell us the cactus flower specifically. And now we're going to continue on moving through the area within the balloon itself. Let's go ahead and move through the back and we're going to start off with the rope over here. So I'm just going to go ahead and select the texture set list for the rope. So this one over here is going to be in, I'm going to delete the original layer like so. And I'm going to start off by getting myself a nice type of a base fill layer. So let's go ahead and click on that. Then we're going to change the base color. So we're going to change it to a brownish kind of look like. So we're going to take off the roughness almost entirely. So 0.9 is going to give us the right kind of result. And we already are getting a nice kind of a look of the rope. Now, of course, we need a pattern for ourselves or wise, the rope isn't going to look quite as nice with just that. And the way we're going to do is firstly, we need to talk about how it is set up. I'm just going to click app to within the viewport, not F2. Sorry about that. Free, you see the main view port like so for the UV coordinates. And as you can see, although they have some bit of a bend, have one type of direction which will allow us to basically give us a pattern that Kara warps around the rope itself. So with that said and done, if were to go back clicking f two onto the 3D view port, we're going to now make use out of it and actually set ourselves up with a nice type of a rope. So to do that, we're going to create ourselves a new fill layer. We're going to start by just getting a mask, black mask like so. And we're going to get ourselves a bit of a pattern by using the fill tool. Like so fill effect. We're going to search for fibers like so we're going to pick fibers to, and that's going to give us nice result. Of course by default, it's going to be way too large for what we're trying to do. So we're going to scroll up, we're going to increase the tiling and we're going to see how it's going to look like. Just by doing that, we're going to see ourselves with a nice pattern. We might even increase it even more. So for, Let's try that. And having support is going to look quite nice. But as you can see, it just kinda goes straight upwards. We don't want that, we want it to be going a little bit more diagonally. Then we're going to change up the rotation a little bit like so. We're going to change it to an angle of they were going to rotate it until we get it to be set as more of a diagonal way. But this will do the trick. I think that's looking quite nice. Okay, so now that we have it like so we're going to make sure that we have it using some height value information. We're going to go back onto the layer and we're going to start increasing the height value. And just like that, we're able to get ourselves a real nice type of a rope. I think the color though is a little bit too much. So we're going to change ourselves up with that. We're going to change the base color to be more of a brownish, light color like so. Nothing too much because we're now going to take off the opacity, but quite a bit. We want to keep the base as it was. And as for the reference value, we're going to only increase it just by a little bit. So eight to 0.85, I think is going to give us the right result. We can click C to go ahead and go into the roughness channel view and see that it gives us a nice bit of variation, which is exactly what we want. So it's already looking pretty nice, but we don't have any like fibers or any way of breaking them up. So we're actually going to go back onto the fibers like so we're going to change this up with a new fill layer. We're going to add a new filler and we're going to add ourselves out with fibers, not fibers. We're going to search for fabric like so. And we're going to find ourselves the law bold medium, which is looking quite nice, but I'm actually looking for go. It's going to be grunge laugh as the one that we need. Let's go ahead and add it up. And this time we just need to make sure that we have it set up properly so the tiling is going to be quite high as well. 64 might give us the right result. Let's go ahead and look at it. Going to delete it first and they go 64 is going to give us the right result. Let's go ahead and change this though, with regards to the blending to overlay. And we're going to take it down by quite a bit. So this is just to help out to break up the entire mass. We can hold Alt, click on the mask and see how it looks like. Actually, just by doing that, we can see that it actually helps us to kinda get ourselves a nice type of a bribery. Look for this value. It's anatomy habit like so we're now going to add another type of a variation this time is going to be in regards to the mesh itself. These ropes are actually split into two meshes, as you can see, like one goes around where ligand around the number. And this actually helps us to get a nicer result in regards to that. As we can actually make use out of the polygon topology fill tool to mask out one area and get ourselves a nice type of a rope variation. So we're actually going to do just that. We're going to add a fill layer. We're going to make sure that only the color is present. We're going to hold Alt on the color channel, click on a color channel x. So we're going to change this one to be. Let's say a bit lighter, like so. Not too much. And I'm sure I'm actually just going to take down the opacity by quite a bit like this. So we get a small amount of variation. We're now going to add a black mask, like so. And we're going to tap or mask. We're going to have four to go into the apology fill. We're going to make sure that the Nashville is enabled. And now we're going to start masking out every other type of measures and could see it gives us this result. We're going to adjust the color in a bit though. So for now, let's go ahead and just click and select every other mask within this area, we have a bit of a mask over here. We need to do, Let's go ahead and do that. And that looks okay. There you go. Okay, so now it's a little bit too much we're going to which is up in regards to that, you're going to take it down a notch and I'm actually just going to go back onto the previous mask to set up the high-value information. But before that, let's go ahead and actually start renaming the filet. It's otherwise, it's going to be a little bit too messy. So let's go ahead and select the original one and we're going to call this base color like so. Then the second one is going to be fiber. And the third one is going to be color variation. Like so. Within a fiber, we're going to actually go into it and lower down. I think it's a little bit too much in regards to that, it is such a small rope. Usually prefer to keep it a bit higher, but because it's such a small pipe of a rope within this scene, we're going to keep it as is. And now we're going to go back onto this color variation. And actually I'm just going to lower this value by a little bit as well as to be like a minimum amount, but enough to kinda get ourselves seeing that there's two different types of distinct ropes. So with that said and done, we got ourselves some nice row, but of course we're not quite there yet as we need to have some additional information, some color information within it, we're going to add a new fill layer. We're going to make it quite dark with low roughness. There we can make a roughness to a value of 0.97 leaks. So we're going to add a black mask. With black mask, we're going to add a generator. And as for generator, we're going to make use out of the dirt mask like so to get this sort of result, of course is going to be too much. I'm going to hold Alt Tab on a mask like so, so we can see what we're doing and how we're going to play around with the values. I'm going to lower this down, going to make sure that we are using try planar projection to avoid the seams. And as for the grunge amount and grand scale, Let's go ahead and play around with this values as well, going to increase this to quite a large value. So we could seek grunge scale itself. And I'm going to lower or actually increase the scale amounts. So we can actually see some nice little within it. Then we're going to lower down the range of my bag, like so. And I'm thinking in regards to their contrast, we might keep it like so. And let's click em and see how it looks like. It's looking quite nice, but of course it's overlaid a little bit too harsh in regards to the overall setup. So I'm actually just going to take down this empire by puffy mass by quite a bit and setting it to down to nine. I think it's going to give us a nice type of a look. A little bit too much though. Let's actually go back onto color. I might as well just increase the color, the type of a look like. So it was a little bit too dark in my opinion. So that's going to look much better. I'm actually just now going to go back onto the mask real quick and lower down this intensity like to 75. Again, this is just changing up. The overall weight is blending in because by default it was a little bit too much. 75, I think it's going to do as he's going to give us the right result. I'm going to go back onto their toe and just going to lower this down a little bit, increase the contrast. And I'm just playing around with the overall values, making sure that the edges are kinda being highlighted. Because not only does it being affected by the shape of the rope, it's also being affected to where the location of it is. So e.g. this is closer to the wall and it's going to be masked out more in comparison to the ropes that are more in the open or like this row, e.g. over here. So I'm just trying to get an overall nice picture in regards to how it visually looks. And I'm going to click M, just see how this looks and I think this looks quite okay For the rope though. Yeah, we're going to leave it as is. And we're going to move on in regards to lecturing other pieces. For now though, we're going to leave the hook eyes is as we're not having ourselves. The metal created just yet. So I'm actually just going to create a new folder, going to tap on the very top fill layer, going to rename this one actually has stirred like so. Going to create a new group, going to put everything for the rope into this group like so, double-tap on the folder, call this one rope. Like so, misspelled it, the hago rope. And now we're going to be able to close this down. I'm going to actually this time at a white mask because we have most of the object selected, it only has the rope and this hook. So using white mask is actually easier to do. So by making these are masked, white mask, we just need to remove the bits that we don't want it to be applied. We're going to hit F4. We're going to select the mesh fill and we're going to hit X to make sure that the color is set to zero. We're going to tap on this hook over here. And we're going to continue on with this in the next lesson. So yeah, thank you so much for watching and I'll see you in a bit. 17. Setting Up Base Metal for Smart Material: Hello and welcome back everyone through Substance Painter beginner's guide to game texturing. In the last lesson, we left it all by setting ourselves up with a nice row for our crane. And now we still have one more area to texture. That's going to be the hook itself. But for that, we're going to need to set ourselves up with a nice metal to be used within an area. Though, I reckon instead of just texturing it on this small type of a surface, we're going to find ourselves a larger area to work with. And we're going to set ourselves up with a real nice type of smart materials to be used throughout this entire scene for the metal. So let's go ahead and do that. We're going to actually think we're going to use this water tower and it's going to have a top lid for metals, hoping that's going to work quite as well in regards to the metal itself. And I'm just going to find it where it is. So there you go. Water tower. So we're going to select this texture. Settlers poured the water tower. I'm going to go ahead and delete this layer like so. And we're going to start actually setting ourselves up with a nice metal. So as a starting point, we're going to create ourselves a new fill layer. We're going to rename this one as a base color, like so. And afterwards, the way we create a metal is actually very simple. We have within the PBR options within one of the channels for the properties. For this fill layer, we have a value that's called metallic. And usually what it is in regards to the metal is a metal or not. So from zero, if we were to turn this all the way to one, we'd get ourselves a metallic type of material. But that's not only going to be, it's going to get ourselves a very basic type of look for a metal. And we of course wanted to make it look fitting within this type of a roughened up scene that has more detailed than that, we're going to create some nice overlays on top of it to get ourselves some better results. And for stylus or finger, I'm also lowering down the base color just a little bit just to make it darkened up, like so. So I think that's going to be quite okay. Alright, so this is a nice starting point for a metal. We're going to create ourselves a new fill layer, like so. And this time we're going to just lower the base color to be quite low to make it quite dark. And although saying that a metal would be either zero or one in regards to the material itself, when you are applying a PBR materials, if you're having some additional overlay, e.g. imagine a dirt going onto your metal. Obviously the dirt itself wouldn't be as metallic. So those kind of overlays will of course need to be non-metallic. We're going to go back onto the layer like so. And we're going to change this, makes sure that it is set as zero metallic, like so. And I think we can also increase the roughness and actually just going to turn this off real quick. I totally forgot to change up the base color roughness for this one as well. I think we need to lower this down to make it a little bit more shiny. That's going to give us a nice dipole result in regards to the contrast overall, the glossiness of the metal. So the base color will have 0.2 value. And ask for this one. We're going to go back onto it. We're going to change this one to be a little bit more rougher. We're going to change this to a value of 0.6 or a value that's close to it. But its value is going to be quite alright. And then afterwards what we're going to do is we're going to add a black mask. We're going to add a generator and there's a real nice type of regenerate that helps us to get more edge type of detail for the metal. We're going to open it up with the generators and we're going to find metal edge where this is a really nice and quick way to get ourselves some simple type of detail from our metal. But now we're going to make use out of the ambient occlusion just to kinda give it more depth. And actually I'm going to set it up with ambient occlusion. So this one over here, we're going to hold Alt, click on the mask itself, just so could visualize it better how it looks like, because It's really hard with the metal to work out what exactly the type of mask is good and whatnot. It only comes out nice once we overlay everything together. So again, let's go ahead and make sure that this is looking quite nice. I'm going to darken this down. I'm actually going to invert this entire mask like so, going to increase this mass by a little bit, we get this sort of a result. And now I'm thinking that it might be a little bit too far, so I'm actually just going to blur it out a little bit as well. But it's going to give us the sort of edges in regards to the seams. Instead of just using this normal kind of a blur, what we're going to do is to add ourselves a filter, let's call it levels, which will help us to kind of ease in the mask itself by simply taking down the contrast manually. We're able to kinda aerosols in much nicer type of a result. I think that's a little too much though. Let me just go ahead and take it down by this amount. And I'm also going to play around with two levels itself. We get this sort of look now by default, this is a little bit too much in regards to the mass. So I'm actually also going to take down the overall mask like so. And I'm going to click em and see how this looks like. Going to turn it off and on and see how they go. We go to ourselves some minimalistic type of an edge where within the crevices. So it's already looking much nicer in regards to that. Now I'm just going to make sure it looks okay In regards to the color itself. So base color is going to look like this. That's looking quite nice. We might need to increase it in regards to the ambient occlusion. Just a little bit more. Something like this. I think it's going to give us a better result. Let's go ahead and check. There you go. It's always it was not standing out quite as much as I hoped for. And then the next type of a mass that we're going to talk about is after we rename this one to edge, where like so. The next type is going to be, that's going to help us out in regards to getting some nice metal detail within our material. And we're going to create ourselves in new fill layer. This time we're going to get ourselves a wide, simple type of API layer. We're going to make sure that it only uses color. And also I think, yeah, we're going to make use out of roughness value and we're going to increase this a little bit as well to this amount that's going to give us a good type we'll look. So we're not worried about in regards to metal ion channel itself because we already have some crevices in this type of material. For now, we're just worried about in regards to using some color and some roughness values to get some more detail out of our metal overall material. So we're going to do that by adding a black mask. And this time we're going to use, make use out of a really nice type on edge where generator we're going to make use out of something called Metal Edge where, so this one over here, It's actually really nice whenever we're using metal to create some additional detail. And I'm just thinking that it might be a little bit too much or not enough. Actually, we're going to increase the edge where and we're going to decrease the contrast just to soften up the entire type of a result. Something like this. We're also going to make sure that the grunge amount is lowered down by quite a bit because we only want the edges to be highlighted. So I'd say something like like this is going to give us the right result and ask for a grand scale. This is too much, so I'm actually going to increase the grunge scale real quick. I'm going to play around with the grand scale value or the scale. So this is looking quite nice and be a little bit higher. So grand scale for t. Now we can lower this down to the previous part, which was something like this. A value of 0.06 is going to give us the nice result. And we can also go down to play around with some additional parameters. At smoothness is pretty nice. It gives you some nice control over how the edges are being laid off. And I'm thinking that we can keep this nice kind of a value of 2.252, 0.3. Something of that value is going to ease off in regards to the entire edges. Then we have ambient occlusion masking. We're going to keep it as is as this is going to be affecting in regards to the crevasses and about nod off our mask entirely, I'm actually just going to hold Alt and tap on a mask itself just to see visually how it looks like. So again, this is what the amine occlusion is doing, so we're going to keep it as the default 0.5. Otherwise we're just taking off from the mask itself too much. Then we have curvature wave, which is the one that controls the edges. We're going to keep it as is one in this occasion. And if we want more controls, there is micro details tab as well, but we're not going to touch that because that's going to be basically over complicating or mask for no reason. Instead, what I'd like us to do is instead of just making use of all of these, I want to also kinda like blur out a little bit this detail. Because otherwise if click em and see how it looks like, it just straight up, sharpens it up too much. In regards to the overall result, I'm going to go on through filters. I'm going to add a new filter and we're going to make use out of a blue blur filter like so. This will help us to blur out the mass. So you can see before and after in regards to the blur. And I'm thinking that maybe it's a little bit too much in regards to the blur itself, we can lower this down so zero will not do anything basically. But zero point, I'd say 0.2 is going to give us a nice type of a result like so. We're going to click em, see how this looks and this is looking quite nice, but I don't want it to be blending in, in regards to the previous type of an edge aware that we had set up ourselves using ambient occlusion. I wanted to kinda overlay nicely in regards to the color. So we're going to actually lower this color opacity up by a little bit, by quite a bit actually, but we're going to lower it to a value of 24. So this is going to basically give us a nice type of a highlight overall shape. You are metal and it's going to look so much better in regards to that. And whilst also kinda underlying the roughness value. So we're looking at the roughness value like so we can see there's a lot of detail over here, and that's actually exactly what we want for our metal material. So now we're going to move on to, in regards to adding even more detail to our metal. We're going to need to add some additional cavities in regards to where the crevasses are. We'll need to also overlay some additional roughness information because right now the metal itself looks way too smooth as it is. Though. We're going to continue on with this in the next lesson though. Thank you so much for watching and I'll see you in a bit. 18. Highlighting Metal Detail Using Smart Masking: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it all by setting ourselves up with some base metal texture. And now we're going to continue on moving with it and add even more detail on to our material. So for us to do that, we will firstly, we'll need to rename the one that we did previously. We're going to go ahead and call this metal edge where like so. Now we're going to continue making use out of the already used up type of filters. And kind of go a little bit more in-depth in regards to what they do and how they work. So as a starting point, we're going to make sure we get ourselves some nice cavities within these type of metal areas. We're going to add ourselves a new fill layer. We're going to call this one cavity, like so. And we're going to add ourselves a black mask right away. Just like that. Now we're going to simply add ourselves up with a generator for cavity, like so. And we didn't touch a lot in depth in regards to the cavity. I'm just going to go into holding Alt again by clicking on the mask just so we can visualize the mask again. Now we're going to talk a little bit in regards to how the cavity masking works within curvature mode, there is additional options that we can make use arrow, we can open up this tab and there's mode that we can change from edges. We can change this to cavity and we have this result which will basically replace instead of edges, we're going to get all the crevices highlighted itself. We're then going to love it as down by quite a bit actually by this amount. And not only we have control over here, we also have a bunch of control over at the bottom of the cavity mode, we have sharpness, fine, soft, and a lot more of other options that it easiest way to have control over them is just to simply see what they do. We can lower them down and increase them to the max and just see what each value does. And basically, that's the best way to learn in regards to the value parameters, what each one of them do. So this is the softness. If we were to lower this, there will be a sharper type of mask. The medium one is going to give us basically a larger type of detail in comparison to the fine detail that we had playing around beforehand. And we're going to get this result. Then we have large, which again is going to give us even large detail. Again, maybe this is not the best area to show. Maybe this would be a little bit better in regards to that. So we have large area over here that we can play around. And it kinda effects overall mask basically and big and huge is going to be even greater in regards to masks editing. I'm actually just going to give these settings as this more or less. And we're going to play around a little bit more in regards to how they're set up. And actually big is a little bit too much. I'm going to lower big and huge and get those smaller crevices in here. Maybe even large should be lowered as well. That should be, yeah, that's going to be quite alright. Now and then we have this sort of a mask like so where we only have crevices, we also need to break it up a little bit in regards to that. So within the curvatures mask, There's also an option that says use texture. We're going to make sure we enable that, which will give us this sort of a tab for texture. And also we need to make sure we select ourselves with a proper setting for it or what kind of information we need to use. So not only does it give us this tab which I'm going to go over for now, and also with an image inputs gives us a black texture that we need to change up with improper grunge map. So I'm actually just going to search for grunge. Like so we're looking for dirt or yeah, we're looking for dirt dry. So something along those lines. Let's go ahead and see what we can find. These are not the ones that I'm looking for. Actually. It's going to be grunge league dirty. That's going to be quite alright. Actually, let's go ahead and make your Saturday, which is not going to give us the right results because we actually need to go back on to the Texture tab that we had previously opened up. We need to make sure that the texture opacities increase. And once we started increasing, we can see the type of result that or it's going to give us. And as you can see, the blending mode, which is similar to the modes over here that we find, is actually going to be over here. And by default it's set to overlay, which is already pretty nice. We might need to increase the scale though for the texture soda settings in here that you find are pretty much similar to what we'd see Froude the parameters of a fill layer. So we have a scale contrast, brightness and whatnot. And we're also going to make sure that we use triplanar just to break up those kinds of shapes like so we have a bit of a line over here, but that might be okay as we're going to be able to get ourselves some nice type of way to break up the entire shape. Doffing. We're going to leave this line over here. I'm going to click em. And yeah, there you go. That's going to be fine. Since this entire thing is actually going to be what? I'm more worried about, this area over here and what's it like underneath. So all in all this is a nice mask. We just need to make sure that again. We fix up the texture a little bit, so I'm going to actually change up the contrast a little bit. Like so maybe it's a little bit too much. I'm actually going to increase the brightness or decreased a little bit. We get this look. So that's going to look quite nice. And I don't like the blending mode for Overlay. I'm actually going to increase it to subtract in this occasion, going to love it, the brightness and we should get ourselves this sort of a look That's looking quite nice. We need to increase the scale. Now. This amount you a value of seven and the brightness should give us the right results. If we were to play around with the contrast a little bit as well. Here you go. So okay, I think that's going to look quite nice actually overall. That's going to give us a nice kind of results. But I do want to increase the overall brightness even more. Maybe play around with the contrast. Without further ado. I think we just need to increase the scale even more. Like so. I'll set it all the way to ten, although we can go even more by riding in a value ourselves manually. But that's going to give us the right kind of look. I just think that we should probably lower down the overall scale. Now that I look at it, it is kind of a mountain. Let's go ahead and click empty. See how it looks like within our metal. So we're going to have it on bars over here. Now that we have ourselves an extra mask, Let's go ahead and get more detail out of this. And I like to overlay some additional color information in regards to this overall type of result that we already have, I'm going to actually make a duplicate of this cavern mask by selecting it, clicking Control C, Control V, make a duplicate of it, going to hold Alt, go into the curvature mask. And now I'm going to actually increase this value by quite a bit like so. We're going to take down the overall texture opacity by quite a bit. Makes sure that the scale is taken down by quite a bit as well until we get this sort of a look. So that's already looking pretty nice. But I'm thinking that maybe we should also increase the blurriness a little bit of it as well. Not by much, by a value of 0.1. Let's go ahead and do that. So we're going to get this sort of a result, which is going to look quite nice. Of course by default, this is now going to look quite okay because we need to adjust some bilayer information itself. For this time, we're going to darken it up by quite a bit. And we're going to also make sure that we only use roughness value over here. We're going to increase the roughness you a value of 0.6 this time like so. This is going to give us this result. Of course, this is not looking quite as nice because we still need to adjust the overall type of a result with what we're getting. So what are we going to do now is actually we're going to set ourselves up with lower down mask in density. We're going to take it down by quite a lot like so I think there's going to be quiet. Okay. I'm just looking at the overall color itself. It might be a little bit too dark, so I'm going to increase the value. The easiest way to increase it without changing it from black to white is making use out of the S, H, S, and V, which is going to give you a lot of control over the saturation, the hue value, and the value for the darkness and brightness. By using this type of a borrower able to change it up quite easily. So that's going to give us nice results. Again, we're not looking in this area over here. We're mainly focusing on the crevices inside and that's actually looking quite nice overall. Just going to make sure we have the nice type of a result. That looks quite nice, I'm quite liking with the overall result. Might need to soften it up a little bit though. So I'm actually just going to go back into it, going to increase this to 1.5, like so. And now we're going to get a much softer type on a load. Okay, so now we have it like so and we're going to continue working with it in regards to the overall light variation. Just like we did with the cactus, we're going to use the light generator to get a directional type of a look to get more depth out of our shapes for the metal hover is going to be slightly different in regards to how we're going to apply it. So let's go ahead and get started on it right away. We're going to create ourselves in new fill layer. We're going to rename it, call it color variation. Now in order to set it up, we're actually going to apply it directly onto the fill layer itself. But actually looking at the time, we're kind of running out of time. So I think we're going to continue on with this in the next lesson. So thank you so much for watching, and I'll see you in a bit. 19. Color Variance Using Light Generators: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by getting yourself some nice cavity masks, by customizing them a little bit more in-depth in regards to the smart Mask Properties tab. And now we're going to continue moving from this and set ourselves up with some nice color variation using light generators. So let's go ahead and do that right away. We already created ourselves a very basic type of a fill layer. So we just have a fill layer that's renamed. That's all it is. We're going to continue on with this and actually set ourselves up to only make use of the color. So for us to do that, we'll need to just simply click and hold Alt and tap on the color itself, like so. Then we're going to add a fill layer on top of it, which if you'll notice, it'll change up right away from the metallic and non-metallic because this material, this fill layer also has channels for all the color like so for all the PBR information we need to hold Alt and again selected within the filter Fill Tab. This type of a color result. We're going to apply a generator like so. We're going to, again, because this was a fill layer that only had a color channel this time, it also creates ourselves a new type of a layer within this layer itself that has all the channels like so. We only want to make use of the color value, just like we did. So we're going to hold Alt, we're going to select this. N is going to give us the right type of results. So now we can go ahead and add a generator and we're going to select ourselves with delight leg. So we're going to hold Alt, we're going to tap on the material which I just realized that it's not because it's not a mask, we can't exactly do that. So instead, I'm going to tap, see couple of times to go through all the textures and I'm going to get myself a base color. So base color over here. Okay? Now we can play around in regards to this. I'm going to make sure that we have it set properly. We're going to make sure that all of these are set up to the top like so. I'm going to give us a nice kind of result just like that. And we're going to play around with the highlight glossiness. So by just playing around with this, we're going to highlight it from the bottom down, like so, and is going to give us a really nice app results. I'm actually just going to type in the values for myself tonight it to make sure that they're facing properly upwards like so. And I'm going to take down the light attenuation, going to increase or actually decrease the glossiness. So yeah, we're basically getting this sort of a result, the default type of a diffuse Hello from the ground up. We're going to hit M and see how it looks like. And it's looking a little bit mess in regards to that at the moment because we need to of course, that ourselves up with it properly. I'm actually just going to tap C just to see how it looks like. And it seems like we're getting some artifacts over here just wondering why that is the case. Because if I were to turn this off, it's looking quite okay. So I think what are we going to do now is going to, we're going to change the overall type of an overlay for it. We're going to make sure that we save the project. First. I'm going to go back onto the color variation. And I'm going to change the way that blends in from normal to a divide. So this one is going to give us this sort of a result. Course. This is way too much in regards to what we're having. So we're going to change this from 100 to a fury like so. We get this off a look. It's a little bit too much in regards to that. So of course we need to adjust how it's going to look like. I'm just wondering why it's giving us this kind of result. I'm just going to go real quick in back into generator. And now for some reason it kept, kept up the entire channels up like so. So real quick, I'm going to hold Alt, going to click on a color and just take them off. And there you go, we're going to have ourselves this sort of result. If I were to change this up to 100, we can see that actually brightens it up, keeps the top kind of darker. So it's going to look, I'm going to give us a real nice type of, Hey, look, we're going to keep it down to, down to further actually. And I'm thinking that we're going to play around with levels a little bit more. And we're going to talk about how they actually behave. Because we only touched this value over here at the top. And we didn't actually go in depth on what it actually does and how it's being affected. So let's go ahead and talk a little bit more in-depth in regards to that. At the very bottom, we have ourselves two arrows so that, that basically affects the output maximum and output minimum. And basically, if you want to brighten everything up, the overall type of a color, if we were to increase this, we'd get this result. They're just going to turn this to 100. So we could probably see and doesn't seem to be quiet doing as much as I hoped for in regards to showing off this type of a level. But basically, if we were to use it from the upper end, we can darken the overall type of a texture. And you can see that it basically darkens everything all at once and kind of washes everything away. In regards to this color information. At the top though we have something called input minimum and then input. Gamma and input maximum gamma is basically the way you control the contrast or the levels for this type of information. We can go increase it to kind of increase the overall type of a contrast. And then we can decrease it to soften up the entire type of a color. I'm going to keep it as one. We can also just right-click reset button over here to reset it tourists original values. We got ourselves to input a minimum, which basically will allow you to make dark areas even darker. Like so. As you can see, like the bottom bit is being changed up and the top bit is going to do the opposite of that, which will increase the color of the information for the brightness of the color. We're going to go into that a little bit more in depth in regards to how it works when we have a proper used to it. When r is going to be quite alright, especially when we're going to be making what we'll need to make use out of levels properly. Though, at this point though we're just going to make use out of it and kinda like brighten this up a little bit and lower down the contrast, just like I mentioned previously. That is amount. I think there's going to be quiet. Okay. And we might want to try to play with overall result as well. There you go, that's going to give us nicer type of result. Yeah, there you go. Okay. So we're going to change the color variation to be as soft light. So this one over here, and we're going to take it down to Friday. And that's going to give us the right type of a kind of a highlight for the shape itself. So it's going to give us really nice overall IPE overlook. So you can see before and after It's just a soft dipole will look, but it kind of highlights the bottom bits and gives us better overall aesthetics. Now, we're going to actually make use out of the color variation, again, to get even more detail out of it. I'm going to select this color variation, going to hit Control C, Control V. This time we're going to keep this at 100 for opacity. So light itself will need to make use out of that, but we're going to remove the levels. So we can click on this Export and over here to remove the additional layers sublevels themselves. And I'm thinking instead of using a divide, we're going to use overlay for this one. Because the reason being is because we're going to make use out of a darker color. We're going to go back onto the fill layer. We're going to select the base color to be a bit of a bluish tint. I'm just going to go ahead and get ourselves that more blue like so, so this sort of a result That's going to work really well for us. And we're getting already an interesting type of a look. The light itself, though, we need to make sure we play around with that. So we're going to go ahead and do that. We're going to make sure that the horizontal is set as zero. We're going to reset it. And then vertical we're going to actually increase it to 2070, like so. You get it to the very bottom and that's going to give us the right results. I'm going to play around with the glossiness. And we can see what it does is a very minimum kind of a change. But it's going to give us really nice type of look. But of course we need to make sure we don't overdo that. In regards to the overall color, I'm going to make sure that only the color channels are enabled for both the fill layer and the generator itself. And now all I'm going to do is just lower this down by quite a bit on both ends, actually a go. So we're able to darken it up. In regards to the vertical angle for the light, you get this sort of results. So just a small minimum kind of a change, but it's going to get us a more in-depth kind of a shape for the metal. And it's just going to make it look so much nicer. But overall shape. Anyways, moving on, we're going to continue on with that. We're going to get ourselves some additional lighting information this time we want to make use out of a more stylized type of a look. So for us to do that, we're going to create ourselves a new type of a fill layer. Let's go ahead and do that. We're going to add new fill layer like so. And in this case, we're actually going to make use of an interesting type of a generator. We're going to go ahead and add ourselves, not a generator actually, we're going to add ourselves a filter. And it's going to be a real nice in regards to how it behaves to the lighting itself. We're going to add something called a lighting stylized, sort of bake out the light in itself and we can see the type of results that we're getting from it. It's already looking quite nice and that will help us to get even more depth out of our shape for the metal, only thing that we need to do is probably go onto the fill layer and just make sure we have it all turned off in regards to everything except for color. And that's going to give us some nicer results. I'm just looking at the wrist and thinking if we should have anything else to that. But know, that's going to be quite alright. So by default is going to act quite nicely already. We can play around with the way it behaves, but honestly, I think we're just going to leave it as is the default. Going to give us the right results. Maybe set it to 0.04 for this. And probably that's going to be we're not going to touch anything else. I don't think we can check the sunlight, but we also have lighting sources as well for it. It gets a little bit more complex if we try to adjust it. But default, one is going to just basically get us some nice depth to the overall result of our metals. So yeah, we're going to keep it as is basically, we might need to lower down this though. And I think I'm going to change it to now. I'm going to keep it as a normal one. Going to lower this down to a value of three, just to kind of lighten everything up in regressor overall shape like so. And we're going to now move on in regards to setting ourselves up with more, even more detail for the BBR metal because it's still quite smooth. We changed up the color and whatnot. We got ourselves some nice overall results. But it's still not quite there. We still haven't got any of the edge weights or anything of that sort, which we're going to continue on with that and next lesson. So, yeah, thank you so much for watching and I'll be seeing you in a bit. 20. Setting up Smart Metal Material and Adding Grunge Roughness: Welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it all by setting ourselves up with a nice type of a color variation using the generators for light sources as well as a filter for Bakelite stylized. Now we're going to continue on with getting even more variation out of this. We're going to start setting ourselves up with some roughness, grunge masks. And we're going to start off by actually getting ourselves in with a bit more of an extra detail in regards to the edges. Just a little bit more. I'm going to show you how to set it up using the levels and not just actual molar mass generators. So we can do that manually by our cells. And actually, I think I'm going to rename this last layer that we just created to bake a lighting Excel. And now we're going to go ahead and create a new fill layer. We're going to call this one, which are edge, like so. And we're going to make sure that we only have color as well as roughness value like so. And ask for a base color. We're going to get ourselves a bit of a darker type of colors, somewhat of a greyish tinged with some bit of a yellow tone. So I'm going to increase the saturation for that using this value over here. Just a little bit. Minimum amount like so. As for the roughness, we're going to keep it to a value of 0.45 or 0.5. Actually, we're going to keep it as default neutral type of a look like. So now we're going to add a black mask. And instead of getting ourselves a generator, generator, we're going to add a fill layer like so. We're going to within this bilayer, just delete everything and I mean everything from this entire field. Then we're going to search for curvature, curvature like so. And we see that not only do we have a curvature generator, but we also have a bunch of different types of textures. And we're going to select a one that's going to be called the same one as the texture settlers. So water tower, we just need to hover over and find the one that we're looking for. The thing that's going to be, it's actually quite a lot of them. So let's go ahead and quickly find ourselves. The one that we're looking for. That's going to be this one over here. Curvature map from mesh water tower. We're going to select it. And now even though if we were to save this, this is going to be changed based on the material, but at the texture set is used, using. So that's actually quite nice for us, although we're going to duplicate it in another area. That's going to give us a different change or when we're using it in different texture set list. Though. Yeah, anyways, once we have it like so, I'm going to hold Alt and tap on the screen to see the default type of a curvature mask. We're now going to play around with the information itself by making use of the levels tool and by making use out of this, it's actually rather easy to set ourselves up with some nice manual type of a mask ourselves. So what we can do is just simply get ourselves with the value. So if we're to change up the dark value, we can see that all this gray area that's dark and dark gray is going to turn to black while still going to give us the same kind of cola information for the wider areas that we're going to increase this to a value of something like 0.48, like so. We can also double-click on this to change out the value like so. And we can just type in the value ourselves and ask for the one. We could increase the whiteness, but I'd rather keep it as is. Then we also have, of course, the contrast to play around so we can kinda ease in the results, are sharpen it up in regards to the contrast, but we're actually just going to lower this down to a value of 80.8 or something like that. It's going to give us a really nice type of a look. And I'm just going to check how it looks like in regards to their overall results. Yeah. Okay. We're going to get ourselves a nice result out of that. So just a simple type of an overlay to the overall result. Like so, which we're also going to lower down the overall fill layer. So that's going to lower down the overall opacity, but not only for the color, but also for the roughness value. So let's go ahead and do that. A value of 90, like so. We're just going to apply a bit of a sort of a result. So it's already looking pretty nice. Now we're going to start playing around with the grunge masks or the roughness values. So we already touched a little bit in regards to that for our rocks, for the stones that we did outside of this environment in regards to how we set it up. So we're going to do something similar to this in this regard as well. We're going to add ourselves in new layer. We're going to hold Alt and we're going to only select the roughness value. Of course, what a roughness value might want to adjust this to be a little bit lower. To get more bit of an extra shine, we're going to find ourselves and nice grunge mass for the mass, the use. So we're going to add a black mask, we're going to add a fill. We're going to select this to use grunge, like so. And we're going to search for grunge dust. And this is the one that we're looking for. Grunge does wide. Let's go ahead and use that. I'm going to hold all to see the mask itself, going to tap on a mask. We're going to get this result. And I'm thinking that maybe. We're going to change this to try planar projection right away. We're going to increase this beta value of eight. Let's try that. There you go. We're going to lower down the overall type of a look or this results. So I'm looking at the balance, going to actually increase this by quite a bit, but I want to lower the overall mask, so I'm actually just going to love it overall opacity. You gave us this sort of a look. So I'm going to give us a go, something like that. And maybe I'll increase the tiling a little bit more for this specific scene. Again, this trap later projection is going to behave based on the overall scene setup because it's an entire environment and not just one of an asset, we're going to get this sort of a result. But if you're using this in another scene, in another area, you might want to consider to lower this down later on in regards to the tiling. Anyways, once we get to something like this, we're going to hit M and we're going to see how it looks like in regards to the tiled up texture. So by looking around with, in regards to the sun, we can see some bit of an extra variation. We can click C and scroll through this and see that it added up to our overall results. So it kinda breaks up the overall masks and whatnot and gives us a slight bit of an extra grind, of course, but not quite done. Just yet. We need to add it a little bit more. I'm thinking that maybe, yeah, Now we're going to keep it to a value of 18. There you go. That's going to give us a much nicer look. Now we're going to add even more of that value. We're going to overlay additional results. We're going to actually just rename the fill layer first. Let's go ahead and call this one roughness Excel. We're going to make a duplicate of this to make our lives a little bit easier. We're going to select it Control C, Control V. And we're going to increase this back to 100. So we're seeing what we're doing. We're going to hold Alt, tap on the mask. This time we're going to select this branch dust wide. We're going to change this to a different grunge. Let's go ahead and delete this like so, and look for the one that we need to use. And I think grunge concrete Dusty is going to give us the right kind of look like. So first we need to look a little bit adjusted. E.g. is still using AAA and protection. The roughness, the hardness needs to be taken down by quite a bit. For this particular one, I'm looking for a contrast value as well. The tiling is a little bit too much. I'm going to change it to a value of six. I think that's going to look quite much nicer. Let's go ahead and go on to the roughness channel itself. And I'm thinking about lowering this down by quite a bit. Like so we get this result. So it's going to make it look really nice in regards to the metal, in regards to the overall design. Though, yeah, I think we can leave it as is basically, and aerosols are a little bit of an extra in regards of this current concrete. If we were to look at a mask is being applied all over the place. And I'm thinking that maybe we shouldn't get it in the gravest said about not the same kind of a mask. So what we're going to do is actually we're going to add a generator on top of this grunge concrete. Let's make sure that the granite concrete is selected first. So we'll add it right above it. And then for this, we're going to add an ambient occlusion. We're going to make sure that we have it enabled by quite a high amount. We're going to invert this to get us the server look. Then we're going to simply select this to be subtract. And it's going to take it out from these edges like so. We don't want it to take it out completely. So I'm just going to lower this to a value of 80, 85. And this is the result that we're going to get. We can even check the roughness value like so and see how it looks like. But yeah, it's going to look pretty well. There you go. Alright. Now, if we want to control in regards to the overall color, we can go all the way back to the base color and we can change this up. And it's going to be also adjusting the color of the metal itself. That's quite nice in regards to that. Since we pretty much set up everything overlaid on top of this base color, we can change this to get some nicer results out of it. Basically, we can lighten up the metal e.g. if we want, we can darken it up and we get a whole bunch of controls. Heart of this simple metal layout. Once we're done with that, of course we're going to need to set it up as a smart material. Let's go ahead and do that. We're going to select the upper most layer. We're going to click on Add Group. We're going to call this one as a stylized metal. So let's go ahead and do that stylized metal. Like so. I'm just going to select every single one of those materials holding Shift, selecting the first one holding Shift, and then select the bottom one. And now I'm going to click and hold and drag it into the stylized metal like so. Then one more thing that we need to do is we need to consider how it's going to be applied onto the future projects, e.g. so although this metal is looking pretty nice, if we'd have some additional information, I'm going to Control Z, going to add a quick layer on top. So as an example, I'll add a simple. Type of height variation, e.g. we can see that it doesn't quite work out as well. Again, I'm just doing this as an example. Just real quick. I'm going to set it up like so and make sure that the fill layer is added with Phil. So basic type of, let's say grunge, height value of whatever we have on underneath the stylized metal. But as you can see, even though we apply the salads metal on top of it, it's not going to override the color information, the height information that we had in the nave. And that's kind of an issue, especially if we're working with multiple materials and let's say we have some wood grain underneath. We want to just kinda overlay or metal on top. Just having this as a simple type of smart material is not going to give us an override that we want. So we're going to make sure we have that override properly set up for us to do that. We're going to make sure that we go on to the height value or our folder. We're going to change this to normal. And we're going to go on to the normals and change this to normal as well. So this will make sure that basically even if we have some additional information on underneath, that smart material is not going to affect our methyl the way it looks. So that's going to be pretty nice. One more thing, actually, not really think about it just before saving this out, we're going to go on to the bottom edge, metal edge. And I'm going to also add a bit of one height value like so. So if we want to have more battery type of a look for a metal, we can also make use out of the metal edge way that we had previously. This one over here, or actually the metal edge where this one over here, we're going to make a duplicate out of it, like so. And we're going to make sure that this is only set up with, without the blur, just a metal edge where the original one, we're going to lower this down in regards to this. And we're going to get more grungy amount like so with a higher grand scale because otherwise it's a little bit too little. Referring to, I'd say is going to give us the right result. So also we'd probably want to lower this down. Okay, So this sort of a look is going to be perfect for what we're trying to do. So we're going to go back onto the layer. We're going to hold Alt, Click on the height. And now we're going to lower this height by minimal amount. And that's going to give us some real nice type of an edge where just like that we're able to get ourselves a real nice type of results. So I'm also going to change this up to be called height, like so. And yeah, it's if we want some edge where we can add it up. If we don't, we don't. That's quite simple as that. Okay, so now we have ourselves setup with the stylized metal. I'm going to delete the fill layer that we had underneath that as an example. Let's go ahead and actually make use out of it and set it up within the assets tab. I'm going to make sure we have it selected. I'm going to right-click and I'm going to create smart material out of it. Just like that. This one actually doesn't have any type of a master's automatically going to be nicely set up if we were to want to delete this and put it in, we're going to get it like so. Then we need to add a black mask and just apply it wherever we want. In this case is going to be on top of our tower. So let's go ahead and select this lid over here. Something like that. And it's going to look quite nice. Although now let's go ahead and for now, keep it as is, we already have solid metals, so we're just going to apply it on to where the road was. And let's see if it actually looks good. And then later on we're going to work with the tower separately. So the rope is over here. We're going to isolate it. See the hook. I'm going to add a style is metal on top of the rope like so. And it's going to load in, going to add black mask, going to make sure that the hook is selected. And that's all it takes to set ourselves up with a nice metal material. So yeah, that's pretty much it in regards to the metal. Thank you so much for watching and I'll see you in a bit. 21. Setting up Smart Wood Material Base: Hello and welcome back everyone to subsist paid a beginner's guide to game texturing. In the last lesson, we'll afterall by setting ourselves up with a nice stylized metal, which we're now going to be able to make use out or within the entire project. And we already got ourselves a nice look over here. We will make use out of it within a water tower as well, since we were using it to create the material. But for now though, we do need a certain bit of an extra material we need to set ourselves up with would actually make sure we are able to texture the rest of the assets. For us to do that, we're going to actually get ourselves a nice wood area for us to work on. And I'm wondering that maybe there'll be the best to make use out of the walls. It's going to look through the entire texture is set and find ourselves the area that we can work with. A thing that's going to be bottom would I'm just going to isolate this and see that it's going to be in, okay, let's go ahead and work with this. That's going to be a great area for us to get a nice type of a wood that up. Okay. So just like we did previously with the metal, we're going to delete the layer that we had originally. We're going to create ourselves a new fill layer. And we're going to call this one base color. And as a base, we're going to change this to a nicer type of Fame base color. So it wouldn't be just a gray type of a result. We're going to get ourselves a bit of an orange tint for this type of a wood, which by the way is going to look a little bit different in regards to the overall typo is setup. Once we're done with it, we're going to have so many overlays or this type of a material. Right away, we're going to go ahead and actually adjust the roughness value as well. We're going to increase this to quite a high value. Let's go ahead and use a value of 0.8. They're going to be a nice type of a setup for the base type of a word. The next step is, of course going to be setting ourselves up with a wood grain. We don't have anything in regards to that at the moment. It's just plain. And so for us to make use out of it, we're going to go ahead and actually create ourselves in new fill layer, which is going to be on the color for the base color. And then ask for bicycle itself. We're going to search for if we were to delete the grunge that we had previously wood, we're going to search for wood and it will give us a bunch of options. But the one we're looking for is actually just going to be this one over here would be 01. Let's go ahead and make use out of it, which actually has additional options like nuts and hardness, but we're going to leave it more or less the same except, yeah, let's go ahead and remove the nodes because we only need to make sure we have just a simple grain throughout this entire area. With that removed, we of course need to make sure we have it set properly. We're going to go all the way up and changed up the tiling. So by changing it to eight, we're going to get this result. Of course this is not going the right way, so we're going to change the rotation to be going Nanodegree sideways and we're already getting some nice look out of our result. Of course, this is not exactly what we want in regards to how it looks. But before continuing on, I'd like us to go over how the UVs are set up. Because usually within avoid, you really need to worry about the rotation and whatnot and the overall grain the way it goes in one direction. So if we were to go and click f free on our window, we can see how it looks like. And we can see that all the longer type of UV shells are actually going in one direction. And that helps us out in regards to their overall setup. As all the planks that has more length are going to be able to go in the right direction, as you can see here. So even though like this e.g. beam is vertical, It's still going to go in regards to the wood grain in the right way. With that said and done, we're going to make use out of it. And yeah, a quick thing as well. The way they set it up, it's actually rather simple. Usually automatic, UV unwrapped wherever that the blender or Maya or other software, they'd set up the longer UE chunks by default to be going in one direction. As there are a lot of different materials that just relies on the directional Canada blow off the entire grain within the PVR texture itself. So, yeah, anyways, to set ourselves up nicer in regards to how this looks like. We're going to go ahead and make use of the filters, layers, sorry, not layers, levels. We're going to make use out of it to have more control over how this looks. We're going to lower this down a little bit to darken up some bits. And we're going to also sharpen this image up a little bit just like that to get this sort of a result. I'm wondering though that maybe it's a little bit too much in regards to the overall type of grain. So I'm actually just going to go back real quick and changes back to, let's say six. Let's go ahead and see how six looks like. A little bit too little. So let's go ahead and use seven. Now to set it all up. All we gotta do is just lower this to a value at a reasonable amount. Let's say to a value of 43 or five. Something like this to get this sort of a look. And, um, although, although it looks quite right, It's still too much. So we're actually going to go back onto the levels. And we're going to start using the bottom-right output maximum. You kinda lower up, lower down the overall brightness of this to quite a reasonable amount that say something like this. And then we're going to get ourselves some basic type of a weird gray, which is looking quite nice. But it still doesn't look quite as good as in regards to the overall planks, the way they're being positioned and whatnot. And we don't have any of additional color information in just the overall material. So of course we are going to be fixing that. We're going to create ourselves a new fill layer like so. We're going to make sure that this fill layer has just a black color. Like so. Not entirely black with close to close to complete black like so. And now I'm looking for a roughness value of roughness value can be that as 0.6 is going to give us a nice result. And I think that's going to be okay. Now we're going to set ourselves up with a mass to be highlighting some of that detailed up a little bit. We're going to add a black mask like so. And we're going to make use of a generator for a curvature like so. And I'm thinking that, yeah, instead of just using the normal kind of a color, we're actually going to set it up with the multiply blending modes. So let's go ahead and do that. We're going to change it from normal to multiply, which will basically darken everything down and not at a lighted it up anything in that regard. And we're going to go ahead and hold Alt, click on the mask itself and play around with the values a little bit to get a nicer type of a look. Something like this value. Maybe even make use out of blur. I'm not always too keen about using glucose. It always tends to mess up the overall shape. So I prefer to keep it as is. We're going to go on through curvature mode itself and increase the big value by quite a bit. And maybe huge as well. Now that's a little bit too much large. We're going to adjust it like so. It looks quite alright, let's go ahead and keep it. And I'd say we might as well change up some bits of a value using some levels as well. That gives us a nice control. I liked the overall results that we're getting out of this since it gives us some nice chunky waste of lining up those areas. But the overall shape of a mask is not quite as pleasing for me. So I'm actually just going to go ahead and lower this down a little bit. Wrapping it up, sharpen it up. Sorry, just going to lower the contrast like so. That's going to look good. But now I don't like the edges being sold it up. I liked overall variation within this mask, but we're going to take off a lot using another curvature actually. Let's go ahead and add a generator. Let's go ahead and add a curvature. Make sure that this is set up. Subtract like so that we can make use out of it to take off some of that additional information just like that. And we're going to go onto the curvature itself. We're going to increase the large, like so. And I'm thinking that maybe it's, yeah, there you go, that's going to be quite alright. And at this point, yeah, we are going to make use out of a blur a little bit. Just a little bit to a value of 0.2, like so. And yeah, we are going to increase the softness completely. And yeah, something like that is going to give us a nice kind of a result. Perhaps even using a huge values of, well, there you go. That's going to give us some real nice kinda looks. Let's go ahead and hit em and see how this looks like. And there you go. We're going to be able to darken it up like that. I'm actually just going to lower this overall mask a little bit like this mask, but I don't like the way it's being sharpened up. So I'm going to go back into the mask real quick and play around with this to see it better, I'm going to go back onto normal blending mode and kinda play around with this overall mask. So like this, maybe lower down the blur or actually increase it like so. And we're going to lower down the fine detail as well as the medium detail. Going to give us some nicer type of chunkier result. There you go. Those are edges that we're looking for. Now we can go ahead and go back to our subtract. And it's going to give us some nice subtracted lines out of it. And even might get away with increasing this a little bit. That's the wallet global blur. Your 0.42 seems to work quite nicely. Let's go ahead and click em to see how this looks. And yeah, this looks quite nice, although we're not quite done yet, we need to continue on with working on this. So let's go ahead and actually do just that. But before doing that, like, yeah, we're going to go ahead and go back on domestic real quick and just lower down this by a little bit like so. So we're going to get this result. So this is going to look quite nice. Now we're going to continue working with this. And this time we're going to again create ourselves in new curvature. So actually, I'm going to call this one. We need to make sure we rename them properly. So wood grain, like so one before and this one is going to be edge aware. So looking quite nice. Now one more filter that we're going to make is going to be another edge where, but this is going to be a little bit different since we're going to add a black mask. And we're going to make use out of a curvature generator that's also set up as a curvature. So it's going to be somewhat similar, but at this point is going to be making use out of the, instead of edges is going to make use out of a dual mode, which is going to give us this interesting result. And actually we're going to continue on with this in the next lesson. So yeah, thank you so much for watching. And I'll see you in a bit. 22. Adding Edge Smart Masking to PBR Wood: Hello and welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with a nice material for the word including the grain and also some edge where now we're going to continue on working with this and set ourselves up with some additional curvature details. So let's go ahead and get right into it. We're going to quickly go ahead and make sure that we have a normal, proper fill layer applied. This one is going to be quite dark as well, like so. And we're also going to get ourselves a value for the roughness. That's going to be this sort of a value. It's going to be a little bit rougher, but not too much in comparison to the previous edge where we're going to go ahead and select this curvature like so. And this time we're going to again hold Alt, go into the mask view, go ahead and select the curvature. Make sure that the sharpness is turned off fine is also turned off. Softness is going to actually somewhat in this area, going to play around with the medium and see how that looks. This looks alright. Going to play around with large, going to keep it as this sort of a look or actually even lower. Now, this is going to be perfect. And this is the nice result that we're trying to get. So there you go, That's looks pretty good. We just need to make sure that we also love down the brightness is, works in a similar way to what the Opacity option this one would do. The brightness would give us nice result. We also have an option to kinda sharpen up the mass, but we don't want to do this. So let's go ahead and keep it as is. And yeah, let's go ahead and click em, see how this looks like. And this is the result that we're getting. So before and after, this is kind of splitting up the entire would in regards to how it looks. But I'd like to ideally kinda blur out the entire value for this because it ends up getting some edges that I don't quite like. So I'm going to add a filter that has a blur, like so. And I'm going to also enable Bullard warp, which will help us to kinda get some nice results out of that. So I'm going to simply just blur out this entire mask like so to get this sort of a look, a go. And that's the type of a mass that we're getting basically before and after. We're able to get some additional darkened up areas. If you're wondering in regards to certain bits being masked out too much or too little. So we're getting these kind of results. You don't need to worry about them just now because we're going to be able to fix them in a bit. Now though, I'm going to change this to multiply as well to even get some darker details out of this entire word. And we're going to go ahead and start using the edge where. So let's go ahead and actually call this curvature or keep it as elsewhere, like so. And this time we're going to make a new fill layer and call this one metal elsewhere. Although this is not metal, of course. We're going to make use out of the generated mask that we had previously used for the metal. Because it's really nice to make use out of and it gives us some real nice way to break off the edges. So let's go ahead and do that. Actually, we're going to add a generator, we're going to add a metal edge where like so of course we need to make it as some adjustments because otherwise it looks too unnatural in regressor overall results. So we're going to firstly lower down the grunge Ahmad. We're going to increase the overall grand scale to quite a large value for the two, I'd say. We've got some small types of variations like so. We're going to also use try planar projection. In this case. We'll make sure that we avoid any of this seems like so. And finally, after looking at a little bit at this, yeah, we do have some nice variations overall. We'd hold Alt, tap on this. And we are going to add a filter that's going to give us a bit of a blur to it, like so. And actually I'm going to go back to the Metal Edge, lower this down in regards to the level that we're going to get ourselves minimum amount. And I'm thinking, I'm just thinking that maybe we should also increase the contrast just a little bit though to this amount. And we're going to get some really thin type of edge where that's also going to be quite nicely repositioned. Basically, this blur is a little bit too intense. I'm going to lower down to 0.3 to get this sort of look hand by clicking m, we can see how it looks like. It's looking really nice of course. But of course we need to adjust the edge of the fill layer itself. Let's go ahead and do that. Let's go ahead and click on this. And I'm going to change this to be a bit of a dark end up kind of a result like so. And roughness is going to be a little bit higher than it was for the previous one. So this one is going to be 0.66, like so. You get this sort of a look. So we have some edges that are barely touching. Basically, they're kind of stand out in-between, but the edges themselves are going to be darkened up. And that's giving us some real nice kind of results. I don't quite like the original edge aware that we started off with. So I'm going to go into it real quick. I'm going to adjust the fine detail out of it and I'm going to try to get myself nicer type of a look out of it. Because otherwise it looks like it's too much broken apart. So I'm going to release the sharpness, actually going to play around with the huge values like so a little bit. Maybe go back onto, there you go. By lowering down the global balance, we're able to get ourselves some nice results. And maybe I'm going to play around with the global blur. Like so. Yeah, there you go. That's the, that's the one we're looking for and we're going to click em and see how this looks like. We're going to get ourselves some nicer results. Although the blur is a little bit too much green to lower this down a little bit like so. And I'm also going to lower down overall type of a multiply result. It is amount that's going to give us a really nice type of variation within the word. There you go. Okay, So going back to the edge where it Let's go back onto the metal edge-weighted we had. And this is looking quite nice, although the original is a little bit too much. So I'm going to lower down the opacity by a little bit like this since we're still keeping that roughness value change. If we look at a roughness, we can still see that it gives us some real nice kind of an edge. That's exactly what do we want within this kind of wood. So afterwards we're going to consider ourselves in regards to how we're going to get some cavities highlighted as well within out of these shapes. And we're going to create ourselves new fill layer. We're going to call this cavity like so. I'm actually just going to rename it properly. So wouldn't misspell it. There you go. I'm going to only the color and the roughness value again. And we're also going to go ahead and add black mask plaid at generator, at curvature like so. And we're going to change this curvature to be using cavities. Of course this is a little bit too much. Let's go ahead and lower this down for the balance. And we're going to lower down a large and big values and huge values to a minimum. This is going to give us this sort of a result, which is actually really nice already. Looking like some real nice type of a look into lower down the softness as well little bit and increase the global balance overall. That amount that's going to look pretty good. Let's go ahead and go back onto our fill layer and then play around with the values that we have over here. So we're going to start by darkening it down a little bit. We're going to get ourselves dark and gray like so. This value bit lighter than we did previously. This is going to look quite nice. The roughness value, we can set it up to a value of 0.67. Like so. It's going to give us real nice type of a look. Then finally we're going to move on, I reckon, in regards to the rest. And I'm just going to check how it looks before and after. And yeah, this is going to give us some nice variation within the word for sure. Next one we're going to make use out of the height information and apply some additional detail. So micro detail using the values that will bump outs the texture itself, we're going to add a new fill layer. We're going to simply set it up as a complete black color actually as well. This time, we're going to add a bit of a yellow tint. So let's go ahead and click on this over here. Just light saturation like so. It's going to go with a real nice type of a result. As for the roughness, we're going to make it completely rough like so. Then we're Next. The next step is going to be to make use out of the height information. We're not going to do too much, so we're going to bump it inwards on the plank itself. So we're going to use a negative value. So -0.02 going to give us a nice results. So bare minimum amount is going to give that micro detail that we want. Of course, we need to make use of masking techniques to set it all up. So let's go ahead and do that right away. We're going to add a black mask. We're going to this time at a generator that's an ambient occlusion. And actually we're going to combine it together with curvature. But for now though, let's go ahead and fight ourselves. And with occlusion, we're going to hold Alt, Click on a massive, see what it looks like. We're going to lower this down to this amount. That's actually pretty good. And now we're going to also add a curvature. Let's do that at a generator at curvature. Like so because we're replacing it with this, we can see how it looks like the curvature isolated view. And we want it to be around this amount now if we change this to be screen, so only the light areas are going to be applied on top of this mass. We're going to get this result. I think though, it's a little bit too much. So we're going to actually make use of a blur a little bit. No, not blurry. Sorry. We're going to lower this down using this kind of a way by just lowering down the opacity. We get this sort of a look. And we also need to make sure that we can blur out the entire details. So we're going to add a filter and blur like so. And we're going to get this sort of look, which is already looking pretty good. But we probably need to switch up in regards to the ambient occlusion a little bit. Need to kind of play around with. There you go, lowering it down a little bit. So value of 0.18 is going to give us nicer type of a look. There you go. Now we're going to hit M and see how it looks like within our entire results. So again, we're darkening it down the entire result and we're also applying a fair amount of minimum height value. Of course we could do it a little bit more, but I recommend you not to overdo it. And just the minimum micro detail is going to be more than enough in this regard. Yeah, that's pretty much it. In regards to the overlays, we still got quite a way to go in regards to setting it all up and make it look all nice as a smart material woods. So we're going to continue on with this in regards to the next lesson. So thank you so much for watching. And I will be seeing you in a bit. 23. Creating Wood Dirt Detail: Hello and welcome back In prone to substance better beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with some bilayer. That also gives us a nice high detail out of our world just to kinda highlight overall shape a little bit more in regards to the indents and whatnot, but we totally forgot to rename it. So let's go ahead and quickly do that. We're going to call it edge. I'd like so. And we're going to keep it as is. Now as for next one, we're actually going to set ourselves up with a nice light generator, just like we did with the metal. Just to kinda again highlight the overall shape and bring it up in regards to all of the planks that we have within the mesh. So right away, Let's go ahead and do that. We're going to create ourselves in new fill layer and we're going to make sure that only the color is set up. Let's go ahead and select color. Then we're going to quickly rename actually this to color variation, like so. So it wouldn't get it in Norway. And we keep our organized project nice and tidy. And of course we're going to add a generator for the light. Let's go ahead and find light leaks. So as for light itself, we're going to pretty much do the same as we did previously. We're going to get ourselves 90 degrees on both of them, just so we could get some bit of a highlight from the bottom piece. Then we're going to go all the way down and change these up to lossiness light at an ancient 20.0 to get this sort of a result. Yeah, I think that's looking pretty good, although we need to play around with some additional information. So I'm actually going to go ahead and add a levels like so and start just kinda taking down the overall contrast by little bit. And then also, I'm going to make sure that I also take down the overall levels like so by little bit, we're going to get ourselves some bit of a kind of a variation in regards to the position of our planks. And that's going to look quite nice overall. But of course we need to set ourselves up with a nicer type of a look. So we're going to change this to be set as divide, like so to get this sort of a look, then we're going to set the entire thing as soft light. You apply it like so. And finally, we're going to make sure we kinda lower down this entire setup by little bit. And that's actually not going to give us the right kind of results as I expected. I'm just going to lower this quite a bit then. And it showed if we were to check before and after, it's still not giving me the right kind of look. Oh, it's totally it's because I forgot to change the generator to only use the light. Here you go. That's going to give us the right kind of result. They go though before and after. It's just going to highlight the overall shape. Looking already quite nice. We're actually going to get ourselves another one. So let's go ahead and make a duplicate out of it. We're going to take off the levels. We're going to change this to be an overlay instead, like so. And we're going to set this one up with bid less of the soft light, like so. And I'm going to check the overall result in regards to the light generator. So we'd get a bit more control on how this looks. And we're going to actually just make sure that all of them are kinda flipped around. So this one is going to be 2070 and this one is going to be 2070 as well. Let's go ahead and flip them up. We're going to get the bottom instead, or sorry, not the bottom. It's going to build from the top disk in this case because the one underneath, It's going to highlight the bottom. And this one is going to highlight the top. So it's going to look quite nice All-in-all, although the color variation might need to be a little bit increased. Yeah, let's go ahead and increase it all the way to 50. We get this sort of a look and it's already looking really nice. But of course, we still need to break up the overall versatility of our grunge map and our grunge masks. Let's go ahead and add a new fill layer. I'm making sure that I select the top layer like so adding a new fill layer. And for this one we're going to set it up to be pitch black, just completely pitch black legs. So with roughness value. So to close this down, make sure that you have selected, hold Alt, select only the color and the roughness value is going to be set as well as one. So completely rough value for our material. We're now going to go ahead and apply a quick dirt generator. But in this case, this is the one that's going to give us the most issues when we're applying onto our smart materials. So I'm just letting you know in regards to that. So we're going to lightly make some adjustments in regards to how we approach to this layer. We're going to make sure that we have more control in regards to that, because it really depends on the location and position of this word. So e.g. if we have this wood underneath the planks over here, it's not going to look quite as nice and we'd have to make some additional adjustments to it. But all in all, it's a good mask to have. So in general, what I tend to do is when I apply a generator for this mask, like so, I'm going to make sure I also add dirt. The dirt is really useful to have ourselves a really nice kind of results. But again, it's going to give us different results depending on how we're making use out of it. We're going to lower this down by quite a bit. For the contrast, we're going to increase it just a little bit. Like so. As for the triplanar, we are going to use try planar, but we will need to increase the grand scale. But let's go ahead and increase the grand scale of by quite a bit. Let's say to a value of eight, that's going to give us a nice kind of result. And I'm thinking that we should probably scroll down a little bit to the edge masking. We're going to lower the edge masking. What this will do is basically the edges on the side are not going to be as effected as the mask itself is going to be removed if we were to apply it as one. So we're going to lower this down. So more of this dirt is going to be applied in general than the grunge amount. We're actually going to lower this down so it wouldn't be applied throughout the wood as much like so. And we're getting a real nice type of a look. I'm just going to go ahead and click hold Alt, Click on this and see how this looks like. And it's looking quite nice. But again, we're going to set ourselves up with in regards to how this looks for most of the void. And we need to make sure that we have more control over the entire setup. For us to do that. We're going to also change up the naming and whatnot, but actually just looking at it, I'm going to go into the micro details to see how this looks like. And we're not going to use micro details, but we might change up the lecture for the grunge. Or rather I might just increase the scale of grunge and it might fix the issue because I think it's a little bit too much. There you go. Changing it to ten, you integrate. Trig is going to give us the finer detail. That's exactly what I want. And I might lower it down a little bit in regards to the overall level. So yeah, that looks quite nice. Let's go ahead and click em and see how this looks. And yeah, this looks like a really nice type of a one. But again, it will cause us a lot of issue, especially underneath the staircase, e.g. it's too dark, too much in regards to this overall dirt. So what I'm going to do is I'm going to double-click on this fill layer. I'm going to end Capitalist just write third, like so. So when I'm scrolling through this entire section, I'll be able to see it and we'll be able to adjust it within in regards to the other sections of our wooden areas. We also are going to select the dirt or the mask like so. And we're going to add a fill layer for the paint. So this will allow us to have more control over our dirt masking. So e.g. whenever this is underneath the staircase like so we can make use out of it and add using the brush which we already used. That's going to be artistic brush. With this, we can click X, makes sure this is black and remove some of that grunge from the underneath the staircase like soap force. This is a little bit too much. So what I could recommend doing is they've done the flow by quite a bit to down to 13 e.g. and just brighten up the wood so it'd be more visible basically. And just like that, we'll be able to get more detail out of this kind of a smart material. But now though, I'm going to make sure I keep this as a default type of paint. So I'm just going to take it off and going to add a new paint and just going to call this custom paint like so. And I'm going to keep this as a default for now since I'm planning to basically get us a smart material which is going to be reusable in our throughout this entire project or for other projects as well. If we were to start painting in right away though, it's just not going to help us out much because when we're going to be starting applying this same type of paint is going to give us some bizarre results and we'd have to reset it every time. With that. Then we're also going to make use of our time and set it up with a quick Bakelite stylized. Let's go ahead and add a new layer, call this Light Bakelite vitalized, like so. It's going to make sure that the name except properly. And just like we did previously, we're also going to quickly set it up with basic type of a color. And actually instead of using this fill layer, we might as well make use out of our usual layer. We haven't touched yet. So let's go ahead and actually make use out of this opportunity to do so. I will delete this and we are going to add a layer like so. And instead of a painting it is. Although most of the time we make use out of the fill layer, this also allows us to add some additional sublayers, just like we did with this. But the original layer does not have any information on top of it. So e.g. like we had with coloration, this one had the base color information as is, which if we were to change it, it would affect the overall material, which of course we don't want. So I'm just going to click, close this down real quick. Click Control Z real quick to make sure that it has set as default. And now with this, it doesn't have anything. So it's going to be left as is. We can simply add filter like so. We can add baked lighting stylized like so. And it's going to give us this result. If we were to set this to pass through. And if we were to lower this down by quite a bit, we're going to get ourselves some nice results. But maybe I'm just going to look real quick in regards to the sun sky. You want to make sure yeah, the default is going to be okay. And yeah, it's just going to help us get some nicer type of results overall. So I'm going to change this up to 25, like so. And this will help us to darken up the wood and get some more detail out of the overall mesh. Which again is going to be a bit of a passive process in comparison. And although we can't have kind of a change that we had previously, this is just going to mean that we don't need to go back and forth in between those. All we gotta do is just make sure that these are set up properly. And we don't even need to worry about too much in regards to the overall channels. Because if we were to scroll through them, we can still see that we have the same detail regardless of whether or not this is enabled. That's because the input is set as metal roughness and output is diffuse and specular and it doesn't add anything additional in regards to that. So we only have some color information. So with that said and done, we're just going to go ahead and continue on with the wood in next lesson. So thank you so much for watching and I'll be seeing you in a bit. 24. Aging Stylized Wood Smart Material: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with a layer for Bakelite stylized. And we've got some additional dirt information on what not to enhance our entire wood material. But now we need to actually get into some of the final touches for the wood and we're going to do that. But before that, we need to make sure we have every name properly and that includes this final layer that we did. I'm just going to double-click on it, call it bake lighting stylized. Like so. Now the next one that we're going to do is actually going to be an additional curvatures mask. So we're going to quickly create that. We're going to pretty much do the same way as we did for the metal or any other type of a curve mask. So let's go ahead and make use of a black mask. That said with a curvature mask, we're going to hold Alt, we're going to tap on the side and we're going to go ahead and lower this down to quiet a minimum amount like this. And that's actually going to do it. We don't need to do it over to too much. We just need a minimum amount just to kinda highlight overall edges. And I think though we need to lower this entire mask a little bit like so to get to this amount. And finally, we just need to go back on therapy layer. We need to make sure that this is the one that's being adjusted. I'm going to switch up. Yeah, there you go. That's the one. So we need to make sure that this is kind of a light brownish type of a color like so. We have a low saturation and actually a bit darker like this. There you go. That's going to be quite nice. Maybe a bit darker actually. I'm going to make use of This sort of a color. There you go. So small type of a highlight is going to give us and really, really nice type of result for the world, just like that. Of course, we don't need to use any other channels. So I'm going to hold Alt, Click on the channel for the color and just get myself just the coloring of the edges. Just like that, we're able to get ourselves some nice results, which actually might need to be increased a little bit. So I'm actually going to go back onto the mask and increase the opacity for it just a little bit. The value of 40, that's actually going to be looking really nice for us. Now as for the roughness value, let's go ahead and create ourselves a custom layer for that. I'm going to quickly rename this curve richer color. So I'm going to add a new fill layer this time, we're going to make sure that only the roughness values enabled. We're going to set it as a value of 0.7, 0.8, or value in between, actually 0.7, 5.6. So we're going to call this one roughness, like so. We're going to add a black mask. And for starters, we're just going to get ourselves a simple grunge mask. Let's go ahead and add a fill. We're going to add a grunge rough. And the one that we're looking for is going to be crunchy, rough, dirty. So yeah, this first one over here, go ahead and add it like so. Then we're also going to make sure that it's set up properly. We're going to hold Alt, go onto the mask itself. But let's go ahead and do that. And the default one is actually going to look quite right, but we probably need to play around in regards to how it's set up. So I do want to make some adjustments to it, but I think the best way would be to go ahead and make use out of the levels. And just make sure that we brighten this up a little bit. And also maybe, yeah, let's go ahead and add some additional contrast you go. So that's going to look really nice in regards to that. We're going to increase it by quite a bit because we're going to have some small minimum type of a mask like so. So now we're also going to apply some additional mask on top of it. And the next one that we're going to do is going to be if we add a fill, we're going to add ourselves grunge stain. So let's go ahead and search for that orange stain like so. And we're going to search for small ego. So grandstand, small hollow. Let's go ahead and do that. I'm going to increase the balance by quite a bit. And I'm looking at the tiling, maybe it's a little bit too much. So yeah, let's go ahead and change the tiling to-to. Going to give us those kind of stains are actually two for even there you go. But of course we need to make sure that it fits in properly with the rest. So I'm actually going to use soft light. So let's go ahead and use that. And that's not it. So let's go ahead and try light. That's not it either. Linear Burn. And I'm just go that's going to be light. There you go. Linear Light. That's going to give us this sort of a result. It's kind of applying the light, but at the same time, it blends in the values underneath. We can take it down a little bit and see how it, if it's being affected within our mask. And I'm keeping this as AD Excel. So we're getting the previous mask results as well. Then we're also going to make use out of the same caliber, the kind of away. And we're going to make sure we have this grand stain selected. We're going to click on Control C, Control V, make a duplicate out of it, or control C, control V to make a duplicate. And this time we're going to change this grunge to be set as leeks grunge range elites like so we're going to get into this one over here. Let's go ahead and make use out of it. And this one, the tiling we can set it, has to make it a little bit higher up. And we're going to also increase this opacity, make sure we get this result. So before-after is going to be nicely overlaid. So overlaying multiple type of alphas to get ourselves a nice kind of a different opacity mask for the overall result of the roughness value is going to be real nice overall. Now we can go ahead and check out looks like in regards to the overall roughness value. So we're going to go click M, we're going to click C actually. And we're going to go into roughness is to see how it would look like before and after. And just by applying that, we can see that there's a lot more information coming when the sun shines and it's going to look so much nicer in regards to that. So yeah, now we're done with that. Let's go ahead and add one more final bit. We're going to add yet another grunge mask for the roughness. We're going to create ourselves a new one. We're going to hold Alt, Click on the roughness channel. And this one is going to be a value of 0.58, like so. And we're going to go ahead and add a black mask, or the black mask, we're going to add a fill that's also going to be a grunge maps. So let's go ahead and search for grunge 14. Like so. This is the one that we're looking for. Let's go ahead and add it right away. Just like that. And I'm going to hold Alt, tap on the screen just to see how it looks like. It looks quite nice, but I'm going to increase the contrast with the balance a little bit to get this result, we're now going to go ahead and add a generator for the curvature, which is going to be overlaid on top. Like so an alphabet increase it. We're going to get herself this sort of a look. And that's going to be look quite alright, actually, I'm just wondering that if it's a little bit too much in regards to the one underneath. So I'm going to lower this down by quite a bit. You get this sort of a look and they run with the values a little bit to get. This look is going to look quite nice actually. Let's go ahead and keep it. I just want to increase the size for this UVs like so to size two, I'm going to click them just to see how it looks like. And yeah, that's going to look quite nice in regards to overall type of result for the world because we get ourselves some nice variation within it. I'm going to check the roughness value, how this looks. So before and after, we're going to get these nice values within our roughness color. Okay, So we're pretty much done in regards to that. Let's go ahead and just make sure we set it up as a smart material for the week. We're actually going to rename this one as a rough minus two, like so. And actually one more thing before we do that, we're going to get ourselves some edge where in regards to the edges themselves, we're going to add a new fill layer. We're going to hold Alt on a height value and we're going to lower this down by quite a bit. Then we're going to go ahead and add a black mask. We're going to add generator and we're going to add metal edge where like so. What is a metal edge where, what do we want to do basically is just set it up with some nice grunge and mountain lakes. So the grand scale is going to be like this. And as for the branch itself, we're going to use a custom grunge. That's going to be once we enable this, use, custom grunge, we're going to go all the way down until we find image inputs. Because some grunge, we're going to change this to a grunge, which is going to be just dirt. They go towards plants. That's the perfect one that we're looking for. Let's go ahead and use that. We're now going to go all the way up and increase the groin scale. Be this sort of a value. And I'm wondering that we should probably change how this looks like. So I'm actually going to go ahead and change the amount of grunge. So I'm going to lower this down by quite a bit like so so now it looks like chipped up wood. And probably more of in regards to the scale. Going to change it to 16. There you go. That's going to look quite nice. Range of MOD doesn't need to be too much. So, yeah, something like that. A little bit more. And also might as well use try planar projection. No, that's not going to look well in this case, we're now going to use Stripe planar projection because it's going to mess up our UV coordinates. So I'm going to hit M and see how this looks like. And that's the type of results that we're getting. So it's already looking quite nice actually. Let's go ahead and keep it before and after. And if we want to increase it, if we want to decrease it, all we gotta do is just within this edge where we're going to just go ahead and use this where level. And that's all we're able to control. The wear of this entire would. As an extra step. I'm also going to set it up with some extra color just to darken up this bit, I'm going to get a base color, just as black like so. And with a minimum amount of red like this. And of course we need to make sure that we set it up with in regards to how high the opacity is, I'm going to get it to 20. So just a minimum amount, like so we can click C and get into this result and see how this looks like. N, yeah, minimum amount is going to be perfect in regards to that. Yeah, there you go. We're going to increase it to actually 45. And yeah, before and after. And if you want to increase it, we're going to be able to do it like this. So yeah, that's quite a nice way to play around with the word to get some nice results. We're going to keep it as a value of 0.61. And we can call this one edge where exactly. So, yeah, we're pretty much done in regards to the board, we can continue on working with the rest of the asset or this environment. But for now though, let's go ahead and move on. And we're going to continue on with this in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 25. Adding Paint to Stylized PBR Wood: Welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with all of the needed extra layers for our small material off the wood. And now we're actually going to set it up as a smart materials. So let's go ahead and do that right away. I'm going to select the top layer, like so going to create a group for it to just simply select this edge where again, all the way to the top, to the bottom hold Shift, mouse click. And now we're going to grab all of them. But it's in a folder like so. Take a while to put everything in. And now we're going to call this one mart. Or we could call it the stylized would excel. I think that's going to be better. Now we can go ahead and simply close this down and we pretty much are ready to right-click and create smart material out of it. But that's all it takes to get smart, stylized the wood out of our substance painter. For Cyrus before actually making use out of it on our materials, on our material layers, textured set list. We're going to go ahead and fix up this stylized would in regards to the underneath of the porch because it looks way too dark in this area. So we're going to open ourselves up with the folder and we're going to find ourselves dirt that's been created over here. Since it actually is making use of ambient occlusion, which if we look at it, is darker in this area over here. So of course it's going to give us some additional issues in regards to that. To fix this though, we can just go ahead and go on through custom paint area. We're going to make sure we click one to go onto our brush. Click X to make sure we have a black properties pane tab, brush. And with the low flow where it's going to quickly brush out this darker area and just kinda open up ourselves with that Would that we had previously set up. So we're going to get this sort of result. We're not going to overdo it too much in regards to that. I'm going to keep it very basic and nice looking just like that. All right, I think this looks quite alright. Actually we're going to leave it as is our side as well. Let's go ahead and make use out of it to kinda take it down a notch. There you go. So by just quickly painting it over, we get all of the type of void crane back to see within our material. And now we're done with that. Let's go ahead and actually make use of the stylist. Would I think we can do the balcony next. Let's go ahead and open this up. Yeah, there you go. That's going to look pretty nice in regards to that. We're going to start with the staircase or sorry, that's not the staircase, that's just a railing. We're going to start with derailing the staircase. We're going to do it in a bit though. And let's go ahead and simply delete the original layer like so, and drag our own stylized wood into it. And this should automatically apply a really nice type of a base material. Let's go ahead and see how this looks like. Once it loads up, like so, we're going to get ourselves this sort of a result which is looking pretty nice. Actually, I'm going to hit M and see how this looks. That's looking pretty nice. We're going to add some paint on top of it. So on easiest, easiest way to actually get some variation out of this book is to add an additional type of a filler above this folder like so. We're going to grab a quick color to hold Alt, Click on the child so only the green color is being applied. And we're going to actually get ourselves a green color like so. So this sort of a green is going to look quite nice. Maybe like so. Then afterwards we're going to change the blend mode from normal to screen. A little kind of add that additional lightened up effect. It will make it look so much nicer in regards to that. Finally, we can't just simply have it as is Hawaii is. It's just not going to look quite as nice. So what we're going to do instead is we're going to make use out of a dirt smart mask. We're going to add a mask at a black mask or yeah, we're going to add a black mass, but we need to firstly apply some of that black mask on top of something. So I'm going to hit F4 to go onto the polygon. Phil, going to make sure that fill is selected and I'm going to select this as well as these couple of railings over here and these ones on the side, I'm just going to hold my left mouse button, scroll through them just to select them, make a quicker selection, and I'm just selecting these entire railings just like that. And now to get it properly fixed up, what are we going to do is simply we're going to go ahead and add a generator. We're going to make use out of a degenerate or like so. And we're going to turn this one into multiplies. So wherever the dark is going to give us some darker areas as well. And I'm just thinking if it's going to be a right or if we need to adjust some settings, I think we need to increase the contrast by quite a bit like so. Going to increase it to seven or eight and going to crease the third level as well by little bit. So this is looking quite nice. Hello, graduate mount might need some change, but now I think all in all I think that's quite okay. We can leave it as is. And just by doing that, we can see that we're getting some nice results. Although this screen overlay, I don't think it's quite fitting because what it is, this type of a texture, it might be a little bit too dark. So instead of using screen, I'm going to change this to overlay and see how this would look like. And let's go ahead and see how this looks. It looks way too much. I'm trying to figure out why that is the case. Might be a little bit too, too dark. Let me just increase the brightness and there you go. We're getting a nicer type of a look, something like that. And I'm just going to rotate the light a little bit around just to see how this would look like. But yeah, all in all, this is looking quite nice. I might need to adjust it in a second though. Maybe I'll get a bit more greenish type of a tint. But yeah, we're making sure that even though it looks like it's painted some other edge where is still there and that's why we're using dirt to negate some of that symbol color and highlight the overall wood texture. Yeah, I think that's going to be okay in regards to their overall that up, I'm just thinking about the bottom piece. It might look a little bit too dark, so we are going to go into the dirt layer like so custom paint and we're just going to paint out this section over here manually, just like that. Just to get back all this type of a texture. But I'm not quite liking this overall type of a setup for a word. So we are going to make a wreck and a variation for the floorboards out of it. And since we have ourselves a nice setup for a smart material for its allies would, it's actually going to be super easy and simple to do, but we're going to do that in the next lesson though. And for now actually we still got some time. So we're going to make use out of the green paint that we just did. We're going to rename it like so. And we're going to make a duplicate of this. You get ourselves white paint instead. So we're going to select them mask, we're going to get a black mask out of it, like so. And this time we're going to change this to be more of a white tint. We can make it the value of 0.5. That's totally okay. Like so. We're going to go ahead and now go back onto the mask. We're going to select all of these railings like so. I'm actually just going to isolate this entire view, going to hold Shift and kinda snap my camera to the side. And I'm also what I'm going to do is I'm going to change my perspective mode or for graphics. So we can see this sort of look. And I'm going to select all of these railings just like that. So we get the entire selected and I will change my blending mode from overlay to screen. So this one is going to be much better since it is that kind of a color that will allow us to blend in the values properly. Now let's go ahead and change it back to perspective mode, like so. All we gotta do now is just simply get the same dirt mass that we had previously. So let's go ahead and select it from green paint. Let's go ahead and select this third mask, Control C. Go into this dark mass for the white paint, which we should also rename it by the way, white paint like so. Let's go ahead and select this mask and Control V to make a duplicate into it. Then we're going to get ourselves this sort of a result, which is pretty nice. Now, if we want to lighten up the entire setup, we can do so by simply going onto the base color, by the way, and just kinda lighting this up for the word. And that's going to give us a much nicer type of overall result. The ones is done loading up. We're going to see how it looks like. And yeah, it's looking pretty nice, although the green, I don't quite like the green the way it's set up, so I'm just going to change that up real quick. Going to make it a bit darker and a bit more green, like so. And I might lower down the overall, overall overlay and that is down to 80. Think that's going to be looking great. Otherwise, it's not quite as nice-looking. We do need to make sure it looks like Ben paint layer. So now I think that's looking quite nice overall. Let's go ahead and keep it as is and worst-case, we can come back, but I do need to lower down the saturation a little bit, so I will do just that. So that's going to look much better overall. Okay, so now that we're done with this, we're going to continue on working with the word setup. We have green paint, we have white paint to be used throughout this entire environment or the stylized. But we need to also learn how to get some additional stylized would variations of this model material that we just created, which I'm going to show you how to do that in the next lesson. So thank you so much for watching and I'll see you in a bit. 26. Creating Wood Variations: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with the front porch and adding some white paint as well as some green paint within our saloon. Now we're going to continue on with the width variation and learn how to make use out of our stylized more materials to get even more better results out of it. So for now, I'm just checking how it looks like and it looks pretty nice as a wood. But e.g. in this area, the word just looks too similar to plane overall, so we can add some additional variations within it by making use of some additional parameters. Basically, let's go back onto the wall that we had. So that was if I'm not mistaken, that's going to be Autumn building bottom one, this one over here. Let's go ahead and check that out real quick. And I'm just going to see how this looks like in isolated view. So that's the one we just created, okay? And yeah, for us to get more variation out of this, what we're going to do is we're going to go into the stylized would itself. We're going to go all the way down for where the base color is. Right above it. We're going to select the Base Color right above it. We're going to create a new layer, Excel, which will be only for the color. It's also going to be set as overlay now. And we're going to now add a generator for it. So let's go ahead and add a generator. This time, however, we're going to make use out of the UV chunks to can I get more variation out of this one? So for that, we're going to go into the generator and we're going to get herself something called UV random color. So based on the UVs, each one of them, or is going to have its own unique type of color. I'm actually going to go back onto normal blending mode just to see what the difference is like and we can see what it is based on that. Yeah, With this, we can make use out of it to get some nice variation. We're going to hold Alt Click only on a color just to get color variation and nothing else basically. And then afterwards we have some additional inputs, additional settings to set up, but we by default have it set as random. What I usually like to do is just set it up as custom gradient. With the help of this, we can get ourselves a nice custom grunge map, which I often like to use cells. Those cells to is the way for me to go whenever, whenever I want some more variation out of it. Once we have it selected, we can just play around with the contrast. We can play around with the balance and get some really nice basic type of a setup for it. We can go into noise parameters as well and resemble, if I was to change up the scale, wouldn't be able to basically change up the overall result of each one of those planks just like that. Keep in mind though, using UV random color is only for the UV chunks. So what I mean by that is if I were to click Free, we can see that each one of those basically gets randomized if they are using this or not in regards to how much they're being applied. So with that said and done, we're going to get ourselves some interesting patterns. And even though it is a nice function, we need to consider how it's going to look like e.g. if the bottom of the planks are not going to be the same color. So in most of the case, I think they're going to be okay. I'm just going to check. But in certain areas there should be cases where some of the bits are highlighted, but our bits are not as highlighted basically. And that's definitely going to cause us some issues, but we're not going to get a lot of variation. I'm not sure why. Maybe it's just loading up excel. Anyways to get it properly sorted. I'm just going to make use out of it with that. And maybe I'll just get more scale to get more variation out of this. Or we're going to get more variation out of this using different type of balance and whatnot. Yeah, it's just a simple kind of variance in regards to the lightness of this texture. We're going to set this up as overlay as well, by the way. And I'm thinking, yeah, we're going to lower this down, overlay that 20 like so. Just to get a small variation, as you can see within the wood, that's just going to look really nice. All in all. We're all together and yeah, I think we're going to leave it as is. I do want to add a bit of an extra color to it. So I will go into the base color for this and I will add more saturation, just a little bit more saturation to it. Not too much though. By adding, changing it up the base color, we can have so much more of a color control over this word. All in all, we're going to leave it as is. And then we're going to move on. In regards to if I were to make this a little bit lighter. There you go. That's going to look much nicer. All in all, this is going to look alright. We need to worry though, in regards to how the wood on the side of the vertical beams are going to be affected as well. In regards to the UV random color, I'm going to add a quick white mass to this. And I'm just going to make sure that these are going to be taken away from this and have a look. Let's go ahead and do that. Now we're just going to apply this UV, a random color of UB, random color. So only for the planks over here. And that's actually going to be quiet. Okay. So yeah, once we're done with that, we can pretty much reapply this entire thing onto the wood pieces as well. I'm just really wondering if we should have more variation out of this or not. And I think it's okay. I think we're going to leave it as is. Now, to reapply this entire material, we're going to just simply select this, select this entire group. We're going to click on it. We're going to click control C. And we're going to go on to the building top wood building top board is going to be this one over here. All we need to do is just delete the original layer. Make sure we have it within layers. We're going to click Control V to paste it in. And after it's done loading it all up, we're going to get ourselves this sort of a result. We need to be concerned about the variation within UV random color. I'm just going to quickly add a white mask again. And I think I'm going to just in case, select the black mass for these upper ones here. Let's go ahead and do that real quick. And I'll actually leave the ones over here. But I do want to deselect these ones like so. So we wouldn't have those kind of variations. Just the ones that are bad. And these, the rest are going to be fine. Let's go ahead and see how they look like. And yeah, that's going to be actually really nice. And we can now go out of our isolated view. We can see how it looks like. And all in all this looks quite nice. Now to set ourselves up with in regards to different grain, e.g. for this type of a wood, what we can do is actually we can make use of a different material and kinda get a combination of a wood material and are smart material to kind of blend in together. To do that, we're actually just going to close down this folder. We're going to go back onto the balcony like so. Now what we're going to do is just we're going to create ourselves and new stylized wood material like so. This time we're only going to go ahead and add a black mask. We're going to isolate this entire view. We're going to make a quick selection proud of this entire area. I'm going to hold Alt, going to select this on a mask. And I'm going to get off of graphic view to make a faster selection, going to click F. So could go back and reposition my camera, going to click F4. And I'm just going to start making the selection throughout this entire section just like that. But just a quick selection throughout this entire area just like that. Going to give us an entire type of a look. And now we can go back onto the perspective view, click em, see how this looks. We need to fix up the dirt and whatnot. So for now though, I'm going to turn off the dirt real quick just so we could see how it looks like without it. Without it. And of course, we are now going to be adding ourselves a new material from a resource pack regardless of its texture. There is one called Wood course. Let's go ahead and make use out of it. So we're going to have all of these setup. Let's go ahead and add them all up within the materials area. We're going to simply add them up by sectors like so in session important. Now, the ones that the way we're going to make use out of it is actually going to be just before the dirt material, the dirt layer. So after the color variation, we're going to create ourselves a new fill layer. And this is where we're going to place our newly created material into for the wolf. So just like we did before in regards to the terrain and whatnot, we're going to just mix everything in together. We're going to add a base color. We're going to add a normal value as well. We're going to add a roughness. Going to be over here. Metallic doesn't need to be to be honest, it's already black as is. So it's all right then ambient occlusion and might as well add an amine inclusion. Each new material texture set is going to have its own type of shader with its own shape channels. So we need to manually add an ambient occlusion to make sure that this one is going to have it like so. And now, once we have it enabled, we're going to be able to enable the image occlusion in here as well. So that we have placed in, in this area. We're going to increase the tiling by quite a bit. Let's go ahead and use seven. I think that's going to be quiet. Okay. Maybe it's a little bit too much. Let's go ahead and change it to 67 are quite like seven. Let's go ahead and use seven. That's a real nice type of setup. We're going to change the color to overlay. And now in order to control how this is being overlaid in regards to the overall type of a setup, what we need to do is just basically add a black mask, add a fill layer. And fill layer is basically going to allow us to control how we are overlaying this entire wood texture. So one is going to be completely overlaid. Zero is not going to be noticeable at all. And this will allow us to basically control not only just the base color opacity through here, but the entire channel, all the channels at once. So that includes roughness and Amitabh occlusion, normal values and whatnot. So oliver, the intensity is going to be controlled all at once. And I'm thinking that we might as well make use out of it to a value of 0.3. That's going to give us a nice type of a look. There you go. Yeah. We're now going to enable the dirt back on which we need to fix actually, but that's all it takes to set ourselves up with some nice void within the area. We're going to continue working on this though in the next lesson. So thank you so much for watching and I'll be seeing you in a bit. 27. Texturing Rooftop Using Custom Smart Wood: Hello and welcome back to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by getting ourselves some more variation out of our stylized wood. And we got ourselves some UV chunk based variation on color or our planks over here. Also, we got ourselves some nice additional type of a would overlay for the texture itself, which is going to add up to our entire look for the Western salon. But we need to go ahead and fix ourselves with dirt that we have over here. So as a starting point, I reckon Since this is going to be more or less the same kind of look for dirt. If I were to click on this mask, we can see what it looks like. We can actually just lower down before starting using the paint and see how it looks like with overall results. So we're going to lower down the dirt level like so I'd say this sort of a mount. We can click them and see how this looks like and this is already looking quite much better. We still have some areas underneath the roof where they need to be fixed. So let's go ahead and do that right away. I'm going to go ahead and isolate this entire view. We're going to use custom paint. Click one to enable the brush. And make sure with the low flow, we're going to just kind of paint these bits out a little bit like so just so they wouldn't get too dark in this areas. Just like that. We're able to get ourselves much nicer type of a look. And yeah, this is definitely going to look much better. I'm just thinking if we need to do the same thing for the bottom piece as well. But I reckon that's going to be quite okay. Just in case though, I am going to do in this area specifically, like so. And there you go. You're going to get ourselves a real nice type of a look with that said and done. We gotta sell some nice look. Actually, we might want to go ahead and go on to the base color and change this up in regards to color. So even though we apply the material, we can still change up the overall color, how it looks like. So once we do that, we can see how it looks like and I think we need to get more of a yellowish tint. So I'm actually just going to do that. Like so this is going to be much better, going to give us much nicer results. Yeah, there you go. That's exactly the type of color they we're looking for. I'm actually just going to make sure it's some type of a tint over here, maybe less saturation. Like so. Yeah, that's, that's actually perfect. That's exactly what we're looking for. Let's go ahead and keep it. I am just worried though, in regards to the height value, what we have, basically we have two textures overlaying with one another. So I am going to take it down a notch in regards to other being overlaid, I'm going to go onto height value real quick for this one, change it to normal as well as for the normal, and change this to normal as well. Then another thing that I want to do is just switch up the height value because this is too intense or this type of a word. So we're going to go back onto this whatever we had previously, which he forgot to name it. So let's go ahead and quickly rename this. We're going to call this would base, like so. And we're also going to change up its height value. We're going to go on through high value, sorry, not the height value, normal value. Since we're using normal map, we're going to change this down and bring this down by quite a bit. I think that's going to be much better. There you go. Much better results. So if the normal map is too intense, we can always bring it down, which is super easy and simple to do. If we sometimes want to increase the intensity, what we can do is just simply we can copy this layer and that will give us more intensity out of this. So that's one way to increase intensity. Super nice and easy, simple way of doing so. So, yeah, I reckon we can just go ahead and go through each and every bit to set it up in regards to how this looks. And I'm quite liking overall design, but building would top and bottom. I think the mainframes, they need to be in slightly different color to kind of get it to what M2 stand out basically, let's go ahead and do that real quick. I'm actually just going to go ahead and create a new fill layer on top of it, I'm going to hold Alt, select the color and make sure that this is somewhat of a light brownish tint like so that's going to be quite alright. We're going to change this to be an overlay. Like so or not overly sorry about that. When it's more of a brighter type of a color, it's easier to use screen. And I'm just going to just slowly lower down the opacity. So that's going to be much nicer universidad. You go, okay, so now we're going to add a black mask. We're now going to add these pillars to be their own separate type of color like so. And I think that's going to help us get a nicer type of a look overall. I'm also going to select these bits over here, and these bits over here. Let's go ahead and visualize it. It looks like in regards to the overall result, a little bit too much. So I'm actually just going to take it down a notch. And yeah, that's actually perfect. That's exactly what we're looking for. But we're going to call this one lightened up. And yeah, that's all it takes to get some more additional hello variation out of, or would we might even want to do it for this piece over here, but that's in different modes. I'm going to leave it as is for now, and we're now going to continue on the texturing process. And let's have a look at the top section over here. This might be quite alright to texture it. And I'm just going to go back onto the balcony to get the with that we had previously set up. So stylized, would this one over here. I'm going to go ahead and actually rename this real quick, stylize them with like so going to grab this control C, going to go on to the rooftops like so, Control V. And I'm actually just going to delete the layer underneath. So I'm going to right-click add a black mask. Going to now go to isolate a view to see which ones are which. And yeah, these are the ones that we want to have with disgust them wood grain. So let's go ahead and quickly add it up to our collection. We're going to start applying them on these bits on top, like so, just like that. And also on these smaller planets as well. It was like I selected one by accident. So let me just go ahead and actually positioned my camera like so. So only the planks can be seen. And we consider gap and we can just do it like so. And get ourselves a quick selection of these edges. And actually I'm going to do the same thing on the other side as well. Like so. Make a quick selection. And that's pretty much it in regards to his was super nice and simple. Once we got ourselves an entire would made, It's actually super simple to set it all up. Although I reckon the UVs are a little bit too large to small, that is, we're going to make them larger. I'm going to go ahead and change that up to a value of five. There you go. That's going to be much better in regards to the overall setup. And we might need to actually load is down. I don't quite like a mustache being shown. So I'm going to lower this down overall setup for the mask and make it less visible than they are on the top. They're going to be more bleached out basically. And because of it, we also need to change up the color a little bit. I'm going to make it a bit more orange and like so. That's going to give us better type of result overall. Reckon that's going to look much nicer. And actually wood grain, we're going to lower this down by quite a bit. Now. We're going to keep it as is actually, it looks quite nice, quite like the overall result. But we sorted out this word. I'm going to isolate this and see that we do have some additional wood areas over here. Real quick. We're going to get them sorted as well. And I'm just going to go ahead and make use out of the smart materials from here. And we're going to search for smart materials, which is this one over here, smart materials. Let's go ahead and select it. And we're going to search for one, which should give us the silos. Would they go? Let's go ahead and drag this in. Like so. And I'm just going to select right-click, add a black mask, and just simply add all of these ones over here. Just like that. We're going to have all of them in one area. Yeah. That's going to be quite alright. Need to make sure we have those couple of bits as well. Although these metals, these are going to be metal bits at the end. So I'm going to instead make use out of the polygon to fill, which will allow me to make quick selection based on that. And that's actually going to look much better overall. So yeah, that's pretty much it. In regards to the wood or the rooftops. We're going to have a real nice type of a look overall. And I'm just wondering if we need yeah, we definitely need some metal. Let's go ahead and add some stylized metal real quick. One that we created stylized metal. This one over here. Let's add it onto the top section. And of course to texture it, we're going to add a black mask. We're going to isolate this entire view just so we could see what we're doing. And we're going to select these banks over here. So I'm going to select these ones over here. But these ones are believed the other part of one mesh. So I'm just going to go ahead and select the polygon fill. I'm going to actually position my camera like this. And the easiest way for us to mask this out is just by simply pass this entire section and then hold click X to go to Black Mask and then kinda mask out the beam supports over here. So this way we're going to get a nice type of result or the mask. But that's pretty much it. And we can check how it looks like in regards to the rooftop. Everything is nice because a metal bits and that looks quite nice. And yeah, that's pretty much it. In regards to the rooftop, we've pretty much got everything textured out. Let's go ahead and have a quick look. We might need to adjust some bits in the back in regards to how dark it looks. But all in all. Hey, that looks quite alright actually. So, yeah, in the next lesson we're going to continue on with the texturing process. And we're going to start on the rest of the assets. We might start on a Windows next, so yeah, that's going to be it for now. Thank you so much for watching and I'll be seeing you in a bit. 28. Adding Plank Detail Using Material Projection: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by texturing ourselves the roof using our custom setup wood material. And now we're going to continue on with the process. And I was thinking about doing the windows, the glass plan, but we still have the very top left over. We have the water tower, and we have this area over here as well that we need to set ourselves up with. But let's go ahead and get right into it. We're going to go onto rooftops supports, which is going to make sure that this is the one that I wanted to texture. This is the one that we texture before and I'm looking for the one that gives us the water tower. So let's go ahead and go into it. That is going to be water tower, this one over here. Yeah, That's the one. Okay. We're going to start texturing this bed. And it's actually going to be rather easy, but we do need to make some additional settings for it. Or sorrows though. Let's go ahead and get ourselves the width, the metal. So I'm going to simply drag this into our layers. Style is metal like so. We're going to get this result. Of course we need to mask it out. So I'm going to add a black mask. We're going to start masking out. So the top piece over here, like so. And we can do it just like that. Now as for this area for the rings and whatnot, it's actually going to be quite easy to set it up. I'm going to isolate this entire view to make it easier to see. We're going to change this to orthographic views. So could see the rings in a nice straight way. We're going to get ourselves only the polygon field. And we're going to start just tracing them over like that, top, the bottom. And now we're going to switch up the colors back to black and going to get all the bits in between just like that. And it was simple as that to get them masked out. Super nice. And now we can check how they look. And yeah, that looks pretty good. Now, we're going to do same thing for the handle. Actually, we're going to just mask it out. I think we can just make use. There you go. We can use the mesh will get this sort of a result. And yeah, as for the sign itself though, I think we're going to have a wooden that's going to look much better in regards to that. Though. I'm just thinking I think the metal pieces on the bottom need to be metal as well, or the tower. To go ahead and do that. Look quite nice. And of course we can now set ourselves up with the stylized would. But let's go ahead and look for that. So would the radius greatest stylist, would they go? We're going to add it onto our material tab, onto our layers at the very top, we're going to right-click add a black mask and we're going to very much aerosols sorted in regards to that. So I'm just going to select this entire water tower going to go to isolate a view, going to go to side view, orthographic view like so. And we're going to switch up the sun. And I'm going to hold Alt actually going through masking mode, going to select that topology. And of course, black color. Now we actually need to deselect those rings. So that's going to be a little bit different. I'm going to do a quick selection over this entire thing and then kinda make a selection in between them like that, be actually much easier for us to handle. And clicking M to go back onto material view. This doesn't look quite as nice. So we're actually going to set ourselves up with a material for the one which is going to be a little bit different for startups though, I'm going to turn off the wood grain that we have or this area. So I'm going to call this one water tower would like. So since it that's going to be only specific pour this water tower, we're going to go all the way down until we find wood grain. I'm actually going to turn this off and I will set it up with a simple black color. Just to kinda dark in this base color. Or actually I'm going to darken this base color as is and just kinda make sure that we have a nice base color setup. So something like this, that's going to do well. Now, in order to set ourselves up with the grain itself, we're going to go on to the resource pack, which I have it over here. And we have Textures folder. Within the texture folder, we've got wood planks, so this is used for whatever. We don't have enough of the, of the detail, we're going to be able to make use out of it to set it all up. Let's go ahead and do that actually real quick. We're going to go ahead and open this up, drag all of these into our assets tab. Make sure that all of them are set as textures. And we're going to import it into the current section. Then afterwards, right above third, alright, undeterred, we're going to create ourselves new fill layer, which we're going to populate with all of these. So the normal goes all the way down. So this were the normal girls, metallic we don't need and this is going to be roughness. You go. Finally, we got ourselves an occlusion which I think will need to create a new channel for that. And with occlusion, there you go. Now we're going to enable this within our channel though. And this is where it goes. Alright, so now of course this is going to be too much of, in regards to the tiling. I'm going to set it up to four for now. But what do we need to do is actually set a different projection. We want to make sure that it goes all the way around this of a tower. But as you can see, the middle is kind of split off from the top and it doesn't quite go with the bottom either. So we need to make sure that it goes in a nice kind of a pattern way. For us to do that. We're going to change the projection. We're going to change the production to a cylindrical projection. What this will allow us to do is we can basically make use out of it to project it into cylindrical manner. We just need to make sure that the power is set with the center being within the center. So if you're not seeing this by the way, this kind of a Gizmo within a top left-hand corner, there is a way to enable this gizmo, which you can click to enable by the way. And just make sure that this is shown, which also is set as Translate tool by the way as well. And now we're going to go ahead and go on to the upper kind of a view holding, Shift, snapping it to the top, making sure that we have orthographic view enabled and we're going to position it at the very center just like that. And that's going to be quiet. Okay. I'm just wondering. Yeah, we're going to need to make some a couple of adjustments afterwards, but anyways, we're going to keep it as is. Now I'm going to turn off the orthographic view. That's going to be quite okay. We don't need to have in regards to the height. We don't need to worry about that too much. But yeah, this is a little bit too much and regressive tiling, so I'm just going to set it. And actually that's, that's looking quite perfect. So that's really, really nice as it looks. I'm going to make sure that we overlay it properly. So we're going to make sure that this color is set as overlay. And we have that as we need to add a black mask at fill. And we can control the overlay with the fill. So that's going to be quite okay. Now let's put enormous. This is a little bit too much. So I'm going to lower this down the intensity for it. And ever going to have ourselves a nice type of a wooden hour. You do need to consider how the legs look like though. So let's go ahead and see and everything are actually okay. Don't like the way they look like though. I think we are going to go ahead and go back to the default type of I would would stylized. Let's go ahead and add another one on top. Or actually, let me just go ahead and quickly check. We're going to just take off the mask from this. Like so. Just like that. We've taken it off from the topology itself. I'm going to see how it looks like. And we need to add a stylized would separate one. I'm going to add a black mask. I'm going to start masking these areas out like so. The legs should be separate, different color to the wood at the bottom. I think I'm going to keep it as is. And also I'm going to set it up to be the same manner as the frame on the side. So let's go ahead and do that real quick. I'm going to select these bits over here. Nice and easy. We're sending out, setting it all up like so. This is looking quite nice, but a color I don't like quite the color. I'm going to change up the color. I'm going to go back to the base color so we can actually see which layer is which. And I'm going to actually cut to increase the color like so. There you go, brighten it up a little bit. That's going to look quite nice. And yeah, I think all in all, we might need to brighten it up a little bit more actually. Just want to make sure that it looks similar to the frame that's underneath. So this is looking quite nice. Okay. Now as for the we do have a door frame as well, so let's make sure we have this setup as well. There you go. The door. Okay. Now as for the sides, we're going to do something similar to water tower. But for now, I'm actually going to try using the same color of wood as for the sides of the bottom of the tower. And yeah, you know what? I quite like the overall results. So let's go ahead and keep it as is now for the size of the tower, we're going to add the pretty much the same detail as we did previously. But for now though, let's go ahead and keep it as is. And then in the next lesson we're going to continue on the texturing process in regards to the wood itself. So yeah, thanks so much for watching and I'll see you in a bit. 29. Texturing a Wooden Sign: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with some nice texture for the water tower. And now we're going to continue detection process in regards to the shed away here since we're still have that left to do. So for starters, we're going to get ourselves to roof done. And I think the easiest way would be to just simply make use out of the same boards we have for these roofs over here. So let's go ahead and get right into it. We're just going to locate this one over here. So I think that's going to be the rooftop supports if I'm not mistaken, let me just go ahead and click on it and see that up real quick. Yeah, that is the one. I'm just going to hold Alt and click on the mask just to see which ones are which. This is the stylized custom one. Let's go ahead and select this click control C for it. And go back onto our motto tower, which was over here. When to go ahead and click back on it. Then I'm going to close down this folder, going to select this folder, click Control V to paste within it, going to make a black mask. Just wouldn't do it for all of them at once. And I'm just going to click four and start selecting these links over here. I think that's going to be quiet, okay, although this is a little bit too dark for this type of a roof at the very top. So I'm Rick, I reckon I'm going to lower it down in regards to its color, but I'm going to check third, so it's not because of dirty dishes in general. This is quite a dark dipole color, so I'm going to just increase this base color value for this roof. And it should give us nicer results overall. But there you go. Also, we have some interesting reflections going on. So I think though it's okay. But we might want to consider I will turn down the dirt level real quick just to see if that affects it too much and it doesn't seem to be affecting it that much. So I went to check this and this seems fine as well. This is also fine. And edge where is fine as well. So I'm not really sure why this is being so dark. What happened to it? Maybe some color variation. The variation seems to be alright. It goes to edge height. So for some reason this is a little bit too intense. So I'm going to go ahead and quickly picks that up. So I went through each of the layers and or Alt, making sure that I check, check basically how each one of them looks. And yeah, this seems a little bit too much in regards to that. Going to go ahead into the ambit occlusion and just take down this value a little bit like so, brighten up this roof and now it's going to look so much better in regards to that. Go. Alright, so now going back on through with texturing onto this shed, we're going to set ourselves up with pretty much the same texture as we had for the water tower. So I'm going to actually go ahead and quickly select this. Hit Control C. Go back onto this hit Control B, make a duplicate. And I'm going to change this to be a black mask. Going to simply select this in the back like so. Then I'm going to simply go onto where to find it. That's going to be. There you go. That's the fill layer that we're looking for. A girl. I actually need to retain this to base color. Like so. And of course we need to change up the way it interacts with the rejection. So this time we're going to exit as strep planar projection. I'm going to move this in this area over here. We don't have to be perfect, but we do need to rotate it. So I'm going to click E and I'm going to get myself this sort of a gizmo. And I'm going to, within this gizmo, there are a couple of options, but we want to make sure we only rotated 90 degrees in regards to horizontal axis. So this green one over here, when I hover, it turns yellow. I'm just going to rotate this like so and see how that goes. And that's yeah, there you go. We're going to fix it like this, making sure it's facing the same kind of web. And instead of rotating this entire angle, what I'm going to do is just rotate the texture itself within UVA transformations. Going to change this to 90 degrees. And that's how we're getting this kind of result. And then I'm going to change the tiling to something like four or even eight. Yeah, it is going to be quite alright. That's all it takes in order for us to get ourselves a nice type of customer. And I'm just going to call this custom projection. Make it easier. And I might as well just in case going to save this out as a smart material. So instead I'm just going to call it stylized. Asked them would projection. So if I were to search for stylized, It's going to pop up with the noise search bar. So right now I'm just going to right-click and add this to a smart material. Write it as a smart material. There you go. There's going to be next to the other one, which is pretty nice. Okay? Now we're going to actually make a duplicate out of this control C control V. Make a duplicate of it. Right-click and right away we're going to change this to a black mask. We're going to then select this door over here, click for select this door and change up the projection for him. Let's go ahead and find this projection. Change the tiling rotation to zero. We're going to get the cells. This or a result might be a little bit too colorful. So I think I'm going to change up the color itself, going to go into the color. Then you just stop, widen it up a little bit. How this looks. I quite liked this result. Yeah, it's looking much better actually. Let's go ahead and keep it. And I think I'm going to do something similar for this one as well, for the previous one that we created for the size of this one. I'm just going to go ahead and do that over here. Make it a little bit more yellowy and brighten it up. There you go. That's more likely. That seems like a nicer type of wood. It's in more nicely with the rest of the rain. There you go. That's all it takes in order for us to adjust ourselves with. In regards to the word itself. It might be a little bit too much too intense in this area, so I don't quite like that. I'm going to go onto the base color would going to change this to normal. And I'm going to lower this down by quite a bit. Just to flatten it out a little bit. I didn't quite like it. I think it was a little bit too much in regards to that. Now that it looks good, we're going to finally continue on with what was the jack with the saloon sign. Okay. That's actually going to be a rubber easy thing to do. All we need to do is firstly, we need to go ahead and get the stylized food. We're going to click on this and see how this goes. It looks quite nice, but I don't like this middle bit. So I think we'll add some additional blank students. But now though, let's go ahead and just select all of these letters like so. And then the next step is going to be select this one over here polygon Phil, going to click X and I'm just going to de-select the back leg. So as for a bag, I think we can make use out of the out of this one. This one over here. I'm just going to select this mask. I'm going to click Four, going to try and select it using white mask. And there you go, it actually works out perfectly. That's, I'm really happy about that. Yep, that looks really nice actually. Alright, so now that we're done with this, we of course need to add some paint and we can get the paint from our previous work, which was within a balcony. We're going to get ourselves green and white textures. Let's go ahead and do that real quick. We're going to locate green and white paint. We're going to select both, hit Control C, and then we can go back onto our force to locate it, which was water tower Diego. Let's go ahead and select it. It takes a while to load everything back in. Let's give it a second. Once it loads back up, we're going to close down this folder, select the folder and hit Control V to make sure it pastes above it. Then we're going to make sure that both of these have lack masks. I'm actually instead of removing these, what I'm going to do is the fastest way would be to just select it, going to add black mask. And this one is going to have the same type of a dirt overlay that I want. I'm going to select this going to hit Control C, and then going to hit Control V. And then I'm going to repeat the same thing. But it's one as well. This will just make sure that both of these black masks are completely empty. Because we were doing some work on the NIF. We might have selected some things by accident at the top. I don't want this to happen. So in case I miss something, I just wanted to have it completely empty. Anyways, going back to the green paint, we're going to select the back like so. It's going to look quite nice. And I'm just going to deselect the one in the middle and thinking about it, it might be easier to make, to make use out of the UV chunk field because this is just going to be one piece in the bag. I'm going to make sure it's black and move. Just one-click were able to deselect this entire thing because it was UV unwrapped based on an angle. I know that this is going to be a separate UV base of a year. So that's why we're able to make use out of UV chunk. And this is a separate piece. And again, it's just so much faster sometimes to make use out of the right tool. Looking back at it, looking at the entire sign, making sure that everything matches nicely. I'm going to go ahead and make use out of this or the letters themselves. But let me just go ahead and quickly select them like so. And for this one, I might want to lower down the whiteness for it. It might be a little bit too intense. We might want to keep it a bit more washed out. So what I'm going to do is just I'm going to lower down this amount by quite a bit like so. And I think that's going to be a little bit more fitting for this overall environment. So yeah, that's pretty much it in regards to that. We might even play around with the dirt a little bit with how it is being applied and might increase it just a little bit more like so. That's going to give us nicer type of a result. Yeah, I think that's going to be okay. Anyways, once we're done playing around with this sign, Let's go ahead and move on to making some glass for reference section. We're going to do that in the next lesson though. Thank you so much for watching. And I'll see you in a bit. 30. Creating Glass Smart Material: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with some nice textures for the sign. And now we're going to continue on working and get some more textures out of our areas where the windows are. Make sure that we have are cells setup with a nice glass smart material. So what further ado, let's get into it. We're going to go ahead and select the Windows texture set lists. We're going to delete the original layer since we're not going to use it anyways. And we're going to start by creating ourselves a fill layer for it. But right now we're using it for the entire glass. And I'm actually just going to isolate this. And I'm thinking about, we're going to get a nice green tint for them. We're going to change the base color to give it a nice color. Let's go ahead and do that. I'm going to go ahead and get this sort of look, maybe a bit more towards green and darker as well. Let's go ahead and darken it down a little bit. Like so this looks like a nicer color, but I want to also load down no saturation as well, just by a little bit until we get this sort of a result. I think that's going to be a nice starting point. Now as for the roughness, the roughness can stay the same. But here's the thing with glass. If we just keep it as a default type of a look, it's just going to look quite plain and plasticky, even if we were to increase the roughness value or lower it for that matter to make it more glossy. So for that, we're going to actually increase the metallic value itself. We're going to get it closer to a value of one, but not quite there. So we're just going to get it to a value of 0.85, something of that sort. This way we're going to get a nice chrome kind of a reflection which last week you usually have. One more thing though. We're not going to make at the moment a transparent glass, but we will be making ourselves transparent texture. So I will show you how to set yourself up with the opacity for that matter. Well now though, again, we're just going to create ourselves a nice stylized glass that's going to be looking quite nice is in regards to the prop. And we have ourselves the planes anyways, we're going to continue on with that. The next step that are like us to do is actually get some color variation out of this. And I'm actually just going to quickly change the name for the base. And so we're going to call it, then asks for the collaboration. We're going to create ourselves a new level layer. We're going to make sure that we have this set as only one color, nothing else our channels. And we're going to get a cyan type of a color, light blue. This sort of a log might be quite nice. Maybe more towards the blue area. Let's go ahead and try that. Yeah, color like that is going to look nice. Now, let's go ahead and change this to a different opacity, different blending mode. We're going to change it from normal to color just to make sure that we're only changing the color. So even after we change the base, we're still going to be able to get some additional adjustments out of this. That's going to be quite nice. And we were going to go back onto this. I'm going to call this one tenth, like so. Now we're going to set ourselves up with some variation out of this. So for that, we're going to make use our cloud mask and we're going to add ourselves a fill layer. And within this we're going to search for Cloud like so. And I'm looking at the type of climate we're going to make use. Thinking about Cloud to is a really nice type of grunge mask to get some variation out of them. But let's go ahead and make use out of them. And usually I don't always have the plane setup like this. Sometimes they are split off and whatnot. So just in case for that reason, I want to have some consistency throughout the glass itself and some of the UVs for some glass e.g. might be a bit different. For that matter, we're going to change the projection from UV protection to drop lane projection just so we could in the future, like if you're using it on different kinds of projects, we can have more consistency proud of glass, even if they're not the same UV space. So with that said and done, we're going to get ourselves some nice Cloud variation using this. But I think by default is a little bit too small. So let's go ahead and increase this to a value of eight. And that's going to be quiet. Okay? And we're also going to change up the contrast a little bit, increase the contrast and have the balanced slightly increased as well. Then afterwards we're going to add a filter for a blur. Like so. This way we're able to blur out this entire detail. And we're just going to increase this by quite a large amount. That's going to be quite alright. And I'm thinking, yeah, we're going to also lower this down by quite a bit. So we're just having some bit of an extra thing on our glass. Like so although a little bit less just like that is going to give us a nice kind of result. Though, before and after you can already see there's some nice glass color variation is going to give us a nicer type of results. And then afterwards we're going to add ourselves a new layer. We're now going to need to add any information this we're going to set ourselves up with a stylized light. So we're going to just simply use a layer of setup. And we're going to add a filter, and we're going to select the Bakelite stylized like so, which will add us a nice type of a look right off the bat. I'm just going to go ahead and from the material going to go onto the base color and just see how this would look like. And yeah, we do have some nice type of tones, but we need to adjust the sunlight intensity in regards to its angle. If we were to rotate this around, we can see the type of look that we're getting out of it. And I'm asked for the sun color. I prefer to have it more towards a yellow tint. So let's go ahead and get that sorted as well. Just a bit of an extra yellow tint. So it'll do so much more of a difference. It will give us better type of a result. And then finally, the sky intensity is going to give us more of an ambient type of a look. But again, that's more in regards to getting an overall type of coloring. And for now though, we're just going to go ahead and get ourselves a nice type of an angle like so we're going to change this the way it blends in to be soft light instead. And that's just going to give us a nice highlight overall. But that's pretty much it. And also I'm going to just change it to a color so it wouldn't be affecting anything else in regards to that. And before and after, It's just going to darken up the areas and lighten up some of the bits where it would give us a nicer type of a look for lighting. Afterwards, we also need to create ourselves some cavity as well. But before doing that, let's go ahead and call this vague light like so. And we're going to go ahead and create ourselves a new fill layer or the cavity. We're going to write away, call this one cavity deeper selves more organized. And as for this one, we only need to fix color and roughness values like so. And now we're going to make use out of this to get some nice detail in regards to the edges of the windows. So next to the frames that be powered with some additional type of dust or smudge or whatever that will help us to get a nicer shape out of our glass. And so I'm going to start off with getting a nicer actually. Yeah, I'm going to get ourselves a nicer base color. We started off, it would be too bright otherwise. And to reflective, so we need to lower it down now reflectiveness, a value of 0.7. Go ahead and do that. And this should give us the nice typeof a result if it's a little bit too dark. So I'm going to increase the value a little bit as well. Something like this for starting point is going to be good for us. We're now going to add ourselves a black mask. We're going to start with a generator for a curvature like so. And we're going to make use out of this richard to aerosols, some nicer crevices. So we're going to change this mode from edges to cavities like so. To get this sort of a result, we're going to take off big and huge, just like that, to just get ourselves a bit of this sort of a look. And we are already looking pretty good and we might need to just take off the softness as well. And this is looking quite nice. We're going to increase the balance overall. I'm going to hold Alt, click on the mask itself just so we could see what the masks looks like. And now we're going to go ahead and actually lowers down by a little bit to just sharpen up the mask a little bit, and to increase the overall width of this mass. Instead, what we're going to do is we're going to go onto a filter. We're going to make use out of a Bevel tool. So Bevel filter will allow us to control how wide the mask is. It allows us to expand the mask overall. This is pretty useful for whenever we want to extend it, like so. Whilst not affecting the overall shape of a mask. In regards to degenerated the curvature mask. In this case, we're still keeping somewhat off the overall shape whilst having an expanded, but the edges aren't quite as nice looking. So we're going to increase this moving a little bit like so. And we're going to get ourselves this sort of a result. Now, this is a nice mask, but it's too basic in regards to the shapes. So what we're going to do is actually we're going to add another filter that will help us to distort this overall mask. So for that, we're going to make use of something called or to find it. Hey go warp. We're going to make use the warp tool. This will give us this sort of a result which basically helps us to kinda get it a little bit more distorted in regards to the overall mask. There is a intensity divider, but honestly, if I was to use it, I often just use it as a default and then kind of get it to this sort of a shape. So with this, we are now able to get some nicer detail out of this and overlay some grunge. So we're going to add a fill layer. We're going to search for grunge. Third, like so large. Let's go ahead and find ourselves grunge large. We're going to add this up. And I'm thinking that maybe it's going to be not quite as nice if we were to use simple portray plane projection. If we were to use a simple UV protection, that is, we're going to make use of Trent planar projection instead. And it's going to give us this look which by default might be a little bit too large. So we're going to go ahead and use a value of four. So it's already looking quite nice in regards to that. Although the balance is a little bit too much, I'm going to lower this down by quite a bit. So this is a nice type of a look. We can now overlay this with our already existing type of mask. Let's go ahead and do that. And we're going to get this sort of a look. Although this seems to be a little bit too much. So what I'm going to do is I'm going to lower the curvature a little bit like so. And just by lowering down, we can kinda work our way with it in regards to the grunge dirt large and see how this is being affected. So we can see the type of effect is giving us. And it's actually giving us a real nice type of look, although the intensity for the war might have been a little bit too much. So I'm going to lower this down. And that's looking really nice actually. So before and after we can see the way it's being broken up, this kind of unmask. The final thing that we need to do is actually we need to break apart this kind of a chunky areas and we can do so with another effect for the fill layer. Let's go ahead and add a fill. We're going to add a band dry type of a grunge, like so. And we're going to again play around with the scale. This time we want some really intense type of a scale, some high type of a value. So something like 12. I think that's actually perfect for us. We're going to increase the contrast by quite a bit. Let's go ahead and use this value like so. And we're going to increase the balance as well until we get this sort of look. Now we're going to make use out of this to subtract all of the values and get this sort of look at them. Looking at it, we might need to, we need to definitely invert this value overall. There you go to ask the type of results we're going to get. So we're just going to break apart all of these meshes of these masks to get some really nice window type of an edge where some dust laying around and whatnot. And so yeah, although we're almost done in regards to making a glass, we still have a quiet way to go, so we're going to continue on in regards to that in the next lesson. Thank you so much for watching, and I'll see you in a bit. 31. Texturing 3D Window Framework Using Smart Masking: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left at all by setting ourselves up with a nice window texture, but we're still not quite done there. For starters, we don't have the cavity set up quite as nicely in regards to the edges of the windows. They don't blend in quite as well. Luckily, we only use if we were to scroll down, we only use base color and roughness for this. So in this case we're just going to lower down the overall opacity for the color and fix that. And actually we're also going to change up the way it blends in. So from normal we're going to change it to screen. This will allow it to lighten up the areas on the edges only. And then we're going to just start lowering this down until we get to around this amount. This is going to give us a real nice type of a look. If we were to scroll back a distance, we can see that it's actually giving us some real nice cavities. But while looking at it, you can see that the windows themselves look a little bit too plain. They look a little bit to clean. In regards to the middle section, though, of course we're going to be fixing that. And for us to do that, we're going to go ahead and Crater cells, a new fill layer like so. We're going to take everything off except for the roughness value. Let's go ahead and hold Alt, Click on the roughness channel. So right away I'm just going to rename this layer as roughness. Then afterwards we're just going to change up the roughness value to a value of 0.75 or valued as close to it, like so, so before and after this is going to give us some nice overlay in regards to the roughness values overall. And afterwards we're just going to go ahead and add a black mask. We're going to add a fill layer like so. And within the spillway, we're going to search for a wipe. So within this should find ourselves. There you go, grunge brush. It's really nice to make the windows look like they have some additional texture. As you can see, it already is looking much nicer in that regard, but it's a little bit too large in overall, in regards to the overall type of a design or the window. So what I recommend you to do is to lower this down. I'm actually just going to go right away into the mask, going to hold Alt, Click on a massive could visualize it a little bit better in how this looks. And I'm going to increase the tiling to something like four or next, even depending on the type of glass we're having, I'm not going to change the UV projection from UV protection to trip planner because I do want to have some variations in case I'm using some certain other glass that has all of those planes split up. In regards to the UVs, though, I am going to leave the EU protection as is in this case, it doesn't matter exactly because we have some really thick frames that helps us to break up the shape itself. So if I click M, we can see the type of results that we're getting and we have some real nice diaper wipes. And of course, if we want to change up the amount that it has, all we gotta do is just scroll down and change up the balanced for us. So if we were to increase, this would get more rougher type of windows, more messy and whatnot. And if we were to low it is, we are able to kinda take this away out completely while still keeping some of that detail. So depending on the type of window we want, we can just play around with this and we'd be getting some real nice dipole will look. And I just want to mention something before we move on in regards to why we started off with the cavity first and then the roughness channel afterwards. Reason being is that after looking at some references, especially for the Western type of windows, we have some white end up staying dust, but it's not exactly type of a like a mud that just goes on top of it and it kinda blends in more with the glass itself. It almost is kind of like staying out in regards to the detail itself. So I wanted to make sure it kinda looks like it's part of glass instead of just layering on top of it. And this kind of a result by just overlaying roughness value on top of it to get that extra detail on top of this much. And we already have the cavity is what's going to give us some real nice kind of a detail overall results. So I think that's going to work in our favor. Yeah, that's pretty much it. In regards to how we set ourselves up with a nice type of a glass, we can just move around the camera and see how it looks like. And if we want to e.g. change up the color, we can do so by going onto the base color, we can just change up the base color and the tint and everything else is going to be overlaid quite nicely. So e.g. if one sum of a bluish type of a glass, we can do so as well as though this is a bit too much of a gritty scene for that sort of a result. Or we can go ahead and add more of a yellowish tint as well. It's still going to look quite nice overall because all of these type of layers are merging in nicely with one another, then we can also just go ahead and e.g. make it super gradient whatnot. And it's still going to look. Like it's a real nice type of a glass. By just playing around with these values, we can get some really nice results. Again, I'm just going to go back to the default because I quite like this one, although I will say that I should probably lightened up this overall window just a little bit. Just to kinda make it look nice in regards to the shape and how it looks. And I think I might come back to it in a bit once we're done with the frame, since right now the frames are so light, we can exactly get the right type of a result out of the windows. I think though this is the right color, though. Yeah, we're going to go ahead and save this out as a smart material. Let's go ahead and this time actually we're just going to select all by clicking Control a. And let's go ahead and select it all. I'm actually just going to go ahead and create a new group with the roughness channel selected. So it would create it at the top. I'm going to click Control a to select all this time. And I'm going to hold Control and deselect my folder just like that. Then I'm just going to drag it all in interests folder, going to double-click on this. And I'm going to call this one stylized. And yeah, that's all it takes in order for us to set ourselves up with a nice type of a glass. I'm just wondering though, if it's not too much in regards to the overlay, I might just want to lower the grunge wipe just by a little bit to a 90 per cent of an opacity. And this way we're still getting that underneath type of a roughness value that's overlaying with the previous channel for the cavity. So we're going to get, I think, a nicer result. The, I quite liked that a lot more actually blends in much nicer. And we're going to move on now on to setting it up as a smart material. Let's go ahead and right-click. We're going to find ourselves create smart material. Let's click on it. And there we go. We've got ourselves a nice stylized glass to use within our project, which by the way, we're also going to make use out of it in the glass behind us over here. But it's also going to be a bit of a different material since it needs to be transparent. So we're going to work on that in later lessons. And I think we can just go ahead and get ourselves some nice last place for these areas over here. So what are we going to do is I'm just going to go ahead and click on Windows frame just to see what it is for a mesh. So these are just the frames. There we go. So it's actually going to be quite nice in that regard. And so, and so for it, I'm just actually going to take the frame, the green paint with the word that we already set up. And I'm going to adjust that to our liking. So the easiest way would be instead of just grabbing it from here, we're actually just going to go ahead and bind it in the texture said list. I'm going to go ahead and go all the way to the top. Scroll up if you don't see it. So onto the balcony, go ahead and select it. And I'm going to lower down this older like so. We're going to grab green paint and stylized word. We're going to hit Control C, and we're going to go back to the window frames. We're going to delete this layer like so. And we're going to paste this in. This way. We're going to get this result, which is of course not what we want because we need to make sure that this black is set as proper type of black. I think it's already It's already being somewhat used in regards to that. So what we're going to do is we're going to fix that up real quick. The easiest way to fix it is to make use out of the poly fill tool. We're going to select on the black mask instead of just removing it like we did previously, we're going to click four. We're going to go on to our polygonal tool room. We're going to make sure that we select Nashville. We're going to zoom out from the scene, makes sure that the color is set to black and we're just going to paint everything out like so this way is going to just kinda reset it all. And I'm actually thinking that it might be best if we were to just quickly actually paint everything in our ones. I'm going to go back onto doing that. So what we're going to do instead is we're going to select the color one. We're going to simply paint all of that in action. That's going to be Much better in regards to the mask is just that the dirt is not quite working as well as I hoped for. So I'm trying to figure out why that is. I'm going there you go. I'm going to lower down the dirt and we're going to get some scratches and it's going to highlight the entire would like that. It's actually going to look much better in regards to their overall that up. We might even want to do it a little bit more depending on what kind of Brazil that were getting. But I think that's going to be quite okay. Although I'm going to increase it slightly. There we go. That's better. Since the word when we're painting usually on actual avoid the color for the pain, actually soaks in into the wood itself. So even though there is some edge, we're still going to have a certain amount of pain, which is exactly what we're having over here. So actually that's quite a lot nicer looking type. And one of the things that we need to adjust is of course going to be the dirt layer because all of these windows are underneath. As you can see, this one e.g. looks a lot different in comparison to the ones that are over here. For Cyrus. I reckon. If we were to go on to this, yeah, it does look a little bit different. And the reason being is because they are so opened up in comparison to the rest of the window. So what I'm going to do in this specific case is I'm actually just going to lower down the ambient occlusion we've been dirt level itself got to fix this issue. All I'm going to do is I'm going to on top of this layer, I'm going to add a paint layer like so. I'm just going to paint in the values myself. I'm going to go ahead and go into the paintbrush mode. Going to go and make sure I select artistic brushes. It's so nice in regards to adding a texture. And I'm just going to with low-flow kinda overlay this upper section with a white mass. There you go. So it's going to cover it up with certain amount of paint. That's going to be much nicer in regards to that. Now let's go ahead and have a look at how it looks. And I think that's looking much better in regards to that. Let's go ahead and keep it as is now as in regards to the dirt itself, Let's take a look at a stylus would itself. Let's open this folder upward style as wood, and scroll all the way down until we find it in capital letters, dirt. We're going to open this up. We're going to hold Alt. We're going to hold Alt and we're going to tap on the mask itself. I'm actually just going to isolate this entire view and then I'm just going to play around with this a little bit. We get the desired result. So I'm going to lower this down by quite a bit just to make sure we highlight it a little bit more in regards to overall dirt. There you go. So it wouldn't take off from the color itself. I think that's quite nice in regards to that. But again, we're going to have an issue in regards to the top sections of a year. Though, what we're going to do in this case is we're just going to enable the grunge amount by bringing this up the value, we're just going to ignore the overall ambient occlusion type of values a little bit more and it's going to start actually overlaying more of that neutral type of grunge value for this. And I think in this case is a better fix in regards for that, we're going to get this result, although this looks like it's a little bit too much in regards to the bottom piece. So what I'm going to do is actually, I'm going to take this value a little bit downwards like so. And it's actually going to give us some really nice type of a looking color. But that being said, I don't quite like how it's so matching with in regards to these poles over here. So what I'm going to do is I'm going to scroll down onto the base color. I'm going to just take it down a notch and that should fix the issue actually, no, I'm going to go all the way up onto the green paint and I'm going to take it down a notch over here in regards to the base color. I'm just going to lower this down in regards to here. And this is going to give us a nice diaper off, a look that's going to stand out a little bit more and it's going to give us a better contrast for the windows themselves. So that's going to be it in regards to this video. Thank you so much for watching and I'll be seeing you in a bit. 32. Changing Wood Grain Texture for Chair and Coffin: Welcome back everyone through Substance Painter beginner's guide to game texturing. In the last lesson, we left off by setting ourselves up with a nice framework for the windows. And we can now have a look on how they look like in regards to their overall color. And if they sat out too much or if they're actually just writes for the environment. And I think if they actually look quite nice or in regards to the overall design, all we gotta do is just perhaps switch up the color for these doors over here since they don't look quite as well. And also we do need some hinge work over here for the metal. Let's go ahead and real quick fix that up. I'm going to isolate this entire view. So could I get a better, I could get a better approach to them. And I'm going to now go ahead and fix the metal pieces. So for Cyrus, we're just going to find ourselves two methyl afford a stylized metal that we have. Stylized metal. So this is going to be doing is going to be this one. But just in case border like to do also as well, is I like to go onto this arrow over here and select your assets. So only our credit assets are going to be seen. So even though we close this down, we can see all of the acids that recreate, recreated basically ourselves and made the smart materials for. And yeah, we're just going to make use of this style as metal. Let's go ahead and just drag it in to this area over here. We're now going to go ahead and fix that up a little bit because otherwise it looks a little bit too much. In regards to recolor. I'm just going to check how this looks and yeah, okay, this looks quite nice. I'm going to add a black mask, going to add these masking for the hinges like so. And as I said before, this looks a little bit too bright, so I'm going to go all the way down onto the base color, going to lower this down. And we're going to get us a much nicer type of result. Although it looks like I went to load down because I was changing up the silos word. So let's go ahead and find the metal base color over here. And now I'm going to go ahead and change up this color like so. And we're going to get ourselves this sort of a result. Although looking at it, it might still be a little bit too much in regards to recolor. So I'm going to go ahead and find the curvature edge. That's the one, that's not the one actually. Now I'm going to go a little bit lower until I find the Edgeworth. So that's the one I'm looking for. It doesn't seem to be working quite as well. So I'm actually just going to go into ambient occlusion simply because it's underneath all of these assets. Didn't quite pick up the Image Occlusion quite as well. So let's go ahead and go into the edge where we're going to adjust it until we get the right kind of result. And yeah, there you go. That's going to look much nicer in regards to the overall metal already looking so much better. And yeah, that's all it takes for us to set it up. In regards to the metal itself, we can go ahead and keep it as is. Although yeah, I think it looks quite nice. Okay, so now in order for us to fix up the color for these bits on the door itself, since I don't quite like it to be so green. We're going to go ahead and go on to the green paint. We're going to select the paint itself, enriched, going to click off on them. And hopefully it should give us nice result. Just like that. We're going to just pick them off and we're going to get this sort of a look. And just by looking at it and it's looking quite nice thing we're going to keep it. But I don't quite like how bright this color is. And we can try changing it within a stylized would itself the base color I'll do keep in mind that the green color is also going to be changed because it's an overlay to this base color over here. So while changing it around quite like that. And so instead what I'm going to do is I'm just going to go ahead and add a bit of an extra paint on top of it. I'm going to add a fill layer, going to select the color itself, and I'm going to add a black mask that I'm going to select all of these blanks over here with the white masking, like so. Just real quick. So we can have more control over this entire setup for the color. Like some. What I like to do is now in order to darken it, I'm going to set this to multiply and add. The default color can be kept as white. So this is not going to affect anything, but once we start turning it down, it's going to darken up the entire setup and we can even adjust a bit of color as well. So e.g. make it a little bit more brownish tint. Think that's going to look much nicer in regards to that. Although I prefer to lightly raise it up. Yeah, we're going to raise it up a little bit. So before and after slight adjustment, but it's going to look so much nicer in regards to their overall setup. I think I'm going to look much better in regressor that. Okay, so now that we're done with that, let's go ahead and move on to the smaller props over here for a chair, we still need to texture that in front of our environment since it's been standing out as is wave part much of a texture. Let's go ahead and bind ourselves. That I think is going to be the front porch. I'm not quite sure. There's a lot of acids, so I'm actually just going to go ahead and isolate this entire view and just going to quickly go through them all just so I could see what they're like. These are not the ones these are not once. It goes to chair coffin, small wood parts. That's the one that we're looking for. Now though we're going to set ourselves up for the wood of the chair and also the word of the coffin itself. We're not going to touch the poster jazz, yet we're going to do that in the future though when we're working with regards to the stamps. And as far as coal, we're going to do that in the next lesson. So for now though again, let's go ahead and just get ourselves a nice wood. Or this chair. I'm just looking at the stylus would be don't need the custom projection, we just need a stylized would input one. Let's go ahead and add this up. Let's make sure that we have the proper dirt setup. So we're just going to change this up a little bit. In regards to the district level. And I think that's quite okay. Maybe a little bit more. I think that's perfect. There you go. Now we're just going to have a look at in regards to how this looks. But overall setup and yeah, this looks a little bit too dark, so I'm actually just going to go all the way down until the base color. I'm just going to brighten this up. Like so I think it's going to look so much nicer in regards to that. I do like them. We're all set up. But as you can see, there are some patterns that aren't going the right way. So in order for us to fix that, I will show you a way how to do that in case you have some areas in an asset that doesn't quite go in regards to the overall flow of a wood grain, it's actually rather easy to do. I'm just going to make sure I duplicate this wood grain over here. So control C, control V. Now we're going to go ahead and add a white mask onto it. So I'm just going to select it and actually is there would be probably to use this menu over here going to add a white mask. I didn't actually mention why I'm using this Over menu on the right mouse button because it pretty much has the same add black and white mask over here. But it might be easier off to start with this menu over here since it's less cluttered up. But anyways, going back to this, we've got ourselves a white mask. I'm going to click Four to go on to the fill tool, going to select the UVs one. And I'm going to hit X to make sure that this is inverted and then gradual color to set it up as black. And I'm just going to click on this one over here. Then we're going to go onto the wood grain that's on a top. We're going to enable this in regards to the visibility, we're going to make sure that this is set in right away. So rotation is going to be set as zero, like so. And then finally, we are going to go ahead and add a black mass to this one over here. We're going to make sure that this is enabled for only this one piece. And there we go. We're pretty much enabled ourselves with a nice green. If we want to see a little bit more of that, we can just increase this and we can see that there is an additional grain over here. It might be a little bit too low resolution in regards to the share at the moment to see. But yeah, it's definitely going to look much better in regards to that. So yeah, that's how you change the chair itself. Now let's go ahead and have a look at how the bottom piece looks like in regards to the coffin. And I think it looks quite okay. But I'm wondering in regards to the dirt out that is being applied. So I'm actually just going to go onto the dirt layer itself. Click holding Alt, click on the mask. See how this looks. And I don't quite like it. I like how it looks in regards to the dirt for this piece, but not for the coffin itself. So I'm actually going to fix that. And the way I'm going to fix it, it's actually going to be to make use of a different material. And actually, I'm thinking that we can make use of the word prediction that we had previously set up. So let's go ahead and actually do that. We're going to go ahead and just click, click on it, drag it into our scene on top of it like so. We're going to make sure that only the coffin is being affected. Or rather, we're going to see how this looks like by having the view isolate it. So again, Black Mask. And I'm just going to select this entire type of an asset over here. Like so just to see how it looks like, of course this doesn't look quite as well because we need to change up the entire base material. So if I were to scroll down, we have base color over here. And then we're going to go for this entire list. I'm actually just going to make this a little bit smaller, like so. Just going to put it underneath in here real quick by just shuffling around. You help me find it a little bit better. So base color wood, that's the one we're looking for. And the default one, if I'm not mistaken, is actually, yeah, it's actually just a plain type of Planck world. The one I'm looking for is actually going to be within the materials. And just looking at it, we might need it to the word out of our area. So I'm saying that I didn't actually save it out. I'm going to go ahead and real quick go back on to the rooftops. This one over here or actually, sorry, not the rooftops where we did use this material is it is within a rooftops. Okay. So basically, yeah, we need to make sure we grab this type of a base material from here. I'm just going to go ahead and real quick save it because by looking within my assets, I don't have this saved out. So just real quick, I'm going to go ahead and do that. So within a stylized customer, going to open this up, and I'm just going to go ahead and save this out. It might actually be easier if I were to save this out as a smart materials. So I'll just do that real quick. So it is called stylized custom word. So we have a stylus, stylus customer would projection. So those are for the patterns and then style as custom wood. Let's go ahead and save this out. I'm going to right-click on it, create smart material like so. And this should be within here. So I'm just going to actually close this down and make sure that your assets is selected and now check the created materials and go style as custom one. Let's go ahead and make use out of that real quick. We're going to go all the way down until we get to there you go, chair coffin, Smallwood plot parts. We're going to make use out of this in here. And I'm actually just going to real quick delete this. It'll be much easier for us to set it up. So let's go ahead and delete it. We're going to now go ahead and make use out of the style as custom wood. We're going to add it over here. And that's going to give us, if we were to change this to black mask, then add this with a polygon fill, which by the way, I had just realized that I'm going to reset a UI just to make it again easier to work with. In regards to following along the course. I'm going to now go ahead and just quickly select this entire section like so and see what is up in regards to the overall UV layout. So let me just go ahead and real quick go onto where it says would pay. So that's the one we're looking for. I'm going to increase this to 24, see how that goes and that needs to be increased even more. We decrease the 64. And this doesn't seem to want to behave the way I wanted to. So I'm actually just going to go on here and kinda enable this overall that up, see what the texture is like. And I'm just going to try one to eight. What's that like? So we definitely need to rotate this by 90 degrees. Keep in mind that we are working in regards to and 2048. So if we were to look at texture said settings, we have size 2048, which during this process we can change to 40 96 e.g. to visualize how it looks like, I'm just letting you know right away that it will take you some time to reprocess this. But once it's done, we can see it in high definition. But when texturing during detection process, I recommend you to go back onto 2048 to make sure that it is giving you the proper type of performance. So I'm actually just going to play around in regards to the tiling right now and see that actually, I do need to change this to a rotation of zero. That's going to give me the right results. So 24, Let's go ahead and see how this looks. And pretty to maybe go freely choose the perfect amount. Let's go ahead and allow lower this down in regards to the fill layer, like so, just to kind of blend it in a little bit more in regards to the overall setup. And that's actually looking really nice. And I'm just looking about in regards to the edge where height, that's not it. That's going to be Metal Edge were or edge where I'm just quickly looking through the edge type of a setup, which I think is going to be up. There you go. That's the one we're looking for, edge where over here, I'm actually just going to lower down this mask because I think it was too much in regards to the edges themselves. And that's going to be a nice setup for this type of a often. I'm just going to also make sure that I take off the role and the nail and I'll do the same thing for the stylized would as well. Going to do this though. And we also have some areas that are top as well, as well as this one over here, which we're going to continue on in regards to the next lesson. So, yeah, thank you so much for watching and I'll see you in a bit. 33. Reusing Wood Smart Material Groups: Hello, Welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it off by going through the coffin and setting ourselves up with a nice grain, as well as switching over the grain of the wood within the chair itself. So it's going to look much nicer in regards to that. Now we're going to move on and actually continue on with the texturing for the word process because I didn't realize there's actually a couple of other pieces leftover over here that we need to do. So let's go ahead and go over them real quick. And I think the easiest way that we're going to start with is firstly, we're going to go back onto a stylized wood. We're going to go onto its mask. We're going to hit F4 onto the polygon fill with the color set to black and the mesh fill tool enabled. We're going to deselect all of these ones over here at the back end, which is going to get ourselves a fresh start for these areas. I'm just going to position my camera like so just drag it across all of them just like that, making sure that these already selected. And I'm just going to go in closer just to see the double-check basically if there are actually the selected any SAR, that's everything. Alright? Okay, so now we can move on to texturing these areas over here. Though, for these ones, I reckon we're going to be using the same idea as we had bought a coffin, but I don't like the overall texture because I didn't want to often to stand out a little bit in regards to the overall color. So e.g. if we're looking at this, we can see that slightly stands out, although I will say that it should probably send out a little bit more. So I'm actually just going to go back onto coffin itself and I'm going to try to lighten up the color even more so. But that's going to look much better in regards to that. Yeah. Okay. Anyways, and I think I'm going to take down the saturation just by a little bit. There you go. We do have a bit of an issue in regards to this, So I'm trying to figure out why that is the case. Going to go into the stylized word custom, would they did try to select these areas over here and see if that does the trick and seems to work. Alright, okay, Anyways, move on. We're going to go onto this piece over here. Again, as I said, it's going to be somewhat similar to the coffin, but at the same time, we want to keep the same look as we have for the top floors of a year. What I'm going to do is I'm just going to grab the stylus custom mode again, and I'm just going to drag it on top of this one over here so we can have ourselves a new fresh start for it. Going to create a self-serve black mask for this. And we'll start just adding those blanks in like so. Let me just have a look. If they look nice and they do look quite nice in here. So I'm going to go ahead and keep this as is. Then the planks over here also needs to be added up. I'm going to isolate this entire view and see how this looks like. And I think we can just positional camera from the top and just kinda select all of them just like that. That should do the trick. I don't like this one to be selected, so I'm going to de-select it like so. And yeah, while working, we can make ourselves multiple smart material or folders. But whilst doing that, you need to keep in mind that it is going to apply all of those same layers over again onto our area and that might cause some performance issues. So although it does speed up the process that we can just simply grab a new one and just kinda relay or it down and get ourselves with the different color of color in comparison to what we had previously, it would affect overall kind of performance whilst lecturing. So I recommend you keeping that to a minimum. And now we're going to work on getting the same frame as we had for this area over here. So I'm going to find it or the rooftop supports. I believe that's the one that we use. Let me just go ahead and have a look. That's not the one that's going to be building a bottom would I believe that's the one that we just go ahead and have a look. Yeah, that is the one that's actually quite nice. Alright. Think in this case, I'm just going to go ahead and grab it. I'm just going to go ahead and grab this lineup of wood. This one over here going to hit Control C to make a copy out of it. And now we can go all the way back to the chair coffin. We're going to go back onto the selection. It'll take some time to load everything up. But once we go back in, we can select the top folder. We can hit control V to paste. I'm going for now to just add a black mask. And now what we're going to do if I was to just kinda isolate entire view. And actually I'm going to hold Alt gone through mass so we could see it easier a little bit. We're going to basically make ourselves a new paint layer on top of this. And I'll show the reason why we're going to add an effect at paint. And this way we're going to basically get to sell us the same result with the topology fill the poly fill. We're going to start adding it in the areas for where they went. Where do we want the frame to be basically, let's go ahead and select it like so. Just like that. Yeah, that looks pretty good. Now as in regards to this bin, we might want to get ourselves this area over here as well highlighted. So I think we're just going to select it, but this one now is selected as well. So I'm going to go into the refill, going to deselect these bits over here. So only the top bit is selected. We're going to get this sort of selection is barely visible, but there is a slight change in color. And that's actually exactly what we want in regards to changing it up, put a frame. And all I'm wondering though now is. Have it all selected. Just going to go around real quick and see if everything is okay, that seems to be okay. Anyway. So now to move on, what we can do is basically we of course need to put this mask the same type of math that we have right now into the stylized, would overhear that we use for chairs, e.g. and the way we can do it, it's actually quite simple to get the same type of texture. We can just go ahead and copy this type of a paint layer. We can select this or like so, we can hit Control C and then we can put it in here, select this mask over here. We can click Control V to make a paste. And of course by default this is now going to look quite as nice because we also need to make sure we change up the blending from normal too. Green. This will make sure that the entire mask is just being added on top of the previous one. And now we're going to get ourselves some nice wood over here. And I'm thinking, yeah, because we did a change up, the overall shape is going to look a little bit different in regards to the overall color to the frame. But that might actually be better as it stands out quite nicely. I quite liked this overall result. Okay, so we're pretty much done with that. Now. I'm just wondering in regards to the metal itself where we needed to set it up. Let's go ahead and quickly add a stylized metal. I'm just going to go ahead and add it over here. Going to then add a black mask, of course. And we're going to start by adding an object mode, this nail for starters, since we'll need it to be metal anyways, and look quite nice. Then we're going to add these metal pieces over here, like so. And that is pretty much it in regards to the metal going to give us a nice kind of result. And actually let's not forget the word that's over here as well. I'm just looking at this would like so. And we do need to set it up as a stylized would. So let's go ahead and do that real quick. I'm going to select this entire selection like so. I'm going to see how this looks like in regards to the overall setup. This might look a little bit too light. I don't quite like it. So actually I'm going to click Control Z to undo my selection. Or rubber. I'm going to click Control Alt Z to a, sorry, control Y, in this case, to redo it, which is going to be this button over here. So redo control a y and undo control Z by Y. And then some other softwares, it's usually Control Shift Z or something similar. But anyways moving on, we're going to Iraq and add a bit of a different color for these frames that upfront don't quite like them, how they look like as though I am going to go ahead and select this bit at the top, going to add a new fill layer. And I'm just going to select Color, going to make sure it's set to multiply like so. And I'm going to add black color like so. To just select these ones over here. That's going to be quite alright. And I'm not sure about the one in the middle. I might keep it as is, although I'm just going to make sure that this is dark enough as well. Alright, so with this dark and up, we're going to have a much nicer result. We have a look at it, going to look much nicer overall. And we might need to darken it even more actually. So depending on the preference, I don't want to keep it to light. So darkening it down is going to give us a really nice type of a look. Let's go ahead and keep it as is. And then in the next lesson we're going to continue working with this sort of a material set and we still have ourselves, the horns to do. So. We're going to do that in a bit. And before we leave, actually we're going to go back onto the metal and texture out those nails as well. Let's not forget about them. So I'm just going to quickly tap on each one of them. And so yeah, that's going to be it for this lesson. Thank you so much for watching and I'll see you in a bit. 34. Setting up Base Skull Material: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In last lesson, we left off by getting yourself some nice texture for the rest of these areas within this material over here. So we've got some nice Brandon and we got the frame or this set as well. And I've just realized that I've been lecturing in for K resolution. I did say not to do it and how to avoid it if possible, some real quick, just going to go down to 2048 resolution to lower the density of the entire mesh or the extras. And it's not actually born in time mesh because if we were to go on to our other bits within an asset, we're going to have their own unique type of size over here. So right now I'll change it to 2048. So of course you're going to be the same, but basically if you change the resolution per year to 40.96, the other one would be still kept us 2048 by the way. So just letting you know that if you do want to upscale all of the document, you'd have to do it like each of them individually. And if you are going for a 24096 type of resolution, just make sure to scale it down afterwards once you're done with the material, since later on it's easy to upscale everything upwards anyways, as Substance Painter is really good with that. When you want to export out all of the textures is going to give you some really nice results. But yeah, moving on, going back to this and we're going to isolate this entire view like so. Actually we're just going to keep it as is quiet like this overall setup. And yeah. Just in case you're wondering why I just changed up the door wide, it has a different looking vague. The reason being is because within the blender project itself, what happened was there was a bit of a UV issue in regards to that. One of the UV areas for this apology was hidden and it was basically overlaying it within the UV editing mode. So all I did was basically I had the whole thing selected within the edit mode. I made sure I unhide all of the pieces of order topology and then I unwrapped everything again and that seemed to have fixed the issue because otherwise, again, there was a bit of an issue in regards to how somebody's topology, especially actually in this area over here, I've noticed there was a bit of a UV overlap, so after close inspection, I ended up fixing that. So you're not going to have that same issue in regards to the course, but I'm just letting you know that throughout this entire texturing process, it does happen that sometimes you end up checking and seeing some artifacts within the UVs whilst only texturing. And then you need to basically quickly go in and go on to Edit Mode, change the project configuration, and change up the FBX file real quick and then rebate your mesh maps though. Yeah, With that said and done, let's get back into the texturing and I'm just going to go ahead and start on lecturing this bull's head. So I'm just going to have a look. That's the one we had for the world. We're going to create ourselves a new folder right away. And we're going to get ourselves new fill layer on top of it. And let's just make sure that this is within a folder, so we have it nicely set up for the base color. We're going to change this real quick so we can see what we're doing. A yellow tint like so, or a base type of a bone material for the skull. And then right away, we're going to go ahead and start renaming them. We're going to double-click on this oldest base. As for the folder itself, we're going to call this bone like so. And we're going to right-click, we're going to set it as black mask. We're going to just simply start masking this out. And I think that's going to be okay, although I'd prefer to have the horns in this as well. And then afterwards we can just overlay some grunge mass together to get some nice results. So with that said and done, let's go back onto base color. Currently, it's a little bit too rough in regards to color itself, in regards to the material, Let's go down and up scale this roughness value to a value of 0.77. Let's say something like that. That's going to give us a nice typeof, a result. It's going to give us a nice default type of a look, which we're then going to be able to make use out of n, set ourselves up with some, somewhat a nicer mask. So by default, this mesh looks quite basic, quite simple. And of course we need to go ahead and fix that. We're going to add more detail using masking techniques. Because if we look at the baked mesh maps by rotating the bakes. So Ambient Occlusion has some additional death while curvature has some additional edge detail. And within our material we can make use out of that to mask out those details and get even more out of this simple looking type of a skull. So without further ado, let's go and get started. We're going to start off by getting a nice base color overlay for the fill layer. We're going to call this one, actually we're going to call this wonder. And we're going to get ourselves a brownish type of a tint. So something like this will do. Let's put our roughness. We're going to increase the roughness. You a value of 0.9. Like this. And we're going to start off by getting yourself a black mask is going to be an ambient occlusion. So we're going to do that. We're going to find myself ambient occlusion to get a bit more depth. I'm going to hold Alt, going to go onto the mask, and then I'm going to play around with this overall mask. So I'm going to get this result and I'm going to blur it out a little bit as well. So this is going to look quite nice as a starting point. But of course we're not quite done just yet. I think I'm also going to lower this down for the opacity. So we're going to get a weak type of an overlay for this. And then of course we're going to add another generator. This time we're adding a dirt. Go ahead and add that. But of course by default this is I would set up, so let's go ahead and adjust it up real quick. Well, firstly, make sure that it's not too much and we're only using this to highlight overall shape. But we're also using a lot of grunge, so we're going to increase that and the grand scale as well. We're also going to increase that a little bit. We get this sort of results. So this is already looking quite nice. Edge masking. We're going to actually want to increase it a little bit as well, all the way to nine. So with kinda highlight those eye sockets and whatnot and get more detailed out of them. And this is going to look quite nice, but we need to make sure we blend in with the underneath mass. So what we're going to do is we're going to get ourselves into a soft light. Or actually no, sorry, not soft light we're going to get ourselves into. Let me just go ahead and scroll through them real quick. And yeah, thank God as the one we want, linear dodge. So this is going to allow us to overlay this on top of one another, and in turn is going to give us this sort of a slight result for a quick highlight basically of the skull. Of course, we need to probably darken down the base color. So let's go ahead and do that real quick. Just by a little bit. Not too much, of course, it's just the base. But now because we're now going to be adding another color overlay, let's go ahead and do that. We're going to add a color. This time we're only going to add color. We don't need any additional information. We don't want too much noise in regards to that. We're going to hold Alt, get ourselves a channel and get ourselves a dark gray type of a look, something like that, and maybe a bit of a brown tones. So I'm actually just going to add some saturation in regards to that, like so. Then we're going to go ahead and rename this one sum as a or. Actually, let's make use this and set ourselves up with the horns instead. Since we need to differentiate those two meshes to make sure that there are different materials whilst at the same time because they're going to be dried-up type of bone material. They don't need to have different roughness. So actually, yeah, we're going to make use out of this and set ourselves up with a horns like so. We're going to right-click on this, set this to black, and we're going to make sure we use for fill tool for the mesh. This one over here set as white. We're going to just quickly do that. And by default, this is going to be a little bit too much. We're going to go into multiply and we're going to start multiplying this overall color. And yeah, I think that's going to be much better in regards to that. We're going to get this sort of result, which from a distance is already looking much, much nicer as we darkening up those alerts for the hordes. Then afterwards we do need some additional detail for those horns. So we're going to add a new fill layer. Like so we're going to call this hole this one horns detail. And I think for now though we're just going to add a black mask. We're going to go into real detail itself in the bid. We just want to make sure we get the overall result that we like. We're going to add a fill and as fulfill if we were to search for lines, we should get ourselves some nice results. So lines away we'll have as if some interesting pattern. The point that we're using right now is a little bit too small. I'm actually going to increase the tiling. And I just realized we also need to fix up the UVs as well since we need to avoid those UV overlays for the seams. And so for that, we're going to just simply use strep planar projection with the hardness set to zero. We're going to start increasing the tile by quite a lot. Let's go ahead and just use 12ths, something else out, what sort of a value? I'm going to give us some interesting results. So we are already seeing that we're getting some real nice type of a look, but it's not quite done just yet. We might need to increase it even more actually, like so. And I am going to rotate it a little bit like so. Just to spread out this entire alignment route, the horns were only looking at the horns bite away. But we're also making sure that it kinda goes in nicely into the edges of the skull. And I think it does. Now I think we also need to add a filter for the blur or not the blur. Instead, what we're going to do is we're going to use a warp. Yeah, we're going to use a warp in order to break up the edges. Not too much though. Just a little bit. We've got a more natural type of a look. And finally, we just need to make sure we highlighted overall in regards to only using it for the horns. So we're going to add a paint. We're going to click four and we're going to just click on this scale over here with the mesh tool. So that's the type of a thing that we're getting. We just need to make sure now that we go back onto fill layer. And I'm thinking we can just go ahead and use color. Let's go ahead and just set it up to quite a dark color like so. And at same time we're also going to make use out of the high channel. Bump it inwards a little bit just like that and we're getting some really nice results at the moment. I'm quite liking that. But I think we should probably overlay this type of a dirt that we already had before a little bit more. So what I'm going to do is I'm going to just set this up as an overlay and I'm going to just lower down in regards to the dark base color. So this is a type of result that we're getting. We might have it a little bit too much in regards to their heights. So I'm just going to lower it to a value of zero. And negative 0.03. Going to give us a nice type of result. And yeah, we've got ourselves a nice base for the scalp, but we still haven't highlighted any of the detail. So we're going to continue on with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 35. Creating Additional Detail For Lowpoly Mesh Skull: Welcome back everyone to Substance Painter beginner's guide to game texturing. Last lesson, we started off texturing our skull, but we're not quite finished, Jesse ad, which has got ourselves a very basic type of immaterial. And now we're going to enhance this overall look by making use of the mass we talked about previously. The curvature mask especially and ambient occlusion. So these are the ones that we're going to make use out of to get ourselves in nicer type of a look. And for starters, we're going to make sure that the horns are actually going inwards into the skull in a bit of a better way. And the way we're going to do it is actually we're going to make use of a fill layer. We're going to make use out of a generator That's going to be a simple dirt like. So. Now to see what's going on better, we're going to hold Alt and we're going to just simply tap on the mask. Now when we're adjusting this, we're just going to be worried about the bits in the middle in between the goal and the horn stem cells. So it's going to increase the contrast and just kinda play around with these values like so. I think that's given us some nice results. Although of course we will now need to lay it off in regards to the rest of the area. And the way we're going to do is we're going to go on to the mask. We're going to add a paint on top of the dirt. And we're just going to select this as a multiply. This way when we're adding dark pipe over mass is just going to take it off as easy as that. So we're just going to start painting it off. And actually to go back onto our default brush, we're going to go to all libraries within assets that we're going to click on the brush. And we're going to make use of the basic, soft, basic. Solve this one over here. And we're simply going to start lowering down this overall kind of a mask around this skull, just like that. And we want to do it in most of the areas. I think I'll leave this though in the sockets. A nose as well, just to give us some nicer type overlook the rest of the areas, they definitely have to be taken off. I'm just going to make sure I reposition my camera and just get it from behind the horns as well. That's going to look quite nice. Or actually, instead of doing that, what I'm going to do is I'm going to click four. I'm going to just take it off from the whole skull. And then I'm going to click one and go back onto my paint. I'm going to set this as one and then I'm just going to go around the horns myself. Just like that with this soft of a brush. And we should get ourselves some nice result like so I'm going to click Control Z. This is a bit of an easier way to mask it out to reckon, Since we already have a nice setup for the horns and even the go the socket as well. Let's go ahead and just add a quick one just like that. And a quick one in the back as well, just like that. Alright, now that we have it like so we're going to click M and we're going to see how it looks like in regards to the fill layer. We're going to make sure that we set it up nicely in regards to the base color. So let's go ahead and do that. We're going to lower this base color to be a little bit darker. Actually, I'm thinking to use multiplier as well. With the lightened up color. We're just basically darkening up the color just by little bit. And we can already see the nice results coming in this areas like so. Then we're going to make use out of the high channel to kinda bring it in words. And we're going to get these sort of looks, which I think is looking actually quite nice in regards to that. Though, let's go ahead and keep it as is. And then finally, I don't think we need roughness too much, but just to get some lower value in regards to reflection, since this is like kinda inwards going in, we're going to lower this down to a value of 0.95. Yeah, we can call this once cavity dirt, like so. Then the next step is going to be to make use out of a curvature mask. So let's go ahead and do that. We're going to add a new fill layer. We're going to add a black mask. We're going to set it up with a generator and we're going to add ourselves curvature. We're going to hold Alt. We're going to tap on the mask just to see what we're doing. And we're going to play around with this basic type of value like so, until we get this sort of a result that's actually looking quite nice. Let's go ahead and maybe increase it just a little bit more. I'm quite like the horns, so we're going to take them off in a second. But for now though, I think that's actually looking quite nice. Yeah, let's go ahead and actually take them off right away. I'm going to add a paint, going to go on to the fill mode, going to take these off. So using black mask. And yeah, that's looking really nice actually, but we do need to break off the shape a little bit. So we're going to add ourselves a new fill layer that's going to be clouds are really like using Clouds to break off the shapes and especially clouds to just has such a consistency in regards to the noise is giving us a really nice results. We're going to make this as trade planar just to get ourselves better values. And we're going to change the tiling to something of a high-value. Although keep in mind if you're using an upper type of projects are bones. If we're having a project that's much smaller in regards to scale, because right now again, we're using this entire scene. You'll need to lower this down the tiling for the details. So just keep that in mind when working with this. Although there is an option right now to use physical scale, I personally find it not to be quite as nice if e.g. I. Was working on a human scale and then I was working on something waist smaller, That's going to be converted up in larger scales. But yes, working with a physical size might be sometimes nicer, especially if we wanted to e.g. ourselves, or with project files that will help us get proper results within the physical world. So even though the skull is within this massive project like so, it's still going to be scaled up to the proper size. And this is actually worked with a proper human scale for this type of an environment. But we will be getting ourselves the right type of a skull scale for this. But moving on, we're going to go ahead and just go back onto the spill layer. We're going to start setting ourselves up with the scale. And I think the default was a little bit too small. I'm going to increase this by quite a bit. Let's say this amount is good. So value of 60 cm is going to give us a nice kind of a look. Went to decrease the hardness to kind of blend in the values a little bit. Then we're going to change this to overlay. Just like that. We're going to get ourselves some real nicely result. Of course, we now need to get ourselves played around with the blending in a little bit and contrast perhaps as well, and decrease that. And I think that's going to give us a really nice look. Let's go ahead and click em to see how it looks like within the mask itself. And it does look nice, but I think it's a little bit too much in regards to the curvature. I'm actually just going to lower this down. And overall type of curvature opacity. You get this sort of a look. And of course we need to play around with color and whatnot itself. So let's go ahead and do that. Actually, we're going to go ahead and make use out of the color channel to give it a bit of a greenish tint. So it's going to be like a bit of an age type of a look for the skull. Into darken this up a little bit. And I don't want to change the roughness values. I'm going to hold Alt, click on the color, but I do want to change the height a little bit since we can just bump it up a little bit to the skull itself and it's going to give us some nice results. But overall type of a look, I am worried though that this might be in regards to the richer. Yeah, this might be not blending in quiet as well as I hoped for. So I'm actually just going to blurred this. I've tried to use a blur a little bit. Sometimes it does give us some nice results in regards to how the mask is. And yeah, I think that's going to be giving us better result. Let's go ahead and see, and that's actually quite nice. Although the height value is a little bit too much. So I'm going to go back and just make sure it's really low value, so 0.004. Yeah, that's, that's exactly what we want. So before and after I'd just a slight increase, a minimum amount actually going to look quite okay. Then we got ourselves a thickness. Well, we're to have a look at it. The thickness is just going to give us a kind of a nicer ambiance in regards to the shape itself. We're going to set that up real quick. And before doing that, I'm just going to rename this one as additional dirt. That's going to be a good name for it. And then again, we're going to create a salsa new fill layer or use the thickness we need to add a black mask and we need to create a cell as a fill. And there is no quick way of making use out of the thickness map. Now, we don't have a generator, so we're going to find ourselves generator itself. We're going to make it by hand using thickness extra map. Let's go ahead and search for it. We're going to search for chair coffin Smallwood. Let's go ahead and look for that. Actually, I'm going to just search for thickness. There should give us the right result. There you go. That's the one we're looking for. Let's go ahead and open this up. And we're going to hold Alt, go into it. And of course, to play around with it, we're going to use levels. So we already touched this sort of a subject, but now we are going to be going to tweak those valleys a little bit more. Get this sort of a look that's actually looking quite nice. Horse, we can't just make use out of it as is, we need to get ourselves a nice a type of result. Regardless, we're going to add a blur to blur out the overall shape of a detail, not warp. Sorry about that. We're going to go and add a blur. I'm going to reset the search bar, blur Diego, default one looks quite nice. Then we're going to simply make use of it out of this to kind of highlight the entire shape. I'm going to hold Alt, go onto color. And then I'm going to just simply use screen to make sure that we have a bit of a yellow tint to this. This would be too much. I think something like this is going to be just fine. So we're just kinda highlighting this entire thing, making it look like it's been bleached out by the Sun. Venus is going to be quite alright. I'm going to lower this down to an opacity of 80 though. Just again, just to make it a minimum amount of change in regards to that. And now we need to think about in regards to the grunge masks and whatnot. So let's go ahead and do that. Actually, I'm going to rename this one as thickness map, like so. And then the next one, I'm going to add a fill layer. And we're going to start doing the grunge mass. So for that, we're going to get ourselves a brownish kind of a tint like so that's going to be in regards to the roughness, actually quite a bit less rough, but it's still going to look like a dried-up type of a material. So yeah, a value of 0.65 is going to trick, although it's a little bit too much in saturation. So I am going to lower this down to a kind of a result. Let me just rename this one to grunge. And for the mask, what we're going to do is we're just going to add a black mask. We're adding a simple fill with Ranch Lake like so. And for the lake, we're just going to make use or off. That's not it. So leaky. There you go. Branch leaky paint. That's the one we're looking for, is going to give us a real nice result in regards to the wipe. And we're going to change this one to how we had it previously. In regards to it being trapped, planar projection and the scale set to physical size. So we wouldn't have to worry about it in the future even though we're using it on a different object. Let's go ahead and just play around with the scale. I'm going to hold Alt, go into the grunge and get ourselves to ride kind of results. So I think this is going to be quiet, okay? The contrast should be a little bit higher up though, something like this. And that's going to look quite okay not to break off this, we can also add a fill that's going to be a cloud go and we're going to use cloud free this time since it's really nice and helpful to break apart this type of a look. We're going to again set it up as physical size. We're going to increase this a little bit like so. Yeah, I think that's actually okay. We're going to have more of a contrast. We're going to then make sure that this is set as subtract like so and we're getting some nice results, but I don't want it to be completely taken out. So 50 is going to do the trick. So before and after it just helps us to break apart the shape a little bit. We get this sort of a look. Now I'm just wondering if it's actually going to look quite alright in regards to the overall overlay. So by default it might be a little bit too much for the horns, e.g. so I'm just going to lower this down and see how this looks. And yeah, this looks quite nice, quite alright. We might want to change up to be a little bit less saturation and a bit brighter like so. And yeah, okay. I quite like this one. Although I will increase the balance just a little bit more. There you go. So we can have it like so totally broken up a lot of branch. It's going to look real nice but to keep it not too much in regards to the noise. And then finally, we've got herself some cracks to think about, but we're going to continue on in regards to that in the next lesson, though. Yeah, thank you so much for watching and I'll see you in a bit. 36. Adding Cracks to 3D Skull Using Particles: Hello, Welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we got ourselves more of the highlights for the skull and it's already shaping up pretty nicely in regards to that. But we still haven't finished up with this. As in we still need to add some cracks and make it look like it's been there, hanged up for a while. So we're going to go ahead and do that. Firstly, I will show you a quick way to have a basic type of cracks and then I'll show you a custom way of doing that using the Helps of particles. So before doing that though, let's go ahead and just quickly go over how to set it up. In regards to just basic type of cracks, we're going to add ourselves a filter, a new layer, then add a black mask. And we're going to quickly add a fill, which by the way will be broken. Broken or not broken. It's going to be called the cracked. Like so we've got ourselves crack concrete. So that's exactly which one we want to use. Going to look by default, quite basic. So grunge concrete cracked. It just looks a little bit too wide. So we're going to start it off with this. We're going to use trig planar projection and with the physical size set to quiet high or forced to play around with this, it's a little bit hard to see actually at the moment in regards to the physical size. So let me just go ahead and see what's up with that. And yeah, we might as well just start off by getting, getting ourselves more of a contrast to it. Hey go, we're now able to see it a little bit more in regards to that. But anyways, in order to set it up, in regards to the overall grunge concrete, we firstly need to invert this entire parameter. So let's go ahead and do that. We're going to apply this. And we're going to actually hold Alt and tap on the mask itself just so we could see what we're doing. And we're going to play around with in regards to the size itself. And I think the default size is a little bit too, was way too small. So they go using a size of 200 in this occasion is going to give us this result, which is exactly what we want. And we're just going to play around with the balance a little bit whilst keeping a high contrast. And it's going to give us some nice cracks in these areas. And just in case if you want to make use out of this and set it up more in regards to where there's more of an edge or thickness, what we can do is just, we can go ahead and add a generator for that. We can make use out of the curvature tool. And we can set us up to be quite a high value actually like so. That's going to be decent amount. And then afterwards, the inside of these horns next to it and everything else. You're going to be okay. We're going to now basically just hit multiply and that's going to remove it from those edges like so. And yeah, we can just play around with this and get it to a nice kind of a setup until we get the desired result. We can also blur the bits out as well. So it's not going to be quite as obvious next to the edges of the crevasses. And actually, yeah, I totally forgot about it. It's not the curvature, It's the crevices and we need to go ahead and use some real quick just going to go back to the normal just to see how this looks like going to take off the blur. And I'm going to go all the way down to the curvature changes to crevasses the cavity. Sorry, Go to get this result. Now we're going to increase this and get this result because we don't want it to be within a cavity. They're usually more dense and usually harder to break apart in regards to overall apple cracks. So by getting this out, we're now going to go ahead and actually invert this global channel to only get it within those crevasses are now going to make use out of the multiply and get this result. And actually I might as well just use a blur a little bit as well. We kinda easing between edges and that's yeah, that's going to be pretty much it. The other thing that we can do is of course, break up the edges, which we can do using at Bill. And we're going to use clouds, just like we always do. This time. We're going to use clouds free and set it up to triplet and projection. Use the scale for physical size, which is going to be pretty high. One, let's say 300 this time, or even 500. That's going to give us the right kind of result. And I'd say, yeah, let's go ahead and keep it as is. Then lower the balance a little bit. And let's go ahead and use the multiply. So we can actually just play around with the value within it. You get this sort of a look. And if you click them, we can see how it looks like. So of course this is not a type of a crack that we want, so we need to go into the mask itself, into the fill layer. We need to change this to be quite a dark value like so. And we need to lower down the height value. And just like that, we're able to get ourselves some basic cracks within the skull of really nice and easy way. Yeah, it's already shaping up pretty nicely, but right now we still want to play around with the cracks. We want to make sure we set them up ourselves nicely. So I'm actually just going to go ahead and create a custom fill layer. And this will help us to keep our overall bone. They're a little bit more organized, so I'm going to call the one underneath crack generated. Like so. And this one is going to be cracked custom. Now the way we're going to do it is we're going to add a black mask. We're going to start by actually changing up the filler to be low in height value and a base color to be quite black as well. And I totally forgot about the roughness value. Let me just go ahead and go into the roughness value for the crack generator. And we need to basically make sure that the roughness value for these ones are quite high. Otherwise, the crevasses are going through the cracks. They're going to look too shiny. And I'm now going to give us the right type of values basically. So let's go ahead and do the same thing for customers as well. And we're going to go on the mask now. We're going to add a paint so you can have more control over this. And then within here, we're going to go ahead and use assets of all libraries. We're going to go on to the brush. And we have a lot of iterations within here that we can make use. There are concrete cracks and whatnot. But actually I'm just thinking that maybe we can make use of the Alphas. So yeah, I'll show you how to set up an alpha real quick. We have a whole bunch of Alphas in here, in this icon over here, which we can make use of within our brush. So for Cyrus from just making sure that the brush is set properly, which in order to make use out of these brushes, I recommend you to start off with all the jitter set to zero. This will basically, this is kind of like a randomized in order to get more organic shapes and whatnot. But if you want to just simply stamp out certain values using Flow Jitter as zero is going to be the default state, which is going to work out much nicer in regards to that. Then afterwards, we're just going to make use out of the brush right away. Make sure that the flow is set to 100 for it. And we're going to search for cracks within the alphas. And we do have some cracks, such as just cracks or crack cells, which are looking pretty nice. So let's go ahead and use just cracked like so. And we can just simply start stamping it out. And already we can see the type of result that we're going to get. Just by doing that, we can see that it's actually looking quite nice and interesting. And it's going to give us more detail and we can play around with the size a little bit as well. So e.g. I want more of a frank within this area over here, which we can totally do so by just getting it down to a nice value. And we can even increase the height value even more just to kind of get it more highlighted in this section. And now, in order to get it shape more interestingly, we can make use out of the particles. So particle brushes are going to be underneath the brushes and report the search for particles like so we have a lot of different options. But the ones for crack are usually the best with the broken glass. Recommend you using that if you want some nice cracks, that gives you some really nice type of results, Let's go ahead and select this. And I'm actually just going to apply a new paintbrush. So we wouldn't mix it up in regards to what we had previously stamped out. So I'm just going to use this paint area like so. Now if we have it's small or if you haven't large, it all affects the particles. We're not going to go too much in detail because there are a lot of options. But yeah, just by changing up the scale, we can see different type of value. This is obviously way too large, so we're going to click Control Z and we're going to fix up the scale to make it much smaller. And this is still too large. So let's go ahead and keep making it smaller until we get this sort of result. And now let's see how it looks like. And yeah, it looks like the middle bit is a little bit to open that up. You can see there's an open hole so far as to fix that, we're actually going to go into the Properties tab and just kinda fixed that up from within the article editor for it. So we have a lot of particles that has a different type of parameters. And you just need to worry mainly about the particle life, which will basically affect how long the particle will travel. If I make it super small, we can see it travels up to here. But if I make this to attend, we can see that it'll start traveling for way longer. And it'll give us a bunch of different interesting cracks from this point on. So this might be somewhat of an interesting way of working with it. But I'm just going to set it to a value of 0.1 just to kinda give it a quick crack like so, that's going to be quite nice. But for now though, I think we need to fix up the hole in the middle. So let's go ahead and do that. Spawn radius is the one that we need. If we were to set this to one, e.g. 2.5 is just not going to be as visible 0.01 like so it's going to start giving us better results. So let's go ahead and use the spawn radius of 0.01 and particle life, we're going to get back to 0.1 IRAC. In this way, we're able to crack it up nicely next to its eyes, e.g. next to its nose, and whatnot. And I think that's actually looking quite nice overall, like so. But I do want to bottom one, the one that we had customarily set up to be a little bit more starting out. So what I'm going to do is I'm going to select the paint at the bottom, going to add levels. And I'm just going to highlight it using this type of a setup. So by just increasing this one, we're going to be able to get more out of the mask, like so then we can add the other ones on the top end, we're going to get ourselves some nice results. Although I do want to lower this down a little bit more like so. Anyways, I think this has worked out pretty well, especially from a distance. If we look at it, we can still see this type of cracks which are looking quite nice. And yeah, we're pretty much done in regards to playing around with the particles. They are sometimes a little bit overwhelming, especially if you're just starting out. So what I recommend you to do is just play around with the max, the lowest and the highest values and see what kind of changes you get. And if you don't want to do that, that's fine as well. Did bold type of particle brushes are usually set up quite nicely already. All you gotta do is just make sure you use the right brush size. So if you think something is to chunk it, just lower it down and it'll give you the right kind of result. And yeah, we're going to pretty much leave it as is in regards to bone. We can even save out this bone smart material by going onto it and right-clicking. We can create smart material like some. And it's going to be another one within this area. So yeah. Anyways, thank you so much for watching and I'll see you in a bit. 37. Texturing Crates and Wagon: Welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it all by getting a cell, some nice cracks within the skull and actually setting it all up. Look quite nice overall as a frontal decoration. And now we're going to continue on working more with the backend, some other assets that are hidden away a little bit more from the main type of a frontal. So let's go ahead and actually get with them in regards to the texturing. So we're going to go ahead and simply go through the texture satellites. We're going to find the ones that we're looking for. We already did rooftops, balcony, building bottom, we're building top word vectors, rocks. We also did as well. We also finished off the chair coffin, glass, water. We're going to come back to that later on. Then rope. We also did that more wagon. Let's go ahead and make use out of this and set ourselves up with some nice textures for is going to be rather simple. Actually. We're going to make use out of the smart materials we already created. So it's going to be really nice and easy to set it up. We're going to start off with a stylized, just a simple one. We're just going to drag it right into the scene, which will add it onto your layers. I'm just making sure that there's no off that extra layer of paint that we usually have, since they're quite likely to delete it straight away. Anyways, let's go ahead and see how they look like. And I quite like the overall design for the wagon which procreates. I want to use that custom type of a word. What I'm going to do is I'm going to add a black mask. I'm going to start masking everything out basically in regards to that. So let's go ahead and do that. And actually, I think the easiest way would be to just simply go on the top-down view and kinda get all the masked out detail just like that. That's going to look quite nice. Like so you don't need to worry about too much in regards to the mask. Looks like at the moment. I'm just making sure that this entire bar, I'm going to select it like so it's already looking pretty nice. And now I'm going to go into the dirt mask like we usually do. We're going to start basically kind of play around with the values a little bit like so. More of a grunge amount. You go, we get this sort of a result. I think that's going to look quite right because I'm always worried about in regards to the middle section. But now it's looking like this. I'm quite liking overall design. And I'm thinking that maybe we should lighten up the upper section, but we're going to switch up the frame or the rates as well. So I think we can do that in one layer, in one go. So we're going to put up, just go on to adding stylus customer on top of this. So let's see how this would look like in regards to applying it as a white mask. And right away it actually is looking quite nice. Not too bad, not too bad. You just got to consider how the size of this overall looks a little bit wood-based. Let's go ahead and increase this by little bit. That it up to six perhaps. Well, let's see if this would look better. I think 12 is going to look much better in regards to that. We're actually going to make use out of it. We're actually 24. Let's see how 24 would look like. And this might be a little bit too much in regards to 24. So maybe 18.18 is going to look much nicer, but it's a little bit too little or too much? Yeah, it's a little bit too much, so I'm going to keep it. Yeah, we're going to keep it at 0.14. That's going to look much nicer in regards to the overall result. Let's go ahead and keep it as is. Then we're going to go ahead and start masking process. We're going to create it as a black mask. We're going to start masking them out just like that. And just like that. And we do have some additional areas from the bottles themselves. Since these bits are the top, they're not going to be transparent. They are within a separate material, which is why they look like they're just floating. If we're isolating the view, which we're going to fix that in a bit. By the way. For now though. I reckon we can just go ahead and select all of them at once, like so. And we're going to fix the bottle bits in a bit. Then we're going to select the crates as well. Which I think the best way would be to select it would be to just do it from a side kind of a view like so. And I'm just going to go ahead and quickly do a selection just like that. And just clicking every single one of them. Individually. We get a nice type of a look or these grades to make sure that of course in PR, having them different. And just in case I'm going to hold Alt, going to tap on the mask and see that we do have a selection for the wagons. So let's make sure we don't de-selected basically. And yeah, I think that's going to look quite okay. This is looking good. This is looking good. We're also going to select these ones as well. We're just making sure that the credits are selected. And then afterwards we can work with the mask itself. And I think that's going to look quite right. You go. So, yeah, that's looking good. Let's click em and see how they look like in regards to create. This is looking not as much of a difference in regards to how the walls look like. So I'm actually just going to go onto the base itself for color. And I'm going to make it a little bit more of a reddish tint. Just a little bit and maybe lighten it up a little bit. Like so. It goes something like that. Go ahead and see how they look. Now this looks a little bit to red. Now going to increase this just a little bit. Or actually, yeah, it looks quite nice. I quite like this overall design. More of a yellow tint. It go, Let's keep it. Definitely stands out more in regards to how it looks like next to the wall. But at the same time we still are having that bit of an extra variation. So we also need to make sure we have this selected in regards to the floating box. Let's go ahead and do that. We're going to do it just like that. And it's looking quite nice. As for this, I'm thinking that we're going to have the same type of a word as the wagon. Let's go ahead and do that. Only put these bits though, because the rest is going to be metal. Though. I think this is also going to be one like so. And this bit in the middle is definitely metal or no, I prefer to have these as metal as well. So let's go ahead and add some metal. Actually, we're going to add some violence metal just like that. We're going to right-click on it right away at a black mask, we're going to just simply select it from the side, select this bit. And this looks quite nice. Let's not forget to add some bits over here as well. Just like that. This looks quite nice. So, yeah, I think this is looking okay. We now need to figure out how we're going to set it up in regards to the wheels, e.g. since they are going to be wooden as well, I'm actually just going to go ahead and quickly select that. And we are going to go ahead and get into the Allies would select these bits over here. Just like that. Do need some rings going around at which we are going to work on it in the bed though. But for now, let's just go ahead and we have it selected just like that. All of these areas. So making sure that everything is selected. And yes, it does look like everything's selected as good. Okay, So now for starters, let's go ahead and figure out what we're going to do in regards to the frame itself. And we're going to make sure that the frame for the wagon as well as the frame or the crates are going to be slightly different. So I've been, all we need to do is just go ahead and add a new layer with simple color channel. And we're going to call this one Color Overlay. So we're going to change this to an overlay. We're going to get ourselves more of a orange type with tint like that. Not too much though. There's going to be okay before and after. And we're going to add a black mask. We're going to start playing this over here. Just wondering if it's a little bit too much, but it's probably yet probably is actually I'm going to lower this down quite a bit in regards to how to darken them down. And actually I'm going to just take off the opacity a little bit, but a little bit itself. There you go. That's a perfect type of a look. Let me just check how it looks like in regards to the wagon self. And that actually looks quite nice as well. So let's go ahead and use that. Yeah. Okay. So basically what we're doing right now is just making sure that although we're using to smart materials, one for a grade, one per wagon, we are overlaying both of them at once and basically saving up our entire process instead of just duplicating those smart materials and making sure that they are going to look quite nice and All-in-all. And of course they're going to look like they're different materials because of it. So that's actually going to look quite okay for us. And we're probably need to do the same thing over here as well. So let's go ahead and have a look how they look. Yeah, that looks right. Okay. I think I missed this one over here as well. There you go. Alright, so now that we're done with this, we also need to set ourselves up with these ones as well. Go ahead and do that. Like so. And again, once we're done with this, we're now going to move on onto setting it up the metal rings around the wagon though. Since if we were to just simply apply ourselves with metal rings right away, or if we were to just try to use UV chunks as is, you're just going to look a little bit too flat from the side view. So of course we need to go ahead and fix that. But we're running out of time, so we're going to do this in the next lesson. Thanks so much for watching, and I'll see you in a bit. 38. Creating Rusted Metal Detail for Wheels: Welcome back everyone through Substance Painter beginner's guide to game texturing. In the last lesson, we left off by setting ourselves up with some nice textures for the wagon and the big crates, and it's back. But now I reckon we're going to add some additional metal rings to the wheels themselves. But I think actually before doing that, I would like to change up the color overlay just a little bit. We're going to go back into real quick and I'd like to ideally and a blur out the amount that we're using feet, That's going to be much better in regards to that. Otherwise, I think it was just a little bit too saturated. And actually because of it, I'm even going to go into silos. We're going to take off the saturation from here as well. So since I want it to be a little bit more bleached out in regards to the overall setup. Maybe something like lighter as well. And that's going to look much better overall. Yeah, there you go. Looking much better. Going to make it maybe even more yellowish tint ago. Anyways, we're spending too much time on it. Let's go ahead and actually get ourselves more in regards to the detail of the size of the wheel. And we're just going to close down this type of a folder. And we'll start with making a duplicate out of the stylized metal because otherwise it's not going to work out quite as well. The reason being for it is so yeah, for us to do that, we're going to make a duplicate out of the silos metal. Let's go ahead and do that. And to hit Control C, Control V. And we're going to create a solid mass that will allow us to have more control in regards to how it goes around the object itself. We're going to simply start by going all the way around in regards to mask this out, Let's go ahead and click F4 to go into the polygon fill. And we're going to make use out of the UV chunk bill. And we'll start by just simply going around the wheels just like that. I'm actually just going to go to isolated view and start kind of quickly going around. I'm going to hold Alt actually and just make sure that nothing else is selected other than these ring areas over here. This is actually also selected just going to quickly disliked it like so. And again, this is rather simple and because most of them are set up in a nice kind of way, we don't need to worry about it too much in regards to how to go into now. But we will need to also actually set ourselves up with some rest as well. And I will show you how to do that in a second, is actually a rather simple process. So once we have it looks like, so we're going to hit M and see how they look like. And of course they're going to look too flat by default. So what we're going to do is hold Alt, going to tap on this, and I'm going to get ourselves a filter for the mass. So let's make sure that the mask is selected. We're going to add a filter for it. We're going to add a bevel. And just like that, we're able to get ourselves some real nice and quick results for these. And you can see that the UV lights are also getting some of that. Bevel, which in this case works in our favor because if we look at it actually looks like they're being split off into multiple pieces in that regard. And it's going to give us some really nice results because of it. I'm just going to make sure that we are getting some nicer results. So maybe using a value of 0.02, negative value that is, and we're going to get ourselves this value. We're going to use no smoothing and a corner and type. If we were to change it to an angle that we're going to get ourselves a sharper angle over in this case, I don't think it will work out quite as well. Yeah, Let's go ahead and keep it as is. We're going to hit M and see how this looks like. And they go, going to get ourselves a much nicer type of look. Now, if you want to have an additional height map, we can do so. We can go into the folder itself and we can add a fill layer that only has height value. They can rename this one as height. So let's rename this as height, like so. And we're going to just bump it out basically. And that controls the thickness of those wheels by just doing it like so we're able to get some nicer type of results. And I think that's actually okay. Not too much like so. Alright, so now for us to continue on, I'm actually going to start off by going all the way down and change the color overlay to be much darker. Like so. I'm sorry. That's not the color overlay for the metal. This is the one I just want a little bit too low. Let's make sure we grab the right one and let's take it down by quite a bit. Like so. That's a nice starting point for the metal of these whales. Now then we're going to go ahead and actually grab them. Make them look a little bit more rusty. We're going to go all the way to the top. And the way we're going to do is we're going to grab ourselves a fill layer. What is fill layer? We're going to get the material mode and grab our cells rest. So raw scores, this is a really type of a nice rise to use for whatever we want, some basic look. And we're also going to change this up to be troponin and projection with dialing set as something like eight. That's going to give us some nice fine details like so of course we don't want it to overlay completely, so we need to be finishing that up a bit. But before doing that, we need to change up the color itself. So some of the materials have their own different parameters. In this case, Ras course has a breast color and cavities. We're going to leave the cavities as is, but the colors we need to change and we need to just desaturate it and lighten it up. This amount that's going to give us a real nice typo result. But then once we have it set like this, we need to just right-click, add a black mask and start overlaying it with in regards to the metal itself. So we're going to add a fill. And a fill itself has a nice grunge photo, rice. If we were to search for us, we have ourselves a grunge rest. Fine, we're going to use that. Yeah. That's all it takes for us to set it up with a nice travel and projection to avoid the extra seems in case we're going to get them. And I'm might as well increase the tiling to this amount to four. And yeah, by just changing the balance, we're able to just increase our lower amount of rice we're getting out of these wheels. And I'm also going to lower down the opacity. So if I were to set this to a value of 60, even if we were to increase it to more, It's still going to blend in nicely with the metal itself. So that's going to give us really nice results. I think that's going to make it look real nice. We can even check it in regards to how it looks like a metal itself to the entire environment. I'm going to make sure though I like the trap line projection, so we wouldn't have that massive box in our area. And I do realize that some of the people just don't want the edges to be like that. The bell functionality that we used for the whales aren't really great in regards to the UV seams, they actually make it worse. So for us to fix that, what we can do is just hide them away. So e.g. in Blender right-of-way, but I ended up doing was with the wheels selected. I'm just going to go ahead and show you what I did. I just opened it up with in regards to the UVs. I marked myself the sharps in regards to the bottom pieces so I can hide them, those scattered bits away. And then afterwards, I just grabbed them in regards to the entire center. I ended up just unwrapping it like so and then repackage everything afterwards to make sure that it is placed within the right position. This way allows, it allows the wheel, the entire wheel to not have those kinda seems. And it still gives us some nice results in regards to the rings. Well, it does actually give us the ring in regards to that. If I was to isolate this entire view, we do still have the rings at the very bottom, but they're hidden away with the terrain itself. So we don't need to worry about in regards to them. Within a project, you are going to get yourselves the ones with the proper type of a wheel. So again, you don't need to worry about that. Yeah, moving on with the project. And I think that's actually looking quite alright. Let's go ahead and move on in regards to the rest of the items which we need to do, we still have those areas for top bits over here, leftover. I think we can do them right away though it's a rather simple type of a material setup. We're going to isolate this entire view. We're going to see these type of little ones over here. And I'm also going to quickly go onto the base color just so we wouldn't have to deal with the lighting and CVs. Let's like so yeah, these are going to be a rather simple and easy to set up, but just in case I'm going to select a new folder to create, going to add a new fill layer. I'm going to add it in here. And we're going to start by just getting ourselves very nice kind of a base color of a yellow tint. Go ahead and do that. This result is going to look quite nice. Then the next thing that I want to do is actually add a variation in regards to the material itself, we're going to add a new layer. We're going to make this actually darker right away. We're going to start off by getting it as a fill layer and are not filled layer. Let's go ahead and add a mask or the fill layer like so. Then we're going to look for spots, which is going to give us a lot of variation, but we want the Gaussian spots like so. And we're going to lower this down with AAA and projection that has no hardness. Going to tile this to eight or 12, like so. It's going to give us some nice results. We're going to make sure to use level to sharpen up this mask. Like so. Actually we're going to do it like this and you go. And the final thing that we need to do is actually we need to increase this Gaussian spot to B24 instead, that's going to look much better. There you go. Okay, Now that we have it like so we're going to basically leave it as a low type of a value. Just a little bit, just like that. And we're going to now go onto material view, clicking m. We're going to make sure that the height is turned up a little bit for them, the roughness value is going to be as 0.8 on one and then 0.95 on the other on the holes will give us this sort of a result. Then finally, we're going to add an additional noise on top of this. So let's go ahead and add it onto the mask for this gray area, we're going to add some extra clouds. Let's go ahead and add, fill, add clouds like this. We're going to use Cloud one this time to get a more stable type of result. Going to use Stripe planar projection and I'm going to use a value of 42, just like this one. And we're going to instead of just overlaying and just give it a small bump using some bit of opacity like that. And they go, We're going to get ourselves a nice type of a look at the top of the bottles. So now we can just have a look at it and see how they look. And maybe change the color a little bit as well. Like so, maybe that will be better. Now we can finally go ahead and rename this to lid up. Right-click add black mask and make sure we have them textured like so. And just for an extra touch, we can also set it up for a material to be used in the future. We're going to double-click on this, this base color. We're going to double-click on this call, this whole detail. And then we're going to create ourselves a new fill layer. We're going to add a black mask. We're going to get ourselves a generator with a curvature that's going to basically highlight some of those edges because otherwise they're not going to look quite as nice. So let's go ahead and just kinda highlight the shape itself just a little bit. Not too much though. And as a little bonus because we were using ** detail in the past, this is adding to its shape. And if I were to just simply use a shape eye on its own, it's not going to look quite as nice. So what we're going to do is actually we're going to make sure that we use anchor points in regards to its micro detail. But I just realized that we are running out of time, so we're going to continue on with this type of material in the next lesson, though. Yeah, thank you so much for watching and I'll see you in a bit. 39. Using Anchor Points to Generate Mask Detail: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we set ourselves up with a nice material for the top of our jars within the cradle. But we still haven't touched much in regards to how they're affected by the mask for the whole stem cells. So right now we have a curvature mask applied on this one. And we have some whole detail applied over here. And I'm gonna go real quick to just apply this in for K resolution so we could see a little bit more in detail in regards to this because it's probably a poorly chosen example to do the work. But I do want to show you what it's like in regards to making use of anchor points. So I think this is the best place for me to show that because we do have some extra detail that we're trying to apply, but we need to highlight some of those edges. So once we have it converted to fork a resolution, I'm gonna go ahead and make use out of the curvature, which looking at it now I'm going to actually go ahead and get some more of that whole detail. I'm going to just simply get the Gaussian spots to be appearing a little bit more. Going to increase the contrast for them. We're going to add a bit more of a balance like so and change up the EV transformation would be for a two like so. Or even more actually, 64. There you go. That's going to be much better in regards to that. So there you go. Once we have it like so we're going to have these holes, but again, the curvature is not going to be shown up on these holes. They're not going to be taking that information up. So what do we do if we do actually want to pick up that sort of information or our curvature generator or an malocclusion generator for that matter. So the way we're going to do it is actually going to be by making use of anchor points. And what I'm being my anchor point is once we go onto the mask itself at the very top, we're going to add an effect called Add Anchor Point. This is just going to give substance better needed information to kinda pick up everything that's underneath this within this type of a mask. And it's going to use it as a reference point for additional information. Afterwards, we're going to make use out of. So once we create ourselves and anchor point, we have no additional properties evident ability to change the name, which by the way, the name itself should be as the whole detail because we already had it renamed. But that's going to be okay. And yeah, we're going to go back onto our curvature detail. I'm going to hold Alt, going to go into the mask itself. And now I'm going to click on a curvature detail. Within this area, we got something called use micro details. Micro details is what will allow us to make use out of the anchor points. So let's go ahead and enable this, make this set as true. Then afterwards we're going to go all the way down before making use out of the micro details tab, we're going to go all the way down and there's micro normal and micro height. What do you notice before is that within this area, within the field tab, that is for the whole detail that we used, high detail like this. Though. Because of it, we're able to now go on to the curvature, which again, I'm going to visualize it like so. And we can use the macro height to get some additional information. I'm going to set it up with anchor points within the search time. Not only do we have the ability choose basically out of the grunge masks and whatever. We can also make use out of the anchor points tab over here. So now because we set ourselves up with anchor point, we can even hover over it and see which exactly point is within it. And by just hovering over it, we can see that this was for the whole detail. It is being highlighted so we can click on it, make sure it's the same one. And we get this result that's already picking up all the detail from it. But by default, it might be a little bit too intense or not enough intensity. So this is where the micro details tab comes in handy. If we were to open it up, we can have some control over the intensity. So Hide Details. Intensity. If we're to start lowering this down, we can just get enough detail basically to pick it up in regards to the edges as well as those holes over there. So I'm going to set it up to a value of 0.1. Or actually that's a little bit too much. 0.01, perhaps. That's a little too little. So let's go ahead and put it to 0.03. Let's see how this would look like. And 0.02, it goes so it's going to mix in between the holes and the edges for the crevasses. And that's going to give us this result. Now of course, we haven't set ourselves up with a proper layer or this. So let's go ahead and do that. We're going to highlight it a little bit for the edges. We're going to set this up the screen to just make sure that it can increases the color itself. And I think I'm just going to hold Alt, click on a color itself. As for the roughness, we might as well make use out of it and set this up to a value of 0.06 or 0.96, like so. To get this result, I'm going to lower the opacity. And that's all it takes to set it up nicely in regards to the curvature. Which by the way, now that we have it set up nicely in regards to the curvature intensity, we can change it up from a standard e.g. and it'll give us a nice Ricardo edges. Actually that might be better to just looking at it, making sure it actually looks quite nice. And we can even go on to the balance, global balance and kinda adjust that as well. We give this sort of result. Again, it all depends on the type of option we want. But now that we have the ability to have some information from the layers underneath, we can get additional generated the detail out of our masks, which is pretty nice. I don't think I'll go too much in-depth in that regard other than that. But I'm just going to change the color a little bit just to get a nicer type of look, I'm going to go click the couple of times to go under base color and just see how it looks like an ear that's going to look much better in regards to that, I might need to change up the height. But now, once we are going to be changing up the height, this is also going to be affected, so we need to be wary of that. So if we are changing that, the mask itself should also be changing up a little bit. Because again, we need to make sure that the intensity is being consistent. I'm going to click Control Z. I think the original intensity was quite okay. And one of the things that we need to mention is that the way the anchor points work is also based on the position of the layers. Right now, the curvature is being able to pick up this whole mask, all the mask. But if I was to drag this fill layer, which I'm going to rename this curvature mask looks so if I were to drag this down underneath it, what you'll notice is that if I were to look for it, it'll basically not, not able to bind this type of an anchor points. So this is quite important when working, is that we got to make sure that these anchor points are set up underneath the generator masks that are trying to make use out of them. And now once we put it back up, we'll see that we get ourselves to all the mask back from it. So they all, there are always working downwards from the ground up in a way that they're picking up those anchor points, but they never are going to be above them. And yeah, that's pretty much it. In regards to the top, I reckon we can keep them as is, they're going to look quite nice in regards to that. Although I will say this, that maybe I'm just going to lower down the height value. This was quite too intense in regards to that. And that's going to look much better. I think. Not too much, not too intense. I will check this. The curvature is going to be a little bit increased. Our Eigen to 0.03. There you go. That's going to be much better in regards to that. And yeah, for us to move on to the next step, we're pretty much done with this. We're going to move on to the Upper East now, let's go ahead and actually start texturing the perhaps toilet. Let's go ahead and use this as texturing of our next step. So it's a rather simple process. We're just going to apply the texture that we already have. I'm going to go to the smart materials and start applying them. And we'll start up with stylized word. We're going to just apply this like so. I'm going to hit Add a black mask at the roof bits at the top. I think I'm just going to grab the very edges like so to get myself a quick setup for the mask. And we are also going to get these ones on the side per frame. The ones in the walls are going to be done in the same way that we did the top, where we added an extra detail, which we already have it set up. So that's going to be quite alright. And also the door as well. Whoops, I'm going to click Control Z. Make sure that we only have this frame selected. The door itself is going to be done the same way. But now we're going to also add these boards as well. In the same way. There you go. Alright, so now that we have it like this, we also probably need to like this. And yeah, we also need to make sure that we have the frame setup properly, although we need to fix up the dirt first probably. So let's go ahead and do that. I'm going to go ahead into the dirt area. Let's go ahead and fix that up real quick. And yeah, the ones that are back are a little bit messed up. So I'm going to go ahead and open ourselves up with the custom paint, which we can use to just lower down the amount of mass that we're having. I'm going to open up a brush, which we of course need to go into our libraries for artistic brush. There you go. That's the one we're going to click one, select artistic brush, and click X with a low flow set, going to manually take out some of that detail just like that. We don't need to worry about it too much in regards to it because I'm just looking to make sure that you don't have the basis to dark blue are still having some additional information. And I think that's going to be it. In regards to this lesson, we managed to get somewhat in detail in we still need to color in the framework and get that additional wall color as well. And also we are going to be working on asylum, but that's going to be afterward done with in regards to texturing all of the environments. So, yeah, let's go ahead and end this lesson here. Thank you so much for watching. And I'll see you in a bit. 40. Changing Wood Grain in Smart Material: Hello and welcome back everyone to subsist painter beginner's guide to game texturing. In the last lesson, we left it off by getting ourselves some nice anchor points for the crate of those lids for bottles. And we also started off detection process for this type of wood. But looking back at it, I am going to go back real quick on to the brain itself, I believe so this is the one because we left it all has four K texture. And again, as I said, the texture settings work in the way that's if I was to go to the toilet material is going to be two k. Now if I were to go into the smaller wagon or not small wagon, going to be the brain. They go 4096. We need to make sure that we always set it back if we happen to make use out of it. But again, let's go ahead and make sure that this is properly textured. Now, we're going to go back onto this one over here. So we already have a nice setup, like so, but the frame, of course needs some work. So I'm actually just going to go ahead and add ourselves a nice overlay for that. I'm not going to worry about copying it from the sides like I did previously. I'm just going to create it myself one real quick. That it up with color overlay. Like so. Get it set up as an overlay, makes sure it's set with a nice type of a color. Just brighten it up a little bit, giving it a yellow tint. That's going to be quiet. Okay, maybe we need to set it up as a screen. If we need to lighten it up, we always use the screening that gives us a nice kind of a blend. There you go. Something like this. It'd be more towards the yellow. And that'll that'll will do actually, I'm just not quite sure if I wanted to be so desaturated. So I am going to increase the saturation a little bit like so and bring it upwards just like that. That's going to look quite nice for this type of a setup. Maybe a bit more orange. There you go. That's the color like, Okay, I'm going to add a mask. Now we're playing too much in regards to that. Going to add these frames like so, makes sure we don't miss click. And that's going to be quite nice. You go. Frames over here as well. Too, like the way it's turning out. But I'm think I'm washing them out a little bit too much. So I am going to take down a positive for them quite a bit. Going to increase this a little bit more and take down the opacity even more. So that's going to be quiet, nice. We have some variation for the roof and some framework. And now we're going to add ourselves the previous material that we set ourselves up. So stylized, custom would projection, that's the one we use. Let's go ahead and add it up to our setup. And we're going to set it as black mask. We're going to add these ones on the back. And just like that, we're going to get ourselves a nice type of a setup. We don't need to worry about it too much in anything else. As I think it'll look quite nice overall. Are we also need to do the door. So let's go ahead and click on it and see how this looks like and this looks like pitch black. So I'm just wondering why that is. It's probably because of the dirt. But let's go ahead and go into the dirt layer like so and manually doped it out. So there you go. That's the dirt. Yeah. That is the reason why the rest of them looked fine. So I'm just going to use the custom paint, brush out the detail over here. I'm going to just go back and see how it looks like. And there you go. That looks quite nice. I am though. As for the door itself, Let's go ahead and actually get ourselves to the same type of a setup. And I'm thinking, yeah, instead of just duplicating this entire layer, just to make it easier and easier. He's off on a performance or our computer. Let's go ahead and actually grab the base color would over here, we're going to duplicate it. Control C. Control B, makes sure that this is rotated. So let's go ahead and do that. We're just going to grab this by 90 degrees. So actually turn this back to zero. So it's going to be overlaying on top of the previous ones. So of course we need to go ahead and fix that. We're going to go on through height, like soak, set this up to be normal. This should replace in regards to our previous value, but I was actually not a height value, that was a normal map. So let's go ahead into the normal value and change this to a normal will give us the proper results. Of course, they are overlaying with one a number, though we need to, of course fix that. But before doing that, we're going to go onto the mask. We're going to click F4 and select a UV fill. And we're going to apply this to the door like so. Now we're going to go back to the base color, base color channel. We're going to do base color would as well. And we're going to make sure that for the first one we're going to add paint on top of this fill. We're going to remove this for a door and we're going to do the opposite for the rest and the back. So we're going to select this at paint. And we're going to select an object. In this case, we're going to click on this one over here. And so that's how we basically change ourselves in regards to their parents. So all we're doing basically is where masking out or masking it out for the door in regards to the entire texturing. And then for the bit behind, we're just doing the opposite of that. And that's what we're getting. So we're just going to check in case we are having anything additional. So I think that looks quite nice. We might even add a little bit more dirt. In regards to the contrast itself. I'm going to go on to the contrast for the dirt. Going to just increase it a little bit more just so we could have some additional darker areas for that. But that's looking pretty nice. Yeah, I think we're done with this texture set list. Let me just go ahead and have a look at it. We do have some additional area to work with and that's actually going to be over here. So let's go ahead and mask this out. Actually, we can probably make use out of the stylus would have wondered we set up previously. Let's go ahead and just add it up here. Let's see how this would look like and looking quite okay. But we are having a bit of an issue in regards to the sideways with so I'll teach you, instead of just changing it up within the UVs, I'll show you how to do it within a substance painter itself. We have some bits over here and some bits at the bottom as well. We're going to do it in a similar technique that we just previously did, but we are going to slightly automate it. And the way we're going to do it is if we were to open this up, go all the way down onto our wood grain, we're going to add ourselves a white mask for it. So let's go ahead and do that. I'm just going to add white mask like so. So it's not affecting anything else except for when we are using polygon to fill, where are you going to set it up as black color? And we're just going to see where we have the wrong kind of grain. We're going to hit C to go onto the base color so we could see the grain a little bit better. Then we're going to start clicking them off in where we don't want them to be. So this was okay. Back is not going to be visible. This isn't, it needs to be changed as well as this. Now we're going to click control C control V to make a duplicate of it. And instead of just manually redoing it, what we can do is we can go on two levels and there's a neat functionality within levels which allows us to invert this entire setup. So basically we're going to get exactly the same type of a wood grain except on the areas where we had this selected. So that's actually quite nice because what we can do now is go onto this wood grain and change of the rotation to be from 90 degrees to zero, which will give us the proper type of a setup. And it's actually super nice and easy to do that. So yeah, that's pretty much it in regards to that, we're going to continue on with this in the next lesson though. And actually I'm going to show you how to sculpt out some additional detail to your, um, because this one just looks a little bit to play in in regards to that. So yeah, we're going to work on that. And thanks so much for watching. And I'll be seeing you in a bit. 41. Scuplting Using Textures: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left at all by playing around with the wood grain on our current section of the environment where the horse, this will be helped. But now we're going to add a bit of an extra detail in regards to this type of a word, because by default, it does look, this area does look quite nice with itself, isn't just right there in regards to the detail. It does have a bit of an extra type of grunge, but it's not quite there. So let's go ahead and actually add ourselves The them manually ourselves to kinda get it more weathered out. And yeah, The way we're going to do it is actually going to be quite interesting. We're going to set ourselves up with a fill layer. And we're going to start off by getting a simple black mask, which we're going to then make use out of it with in regards to the brush, of course, the same brush that we're using is going to be the artistic brush. Like so. Which if we were to use it right away with the white type of an algorithm, we're going to get this result. Now if I were to use it simply in regards to making a change to the height values. If we were to just add up our own values, customs like that, we're going to get this result which quite look, looks quite nice, but it doesn't fit in with the scene even if we were to darken it, It's not going to look quite as well because mainly we don't have enough variation for this PBR type of value. So what we're going to do is firstly, we're going to set ourselves up with a nicer type of roughness value. I'm going to go ahead and go into the roughness channel. Actually, I'm going to set this up only to a value of 30%, like so. The opacity for the roughness is actually going to be overlaid with in regards to the rest of the roughness values. So as you can see, this is what we're getting right now. It's already looking quite nice, which is darkening this better because if we're thinking about the row being tied up and whatnot, it would be constantly nudging against this area and weathering down this type of a poll. That said and done, we're now going to set ourselves up with an ambient occlusion values as well. Because even though if we were to make use out of the height value, this is only going to affect the intensity on the side in regards to that. So e.g. the middle section over here is still going to be exactly the same. But only the intensity on the edges are going to be affected in regards to its values. So what do we do if we want to actually have more depth look out of it? The way we're going to set it up is basically going to be by making use within the channels. We're going to make use out of ambient occlusion in this case to get more detail Arabic. Now that we have ambient occlusion within here, if we were to enable this channel, what we can do is just we can lower this down all the way down to a value of 0.1. We're not going to go completely black, but we're going to go into a value that's close to it. So now if we look at the values for ambient occlusion over here, we can see that this is how it looks and it's already darkening it down, even if we were to take off the color e.g. x. So it's going to be darkened up. So the color itself is still going to be stated at the same word. But we're going to have a much target type of result for an occlusion. Now they're looking at it, might be a little bit too much, so I am going to move it up. In that regard. We are going to basically decide what's the darkest value going to be like. And I think the darkest value could be set as 0.3 is going to give us some additional depth out of this. And while moving the light based on the light's position, it's also going to affect how this is going to look. So with that done, what we're going to do now is basically we're going to reset this to a black mask and we're going to start using this brush as a way to scope that out. And actually instead of using this brush, I sometimes prefer to use are distinct heavy sponge as well. It looks like a bit of a harsher type of a brush and it really helps with those organic shapes, especially for a vote. So let's go ahead and make your startup that we're going to go ahead and select it to get it into R. And we're going to also reposition the sand so to be right in front of this pole. And also actually before doing that, I'm thinking that maybe we should brighten it up a little bit, but it might be quite alright. Anyways, we move on. What we're going to do is we're going to lower the float to be quiet, a minimum amount to a value of, let's say five. And because there's going to be so low now, once we start sculpting it in, we're basically shaping in that kind of detail into our wood. And it's looking quite nice in regards to that. So we can see that it's actually going inwards really nicely. If we look at a mass, it's actually super soft even though we're using a hard brush, because the flow of this brush is set to such a low value is giving us a really nice results. I'm even thinking, considering about using a even lower value for the flow. I'll think I'll do that. I'll set it down to a one. Let's go ahead and make use out of that. And it was just slightly above. In words, I post slope. We're going to get a nice type of scope variation. So set this down to five. It'll speed up the process a little bit. We're going to get ourselves some real nice results. E.g. a. Rope was here and it's going to give us this sort of look. And that's going to look quite nice. We can even go on to the master's, see how this looks like. Might need some additional loci here. Or even I'm just going to leave it as is actually n. Yeah, it looks like a nice kind of I didn't indent from the side view. Of course it's not going to change. The geometry is going to be the same. But if we're looking at it from a distance, it's actually going to look like there's a bit of that sort of a sculpting done. That's quite nice. I think I'm going to do it over here as well. Just a little bit like so. And again, because this is a non-destructive way of sculpting, we can also change that out later on and actually even on this ends over here, we can even add them in like this and get ourselves some nice results. I'm going to click X and just kinda help them out just a little bit like so. And this is going to give us some real nice, as you can see, results over here into the same, the same thing on this end as well. Going to reposition my son a little bit, going to increase the brush, get it in words like so, and use a black variation to take it outwards like so. This way we're going to get ourselves some real nice type of the result. Just like that. And that's all it takes and we still have ourselves the base color that as normal and amateur collusion is of course going to be darkened up in this area. So, yeah, that's all it takes to set ourselves up with the sculpting mode. I'm just thinking that maybe we can even just make use out of this to kinda get more bit of detail over here, e.g. are bit of over here and just kinda break apart this entire would, maybe even on the corners. But again, of course, we should not overdo it in regards to the coordinates because the geometry is still going to be kept the same and it's going to look a little bit too flat in regards to those kind of values. So with that being said and done, we can do it like so. And now once we're done with it, we have some variations to make use out of because this is only a mask and not on like a sculptor or anything of the sort we can go into it, e.g. add a filter that would resemble blur out or values like so. We can just blur everything out and it's going to give us some real nice typeof, a result. Just like that. We can also, I'm actually going to make use out of it and set it to value 0.1, just to make it look a little bit nicer. So before and after kind of helps us to ease in with these values, are actually setting up 2.2 to maybe give us a better result. I don't like that though. I'm going to set it back to 0.1. And that's going to give us real nice type of look. Another way we can do it as of course, play around with the height value itself. So if e.g. we don't like and how intense the high-value looks. We can take it down a notch and are even but it upwards, which wouldn't look quite as well because the ambient occlusion is set to this kind of a result, we can play around with these values and get ourselves a better type of a look. But honestly, I quite like this sort of setup. Our alternatively what we can do once we set it up, if we wanted to both decrease the height and ambient occlusion, we can go into the mask itself. We can add a fill layer, which is then going to be set as multiply. And then if it's set as one, It's not going to affect anything. But if it's going to be lowered down is going to actually remove those type of details, which is pretty nice. So just like that, we're able to have more control over this. Then alternatively, we can also do is we can add a fill layer that's going to be that as a brunch. Let's go ahead and search for grunge. And we can find ourselves like a dried-up type of a grunge, which would fit really well for us. I'm just looking for what we can make use out of grunge. Stuart Murray is going to be pretty nice. Let's go into the details tab and see how this looks like. I'm going to set it up with a simple try planar projection with a height value like so and no hardness. Then I'm going to simply put this with an overlay. And just like that, we're able to kinda overlay these values to get more interesting type of a transition between those results. So e.g. if we wanted to be looking like it's dried out a little bit more, we can totally do so. And if we were to play with the opacity values, we can just kind of blend in the values together quite nicely. So yeah, that's pretty much it in regards to and are getting ourselves a nice way of scoping out these. If e.g. we want to set ourselves up with a nicer bump values is going to be a little bit different. We'd need to switch up the layer. I'm actually just going to rename this one a sculpt layer like so, right, so if we want to actually sculpt some of the additional detail, what we need to do is we need to set it up in a bit different way. So I'm actually just going to make use out of the same kind of a layer. We're going to hit Control C, Control V. And instead I'm just going to add an additional type of a crunch. So this one is going to be maybe like over here. That's going to be quite nice. Something like so or maybe even I'm just going to use a soft brush and just going to start rushing in the value over here. Maybe that's a little bit too much though. Let me just go ahead and do that with a softer flow. Going to add it up in here. Just like that. Going to take off the grunge Marie, like so. And just, and I get these values like so. Alright, so now in order to get ourselves a nicer type of an ambient occlusion. Because right now we're only using a dark and values. We're going to switch them up. And for Cyrus, I'm also going to switch up the height value like so. So it's going to bump out the value instead, like soap. For us to fix up the ambient occlusion, we can just simply have it as a white because by default, the ambient occlusion is set as white. And not only that, the ambient occlusion is also being overlaid in a different kind of matters. So if we were to check now the channel for the roughness, we're going to change it to ambient occlusion. We can see that by default it is set as multiply. We need to change this to screen. And what this will do is basically it will make sure that the areas where we use this type of an ambient occlusion is actually going to apply it directly onto. If I were to look at this, is going to directly apply it onto the mask itself because otherwise, if it was the case without it, we've just multiplied. It's not going to do anything basically as much. The multiply is just affecting it in a way that's lowering the value themselves. So this might not be quite as obvious right now, but e.g. if I had an ambient occlusion layer that's underneath it, like so by default, by the way, if we were to create a layer, we get ourselves ambit occlusion right away. It was enabled within the texture sets settings. Afterwards, it gets enabled right away. So if I have this set as white and then try to set this up not wide. Let's say if it was set as 0.5 value like so. And then afterwards this is still multiply. It's not going to show up. Basically, we need to make sure that this is set a screen. So that's probably the best example of what I can give. Once it's, this is, a screen is actually going to lighten this bit up. So that's the reason why we need to make sure that this is set as screen. And this can be sculpt layer up. Bring the detail up basically. And yeah, that's pretty much it. In regards to the overall sculpting session. We can pretty much make use out of this same kind of result and just get the values gout going outwards. But I will say this. I'd recommend you to only get most of the detail that goes inwards because by default, the mask for ambient occlusion is set to white, where as white is actually going to give you the neutral type of a look, it only goes darker in areas where they're closer or inside of an object. So yeah, just make sure to not overdo it in regards to this sort of a layer. And mainly tried to use the one that goes inwards in regards to dance. And that's going to be in regards to the sculpting session. Thank you so much for watching. And then in the next lesson we're going to continue on. In regards to the texturing, though. Yeah, I'll see you in the next lesson. 42. Texturing 3D Asset Duplicates: Welcome back everyone to subsist paid a beginner's guide to game texturing. And last lesson we left it off by getting ourselves better shape in regards to this tool over here. Otherwise it would've looked too flat. Now it actually gives us a more of an interesting shape in regards to when we look at it from a distance. Especially. Now we're going to continue on with this texturing process. And we're going to continue with this part over here, which is going to be wagon trapdoor barrels, steps of a texture said, let's go ahead and get it right into it. We're going to open ourselves up with it. And we're going to start off by just getting ourselves the same kind of a look. Us actually put a barrels that we had over here. I'm thinking that maybe it would be faster. We were just to make a copy out of it since we already had pretty much nicely set up, set ourselves up in regards to its color. So yeah, that might be best. Actually. We're going to go ahead and go on to the small materials, get ourselves with our own assets. And we're going to start with this stylized wood, which is this one over here. Let's go ahead and just drag it in. And of course it were. Let's go ahead and delete the previous layer like so. This is a type of result that we shouldn't be getting. And we need to, of course, picks up which layers are being used by this. So let's go ahead and add a black mask. We're going to make sure that only the ones that we want our selected and actually are about that. Let's go ahead and add a white mask. It might be a little bit easier to sort that out since we can just deselect everything that we don't need. We're going to deselect this. And the breast. We left off is because now when we add a metal to it, like so, we can simply just add it on top of it. And this doesn't look quite as right. So let me just go ahead and have a quick look. And what this is all about in regards to the metal itself might be because of the way this is. I'm just going to go ahead and lower down the base color real quick. Like so. Then it's going to look much nicer in regards to the smallest detail. But let's go ahead and do that. Afterwards. We're going to go ahead and add a black mask and start selecting some of those rings, e.g. like. So I'm actually just going to go ahead and enable the mask. Visibility. Would be able to see what is going on better. And just like that, we're able to select all of these rings like so. And we're also going to select this one over here that's going to be needed be as metal. And these handlebars are also going to be needed as well. And I'm just looking at it. I totally forgot about this metal handle over here. Let me just go ahead and quickly fix that. I'm going to go on to the toilet material like so and just going to look through them. And yet we don't have a metal. I'm just going to drag this inwards like so I'm going to add a black mask. I'm going to set these up to be metal just like that. So that's going to look quite nice. Just like that. Okay, Now going back to the wagon, let's continue on working with this. I think is going to be quite alright in regards to the world. It might need to be a little bit lighter. So I'm actually just going to go onto base color and start increasing its value for the lightness like so. And I'm thinking that maybe I'll make it a little bit more greenish yellow. And of course, let's not forget to get ourselves the metal pieces as well. These rings of a barrel. Let's go ahead and do them real quick. And actually it's going to be super simple and easy to do because the reason being is the barrel over here is actually a replicated version from the ones inside, or should I say the ones inside are going to have the same UVs are as here. Because if we look at the UV coordinates, if you click f three, we can see that they actually have UV coordinates on the site. And I'm going to explain the reason in a bit for now though. Let's go ahead and see how that actually behaves within the space itself. I'm going to click F1 to have my view split in regards to the UV coordinates. And I'm going to start actually adding those stack of a metal in regards to the Rings route this entire area. So I'm just going to start selecting it like so. And as you can see, once we started selecting it over here, this is also going to be selected, which means that these barrels are also going to be selected. So it actually speeds up our workflow a little bit in regards to that. I'm just going to continue on doing that. So we get all the way around. And now for the top and the bottom, Ms. clicked, let me just go ahead and just select the rings top section as well. Anyways, once we have these selected and we can see that these are actually going to be identical in regards to the barrels in side of the wagon. Reason being is the ones inside of the wagon aren't going to be quite a scene. But even so, we're still able to save up a lot of texture. If I were to check like so the base color were able to save a lot of texture density by just simply having those. Materials being pushed off to the side. And one more thing that we need to consider well, working with this sort of a layout is that when we're baking out ourselves with the which is going to bake mesh maps. We're going to have ambient occlusion and normals baked on top of one another. If we had them simply overlayed those same coordinates within the same UV space, the substance better with try to overlay them as well. And there would be some definite artifacts visible within our assets. But because we're now having them outside of the US UV space, they're going to be completely ignored by the big mesh maps. And that gives us an asset that's going to be identical to the ones that are within the same UV space of zero to one. But I will say this though, when you're doing this kind of a way, you got to make sure that they are identical spot. And what I mean is that they gotta be moved in regards to the UV coordinates in exactly one units. So e.g. within Blender, if I click g x, I can transform them in the x-axis. And then I tried to transform them in the same way. So I will actually show them show it to you right away. And I will go on to the barrels themselves like so e.g. this type of a ring over here, you can see is over in this area. If I were to click G and X, I can move them up to the side. But if I were to specify my location, I will transform them by minus one. And they were actually overlay directly in the same spot us, they're duplicates. And that's exactly what we want because otherwise it wouldn't work quite as well. It won't work in the same way at all. So yeah, we gotta make sure that they are overlaid as a texture map is just going to be duplicated, basically 0-1 space all the way to this area over here. This is not a viable option if you are using you them's, that's just going to create a new material. So that's one of the upsides for y, just using standard is zero to one coordinate space is sometimes better as it helps us to get those kind of results. Anyways, once we're done with that, let's go ahead and actually I'm just going to click F2 to go into the normal view. Let's go ahead and actually set ourselves up with this fabric over here. Now we also got ourselves a fabric to make use out of. So let's go ahead and set it all up. For us to do that. We're going to make use out of the materials that is within Substance Painter. We're going to create a fill layer and set this up as a fabric material. Let's search for fabric. What are we going to use is actually going to be not fabric bamboo, It's going to be fabric. Denim base is actually a really nice starting point for a simple type of a material. We're going to lower down the styling or increase this by quite a high amount until we get this sort of a look there, looking pretty nice. But at the moment the height value is delivered too much. So what we can do is just go within the technical parameters. We can just take down the neural intensity and we're going to take down the height range. So if we were to lower this down, we're going to be able to basically lower down the entire height range like so. And I'm being, by lowering it to a value of 0.4 is actually going to be giving us a nice type of result. And yeah, we just need to make sure that the color is going to look quite nice. We're going to actually create ourselves a new group. But this in a folder, call this one a break like so. Eigen going to rename this one as base. Then we're going to add ourselves a new base color. Change this to screen. We're going to then make this a yellowish tint and kinda darken this down until we get this sort of a result. That's going to be quite alright, maybe even lighter, like some. We're going to right-click and set it up with a simple black mask. And since we are running out of time, we're going to continue on with this in the next lesson. So yeah, that's going to be it for me. Yeah, That's going to be it from me. Thank you so much for watching and I'll see you in a bit. 43. Creating Frabric Wrinkle: Welcome back everyone to sepsis beta beginner's guide to game texturing. In the last lesson, we left off by setting ourselves up with a nice bag and material, and by making it out of the duplicated Texas, we were able to speed up our workflow. And now we're going to learn how to set ourselves up with a nice fabric for this area. So let's go ahead and get started. We're going to start off by just applying a new group. So I'm actually just going to select the top folder, going to apply a new folder on top of it. And I'm going to add a fill layer, which I'm then going to drag it into the created folder. Now, we're going to start off by, I can just changing up the color real quick so we can get ourselves a nice mask provided for this dipole pay fabric. And then we're going to right-click on the folder and add a black mask. Or alternatively, we can make use out of this sort of a button over here, which does pretty much the same. Then we're going to go ahead and just simply click F4 and make use out of the film mode for the object. We're going to select this one over here. So this way we're now going to be able to get started on creating fabric. Though. I reckon we can just rename the folder to be called fabric, like so, then the second fill layer can be just called base. And for the base itself, we're going to go ahead and right away use material for the fabric just to speed up our workflow instead of just creating it from scratch. And we're going to make use of the material mode for that. We're going to go ahead and just research, reset the search bar and we're going to search for fabric, like so. Then we have a lot of options actually, but not a lot of the type that I like. And I'm thinking that we might as well make use of a fabric that's going to be yet. Let's go ahead and make use out of the fabric denim base. I think that's going to be the nicest wanted to start off with. And by default is going to give us this result, which of course we need to change up real quick. So we're going to just change up the tiling and it's going to give us the right type of result. The reason we're not worried about in regards to the seem somewhat No, we don't use the AAA and production. This occasion is because this entire setup is made using, if I were to look at it, this entire thing for the fabric is made in regards to having an entire shell set up as just one UV type of a chunk, which not only helps us to avoid UV seams, we're also going to be able to make use out of it to get ourselves a nice results. But we're going to come back to that in a bit for now though, let's go ahead and actually get ourselves to right type of scale. We're going to change this to eight. Let's go ahead and check out. This looks like the more tiling we add the binary the clothing is going to look like. So if we were to change it to something like 32, we're going to get ourselves some really fine type of a look. But I reckon that's a little bit too much. So let's go ahead and go to 16. Maybe 16 is a little too little. So maybe 24.24 is going to do. I think that's going to give us nice type of a result. It's not too much, not too little, I think just this just right. Of course, the color itself though is not quite as what I hoped for. So let's go ahead and change the color. We do have some parameters for this type of a fabric, which is only the, the roughness. We don't have anything else in regards to the color itself by the seams, but it looks of it though, but we're going to do instead is we're just going to lighten up the base color itself penalty by using a fill layer. Let's go ahead and make use out of that. We're going to make use out of the color only. And we're going to blend in the color for screens. So this is only going to brighten up the color and we're just going to play around with the base color, see what we can get. By default. This was the original. We just wanted to be lightened up and I think we can add a bit of a yellow tint as well to it. So let's say we're looking at it from a distance. Something like this as a base is going to give us the right type of result. Although now that I look at it, I think that we might need to increase the base type of tiling since it looks a little bit too rough when we're looking at from a distance. Let's go ahead and do that real quick. I'm going to actually change it to 20th. Let's go ahead and see how this looks like. And virtue is going to give us nicer type of a look. I reckon. There we go. Okay, So now as for the detail itself, what we can do is actually we're going to go back on their bilayer. We're going to rename this one real quick. Color overlay, like so. Then the next step that we're going to do is actually set ourselves up with additional detail. In order for us to do that, let's go ahead and add a fill layer. We're going to make use out of the masking. And for this one we're going to add a generator that's going to help us in regards to getting some nicer wrinkles. So one thing that we can do is in regards to adding those wrinkles is to make use out of something called inflate shrink wrap. This is a real nice tool for when we want some additional detail on our mesh, which by default we can't exactly see it at the moment. So we're going to go on through masking this fabric. We're going to hold Alt, click on the mask itself and we can see that it is actually giving us some interesting results on our material. It doesn't look quite as well in the material view itself, but Mask is already showing off some nice results. And that's another reason why we were using one single UV chunk. Because when working with inflate shrink wrap type of a generator, by default, you definitely need to set yourself up with a nice UVs. Otherwise, if you had some seams and whatnot, they're going to stand out quite a lot in regards to that. So luckily though, most of the fabric that you work with, they're going to be kind of like laid off in a nice kind of a flat way or the seams, e.g. if we're talking about something like a pillow, e.g. would be able to nicely and wrap it in a chunky mesh type of a way. The main point of it is that we need to make sure that these are sudden large scale. And these, by the way, there are two pieces for those. The one underneath is what, the insight section of the wagon. And that's this bit over here. And the second one is for the upper side. But yeah, All-in-all is just one piece. So we're going to make use out of it. And we're going back to the inflate shrink, a generator. What we have is firstly, we have couple of presets to make use out or we haven't played it back and pull and tight. Each one of those are going to give you different type of a look, which is going to look really nice actually. But I think we're going to stay with tight As it gives us some nice wrinkles around the edges and whatnot. Then the other one that I like to talk about, we have some additional settings, but the main ones that we want to talk about is going to be the scale which will affect how large the wrinkles are. Basically if you increase this, we're going to have so many more wrinkles basically. And if we were to decrease it, they're going to be very type of soft. And maybe in this occasion, we want to not overdo that in this regard because of course, this is a wagon. It will not have those super obvious type of wrinkles. Then we also have a wrinkle range which will affect the shape itself, which is also quite useful in regards to having some control. Recommend you playing with that as well a little bit. And of course not overdo it because this is the type of result that we'd get otherwise. But say to this kind of a value is going to give us a real nice type of a look. Now, as in regards to the overall type of a wrinkle, will be adding something on top of it as well. But for now though I'm looking at that up and we can see some artifacts coming out of this inflate shrinks. So the first thing that I'd like us to do is actually add a filter to blur everything out in that regard. Let's go ahead and do that. And I'm just going to blur it out enough to kinda hide off those height of these pixels. So 0.25, I think it's going to give us the right type of a result that afterwards we're actually going to make use out of the levels. So let's go ahead and add that just to kinda get ourselves the right type of mask for Saturday, we're going to want to invert this entire area and just kinda get the mass to be washed off like that. So we'd be able to make use out of it to get more details that go inwards into the fabric. And that usually is a better choice in regards to these kind of options. And right now I'm just playing around with these values to the top, I'm looking at the graph, seeing the color information being in this area over here. And I'm just making use out of it to get myself some nice wrinkle areas in the middle. Like so. I think that's actually going to be quite alright. And then we're also going to add another quick fill. But for this one there is a nice kind of a fabric brevis crease that we can make use out of silver, go onto the gray scale, we can search for Chris and we have some fabric crease which will kinda simulate the type of creases that we want. I think we're going to make use out of the software and we don't want it to overdo it. And I think we're also going to increase the tiling to this amount, which we're also going to, I reckon, just turn it around 90 degrees. There you go. That's giving us some real nice type of results. Then we're just going to overlay that on top of it. And that's going to help us get some nice type of bits on top of this entire match. So all in all, this was before and after. If that's going to be quite alright, maybe we want to lower down the opacity just by a little bit like so. And let's go ahead and click em and see how this would look like. Of course, we haven't done anything with the layer itself. So let's go ahead and quickly make use of that. Out of that, we're going to lower the height right away. And we can see that we're actually adding some real nice textures onto our fabric. Just like that. We're getting some additional detail out of it, like so. So before and after we can see the difference, It's definitely adding some additional nice type of detail. We're going to call this one creases like so. And I'm thinking that we're only going to make use out of the height channel like so. Which might be a little bit too much. I'm going to lower it down a little bit like this. And you might as well add a bit of our base color that's going to darken it down by quite a bit, not by too much. So I'm just going to use a capacity of ten. Oh, sorry about that. Let's go ahead and click Control and S. So yeah, opacity of ways to complete black color. So I'm just lightly, if we look at a base color slowly, changing it up just by tiny amount, I think that's going to be looking quite nice. So with this information, we can make use out of it within our dirt. Generator actually, and we're going to create ourselves in new fill layer, just like we did with the bottles in the bag. We're going to make use of the same technique in regards to making use out of anchor points. So let's go ahead and do that real quick. We're going to add a black mask for this. And I'm actually just going to go back onto fill layer, change this up to be dark, and then go back onto the mask, go at a generator or dirt like that. So now we're going to go onto creases like so. And on the very top of this, we're going to add ourselves and anchor point, which is going to help us to anchor down some additional detail. We're going to go back onto the dirt. We're going to make sure that we add custom detail using a if I were to find it micro details, there you go. If we're to go into it, we're going to enable micro details for our height, since that's what we're using within this fabric. Then we're going to go all the way down until the micro height and we're going to go on to anchor points for it. Press Chris mask, like so. She gave us this sort of a result. I think we're just going to play around with the value for the dirt itself. And I think that's going to give us the right type of result. We're going to play around with the height detail intensity, as it might be a little bit too much in that regard. So let's go ahead and just play around with that. And maybe that's quite okay. I'm not quite sure if we were to set it to zero, it's not going to give us the right results. So go A0 depth, Let's go ahead and use it as 0.0. Perhaps as 0.02 is going to look quite nice. And we're just going to go ahead and make use out of this to set it up with some nice type of a dirt level like so. And the thing that's going to be quite alright, actually, it doesn't look quite as well because of the ambient occlusion. So what we're going to do is actually because of the ambient occlusion being affecting this entire area. We're going to make sure we fix that. We're going to lower this down actually like so it will be get to this point. Then we're going to help ourselves in regards to this upper area which we're going to do so using the ambient occlusion depth, I believe. Let me just go ahead and have a look at it. Quite like this overall setup. So I'm actually just going to click Control Z and go back onto this. I quite like this area, but not this one over here. So I think I'm going to go ahead and manually fix that. I'm going to isolate this entire view and just kinda brush these points off myself. Going to add a paint brush and using an artistic paintbrush, we're going to be able to get with a low flow. That is, we're going to be able to brush off this entire section just like that. And I think that's going to give us a nice type of result. We need to make sure that these areas are actually like. So yeah, we're getting some real nice type overlook actually might as well add some additional detail over here just to kinda highlight those gravis is myself manually. And just by looking at it, we can see that we're getting some real nice dipole will look actually quite like this overall design. Let me just go ahead and click back to out-of-focus or this object and see how it looks like. And, and we might need to lower down the overall color, but firstly, we need to increase the roughness value like so, and maybe change this to more of a brownish type of a look just like that to get some nice third type of a result. And I'm thinking that maybe we might as well just a little bit down this entire opacity just a little bit so we'd be able to get that whiteness back in. And yeah, we're pretty much done in regards to setting ourselves up with the fabric. Let me just go ahead and rename this to dirt. And we're going to end this lesson here. Thank you so much for watching, and I'll see you in a bit. 44. Creating Transparent Water and PBR Seethrough Glass: Welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left ourselves off wave, setting ourselves up with a nice fabric for the wagon. And now we're going to continue on with the lesson and actually get ourselves so nice transparency out of the materials for the water as well as for glass in the back. So let's go ahead and get started. We're going to find ourselves the texture set that we had before, which is going to be if I were to look through it, glass water, let's go ahead and select this, which is going to be an empty one of course, because we haven't touched it just yet. We're going to delete the layer like so. And we're going to play around with the water itself. So as I said before, as I mentioned in the previous lessons, in regards to how we set up the materials, it's usually best to keep the transparency material separate because those require different shaders and different shaders are used the route, whether that be Blender, Render or some sort of a game engine like Unreal Engine. You will always see multiple shaders being used for the take up, getting better looks within the scene. And right now, we're using glass and water within the same shader because they're going to have the transparency set up for us to do that. We're going to go into the texture said settings. And we can't simply just add ourselves a channel or the opacity. Because by default, if we were to try doing that, which I'm going to start with adding a fill layer. Actually. Let's go ahead and do that. If we're to look at the channels we don't have ourselves and opacity child to work with. So by going into the lecture sets settings, we're also not going to be able to do that because the default shader that we use within substance painter does not provide us with the Opacity channel. So for us to make use out of a passive channel, we personally have to change the shader itself within Substance Painter. And for us to do that, we're going to go ahead into the shader settings upper right-hand corner. Then within it, we're just going to change the PBR metal roughness to be using VBR metal roughness with alpha blending. This will allow us to change the channels differently in regards to the shader, we're going to close this down. And now if we have a look at the channel itself, we can see that we have different options, one of which is going to be opacity. So let's go ahead and make use out of that. And then right away, we go back onto layers and we'll go on to the fill layer. We can see that we have ourselves on Opacity channel. So if we were to enable this, we can basically have control over this entire water just like that. We can see the transparency of this water. And it actually is quite helpful for us to get some nice results out of it. And so as a starting point, we're actually going to set ourselves up with water. So within a resource pack, Let's go ahead and get into it. We're going to find ourselves something called water, or let's go ahead and open this up and we've got some alpha textures for it. Let's just drag them all in, into the assets folder. Import all the assets just like that. And we're going to just select them as lectures. We're going to import them within the current section and let's go ahead and import it like so. So now what we need to do is just make sure that we need to just reapply it onto the fill layer. We're going to start off with the base color. Let's go ahead and import it like so. Then we don't have a height. So let's skip that. The roughness value is going to be this one over here is quiet, a shiny type of a material. And actually to see that I'm going to increase the bison just so we can see what we're doing. And then we have metallic because the water is actually going to give us a nicer results if we set them up as a bit of a metallic type of a value like so you can see it looks much more reflective and much nicer as a liquid. Then of course, water needs some normals to get even more detailed out of this, which you can see it already is giving us some real nice type of look. Then ask for the ambient occlusion. We might as well make use out of that as well. Actually, let's go ahead and go on to the texture sets settings and add ourselves ambient occlusion onto the channel, which now we should have ourselves ambient occlusion channel over here. Let's go ahead and enable it. And then ask what ambient occlusion, Let's just add it to just get a little bit of an extra step out of this water. So that's what a opacity. We're going to be able to control it ourselves or ranking. That's going to give us the best type of results. We're not quite getting the type of capacity as I had hoped for. Actually, I'm just wondering if that's going to be quite okay. Because the bottom of this is actually quite dark, as you can see, it's pitch black because of the ambient occlusion. So just as a quick fix, I'm actually going to go back on to the area that we were doing, this width. This is going to be if I were to just start hiding all of them away like so we can see which one is going to be hidden under and that's going to be there you go under toilet trout. I'm just going to go ahead and click Show All bag just to kinda located exactly which one it is going to go back onto the toilet. A drought. I prefer material. And now what we're going to do is just simply locate the dirt that we had previously. So I think this is going to be the underneath style as well. Just to check, I'm going to hold Alt, going to click on this. And yeah, that's the one in which go into it real quick. I'm going to click m, going to actually just isolate this entirely like so from the rest of the water and whatnot. Then I'm going to locate dirt, going to just make use out of the custom paint brush and kinda just bring back the color in like so there you go. Just like that, we're able to get it back onto seeing the word that's underneath. So actually that's going to be quite okay. And I think that's more than enough. Let's go back onto the water real quick. And this is going to be glass of water. Like so. We're going to turn off the isolation and we're going to head back the opacity that to a nicer value. I think setting it to a value of 0.8 is going to give us nice results of 0.7. Actually just a little bit of an extra visibility or actually in-between 0.75. And that's all it takes for us to get ourselves nice control over the water. We're actually just going to go ahead and call this one water. And we might as well save this out as a material. Let's go ahead and right-click on it and not right-click on it on the thing itself. We're going to within the Properties tab, we're going to right-click here and create material preset. Now we're going to actually get ourselves a material preset over here. And I'm going to add a black mask and I'm just going to click four. Select this as water because in the back we now have ourselves some bolts to work with. I'm going to go ahead and just reposition my camera a little bit like so. And I think we have some glass to make use out of. So let me just go ahead and quickly use are acids that were created. They go stylus glass, Let's make use out of it. We're going to drag it into our layers. We're going to start off by just right-clicking, adding black mask and just getting ourselves all these glass bottles sorted lists. So they do look quite nice, although I don't like the base color, so I'm just going to change that up real quick. So to maybe something like that, maybe a bit more grayish in our day ago, something like that. We can play around with them as much as we want, but honestly, we don't need to overdo it. Maybe I'll change it up to be a bit more brownish. Like so since they are kinda moral whiskey bottles, then they're going to look much nicer in that regard. Now go, they might look quite nice as that, but maybe I'll brighten it up just a little bit. And yeah. Okay. Anyways, to make sure that we have some transparency within them, what we can do is just simply add some additional settings to it. So we have an opacity channel and because we already enabled it, all we gotta do is just simply enable a passive channel. Over here. Are playing with the value is going to decrease it, I think by a value of 0.9 and we're going to get this result now again, as you can see, that's the downside of using transparencies because we can see through the transparent layers. Of course, if you're using like irate and whatnot within the Adobe substance, which we're going to come back in the end of the project. We can see that it will work just as well actually. So we don't need to worry about that in this regard. But if you're using something like a real-time renderer or something like a game engine that might cause you some issues. So with that said and done, we now have ourselves. If we click C to scroll through the channels, we can see that opacity layer over here and we can see how it looks like. Of course, by default, this is just the glass, so we need to work on overlays as well. And the easiest way would be to just find a yourselves to roughness value over here, which is going to give you this sort of a mask, which I'm actually going to fix ourselves up real quick. I'm going to change this from UV projection to try planar projection. And I'm going to change this up to a value of eight, maybe more, 24, they go, That's going to give us some nice results. So we're going to get ourselves this sort of look out of the opacity within the roughness value. We're going to enable the opacity as well a little bit. And we're just going to make sure we increase it a little bit higher than the one before it to get this result. And now if we look at it, we're going to get ourselves this sort of a look which might not look quite as good, as good, again, because we need to set ourselves up with the bracing. And if we look at it from here, we might be able to see it in a better kind of a way. Although they don't look quite as noticeable being in a box. So maybe that was a little bit of a poor example, but yeah, when I'm working with glass and whatnot and you make you need to make sure you add some smudges. Just make sure to play around with the opacity values a little bit as well, just to make sure we get that extra realism out of our PBR values. And yeah, that's pretty much it in regards to that, we set ourselves up quite nicely. I do recommend we need to make it a little bit of more of an interesting color. So I think I'll add a bit of a green in the end. Something like that. That's going to look a little nicer as bottles in the back. And yeah, we're pretty much done with the texturing now, all we got to do is just add a couple of extra detail in regards to Samson alphas, which we're going to start off in the next lesson. So yeah, thank you so much for watching. And I'll see you in a bit. 45. Setting up Stamp Tool: Hello and welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we finished off ourselves a scene for the transparency or whatnot. We've got ourselves a nice water as well as some glass bottles in the back. And now we're going to continue on with the environment and set ourselves up with some environmental detail by making use out-of-sample. So to start off, I reckon we can make use out of the sample, the wagon itself. It has a real nice area for us to make use out of, but it has no detail within here whatsoever. Though. Within the resource bank, we actually have a real nice type of a setup with a resource pack. We're going to go on to the texture itself and there is a folder called Sites dam. So let's go ahead and make use out of that. We're going to open it up. We're just going to drag it all in, into our assets folder like so. Then we're going to go ahead and make use of that to set it up as textures, everything except for the alpha itself. The alpha needs to be set up as an Alpha. Since we're going to make use out of this tomb, set ourselves up with a stamp. So let's go ahead and set it up as current section session, and let's go import it into our environment. So now that we have it like so we're actually going to go ahead and locate it, the wagon area or where to use it. And I'm just going to quickly just hide everything down like so until we get there you go. That's the wagon one over here. That's probably the easiest way to find it. Like so I'm going to go right into it. And now, before we made use out of all of the fill layers and whatnot, you have a lot of control over assets while still keeping that non-destructive kind of a workflow. But now we're going to make use out of a simple layer. So let's go ahead and do that. We're going to click Add Layer, which by default it's not going to have any information within it. It's just going to be completely empty now that we have it like so I'm actually just going to drag this upwards like so to get into, more into Properties tab over here. So now that we have it like so this layer can be used to stamp out some additional detail and are set ourselves up with some line stam that can be placed over here. And it's actually super nice and easy to make use out of all, we gotta do this firstly, set it up. We're going to go on to our Alpha. We're going to change this alpha as a default Alpha, and it's currently renamed name like this, but I'll make sure to rename it properly for the resource pack. Let me just go ahead and drag this into the shape alpha over here. The next ones that we need to set ourselves up is going to be if we were to scroll down underneath as material channels as well, you got to make sure we plug everything in. Next one is going to be the base color. Let's drag this into the base color like so. Then roughness value is going to be this one over here. Let's drag the roughness value in here. And we got ourselves a metallic, which is also going to be needed since this sign has metallic border. Then finally, for this additional detail, for the micro detail, we're going to use normal for that extra bump type of information to get some nicer look. And then we also got to make sure that we've been this type of a brush, by the way, I'm making sure that this is set as just normal paint. We've got to make sure that these low size and angle jitter is all of them are set to zero. Otherwise it's not going to work quite as well. And the stroke opacity set to 100, whilst the flow on the top over here is set to 100 as well. This way we're making sure that this entire stamp is being stamped out properly. Basically, I simply stamping it on top of our wagon wouldn't get this sort of a look, which is looking pretty nice. But I will say this, that we might need to adjust overall color. And we can do so in a bid, although the controls for it is going to be a bit harder. Although before doing that, I'm going to click control the set and talk a little bit in regards to the control so we can see the Alpha, we can see the overall shape. But if we wanted to position it even more, what we can do, we can either right-click to get some controls from within it. Or the easier way would be to just hold Control and use our left mouse button to go up and down in the mouse like this. And by doing that, we're able to control the shape itself. Then afterwards I prefer to use a keyboard shortcuts afford the brackets to make it smaller or larger. Or also holding right mouse button and scrolling sideways diagonal legs. So to kinda get it more dynamic, kind of a way of changing our size. So holding Control, right mouse button then going sideways. You're going to do that while holding control. And left mouse button is going to allow you to go up and down and change it up. Just be careful not to go sideways and mix them up when doing holding control and left mouse button. Otherwise, you're just changing up the flow over here. As you can see, it's being changed up this one over here. So just make sure to keep the flow at 100 and make sure only to go up and down while changing the rotation. So with that being said, I'm just going to go ahead and kinda reposition it like so put a sign up just like that. Now in order for us to switch up the color, all we have in regards to the options is basically. The ones for the overlay opacity because we already stamped out the detail with this can't be changed. Basically, this is just this information as is. And we can kinda get in regards to the color e.g. we can change that up. We can change also the normal a little bit as well for this channel and overlay them a little bit better in that regard as well. But again, we don't have as much control in a non-destructive way as we did in regards to with the fill layers themselves. And yeah, we're pretty much done in regards to that. Let's go ahead and now reset ourselves a brush because when we want to make use out of it in some other masks, e.g. they're not going to give us the right kind of way. So I'm just going to click back onto artistic brush and that's just going to reset the brush. Or are our users, actually I'm just going to set it up as a basic hearts and stuff like that. That's the hardest brush not to mess it up. It has all the sides and flow jitters and whatnot set to zero. So we're able to just add some alphas on top of it and be fine with that. Yeah, Now as in regards to setting ourselves up with a basic Alpha, we're actually going to start it off with making use of that as well. I'm going to go back onto the resource pack, onto alphas folder instead. And we have couple of alphas. There have some variations, but we're going to start with the most basic one. I'm good. I've got myself a toilet sign. I'm just going to drag this into the Adobe substance and I'm going to also change this up as alpha. And this time I'm going to add it to the library just to make sure that this Alpha is going to be kept over here. And once we set ourselves up with brush, Let's just make sure we save it into our substance painter library itself. So all we gotta do once we have it all set up with the normal metallic roughness value set and whatnot alphas as well. All we gotta do is just basically right-click on this area over here. We're going to right-click on the properties for the pain and we get a couple of options. The one that we want to make use out of is going to be great tool creating simple Brush Preset. This will just save out the alpha as well as the jitter options or whatnot the size as well. The material preset is going to save out the material channels that we had set up. By creating a tool preset, it will allow us to keep this entire thing. So if I were to change this to something else, let's say just to quickly show as an example, I have everything else loaded up differently. But now by going onto the new tool that we just set it up, like so it's going to give us all the channels back with this type of an Alpha are we going to do now is just simply rename this. So I'm going to right-click on this one and click Control a to select it. Delete the name, original name, and I'm just going to call this Western line like so. So now we're moving to search if a word worst. If I was to search for Western sign, I'm going to be able to find it. The downside of it though is that we can only say this type of a preview. I'm not sure why that is the case, but it's still better than nothing in regards to visualizing what we're using. So yeah, we got ourselves a simple tool to make use out of which already has all the information and it's able to easy. Yeah, we got ourselves a simple stamp to make use arrow, which allows us to add a quick detail onto our mesh throughout this entire area. If we want the sign like this on a Saturday, we can do so as well, although it doesn't look quite as well. But now we're just playing around with this type of a tool. It's really nice and simple to get some nice results. And for the next step we're going to continue on working with just simple alphas. Since we still have a lot of detail to set ourselves up where we have the toilet sign. We have a Western water tower which looks completely plane at the moment. We need something of a side over here. And we need some areas for the windows as well as for the spouse over here, which we left it off completely empty. So yeah, we're going to continue on with this in the next lesson. Thank you so much for watching and I'll see you in a bit. 46. Making use out of Alpha Brushes: Hello and welcome back everyone to substance painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with a sign stamp, which we can now make use arrow. But in order to reset our brush, what we need to do is just quickly take everything off. And the easiest way would probably be to just take it off manually like so by just removing all of them. Since otherwise, if I was to e.g. make use out of the artistic brushes which we made use of before. It will still give us that same material that we had previously set up. So yeah, I'm just going to tick them off manually like this. Just like that, we're able to have it off. And now as a next step, we're going to go on the resource pack. We're going to locate ourselves a sign for the toilet. So this is the one spoken about and we're going to just simply drag it into our resources. And this time we're going to get it as an Alpha, but we're going to make sure that this is going to be kept within our library for later uses the case we want to be able to use that in the future. Let's go ahead and add it to our assets like so. So we got ourselves a toilet sign which we're going to make use out of in this area over here. That's located texture saddle is for it. We're going to scroll down until we get ourselves a toilet trout. Let's go into it. And now we're going to simply make use out of it to get ourselves some nice results. So we're going to close down the folder. We're going to select the folder at the top, like so we're going to create ourselves a simple pipe or the layer just like that. And decided off we're going to get it setup properly. So what I mean properly is we're going to firstly get ourselves a dark in color. We're going to for the roughness, I reckon we can leave it as is actually, I'm going to hold Alt, going to tap on the color itself. And then we also need to enable height, which we're going to lower down by quite a bit. Then afterwards we're going to rename this fill layer as a damp. And I'm going to add a black mask. We're going to add a paint. Reason being is that we'll be able to make use out of it to have better control out of this thigh stamp. Then we're simply going to, with the help of simple brush, we're going to add a toilet sign. Let's make sure that nothing else in regards to the material is enabled. And I think we have. We also definitely want to make sure that there's no jitter in regards to angles and whatnot. Then we're going to get ourselves this sort of result that we're going to hold Control and use our left mouse button to push it down, basically like so. Rotate it around into the right type of a location. So this is looking actually quite nice. All I'm going to do right now is just stamp it down like so to get this result which doesn't look quite as well because the reason being the lowest set as 15, let me just increase it all the way to 100. And there we go. We've got ourselves this sort of a look. Now, this looks quite nice, although it's not quite set up. So what I'm going to do is actually, I'm going to get a bit of a better result. We have some control over in regards to the height and over in regards to the color itself. But just by having it like so it's not going to look quite as nice as it doesn't have any of the grunge for the pain or whatnot. So what I'm going to do is I'm going to actually duplicate this stamp like so Control C, Control V. And in this area, I'm going to start setting it up in regards to the color being kind of bleached out a little bit more. So we're going to go onto the one stamp layer that we had previously. I'm going to rename this as height, like so. We're going to only make sure that we hold Alt and select only the height itself. Now as for the upper one, the one that helps us to get the color, we're going to make sure that we only get the color. And we're going to add up onto the paint itself. We're going to go into the mask. We're going to add a fill. We're going to get ourselves a grunge, like so. And for grunge, I reckon we can search for grunge dirt. That's going to give us a nice results. So pink, the grunge, dirt, scratchy or grunge, they're thin. It's going to work. Evil one is going to be quite as well. I'm going to hold Alt, going to select on this and then play around with the values in regards to track planar projection. This is looking quite okay, although too large. And this is the value that we're looking for a wrecking that's I'm going to change it to 12, maybe a little bit more even. But it too is looking around in regards to how they look like. And this is looking quite right actually, let's go ahead and make use out of this. We're going to make use out of it by overlaying it on top. Or actually sorry about that. We're going to make this out of the subtractor to subtract out the values themselves. I'm also going to go into the grunge dirt scratch and gotta use the contrast to take out some of those values like so. And yeah, we're just playing around. We can get this sort of a look which if I click M, we can see how it turned out to be, which turned out actually quite okay. We are able to scratch out this entire black type of a surface, which if you think about it, how it's set up, if you're using like Potsdam to get that sign in, you them be stamping and out. Whilst at the same time, the board, if it's course, it would have some grain in detail and it wouldn't just completely be just simple black. So that's why we're using this sort of a result. And I'm actually just going to. Increase this value by a little bit more of an extra. Like so, maybe a little bit more. This will do quite well. And I'm actually just going to lower this opacity of subtraction. We get basically this sort of results. So we're able to stamp in detail for the height whilst simultaneously removing some of that color from it slower, which is basically mixing these two together and getting this sort of a result. Now, if, let's say we'd want to add something extra within this paint. All we'd have to do is just simply paint in the detail e.g. over here. If I wanted to add, We, of course, I'm going to show it as a different kind of science. So as an example, I'm going to use one of the alpha's set up within Substance Painter. And I might as well just put it over at the corner over here, e.g. if I want to make sure that this detail is also being applied onto the black mask itself, onto the black color. That is, we're going to just simply select this. We're going to hit Control C. We're going to go on to this upper paint. We're going to hit Control V, and then we're going to remove the one that's underneath to make sure there are too many times. I'm just going to go back a little bit. We're going to remove the one that's underneath. And this will make sure that basically this paint layer is being updated. And now we have ourselves a black color back onto it that slightly subtracted with the upper one. So that's how we do it in regards to Kara stamping it out with some nice additional color. And we're also going to make use out of this to set ourselves up with this sign as well. So we're still not quite done in regards to making this type of material for the sine. Real quick, we're going to create ourselves a scroll for this area. And for that we're going to go onto the area where the the coffin is. I'm just going to scroll through each one of us. So while holding the left mouse button, I'm going to do that until we get this hidden away. That's actually going to be all the one on the top. There you go. The coffin is over here. I'm going to unhide them or hide them all selected, isolate this entire selection, like so. And let's wait it out until actually loads up. There you go. I'm going to hide the bone that we did previously. We're going to start by creating a sells a new fill layer on top of the bone, going to add a folder and I'm going to drag this into the folder like so. Now we can just simply change this fill layer to be yellowish tint. And right away we're going to add a black mask. We're going to make sure that this is set with a yellow tone. And of course we'll need to make some adjustments so we can call this one scroll like so, or rubber paper actually that would be better for the fill layer, for the base. We're going to call this base. We're going to make sure that this is switched up to something a bit more unique. I prefer to honestly make use out of lever starting point, since that gives us some real nice kind of effects. So actually within the material mode, I'm going to search for leather and we're going to get ourselves a lever rough since although it's not quite exactly a simple just kinda lever, it is giving us some real nice base to work with. So by styling it with eight, we're getting this sort of look and it's looking really nice. Although by going to parameters, we get ourselves to color control. So let's go ahead and make it yellow tint type of a look. There you go. And I think the normal value is not normal. This material does not happen. The normal it has height. We're going to change up the height a little bit to decrease this, make it a little bit more smoother. And I'm going to set this to 20. I think that's going to be a really nice type of a base or this sort of a look, which we're then going to change ourselves up to. If we add a fill, we're going to sort, not that kind of a film going to click Control Z. I'm going to add a Bill base and make use out of it to set ourselves up with a crunch mask. Let's go ahead and add a fill to this mask. That is, let's go ahead and Black Mask add filter. Here we go. We're now going to search for dirt, scratched, and stuff are quiet like this one for the paper. Let's go ahead and use That's going to be there, it goes there. Scratch. Let's make use out of that. We're going to set ourselves up with a better tiling. Rankin. We can just simply make use out of AAA and projection or we're going to make use adductor planar projection with in combination to Gail being set as physical size. We're going to increase this one by quite a bit. Reasonable amount, that is, and I'm also going to hold Alt, click on the mask and then play around with the value a little bit just to kinda decrease it to a minimum amount. So this is going to help us get even more of a value for the Grunge. So now we're going to change this to a base color of a dark, like so. Yeah, it's going to look like some nice dirt going across. We're going to increase the roughness all the way to one. And actually we're going to lower down the opacity for the mask itself. So it's going to blend in nicely with the paper. And I think that's going to be quite alright if we want more of that, we can also increase this and it's going to give us nicer type of result. So yeah, we set ourselves up with a paper, but we can add some additional detail for the stylized look, which we're going to continue on in the next lesson. So thank you so much for watching and I'll see you in a bit. 47. Creating Wanted Sign Stamp: Hello and welcome back everyone to sepsis beta beginner's guide to game texturing. In the last lesson, we set ourselves up with a nice time for the toilet, and we're going to continue on setting ourselves up with that. And this time though, we're going to create ourselves a poster of this coffin. And we're just going to create ourselves a wanted poster. So we got ourselves a paper started, but it's not quite there just yet. So, yeah, we're going to get ourselves more detail out of this. And I think we should probably start by just highlighting edges a little bit. We're going to go on to add the layer. We're going to make this as black and we're going to probably keep the roughness values as this. I'm going to hold Alt, going to just click on the layer itself. Then we're going to just make use out of this. We're going to create black mask. We're going to add a generator and we're going to set it up as a curvature like this. So with this, we'd be able to get ourselves a nicer type of local DO looking at it. It might not actually work out in this case, since sometimes the mesh might be a little bit more problematic in regards to making is out of that, I'm just looking at the way it looks. And we might still make use out of this regardless. I'm just going to check back ligand B in regards to them with occlusion. You might be able to make use out of that, but doesn't seem to be likely. And let's go ahead and actually make you sad of the curvature as is. But I'm just going to check it one more time in regards to how this looks. And if we were to increase it too much, it's not going to give us the right results. What I'm going to do is going to, I'm going to go onto curvature type of settings and I'm going to take off huge, big, large, medium and soft. And that should give us fine and sharp as the detail, which should give us this sort of a look. And now we will look at it. It's going to actually look quite alright in regards to highlighting the overall edges. Although that's still might not give us the best type of results. So I'm just wondering if that's be quiet. Okay. We might need to go on to adding levels onto this as well. Kind of highlighted all like so. And is that going to be better or not? I'm not quite sure. As it's not C, it doesn't seem to be changing a lot of our results. So yeah, I think we are going to keep it as is. It gives us some nice highlights on the edges. And to continue on with our poster, we're going to move onto it. And I'm just going to rename this one as overlay grunge Excel, and the other one as curvature. Like some. And I think just in case I am going to try out making use out of the filter for blur, for bevel, sorry for blur. Which just go ahead and try using that, which maybe will give us better type of results. A go it is blurring it out and actually helping us with getting some nice edge highlights today, go before and after it's kind of highlights the edge. Just a little bit more thing that's really nice in regards to that. So okay, now Tim, who own with, in regards to adding some details of our own, what we're going to do is actually going to be quite simple. We're going to go onto resource pack. We're going to find ourselves the cowboy, and we're going to drag this into the scene. So we're going to import the textures. We're going to set this up as an Alpha. We're going to bring it into our assets and we're going to click Import. Then afterwards right away, we're just going to set it up properly. I think though for the paper, it looks quite nice as a base. So I'm actually going to quickly just add it onto our smart material, like so. And then move on onto which now has seemed to have lost. So I'm going to go on to Alpha, Go to your assets and should give us. There you go. That's the cowboy that we're looking for. We're going to start off by adding a simple fill layer. Now we're going to add a black mask. There we go. And we're going to make use out of the car Boy, within our brush paint. There you go. Just like we did previously. I'm going to set it up in regards to the size and its rotation, like so, we're going to make sure that it is the right kind of look. And I think that's going to be quite okay. Let's go ahead and stamp on this, which also is going to go on top of the other areas. So don't quite like that. I'm thinking on What did do in regards to that. So in this case, I'm going to actually, I'm going to click Control Z to make sure that it has a setup as a paints and that will give us more control. In regards to the later on, we're going to make sure that also the flow is set to 100 and now we're going to stamp it out like so over here. So to avoid these kind of brushes in behind, what I'm going to do is I'm going to add a paint layer that's going to be just called them. Were actually instead of adding a paint layer, what we're going to do best, I think it'll be to just add a simple folder group. We're going to drag this into the folder group. And for this, we're just going to make sure that we have a white mask or actually black mask with this post is selected like socialist, only going to be affecting the poster. Everything that's within this fill layer like so it's much easier and faster way off just isolating everything in regards to the mask. Now we're going to go back onto paint and we're going to actually add ourselves. Some additional texts so we can some suspect is actually super easy to add some custom text to this area. We're going to make sure that we check all the libraries and within alphas, if we were to search for Font, were able to get ourselves a substance, fonts. So the ones that says substance is basically they are the customer type of fonts which doesn't have a lot to be honest in regards to how many we have, but if we do find the right one we're able to make use out of. And I'm just thinking on what one we can make use out of n. The font Blacks. Black Ops might look quite nice, although I prefer to make use out of something more simple. Let's go ahead and have a look. Perhaps just the carrier one over here. If we were to select it, we can now paint it on, but I'd recommend you to set it up as a different paint. Otherwise, it might be hard, a little bit harder to control. What I mean by that. I'll talk about it in the future lessons in regards to when we're grading the windows a little bit. For now though, let's go ahead and add a paint layer. So this is going to be split off like that. And we're going to make sure that the font is selected and now within its parameters we have text. If we were to open this up and we can change this text to say wanted, wanted they go. So we're going to have ourselves a wanted sign being we can change the date go, we can change the type as well to be bold, which is actually going to be much nicer. And go, I'm just going to stamp it and wanted sign. Then as for the bottom, we can also add another text as well. I'm going to change this up to regular and I'm going to just have dead or alive texts like so. I've seen there's going to be quiet nice, although right now as you can see, because we have so much within this text, is not picking up the entire thing within our Alpha. We can see it being cut off. If I were to stamp it out. You can see it's not complete as in regards to the text. So what do we need to do is actually we need to change the size itself in here within the perimeters, which I'm not sure why that does it because we have control afterwards in regards to size by just if we were to use the right mouse button, there you go. We can just change the size just like that. So I'm not even sure why the size over here or even matters to be honest. It should not be an option in my humble opinion, but this is what it is. So if you have more of a text, you just need to make sure you change up the size. And we're going to make sure to add it up like that nicely aligned. Everything looks well. Let's go ahead and click or actually I'm going to make it a little bit bigger. There you go. That looks quite nice, although it doesn't look quite as well. If we're to change this to four K resolution, it will start to pick it up. So I'm not worried about that. Now as in regards to the overall setup, we're going to go back, we're going to change this to a black type of a look. And we're going to also probably yeah, we're going to keep the roughness or increase the roughness a little bit, but not by too much. So I'm also just going to lower down the paint values for both of them. And I think that's going to give us a nice kind of look. And you go wanted that are live. We're going to make the roughness values as well as the color from underneath and is going to give us to write a look. And if we were to zoom in and have a look, we can see that it is looking pretty nice actually. So yeah, that's pretty much it from that. Now, we still have couple of other things to work on. We still have the window signs over here to set up, as well as the one on the water tower, which we're going to continue on working with in the next lesson. So that's going to be it for me. Thank you so much for watching and I'll see you in a bit. 48. Spacing out Alpha Stamps on Windows: Hello and welcome back everyone to subsist better beginner's guide to game texturing. And last lesson, we left it off by setting ourselves up with a poster in front of the coffin. And now we're going to work on the windows that are at the front of the saloon. And we got ourselves a nice type of an alpha for that. Let's go ahead and open that up. We're just going to make use out of this saloon alpha. And so for that, we're right away. It just going to just drag this into our Substance Painter. We're going to change this to an Alpha. And we're going to add this to your library of assets. So we're going to click Import, which should give us with a nice type of saloons sign. And then I'm just going to find ourselves two windows that we have. This one over here. We're going to isolate this entire view and see what is up with that. So far as to actually make use of proper use out of this saloon sign, what do we need to do is actually firstly, we need to set ourselves up with a fill layer. We're going to create ourselves a nice type of a fill layer just like that. We're going to make it black with a bit of an extra roughness or recommend something of a neutral type of a look. I think that's going to be quite alright. We might adjust that in a bit though, and I'm going to call this one sign. Then we're going to add a black mass. And for Cyrus, we're going to add a paint layer within it. Now, the reason we're adding paint layers is because it has more control over it allowed us to get more control out of it, which I'm going to show you in a bit. I'm going to select this saloon sign for are alcoholics. So by just clicking on it, and I personally prefer to have a saloon type of a text to be in between the frame. So right now we can just have it set up in a window like so which would be too small as a sign. Or alternatively, we can just have it over to Windows like so which would show that the letters would be cut off in the middle. So what I prefer to do instead in this situation is actually make use out of the paint sub tools that we have within the sign that we have, sorry, within the Alpha. And I'm just going to basically make it the size of, around this amount of thing that's going to be good. And we're going to stamp in the SAL, we're just going to worry about the left-hand side within this frame over here. And I'm going to stamp it out like so. Then we have a thing to worry about the upper lattice now, which I'm going to start off by clicking two and going onto brush. And now I'm going to make the waist smaller and just start deleting them out like so. We're going to get ourselves SAL only then I'm going to click back onto one and we're going to stamp out our bid. But if we do it on this same layer, we're going to be starting deleting the SAL as well when we're doing that. So instead what we're going to do is we're going to add an effect and we're going to add another paint. Then we're going to basically add the three letters. So some like that. Then we're going to go back onto the eraser. And because this is on another layer, we can just delete these overlays like so, and get ourselves with a nice type of a look for the letters. Although it gets a little bit too far off, I'm going to click, click, click Control Z and redo that, make it a little bit closer to the word like so. And now I'm going to just quickly redo this step. So just like that, we're able to get ourselves and real nice type of a look alone. Yeah, we're going to make it look a little bit nicer in regards to the text itself. And we're just going to make sure it stands out a little bit more with the white letters, just like that. And I'm also probably going to think about in regards to how it blends in. And also I'm going to just change up the opacity for both of them to around 50. And that's just going to give us a nice dipole of a look in regards to how they blend in. And I'm also going to go back onto this paint over here. I'm just going to remove if I were to check. So this is SOL and this is the one. Okay, So this is the one that we need to remove in regards for this little window over here, which if we were to select this pain, there you go. We're going to start removing it. And yeah, I think we're going to do this for the windows as well. Let's go ahead and do that real quick. So just like we did before, we're actually going to make use of the same technique. We're going to make use out of this paint layer that's underneath. You set it up with SAL letters, like so. And then we're going to remove these additional type of letters from here, which we can make use of a large brush. Then we're going to go onto novel paint layer and just basically add in these our letters like so, which we're of course going to remove the first part of the word. So yeah, we're going to get ourselves some real nice type of a look out of these windows. And we're here to do the same thing over on this window over here, like so. And we're going to remove this over here. I'm going to go onto the other paint layer, going to start stamping this one in and get ourselves this sort of a low. So yeah, that looks pretty good. I'll do right now. It doesn't have as much of a breaking point. So what I'm going to do is right now I'm going to go on to adding a fill layer and I'm going to make use out of grunge. We can make use out of dirt, scratches. Got the nice type of texture with yeah, we're going to keep the same human projection, but we will need to increase the tiling to around four. I think there's going to be quite alright. Then we're going to make use out of it with in regards to multiply. And if you think about multiply and subtract. Subtract will basically take off everything that's white in regards to the mass. If we look at a mask, while multiplier will take everything that's in regards to black. So basically they kinda do the opposite of that as you can see, which by the way, we can probably make use out of the same kind of a way by just inverting the parameter over here. And it will basically give us the same result and preferred to use the multiply in regards to that. Now if we were to increase this value, we're going to get ourselves some texts would be broken off a little bit more. And I think I'm just going to lower this to 90 like so. So it wouldn't look quite as obvious. And it's still going to look quite nice in regards to that. If it's a little bit too much going to decrease that. Yeah. I think I like this kind of a setup. And yeah, that's all it takes in order for us to set ourselves up with a nice texts. And at the same time I might as well do it on our end as well. So just real quick, we'll do that. I'm going to go onto the paint layer over here, start with SAL, then go onto eraser, erase these bits over here, go to our paint and put it up in here. And just like that, we're able to get some really nice type of results. We already had a grunge mask already, so that was already applied. And let's go ahead and continue on with that. Let's not forget the switchback layers. And get ourselves some nice letters in the windows. Like some. For those of you who might be wondering why we're not using a symmetry tool in this type of an area, since we could probably do that for the Windows reason being it actually inverts the text itself as well. So we're going to manually do it, basically, both sides. Like so and it's actually going to turn out quite okay. But it's not too long of a process anyways, we might as well make nice stamps out of these windows like so n is going to look pretty nice once we actually have them on. So, yeah, I think this is looking pretty good so far. I'm not going to add those kind of science at the very top and I'm just looking at these sort of burnout boards. And I don't quite like the steps itself. And thinking, I have some bit of an extra time to fix that real quick. So in order to fix up these steps, I want some dirt to be going on top to kind of blend in the values for that to make it look like it's part of this environment, like people have been working at this area. That real quick, I'm just going to go ahead and start seeing where it is. So this is the wagon area over here. I'm going to go ahead and it would all go on to the wagon and add some dirt on these steps. So just real quick, I'm going to make use out of a material that we set ourselves up previously within our assets. Going to be just a simple material, just going to look which one I prefer more. And I think I'm going to use these rocky ones over here. I'm going to drag it into on top, going to right-click, add a black mask. And I think by default was a little bit too large, so I'm going to change it to eight. Let's go ahead and see how this would look like in regards to adding a brush. That's if we were to check with an artistic brush. There you go. We're going to start adding these over here. And let's just make sure that we don't have anything material enabled. And I think that's going to look quite okay. So by default, of course is a little bit too much. I think we are going to instead add a paintbrush effect onto it to just add some brushes over here. Like so. Maybe make this a little bit smaller, like that. And I'm also going to lower down this value over here from the bottom. So I'm sorry about that. Let's make sure to have it selected with the paint layer, going to remove it from over here. Now make it look too off since some there would be just going off like that. And once we have it set up like this thing, we just lower down the value. Or if it's going to look like there has been some dirt whilst people walk in this type of Saloon and think this is looking quite right. We might need to add some dirt over here as well. I'm just going to go ahead and quickly do that as well. Actually just going to find the fingers. The balcony one or either that or yeah, that's the balcony one. Let me just go ahead and make use out of that. I'm going to go into this, going to again, make sure I set ourselves up with the rocky type of material. Going to add this here, going to make sure that this is set properly in regards to the size and that's not the one I was using actually, let me just make sure that we're using the same one. And this is going to be 12, maybe even more, 18. Got my thing. That's looking quite nice. Going to add a picture to make sure that they have consistent carpet Pebbles. I'm going to make use out of trouble and prediction. This will just make sure that you see these rocks and whatnot, whatever order does they're going to look much nicer in regards to being them together. Into, Chris says a little bit more, going to change this to a black mask. I'm going to start adding a paint, which will then be able to overlay it in a bit. This doesn't look quite as nice. I'm going to lower down the flow. Manually painting. That's a little bit too much going to make sure I don't overdo it out. And yeah, I think that's going to be quite okay. Hey, go. Although I don't like this kind of setup over here, going to lower this down a little bit. And yeah, that's all it takes in order for us to set ourselves up with the science and the windows, as well as adding some bit of an extra dirt to make it look like it's part of the same type of an environment. So thank you so much for watching. And then in the next lesson we're going to continue on with the stamps and set ourselves up with some nice because we're going to learn how to project them onto the water tower and the crates in the back. Yeah. Thank you so much for watching and I'll see you in a bit. 49. Using Decal Alphas: Hello and welcome back everyone to subsist better beginner's guide to game texturing. In the last lesson, we made use of the stamps to set ourselves up with some nice window decorations. While it's also adding some bit of an extra texture on the stairs and entrance. Now we're going to continue working with, in regards to the alphas. We're going to grab ourselves a nice ones. In regards to once for the credits, we're going to start off with the wheat and grapes and whiskey, since we have some crates to set ourselves up with, going to grab all three of them holding control, just going to drag it drag it into our assets area, just going to select them and set them up as alphas. African, set them up within our library app assets. You can import them right away and we're going to get this result. Then afterwards we're just going to locate the barrels over here. I'm just going to scroll through each one of them just to see which one it is. And this is not these aren't these aren't the ones they go so small wagon, right? Let's go ahead and show it all and go back onto the small wagon create. And we might as well just isolate this entire view and just see how it looks like for us to actually set them up in regards to the Alpha, what we're going to do is actually going to be much easier in regards to stamping them out. We're going to start off by adding ourselves a fill layer. For now, e.g. this is a nice place to put a whiskey sign on. I'm just going to, instead of setting it up in the mask, what we're going to do is actually we do need a mask, so let's go ahead and add a black mask for it. And what we need to do now is just simply click and drag. And then once we start dragging it into our scene, we can see this sort of a square which allows us to set it up as a decal by just putting it up onto our crate and setting it up as a mask like so. We're going to apply a mask on top of this type of a material, which we can see that it is visually looking like this. If you're not seeing this, by the way, just make sure to have this enabled as well as this symbol is being shown. So we can now see how it looks like. And of course this is a little bit too large, so we can make use of these tools over here to move, rotate and scale it up or the decals. And we can just use q, w, e. And so not curious, Huggy. You will only turn this off and on. W, E, and R is going to allow us to basically go between these as a shortcut. So that's what I'm going to use it from now on. We're just going to make it much smaller in regards to that. We also got to make sure that we don't have anything too close to this object either. Because if we have a look at it, once we start dragging it over here, and once we're positioning the camera so we can see that it actually kinda overlaps with one another. So if we get it a little bit too close in regards to that, we can see that it would start basically it will look at a mask itself. It would go underneath the crate as well. So in this case, it doesn't matter too much in regards to that. But just in case is a good practice. I recommend you to not overdo it in regards to the scale itself and position the detail to be not overlapping with the mesh in that regard. So yeah, there you go. That's looking quite good. I'm also going to rotate this a little bit like so, and that's pretty much it and how to set it up quite nicely and easily in regards to that. And we can make use out of other ones quite easily as well. If, let's say we were to drag the wheat one onto here and set it up as a mask. We can see that it actually creates ourselves up with a new layer, which by the way, I just realized that we did create ourselves a layer, but it created ourselves a new layer for that. So I'm actually just going to remove the layer that we created previously and ask for a width capacity. I am going to remove this as well, since if we want to have multiple logos at once, multiple opacities, instead of just dragging it and the second time, instead of doing that, I'm going to remove this. But I prefer to do is just simply change the color to make it a bit easier. And so for that, we're going to simply click on this fill, since that is the one for the decal, this one over here. We're going to select it and then we're going to make a copy out of it. So let's hit Control C, Control V to make a copy out of it, which will give us a secondary one. By the way, doesn't show it by default because the reason being is it is actually there, but it's not showing up because the mask itself is black and white, so everything else is black. For us to have multiple ones within this same type of a layer, which we need to do is basically change this blending mode from normal to screen. And now we can see the duplicate just like that. So once we have a change to a screen, we can change it up to a duplicate. And we're going to change our gray scale from the whiskey logo. We're going to change it to the width, like so. And we're going to get this sort of a result. So that's looking quite nice. Of course, we need to make sure that we bring it on over to our crates, e.g. maybe this one over here is going to be the width. We can go ahead and keep it as is like. So that's going to look quite nice actually. And then we can also make a duplicate out of this as well, control C, control V. This is because now it's set up as a screen. It's not actually going to overlap too much in regards to that. I'm just going to put it onto our crate. Like so, if we're worried about the position, the location that it might be a bit harder. We set it up as like right now it's being this form basically distorted too much. We need to focus on the arrows themselves, this show which way it's being projected. So we just got to realign them to make sure that we fit in within regards to the create itself, the mesh that is. So make sure we do that. There we go. We're going to get ourselves a nice type of a setup. Think it might look nicer if we have a set like this, maybe. We also need to consider how it looked like in regards to the Roper I can sell. There you go. That looks quite nice. Then finally, like kind of grades to be in this area as well. I'm going to hit Control C, Control V, and going to reposition this a little bit easier. So right now, once we have it set like this, it might be a little bit hard to set it up. And I'm going to actually scale it up though, for us to kind of reset this original rotation and whatnot, we can go onto the production settings. There is a bunch of options over here, but we need to worry about the rotation. I'm just going to set them all up to 000 for rotation. And that's going to give us the default guide, a rotation like so. So it might be easier to start off from that kind of an angle. And then we're going to put it up downwards like so. And yeah, there you go. I'm going to look quite nice. Of course this time I'm going to want to use the grapes. I'm just going to do that like this. And I think that's actually quite nice to make sure if we rotate it properly though. You go. And now as for the just breaking up the entire thing, or actually, we need to make sure that we have proper colors setup, going to set this up as black. And also, yeah, we're going to get the roughness value to be somewhat lower in comparison, if I were to check the roughness value, there you go, That's the reference category that we're getting. We're going to lower down just a little bit too, sort of a look. So it looks a bit shiny actually, since there's been stamped in us for the color itself, we're also going to break off the text a little bit. In that regard, we're going to add a fill layer on top of this mask. This one is going to be called just crunch. Like so. We're going to add a grunge for dirt. Scratched is totally fine in this regard. We're just going to make sure this is AAA and projection with a high tiling set. And I think that's going to be quite okay. I'm going to go into it just to see how it looks. It looks quite fine actually. Let's go ahead and make use out of it. Now we're going to change this to a subtract. And that's might look quite okay. Let's go ahead and see how it looks. It looks reasonable but not too much in regards to breaking that apart. So I'm going to make sure that this grunge is properly set up in that regard. I'm going to increase the balance a little bit and I'm going to love it overall capacity that helps us to break off all the shape itself. And that looks quite nice actually. But I don't quite like it. I'm trying to think what else we can do and the way we're going to lower down the overall opacity for this is we're going to add a fill layer. And this fill is going to be set as multiplies. So once this is just one, it's not going to do anything. But once we start dragging this downwards, is actually going to remove the overall opacity for them and they're going to blend it nicely. Within regards to the setup, this whiskey sign is totally not straight down. I'm going to go ahead and elected going to just rotate this around a little bit more like so and probably bring it upwards. Just like that. There you go. I think that looks quite nice. No, not really. I don't quite like the setup. Yeah. Quite preferred it this way. Okay. So basically, yeah, we can play around with the decals and whatnot, but we're going to keep them as is then the final bit that we need to set ourselves up is going to be the watertight or nine, which is probably the last thing that we need to do. So let's go ahead and actually do that real quick. We're going to find the water tower. So that's the one water tower. Let's go ahead and go into it. And as for the sign itself, I'm just going to set it up real quick. I'm going to add a new fill layer, going to make sure that as a black mask going to call this one stamp. And I'm going to add a paint on this, which asks for a paint can probably make use out of the font or the font. I, yeah, that's the one I want to use. This is going to look real nice. So pumped Black Ops, going to look super nice and this one. And we can pretty much write whatever we went on to be honest on this, but I'm just going to make something that sounds Western ish. So West Water in order to kind of break up the text e.g. right now, we only have one liner to have a second line on this. And just hold them, just click Enter and we're going to get ourselves a second line. And I'm going to add ink dot, and that's going to look quite nice. And we also have alignment just makes sure that the alignment is set in the center. In this way, the light, the text basically it's going to set B set in the center. Also the size probably needs to be smaller. So as long as it fits within Alphabet is going to be fine to make this much larger in that regard. And probably this is going to be quite alright. Cook. And of course we need to make sure that the Angle Jitter and Size Jitter is not changed. There you go. Looking. If this is fine and that kind of looks, that actually looks quite alright. Just doing the break up the text using the Grange or the dirt go, right blend of protection, of course, with this time no hardness because it has such curves that is quite important to use that to set it up by 24, maybe not 24, 12. That's actually quite fine. Going to set it as subtract. And that is actually looking quite alright. I'm just going to make use out of it too. It's a nicer results. Definitely will need to increase this a little bit and might as well just to make it like this, something like that. I think that's actually more than enough. It's quite fine. And I might as well just lower down the overall paint just to kind of blend in overall color and the values and the roughness needs to be increased as well. And that's pretty much it. Yeah. Thank you so much for watching. That's going to be eight in regards to texturing. And now in the next lesson we're going to continue on with this project. And I will show you how to set up or the rendering of irae. So yeah, I'll see you in a bit. 50. Using Normal Stamps: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left it off by setting ourselves up with some nice decals for our scene. And now we're actually just going to continue on with that and get even more detail this time for the crane. Right now, it looks a little bit too plain to blend. So we're going to make use out of the layers functionality and add some normals on top of it. So if we're to select the small wagons, crane creates texture said, we're going to go onto its layers. We're going to make sure that we are at the very top and we're going to start adding a new layer with a new layer because this is the way it works in regards to information. We can have multiple color. And that includes not only just like a simple type of color, but also normal type of color. So what I mean by that, if we were to look at alphas are the textures we can search for normal and we can find ourselves some additional detail to make use out of. These include the type of detail that will help us to bump out the certain amount of additional texture out of our area. But by default, it wouldn't look quite as right if e.g. we were using the height value, since that would only allow us to go in and out in one direction. But what the normals would allow us to do, basically these values would allow us to bump in certain areas. As for the other bits, they will be going outwards. What I mean by that is, again, if we're to make use out of this, I'm going to actually just rename this one normals real quick. So I'm going to make use out of this in regards to normal. So let's go ahead and make sure we do that. I'm just going to go within the Properties tab, go all the way down until actually I'm just going to turn off the Alpha for now. I'm going to keep it as is. I'm going to turn everything off except for normal. So let's go ahead and, oh, hold Alt, going to click on normal like so. And we're just going to start applying the detail from here on to neural little bit. So we have a bunch of options over here, but the one that we're going to make use out of his gait, mainly going to be bolts over here since it is a Western scene, we don't want it to be too sci-fi looking, but by just clicking on it, we should be able to, if I'm not mistaken, now, we need to definitely just simply drag and drop this into normal. And once we do that, we can simply start stamping out the details. So for it to click on this, we can see the type of detail where we're getting some of the bits are going inwards and e.g. the bolt itself is going outwards in regards to the way it looks. And so we can make use out of this information to get ourselves some real nice type of look. So I'm just looking at what exactly we can make do with in regards to this. And bruce, we can have some of that. We have some of this as well. And we can make use out of a lot of different type of detail. But if you want to add our additional own wants and we can do that as well. So it's a pretty neat function now, in regards to that, I'm just making sure that we're having a nice type of a setup and think, I'm just going to search for bolts. I might get a better result in regards to that. So let me just go ahead and do that. Bolt or screw go. We're going to have a bunch of screws and yeah, we just want to get ourselves a really basic type of a look. So maybe this one over here, let's go ahead and see how this would look like. And this isn't, This isn't the one that we just go ahead and drag this in words like so, let's see how this would look like. Maybe this looks actually quite alright, so we can just rotate it around and see how it looks like from a different angle. And we'll just position it in the middle. So let's make sure that we don't have any jitter, which we actually do in regards to size and flow. We need to make sure we're consistent in regards to that. We're going to position it like so and on the other end like so. And here we go. Basically we gotta cells. So nice detail in regards to the bolts. Now in order for us to make use out of it and set ourselves up with the curvature detail to be applied on this. What do we need to do is basically we need to grab this and go all the way to bottom piece. We're just going to leave it at the very bottom, like so. That's at the very bottom underneath all of the folders. And actually that doesn't seem to be doing it quite as well as they had hoped for. So we need to make sure that we putting it in into the stylized folder, into the metal itself. I'm going to put it right above the base material because this is actually overlaying the height as well as the normal value in regards to if we look at the fall itself, there we go, we can see that the blending is set as normal as well as the height value to normal. So that's the downside of making use of these type of values. Because if we were to put the normals type of information underneath it, it's not going to pick it up, but that's okay because we're just putting it into the folder right now. And of course because of that, we can actually, if we were to add ourselves and anchor point directly onto this layer like so we can make use out of this, we get some really nice details. So I think there's going to be quite alright for now. This is going to be normal. And let's just go into zinc metal edge where that Let's go into that middle edge where I'm going to select the metal edge weight itself, going to go into it. And within it there's an option if we were to scroll or the micro details, which should be able to go open that up. This time because we use normals, Let's go ahead and turn ourselves up. In regards to the micro normals like so. Then we're going to scroll down until we get micro normal lecture, which we're going to make use out of in regards to the normals over here. So we're just going to select this leg. So it should be giving us some additional detail. If we were to play around with two L is a little bit which doesn't seem to want to give us anything. So I'm just wondering why that is the case. And it's actually going to be because if we were to scroll down within the micro normals, we need to change the reference channel from base color to normal. And that should give us the right type of a look. There you go. That's what we're looking for. We're just going to apply it onto our screw, like so. And it's just going to start giving us that additional type of a look in regards to the mask. And we can pretty much do that proud other ones as well for the cavities and whatnot. I'm actually just going to go into the curvature roughness, e.g. yeah, there you go. That's going to notice not going to work because the curvature edge only made use are the curvature map directly. We're not able to set it up in regards to the anchor point, but that's okay because we're pretty much done. We don't need to overdo it in that regard. We just had to make sure that if we were to look at this, we're going to get additional detail out of it. And that kinda helps him to blend in with the overall type of a material over here. I'm just wondering though that maybe the blur intensity was a little bit too much in that regard or maybe the edge where we additionally added to it. I'm just looking into that. So I go that looks quite nice. And edge where actuaries a little bit too much in that regard. I'm just going to lower down quite a bit like so actually see how this would look like. And I don't quite like the edge where the reason being in this occasion is because it's basically inside of an asset already. So we're not going to have quite as nice of a result, but all in all, I think it looks quite okay in that regard. And we might as well add some bolts over here as well. So I'm just going to go ahead and select this piece over here. I'm going to pretty much do the same thing in regards to the bolts on this part as well. So Let's go ahead and do that real quick. We're just going to add couple of bolts over here. I'm going to quickly actually locate the stylist metal, going to open it up, going to go at the very bottom next to the base color, and then right above it. Let's go ahead and add a simple layer, which with it, we already have the screws, syrups, all we got to do just quickly on this. And it should give us the right type of look. I might as well just rotate and I want just like that. And there we go. And of course, now we're going to set it up with the anchor point, which I'm going to click Control Z because we firstly should probably rename this one to normal faults like so something like that. We're going to add ourselves the anchor over here. Then ask for the edge where. Let's go ahead and add ourselves up with the anchor point. Let's go ahead and do that. To make sure that we enable the micro details. We're going to add the micro detail, the normal ago bank or point. Make sure that this is set as normal. And then we're going to go over here. And it's already quite working, quite alright, so let's go ahead and look, see how it looks like. Again, the yeah, the ambient occlusion doesn't seem to want to work quite as well as they had hoped for. I'm going to change that up, but it's quite tedious process in regards to the anchor points to be honest, because we got to basically do that for every single one of them. And it might take a bit of time, but all in all. Yeah, that's that's how you do it. Basically, you changed it up and go to Normals, micro detail and adjust that makes sure that this is set to normals. And there you go, we're going to get ourselves a nice type of details. Just play around with the values to get most out of it. That's fine. Alright, there you go. I don't think that's going to look quite nice. There is one that's not giving me the right type of a look. So I'm just wondering which one that is. And I think that's noted. There's one that's not quite working out in regards to the mask itself. I'm just looking for the one that stands out a little bit more in that regard. It's edge where you go. I think that's the one occlusion one. It needs to be readjusted. Actually, sorry, not the end, but occlusion is going to be this one over here, believe. Yeah, there you go. We just need to readjust it slightly. In regards to the overall grand chmod. Let's go ahead and do that real quick. Go let's go into look much better in that regard. And yeah, we're going to pretty much leave it as is in regards to that. So yeah, I reckon that's going to be eight. In regards to this lesson, we might also quickly adjust. Um, it's over here. I'm just going to check the metal over here in this piece. And actually I might adjust them while we're at it over here as well. Just to kind of fit in with the overall scene is I don't quite like overall type of a color for this. We need to check the dirt as well real quick. And might as well lower this down a little bit. Something like this amount I think we'll do. Let's go ahead and make use out of that then. Just making sure it's the one that I'm looking for here is the one that I'm looking for. And finally, I'm going to make sure that it is more of a yellow tint and a bit more. Or perhaps you go. Alright, so, yeah, in the next lesson we're going to continue on with this. And I think we're going to finish it off by just getting the most composition. Or more like the one final look in regards to the entire environment than just read, tweaking and adjusting certain values to make sure it fits quite nicely in regards to oral type of a scene. So thanks so much for watching and I'll see you in a bit. 51. Tweaking Material Values for Better Environment Composition: Welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left at all but pretty much completing the entire texture setup and how we're going to move on to the rendering part. But before doing that, but I like to personally do is just overview the entire setup and how it looks like from a distance. And just make sure that everything works out quite as well. So right now, e.g. if we look at a word, it might look a little bit dark, too dark in certain places, especially looking at spiral over here might look a little bit too dark in that regard. So what I'm going to do real quick is I'm going to go for all the textures and basically set them up to have a nice overall composition for overall scene. So the sorrow of Iraq in yeah, let's go ahead and fix this barrel over here since it looks a little bit too dark in that regard, we're actually going to go onto the wagon texture set list. Let's go ahead and select it. And I'm just going to go ahead and make sure that this is set for the stylized word that's very bottom. Let's go into it. Then we're going to check the dirt itself and the barrel looks a little bit to darkish in this regard where I can We're going to dark in this overall setup lakes. But now, once we have a look at it, the wood itself might look a little bit too light, so we're going to be fixing that as well. And even we might lower down the opacity for this one overall, so it wouldn't just completely overlaid the texture. Then we're going to go down base color, and we're going to darken this down and a finger at same time I'm going to increase the saturation. So something along this line they go That looks much nicer to the overall setup. And I don't quite like this setup in regards to how wide these railings are. So let me just go ahead and fix them up real quick as well. We're going to locate it where they are and the easiest way would probably be to just go through them like so. And there you go. I think we missed it already. So it was going to be there you go, balcony over here. Let's go ahead and select it. And I'm just going to isolate the entire view just like that. Then afterwards we're going to find ourselves the white paint for the balcony, since I think it's overall too dark in the whole scene. So for that, we're going to locate it over here. And I'm thinking that we can just darken this down completely and see how that would look like. There we go, we're getting a much nicer type of a look is going to look how it looks from a distance. And I think that's a little bit too dark, so I'm just going to widen it up just a little bit more like so. Then afterwards what we can do is perhaps switch up this kind of third at the front of the stages at the end of the stairs, since I think they stand out a little bit too much, we want to make sure that they blend in much nice in that regard. So just like I did previously, I'm just going to just start hiding everything out and see where it is. There's our by holding my left mouse button, I'm just scrolling through the entire texture satellites and I think it was there. There you go. The wagon trapdoor, barrel of steps. That's the one. It's going to go ahead and open this up, make sure that everything is visible so we could see how it looks like in the contrast. And I think that's the one. There you go. So what I'm going to do right now is just simply I'm going to actually add a fill layer on top of this one already. I'm going to add an effect at a bill that's going to be set only for the color. And this color is going to be done with a multiply type of a blend. And I think, yeah, we can just go ahead and start darkening this down just to get this sort of a local thing that's going to be looking much nicer overall. Actually, I might as well just blend in and values of the overall color to give a little bit better, which we're going to use this a by three over here just to kinda London in the entire setup. In which case I need to lighten up this color a little bit more. And I think there's going to be okay. Now I'm going to darken it back down. It's going to look so much better. And I think the height values are a little bit too much again. So I'm going to go into the main material, going to select that, going to go into normal values. And just going to lower this down just a little bit like associated wouldn't be by breaking off the steps just like that. I think just a small amount is going to be quite okay. And looking at it now, we might need to adjust the darkness areas over here as well for the area next to the water. So let's go ahead and do that real quick. I'm actually just going to go back onto the base color channel just to make sure I don't mix that up later on. And I'm just going to start closing these down and see which one is which. So this one is for that. I'm just wondering if yeah, there you go. We definitely need to lighten up to overall type of darkness in here. We're going to go ahead and go into it. And we're going to find ourselves. If I were to look for it, stylists were there you go. Let's go ahead and just lower down the dirt a little bit. In regards to the opacity of thing, that's going to be much better in regards to that they go. I just need to make sure that the one at the back also looks quite as nice since this is also being affected by it. So something like that going to work quite alright. Then we also had another salads, but over here, so I'm going to do pretty much the same over here as well. Just lowering this down like so that's going to look much nicer overall. And I think we're, we used it in the front section a little bit as well, although the bag bag might be. I'm just going to make sure I have everything and hidden and see how this looks like. Quite liked overall setup. Maybe it's a little bit too dark over here on this edge and a little bit too dark over in this area as well. So we need to go ahead and fix that up. So the overall composition is going to be you're looking quite nice. And then in regards to the darkness, we have these areas way too dark off. I think, though, I'm also going to go ahead and fix that up. So just real quick, I'm going to go for all of them and just kinda just and tweak out the values a little bit. Which is super easy and nice to do because we pretty much have the entire setup already done. So all we gotta do is just basically play around with everything and get the right type of a look. And yeah, going back to the stylist, would let's go ahead and see how this would look like without and with dirty I. This is way too much in regards to the world setup amongst also going to isolate it real quick just to see how it looks like the top. I quite liked the top, but not as much for the bottom. So I think what I'm going to do is in this occasion I'm going to make use our custom paint. And instead of just using it, I'm going to click on four by the way, instead of just using it zero to one like we did previously throughout the entire thing. I'm going to set it as a value of 0.5. So this way I'm just taking it off from it and just to make sure that it doesn't completely just overlaid. So if I were to just do it like that for the bottom, it's not going to look quite as well, but we need to do is just change this up to multiply. So this will only start removing the texture, not adding on top of it. And now we can look at how it looks like overall. And I think this would look much better in that regard. And let's go ahead and see the balcony as well. We might as well go into it and just apply the same kind of a setup. The bottom piece as well. I'm going to go ahead and actually I'm going to go ahead and do that as well. Going to go on to the stylus would go into, make sure that we are within a dirt. Change this to multiply and I'm going to remove half of it from the bottom piece. So yeah, we can just do it like this. I'm worried a bit about the ones on the top. So I'm going to actually change this up to a value of one and just kinda add the darkness back onto the pulse itself. We can see how it looks like and think, yeah, it looks nice right now when we have removed this amount, like so, we can even lower down now overall opacity, just like that. And it might look a little bit better in that regard. And next one is going to be this one over here. Let's go ahead and actually make use out of the same type of a setup. Now that we have the textures all done, we're going to make sure that the lectures basically overlay one with another in regards to the overall setup. So making sure that overall, yeah, there you go. This bit is definitely too dark. So what I'm going to do is basically the same thing in regards to the control of the dirt. Let's go into this. Let's change it to multiply. And let's add in This sort of a 0.5 or even 0.3. So basically it removes everything but like 40% of the values over here. And it's going to look much better overall. There you go. It's going to look a little bit more bland, but at same time it's not going to give us as much of a darkness, especially next to the barrel over here. So looking back, we need to continue on with this process. We are going to check the top would as well. Let's go ahead and see what's up with it. And yeah, just looking at it. We have I don't quite like these dark bits as well on the balcony, so I'm actually going to change that up real quick. But before doing that, let's go ahead and change up this real quick. I'm going to think lower down the overall dirt. Let me just go ahead and see. Yeah, this is for that. And I'm just going to hold Alt Tab or mask and see what's up. Yeah, the insides are completely pitch black, so I don't quite like that. I'm going to lower this down by quite a bit, like so until we get this result and then I'm going to increase the grunge amount so we would start adding the overall dirt Judy's areas. So yeah, just looking at it. Crunch amount. There you go. Third level may be need to be increased. Let's see how that would look like. Actually, we're going to go back. It's now it's broken up. It's going to look better, reckon. Yeah, there you go. It looks better. I might just lower down overall dirt over here. So I think that's going to be much nice in that regard. Yeah, definitely. It looks better in regards to the weather, the front especially as well. Although it's a little bit too much now. So I'm just thinking like maybe crunch them out and be quite as visible in that regard, the amount of grunge and we had something like that, but now we need to just adjust the base color and I wanted to make it a little bit more red maybe for the front at a bit more saturation. And it looks quite nice actually. Buy like that. I don't want to overdo it. But something towards this area. Maybe even writing an app but with more saturation. Like so. I'm wondering how this would look like. Maybe like this. Okay, Let's go into it too much. We can play around as much as we want. But I think all in all that's going to be quite alright. Although again, I'll just go back real quick and just love it down saturation just a little bit like so. That's going to be much nicer. Okay. Yeah, let's go back. And I did say I wanted to change the balcony roofs as well real quick. So I'm going to do just that. I think that's going to be knocked over here. Rooftops perhaps. Yep, It was within the rooftops. Images go into it real quick and adjust those values over here. And I'm just going to check the dirt. And the dirt looks quite alright, but it's still giving us a lot of darkness over here. So I'm just trying to figure out why that is the case may be because of the black light stylized. Nope, it's not edge where perhaps. Nope. So I'm just going to quickly skip through each one of them just to see their masks and make sure that I understand which one is which. That's easy way to set that up. But this is fine. This is fine. Hello variations don't seem to be changing it up. Edge height perhaps. Yeah, there you go. It's edge height. We're going to fix that up actually real quick. So what I'm going to do over here is I'm just going to simply take off the ambient occlusion from this and that should, hopefully that wasn't the one the curvature, that's the one that's going to be affecting it the most probably, which is still not the case. So curvature is fine. So it is the amine inclusion negative. We need to lower it down. And it's still not giving us the right type of a look. I'm just wondering why that is the case. I'm going to click Control Z Real quick. Stern, do this step or an after. That's not the one. That's not a one. And maybe this one just going to start turning off the layers at this point and see which one is going to be affecting us the most and disregard. And maybe it's not even on this mask either. So I'm actually, what I'm going to try to do is just, I'm going to hide away the stylus would entirely, and that was not the one actually for it. So let me just go ahead and go into this one over here. The hardest look, so dirt was okay. But am with occlusion for some reason didn't want to look as well. So I think it was the capillary wall. No, it was elsewhere. And edge we're over here. Or even doesn't look like it wants to changed too much. There you go. So that's the edge height that we had previously. I'm actually just going to start taking it off completely. And that's going to give us a much nicer type of a locus as well, for the top as well. I think that's going to look much nicer in that regard. And we might as well bring in some color just a little bit more. Otherwise, it doesn't look quite as saturated, quite as nice. And I'm just going to do then you go. That might give us a nice the type of a look. We don't want it to do it too much. Because of course this is for the top of the western area. And I quite liked overall setup. And as the panel thing, what we need to consider is when changing one texture, the other one is going to might not quite as aligned as much. So we got to the bottom as well as the bottom one over here. And I think I'm going to fix that up real quick. I'm going to go to the top word first because I don't like the way this is such tinted red. I'm going to change it up more of a yellowish tone. I think that's going to look much better over here. Then I'm actually going to copy the same base color and I'm going to paste it in for the bottom piece as well to get the same consistency throughout. Going to make sure I copy this code over here, click control C to copy it. Then I'm going to go onto the bottom would over here, going to find myself the same base color over here. I think that's the same one. I'm going to check it real quick. In regards to the mask and it doesn't even have the mass, so it definitely is the one. We're going to go back onto the base color, going to just delete the code over here and paste in the value myself. And we're going to get hopefully the same consistency throughout, although the UV coordinates are a thing missing it up. Yeah, definitely is mixing it up in this regard. I'm actually just going to fix that up real quick because otherwise, it doesn't look like it is going quite as well. So yeah, let's go ahead and do that real quick. We're going to change up the UV random real quick. And let's try playing around with the values, see what is up with that. Doesn't want to switch up. It seems I'm wondering why that is the case and it might vary in this case to just remove this entirely and kinda use the restore defaults to randomize it for hours. Just looking at the cells. It doesn't seem like it wants to show me any type of details. I'm just wondering why that is the case. And it might be within a parameters attributes known. There is nothing here. But if we tried to flip them over, it seems like it's a nice kind of a setup, but all in all, it does not seem to want to work. So I'm just wondering maybe the scale that up they go to scale is going to help us affect this. And they go by just having this value set. I'd 69, we're going to get these kind of results. And I think that looks all in all so much nicer and better throughout this entire design. So yeah, that's pretty much it in regards to setting ourselves up with a nicer type of a look or the scene. And now we can finally just go ahead and actually get everything textured out and actually get everything rendered out in the next stage. So thank you so much for watching, and I'll see you in a bit. 52. Iray Render Basics Introduction: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. Now that we're done, we're setting ourselves up with the textures. We're now going to go ahead and render out this scene. But before doing that, I'm going to play a basics video in which is going to explain entire render a built-in within the substance painter. So let's go ahead and get right into it. Hello and welcome everyone to Substance Painter beginner tutorial in which I will show you how to render out your asset within the substance painter itself. So before rendering out your asset, what you'll have to make sure to do is go to texture set settings and upscale your texture parameters, which you can do clicking on this icon over here, all the way on the top of this tab. So by default, if you are texturing out your asset, you'd probably want to have a lower resolution just to save up some performance within the software. But when you're up scaling it, it will affect the renderer. So we're making sure that the texture for it is going to be higher than the default one. And I think default one was 2048. So I'm making sure that it is set to four K just to get those sharper and crisper textures. Once we get it done, we're now going to go on to the renderer itself. So by clicking on the upper corner, we can click this button over here and we get right away into renderer. There are a couple of options that we can choose from within the render settings. The first one that I'd like us to do is increase the max samples by increasing it to a max samples. Because the way the render works is it ever goes to the max limit of iterations or the max time. So because we're setting the max samples all the way up, that means that we can basically tell how long you need to render it out just simply based on time. So if I were to increase this e.g. to 15 s, now, what it'll do is it'll render out your time for 15 s. And this is crucial for rendering out an asset because I re, is using ray casting. And what this means is if I were to set the max time to five, e.g. or even lower acidity free all the way down. And I were to adjust my camera. Because every time you adjust your camera, it tries to retrace every pixel individually and give you the most accurate result, because we're only rendering 3 s of the renderer, we're going to get a noisy type of texture. And even the shadows in the background are going to be quite a lot noisy. So that is something to consider when we're rendering out our asset. By simply increasing this, we're going to give the render a longer time to work with this image. And it'll give you a nicer and crisper image for the purpose of this tutorial though, our lower this down to 5 s, just so I wouldn't take my performance away while recording this video. We're now going to talk about display settings. This is where we control all the additional settings for the renderer. By clicking on this display settings icon, we get the environment settings, camera settings, and report settings within it. So first things first, the environmental map. We can change the background by clicking on this button over here and select any type of environment that we like. So e.g. if I were to change it to benefit show street, we're going to get this result. And if I were to danger to glaze Paschal, we're going to get this result. The way our background gets applied also depends on the dome. So if we scroll down, we have a dome type. And if e.g. we were to pick infinite sphere, you'll notice that we don't exactly see how far away or how close we are within our environment, even if we zoom in or out. So by sticking up with spirit and ground, we get our asset placed on the ground. While if we zoom in and out, we noticed quite a bit of distortion because the sphere that we're using right now is really close to us. And instead of the infinite one where it's just infinite, far away, we can't actually get to it. If we were to scroll all the way up back onto our environment settings, we'll notice that some of the settings are hidden. And that is because they are also being used within our normal viewport. So it is also used outside or renderer. So this way we can change the opacity and whatnot. But if they are blurred out and hidden, that means that they're not being used by the ray casting functionality, we can however, make use are the environmental exposure and environmental rotation to make some quick adjustments to our map. This will affect how the environment reflects a light on the asset itself. So if we darken it, we see a darker kind of a scene. It's hard to see the asset and if we brighten it up, we get much glossier, shiny edges and also the brighter asset. So I'll just go ahead and keep this as the default and environmental rotation. We'll do exactly the same thing as if you were to hold Shift and right-click and rotate your camera around, honestly, I would recommend you to start out by choosing the right type of environment to give you the most, the best type of lighting that you want. And then afterwards, what you'd do is you'd go outside of your rendering. And based on this viewport, you are now able to make some quick adjustments to the way your camera is positioned, as well as rotate your camera around using Shift and right-click. But If you want to enable the environment to see how it looks like, we can always increase the opacity, lower the blur, which obviously only affects the viewport itself. But using this, we can now determine the way the environment is affecting our assets. So with this, we can position our camera the way we want and have the lighting the way we wanted it as well. Then afterwards, if we were to go back onto renderer, will notice that the camera that we add is going to be the one in the renderer as well. But now that we positioned our camera and the lighting that we want, we're going to go onto display settings. And we're going to scroll down to go for more of the settings. If you don't want to have an environment within your scene, we can always turn that off within the render itself. If we select Clear color, we can get the color and background. That's going to be only a solid color. And we can change the color as well by click on this square over here to get the type of color that we want. So if I were to make it with a blue tint, I can do so. Now, keep in mind that even though we are changing the clear color background, the type of lighting that we're going to get is going to be affected from the environment itself. So it is always crucial that we pick the environment and we want to work with and rotate our lighting to the way we wanted it to be. Because afterwards, it is going to give us the reflection based on that environment, even if we are using a clear color. So keep that in mind. Afterwards, we have a ground which will give us shadows at the bottom of this asset. And by default, what it should be is it should be set up. So the very bottom of this asset would be barely touching the ground of the slain. So basically, it'll give us a nice shadow. But if we were to use y-values and adjust this, we can always manually reposition our ground like so. Then we can also affect the way the reflection is being set up for this ground. And if we were to change a threat, e.g. we'll notice that we have some red thinned coming from it. But by default, it's usually better to keep it as black and not change this value after which we have the way the ground is being glossy, which gives you a different type of ten if we have the reflection on with different type of color. But again, because I'm using black, it is not going to be quite as visible. Then afterwards we have the shadow intensity. It will affect how strong shadow is. And we can't go pass the value of one. So it's basically 0-1 value. Then we have visible from below. This will basically say that if the ground is two-sided or not, which is sometimes useful for when you have the ground that's right above your assets, e.g. if you want to have a certain effect. But honestly, this is not quite as useful, so don't have that own. Basically, I'm just going to reposition my ground back to where it was like so. And now I'll turn off the visible from below going down, we have cameras settings. With these settings, we firstly have preset, which will help you get different angles on your asset. The front camera, the back, the sides are all here nicely set up or whenever you wanted to render out your asset in multiple ways. You can always go back to the default one for where you had your camera setup and it will have that saved out. And also we have some additional cameras settings, field of view, focal length, focus distance, and aperture. All of these settings affect the way your camera behaves. Something to keep in mind though is depending on the camera preset to use. It is going to have slightly different ones. But if we have to adjust them, and when we do adjust them, we're going to have different types of settings for which one of the cameras also make sure to restore it if you wanted to get back to the default settings, which is easy to do by clicking this button on the right side. We can just restore this camera settings like so. Now I'll go back to the default camera. Okay, post-process effects, all of these effects are going to be applied after the rendering is done. So what it means is even when we rotate it and have the status set is finished, we can still make adjustments to the active post-process effects. If you're not able to see them though, make sure you have your icon TikTok. This can sometimes be hidden away by this tiny bar at the bottom, though, whenever you don't see the act of post-processing effects, make sure your bar at the bottom is slid all the way to the left. Once we have this thick down though, we got some settings for color correction, depth of field or mapping, glare, vignette and lens distortion. Color correction would do exactly as it says if we were to enable it first by clicking on this icon over here, and then open up this tab. We can make a bunch of adjustments to the way the rendered image looks like. So saturation contrast, brightness, bias, and all those good stuff just to make it give off the feeling. We want, we also have Sophia tone ratio, which makes for an interesting effect as it highlights this entire shape. Finally, we have the white balance temperature. What this will do is it'll affect the way the lighting is being presented onto your asset. By lowering down, we'd get a color effect, which happens because we're getting like a blue tint onto our assets. And by increasing it, we get like an orange tint, which makes it look like a hoarder type of environment. We can always hit Restore to default to go back to the default settings. And if you don't want to use it, we can always turn the setting off by taking off the box. Secondly, depth fulfilled is not usually something you'd use whenever you're rendering an asset, because render already uses a double depth of field, so you don't really need to worry about this tone mapping. Tone mapping will allow you to increase exposure and gamma, and this will affect the entire scene. Keep in mind that we are using a post-process effects. So this will apply it on top of an image, meaning that it wouldn't affect the way the glare or the specular auditing glossiness of an object for when we did it with just an environment. So first of all, let's make sure we enabled own mapping. And again, by increasing the exposure, we can highlight or darken the entire scene or gamma. You do a similar effect. Also, there is a linear functionality which we can change to auto and have a completely different outlook to it. Now we also have mapping factor. Honestly, it's better to leave this advert it to this default value will give you the best type of look that you need. We can close down the tab now. And if you don't want to use it, we can always take the box off. Or when we are coming back to it, we can always take it on. Next one is glare. So let's go ahead and enable that layer. As you can see, we'll give you the type of sparkly shiny effect for your product, for your asset, just to exaggerate the shininess and brightness of the object is also affects the environment as well though. So if we'd have like a lighter area, let me just turn on the environment again. If we were to have a lighter area, you see how we are adding the glossiness on top of it. So before glare and after glare, you see that the type of difference it makes. So usually whenever you're using glossiness, keep the clear color home because we don't want it to be showing the glare effect from the environment itself, going back onto the Bosporus effects, there are a couple of ways to affect the glare using luminance, threshold and re-map factor. Then we also have the type of shape that we can use. So by changing it to an after image, e.g. we get a complete different glare effect. So by playing around with those, we're going to get a nice effect for the shiny parts of an asset. So moving on, we got Vignette. Vignette is really nice for whenever we want to darken up the edges to make sure for whenever our acid is in the center, our eye is going to naturally focus it on it more and it's going to be popping out a little bit more. The way vignette achieves that is by darken up the edges. We don't really want to overdo it. Because if we do the strength too much, it's going to completely black in it. So I recommend you if you want to use it, only do it slightly. So even a value of 0.3 will slightly darken up the edges we can see before and after effect. And I'll also give you a nice thin to a solid color that we have in the background, but just try not to overuse it. And honestly, anything over 0.4 would be way too much. So I wouldn't recommend you doing anything over that. So next up, lens distortion. It can give you a really nice effect for a camera and lens you can see if I enable it and play around with these effects, we get a really nice camera effect, which you can make use out of. You achieve a really nice effect for camera look. Moving on, we have some further changes outside of post-process effects. So let's go ahead and disabled post-process effects for now. And continuing off, we have actin temporal anti-aliasing. We can see what this one will do by hovering over our mouse. And it tells where basically how we are sharpening up the size of an asset and just making sure that the shape itself is just sharper. Instead of having some jagged edges. Usually though, if you are having higher resolution, you don't really need to use it. But if you do use it, just use a default value and oval do the trick. But if you're doing like a high quality resolution render, you don't really need to worry about this. Afterwards we have active subsurface scattering. If you're doing a skin or foliage or any of the sort and you're making use of the subsurface scattering, enabling this will help you to allow you to see how your object looks with the subsurface scattering texture enabled. But because I'm not using a texture or the subsurface scattering for this one. So I'm not going to get much of an effect with it. Again, keeping the default sample to 16. We do the trick for whenever you're using this sort of an effect. Later on, we have active color profile. And it's also, I think it should also be part of the post-processing effects. Since when we activate it, we're just applying sort of color gradient on top of our image. And if we were to select e.g. one of the many presets, we get a much different look for the image that we're going to render. So we're getting, we can get a bunch of different types of effects just by simply changing the type of preset that we're using for a color. Like so. We can also use white point just to make sure we're affecting it differently. Based on this profile. Moving on, we have tone mapping. If we hover over, over our tone mapping, it'll tell us the information. And it basically changes the dynamic range of the color mapping. And we'd get a slight different result. This is applied after both the color profile and active post effects. So based on these, we'd get some slight different color change. But using linear for rendering is the one I recommend you to use because they'd give you overall better images in my opinion, at least moving on, we got viewport settings. This viewport settings are setup only for the viewport itself. And we're basically not going to use them because it doesn't exactly affect our scene. So we're going to leave it as is, and that's pretty much it for how to set up your rendering image within the substance painter software itself. I hope you enjoy the video and I hope it was informative to you. And now we're going to go back to the course. Alright, welcome back to the lesson. It was quite a lengthy process, but now we're going to actually go and make use of this learned information to set ourselves up with a nice render. So thank you so much for watching and I'll see you in a bit. 53. Rendering an Image: Hello and welcome back everyone to Substance Painter beginner's guide to game texturing. In the last lesson, we left ourselves of way of gaining some information in regards to the IRA. And now we're going to make use out of it to actually set ourselves up with a nice shot. So as a starting point, what I like to personally do is get myself a nice angle to work with. So we're going to grab ourselves a nice composition. I reckon something like this is going to be quite nice. Maybe we can do math a little bit like so. Since worst-case, we can always crop out the bits that we don't need once it is rendered out. And the starting point is going to be just simply to get all of these textures into four K. Now what I'm going to do is just simply set ourselves up with a camera. Like so. And I'm thinking that, yeah, Let's go ahead and straight up, change up to resolution because right now it's 24 to eight for each one of those. And to get a sharper image, we're going to upscale that up to a value of four K. And there is a way to do it like if we were to select the texture subtle list within one of the lists. One of the items we're going to click Control a, and that allows us to select them all and we could change that technically two for K resolution. However, we do have 15 in total different materials applied. And if we try to do it all at once, it might crash the software. So before doing anything, I'd recommend you to save out your project. Click Control and S to save it out. You can see it in bottom-right, it being saved out. And then once it's done with that, go ahead and select the uppermost extra set list and then I recommend you just hold control and select couple of, couple of them. I'm going to do it by but once, but if it does crash on your computer, just make sure to do it in regards to less of them. Or alternatively, just skip on to the rendering part. And you'll be totally fine in regards to that as well, since it's still going to give you some real nice type of detail. Afterwards. I'm just going to go ahead and change them up to four K resolution just like that. Which should, if we look at the bottom bar, we can see that it's loading up. So it is up-scaling them all at once. All we need to do is just wait and then we get this result. And then afterwards, instead of just go in-between the texture satellites, I'm still going to stay within the rooftops one. And then I'm just going to make sure that it doesn't go and load up our layers basically. So afterwards I'm just going to go ahead and see which ones have selected. So this is the last one I've selected, since if I were to look at it, it's still gives us the 4096 type of resolution. And if we were to select one has 4.40 96 and other one is 2048, is not going to give us the size anymore so that we know is this is the other type of a density for the resolution, and I'm going to select six in total. So five plus the one that we had previously, and I'm going to change it to 49.6 like so, which is going to change up those four K resolutions to these ones. But the one that we had previously selected, it is still going to have that for K resolution, so it's not going to do anything to it. So let's go ahead and wait it out. Now. There you go. Now I'm going to continue on doing that. So we're going to select this, going to see which one was last one. That was last one. So let me just go ahead and make the final selection like so change it to or K resolution. And there we go. After we're done with this, we're going to go back onto rooftops. And yeah, if you want to go back onto texture and just make sure to select them all and change it back to 2048. Since this is too high of a resolution for texturing and usually the performance would definitely suffer, especially when we have 15 different materials applied onto the scene. And actually I'm just going to change up the environmental little bit more so we could see the tower a little bit. We can see this wagon over here. So we can go on to the eye ray. And right-of-way within IRA. It'll take some time to start it off. Once it does, we're going to get this result right away. I want to though, lower down the max time to get ourselves shoulder type of render. I think 5 s is going to be more than enough in this regard. If you're seeing everything to noise, you can increase this time. It's only for the preview at this moment, so we don't need to worry about data. We can move this around. It's going to be a bit Jaggard. So when I move air in anything, I prefer to do it outside of the eye ray, which by the way, in order to see shadows and whatnot. But I also recommend you to do is to go to display settings and turn on the shadows outside of the eye ray. That is because that way we're going to see some additional visual shadows over here. And it'll help us to determine what kind of lighting setup we want out of our scene. Of course, the by default IRA because it is using IoT technology, is going to give us a proper shadows right off the bat and we don't have that option within here. So that's why, that's the reason why we have that. And let's go ahead and right away, just change up the environment map. We're going to change this up to a 0 plus ground. That looks like a real nice type of a setup. And depending on the camera view, what I prefer to do is I prefer to change up right away the type of a dome we're having. So by default it has sphere with ground. If we're having more of a top-down view or preferred to have this as infinite sphere, since it wouldn't affect the overall type of a perception within our scene. Or alternatively, because I prefer to have this type of composition to be formed from the ground up for this type of camera, I'm going to keep it as is. I'm going to also take off the eye ray real quick, change up the lighting a little bit in regards to the scene. And I'm going to go back into it real quick, going to enable the display settings and, uh, we'll be changing the ground. I will actually turn off the ground completely since I don't want any shadows to the bottom. And I'll want to change this sphere with ground since I find it that this is going to look much better when we're having this sort of look. There you go. We're going to have this sort of setup. Then afterwards, we're going to go ahead and just go into the post-process effects. Basically, let's go ahead and activate, activate the post-process effects, which by the way, once we start changing these up, they're not going to affect the rendering in any shape or form. These are the post-process type of information that we can easily change up. And it's not going to give us any of the additional render times. And we're going to start off with glare, which I, by the way, I want to change up the camera lived but again, like so I think that's yeah, there you go. That's much better in regards to that. We're going to enable glare. We're going to increase the glare luminance to a maximum, which will allow us to then work on the threshold. The threshold is basically allow us to control where the glare it starts and where the areas for the glare basically don't exist. A will change up the shadows real quick actually at it more to the side. I think that's going to look better in that regardless. Go back onto the right, Ira, go that's going to look much better. We're going to go onto display settings, luminance set to max threshold, play around with it. The ones some shine on the top left-hand corner where the metal is, a bit of it and then we can just break it down to take it off from the scene. So yeah, we're going to have a small amount of glare. Not too much, not too little. And it's going to be quite okay. Oh, and also by the way, we have a shape type of a glare as well. Forgot about that. We should probably change it up to bloom. Since that will, if we look at it, I'm actually going to change this to something like 50 e.g. which doesn't seem to allow me. That's alright though. Threshold day ago going to change the threshold and the illuminance. If we were to change this, bloom, is basically going to give us different types of shapes that we can get ourselves with. And bloom is the nice way to increase that extra brightness to make it look nice. And we're going to play around with the bloom threshold. There you go at this sort of result and take it down to a value of two. That's quite okay. Yeah, Afterwards, we're going to go ahead and play with color correction. We're going to enable this leg. So we're going to open this and we're going to increase the saturation array. I can buy little bit to 1.1 eighth. We can really leave the contrast as I like contrast as is brightness. We can turn this up a little bit as well. Like so 1.2 is good, IS like so temperature. The temperature is going to control how hot the entire environment looks like. We can take it down and it's going to look like a nighttime actually, which is pretty nice. But we're going to take it up a notch like so and make it look like middle of a day hard type of a setup. So afterwards we got ourselves. If we were to scroll down tone mapping, we can enable this as well. We can change these up a little bit. Exposure will allow us to get more brightness out of a scene in which, by the way, we also have an option for here environmental exposure. But that's only going to expose the N-word environment in a bag. And this is just going to do it the post-process kind of a way to do it. Not only the environment in the bag, but also within the scene, just the brightness itself. So, yeah, let's go ahead and change it to a one-point one over value. Gamma is going to just wash it out a little bit as well. I reckon that's going to be quite alright in regards to how bright the scene looks. Let's go ahead and do that mapping factor. We can leave it as is. And yeah, that's pretty much it in regards to that, we're pretty much done with Dad. I'm actually just going to scroll down and activate and the aliasing we can increase this value to a bit of a larger. Want to make sure the edges are sharpened up. We're going to change this up to a value of 42. That's going to be much better in regards to that. And we're going to leave the rest is pretty much it. So now we're going to continue on and actually export it out this image. And we are going to increase the maximum time. So instead of seconds, we can just set it up as bring hundred seconds. I reckon that's going to be quite alright. We can see that it's actually 5 min and we might be a little bit too much. It really depends on the type of situation we're having, but because we're having some translucency at the front, as you can see, we have some water that's going to give us some really bizarre type of scattering results. So it's going to take a bit longer in order to fix those, these kind of noise issues. So if you're having too much of a noise, basically just makes sure to increase the rendering and that'll be fine. Yeah, in the next lesson we're going to continue on with this and export ourselves out and image. So thank you so much for watching. And I'll see you in a bit. 54. Exporting out an Image: Hello and welcome back In prone to substance painter beginner's guide to game texturing. In the last lesson, we left ourselves up with a nice render setup and now we're going to continue on with this and get ourselves an image. But before doing that, I'm actually going to real quick just play a video in which I'm going to explain now to the export options throughout the entire IRA setup and how it behaves in regards to the transparency e.g. so, yeah, I'm going to see you in a bit. Hello and welcome everyone to substance painter beginning guide for renting out your asset from within the substance painter itself. Right now I have my asset set up within the rendering, IRA, and I have my camera, my lighting environment, and all sorts of stuff already set up. And now what did we do to actually render out the image? Well, first of all, be sure to have watched or other substance beta basics, setting up the renderer. And now let's make sure that everything is rendered out and amount of time that we want. I'm currently rendering it out only for 30 s and I get myself 28 iterations, just making sure that the samples are set to max and the time is set to amount I want. And basically notice how there is like some noise on the image. If we increase the iterations are re-cast, are going to cost more race and we're going to get rid of those noise. So basically if you're seeing any type of noise on your image and you want to get rid of it, just make sure to increase the time and it'll do the trick for you. What you should know though, is that the quality of your image is also going to be affected by the resolution itself. So right now I have my resolution set to four K, which is 496496 pixels. And as you can see, because of it, I'm getting a square or the render that I have, though, these black bars are not going to be visible in the image because we're just having an entire viewport filled out by setting up render resolution, we can change up the ratio that we want. If you're not able to change those pixels, you need to click override viewport resolution, and you'd be able to change them if you'd like to get a default resolution ratio of 16 by nine, which is often used within YouTube videos, e.g. the type of resolution I would recommend is 1920 by 1080. Just to give you a default HD quality resolution that you'd see on YouTube images, e.g. so anyway, with that said and done, I'm now going to talk about a little bit about the background itself. Then status quite important for when we're rendering out an image. If you have from the display settings that you're clear color for the background. And it doesn't matter which type of color you're using. If you have this clear color selected, what can happen is you can get a transparent background for your render. And the reason this happens is when you're saving out to render. If you have the format set S, P, and G, it will save out a transparent background as well. But when you're saving it out, remember that a shadow is also being saved out as well. It is pretty neat as the functionality, because what you can do is have a transparent, partially transparent shadow to be with your transparent background. If we don't want it, we can always disable it though by ng-click in the ground from the display settings. But by saving out as a PNG format with a solid color background with get a transparent background. So right away, once we click the Save render, we're going to get a pop-up window where we need to locate where it's going to be saved, the image itself. But right now I'm going to save it out within the render as folder. And I'm going to save this out as a render ENG, like so. And click Save. Now, if we were to want to keep the solid color, we can always save it out as a JPEG instead. This will basically stop it from saving the background. And it's the easiest way to keep your background as the default solid color. I'm gonna go ahead and call this a render JPEG. Jpeg, and click Save. And now if I were to go on to the folder that I save my file, here we can see the clear difference between apec and a PNG. So the one on the left, the JPEG format will contain the solid background. The one on the right, however, will have it removed. Right now, I'll actually show you why it's so nice to have a transparent background. If I have an image imported into Photoshop and just simply change the color for the background. Like so. I can have any type of background. And it will include also partially transparent shadow. So it's actually really nice for whenever we want to write our own custom backgrounds, or just put it on top of any types of images that we want. But just like that, we're able to create some really nice effects. For our own render, that is the way that you'd make use out of the rendered image. However, I would recommend you to, if you're using it this way, not cut out the shadow. Because right now, if I were to rescale it has you notice the shadow would be completely cut out from the rendered image. So basically, if I have it rendered like this, I would rotate my camera around a little bit and have the shadow just like that. So it wouldn't cut it off at the edge. So anyway, that's all it takes to render out an image from within the substance painter. I hope you enjoyed this gouache basics tutorial. And now let's move on with the lesson. Hello and welcome back everyone to the video. Natalie, introduce ourselves in regards to how it behaves with the Save render. I'm actually just going to continue on with this. And although I personally prefer to keep this override viewport resolution change, I do like this overall composition, so I don't think I'm going to change it right away. And I was rendering this out. And 500 s was a little bit too long of a time. So when I lower this down, you can see that rendering time was free minutes, and this turned to 1 min 40, which is 100 s. So yeah, basically added up just lowering this time. And I'm going to export it out as is. And it's going to show us that as, as Dan, since the rendering time was a bit longer than that. So yeah, we're going to straight away just click Save render. We're going to just select the area where we want to save it out. I reckon I'm just going to save it out in images. And I do want the background to look like this. And we're going to save it out as a JPEG format. I'm going to call this, we're pretty much done. I'm going to save it out and see how it looks. And that's going to be it for me guys. We went through an entire process of Substance Painter environment texturing and made use of the best of what substance beta has two over. I'm sure that at this point you'll agree that the process was worth it and that you have picked up new techniques for you to use in your future projects. I really hope you enjoy the course and I hope to be seeing you in our other courses as well, which by the way, we have another substance painter course, a massive class that shows you how the texture and set up a wagon scene using UTMs and how to set it up within Unreal game engine. Speaking of game engines, we also have dungeon prop and its level design course, helping you to create a fully modular pack to help you create entire scenes of environments in minutes. So head on over to check that out as well as I'm sure you won't regret it. But here, that's going to be it from me. Thank you for watching and I hope to be seeing you soon.