Beginner Tutorial - Texturing in Substance Painter!

today I'm going to show you how to texture a model from start to finish in one sitting with substance painter and after that I'll show you how to bring the textures into blender and Unreal Engine since this video is for beginners we know you might not have a model ready for texturing so we're providing our project files for free so if you want to follow along follow the link in the description sign up for a free account and grab those files when you're done with this video go check out our other substance painter tutorials for more Advanced Techniques and if you've watched our previous intro to substance video the one with the robot the beginning might seem familiar but stick around because this time I'm going to go into a little bit more detail and I'm going to cover some new techniques all right let's hop into substance and get started all right so let's take a look at the file that you downloaded inside you'll find the Cobra untextured fbx and you'll notice that I also included the normal maps for it and that's so that we can bake all of our mesh maps in substance painter if you've never opened substance painter you might not know what I'm talking about but that's okay let's jump over to the program and start texturing let's start by going to file new and I'm going to click on select and navigate to where you downloaded the project file and just double click on the fbx I'm going to keep the document resolution at 4K and for the normal map format there's really no right way to do this it just depends on which rendering engine you're going to be using or whether you're going into blender or Unreal Engine if you have existing normal Maps like we do it depends on the format that you used to make those normal maps in our case they are openg GL so I'm just going to leave it at that if I go to import baked maps and press add I can go into the textures folder and you can see that we even labeled them for you openg g I'm going to select all three of them and press open and then I just want to make sure that I click on use UV tile workflow because this is one material but there's three UV maps for it then I'll press okay and let me just give you a quick tour of the interface if this is your first time in substance painter now I may have moved my windows around but you should have all the same windows that I have so in the middle here we have our 3D viewer and you can move the camera by holding down alt and pressing the three different Mouse buttons over here is the 2D viewer and this is where we can see our texture in a flattened State and you'll notice that it actually has three UV Maps that's because we're using UD dims over here in the texture set settings window which again yours might be on the right side because I've rearranged my interface a little bit over here in the texture set settings window I'm going to scroll down and click on select normal map and it should take us right to the map that we imported notice that it's one texture but it has a three on it and that's because it combined all three of those textures that we imported into one file if I click on this we should see some detail appear on our weapon here notice that we can see the little numbers on the front little production crate logo all the panel lines and nuts and bolts are there and we can see that in the 3D window and the 2D window if you press f2 we can see just the 3D window and if we press F3 we can see just the text window so if you need to zoom in on something and if you press F1 it goes back to the split view I'm going to press f2 okay and if you click on this little second category of materials here and drag and drop something onto the model like this yellow Machinery we can see that it doesn't quite look right it doesn't look how it looks in the thumbnail there's no dirt no scratches or anything and that's because we haven't baked our mesh Maps yet so I'm going to press undo and I'm going to go up to the croissant and this little croissant button is how we bake our mesh Maps right here so these are the maps that we need to create and I can explain what they all do when they're done but first let's go down the list of all these and change their settings so that they make sense for our project in this case we don't have a high resolution mesh to bait so in this common settings window I'm just going to make sure that it's set to 4K and then move on to normal map now we already have a normal map so I'm going to uncheck that I go to world space normals there's no settings for us to change for ID um I like to go to change the color source to mesh ID and change the color generator to random again I'll show you what this means when it's done baking next for ambient occlusion I'm going to turn up the secondary arrays and just like our robot from the previous video this is a mechanical object with lots of moving parts so I like to set the self occlusion from always to only same mesh name and what that means is when it bakes the Shadows onto the model they're not going to cross-contaminate each other so for example this bolt right here moves back and forth and we don't want the gun to bake Shadows onto the bolt because it would look weird once it starts moving but the Shadows are baked on as a texture next I'm going to go to curvature and in this case we're going to make some changes um we're not generating our high detail from a high-res mesh we're generating it from a normal map so I'm going to click on this one and you can experiment with increasing or decreasing the details I'm going to go to the position settings and I don't need to change anything here and lastly I'm going to go to thickness let's turn up the secondary rays and also change the self occlusion to only same mesh name okay that should be good let's press bake selected textures and now we just got to wait if you followed along with the robot video from previously this will all seem very familiar to you but now you'll notice a difference we do have high resolution detail in this case which we didn't have with the robot okay that's done let's check out our textures I'm going to click back on the brush to go back to the painting mode and we can press the b key B for bake and it will cycle through all the maps that we've created this first one is the ID map and you can see that each individual object is a different color and that helps us later on down the line when we want to assign textures just to one of these groups I'm going to press B to go to the next map this is the ambient occlusion map and we can see that this is basically just little Deep Shadows in the recesses that will help us add dust and rust okay I'm going to press B this is the curvature map this map picks out the edges of the model the sharper edges and that lets us add scratches to those edges if we want to add weathering this model already has a little bit of a texture on it it's got like a rubberized texturized grip which is why it looks so noisy but that comes from the normal map it actually had some detail there okay let's press B for bake again this is the position map this just masks the gun off with different colors and a gradient showing what side is the front what side is the back the top and the bottom Etc so if we wanted to make it looked like the gun was I don't know dipped into water and it's wet on the front we can use this gradient to tell the computer which side of the gun is the front this is the thickness map we probably won't use this too much it's mostly for organic stuff but it basically just shows where the model is thickest and thinnest so in the lighter areas there's more material and in the darker areas it's really thin walled if I press B there's nothing in the height Channel yet nothing in bet normals if I keep pressing B the last one that we want to look at is the world space normal map and this just tells us which direction each face is facing so if I look at it directly from the side it looks mostly red because these faces are facing mostly to the left and if I look at it from the top everything looks mostly green because everything is facing on the Y AIS okay you're done looking at your Maps press M for material and now we're back to the main View and we can start texturing now a little tip that I didn't show in the previous video but a lot of people ask ask how my interface looks so good and I'm going to show you my secret before I start texturing I like to change the way the camera looks and add some Shadows so if I click here in the top right we can go to the display settings and you can actually change the environment map right now we're using this HDR called Panorama if you want to actually see the environment you can turn up the environment opacity can do a forest look we can do an outdoor look all kinds of options here and then right here you can turn on Shadows but they usually look too intense so I like to turn down the opacity a little bit and I also like to blur my background so it's not distracting and you hold down shift right click to turn it and you're good to go quick tip if you get tired of constantly turning the light to the side that you're trying to look at you can change the environment alignment from world to camera and then you just set your light once and it follows the camera no matter where you look it will be the bright side and one last setting on the focal length I like to change it from 17 mm to maybe 35 mm or even 50 mm depending on the model and that just gives me a slightly better feel all right and that's the way I like to work one last test before we get started let's drag that same Machinery material onto the model and see what it looks like yeah that looks so much better I mean I probably won't use this material but at least it's behaving as we expect it's got dirt in the recesses and the edges are all picked out in a brighter yellow so our maps are working all right let's delete that okay and let me show you how substance painter Works to people who have never opened the program it can be very confusing but it's really simple it's a lot like Photoshop or just other layer-based programs but just to get used to what we're doing here let's jump over to the basic material tab it's the one that's all the way on the left here and just drop any material you like onto the model I'm going to start with this metal polished and over in the layer palette we can see that the metal polished is applied now drag any other material like this blue tarp and notice that the blue tarp is now on top of the metal and it's covering it up we can't see the metal anymore just like in Photoshop we can add a layer mask so if I right click on the tar material or if I click on this we can add a black mask either way will work and now there's a little black layer mask and it's covering up the blue material and revealing the metal underneath you can actually see the mask Itself by Alt clicking on it we can see it's all black and if we paint white you can see we're just painting a white streak across the model if I press M to go back to my material I can see that I'm revealing the blue tarp wherever I paint so that's the basics of substance painter it's just manipulating masks to create really cool effects so let's reset this mask I'm going to right click on it and go back to Black Mask now the reason substance painter is so powerful is because it doesn't force you to hand paint all of your textures we can use what's called a smart mask to create automatic more complex masks so if I click on this third tab here and just for a test I'm going to grab any one of these masks we can see this one right here for example has white edges and a black interior so if I drag and drop that onto my mask we can see that the blue is masked off to just the edges of the model I undo that and I choose this one that says Moss from Top we can see that the blue is mostly on top like moss we can also manually create a mask if I select the mask I can click on this little effects button and I can add a fill so now we've added a fill it's solid gray right now so it's kind of halfway Blended between the blue tarp and the gold metal but we can also plug in a texture here so I'm going to click on the uniform color here and I'm going to choose any texture that I like there's tons of them here maybe I'll type in grunge to filter it out this one's called grunge paint streak circular and we can see it's starting to apply that material now I can increase the balance of it to bring more of it in and we're getting this sort of crunchy pattern now this is the world's ugliest gun but we are just learning about the interface right now let's pick something a little less noisy I'm going to choose Checkers and now I've got a checker pattern now notice it it's kind of crooked but that's because it's a checker pattern in 2D space so I can increase the tiling to increase the checkering and we can see in 2D space it's a nice Checker pattern but in 3D space it doesn't always translate that way so we can actually change the way this is mapped onto the model right now it's mapped via a UV projection but we can do a triplanar projection and now it really is just a check pattern projected in 3D space onto the gun and I can change the tiling of it and it looks pretty cool it's like a new Call of Duty skin or something now this is where substance painter gets really complex but also really powerful is we can add layers within our layers notice we have our blue tarp layer with a layer mask if I click on that that opens up and now there's like a sub layer called Checker I can add another thing on top of this Checker let's add another fill and I'll type in scratches let's try this grunge scratches rough and let's set the blending mode of this sub layer to subtract so now we have our Checkers but you can see that they have scratches is being subtracted out of them and we can change the tiling of just the scratches or the contrast and we have full control now so far we've just been applying flat textures to our model but we can actually apply generators which will dynamically recognize those maps that we baked earlier and add more detail to the edges or to the recesses of whatever model we have in here so let me show you how that works I'm going to click these little X's to get rid of our fills and if I click back on our mask I'm going to add a generator instead of a fill and right now we have no generator you can see it's empty so I'm going to click on that and there's tons of generators here but I'm going to click on the basic one called mask editor now what this does is it gives us control for every one of those baked mesh Maps right now you can see everything's turned off all the sliders are turned down except curvature which again is the edges if I go to my baked maps you can see this is the curvature map so if I increase the opacity of this we can see that the blue is ending up on just the edges of the model we can further open up the curvature map and we have more control so I can refine the coverage of it by changing these sliders and they have names like sharp fine soft medium large big and huge and that basically just helps us choose which parts of the model should be covered or not okay so that's the basics of the program I'm going to trash those two materials and let's start texturing for real now now the existing version of this gun is pretty clean and sleek and futuristic so I want to do something a little more grungy I want to do metal that's kind of dirty um maybe not full post-apocalyptic and like rotting and rusting but just unkempt and kind of grimy and my favorite way to make dirty Chrome is actually to modify this bronze armor material now quick note you may not have all the same materials that I do because when they update the program sometimes they change out the default materials here also I've gotten a few materials from the Adobe library and also from render crate we've got some materials up there so if you don't have exactly the same materials that I have um don't fret just kind of create your own designs with the materials that you have so I'm going to drag and drop bronze armor onto the model and this is not exactly what I'm looking for yet but we're going to make some changes I can see that my bronze armor has no Properties or settings and that's because this is a smart material which is actually just multiple basic materials grouped together in a folder so if I open this up you can see there's actually a bunch of layers in here so it's kind of like pre-assembled a nice material for us to start with now this can be a lot there's a lot of information here and every smart material is different some of them are made by Adobe and maybe well organized and some are made by users which you can download online and they might not be well labeled and organized and so they can be really hard to figure out what's causing what so the way I recommend dissecting any smart material that you're not familiar with is start at the top and just turn off all of the layers until you get to the very bottom one and then we're going to modify them one by one working our way up so we can see what they're doing so here at the bottom we have one called base metal and it's a bronze color and I want this to be not bronze so I'm going to click on the base color here and let's make it gray it's also pretty shiny I wanted this to be a little bit more used so I'm going to increase the roughness of the base layer pretty cool I always recommend also changing the tiling of every material you're using because chances are the smudges and scratches are not the right scale for your model so we can increase and decrease the tiling and I can see in this case it actually doesn't seem to be controlled by this tiling slider and if I look I can see that yep it actually has a couple generators and fills here attached to the material itself so that's probably where all this detail is coming from so hopefully you can see my thought process and how I dissect these materials and get them to work for me if I click on the fill which is underneath the base metal and I adjust the tiling there I can see that okay this is the one that's creating all those smudges and scratches on the surface we can make whatever adjustments we want we can change the balance if we want to it's really up to you okay next I'm going to go up and turn on the dirt layer and I can see that it's added a lot of grimness to the recesses and this layer actually has a mask on it so it's only falling in certain areas again don't forget if you want to see the mask you can alt click on the mask and this is the pattern that's being thrown down we press M to go back to material so far so good let's go to the next one surface details we'll turn that on so this makes the surface kind of scratchy and uneven with like pits and little dings coming out of it I think I may not even keep this one because I feel like it makes the metal look too old so if I toggle that on and off you can see what it's doing maybe we can make it more subtle by going over to the mask into the mask editor and just turning down the balance there we go now we just get some isolated areas like right here that have damage but now the entire gun doesn't have damage I think that looks pretty good speaking of damage the next one's called Edge damages I'm going to click on that and I can see that this makes all the edges of the model look copper or bronze now I don't want that so I'm going to click on the edge damages layer and I'm going to change the base color to Gray and I think it's also pushing inward you can see all these little pits pushing Inward and then the edge actually has kind of a a bump to it so on this layer I can actually turn off all of the height Effects by clicking on this channel right here height so now that layer doesn't push in or push out it's just changing the color on the edges and adding a little bit of shine and we can see that by pressing C for color keep pressing it until you get to the base color Channel and we can see that the edges of our model are actually lighter in color I press C again we can see this is the metallic Channel press it again this is roughness now in the roughness Channel I can see that the edges are darker which means they're a lot shinier than the rest of the gun and I'm not sure if I want that so let's press M for material and on the roughness Channel I'm just going to lighten that up pretty cool okay and the last one is called sharpen and that just adds a little bit more sharpness and detail to the material okay and I think our dirty Chrome is looking pretty good so let's close our our folder and I'm actually going to change the name to dirty Chrome so I don't get confused and now I want to create sort of a rubber or plastic material for all the furniture like the handle and the grip and all that so let's search for Rubber and this one called rubber dry looks kind of promising let's try that and yeah that actually looks pretty good I think I'm going to darken it to make it more high contrast with the rest of the gun but pretty good so let's open up rubber dry and I think the only thing I'm going to change is go down to the rubber base and click on the base color to make the dark gray even darker I don't want to go full black cuz that's not really real even if you want things to appear black you want to go just a little bit gray okay so just like with our example materials the blue tarp and the gold metal I've got two layers and the top one is completely covering up the bottom one and I want to actually hide the rubber material in certain areas of the gun to reveal the metal so let's click on our rubber material and go add a black mask and it would be a huge pain if we wanted to paint it onto the model manually so we're not going to do that we're going to undo and I'm going to use this tool right here called the polygon fill over on the left and what this does is it will fill the model kind of like the paint bucket in a painting program with whatever color we want in this case I'm going to flood it with white to reveal the rubber dry now you can see right here it's set to B mode or polygon fill mode and that means if I click on it it's just going to fill one face at a time which is not exactly what we want the next one over is the mesh fill mode and that means it'll fill the entire object now this gun has broken up pretty intelligently so I'm going to click on the objects that I want to be rubberized basically and you can actually click and drag if you need to like this now notice that I accidentally got this strap and I also got this little metal piece that I didn't want to be rubber so if you need to remove the rubber you can actually change the the color to Black over here and now whenever I click it's going to remove the effect just like that I'll switch it back to White and I'll keep clicking okay I think that looks pretty good so I've got this nice two-tone sort of modern High Contrast Design but I want to create a bright pop of color that I can put around the model and I'm thinking maybe yellow so I'm just going to try some of these other plastic materials and just see what they look like um that one's a little bit too dirty I'm going to undo this one might be a little bit too glossy this one's a little too scratchy yeah I like this one I can work with this one it's called plastic grainy soft so just like before let's open that up going to go to the base and let's change it to a nice yellow poppy color and I can see it's kind of a bumpy material let's go to the bumps and see if that's how we can control it I go to the mask for the bumps I can see there's a fill called cells one let's click on that and we'll change the tiling to make the bumps a little smaller okay let's add a black mask to the entire plastic group here and then I'll switch to my mesh fill and I'll click on anything that I want to be yellow plastic maybe these cables running through here could be yellow oh maybe these parts too that's pretty cool okay so far so good now that we have more of the weapon textured I'm starting to feel like I want the metal to be a little bit darker and then some parts I want to be a bright shiny metal I need to darken down my metal by going back to dirty Chrome going all the way down to the bottom where it says base metal and let's darken that color a little bit more and maybe increase the roughness a little bit too okay that looks pretty dark but what we can actually do is select the entire dirty Chrome material and duplicate it and I'll rename this to Bright Chrome and let's turn the brightness back up just a little bit maybe not as high as it was before and we can use this new bright Chrome as just little accents around the model so I'm going to click and add a black mask to the bright Chrome and then I'll use my polygon fill to just pick out some of the mechanical details like these little details here can be a little brighter o maybe all the nuts and bolts all right there we go so now we've got two different tones of metal we've got dark metal and then a bright metal accent all over the model we've got black rubber and we've got our yellow accent color I think we actually just need a couple more detail materials before we can start really making this thing feel unified like it's one piece so let's get a couple more little simple materials onto the model first one I'm thinking of is some glass for these little lenses so so if I search for glass I can find this smart material called glass Film dirty mirror and I'll just drop that onto the model looks pretty good let's add a black mask and then I'll use my polygon fill to just click on those little lenses and you know what while I'm at it let's add some more color some more visual interest by changing the color of the glass to maybe red maybe like a dark red like that now we also need some sort of a material for these Fabric or plasticky straps so if I search for plastic maybe able just throw on this plastic armor glossy and see what that looks like let's add a black mask to our plastic here and once again use the mesh fill to isolate it just to these little straps and don't forget these ones back here now those look pretty good um they are slightly tinted bluish purple but I think that actually helps break up the model a little bit um if it was just desaturated dark gray it would kind of just blend into the rest of the gun so feel free to tint them whatever color you want just to give it a little bit more depth yeah if those were just dark gray or black they would get completely lost okay and the last material that I think we need is some sort of a bronze or brass material for the shell so for that we can maybe just use another copy of bronze armor and drop that onto to the model let's add a black mask to the layer and we'll use the mesh fill to apply it just to the bullet now it's got a lot of grime on it I don't think I want that so I'm going to turn off my Edge damages and maybe even the surface details pretty cool okay at this point the gun could be considered done every part of it has an appropriate material on it but I think we want to go a little bit above and beyond and push our textures a little bit farther so it stands out so I'm going to add some details to it we talked about in a previous video thinking about how things are constructed because that will add a lot of realism to your object so I'm going to add some weld lines to the gun and I'm going to add some sort of Stripes as if parts of the gun were machined on a lathe next we want to sort of tell a story with our textures so I'm going to add some decals to it and then I want to unify the whole texture so I'm going to add some dust at the end so let's start by telling the story of how this thing was constructed in the first place and I'm going to add some weld lines now this looks like a really futuristic High precision machine so you probably wouldn't see visible weld lines but remember I'm going for a slightly post-apocalyptic future sort of setting maybe not full apocalyptic like Fallout but I kind of want that sort of rundown maybe hand modified Vibe we can already see that this thing has some straps on it so whoever owns this thing maybe they have to make repairs cuz they don't have access to new Weaponry it's really dirty there's already straps on it so let's add some weld Lins as if they added things themselves so if I go to the basic materials tab here on the left and I type in weld we should get a material called metal welding now this isn't actually a material that you want to drag and drop onto the model we want to paint it on so I'm going to add a blank layer right here by clicking on this little paintbrush and I'll call this weld lines and then I'll click on the weld lines material and we can see we now have a brush where we can paint weld lines onto the model now it doesn't quite look right for our material so let's make some adjustments over here firstly I'm going to turn down the metal color cuz it's a little bit too bright maybe I'll turn up the roughness just a little bit that looks pretty good we can also change some Randomness by increasing the shape irregularities and maybe even up here higher up in the settings we can turn on the size Jitter just a little bit and a little bit of the angle Jitter and now you can see every little stamp that goes down is a little a little bit randomized so let's do a test let's see if this looks good just drag along the edge of where two pieces come together and we can see it looks like it's been welded on especially from far away and I think that looks pretty good so I'm just going to go around the whole model and add weld lines to areas that I think will look nice probably won't do it to every single intersecting Edge but just in key areas again think about how someone might have modified this gun maybe they wanted to add a rail that wasn't already there if you're having trouble deciding how the gun might have been modified try to think about video games where you can modify weapons like again like out you can change the receiver you can add sights to the top but adding any sort of hand painted detail or hand chosen detail will really increase the quality of your textures you know substance painter makes it so easy to texture that really anyone can make something that looks pretty decent and so the standard is going up faster and faster every year because you know everyone can open up substance painter and slap on some really nice looking materials but it's the attention to detail and taking the time to add details by hand that really will make your work Stand Out texturing is all about telling stories either the stories of how these objects were constructed or the story of where they've been since they were constructed oh and here's another tip try to view the model how it's going to be viewed during gameplay if it's for a game so I did all that work with the weld lines and I just want to make sure I can see at least some of them here if this was a first person shooter so there's some weld lines right there the next thing I want to do is maybe add some stripes in the metal over here on the front of the barrel to try to tell the story of how it was constructed and barrels are usually turned on like a lathe I want to show the marks in the metal that show it was created that way and there's actually a really good material just for that that comes with substance painter if you have the newest version but if I go over here and search for metal um I'm in the base materials tab by the way all the way on the left there's one called metal brush I'm going to click and drag that onto the model now I don't really want to change the look of the metal that I already have I like the dirty dark Chrome so I'm going to turn off the color Channel and the metalness channel and the roughness Channel and just leave the normal map so we're only using the normal map from this material because you can see it adds these nice lines to the metal like this now there currently facing all Which Way but this is the effect I was going for for the machined metal let's just rearrange these so they're facing all the same way so the reason why the stripes are going in all different directions depending on where I'm looking on the model so for example right here it's running lengthwise but here the stripes are running across and the reason for that is because if we look over here in the texture view really all the stripes are running from left to right and these UV shells over here are kind of laid out in all different directions so if I want to make these all face the same way in 3D space what I want to do is click on my metal brush material and then up here at the top I'm going to go to projection and change it from UV projection to planar projection so now we have this box in 3D space that we can move around I'm going to rotate it 90° so that the blue arrow is facing side to side and I'm also going to line it up with the barrel cuz that's really the only part I care about right now and we can see that the stripes are running lengthwise so now I just need to rotate it I guess this way like that and you can hold down shift to snap it so now you can see we've got these Stripes running through the metal the way I want it to go let's just really quickly isolate this effect to just the barrel unless you want it all over the place um you can see it's it looks pretty good on this part it doesn't look good on the plastic that doesn't really make sense right so I'm going to add a black mask and then I'll use my mesh fill to apply it just to the barrel like that it's a pretty subtle effect so we can still make some adjustments if we need to if we click on the metal brush material we can change the tiling to change the size of it and if we scroll down we can probably turn up the brushing intensity yeah and that's going to increase the depth of those stripes if you want it to be a more noticeable effect now one last little detail that I want to add before we do our finishing dirt pass is some little decals and warning signs this model already has some branding on it we don't need to add that pretty cool but maybe just some little warning labels like don't pinch your hand on this extendable stock that sort of thing so I'm going to add a fill layer and what it's going to do is fill the entire object with a nice new fresh clean coat of white paint let's name this decals and for now I'm just going to leave it how it is and I'm just going to start masking it off where I went the decals to be and then we can change the color of the decals later if we want to so let's add a black mask let's click on our brushes and I'm going to choose the basic hard brush and then I'm going to click over here on this tab this is the alphas Tab and I'm going to search for decals and there's actually a warning sign right here for pinching which is pretty cool so I'll click on that and now my brush is that pinch sign and I can add this little warning right here cool again we're going to refine it a little bit but let's just get these decals placed on the model where we want them and I guess I'm not really thinking of them as like stickers but more like a little maybe like a little screen print that goes on the model during manufacturing and maybe there's some sort of warning about this piece if we want to keep going with the sort of like ridiculous Fallout theme maybe this is radioactive so maybe I can add this radiation warning right here what's funny about that is this isn't like a laser gun it still shoots bullets as you can see but for some reason it's got a nuclear reactor right there maybe it's just for this laser site speaking of lasers we actually do have a laser warning right here so maybe I can put that somewhere on this part not really a ton of room a lot of detail on this thing cool there we go all right let's modify these decals they don't look really realistic or well integrated into the object so I'm going to click on the decals material and I'm going to increase the height just a little bit so that it stands off the surface you don't want to go too crazy with this in fact I'd probably type in a very small number like 0.1 or maybe even less than that 0.05 okay and now you can make it whatever color you want maybe a warning orange maybe red or maybe just keep it sort of an offwhite it's up to you okay and then one last little step on these decals they look a little too perfect and pristine so let's rough them up a little bit if I go back to the mask I can add a fill and you might think that we just erased our paint jaw but we didn't this fill is just on top of it right now so let's change the fill to maybe grun scratches is rough and we're going to set the grunge scratches rough blending mode to subtract so it's going to remove those scratches from our decal we can see it's working but it's way too big so let's go up to the tiling setting and increase that maybe we can increase the contrast as well and adjust the balance and now you can see our decals just have a little bit of scratch marks on them just to make them feel like they fit with the rest of the model okay once again the gun looks like it could be done at this point but we want to do one last little step to tie it all together and sort of put it above and beyond what most people are going to be doing with their texturing projects I I like to add one last dirt layer on top of everything so it looks like each of these materials has been in the same environment cuz right now there's a lot of dark dirt on the metal but it's not really on the plastic right and there's a different type of dirt on the yellow plastic so it doesn't quite feel unified yet like it's all been in the same environment now again this only makes sense if you want to tell the story that it's been in a dirty environment so don't do this if you want this to look like it's been in a in a pristine lab or just came off the assembly line or something like that I'm going to go over to my materials and type in Rust I actually like to use this metal rust as dirt because it has a lot of really cool interesting detail I just changed the color of it to look like dirt so let's drag this onto the model so that it's at the very top because the dirt would end up on top of everything and obviously right now it's way too much but we can adjust that later let's go to the rust color and make it sort of a more gray tan like dirt I'm going to increase the dust roughness and you can play with the color variation if there's too much variation you can also increase or decrease the grain intensity this is the actual bumpiness of it now if you want really thick dust you can turn that up but I want it to just look like a soft dust layer so I'll turn that down and maybe this has been in a Sandy environment so let's choose kind of a Sandy color like that and then lastly I'm going to increase the tiling to get more detail out of it and I can see it's actually really bumpy so maybe I'm actually just going to turn off the height Channel alt together so it's just a nice thin soft layer okay let's add a black mask and I'm going to go to the smart mask Tab and let's just find one that seems like it would make sense maybe I'll try searching for dust let's try dust occlusion and yeah this is this is closer to what I want it might be a little bit too much dirt but it's the pattern that I was looking for so let's click on the mask and we can see how it's being laying down okay let's click on the dirt generator right here and I can increase or decrease the dirt level I can increase or decrease the dirt contrast and then we can change things like the grunge scale if the scale of it doesn't quite look right maybe I'll increase the grunge scale like that if I press M for material I can see yep it's pretty pretty much what I was thinking it still might be a little bit too intense but hopefully you're getting the idea of what we're going for here okay now let's get this texture which is finished into blender and into Unreal Engine because it's kind of useless if it's just sitting here in substance painter right so let's get this out of substance painter and then into blender and Unreal Engine I'm going to go up to file export textures and then right here at the top I'm going to navigate to where I want them to go I'm going to drop them in that same folder where we got the fbx but I'm going to make a subfolder called finished textures and I'll select that folder and we can see over here these are all of the textures that are going to be exported now we actually don't need the height Channel cuz we didn't really create one so I'm going to turn that off and I'll press export and you can see it's creating one of those maps for each of the three udm so there's actually a lot of maps being created but it's really quick it's already done so first let me show you how to plug these textures into a blender scene now you can import the same fbx that we've been texturing or if you have a pro account you can import the finished rigged model from render crate that one actually has joints that can be animated but if you don't have a pro account you can actually just use the fbx that we were already using so I'm going to import the fbx there it is looking nice I'm going to switch over to my shading viewport and I'll click on the gun and you can see there's already a material here set up it's called Cobra material now the quickest way to plug this in is actually to use a plugin that comes with blender it's free it comes with it you just have to activate it I'm going to go up to edit preferences click on the add-ons and search for Wrangler and I'm going to turn on the Node Wrangler now if you've been using blender for a while you probably already have this activated but if this is your first time opening it um this is my most recommended add-on the first thing you want to activate the most basic and probably the most powerful thing is it allows you to plug in all of your textures at once so to plug in all of our textures at once I'm going to click on my material oh actually before we do that I want to delete this little normal map node because it's going to create one for us and there might be a conflict with the one it creates so let's trash that click on our material and hit control shift T navigate to the finished textures folder and I want to grab all of them that say one1 at the end so the base color one1 the first metallic one we probably don't need the mixed AO um and we probably want to click on you can see we have two normal Maps normal and normal openg um for some reason substance painter gives us two and I find that the one that just says normal is sometimes just blank so we can skip that one in fact we can Trash these later on uh I'm going to grab the one that says normal openg GL and roughness so we basically just need base color metallic normal open GL and roughness and I'll press open and we can see it plugs in our textures they don't quite line up yet there's one last thing we need to do because these are udims we need to tell it that so right here where it says base color it says single image let's switch that to udm tiles and we can see it updates let's do that for all four of these textures and there we go that's all of our textures plugged into blender nice and quick and easy now to plug in our new Textures in Unreal Engine it's actually a pretty similar process you can see I already have the gun here in Unreal Engine and it actually has all the animations you need if you want this file it's actually for sale up on our Unreal Engine Marketplace store but if you're already a pro production crate member uh you don't need to buy it there you already pay for production crate so you can actually get it straight from render crate if you're a pro member you can download that right here and you'll open up this scene so to swap in our textures that we just made if you want to use them in Unreal Engine here's how we do that once you get into the scene into the Showcase map we're going to navigate to our textures subfolder and these are the existing sort of white pristine textures so I'm going to make a little subfolder call this dirty and let's go into the dirty folder and I'll press import and I'll navigate to the folder where our finished textures are and let's select everything except the ones that are just labeled normal we're going to use only the ones that are labeled normal openg GL I'm going to press open and you'll notice you're going to get some warnings and that's because we imported three textures for each color map and normal map and roughness map and all that and unreal is just telling you that it recognized that it's udims and it compressed it into one single image so if I double click on the color map we can see it's actually all three okay something we need to remember with unreal engine is we want to uncolor correct a few of these Maps let me show you what I mean the metallic map and the roughness map are color corrected but we don't want them to be because they're actually not color Maps so let's right click on these and go up to asset actions and go to edit selection in property Matrix which sounds really complex but basically it's just a way of editing a bunch of settings for a bunch of maps all at the same time so in this case we have the metallic map and the roughness map and we just want to turn off this srgb checkbox so that Unreal Engine doesn't try to color correct those textures I'm going to press crl s to save that and then one last thing we want to adjust before we apply this to our model is the normal map let's double click on that so open that up and right now this is an openg G normal map we did that because it was made for blender and blender is expecting an openg normal map but Unreal Engine expects a direct X normal map the only difference between those two is that the green channel is inverted so I'm going to go over to the texture settings here and I'm going to go down to Advanced and open that up and I'm just going to turn on flip green Channel and now the green channel is been inverted and we can use this map in Unreal Engine let's hit save and close that okay now I can jump over to my material and double click and these are the existing materials let's go ahead and trash all of those and in my textures folder inside the dirty subfolder I'm just going to drag and drop all of these into my material and we'll plug these into the appropriate channels now if you're not sure which ones you're looking at just click on them and you can see right here the label this one is metallic so I'll plug this into metallic this one is the color map this one is roughness this one is normal and this one is ambient occlusion so I'll plug that into to ambient occlusion right there I'll press save close the window so now we can see that our gun is retextured and it works with the animations it's ready to go into our firstperson shooter project all right so that's how you texture things from start to finish in substance painter and then bring them into your favorite 3D software like blender Maya or even Unreal Engine to make video games now if you retextured this rifle with your own design be sure to share it with us on Discord or tag us on Instagram with it because we really want to see all the designs you come up with all right later creators

Channel: ProductionCrate

Views: 17,822

Keywords: productioncrate, footagecrate, rendercrate, soundscrate, graphics crate, mo-graph, motion graphics, mo-graph artists, motion graphics artist, vfx, vfx artist, visual effects, visual effects artist, free vfx, free music, royalty free, royalty free vfx, royalty free music, after effects, adobe after effects, adobe ae, 3D, 3D modeling, free 3d models, after effects script, free after effects script, film, filmmaking, independent filmmaking

Id: JFGWe3G8uIo

Length: 34min 56sec (2096 seconds)

Published: Sat Mar 30 2024