Blade Tutorial - Part 2 - Baking & PBR Texturing - Substance Painter 2

hey everybody welcome back to the texturing part of our kukri knife tutorial I'm working with substance painted 2.1 and we are about to bake texture and also make a cool-looking render in array which is integrated here to substance plane the tool and if you want to follow the extended edition right after that course I recommend you to follow closely we're going to reuse some of the folder structure and the first thing that we want to do is create a new project I'm going to have the document resolution at 2k and I want to add our low poly model here the document resolution is really just our viewport resolution not to be confused with our actual texture resolution you may want to reset your UI so that it looks the same as on my end might be easier to follow for you the texture set resolution here is the same as the document resolution that we just put if we change it to a non-square format we can also later export it out as such but it's important to know that we can only bake a square format here in our actual baker within our baking settings I'm going to put it to by mesh name so it recognizes the naming convention from Max bake with 8x8 entire lacing and I want to disable aon thickness for that first bake that we do here put the resolution to 4 K by 4 K and the dilation to 16 so that we have enough pixels around our UV Islands like I said we can only bake a square format later we will be able to export out a non square format so that bake came out nice it looks like the ID map shows black here so there's something wrong with it but now it's time for our second bake anyway here and let's check what's wrong with the ID want to put it to random and also recognize our mesh ID and now I'm just going to make a reverse selection with just the ID AO and the thickness and within the AO I also want it to read the naming convention only say mesh name and the same here in the thickness and then within our common dialogue I'm gonna put it to four by four entire lacing that will just make it bake much faster and looks just as good so now we have everything here and the ID map seems also perfectly fine I'm gonna just save our document here within my substance folder call it kukri and save that now let's just quickly recap we have our smart materials that already consists out of layered materials and we have our default materials also called fill layers what's new is that we have the smart masks now and the best way to demonstrate how they work is to add a fill layer and I'm just going to change it to red add another fill layer on top of it and just change it to a blue so now we can usually just apply any of these default masks or we can just drag and drop any of these smart masks on it and those already come with predefined generators that have a certain type of wear and tear so now you can see how we can just quickly drag and drop these masks on top of it and be able to quickly get a certain look that we may or may not want to have so that's basically the whole idea of the smart masks now let's also have another look at the smart materials and what we can do with them like I was already saying they come layered already that's why they are in folders and that means that every one of these smart materials already has like a predefined look that comes with often already wear and tear on it like here and we are always able to go into these individual layers navigate to our masks where we then find our generators such as this one here and one thing you may notice is that substance painter tool is missing a bunch of these generators so what we can do is open up substance share where we will then find all our old generators and materials that we really miss from substance painter one or at least if you are me then you would miss them so here on that substance share website then you will find all the old generators that used to be part of substance painter one now I don't know exactly why they got rid of them or at least why they excluded them from being in the substance painter to generator step but I could imagine that they want to encourage people to just work more with the mask editor which is very powerful in combination with the smart masks my personal opinion is that it's better to have all the options available and that's why I was just downloading all these generators here back into one folder and I'm just going to extract them filter by type and then just cut and paste them into your document substance painter to shelf generators folder and once this is done we just go back in substance painter save our scene and restart it reload our scene file here and then if we go back to that mask editor here or the generator tab we see that we now have quite a few more options here to pick from which once again I just think it's better to have it I am going to save our scene here once more so what I want to do is delete these free layers and start creating separate folders for each element of our kukri so I'm going to start here with a fill layer which switch to red press ctrl-g on it to put it in a folder I'm going to call the folder blade right click that folder and add a black mask and switch over here to the polygon fill and with white select it we can then make a selection here on our black mask going to create another group call it grip add another black mask and also add another fill layer which I'm going to drag in there and this time I'm going to switch it to a blue same as always polygon fill and also select the whole grip here but now we have that metal part that I want to exclude from it so I'm going to switch that polygon fill to black that time go into the polygon mode not the element mode that we had earlier and while holding the Alt key just deselect the areas that we don't want to have as a selection here let's just make sure we don't select or deselect anything we don't want you can always press X by the way to toggle black and white it's pretty much the same as with Photoshop so let's just zoom in there and make sure we really have a nice mask here for our things and usually that's really all I do I use our polygons to create a mask and then in some cases like this one here for example I just switch over to our brush bring it down to a certain size increase the hardness on it and then paint out or in a few of these details so in that case here that was wrong control Z and now with our white brush here we can paint on that mask and just make sure it's really perfectly fine there because those are the small details that matter and let's just switch it here to the other side and do the same thing if you press shift then you can make a straight line by the way it's a really cool tool so let's just continue doing that until we really have it all perfectly fine this is actually the only element here where it really matters because we have some details that are just pure normal map information there and now that this is done I will then just proceed to create another folder and it's going to be the grip end that piece here which is later going to be all metal for the most parts and once again I'm going to add the fill layer into it have a mask on our folder and then while we are in our mask here I'm going back to polygon fill and this time I'm just using the polygon selection for it to select all these pieces here that are supposed to be metal later on and let's have a look at it again from the other side where I messed up some stuff again so I'm just going to switch it here to the other color black and deselect it from our mask and that might also require a bit more painting here once more so same as we just did bring that brush down to a certain size and let's make sure we are actually painting with black and while I press shift I just make some straight lines here so that we don't have any pixelation that is too obvious there and let's just look at the other side once more few more pixels here it's just always important to care for these small details such as this here even if you may barely ever see it but it's still important it's like the big picture that counts and we are almost done here without masking the only thing that I also want to mask out are these screw fixtures here that we have both at the back in the front also going to add a folder and a fill layer in it and let's just switch it to some random color here add a black mask and then it's easy to mask it out we just have to be a little precise with white color here and our black mask I'm just going to stamp it and do the same thing here already on the other side and then we have two more here on the front of it and then the one thing to know about substance painter is that each layer affects the layer that's on top and that's why we want to disable the screw fixture folder for a moment or hide it and then affect our actual grip here once more and just mask out the information that we have there on these screw fixtures or else lay later when we have the screwed fixture folder working it will take the same normal map or height information that we have below so in order to prevent that we just have to mask it out here let's just get that right and now we can then just turn back on our screw fixtures folder and now what I want to do is select grip and screw fixtures and grip so everything that belongs to the handle and press ctrl-g on it and then I'm just going to call it handle all I want to have a black fill layer at the bottom of everything to prevent bleeding and I want to drop it it's kind of hard sometimes to drop things exactly where you want them so what I'm going to do is I drag it right here in that folder handle all select our free folders and put it on top going to add a black mask here to the handle or folder and then just with the element mode select the whole handle again so now we really have the perfect folder setup here and we don't have to bother with the masking anymore just drag and drop textures in it so if I'm looking at our reference image for our default texture here I just want to concentrate on this raw kind of a metal for it I don't want to have coating on it and you may want to switch the size here to 2k remember it's non-destructive and also field of view I always like to bring it down a bit it's just a matter of habit and you may want to increase or decrease the environment opacity I like to have a black background for it and let's start let's go here into our material tab and let's find the steel rough material I'm just going to drag it here into our blade folder on top of that red fill layer one thing that's new in substance painter - is that we have an actual normal material channel to work with some of the materials now have this bump slider here or normal intensity and whatever we set there will later then also appear in the normal map together with the converted height information same as in substance painter one let's use our UV rotation here on that material just so that we have these streaks follow more the actual shape of our blade and I am happy with that so I'm gonna use our UV scale here and bring it down a little bit I want to put it to one point four that should be fine and as the next thing I'm just going to increase the roughness here actually decrease the roughness which means that it becomes more glossy so I'm going to leave it there the normal intensity seems to be alright just change my mind here on the UV scaling I think it might look better that way 1.71 and let's add another fill layer here on top I'm going to make it a bit darker here and I want to switch over here to our smart mask tab and I'm going to use the sturdy drag it onto our new fill layer and then in the actual material properties I'm going to disable metal that just makes it pop a little bit more and also I want to bring the roughness amount down some more so that we have this material really in contrast to that very glossy metal that we have right under it so I'm going to leave it somewhere around there with the roughness and that looks pretty nice now it's not like a mirror anymore we have some actual details there already so let's continue by creating another fill layer and I also want it to be somewhat dark almost black and I'm going to add a black mask to it and then I'm going to right-click that mask and add a fill and now that fill I'm going to add a procedural texture which is this grunge scratch texture so now we get some interesting details going here on the blade and I want to go into these parameters here of our procedural map as you can see on the right side it comes with quite a few different slides here and I'm going to increase the contrast a little bit on it and that goes often hand-in-hand with also adjusting our actual material so in that case I'm going to add some height here to it which makes it way more interesting than before and back to our scratches parameters here let's tweak them some more here often it's a matter of just trying a few of these slides and see what produces an interesting result it's not like you open it and everything is immediately obvious so often it's a bit of a matter of testing stuff out and see what works and I also often make use of that seed button here just to get a bit more of an interesting placement of these actual scratches so now it looks like it's more following that actual shape of the blade that we got here and I'm think I'm gonna just stick with that and I want to go back here to our roughness in the material and make it really rough which means that if we toggle here through our channels by pressing C right now we're looking at the base color if we switch to the roughness you'll see it's showing as white those scratches which means it's no reflectance let's name our layers scratches and that one here would be the dirt general and also I want to go here into that mask and increase our contrast it was otherwise a bit too noisy on it and back here to our scratches let's go also once more into the parameters and bring that contrast up a bit more here so that's certainly starting to look nice and I'm going to bring the height back a bit down here on those scratches and let's have another look at it here I often toggle to our roughness just to get a bit of a impression within our channels I'm actually going to add another iron layer here Iren shiny to be exact and I'm just going to drag it right under our steel rough material let's only pick this one here and let's use that color picker to pick up exactly the color from our steel rough and the reason why I use this steel or iron shiny is that it has these nice brush strokes on it and I'm just going to rotate it so that it looks a bit vertical here to our plate and now if I enable our steel rough we get our nice roughness back which I actually might want to bring down a bit and I'm sorry by bringing down I mean actually the opposite it's kind sometimes a bit confusing I mean less shiny more roughness and I just selected these two layers and press ctrl G going to call it steel base and do the same thing here for our dirt and scratches and going to call it steel wear and tear so now we have it nice and organized and if we toggle it we can see the kind of effect that this wear-and-tear actually has which is quite significant let's open up our handle folder and I'm going to search our material tab here for would open up the grip folder and drag that would American cherry in there which by default really looks way too plasticy so we bring up the technical parameters and we want to bring the height range down all the way to 0.01 so you can already see it looks way more realistic that way and I also want to adjust our UV scale here I'm going to leave it at one for now and I also want to play here with our UV offset and that's really just a matter of taste until you like it whatever works here and let me just give it a few more spins here still not convinced so I'm going to bring it down a bit more so now we have some of these characteristic what elements in there like these rings and I just want to bring that color down here make it dark I certainly want that to be a dark wood around here and for now I'm just going to make a copy of our steel base I'm gonna drag it here in our grip and folder and that pretty much already gives us the exact same metal that we want to have there I don't want that to be a different metal that would look kind of awkward and it also saves us some time make another copy here for our screw fixtures and in that case I want that to be a bit darker looking so what we want to do is disable iron shiny just so that we don't have these brush strokes there on the screw fixtures and I want to increase here the roughness so that it stands in contrast with the the other metal and now back to our wood folder here I'm going to add another fill layer on top of that make it also a dark material bring the roughness up a bit and let's see which one of the smart masks we can use this time I'm going to use dust soft and let us have a look at it here in the roughness Channel right now it looks like it could need a bit more contrast on it so let's switch over to our mask editor and just increase a bit here the global contrast and I also want to first of all give that here a proper name and then add at least one more layer here on top with wear-and-tear I'm gonna use dust dirt here smart mask go in the base color bring it down and also I want to pick off already one of these colours here from our actual wood with a color picker and I think I'm just going to give it a bit more of a red tint something like that here a little bit lesser saturation and also less shiny so it picks up again more contrast from our actual wood and let me add a filter on top of that I'm going to use the sharpen filter so if you zoom in here or you could just toggle that you will see that the filter just gives it a bit of a nicer texture and now that I'm zoomed out here I think that can be even darker that wear-and-tear that we just added here and also on our actual wood material so I'm quite liking the wear and tear but this one here could also be even darker which stands in great contrast with the actual very shiny and bright blade so the darker we have this the better we have our contrast here let me also make that even lesser shiny here on that wear and tear that we just edit so that again we get more contrast going there and you know what I'm going to do now I going to add some extra scratches after I gave that here a proper name and for that I'm just going to recycle what we already created earlier here if you press control D on this scratch layer you'll just make a copy of it make sure to drag it right on top of our actual wood material and now within these parameters I'm just going to adjust the scratch width a little bit more scratch dirtiness let's see what that does and that just gives it a bit more of a uniform look here like it wouldn't make sense if we had that many scratches on the blade and then there the actual handle wouldn't have any at all so let's just try once more here with the seat get these positioned a little bit more interesting and that looks pretty promising let's also look at it from the other side yeah I'm just going to leave it like that and let's see what we can do next let's just close that grip folder for the moment and go back here to our blade and I want to copy that wear and tear folder ctrl D open up that grip and folder and then just drag it on top of our steel base so that we have the same kind of wear and tear as we have on the blade which again makes only sense if it's a uniform look now I'm not going to add that wear and tear folder here to our small little screw fixtures instead what I'm going to do is take our steel rough material and just bring that color down a bit make it a bit darker also a little less glossiness here more roughness and I think that this wear and tear that we already have here at the at the end of our grip could profit from having a sharpen filter here on that dirt general so I'm going to right click that mask and add our sharpen and that just gives the whole thing a bit more of a contrast here which looks pretty good there and because I thought that that just really worked well there with a sharpen I'm gonna do the same thing here on that layer that we have on the blade let's also add that chart and filter and let's switch over here to our roughness to see how it behaves if we toggle that and you can definitely see it adds a bit more contrast which we may want to lower a little bit but other than that that also adds a bit more of this nice texture to it and I think I just changed my mind here on those little screw fixtures let's copy that went air folder over here from our grip end and edit on top here of these little elements there just so that we have also a bit more we're going on there was a bit too pristine looking before let's open up our steel base once again here and right now I'm thinking that it is a bit too glossy here the steel rough so what I want to do is control D on our iron shiny here and then I'm going to apply a different material on it just by a hitting iron pure and that switches that material to being exactly that so what I want to do is take the color picker and make it the same color as iron shiny and I want to bring the roughness down and now if you toggle that here you see how it's really super pristine looking especially in the roughness and I'm going over to the roughness channel of our upper layer here and really bring it down to 45 so now it's basically a mix out of the steel rough and the iron viewer that we have under it and on our steel rough I'm gonna bring the color down a bit here the steel color just a slight amount make sure iron shiny is enabled back so that we get this brushed look again and now we have less of noise going on in our blade that's why we made that whole effort here so now let's look at that again and I think we could do a bit more work here on the wear and tear I'm going to use this smart material here called exposed edge where I'm going to drag and drop it on top of our layer hierarchy here for the blade wear and tear and while looking at it here in our roughness channel it overrides our old roughness which I don't want so I disabled the roughness on it and I also want to brighten it up a bit more so that it really looks like these edges actually show like the name suggests exposed edge wear and that makes for a nice contrast and in fact I like it that much that I'm even gonna use it here on our wood the only thing to consider is that we don't want to have metal enabled on it and also we may not use our color for it so that means we have it here in our roughness for the most parts and that adds a whole lot of interesting details here to it which I am just going to use for this and I want to use another smart material here on our grip called the dirt I'm also going to just edit on top of everything let it load for a moment and I changed my mind I'm gonna use dust because dirt came a bit too strong there and on that one here I'm just going to lower the color to more darker tones otherwise it looks a bit too out of place there that adds a little bit more to it here maybe bring the saturation down a little bit more here on the dust base and that looks pretty interesting right now I still find our knife a bit too clean looking overall and in order to change that let me just close all these folders so that we don't get confused where we are here I'm going to add a new folder on top which basically has a global wear and tear that affects everything just make a new fill layer add a black mask to it and now within that black mask I'm going to add the generator which is the mask builder and this one is really powerful let me disable the metalness first of all here as well as the height information I just want to be working here with our rough and the base color and let's just switch it to something more dark so we see what we're actually up to and with in those parameters I want to crank the Grunch amount up somewhere around here 0.7 and within this Grunch tap that I just opened we can also affect a bit more the way that it appears and so far so good here at the blade now let's have a look how that layer affected our handle and that is a bit over the top here and what that means is that the idea of having a global dirt layer here might not work as well as I thought going to add a white mask here to our actual folder switch over here to the element mode of the polygon fill and then affected here with black which basically means I'm having it completely masked out if you press shift on your mask you can always toggle it by the way now I got a switch over here to the polygon mode and with Wyatt I bring it back here on our metal that's where I really want to have it so let's just make sure once more that we actually select everything that we need to something missing here and that adds even more interesting wear and tear details here which I like to have there let me zoom out and one thing that is probably a good idea is to change that color right now it looks like oil and I don't really want to make it look like some blood splatter horror movie knife but a bit of a red tone might be interesting and while being in base color I want to bring that opacity down a little bit so that it's not so super strong let's also have a look at it here in our roughness Channel and I'm gonna have it a little bit less glossy and here on that side seems to be fine sometimes it's really all about these fine little adjustments so for example I want to have it even less glossy so that we get an actual contrast there with our metal and it also looks cool here from our other side one thing that I want to do is add some scratches let's use the worldspace normal for it bring that down here and you can already see how we get these nice little scratches there but way too many so I'm going to lower the amount all the way down there somewhere 170 and let's see here on our other side so what I want to do is add a filter here to that mask once again our sharpen filter to make that a little bit more crisp here pressing tap will get you in the full-screen mode which is always a good idea to look at it in that mode from time to time and I actually want to change the seat here a little bit more which will just randomly assign this grunge pattern on different areas here of the blade and especially with those procedurally generated elements such as this grunge here it is certainly worth through dry seat until we like it because it can change the whole look so dramatically and I like how it forms up there at the front now for the most parts I'm going to call it dirt dry and I actually want to increase it a bit so let's go over here to the levels and put it up a bit more not too much but so that we see a little bit more of it and I'm going to make a copy of it ctrl D and I want to call it fingerprints I'm going to overwrite that mask here with a black mask which will also get rid of all our generators switch over here to the brushes and search for a fingerprint and let's adjust these parameters here the jitter amounts bring that size up a bit so that it's looking realistic you don't want to have super tiny or a super big fingerprints and then let's just start by stamping them down here people familiar with my tutorials know that this is usually the last step and it's no different here that's usually one of these last details and I'm just going to drag it out of our folder so that we can actually affect our handle here as well because if you remember earlier we gave it a mask and that's why you want to have this fingerprint thing on top in order to really affect everything so let's just be random here in our placement we don't want to go super crazy and have the whole thing full of fingerprints but let's try to put them where they might make some sense and then once we have that we can use another tool which is new in substance painter - it's the smudge brush so let's just use it here in its default hardness just bring it down in size and it's just marshalese fingerprints a little bit on the sides don't want to smudge the whole thing or else you'll lose all the details on it let's just make sure it doesn't look perfectly placed and that's where that smudge brush definitely comes in handy here for us and often it's those little things that can break the illusion really fast so even if we add the whole knife looking absolutely realistic and then you look at something like that and you think something seems off here so that's why the small details matter and then you look at the big picture and you're really happy with your result and that should always be applied to anything you do let's look at it here from different angles and change the light source as well and some Morse matching here around our handle and I think that's that's enough in terms of changing up these default prints we may want to bring the glossiness down a little bit meaning we want to bring the roughness up I'm going to leave it here at 0.5 and other than that guys that's it here with our kukri knife I think it's time to make a nice render now I'm going to enable anti lazing enable shadows and remember we can change our environment opacity here so let's just put it all the way up for the moment and let me just take all the layers that we have and press ctrl G on it and I'm going to call it version 1 there's going to be 10 more versions I'm going to tell you more about it in just a bit for now let's get back here to making a nice render and I want to bring that up here the display settings because we want to adjust a few of these parameters here make sure they are actually enabled want to add a bit more contrast and I also want to add that layer here make sure you crank it up and then the threshold and the remap factor is really where it's at so you see how we get that nice subtle glow here or shine and it's easy to crank it up too much that it looks ridiculous so it's all about getting the right amount for it I'm actually going to switch over here to constraint rotation and I was wrong I meant to switch over to free rotation which makes it easier to just position it in a nice angle here some attractive looking perspective that just makes for a really cool render so let's just give it a bit of a spin here a bit of a twist and make sure we got some some nice glare going there so somewhere around here it doesn't have to be exactly the same on your end as long as you're happy with it and then I want to go over here to our depth of field and you can just control it here for the focus distance and that other thing that I have difficulties pronouncing I actually want to disable it it remembers the settings of our camera but once we go into the array mode we have to reactivate it it's a little strange with a depth of field but you'll see it in action right now let's bring up array and enable depth of field here and you may like it with that background image in place but personally I prefer to just have a clear color here so I'm going to enable that and make it a bit darker I don't want it to be pitch black but some dark tones like that here so one thing that looks obviously out of place here is the glare right now let's find it here under our display settings and let's bring that luminance down so something like that here looks fine and let me get back to these depth of field settings if I can find it actually it's here under the display settings and let's just make sure that we put that so that we got a bit of a blurriness there in the background but for the most parts we want to have to focus on that blade and don't want to make it look too washed out I'm going to go back here to our glare put it to filter snowcross you can just play around with these shapes to make it a bit more interesting looking there with that actual glare reflection and now it's just a matter of putting your render resolution here in place and I think 1920 by 1080 is still the standard resolution for these kind of things just going to give it a bit of a repositioning here so let's just put it up to 400 max time here and once it says done it means you can just save it out here as any image I'm going to save it out as a JPEG and pretty much call it down so that's how you can make some nice render here within substance painter and we are going to quit array and there's only one more thing that I want to show you which is how to export out these textures now in a non-square format first of all let's switch that back here to 4k by 2k so there's our non-square format and that takes quite a while to load here because 4k resolution always it just means that it has to go through all the steps and high res it up times four basically and now that this is done we have our super crisp 4k by 2k texture we go over here to export textures and within this dialog you can choose any target engine you want and if you decide to export it out you get exactly this kind of look here a non-square format that we laid out earlier in max if you followed it and that brings us also to the end of the free tutorial I hope you liked it and for those of you interested in the extended edition we're going to continue right where we left it here with the standard version that we created and we're going to create 10 more triple a texture versions with all sorts of cool looks on it Damascus steel and we're going to make use of emissive nice and I'm going to show you how to make a cool-looking engraved texture version here as well so it's going to be an exciting right new tutorials are already being worked on it just always takes some time for me to produce them because in the end I do that in my spare time you can always connect with me through the official Jennifer's own Facebook page where you will also get the latest news and brand new is for Memphis own comm which I hope we can grow into an interesting forum to exchange a lot of ideas and tips and tricks and I'm always happy to see your results that you produce with the tutorials and also your own creations of course so feel free to always share that with me I am always excited to see what you're working on

Channel: ChamferZone

Views: 207,901

Keywords: Substance Painter 2, Tutorial, lowpoly, highpoly, normal map, curvature map, bake, Ambient Occlusion, game art, game ready, hardsurface, texturing, baking maps, textures, chamferzone, generators, procedural textures

Id: pC9MdCg1k1A

Length: 49min 1sec (2941 seconds)

Published: Mon Sep 12 2016