Welcome everybody to the wooden crate tutorial.
This is going to be a comprehensive beginning to end guide on how to make a wooden crate.
It's going to include modeling, uv unwrapping, texturing, and rendering. We're going to be
doing it all in blender except for the texturing which is going to be substance painter. So
let's begin with modeling. Ok so now we are modeling this wooden crate but before we begin
some administrative things. First of all go to edit, preferences, go over to keymap. And
then your spacebar action I want you to set it to search. Now if you know another way
to search that's fine but if you don't just set spacebar action to search. What this is
going to let you do is everytime you hit spacebar you can look up any command you want by just
typing it in. So shade smooth right there. Very useful. Second thing is we want to save
our project before we begin it. So either go to file save or just hit control s. And
we're going to save it on the desktop. So I'm just going to call mine, I'm going to
call it wooden crate. It's always good to save your project before you even begin it.
So a wooden crate pretty much looks like a modified box and luckily we do have a box
here. So what we want to do is get rid of everything that isn't the box. And we can
either select this and then shift click this and then delete. Or what you can do is click
a which is going to select everything. By the way the keyboard shortcut is going to
be up here. You're going to click a and then shift click it until this box is gone. And
then click x for delete. Ok so now we have only this box and we want it to look more
like a wooden crate. So I'm going to begin by taking these edges and smoothing them out.
So I'm going to take this box. I'm going to go over to edit mode, or just hit tab to do
that. And we want to take all these edges, by the way edge selection is right here or
click 2. 1, 2, 3 is vertices, edges, and faces. Edge selection. You want to select all of
these, you can do that by a. Ok so now we have all these edges selected and we want
to smooth them out. We call this beveling so control b to bevel and then just drag that
out. And then when you like how much you beveled it just scroll up on the mouse wheel like
that, and it's going to add more loops. So we want something like this. Ok, back to object
mode with tab. And you're going to see that this isn't looking very smooth. We can either
add more loops or we can actually do another trick which I'm going to show you. You're
going to take this object, spacebar, shade smooth. Again spacebar is very useful for
this. And that pretty much fixed the issue. Now what we want to do is take each of our
faces and we want them to cave in a little. That's what a wooden crate looks like. So
edit mode with tab. Face selection with 3. And I'm just going to shift click until I've
selected all 6 faces. And then when I did this, or once I've done this rather, click
i for inset. And just inset these somewhat, something like this. And then click to confirm.
So once you've inseted these faces we want them to cave in a little. And basically that's
extruding, if you hit e for extrude you're going to see it's not doing exactly what we
want. That's because it's extruding everything in the same direction. So to fix this go to
your toolbar. T, disables or enables it. Go to extrude regions and extrude along normals.
And then when we use this it's going to actually fix our issue. So we're going to go like that.
Ok. And now we have another issue, which this kind of looks horrible right. The shading
is all off. And the reason is we used shade smooth. If we go back to shade flat no longer
an issue. However our bevels from before are ruined. So how do we get both? What you want
to do is go to shade smooth. And then we're basically going to edit what this smoothing
does. So go over to object data, go over to normals, and then enable autosmooth. And that's
going to fix it. And we still have our bevels. And basically this angle value right here
decides where it's going to smooth. So if we lower it you see we're going to lose our
smoothing over here. So I'm going to go back over to 30 degrees. And that pretty much solves
it. Ok perfect. We're going to name this cube. We're going to call it main box. And then
the next thing we want to do is add crosses on this side, this side, this one, and this
one. So four sides. So how do we add planks on each of these sides? What you want to do
is you want to go into edit mode. Select a face. We're going to hit shift d and that's
going to duplicate it. And we have a duplicate. If you want to put it back where it belongs
right click and it's going to go back here. And then what we're going to do is hit p for
separate. And by selection. And you see now we have 2 objects. This is the new object
we're going to call it plank like that. And you see if we disable this we only see our
plank. And what we want to do is we want to take this plank. Right here we want to take
it, go over to edit mode and we want to give it some depth. So face selection, e will extrude
it. Like that, ok. And now we can enable this and see what it looks like. And what we want
to do is we want to center it along this face. So we can either take this and then move it
with g and then x like that. Or to get it perfectly we want to go to object, set origin,
origin to geometry. This is going to put our origin right in the middle. And then when
we hit n for transform. Right, we hit n to enable and disable. We see that we can actually
change our location exactly so hit 0. And it's going to center. Next what we want to
do is we want to rotate it. I'm going to do it with the gizmo. And I'm going to rotate
it holding control for 5 degree increments. Until we get to 45 degrees like this. But
we want it to go from edge to edge. So the way to do this is go to scale, and you're
going to see that this isn't actually facing the right direction. A way to fix this is
to change global to local. And now we can actually scale it in the right direction like
that. And don't worry about this weird looking intersection stuff it goes away when you render.
So we're going to solo this plank. We're going to go to face selection and delete these extra
faces that we don't need. X faces, ok, perfect. Now what we want to do is actually turn this
into an x instead of a plank. Best way to do this is control r. It's going to add a
loop cut. Click and then right click to center it. And then we're going hit control b when
this is selected and it's going to bevel it. We're going to scroll down for 2. Put it like
that. And then we're going to go to face selection. And then we're going to extrude along normals
like that. Ok perfect, and now we have our x. Although we need to solo it again. You
can either disable this or control click this to solo it. And then we're just going to delete
these extra faces that we don't need. X faces. Now we have this x. If we want it to look
a bit better we can also bevel the edges. So 2 for edge selection. This one, this one,
that one, that one. Basically everything on the surface of this x like that. Control b
for bevel and you're just going to bevel it a little. Scroll up your mouse wheel. Like
that looks pretty good. Ok I think I like the way that looks. We can enable this again
and object mode to see what everything looks like. Ya that's looking nice. Again don't
worry about this intersection it goes away. So what we want to do is take this object
and copy it over 4 times so we don't have to make it 4 times. And there are a bunch
of ways to do this. Probably the best way is you select it. I'm going to change this
back to global. I'm going to select it, I'm going to duplicate it. Shift d and then right
click to set it back to where it belongs. And we want to rotate it however we want to
rotate it about the middle. And our 3d cursor is in the middle, if it's not spacebar snap
cursor to world origin. Then what we want to do is object, set origin, origin to 3d
cursor. Then when we go to rotation the axis is going to be in the middle, the pivot. And
then you can just rotate it by 90 degrees. Either control click or type in 90. Like that.
And we're going to do that 2 more times. So shift d like that. Right click to center it.
Rotate by 90. Shift d, right click, rotate by 90. So let's see what we have. We now have
this main box right here and these four crosses. And I'm also going to add one more detail
on this main box. I'm going to go over to edit mode, and then I can either select these
four edges or just alt click for a loop selection. So that's alt click. Ok then what you're going
to do is you're going to bevel. You're going to bevel just a bit. And I want this to look
actually pretty flat so I'm going to set this to only two cuts like that. See how that looks,
I like the way that looks. A bit of a weird box but it's going to be a more like stylized
as a game asset. And we could do the same thing on the bottom but I'm just going to
say that this is going to be on the floor so the detail doesn't really matter. If this
box you're making is going to roll around and all that and you're going to see the bottom
you can add that detail. And I'm thinking that is looking pretty good for the modeling.
We can actually, ya I think these are actually named fine we can just call them like crosses,
but plank is fine. And this is how you model the box. And next we need to move on to UV
unwrapping it. Before we begin with the UV unwrap, I just want to make some changes to
the mesh. So first of all this intersecting stuff we can get rid of it pretty easily.
So the way to do this is you select this cross and then shift click to select the rest of
them. And then what we're going to do, is we're going to scale everything in and that's
going to get rid of the intersection. So s for scale and shift z is going to scale everything
in except for the z axis. Just like this, we drag it. So the intersection is gone and
everything looks better too. So the second thing we need to do before UV unwrapping is
hit a to select everything. Spacebar and type apply object transform, I already typed it
in. And what this is going to do is for every one of our objects it's going to set the scale
to 1 uniformly. And then rotation and location to 0 uniformly. And this is very important
because if you do not do this you may introduce some distortion when you're UV unwrapping
that shouldn't even be there. So do that and then we go to UV editing. And now we can actually
begin unwrapping. So I like to do one object at a time. We're going to begin with this
main box. Control click visibility. That's going to solo it. And initially it should
already have an unwrap. So if we select all the faces you see we already have this. But
we actually want to do a custom unwrap. So we're going to ignore this and make our own.
So the name of the game is basically putting seams where we want to and then kind of treating
this like a paper object and we're going to control the how it's going to unfold in the
way we want. So what we need to do is put some seams down. So go to edge selection that's
2. And then we just want to put some seams down. So I'm going to begin with this top.
I'm going to alt click here to add a loop. And then I'm just going to select these here
on every side. Like that. And like that. And then the last one here. And then to make this
a seam. Spacebar mark seam. Or you can just go to UV up here and set mark seam when you
have it selected. Then if we go to face selection and click l on this area inside the border.
Click l it's going to select this area and then hit u unwrap. And this is our area unwrapped.
So this is the main square in the middle and then these two faces correspond to each of
these two faces. So you can imagine this unwrapping like paper. And what we can actually do is
select these faces like that and just move them off to the side. And we have all the
other faces to deal with. And what we can actually do is turn on this link button right
here and it's going to show everything else. Ok so now what we want to do is take care
of the rest of these so I'm just going to deal with these interiors first. So alt and
then just shift clicking to get the rest of them. And if this looks like the most tedious
process in this tutorial, that's because it is. Nobody really likes UV unwrapping I don't
think. I know I don't like it. So we're just going to keep doing it. Alt shift, shift,
and you know what you can have some objects that are way way worse to unwrap. This is
pretty much as easy as it gets, luckily for us. So we're just going to keep selecting
these until we have all of them and then make sure to get the bottom as well. Like that,
and that, and that. And then finally last one, boom. Spacebar mark seam. And then what
we can do face selection. Click l when you're hovering over this area. And then same thing
here and here. And this one. And now what you want to do is when you have all of these
selected, go to u unwrap. And now we have the rest of these unwrapped. G to bring them
down here. So now all we have left is this frame. So we've already taken care of these.
So we just need this frame. And to deal with this it should be pretty easy. What we're
going to do is put a loop right here. So alt click, woops edge selection. And then do the
same thing down here symmetrically. And then we're just going to put a seam along one of
these. So you can put it here, or here. It doesn't really matter. So I'm going to put
it here. So remember to keep shift clicking to keep your last selection. And then we're
going to spacebar mark seam. Ok perfect. Now we click l once we have face selection. On
this area and then we click unwrap and it's unwrapped that area. It pretty much unfolded
it like a cylinder is the way you can imagine this. And then we have the top and bottom
so l. Woops, deselect everthing. L u unwrap, perfect. So now we should have everything
unwrapped. So we're going to click a to select everything. You're going to notice that everything
isn't the right size. We can fix this, go to uv. Average island scale. Perfect, and
now we need everything to be inside this box so uv, pack islands. There we go, this is
a custom unwrap. What we can do is we can stretch this over here. Go to display, stretch
and we can either put this on angle or area. And this is going to show the distortion.
The darker the blue the better. And if it's like red or green that's not as good. And
you're going to notice that all this is pretty blue and that's because this is one of the
best ways to unwrap it. You see there is a bit of green on these corners here. But it
really isn't that big of a deal. You just don't want like yellows and reds. So this
is a good unwrap. And all we have to do now is the four crosses and since they're all
the same, we basically need to do it once and then apply the same idea over and over
again. So I'm just going to show how to do one of these and then I think it's probably
a good idea to fastforward through it. So control click on one of these. So we can do
this one. Ok, so we're going to go into edit mode and then we want to put down our seams.
And what I'm thinking is we have this x and then we can also have all these side pieces
on their own. So to do that we're going to go to edge selection. Select this, this, and
basically we're going to isolate this x from the rest of the model. Ok that should be good,
you can also put seams over here but it's no the boundary of the model so you don't
actually need to. Spacebar mark seam and now we've separated it. That's looking good. But
we also want to, let me actually show you what happens if we unwrap this. So I'm going
to click a, u unwrap. And you're going to notice that there is heavy distortion in all
these side pieces but not the x. To fix this what I was going to say, is we're just going
to alt click to add this edge selection right here. We're going to do it three more times.
And now we mark seam. And then we're going to select all these faces, u unwrap. And it's
going to update. And you notice that the distortion is a lot less. There is still some, but it's
a lot less then what it was and I'm fine with this level of distortion. So we're going to
select all of these. We're going to go to UV average island scale and then pack islands.
Like that. And if you want this to be with the rest of them you just select this area.
R for rotate, select 90 degrees. And then g for grab and put it here. Ok so basically
what we've done is we fixed this area and this x is looking a bit funky. Let me actually
check. What we can do to check is we select this face right here. L to select the rest
of it, so make sure you select this first. U follow active quads and click ok. And ya
that pretty much fixed it. So we're just going to do another average island scale, pack islands.
And this moved back so let's actually take care of that again. Like that. So basically
what I'm going to be doing is repeating this process three more times, same idea. I'm going
to fastforward it, make sure to watch that part if you're still a bit shaky on it. So
I'm going to fastforward now. Ok, so I just finished doing the last cross and you see
that each one of these is actually UV unwrapped. So this one is uv unwrapped. Actually let
me show all of these. If we select this one, go to edit mode, this one is UV unwrapped.
And then finally this main box, object mode, this one is UV unwrapped. But what we want
to do is combine all of these together. We do not want these five objects, we want them
as one crate object. So one way to do this is we're going to go to object mode. We're
going to select all these objects and then spacebar join. This joins the objects into
this one main box which I'm now going to call crate because we've graduated to crate. And
then you see if we go to edit mode, we have all our UVs as if they were kind of overlayed
over each other and it's pretty disgusting and green. So the way to fix this is we're
going to select all of these faces. UV average island scale and then UV pack islands. And
there we go. It basically took all our unwraps and combined them together and put them inside
this big puzzle box, you can think of it like that. Let me move this over. Now at this point
you can call it done however, what you do want to do is maximize your UVs. And what
I mean is all this space here that we're not using and here that we're not using is wasted
texture space. So ideally what you do is you pack everything together to save as much space
as possible and I'll show you some of the ways we can do that. Now generally when we
do this we just do not want to scale up or stretch these things. We can move them we
can rotate them, all that is fine. So for example this area inside here is blank and
we have these objects here that can fit inside it. So it would make sense to take them and
put them inside. There is nothing wrong with that. So we take them, put them inside. And
what this is going to let us do in a bit. Woops, make sure you do not forget any of
the polygons. I don't know why I keep calling them polygons I guess the're faces in blender.
Make sure you do not forget any of these. This is actually going to give us some room
to get some extra texture space. You'll see in a second. Take that put it in here. And
there is a lot of ways to optimize it. Generally what you want to do is this automated optimization
that we did with the pack islands and then you want to kind of go over it by hand. Ok
put this one here. We have a big chunk here. Let me make room for it. Move this down here.
And this process can take a lot of time if you really fine-tune it, depends on how accurate
you want to be. Ok this part we're going to rotate by 90 degrees just type that in. Then
we can just fit it in here. And hopefully we have enough room, we'll see. Let's go with
these, rotate, 90 degrees. And basically the only requirement is that you do not stretch
anything like I said and you do not want anything overlapping. So this right here not good.
You do not want them to overlap. But as long as you follow those guidelines it really doesn't
matter. And nowadays with substance painter and all these programs where you paint on
things directly in 3d it doesn't really matter how accurate you do this. It always helps
but it's not as important. If you texture in Photoshop very important. So almost done.
Take this whole piece and by the way a shortcut I mean I've used before but haven't been using
now is you can click l in this window too. So you can just click l and it's going to
select this whole island. Where can I put this? Put this down here. Ok so there we go.
So now all we have is these X's etc. And we can optimize it a bit more but at this point
I'm just going to select everything, move it to the center, and we can scale it a little
bit. So now we're using a bit more of this space. So that's just a bit of optimization.
Make sure that everything is inside the boundary of it and that nothing is intersecting. And
ya we can do a bit better but this honestly pretty good. So this is unwrapped, and just
to check, we always like checking our unwrap. Pretty much the way everybody does it is they
go to shading. Well they don't necessarily do it like this, but this is a way to do it.
You have your box and you have a material by default which we're going to rename crate
material or just crate. We're going to hit shift a and then add a texture. Make that
a checker, this is checkerboard. Put that in color. And you're going to see it updates.
We're going to make this a bit smaller. And basically if we did not UV unwrap it it would
not look so nice. So this checkerboard is really wrapping around everything pretty nicely.
And we put a seam somewhere here, I wonder if we can see it. I guess we can't. Pretty
well places seam. And ya, there you go. And the reason this stuff kind of looks diagonal
instead of like this, it kind of looks diagonal. The reason for that is because all of this
is rotated. If we were to take this and rotate it this way it would not do that, but that's
fine. So there we go, this is UV unwrapped. Make sure everything is the way you like it.
Ok perfect. So let's say everything is the way we like it. I'm just going to hit save.
And now what we want to do is an export. I'm just going to do another apply object transform
just in case. I don't think we actually needed it but it's fine. So once we have our crate
you're just going to select it. You're going to go to file export and there is a couple
options you can do. FBX is probably the best one for substance painter. So export FBX.
I'm going to put this on the desktop as woodencrate.fbx. Should be good. And I don't think you need
to mess with any of these. I think they should all be fine. Export FBX. Ok so now we are
done with the UV unwrapping. And now we need to get to texturing inside of substance painter.
So now we have substance painter open and it's time to begin texturing. And this is
probably the most fun part of the whole process. So I'm going to go to file new. It's going
to open up this window and we're going to select and just go to wherever you saved your
mesh. For me it's here on the desktop. And then we can choose what resolution we want
our texture. Now because we UV unwrapped so well and we used a lot of the texture space,
1024x1024 should honestly be enough. So we're going to use that and then we're just going
to click ok. And it's going to take some time. And also a warning, substance painter goes
a bit slow on my computer, but it shouldn't be too bad for this tutorial or anything.
We're not doing anything crazy here. So it imported our FBX exactly how we want it to.
If you click f3 you're going to see the unwrap we have so it's in here. Shift and right click
drag let's you change the lighting and that's also in here. And first of all we need to
bake our texture set. So what we need to do is texture set settings. Scroll down go to
bake mesh maps and then you can pretty much set all this to as it is. You might want to
change your output size if you're doing a higher res texture. I'm just doing 1024x1024.
And we're just going to click bake. And baking should not take this long for this model right.
It doesn't have that many polygons. And there we go. There we go. Ok, so we have our ambient
occlusion, curvature, all that baked in. So I'm going to try to only use substances that
come with the program nothing that I have from outside sources. So first of all go to
layers. We're going to delete all the layers. We are going to go to all because that's where
I like to search for things. And I'm just going to look up wood. See what wood materials
we have over here. Now I'm pretty sure this one right here, this wood beech veined comes
with the program. So I'm just going to take it and apply it. It's going to take a second
and already it's looking pretty good. But there are some fixes we need to do. So this
face back here behind the cross. The wood is going up. And I actually like the way that
looks. However, this one is going to the side. This one is going to the side. And so is this
one, and I want all of them to be going up. So that's the first thing we need to change.
So if we are happy with the way our wood looks, we can always change the color of it. Let's
just do a bit of tweaking I guess. We can make it a bit darker like that. Ya honestly,
I do like the way it came so I'm just going to leave it as is. So what we're going to
do is we're going to take this, we're going to right click and add a white mask. And basically
now we just add things that we remove from this mask. So for example we don't want this
face right here that the wood is going to the side etc. So we're going to go right here
to polygon fill. We're going to click polygon mode and bring this to 0. And then just click,
woops, just click the faces that you do not want. So I don't want that one. And I don't
want that one. And I think the last one should be facing up. And then generally I think everything
else is looking fine. It's fine that this is going to the side since it's the top. Ok
so once you're happy with that what I'm going to do is I'm going to take this. I'm going
to copy it and this time I'm going to take this mask and I'm going to invert it. So now
this layer only has basically the opposite of what we did. It only has these faces. And
what we need to do is take these and reorient them so the wood is facing up. Easy, all you
do is you open this up and then look for anything that can be rotated. For example this wood
fiber, I'm going to go into this pattern and we're just going to look very closely. We're
going to go and we're going to take this rotation and change it to 90. And you can already see
that rotated. We're going to go to wood vein and see if that can be rotated right here
in the wood pattern. And change that to 90 and there we go. Now it's pretty much facing
up. Ok and now let's make this visible and now everything is oriented the right way.
The first kind of stylistic thing I want to do is add kind of planks. It's not going to
be one piece of wood it's going to be a whole bunch of planks. So what I'm going to do is
I'm going to add a fill layer. Put it at the top. And I guess it's good to name these so
I'm going to call it planks. I'm going to call this one rotate because that's what we
did. So we're going to take our planks. We're going to set the color to something close
to black. We're going to take the height and bring it down a lot so it's going to go inwards.
And then everything else is fine. So I'm only going to keep color, height, and normal. So
I'm just going to disable everything else. And then we just want to add a, actually no
we're not going to add a mask here we're going to put this inside a folder. And a add a mask
to the folder. So we're going to add a black mask to this folder and basically since everything
is inside this folder this mask applies to everything under it. So we are only concerned
with let's say the faces we were just talking about. So I'm going to go to polygon fill,
bring this to 1. We want this one, this one. And you see the fill is going to affect this.
This one, and this one. Ok perfect. And now what we need to do is go from here to planks.
And I'll show you how I actually plan to do that. So inside planks inside this folder,
I'm going to add another black mask. And now what I'm going to do is I'm basically going
to paint these planks on. So I'm going to go to brush right here and then let me bring
this up. I'm going to make sure that, actually tangent wrap is fine. Let me see. Ya that's
looking good. So what I'm going to do is hold control and scroll to make this smaller and
hold control, right click, and go up to make it a harder stroke like that. All these settings
are also up here by the way. So what I'm going to do is change the size of that a little.
And then I'm just going to click, hold shift, and hold control to make it straight and then
click. And there we go we've made this line. Actually I'm going to make it a bit smaller
than that. Like this. And you can see how that is pretty much adding a plank. And we
can do this a whole bunch of times. Do it here. And the reason it's not actually going
over the cross even though we're painting over it is again because of this mask out
here in the folder. So that's why I added that in. I'm just going to do this. Again
these aren't all the same size but I would argue that that would actually make it look
more attractive right. It shouldn't be perfect. So we have that, and we have the lighting
working because we changed the height. And then all we're going to do is we're going
to do this to the other four sides. And we can do a bunch of these little, woops, you
can always undo, we can do a whole bunch of these little stylistic things to make this
look more interesting and realistic. So I'm going to add these planks and then I'm also
going to discolor some of these planks. Maybe every other one. And then maybe stain some
of the wood, put some dirt, etc. Ok, there we go. And yes, some parts of painting are
tedious but I do find this a lot more fulfilling than UV unwrapping. So we're just going to
keep putting these planks on. Again, click, shift and control, and click to do this selection.
So click, shift and control, that is way too close let's move that over. Click, shift and
control, click. And also by the way we should be getting a bit of this on this side although
I am doing it pretty well. And if we do we can actually erase that excess. So we're going
to take care of that next. Ok bring this there. And then we should have, this should be the
last side that we need to do it to with these vertical stripes. Like that. And there are
some materials that comes, I don't think they come with substance you need to download them
that have this plank stuff in them. But I do think it's better to know how to make it,
and make it look pretty good. Ok so there we go, now we have these planks and it's already
looking a lot better than it did. On the top I want planks as well although this time I
want them going this way, so horizontally. Kind of like a wooden lid to this crate. Oh,
that reminds me it's not working because I did not actually enable this face. So go to
folder, polygon fill, add that and then it appears. Ok we're going to go back to this
mask and planks and just go to brush and add a couple more strokes. Like that, and that.
I'm kind of intentionally making this one kind of bigger than the last one. So it doesn't
look perfect. And then should be the last one. Ok, there we go. So now we have these
lines that make everything have a bit more depth. And now we want to discolor some of
these planks. So the way to do this, or one of the ways to do this. Going to bring this
up, like that. I'm going to add a new layer. I'm going to take your basecolor and change
it to passthrough. And basically this means the color is going to leak through all the
layers beneath it. So we have that. Then what we're going to do is we're going to tint it.
So right click, add a, we're going to add a filter. And then go to, I guess we're not
going to do it like this. We're going to right click it. We're going to go to levels. And
then when we're in basecolor we're just going to dip this or bring it up a little rather.
And you can see it's making it a tiny bit darker. Ya, that's making it a tiny bit darker.
And then what we're going to do is only apply this darkness to some areas. So we're going
to add a black mask. And then we're going to hit f3 to be in this mode. We're going
to click c so we're only seeing the color. If you don't want to click c you can just
pick basecolor in here. And then we're just going to be drawing some masks. And you see
we have our lines, so it's going to be very easy. So we want to make this bigger, control
right click and drag like that. And notice that it would make much more sense to use
squares instead of circles for painting. So one way to do this is to go to alpha and change
this to, you can either type in square or rectangle I'm pretty sure. Ya, use this, it's
called square rectangle. I'm just going to scale this down so it fits. And then every
other plank or something like that I'm going to discolor. So like this. Oh, by the way,
quick issue. You see that it actually painted over here, we don't actually want that. So
a a way to fix this, and by the way that's because it's going over this cross. So a way
to fix that is when you're in painting what you want to do is change your alignment to
UV. Since we're working in this UV space. But I do think we're going to change the color
of the crosses anyways so it's not a big deal. But just so you know. And again we can always
fix this back in 3d view later. So something like that, every other plank. And we do that
on all of these. And you can actually add two layers of this so you can make some of
them darker and some of them brighter. Because all I'm doing is making some of them darker.
But you can make it a lot more interesting. I'm just doing a quick and dirty job that
I think will look pretty good as an end result. Over-extended a little. Like that. These ones
go horizontally, but you know same idea. Click, control shift, click. And we do it for every
other one, make sure to rescale since they're not even. At least in my case. Scale this
one down like this. And let's see what this is starting to look like even though we're
not done. So f2 for 3d, m for material mode. Ya, this discoloration is adding a good bit
of detail or realism to this. And we're going to make it a little more subtle in a bit.
So let's go back to f3 and finish our painting with c. Like that. Ok so we want this here.
Oh and by the way the reason why we needed to rotate some of the wood in the beginning
was because you can see this is going horizontally even though it's not necessarily the top piece.
If they were all going vertically then we would not have had an issue. So that's something
we could have done in the UV unwrapping step but honestly it's better that I didn't so,
it's a teachable moment I guess. And we only need one more up here. And if you want more
room I think you can hit tilda, no tab. Ya you hit tab and that actually makes this bigger.
So you can actually see what you're doing, and you can do that on I think any window.
That might not be the case. Ok, there we go, quick and dirty. And get this done over here.
I like the way that looks. Hit tab to, I keep hitting tilda, hit tab to exit out of that.
f2, m, and there we go. So now what we want to do is, what we want to do is actually fix
this. Make sure that we are, I guess we should go back to UV for this. I didn't paint this
on fully. Did I do this anywhere else? I didn't do it here. Anywhere else? Need to do it a
bit here. And a bit here. Ok I think that should look better. There we go. And what
we want to do is make this a little bit more subtle so it's not so crazy like oh this tan
and then that's orange. So the way we do this is when we have this layer selected which
I'm going to call tint. You want to dip this a little. And you see it's becoming more and
more subtle. So something like that should be good. Ya I like the way that looks. And
then we're also going to add this to the crosses so I'm just going to go to polygon fill. Go
to object and then just click these. Substance painter knows what objects they actually are
if they're separated.There we go, now our crosses are a bit darker too. I'm going to
make this a little less subtle. Woops, make this a little less subtle. Like that. Ok there
we go. That's looking good. And we can actually add another levels. So I'm going to go to
levels, and this one is going to affect the height so I'm going to change this to height.
And then just mess with this a little. Or you know what, we need to go to height and
go to passthrough. There you go, now it's working. And you see, wherever we have this
mask it's going to make the wood look a little rougher. Which kind of looks cool. And then
now I'm going to take this basecolor and dip it back down a little again. There we go.
So we have our planks. Next what I'm going to do is I'm going to add some dirt on the
base of this. This is actually very quick to do. What you want to do is go to all. I'm
going to type in dirt because there is a dirt material. Take it, put it, looks horrible
how do we fix it? What you want to do is open this up, take this mask and remove the mask
editor. We're going to add a different one, so go to smart mask. And then there should
be something called ground dirt. We just drag that in. And then everything is on the ground
like this. Of course it's a bit too harsh so we take this basecolor and basically dip
it a little until it's kind of just staining. Just staining what we have. That's looking
pretty good. Now I'm going to do kind of the opposite right, I'm going to make some parts
of the wood lighter. So I'm going to add a fill and on this fill I'm going to enable
color maybe roughness and that's it. So roughness I'm just going to bring up to .8. So this
should be the roughest part of the object wherever we have this. And then the color
I'm going to set to this white. Or should be grey technically. Black mask and now I'm
just going to paint some areas with a brush. If I can find brushes. And I'm just going
to pick this one. So I'm going to scale this up maybe add a bit of spacing. And just kind
of paint some of these areas. And don't worry it's not going to look horrible for too long.
I'm going to fix it. So just add some white areas. Wherever you think the wood would look
a bit lighter. Like that maybe some up here. So now we have this, we're going to start
off by taking it, by taking the mask going to filter and adding a blur. And we're just
going to increase it like that. There we go. Then we're going to take this basecolor and
dip it a lot until you can barely tell. Ok let's see. Disabled enabled. We can go for
a bit stronger. Maybe 5. So that's very subtle but it does add something. Right, some of
these areas are lighter. So that's looking pretty good. Let's see is there anything else
we want to do? I'm going to add some holes on the top here. So I'm going to add a fill.
And then I'm just going to call this, I haven't been naming anything or most of the things
you should probably do it. Ok so we have this, we're going to enable height, color, and normal.
So I'm going to take this basecolor bring it to something close to black. This is similar
to what we did with the planks. Dip the height. Probably all the way actually. Add a black
mask. And remove this alpha and I'm going to add a shape, like that. And then harden
it with control right click up and then scale it down. And then woops, that is not working
the way I intended. Make sure everything is set the way you want it to, like that. There
we go.I think it was because of the spacing I'm going to bring that down. Oh the issue
is we still have some of our brush settings from before. So bring down the jitter for
all of these and then there we go. That's what we want. Make it a bit smaller. No I
want it a bit smaller than that. So we have one there, one there. And I'm just going to
add it to all of these sides. Make sure you zoom outside of your object. You can always
rotate with shift right click to move the lighting. There, there, ok. And I don't think
we want that on the bottom. We're going to take this black and tone it down a little.
Basecolor dip it, like that. And that is looking like a pretty legit asset right there. I think
I'm going to take this dirt and darken it, or not darken it make it a bit more transparent.
Just a touch. And I think that is done. I don't know if you agree but I think that is
done. So once you're done with your textures and you're happy with everything. You're happy
with how it looks in the UV editor and all this. What you're going to do is you're going
to go to file, export textures. Now this is very specific for blender right. So what we're
going to do is we're going to take this, we're going to export it to, I mean you want a folder
I'm just going to dump them on the desktop. I'm going to go to dilation and set it to
dilation + diffusion. And basically this is saying it's going to put the texture on your
UV but what should it do in the gaps in between. And basically these are the instructions for
it. I'm going to do png with 8 bits. Again 1024x1024, you can always up-res it later.
Go to configuration, PBR metal rough. Is this already set to? Ya, PBR metal rough. And then
we want our basecolor, we want roughness, we want metallic, normal. We don't actually
need height or emissive. So one thing that you need to do is if you're going into blender.
This is set to directx normals, blender uses opengl. So take this normal opengl and put
this right here. And now we're using opengl. You can always convert it later. And then
I'm just going to modify these names. So it's just going to be the textureset which is crate
and then it's going to follow it by whatever text we have here. Ok, so this is looking
good. Yes, and we don't need ambient occlusion or any of this because we're going to be using
cycles. And then once you're happy with all this just click export. And then just make
sure our textures are exported. We're going to go to the desktop and yes we have our basecolor,
metallic, normal, and roughness that look like our UV map. So now what we're going to
be doing is we're going to be going back over to blender to render all of this in and basically
put in our maps. So onto rendering. We are in the home stretch. All we need to do is
import our textures and set everything up so that we can finally render the crate. So
what you want to do is go over to shading. And you're going to see that we still have
our checkerboard from before. Click x to delete that. And now we're just going to import our
textures. So shift a that is add. Go to texture and then go to image texture. And then we're
going to connect this one to basecolor. And we're going to click open and then just import
your basecolor which I have on the desktop. Or you can just drag it from a folder if that's
faster. So again, shift a, texture, image texture and then we're going to go to metallic
and we're going to click open and just open our metallic map. Now for this one we do need
to do an extra step because metallic map isn't just color data. It's pretty much numbers
between 0 and 1 captured in an image. So we go from color to non-color data. Make sure
you do that. Then go shift a, texture, image texture. And now we go to roughness, so wherever
it is, there it is. Then add your roughness and then same idea. Go to non-color data.
And then finally we need our normal map. So shift a, texture, image texture. And then
finally let's add our normal. For this one you also set it to non-color data. Now notice
that this has a color output whereas we need a vector, that's purple, input. So what we
do is we do shift a. Go to vector, normal map. And basically this is a converter that
will take our normal image in here and it will output the vector for the normal map.
So there you go you see all this has been updating and it's looking pretty good. Although
everything looks pretty flat, that's because our environment is just this kind of blurred
out thing right. We need a hdri. So to set up this world hdri, go to world over here.
And then scroll to wherever your stuff is, here it is. We're going to take this background
and delete it with x. Then click shift a, texture, and this time environment texture
because it's a spherical image. We're going to connect this to the world output, open.
And then pick whatever hdri you want. I'm going to leave a link in the description for
where to get hdri's for free. hdrihaven is great that's where I get mine. And there we
go we put in our hdri and now we just go to rendered mode up here. And right now we're
using eevee so it's not completely physically accurate. We need to add things like ambient
occlusion etc. But it's already looking great. We're going to go back over to object because
we still have some stuff to finesse. To get maximum quality change this to multiscatter
ggx and then this to random walk. Then what we're going to do is IOR is index of refraction
every material has it you can look it up. The wood IOR when you look it up is 1.33.
And then you take this value and there is a formula, again there is going to be a link
in the description for how to do this, there is a formula for converting index of refraction
to specular. And when you do this and you input 1.33 you are going to get .251 for specular.
Again, there is going to be a link in the description for how to do this. And then we
don't need any sheen tint. So there we go. We have our shader setup. We're going to go
to layout. We're going to go to rendered view and then we're going to bring this over to
cycles. So now we're using cycles. I'm going to use GPU. It's also easier on my recording
when I use GPU. There we go. We do want to make this look a bit more stylized. So we're
going to go to color management, it should already be in filmic, change this to medium
high contrast. It's going to add a bit more contrast. And then just play with your exposure
until it's what you like. I like something like that, maybe a bit less, .4. These we
go. And now all we need to do is set up a camera. So what you want to do is if you do
not have a camera we're going to click shift a and then camera. That's going to add a camera.
I'm just going to go over to solid view for a moment. That's going to add a camera but
it's already inside here and if you already want to set up you view so you're looking
at this. All you have to do is hit control, alt, and then 0 on the numberpad. And that's
going to move the camera here. So again control, alt, 0 on the numberpad. It's not going to
work on 0 on the top of your keyboard. Needs to be the numberpad. So let's adjust this,
click n to open your transform settings. And then down here in camera lock enable lock
camera to view. So now when we move around it moves the camera with it. So let's just
get the angle we like. Something like that. I'm going to go to my camera settings and
bump this up to a focal length of 65 millimeters. Go to output and turn this into a square image.
Because this is kind of a waste of space. We need it to be square. So I'm just going
to do a small render of 800x800. Woops, not 80, 800. There we go. Just zoom in a little.
And then we're going to unlock. So now we can move and it will stay in the same place.
Or actually let's lock again and just shift this over a little. Ok, unlock, there we go.
Now we just enable rendered view in cycles and you can see this is looking really really
good. And really realistic I would say. So now all we have to do is setup some render
settings. So in here in the render tab, go down to film and enable transparency to get
rid of this background if you don't want it. We've already set our exposure. We don't have
any hair we can disable that. And then for render I'm going to do 400 samples. That might
be overkill but I think that should be fine. Ok, everything looks good, everything looks
good. And then when you're ready you're just going to hit render, render image. Or just
hit f12. And I'm just going to fastforward the rendering process. So there we go we have
our final rendered image. This is, let me make it a bit bigger, this is what it looks
like. It's looking really good. Of course we can always play a bit more with the texturing
before, or we can mess with the lighting a bit more to make it look more dramatic. But
generally this is looking very good. This is just with a random hdri background we didn't
even setup anything crazy. This is what we can get. And I mean it did take a while but
again this is a tutorial, it takes longer than it would in real life. You can probably
whip this up in under 30 minutes. Once you have experimented enough and know what you're
doing. So this is looking really good. And of course we want to save this render. We
want to save our work. So you can either hit shift s which is the shortcut or go to image
and then save as, so shift s. Then go to desktop or wherever I'm going to lower the compression.
And then you can set some settings like do you want it to be a png etc. I'm going to
put mine on the desktop and I'm going to call it wooden crate render yay! Save as image,
it's going to take a second. Should be done. And now I'm going to see if it actually did
it. So I'm going to open this up, remove this. And it should be somewhere in here. There
we go, there is our render. I'm going to open it with some kind of viewing software. There
we go, this is our render. So this is kind of the end of the tutorial. So thank you for
watching it. This has been the longest one I've made yet. If you want to support what
I do there is a Patreon link below. There are benefits. You can look up those benefits.
But either way, thank you for watching. More long form tutorials in the future. And hope
you learned something.
