Character Texturing with Substance: Pablo Munoz Gomez Walkthrough

hi everyone my name is Baloo Munoz and I'm going to walk you through how I created this zombie character using the substance source micro details for skin so this is the final result so I have it here in marmoset toolbag 3 and I use all the maps created with substance painter so this is a again this is like a real time showcase of this model and I'm currently using 8k textures so it is pretty detailed but I want to walk you through the process of how I created all of these details in substance painter at least kind of like a breakdown or so you can understand kind of like the the step by step or the process that I that I take to get to these level of details starting from basically from scratch from nothing and all of these details that you can see here all these gruesome gruesome wounds and scars and blood and things like that that's fairly simple to create with the with the new materials or slightly new materials I created with the substance source and I'm going to walk you through again how I set this up but just so you know all most of these details and the intricate patterns that are created with this all in this zombie are created with those materials and you have access to those and let me just show you the website so if you go to the substance substance 3d comm website and you can just search for these substance source and it's called micro skin details and do two different body parts so you can see these ones are kind of like the cleanest one so you can create a hyper-realistic skin in substance painter and you get like different substances of different materials for different parts of the body which is absolutely fantastic and you know you can make a whole bunch of different variations to it now this is the kind of like the first pass but I'm going to show you a little more of the more as zombie-like or gruesome like I said disgusting way of creating details so if go to the substance blog as well and you can search for this one substance micro details and this is a more in-depth kind of like blog post that the substance guys did about this character and you can just see more of the you know different renders different uses of the material some some close-ups to the different details and yet in general how to use the the materials in the way that I use to create a zombie so instead of you know repeating what what's in here I'm going to show you a different approach or a different breakdown of the character so again we just may be real quickly just show you this guy would have been more lighting so you can see that everything is in there you itself was done in theory so I modeled everything in ZBrush and up to a point so most of the very small details are all with substance or all the surface details was done in substance the model that I exported from ZBrush is fairly fairly clean in terms of the surface and all the details are from surface from substance substance painter so I'm gonna close this up going to jump into substance painter so I'm using the latest release of substance painter at this stage or this date of this recording is 2019 point 2.0 and this is the one that already has the the new bakers that are absolutely fantastic they're really really fast also an awesome job from the substance guys so here's the character I'm going to go into full screen so you can see I'm currently let me just before I actually get into these we just check the texture settings and just for the purpose of this recording I'm going to keep the texture at 2k although I'm running my I'm running this I'm running my computer with a r-tx 2080 I think um and these one allows me to work with a you know higher resolution but just because I'm recording I'm going to keep it to 2 K so that is faster and easy for you guys to see the process and so I have here I have selected this this zombie body so the entire body I have everything within a single kind of like map and I'm going to walk you through all of these setup of these layers now before I do that I just want to show you the the actual model so this is pretty much the model that came from ZBrush I already baked the normal maps and you see it's nothing fancy but for the most part the the surface is rather rather clean or smooth obviously you have all these details coming through and that's all from the Siraj model but yes there's no business surface details or surface noise or what I would refer to the tertiary details so this is the model from ZBrush already baked with all the maps baked already inside substance painter and yeah so another thing that I need to mention before I get into the deep breakdown is that this guy doesn't have a hand and it doesn't have legs so I have only one hand the other side doesn't have any hand and doesn't have legs because it's not meant to be a full on you know character for rigging or displaying in any other way I was just creating this character to showcase the details and I knew the the end result was going to be kind of like a concept art or or illustration if you will or a single render and I had an idea of how this guy was going to be the layout of the the final illustration so I didn't need to to create anything more than that and the only reason I went ahead and chop this arm or just cut the hand just was because I wanted to try and see if I can manage this was kind of like a self-imposed challenge more than anything I wanted to see if I could manage to create a nice transition between the arm and the hand just with the with the substance detail so the substance painter details and a bit of the geometry so you see this kind of like holes in here they're actually part of the arm and but again this is just something that I wanted to test for myself nothing just testing different workflows and pipelines so that's that's really all there is to it and all I should mention about this guy all right so I work let me go back to the yellow laser stack and again before before I showed you all of these I just want to show you something that I've been using recently quite a bit and I think is one of the the best tools to kind of like customize your your workflow or or fine-tune your workflow within substance painter it doesn't have anything to do with the actual texturing is more about the productivity of it and it's a really nice tip so I have some of the files already here the substances the skin details and what I like to do is create a kind of like a filter so that I can find them easy because you know if you create you know in the project you have all your images and all the baked maps for this project and procedurals obviously you have procedures and so on and so forth but I want to have quick access to only the materials that I want to use so if I go to materials to see I have all of these materials that I've downloaded from substance source and so it I mean it's not hard but it just saves you some step if you if you have them all together in one place so something that I like to do is I'll go to all and here in the in the search tab yeah here's what you can create filters I'm going to click here and we're going to write skin micro details right and you see this is all of the details or well all of the substances that I downloaded for this project I actually used a few more of these but because I did an update recently I haven't transferred all of the substances that I eat that I use but these ones will give you a good representation so they're all the details that I created with with these substances in these in this character anyway so the awesome part of about these is not just that you can filter and find this type of stuff because if you just filter and then when I go back to brushes or whatever then this point is right but once you create the filter you can actually create a shelf or a window based on your filter so with this little button here once you create the filter or once you search with with it you know the the words that you wanna use for your filter just click here and this will create a sub shelf from the con the current filter right so I'm going to click here and you see now I have just these details or just these substances and that's going to be easier for me to just jump between these two or you know if I just want to use the brushes I can do the same thing filter by brushes and create my custom set of shell so sub shells here and then I can access them so that's just a an added thing that you wanted to mention because it's pretty cool alright so I'm probably not going to use much of these so let's just push it down a bit and let's go ahead and start with the setup of this guide so the first thing I did before I started working with the surface the micro surface substances was to set up a color variation for the skin so at the bottom I have these base or simple base and these are actually just series of failures with color so the first one I start with with a red color and the process of you know berry aiding these these colors it starts very very rough and it almost looks a bit silly because I use very bright colors and very saturated and bright colors so the red is kind of like my base color and I also have something else here this green layer called the working rough so I generally start with you know like a fill layer which which is this one this red color and then on top of that one before I create anything else I create a new layer that is the working rough so this working rough if I turn it on you'll see it just simplifies the the roughness for the entire character a little bit and if I click on it you'll see it's just a simple fill layer that has only the rough channel enabled so I call it the working rough because it allows me to pretty much see the volumes a little bit better in in substance painter so if I get rid of it altogether you'll see it's quite matte and it's somehow hard to to see how how everything is working in terms of the volume right and if I go the opposite if I make it super shiny is it's pretty much the same thing right so this working layer allows me to just go back and forth between different roughnesses and roughnesses as a different roughness values really and and just check how everything is working and see if I if the volumes and the new added details are working fine and everything else so again this is a slider in I mean a fill layer with a slider that I can easily change back and forth to see what's happening all right so after the red one or the face the first base color which is this red one I go ahead and I and add it a new one so this is just a bluish yeah just up this color a blue color really and I use a custom mask so if I click here on the mask of this layer if I click on the mask you see I have these generator which is the mask editor and this allows me to target specific areas based on you know the curvature maps so they I mean occlusion all the maps generated with in substance painter when I bake the high resolution mesh or the high subdivision mesh into the low risk right so this one allows me to just change the contrast quite easily and change the texture for example you see how these effects the the distribution of this blue color as I move these sliders right so this is really really really handy and I like to work with with masks because that way it's kind of like a non-destructive workflow I very rarely use these layers the ones that are like normal painting layers I prefer to use fill layers and just fill it with entire colors or or materials and then just work with the the generators and the and the masks just to mix up the colors alright so that's pretty straightforward then the next one is just a yellow color and that's pretty much it right so these three colors are my base for the skin now the reason I go for these three very bright colors is because I like to target different areas of of the mesh so the red color is kind of like the base color just because of the color of the blood the blue it's kind of like a bluish greenish again because this is non-destructive you can go ahead and just change it so I can make it a little bit bluer if you wanted to but anyway this is the color that I used to target kind of like the hollow areas are the ones that for example if you look at here at the other face right the the eyes of the eye sockets here that's where this coal would be hollow same as as the mouth or this you know around the cheek and the jaw area so they're going to be darker and that is the only reason ie I use this bright color just so I can see very easily very well defined the different areas that I'm targeting with the color then the yellow one is something that I use for the more bony areas or the the landmarks of the anatomy and the protrusions of the of the bones and in this case is you know well distributed all around but I will fine-tune it as I as I progress I just want to have a base of you know very bright colors and I can see the how everything is kind of like interacting with each other right if I study with a more fleshy color and then just add a little bit of variation and so on and so forth and it might work but visually and this is just my personal view or my personal opinion it's easier to see these bright colors and because we're working in a non-destructive workflow I can just go back and change the color and and fix it up so again this is pretty straightforward just a series of three colors using generators with masks to to mix them all together and then I added another layer and this is just a again just color I'm not using I'm not touching any other channel at this point and the color is just more of fleshy color like I mentioned it's pink this pink you and I just use the sliders here for the opacity of the color to just tone it down so it's basically overriding everything every mess that I did here with the three colors so just authorize them a little bit but if you get closer you see there are studied too you know you can you can tell some of the variations in color that are happening all around so that is what I that's basically what I want with this first pass or setting up them on this scheme now if you cannot see the details of the volumes in this in this you know in this mode or at this stage that's when I go back to my working roughness and I changes just change it a little bit so they can see more of it right and this is not going to be the final roughness that's why I call it working rough so I can come back and tweak it and so on and so forth and then just to finish up this simple base I just added another color or another color layer with these more yellowish tone and that's kind of like emulating a bit of the dermis of the of the skin and I'm using a generator as well this one right here so the mask editor and again if I needed to change something at any point because it's non-destructive I can just come back and you know push it forward play around with the textures maybe I don't want to have that much influence of the ambient occlusion and the curvature so I can just reduce that to none and that obviously is going to drastically change the look of it but and just to give you an idea that's basically what I wanted to do alright so these two layers actually are the ones that I used to sort of tone down the brightness and the and the saturation of the colors below it's just a couple of layers with different blending modes and different opacities so the first one has seventy seventy eight percent just normal blending and the second one this one the yellow one has I set it to screen in the blending mode and just tweak the opacity and that's pretty much it so that is the the base color right pretty pretty simple once you once you go through the process and you actually see what's what's behind the creation is not it's not that impressive but you know hopefully that gives you an idea of how I went about creating the base so obviously this is still pretty harsh and you can see a big difference between the colors and and all that but that's going to be the next the next set of of layers so then we have these first color pass I'm just going to open that up and I have everything hidden at the moment but these first colors but this color pass is kind of like a way to start blending everything together and make it sure make sure that everything feels part of the same and not like all these patches of color which is originally what I want it just to create some variation but then I have to go ahead and turn it down so the first layer is this this flash one which is set to over overlay and it's just a orangie fleshy color that makes everything a little bit more contrasted and are more saturated right and the second one I mean nothing to to string here and I'm using the the opacity as well to tone it down then I have this other color which is a darker one a blue dark color and I'm targeting again I'm trying to target these hollow area so the areas that are going to be kind of like hollow and I'm using the ambient occlusion to target those areas so if I click on this layer you'll see actually this is not the the nd I'm in a collision I manually painted it so clicking on the on the mask you see I have this paint layer right so if I were to paint something else I also have symmetry enable just change that I can paint with these you know target certain areas that I want to have this color all right and that's pretty much what I did with this just a blue color and just color again and I'm not touching any of the other channels just focusing on on building up bead by bead the the albedo or the base color so actually let me just show you here's how the base color is shaping up with no shading and so you see the difference there so this is what we started with then an overlay just to make it a bit brighter and saturate it then this blue color I'm just starting in some of these areas right here I'm going to turn this on as well so you'll see the yellow one the next one which is more yellowish I'm targeting kind of like the clavicle all the the skull and the the cheekbones the the jaw the sternum you know all of these Anatomy landmarks not maybe not that obvious but all these Anatomy landmarks that are kind of protrusion in the in the body and and obviously because this is such a skinny you know creature zombie it's going to be even more obvious so I'm just targeting this again with a costume mask I'm just painting with a custom mask and because it's non-destructive I can go ahead and just change the color but that these two layers that's pretty much what they do blue for the hollow areas yellow for the more bony landmarks and then I have a let me just go back to material so that you can see a little bit more of it right and then I have another layer and this is kind of like a noise with a slightly lighter blue but I said that to multiply and the reason I use this one is again to start very ating and damage the the color a little bit more just because this is a a zombie if I were to do a more realistic human or you know more natural skin not not all rotten and I would still do this this step with these little details but it probably won't be blue so I would change that to you know something more like a yellowish saturated color or something like that right but you know in this case blue works just to make it a bit more like a rotten skin and that's pretty much it now the next one is a green color or like light green color set to multiplied as well and for this one I use three sets of modifiers or filters so I'm going to turn them all off just to show you what I did here I'm going to turn off symmetry actually I'm going to turn off these little lines still symmetrical but you won't see that annoying line at least in the recording all right so the first one is just a fill layer or a field you can just go to the effects here and click add fill and I use the project textures here to create a I mean I use the ambient occlusion to create this effect so it's not very obvious but basically anything that is white it's green and anything that is dark like in the immune illusion like these areas here and probably here in the armpit those are not going to have the same effect so those are not green in a way so because I wanted to contrast and have a better idea of the effect I just went ahead and added levels and with the levels I inverted it so now the green of this layer is affecting only these deep areas based on the ambient occlusion and because I use levels I can go ahead and contrast it and you know change the the influence quite a bit alright so again all of this is just building up something complex that is all something rather rather complex that is still non-destructive so you can come back and and tweak it as you as you go and that's my preferred way to to work because if something doesn't work you don't have to redo everything and that's one of the great things about substance painter the next thing would be a another field and you'll see this one adds a bit more of detail so I'm using a procedural in this case so I just select the down one and I'm using the grunge lick the and that's here on the Grunch you can just go ahead and find it and because I'm using these procedural one and I have UV seams along different parts of this mesh and actually let me show you how this looks is not the greatest UV and we're here to see you have a you know it's not it's not perfectly laid out but you can you can tell you can get an idea of how this is is created and because I have all these seams right I'm using at the up try planner projection so that this effect doesn't get caught in the Indus Eames and and it's pretty subtle anyway but you know I like to keep an eye on those little things and yeah so what I did with this grunge is add to build up the the mass to add a little bit more of dirtiness and in order to take into account the the effect that I added with the first layer and the levels I set these this add fill to divide and that is pretty much it right yeah so that's the does they kind of like the the final layer so if I turn on and off these mixers it's just a folder that I created called mixers you'll see the huge difference that these few layers make into the character right so this is the base pass just to vary 8 some color and then the mixers are the ones that are starting to you know make this character disgusting and and you know more zombie like alright so let's just go ahead and move on so I can show you a bit more just check I forgot to mention this one sorry so this top bleeped auto blend top blend is a general path that I do on top of everything just to tone it down and that's kind of like my my approach to everything I like to push everything to the extreme so that it is very easy to see and and very very evident the effect that everything has on each other and then obviously I turn it down so this is quite saturated and you know the variations of color are very strong so this top blend is just a layer that has when all the channels enable in this case and it has a field and this field just another procedural set to multiply so what this layer is doing is taking this color and it's multiplying a bit of this grunge dark color on top of it and so it is yeah it is basically changing very ating the the hues of that of this original color that's all these do this thing is doing but I didn't wanted to make it so so harsh so I added a blur and just a tiny bit of blur so it variates the colors a little bit and then there is a bit of work on the mask so the first one is just a grunge again another grunge layer and another fill layer right and that allows me to control how much of of these of these crunch effect is applied to the entire model so this one is rather simple and maybe maybe loose a little more complex than what it is but it's actually just a layer with color that I added a fill - variated a bit and then a bit of work on the on where it is applied and that's it right so this is kind of like turning everything down you'll see it's quite different if I go to to the albedo get closer to the to the color itself you see here it's very evident they transition between the colors whereas with this one starts to fade and turn everything down which is what I want right you can still see a lot of the difference but you know that's the idea with this layer perfect alright so I'm going to close this one down and I'm going to start showing you some of the cool cool stuff with the micro details right all these procedural a parametric materials that allows you to you know you apply it and then you can use the sliders to to tweak things around which is absolutely fantastic alright so the first thing I like to do I'm going to turn off now let's just leave that one I'm going to turn on peace this folder here and for the most part I don't think you see much I mean it's hard to see in the recording and especially cuz I I'm working at a 2k resolution but this is the folder with all of these layers that add all the micro details of the skin not the damage just the porosity of the skin right and I will show you what I mean by that so I'm going to change my roughness to something very specular so that when I turn on this folder you see the effect that it has so I'm basically changing the roughness of the entire material just with micro details so pay attention to this area to this highlight right here in the in the pectoral and you'll see what's happening right so I'm going to go ahead and turn this on turn on and off and you see there's a little video variation here and that is all because of the surface details that I'm adding with this folder right and this is happening all across the model so here at the top for example you'll see this specular is being distorted quite a bit and that's all because of these folder all right so let me explain what this holder is and how to and how I set it up I'm going to change my working roughness again and I'm going to select the folder and you see that the base color which is the current channel that I have selected is set to zero if I turn this all the way to 100 you see the bright colors that I like to use to to fine-tune and figure out how how everything is working so I created these different fill layers so each color is a different layer so I'm probably going to just show you one because you know all of them are exactly the same I mean they have the exact exactly the same process but basically what I do with these ones if I select let's say just find something that is very very evident here we go so the big chest right so what I did was I created a fill layer and in the field layer what I what I like to do is use the these substances or the materials that have all these procedural details and I just Chuck that in here and that way I have all of these again because I'm currently at 2k I'm gonna give it a go hopefully it's not gonna go to this low but I'm going to try just to show you this I'm gonna turn these to 4k let's see what happens all right so you can see some of the surface details a little bit better here at 4k and also keep in mind that for the final export I exported this at 8k so it's going to be twice as detailed as what you can see here so that's a good reference of the level of detail that you can get here from substance so all of these colors are going to have different type of details because I use different surfaces a surface or so six different micro details basically so the the chairs one and if I select that here I'm using the male operators skin zero one so in other areas obviously I will use you know the the appropriate one that will kind of like suit that part of the body and that's why you can see different colors now the way that I apply these so this is a full layer that is so the entire substance is applied today to the entire body and then I use just a custom mask so I can click on these customers and you see is just painted so if I select this paintbrush and just increase the size of my brush here I can just go ahead and let's say and if I wanted to add the same level of details to to the biceps for example and just go ahead and paint it alright it's not very obvious but I think I'm gonna have to before I show you that I'm gonna go back to the 2k just because with the recording gets really really slow so when I switch switch back to 2k alright so I go ahead and paint now let me change the color actually just to make it black oh no sorry it's because they the red one which is the bicep is on top so you won't be able to see it service find an area green one nope think I want to have to target the top area there we go so if I want to add the male chest details or micro surface to the top of the head doesn't make sense but just to show you I'm just using a paintbrush to create that mask and that is how I target everything or every part of of this character and I will do that all righty so all I did again just to do a quick recap is I fill the layer with a color right and then over a skin color really and then I use you know different substances to target different areas and just add the micro details to all of these areas now then I went to you know I created a folder for all of these because this is just details so in other words I'm only concerned about the behide information not the color so I can just take all you know the color all the way down to zero and I still if I go if I switch to to the high channel I still have these as pass through at 70% right and the reason I use the pass through is because I don't want to you know overwrite any of the details and I want to make sure that I only have the high details here let me go back to the base to the base color and so this is basically how things are shaping up so with this one off if I go to height and this is the kind of like the variation that I got from these layers especially for these color paths if I turn this one on you see just tons everything like it just turn it down so that they hide now let's go back to material and we'd be working rough we can probably push it a bit forward Oh backwards actually you see a little more of a bit more shine the next set of folders these these ones that I highlighted with a red color these ones are really the ones that that are going to showcase the procedurals and they and the different details to create the zombie so let me start with the effects so the first effects and I did three three layers just because I wanted to separate the different stages but you know that doesn't really make any difference to have them in a single folder or 3ds and folders this is just for my personal organization purposes I just them I just have them in like different stages so so you'll see what I mean in just a second right so let me just push these down so you can see more of the character so the first effect is going to be this blue layer that is not very obvious for this one originally I use the micro veins details and it's just to generate these micro veins really so all these blue tell that you see here just create a little bit of this variation as well in terms of color and unhide and simulate some of the yeah just some some veins to make them pop a little bit in this character so I use this with this color but you can totally use these micro veins as well I think I use that one later on but yeah I was gonna say let me just see if I can just put it through just to show you what how it works so it's pretty much the same thing obviously with a bit more powerful than just a single fill layer but then you can just change things like this scale you can change the color for example you can set these to black you know full black and then the color itself of the veins you can set it to a very bright color or something like that and then you can play with the with the blending mode so anything that is black if you set it to screen it is going to disappear or it's going to be rendered old I mean substance paint is gonna interpret us that's almost transparent so let's say that to screen so you see this black color of the skin is is black so sub substance is taking it as a as a transparent and so you can see the color that we've been working on with all these layers so we didn't lose all that work but then you can take the main colors and start playing around with that that's a really really fun way to work with this way and also you can change the intensity of the of the veins that the deep the deepness you know the luminosity all of these technical parameters that's all within a single parametric material so I'm going to delete this layer and let's go ahead and move on so the next one is just a another set of colors and I use the D skin acne generator or the scar scar sorry skin acne scar generator and I think I have this one here this one skin acne scar and this one is really cool and really disgusting but I use it a little bit so subtly here and this area maybe it's the most the most telling one this is probably the one that you can see a little bit better just try to find out a good angle here so see creates this nice variation of color so I'm not necessarily adding acne as the scar I'm just utilizing these at this base parametric material to add more details and and and contrast some of the color and the surface details alright so this is just applied across the entire model I think less in the head then in the body yeah so this a little bit of the head and the face this is not as much and so I use a set of custom fill layers and levels to target the areas that I wanted to apply this material or apply this this effect so that is pretty much what it is then the fun part begins with the the human blood so this one right here is the one that starts to to add a bit of more gruesomeness to to the entire character so for this one I obviously use the human blood and I think this one is one of the best ones in my opinion one of the coolest ones because you can change things quite a bit so if I go into this blood human blood so like that and you can go ahead and skin I change the skin color the blood color everything else and just change everything greatly and let me see if I can change a few things so I want to change the settings too much because I you know I can't find that this works really well but if I change the intensity of the dripping the dripping blood you see it just goes back to this kind of like pause the sixteen little you know yellow pieces and this is actually the skin color so you can just change that to you know blue and you'll see that type of color there but this is the great thing about these parametric materials that everything is within sliders and you can just play around with it to say alright let's see I'm gonna reduce these not very everything here but if I increase the dripping blood that's how much blood is actually dripping see it in real time all the effect that these sliders have over the the affect the entire effect so this is really really cool so anyway this the way that I apply this was a little bit more manual so if I select the mask you see I have quite a bit of effects just to target the eye areas but again I prefer to do that in a mask just just so that I can come back and select the actual layer that has the material or the the substance and I can just change things completely I can make the blood a totally different color right and I still preserve the the way that is placed so it is a very good way to work non non destructively um I think it had it I change the color enough and I don't remember what it was I just leave it as a matter right so the way that I set up this mask was relatively straightforward so I have only three layers where I painted additional parts or additional areas that I wanted to add the the effect but this this is kind of like more procedurally generated the placement of these at this point and I use a fill layer and I use the ambient occlusion so very similar to that green layer that I showed you when we were creating the base and you see some of the parts here the armpit and these hollow areas of the more deep areas in the model are not affected by the plot so I embedded with a levels so this is just inverting that effect and obviously you can play with a contrast and then I use the Dare generator to add a little bit of dirt dirtiness all around and just to you know break it break things apart and then use the sharpness to make sure that there was a clear distinction between some of the areas that have the blood and and the skin between the blood and the skin and then we painting layers I went ahead and yeah targeted some more specific areas that I wanted to showcase this blood pattern as well as to you know break apart or break the symmetry a little bit because before these these details are applied quite symmetrically based on on the well on the mesh itself which is kind of like symmetrical so it has some asymmetrical details and and some yeah some some wrinkles and stuff like that but generally speaking the main the primary shapes are quite symmetrical so with this I can sort of break that apart a little bit all right so let's close that one up and the next one up is just a blue color that I use as a as a way to combine and make these more like a rotten blood that is already you know not drying out but like it doesn't feel as as healthy the blood so it's more like darker and I just darken it up using a bluish color we'd multiply and finally I use this layer to sort of like combine everything so maybe this one is not very obvious in the recording but it is just a a bluish color set to overlay and I just play with the opacity that is applied over the entire character just to unify the colors a little bit and also because the scheme that I've been setting up up to this point it looks quite you know reddish or bright pink or red and that kind of like tells that is relatively healthy I guess or in my mind so just adding a little bit of blue helps to push it back to that idea of being a dead skin type of thing or a zombie so very subtle but it's in there right so that's the first stage with the effects so moving on let's go ahead and go through this one so the next one is a set of process and again this one is damaging the skin even more right and all I did with this one is I set up another color set to overlay and fold the mask or the way that I choose where to apply the Bruce's I use a generator the mask editor and then I use a this one is called ratio black and white spots which is just a procedural but you know you could use anything else and that one is set to multiply so that it combines with a with a layer below with a with the effect below and that helps to sort of break things apart a little bit more and you know get rid of that symmetrical pattern and then the blur is just to make sure that is not as sharp so let's get closer here to these let me turn the roughness up a bit you'll see the blurriness helps to redefine I mean it's defined and the blur helps to remove the definition of these grunge materials so that's that's really good because it's just a quick and sort of way to shift things around and start away with a single layer things started to look a bit more unhealthy which is what I was going for and then I use these burn the bone flesh which is flesh carbonized so this layer is actually the one that starts to make things really disgusting at this point and again it's really really simple I use selected they create a new layer and I just put in these flesh carbonized material in here and just play with the colors play with the parametric materials and change how much the amount of carbonized material or effect of the layer and then I created a mask with a series of modifiers for that mask or or effects so the first one I just use a paint layer where I manually painted what I wanted this effect to be so again because I knew where this character Canela was going to be set up and they and the composition of it I knew that the camera was kind of like going to be from this angle so I concentrated most of the efforts on on on this character around this side rather than you know I did a little work everywhere obviously but the the really feature parts of the of the damaged skin would be around these this side so again this is just a single paint layer they are letting through the areas that I wanted with in the mask then the warp effect so the warp effect is something that I use constantly and it's something that helps to break apart the the edges and or the softness or the sharpness of any edge that you create with the paintbrush or like custom painting mask or or paint effects so the warp just you know works the the edge is quite a bit and that helps a lot and then I use sharpness to sharpen those basically sharpen the warp for for the edges so these two effects combined they work really nicely after you do some painting and then after that I do another paint over but this time instead of painting in I just painted out some areas and that's how I created this kind of like you know crackling effect but again it's very simple I'm gonna just show you what what I did there because again is really simple so I'm going to go to brushes and anything use any brush we're gonna create just select that one just for the time being and I think let me just see oops when I go for a black color in this mask and I have the paint layer selected so I can just go ahead and draw couple of lines and obviously I'm I'm not doing this very thoroughly but you get the idea after you have the the effect with the with the parametric material you can go ahead and just play around with a with the layers and then the mask to create this effect and is really really simple when I undo that so this that's basically how I created all of these you know manually place details you can also do this with a procedural material or procedural texture and that will give you this kind of like cracks I just enjoy the this is just a personal preference I just enjoy the process of doing and manually and and and see how everything you know evolves in a more traditional sense if that's anything close to reality but you know I just like to do this tip this type of details manually and that's a part of the process that I really enjoy all right so that's just the burnt flesh so you'll see these two layers are starting to change things dramatically in terms of the of the quality of the skin and so does this this second stage right then after that I use I believe this one is let me check so this one is his skin cracks which again this one right here I think is no not that one this one skin cracks so all of these materials you can get them from substance source and it's just like a matter of finding them and downloading them but they're really awesome so this is skin crack I use I think these are the default values in terms of color but then I use a set of masks to only mask out the areas that I wanted to I also push in the in the technical parameters of this material I just push it forward so that it's a little bit more evident the difference in terms of the height so it's just pushing this forward and the the reason I did that one is because I wanted to create this layer I wanted to create something like that it was close to the to the more dermis or the epidermis of it of the skin so I just pushed that one forward and I use a series of masks we just go through them really quickly they're very simple um nothing nothing too too strange it's basically the same same thing as I've been showing you with the with other layers so I use the ambient occlusion to target the the first kind of like fill then I use a curvature to fine-tune that so I don't want to have this effect in the in the very deep smaller curvatures so I just added a bit of um yeah I just added this one this baked map from the from the original bakes and then I use the levels to contrast all that that's it then I use a crunch which is the ratio dirt for just to break things apart a little bit more make it a little bit more random and you see here at the top is very evident and then I use the blur so that is not as strong especially because I'm using quite a bit of you know hide information in this one I mean it's different from the from the high that I've been using for the rest of the body and again I just targeted some areas what I thought maybe there's some some parts that were not destroyed entirely from the from the skin of this guy hopefully that makes sense so yeah that's the that's this folder and the reason I put this within a folder is because this is one mask but then if I put it into another folder then I have another chance to fine-tune this even further so this is another mask to just paint the areas that I needed to alright that's that's pretty much it then on top of that when I have this set to overlay it's just a blue color and you see that I do this often in between all these folders and layers every now and again I just finish an effect and I just put a fill layer that can like overrides certain things so just turn things down a bit so this one is very subtle set to overlay and it's just you know making things subtly integrating subtly everything after that I use another of these generators I use this skin mole generator which is this one here now hang on skin molds I think this is one yeah skin mole generator this one right here so with this one and you see there's quite a bit of difference in terms of the height as well so if I go to the height this is how it's looking without it and this is how it looks with the skin mall generator so again I don't use this one to just create moles or I didn't do it in this way for this character I just took advantage of the of the quality of this you know the moisture level the scale the position the technical parameters all of these plus the colors to generate more variation and damage the this surface of this character so see it's it's kind of like random in a way but it's it's integrating those height maps and height materials sorry height details from the previous layers all right let's move on and so the third the third folder of effects is just a couple of layers so I went ahead and added more human blood and this is very subtle let me show you here is probably a good a good example so with this human blood is just very subtle different you know little details and little areas that I just manually painted to break apart the symmetry again and just generally speaking just to add a little bit more detail but this one is very very subtle you see here even these little areas here the very very subtle so that's what I use for these human blood then the second one this effect is just a blue color material and this is the one that really makes him look death or like this skin is not healthy at all aside from you know the obvious reasons that you can see with it with the blood and and all that but again this is similar to what I do every now and again I just create a new field layer with a specific color and I play around with the blending modes so this is overlay and you see it just takes all of these warm colors warm reds and oranges and it just crush them down into this more this saturated bluish and you know color that it's more more the type of the look that I'm looking for for these as zombie so hopefully that makes sense this is just said to again overlay 72% and I have a feel with multiply and this field is just a procedural that helps to kind of like combine the the original blue with a bit of more dirtiness let me see if I can want to try to show you that so it makes more sense you I'm going to probably have to want to show you because this is something that I used before and I didn't explain it so I'd feel alright so this is just a good way to show you so basically if I turn this field off this is the color that I'm getting just from the base layer the color base right and if I select that layer and I add a hat field from these effects here right to this add field I can just add any grunge or any procedural material that I want which you know you can play with the with the balance the contrast anything that you want with this procedural and if you set it to multiply this is going to change from black and white so this is the this is the the pure effect of these grunge material this branch layer but if you set it to multiply substance paint is going to take anything that is white and it's going to assume it's transparent or you won't display it and that way you can see the original color of the layer as you can do the opposite you can actually set it to screen and then it's going to be inverted so you can see only the white colors so that's just a way that I used to subtly very eight in this so if you want a hundred percent influence of this blue sorry black color you can also change the effect of just that fill layer so it is a single is a single layer with a bit of an effect just to vary it the decoder itself right I totally forgot what I had before but you know we will just roll with it and then I created a mask we can delete this one now and it I created a mask that allows you to you know with these maps you can basically target specific areas pretty much it right once you have set up the color variation a little bit with this layer and the and the way that you want to apply this and you know break it apart a little bit in this case you can just set these to overlay I think it was overlay yep so to overlay and then just play with the opacity to see how much of this layer how much influence of this layer you want to have on the mesh or on the the character all right so that is pretty much it I'm just going to show you the difference between having no effects with these materials and and the and the difference that they really make right so this is kind of like the base set of colors then added blood added some more damage and bruises and then wrapping it up with integration so these three are the ones that have most of these parametric materials and then they create the really disgusting look on this zombie and just to wrap up let me just show you a few more layers that I that I did on top of this so I have the rough and I separate this in a its own channel because I wanted to paint manually a bit of the roughness so this in this case I use not manually sorry I use procedurals so crunches like this and levels to create a mask so this is its own layer and I'm only enabled in the rock channel that means that I can just go back and you know play with the roughness itself and change it the way that I wanted to again I forgot what I had that was like around 7 and but this is another way that I can you know play non-destructively with the roughness itself so because it's sitting on its own and it's mixing up with the other roughness below it so you see it's not completely changing everything um it's just another way to add variation which is always good then then the next thing is the skin crossed generator and I use this one which is this one right here just to target the the eyes a little bit and just make them a little bit more disgusting right and again you can change this completely there's so many different options that you can create a whole bunch of different effects and looking fields just by changes applying one material and changing the parent the parameters of these material one of the key things I think in terms of playing around with all of these these features in substance is that not only you have access to a bunch of sliders that you can tweak and change the look and feel of a specific material but once you apply it then you have the whole plethora of you know masking options effects blending modes opacities so even though they might look you know somehow generic in a way like I like for example these skin moles that I use you can use things like these in a very different way right so you can change the colors completely and it's no longer going to look like a skin moles it's going to be like bumps that are yellow and green so you can use it for monsters and anyway it's just a it's just a thought that are really really easy to fine-tune to create the the effect that you want let me just wrap it up here with few more details so I create this blue layer and just to highlight some of these more prominent again it's hard to see because of the texture size but there's some veins coming through here so that's what this layer does I should I should name them properly more a little bit better but this is what it does this was done recently so I kind of like to remember what I did but if I were to open this in a year's time it will be it will be quite hard so try to name things that's just a good advice then the final pass is just another human blood as you can see I've used three times this is one of my favorites and this one is again just trying to add more you know more damage more control manually placed damage to the skin so this area right here again the size of the texture is not big enough to be able to see it but I just use a paint paint effect on a masks just to paint the areas that I wanted to if I go ahead and do another one I'm just going to use this pain to keep refining these masks and just go ahead and paint the turn of symmetry you can go ahead and paint this and because I'm also painting well I'm not also painting but because I'm painting and these layers on its own has a different height than the rest of the body it's kind of like carving in with already this blood right so this is pretty cool obviously I didn't do it as as intense as this and I use the pressure from mine from my tablet right now I'm using a mouse but let me just don't do that oh by the way like if you if you do something like this right and you just want to create kind of like this web pattern you can just go ahead and invert the mask or the color that using the mask right now I'm using a grayscale so fully white and just go and set it to black or I can just invert it right so just go between black and white and I have set these to my X so I have a custom shortcut for this so the X in my keyboard is just switching between the two and then I can just go ahead and do this type of stuff so like connect some of these parts and that's that generally speaking how I create that effect that web effect of the kind of like the schemes of tearing apart so hopefully that makes sense um yeah so that is that is basically how I put together these these effect and just to finish up I use these skin net soft which is a bunch of extra layers to create these this effect here right and this is kind of like again trying to bring back some of those original layers of the object what what could have been the more healthy or more outer part of the skin or outer layer of the skin of this character and let me just go through this one's really quickly I mean it's nothing too complex to be honest it's just a set of you know I use I use this human facial hair as you can see it doesn't doesn't really make sense to have it as in everywhere but because I change the parameters a little bit it just it just becomes something useful in terms of the hide to use and for this material the skin base this is just a color skin this is another one to darken that sorry to make it lighter and saturating it so for the most part is I'm just showing you the same process that I use for other or the other parts of this zombie just using colors to vary a tit and mask to change and again variaty color that's basically what I'm doing here add skin details and this spots right so once I created this material let me go ahead and create a fill layer so you can see the full effect of this this layer so this is how this layer looks you know quite I mean it's it's light but it's still saturated so it's a it's a light pass but decide the colors are very saturated so I use all of these paint effects to manually paint these kind of like web patterns around the you know the neck and especially around the face and so I can just delete that one so you can see is a it's a very simple setup and then just playing with the you know manually painting the details alright so but that's pretty much it that's that's the entire setup of this of this character so I'm going to close this one up and just as a matter of quickly quickly recap the entire thing I'm just gonna show you everything not in not in depth as I just described each part but so you have a rough idea of how I got to this point so base colors only working with the colors and I have a working rough to tweak the roughness as I as I go once I work then I have the first color pass just to bury a tan and create that disgusting look of the of the skin then I go ahead and do the skin details remember this is just affecting the the height position and the normals I'm not changing any color this is the one that has all the different colors here then I have the blood or the first parts of the blood effects then I have all the skin crossed and damaging the skin and a final pass to finally damage the skin even more and integrate everything together then after that I just work with custom roughness just to vary the roughness a little bit and add a few more effects in that more targeted areas like the skin cross generator around the eyes this is very hard to see it and the human blood like I show you it's very easy to set up and add those details manually and the the web kind of like pattern here and that that's pretty much it that's that concludes the this walkthrough of the zombie character and one thing to mention though is that once you have created all of these as in all of these passes and all of these layers you can just right click and for example this one right click and create a smart material and then I can just reuse that on the hand and that's that's essentially what I did I just created a series of smart materials that already have all these effects and I use them in the hand to finish the character and if I were to work on I don't know maybe let's say that this character also has legs but for some reason I work on them in separate tools in zeros or separate meshes I could do the same thing I can just copy the smart materials and paste them in there that's it that's that's all there is to it there's a couple more that I didn't mention for example the tongue and they and the mouth of this character I use as well parametric materials from the screen micro detail update to generate those and as well as the tip that it has the de tarde material which I don't have it here but I'm using that one and then it's also really really cool all right so I'm going to leave it here guys thanks so much for checking these out and again if you want to find out more about this particular project you can go ahead and visit that page that I show you the beginning I know this one well this one as well but specifically for this for this project you can go to the blog in substance 3d and find it and this is the this is just walking you through the process of how I use the materials in in which areas I use the materials which is kind of like a Ricky Rudd recap of this video really and you can see some variations which is something that I really enjoy doing once you have the the base textures ready just go through the process of finding the right look and feel and and the lighting that you know enhance those details that's that's kind of like my favorite part so here you can see a few more more of the details and how everything looks in the in a K right so you'll see this is exactly the same thing that I showed you in this video but exported at 8k resolution so you can see all of these gruesome details in more in more more detail or in more in more debt so go ahead and find that out and if you want to see some other stuff as well here in the substance source these are the cleanest the cleanest ones the ones that I use for the colors let me just explain what I mean by that so all of these materials right and you see the different parts of the body that's exactly what I use for the skin details so for the target area right so all of these colors so I use all of these ones to create a full or fill layer let me just just to wrap it up because I didn't show you practically what I did so I'm just going to create a new field layer right and I said let's say select the full arm just drop that here into the material mode it's as simple as that and of course this is way too big so I'm just going to reduce the scale and currently I'm using UV projection so let's just say that we're happy with this size and they and maybe not the height of this so I can just go to the parametric materials so technical sorry technical parameters and I can just change the range of the of the height right so just to make it more subtle and then all I do is I go to the skin color remember I'm not interested in keeping any of the color in this case I just want to have it this want to have a very evident color so that I know where I'm placing and then I create a black mask like so so the black mass basically overrides everything so you cannot see any of this color and then we can just go ahead and select a soft brush any brush rule will work really let's just use this concrete concrete light and then in the mask layer I'm going to create a paint effect right and because this one is for the full arm I can just go ahead and paint all of these like so maybe this one I probably need to do this one let's use cotton right that is what I did with a bit more thoroughly are all across this model and and you see that if I once I take these and I mean the base color sorry in the color channel and I can just take this down to zero you still have the normal effect or they or they hide Maps and that is what I did with these with these set of maps and those are the ones these are the micro details that I use for that effect so you get all of these all of these very intricate detail kind of like for free just go in there and then you can you know target different different areas so let me just delete that one and set this one back to zero because I don't want any color information just the height and the details so there you have it guys thanks so much for tuning in again and yeah I'm gonna leave it here and hopefully you have found these walkthrough helpful and useful in some ways and you know remember this little trick that I show you the beginning if you haven't used it is really really really good and I'm sure it's going to help you out in your workflow so thanks and I'll see you next time cheese

Channel: Adobe Substance 3D

Views: 33,450

Keywords: Substance, Substance Painter, Substance Designer, Sustance Source, texturing, texture, textures, painting, mapping, 3d art, materials, procedural, generation, Allegorithmic, Library, Material, Authoring, Integrations, Live link, PBR, Physically based rendering, Scan, Scans, Photogrammetry, Paint, Painter, Sculpt, Games, VFX, ArchViz, Architectural visualization, Automotive, Real-time, Offline, Render, Substance Alchemist

Id: Yg9WBodbPJk

Length: 72min 2sec (4322 seconds)

Published: Mon Aug 05 2019