Fast Retopology! Zbrush Substance Painter Tutorial

hello everyone and welcome to another video in this channel my name is Abraham leel and today we're going to be working on the spirit of the way mask that we started on Sunday if you haven't seen the video I did a very quick uh like a sculpting of this thing right here and today I want to work on a couple of extra details that I want to add I want also to go into the retopology process which was something that people were asking for and after that we're gonna jump into texturing let's see how long this takes but um yeah we're gonna start with this remember this is one of the assets that we're going to be including in our Japanese spooky realistic environment scene so before we jump on to this I just want to remind you guys that for the next I believe at the time of this recording or at the time that you're watching this we have two more days to make use of our 90 discount if you want to learn how to do these things that we do here in the channel and if you want to learn from the best well you can check this out here in udemy hey guys I'm here with a great deal for all of you for the next five days we're gonna be offering a 90 discount in all of our you Demi course 90 guys this is the lowest we can go for our discounts and you are gonna be learning from industry veterans and experts all of their workflows techniques tips and tricks that you want to become a great 3D artist we have modeling we have rigging we have animation we have sculpting we have characters environment creatures a little bit of everything you can get a 90 discount for the next five days if you follow the link down here all of the courses are recorded in real time so you're not going to miss any part of the process they include the project files we have a support line for questions you can ask questions on the site and we'll be getting back to you as soon as we can and uh yeah we are also offering a free 30-day money-back policy so if you buy the course and you don't like it I don't think it's gonna happen if you don't like it for any reason you get your money back within 30 days of your purchase no questions asked you get your money back so if you want to learn any 3D skill and you want to start this year strong with really good skills really good fundamentals make sure to check the link down here hurry up remember this offer is only going to be available for five days so join us and become an amazing 3D artist in no time there we go so the first thing I want to do with this guy is I want to do the little markings that he has on the face and I've seen some like people that have built the mask in real life and they they make it as a such a sort of like a like a dip on the on the overall thing so the way we can do this easily is with our masking brush I'm going to mask out the shapes that we're gonna have and from the reference it tends to be a little bit sharper here on the inside it curves a little bit here towards the outer side it goes to a really like nice pointy Edge like up here so I'm going to use control and control and ALT to to switch between adding or painting the mask and removing the mask something like this there we go so that will be the first like uh the first indentation for our masks I think we can go a little bit higher though so I'm just gonna make this a little bit longer there we go it takes time be patient you're doing 3D one of the things that you definitely need to develop is a a sort of like patience here in the channel I tend to speed around quite a bit and I tend to go a little bit faster that I would do in normal production if you guys have seen my courses it usually takes 20 25 hours to do like a lot of stuff and then we're gonna do the underside of the face right here again just run them off don't have to be perfect and we actually have and I remove a little bit of this thing right here you can trying to remove this as softly as possible because we seem to have some sort of like uh like bags on the eyes right here I'm gonna create that specific that specific element right there there we go now let's round this guys off a little bit more and I have on my other screen the uh the reference that's why I'm looking from one side to the other because I want to make sure that we're getting as as close as possible kind of want to bring this thing lower and a little bit longer there we go again Ctrl and ALT to just paint the mask and get the sort of result and then underneath the mouth we have another like a little it's like the shadow that we normally get underneath the lips like that are a little bit bigger not as curved there we go so just Ctrl click to invert the mask and we double you I'm literally just gonna push these things in a little bit like this I'm actually gonna go to a masking I'm gonna say there's an option here to make the mask more intense sharpen mask there we go so that when we push this in as you can see we get a sharper effect on the wood itself and that's it look at that looks really really good now one thing I'm definitely gonna do this I'm going to fill in a little bit of the of the details that we have right there kind of like Smooth them out maybe even like trim dynamic because I would expect someone who's like carving these things to just like soften them up as well and and create something that looks a little bit more clean on that specific area which is where the paint is going to be right of course texture is definitely going to help but I really like this looks looks kind of old and kind of quite quite cool I would say I'm gonna go with Clay build up I'm gonna remove Symmetry and I want to be a little bit more intense in certain areas right here now let's talk about retopology because that's the next step that we're going to be doing for this particular mask and the retopology requires us to create a a low poly mesh that will what we will use to bake all of those details if you haven't seen the normal map baking that we did last week make sure to check it out because I explained how that works and uh in that video I explained that we need like three main things such as having a low poly that's really close to the high poly and we also need to make sure that the distribution is doing well and stuff now we could do a manual red topology process with this one but I want to try and see if we can get a an automatic process first so I'm going to duplicate this thing as you can see we have this one right here and I'm going to isolate it just to be working on this one and one thing that you're going to notice is if I turn on poly groups you're going to see that we actually kept the polygroups from the initial um live Boolean operation that we did and this can be very handy because if I go to geometry and I go to Siri mesher we can do something called keep groups and if I Siri mesh which is going to do an automatic process to to recreate this thing with a lower poly count we might be able to get really really really clean Loops here instead of sewers now this process that I'm doing right here I would probably only do it for uh things like this like this mask which is which I know we're not going to be deforming um and yeah I mean look at that like that looks really really freaking good then we only have 6700 points which is about like 12 000 polygons which is not bad like not bad at all now as you can see we're also actually getting some some really like nice Cuts right here I I just want to make sure that we're not getting any spirals so I'm going to switch see modeler here and if we try to insert an edge loop on all of this Loops right here you can see that they're actually like proper Loops which is great normally when we're working with this sort of tools you might get Spirals and spirals are really really really bad I'm going to show you one I think this is yeah look at that so the red face as you can see right there it's a huge spiral like everything on the red face is a spiraling around the whole surface however this could like work perfectly perfectly fine some of you might be like okay yeah I want to do this but I might want to have this be a little bit lower poly like poly count like is there a way to do it and the answer is yes we can go back here to Siri measure and we can select this half option and if we see remesh we're gonna get the exact same thing but we have the geometry and as you can see we still have like clean Edge Loops right there which is great clean Naturals right there which is great we pretty much get rid of the spirals I mean that's a big spiral but I think I think this one's like a straight line and a straight line oh some of them are straight lines so some of them are spirals which can be a little bit tricky right complicated uh but everything looks really really nice even the the mouth right here that's a perfect spiral well perfect Loop which is great and even the Border back here this is great so this right now it's at 3 321 polygons it's it's great this this could work very very nicely however if I go out of the solo mode you can see that we're actually like we move things a little bit and they might no longer perfectly match with the original High poly mesh which has this one right here the lower one so I'm going to show you a technique here I'm gonna Ctrl D to divide this like three times okay to two um two thousand twelve hundred uh polygons or whatever and if I go to this mask now and I go to Project we can project all of the details from the high poly mask to this low poly mask and now as you can see it's a lot closer to the surface and the cool thing about this is if we take a look at the details that it's going to look really nice but the important thing is we can actually press shift d and go all the way down to the lowest subdivision level and this is the best like Organization for faces that we can have to catch as much of the detail that we have from our um it couldn't be one of my videos without sneezing I hate this guys I hate this it's going to be a meme by this point anyway so uh this is the best thing we can do so what I'm going to do now is I'm going to export this thing I'm literally gonna go I don't have a map right here let's create a new folder oh let's rename this folder to no face there we go I recommend exporting this as an fbx this is going to be uh no face underscore low just hit OK and then we go to the underscore High which is this one right here and then normally I would decimate this thing to to like save myself a little bit of polygons however we're not even at a million polygons and we already have a really nice detail so this is I would say perfectly fine so we're just going to export this again here into our no face uh folder and we're going to export this as our NO phase High there we go so I'm gonna pause real quick guys I'm gonna jump into Maya and we're going to be doing the UBS and preparing everything for the bigs okay because as I mentioned I do want to jump into texturing like get this thing ready so that the next time we do our environment we can actually get this guy inside the environment so yeah give me just one second very well so we are inside of Maya now and what we need to do of course is to import our stuff we're gonna use this clean scene no need to um to go into the main like a tunnel scene right now we're gonna go no face we're gonna import our low poly there we go and we're gonna say file import and import the high poly just to to make sure that everything is uh working as expected which in this case it is so if we take a look at the low poly when we could when we're doing bakes and preparing something for um for production we need to make sure that the a couple things are happening first of all I'm gonna right click and assign a new material I'm going to assign at Maya just a very basic Lambert material I'm gonna call this m acid material no face and the reason I like to assign new materials is because when we import this into substance it takes the name of the material as import as an important flag and it exports every single texture with that name um like taken into account so so it's important to to have like like proper organization the next thing is we need to talk about UVS some people think that we need to do UVS for the uh for the high poly and that's not the case some of you might be like well but this is not a symmetrical structure this is not like uh perfectly for animation and stuff and you would be right like this is not something that we would animate it's something that is going to exist on the world it's not gonna be it's not going to be the form it's always going to be moving as a solid so we really don't need to be as careful about topology when doing things like this when we're doing faces and by the way we're going to be doing a face this week a female face uh we do need to take care about other like important aspects so let's go into the UV process I'm going to say UV and I'm going to do a planar projection a student corrected me uh not long ago talking about one of my processes where I always delete the UVS first and I do that out of habit but she was right you don't actually need to do that you can just like do a new planar mapping from the camera access which is the one that I particularly like and that this will erase all of the ubis and give you a new UV we also have a like complete guide to UVS that we did a couple months ago you might want to look for that in the channel we have so many videos on the channel guys if you take a deep dive you're gonna find so much information we've been doing this for almost two years now so with this as you can see we go to the UV editor we're going to have a base of UV to work with and now we need to to think about the most important aspect of UVS which is where are we going to be placing the cuts right so I'm going to go to UV I'm gonna see 3D UB and so too and uh we're gonna do some cuts and in this case the easiest Cuts would be to go right down the middle of the eyes why there because that's an area that's relatively hidden it's gonna unfold just like just right it's gonna work and that's gonna allow us to hide most of the stuff we also want to separate the back of the mask from the front of the mask and we can decide whether we want this on the border like the outer border or the inner border if you ask me which one is better I would probably say the inner border because it's a little bit more hidden however it's really not that much of a deal a couple years ago when uh when we didn't have as many like texturing tools as what we have right now with 3D code and substance painter and Mario and stuff like that it was really important to have like a really clean um elements or really clean cuts nowadays there's a little bit more wiggling room because due to the way that the texturing softwares work you don't need to be as precise with your UVS however that doesn't mean that you don't have to do it or that you shouldn't do it because it's always important so I've selected everything here I'm going to go to you V UV editor I'm going to right click select the UV shells all of the UV shells right here and I'm going to say modify unfold the unfold plugin must be turned on for this to work and what you're going to get is this as you can see just this big masks right here and it's just two of them it's the front and the back and the reason why we got the front to back is because we did the cut on the center of the eyes and on the center of the face and as you can see this gives us a really really nice and clean effect uh with the whole thing we might get some weird texturing stretching on the side of the element but again thanks to the way we sculpted the high poly it shouldn't be that much of a deal now one thing that we also need to do is we need to lay this out Ctrl L is the shortcut you can see right now we have a I actually have a couple of options turned on that I don't want to have let me reset the tools so I'm going to reset the settings I want shell pre-rotation vertical so they're like vertical I want to preserve 3D ratios I'm just going to hit apply as you can see this is what we get and this is all we need like the two islands in one single UB space um both of them like proportionately accommodated and everything is just like working exactly as we what we would expect so I'm going to select this guy I'm going to say file export selection and back into our assets folder we go to no face no face low and we just export it on top we didn't change anything about the um what's the word about the topology we just change the UVS and now that we have UVS we can go into substance 3D painter and we can do the base and we can do a very basic texturing process it's it's supposed to be an old wooden mask so I don't want to do anything super extreme I'm going to go file new we're going to select our assets here on the no face no face load and hit open now I am going to do this at 4K because I want to have a lot of room for the whole thing I'm going to turn off you then because we're not using udem workflow and I'm just going to hit ok now I am using one of the most recent versions of substance paintable the most recent at the time of this recording which has a new Baker I've talked about this before it's a really really powerful and strong Baker really cool it's right here there's a little croissante and uh once we go here I can select 4K for our Maps because we've got really high Maps as well no face hit open that's the cage that we're going to be projecting as you can see we don't get any red spots or any weird spots so that tells me that our bake is gonna work perfectly perfectly fine and we just say a big selected textures and look at that beautiful result that's the bakes of all of the like mesh maps that we're creating the ambient occlusion the curvature everything it's being produced right now and we're going to be using these maps to add a little bit more detail to our whole project so we return to painting mode and look at this this is our low poly mesh with the details of the high poly projected so we can definitely see that we have this thing right here so so that might be a problem right because when we created this elements right here we we actually like modified the silhouette and right now this is not modifying the silhouette is just adding a visual like a thing so here's one thing that I can show you if we go here you can actually turn height now and if you turn the height and now we're actually going to be baking something similar to what the displacement will do from a c brush it's not the exact like 32-bit displacement but still a displacement that can be used to push the geometry up or down in our [Music] um in our final result you can see it well it's going to be a little bit difficult to see right there but you can see it a little bit on on top of my face right here okay see how it's like white and black those are the points that are pushing up and down and we can use this height information later on as a displacement map to push things more if we need to now that we have this uh we can start thinking about what kind of wood we want to use I have a couple of like Woods that I've been downloading ever since I started working with substance and for instance I really like this H Walnut nut Walnut width so I'm just going to drop this here and one thing I'm going to do of course is I'm going to rotate this at 90 degrees so that the lines are going down and look at how nice this thing looks right like the like the lines and stuff I'm definitely going to tile this a little bit more let's try a title of four oh that looks really good and since we we did sculpt the details on the high poly I'm actually going to turn height off so we don't want the height information of this thing to be influencing our element or if you do want to keep it one thing you can do is you can go to the channels here and if you go to your high Channel you can actually reduce the amount of influence that this thing has so you have a little bit of influence right there just to just to get an extra little detail now the mass is supposed to be white but I actually don't want the mask to be like a white a wood I want this to be white paint so if we go over here we can actually grab a plastic mat paint for instance make this white now one of my advices is never go never go to the corners of the square because then you don't have any more range so I'm going to go to something like this I'm gonna go for a more beige look there we go something like that look at that that looks a lot better and that allows me if I I want to add highlights later on to add them so to this thing I'm going to add a black mask and I'm going to add a metal Edge word so I'm going to go add generator we're going to add a metal edgeware which if we invert this we're going to get this sort of effect we're seeing a little bit of the of the uh like destruction of the elements going through the effect now I've I've shown this trick before if you've been watching this video for 20 minutes then you're welcome because you're gonna be seeing this trick again which is one of my favorite tricks to add more detail to the metal Edge where it's one of those things that you don't have to be a pro artist to just do and it's immediately going to make your stuff look even better so the problem with metal Edge where everyone everyone who uses substance painter knows how to use metal Electro and if you don't know substance painter that's your time go back and check or go down here and check the code but if you use substance painter and you're using metal edgeware one of the things that you need to do you need to break up the general effect that we're getting from the metal edgeware and from the dirt which are the two main generators what do I mean by this right now as you can see this metal edgeware is affecting every single border of our tool right of our element and that's not how things like Decay or or get damaged in the real world you're usually gonna get more more damage in certain areas and less damage in other areas so what I'm gonna do is as follows I'm going to right click I'm gonna add a field layer and I'm going to look for something like a cloud so you can use any generator any sort of like a like a procedural texture I'm going to use this at Clouds 2 for instance and if I start increasing the balance and the contrast I can create this very interesting looking clouds see that like like splotches of of paint I can go to the tiling and say give me three tiles there we go something like this and now if we multiply this against or in this case I think we need to always make this up it's uh inverse divide or divide there we go if we divide this by the metal Edge word as you can see we're removing metal edgeware from the place where the clouds are so now instead of having a middle Edge where everywhere the clouds are helping me to hide a little bit of that middle Edge from specific areas and that as you can see is giving me a really nice and interesting result okay very important to break things down and the cool thing is this is procedural so at any point they can go to the clouds and I can change the balance to add more or remove more see that so we can modify that effect I can change the contrast if in case I want to make this like softer like a softer gradient and this is going to give me a more realistic result overall we can also change things like the tiling like if we go high or low things are going to be slightly different uh we can change the seat and this is going to give me a random like Cloud generations and it's gonna again give me a a slightly different effect every single time this is gonna this is what's gonna make your stuff different from everyone else's stuff the fact that you can play around with the generators and make things look a little bit more interesting so now that we have this one of the things that we're going to do is we are gonna add a little bit of dirt they're just really really important it helps quite a bit and the easiest one to do is just a rust rust layer so Rose layer add the Black Mask right click add the generator and we're going to add a dirt generator now you can see that we can rust everywhere on the inside is that something that you want maybe but if but if you want that what you can do is remove a little bit of the crunch amount and that way we're only going to be getting a grunge on the crevices or on the things where uh rust and stuff would accumulate so again you decide how much of this you want now I'm definitely going to change the rust to a dark color I don't want this to be uh like orange so I'm going to do a dark color and I normally like to set this to Overlay and then play a little bit with the opacity because again it's uh actually should be on the color there we go so overlay and then we reduce the opacity because we we don't want this to be like super like intense on the element and it's just going to be like this extra layer of things it's going to give me a little bit more contrast and make things look just a little bit more realistic okay now let's do the paint because we need Paint and I actually want the paint to be underneath the um like on top of this thing but underneath the rust so I'm going to add a fill layer and we're gonna go for like a purple sort of paint I actually do want to keep this a little bit more glossy I'm gonna turn on symmetry up here so we don't have this to do this two times and we're just gonna paint this with the crevices that we created right there we go and press Ctrl and right click to make the brush a little bit smaller we have this we can go over here or you have a Wacom tablet or a pen display you can also just paint on top of it there we go over here perfect so that way we get the nice like purple color that we have on the on the concept I'm missing a little bit there and a little bit there now this one you can also go to Overlay which is going to darken this and you can of course play it with the opacity if you want things to be like a little bit less intense but look at that it's looking quite nice right now let's add one more thing I am gonna uh go to the plastic thing to the to the paint itself actually uh I'm gonna show you a slightly different uh approach I'm gonna control D the Walnut get it on top here it should be the exact same Walnut I just want color to be honest and I'm gonna right click add a black mask right click add a field layer and we're going to look for scratches scratches are a great way to add detail to the mask look at that so just scratches that go all around the mask and add this very interesting effect of of damage and old old sort of effect right now one thing you can do here is I can actually add a paint layer go to my paintbrush and if I grab something like the dirt I can remove like the scratches that I would not expect to see so I would probably not expect to see any scratches inside the paint because since the paint is like lower than everything else kind of wanna like hide it right so so we can force this out and just just hide that effect so we don't get that sort of like damage in those specific areas we're gonna have the scratches on the on the outer part of the wood but not on the inner part that's it like with this we have a pretty pretty cool looking mask however I'm going to show you one final trick and that's only for those of you that stuck to the until the very end so that way you you get a little bit of an extra reward so I'm gonna go to uh concrete the bear this is one of the materials that I really like and I really like concrete bear because if I add this onto the very top of the mask and I remove everything except for the color information you can actually use this color information to add a visual interest to the whole thing look at that look at how nice that layer makes everything looks right and of course if we like lower the opacity a little bit we can still keep the the paint but now it's going to look like it's stained or like there's variation on the color and stuff and we get a really really cool looking effect now it really works when we're doing like really damaged stuff um all of the generators and stuff that we have here instead of substance are really good for this kind of effect when we go for cleaner things we need to be a little bit more careful on um on other types of elements but for this particular one I think this is working just amazing like look at that look at how nice that extra little touch gives us a right there now if you remember we did have some really intense like damages over here so I'm gonna go to the paint again I'm gonna add a paint layer and I'm gonna manually go with like a harder brush something like the I think this is like dirt uh like this dirt Splash thing and I'm gonna remove a little bit of the wood or the damage that I would expect to see on some of this Parts like this big chunk right here I would not expect there to be any sort of like um what's the word paint so we're just going to start damaging all of these pieces and and here's where the artistic thing comes into play because you can start adding this sort of like damage and that this is again what's gonna like separate your work from everyone else's work so all of those like spots remember that we had like termites or something inside of seabrush that's the kind of stuff that we can start adding and modifying and when people look at our stuff it's gonna look a really really interesting so don't don't think that just because we are adding generators that we can't go like manually and pretty much like an artisan just decide where we want certain things or not and um that's it this is going to give us as you can see a really really nice result a really creepy looking no face mask uh we're gonna be doing a little smoke simulation inside of Maya to create the body of this character uh for our spooky tunnel so I'm just gonna export the textures now well let's of course save the scene Before we or before anything bad happens always save your scenes so no face it's gonna be the texture scene simple as that and we're gonna say file export textures we're going to export uh it can either be to the to the product itself or to the folder it's fine and very important here we're going to export as Arnold AI standard okay we hit export as you can see we get base color emissive height metalness normal and roughness and that's pretty much all of the all of the textures that we need look at this look at the base color it's going to look beautiful look at all that complexity and uh and and things that we have here and yeah we're ready to bring this into Maya plug it in into a material and a render it for our scene okay so I'm just gonna do that off camera I I I'm gonna stop the video right here which is going to bring all of the maps in the thumbnail of course has the proper like illumination and render things uh but next time we work on the on the tunnel I'm gonna like just import this thing back into the tunnel and you're gonna see how everything looks super super nice integrated with the whole scene so that's it guys make sure to use the code last couple of days make sure to um to yeah just make good use of it it and if you want to see specific things here on the channel let us know in the comments a like sharing subscriptions of course always helps and big thanks for coming guys big things are coming I I can't wait to tell you about all of this so hang on tight because um we're just starting I'll see you back on the next one bye

Channel: Nexttut

Views: 6,393

Keywords: maya 2018, zbrush tutorial, maya tutorial, nalini kanta jena, character sculpting, zbrush sculpting, zbrush turorial, beginner zbrush tutorial, human anatomy zbrush, modeling tutorial

Id: IHT4T-s565A

Length: 30min 19sec (1819 seconds)

Published: Tue Feb 21 2023