How to Make Realistic Glass in Substance Painter | Arnold / Maya

rendering glass object like these are always a bit difficult to set up because of the refraction and the render settings and all these things are a bit tricky to do and I'll show you today how you can set up realistic glass shaders and render settings hello everyone and what come along to episode 6 11 where I will be showing you how to set up realistic glass in my previous video which was a live session actually I spent two hours modeling shading and rendering a glass jar like a glass bottle and at one point after the modeling I went to substance painter and I pretty much tried to do something there but because I don't know there were almost 200 people watching and I was a bit on the pressure so I was struggling a bit to get something out like looking good so I thought just to revisit or reiterate on the substance painter side where we do the texture and the breakup I will be just jumping excuse me I will be jumping into substance right now and then we can continue from there on but before we jump into the fun stuff I want to thank you all for your continued support on patreon and on my discoid channel the discord channel is growing immensely we almost now add 1,100 members already so the community is growing very fast we it's really cool because everyone is sharing we have team challenges we have from my regular challenges so if you want if you're up for it please join me on discord and also if you want to join this tutorial if you want to follow along all the source files are uploaded on my patreon which you can access by my patreon link in the description below or you can become a Youtube member as well to get direct access to all my previous source files of my previous tutorials and obviously of this one where I will be giving you the model like the glass bottle or the glass jar and obviously you will get the substance painter access and yeah the Maya scene files as well wait I am setting up a shader in the end as well so enough talking let's jump into substance painter right now all right here we are excuse us scale of the UI it's just because substance does not have the option to scale the UI so I'll be trying to explain every step I do more in detail so you can follow along so I'm just creating a new project here and I'm selecting the file which is my high high poly count of the of the glass bottle so let's just import this bottle hi and I want to work in let's say we start working in a 2k resolution for now and then we just say we want to create a texture set per udimm tile and we just hit OK so this will import all my all the objects and all the items so you can see how I model that in in in the live session I had before but it's a very simple model nothing too spectacular going on here first thing what I want to do is bake the curvature and all these kind of things so we will be going to the texture set settings and we go to the baked mesh Maps option here we disabled the ID and in the common tab we just take the checkbox use low poly mesh it's high poly mesh and we want to capture it in 2k and then we just say big old texture sets then we just hit OK after it's done and then we have all the texture sets baked yeah we can look at them here in the menu we scroll down in a rebel the a.m. the output map so we've got all the fun stuff here thickness and occlusion and curvature and whatnot because it's glass we don't really we'll use them but we just it's good to have them in any case for if you have some smart materials or whatnot so what happens at first when you load it up you get this paint layer so you can actually paint here and in the properties settings you can actually paint directly in all these different channels on default it's just painting and color height roughness metal and normal but we actually do not want that what we want to do instead at least for now we want to create a fill layer and then we want just to leave the paint layer so right now this is our base we just call this base and what this is doing it will actually paint on all the outputs like as I said before and it will right now only paint on the texture set one so what is important what I want to do I want to right-click this year and I want to go to instantiate across texture sets and then I just want to check all the other ones except the source what that does is will actually copy the same kind of layer to all the different texture sets so if I switch my texture sets to one or two you can see it has this one as well I can still delete the layer one which is there on default as well but we see there is a base instance which is coming from my source layer so that is important to do that so the first properties for glass at least working with Arnold I know how that works so we don't want a base color we just want to have this black and for the roughness we don't want to have any roughness at all so this is a super clean polished glass bottle and for the rest it's not we can just leave it as is let me just bring in the reference which is this guy and to display this I'm using pure ref which is a very cool reference video you have lots of options to move it where you need it to be and you can scale it and you can rotate it if you need to you can crop it and that's actually something what I want to do so I just want to focus on the bottle so just by hitting C I can actually drag a little region and release that and it will actually crop it which is perfect so this is my reference so what I want to do pretty much I just want to break up the reflections and how I want to do that is with a new fill layer which is just targeting the roughness right so to do that I just click again on the top here create another fill layer and I'll just call this one roughness and instead of having it affect all the channels as the base I just want to enable it on the roughness so I'm just unchecking all the other ones and you can see we only have the roughness slider which is now on top mm-hmm which is now on top of the base and before we do all this we want to actually work with glass and we want to have like a glass representation on default the substance painter does not display transmit or pass opacity so on the right there's a little shader settings tab which you can click and make sure that the PBR mental rough is switch to appr Metzl ruff with alpha blending and that I know enables you to actually visualize opacity but we still need to do one more thing which is creating a new channel if you had you the plus sign there's like opacity and we need to actually do this for all the channels I didn't find a way yet to create the channels for the other ones as well so I'm just clicking it three times to full the sets opacity and we wanted for this one as well and we click one more time on the plus create opacity here so if I go back to properties and I click on my shader and I actually need to go to texture set one and I go to the base and now you can see if I click the opus opacity channel here we had a new slider and if I bring that down all the way you can actually see the transparency kicking in right now I don't have a backdrop but we can just visualize that I much in that there's like a display options here and I just have it off on defaults so I'm just reducing the opacity blur s or the environment blur and I'm just bringing up the opacity and then you can see we have that little thing here in the back background as well we can blur it a bit but it's a bit distracting so I tend to actually have it off I just disable it but it's there you can see the no reflections here if you hold shift on right-click you can actually rotate the environment so you can always see nice reflections everywhere alright so now let's just go back to the roughness here and what I want to do I want to create a roughness color so what I want to do here in the shelf I'm switching over to grunge's and there's a like a nice one called grunge leak and if I just drag it in in the uniform color here you can already see now just by doing that we get this nice that all it's almost looking very glass like already just because it's like broken up a bit we can move it if you want to place it a bit better on the left here I'm just moving the the you'd observe on the UVs I mean so I can actually scale it down a bit until I'm satisfied with all the leaks and the running down water look and you can see there is this effect it's also here on the reference so you can see there is all these leaks and there is some kind of dust layer on top or something like that I'm just bringing in a bit more of the opacity so it's not super transparent so we can just see it a bit better and you can see we have these nice little streaks now which are I'm helping quite a lot to just get this dirty up looking glass and if you actually want if you want to bring in some dust or something like that we can totally do that by just creating another base layer and I think I'm not actually sure if we transfer to roughness to the other ones I don't think so what you can do is hold alt and right click is it's ctrl alt and right click and then you can select different texture sets in the viewpoint you can see if I select the inside we don't have the roughness so what I somewhat need to do I need to instantiate this across the other ones as well so now we have the same roughness map on the inside and on the bottom as well which is what we want a next step is to create some more like running down water or something like that so what we can do here we go on the outside texture set and what we can go we can right-click this and we can add different masks to this so if I create a black mask this effect is fully disabled but actually I want to create a white mask so it's fully on and then I just want to paint on the mass with some kind of black to get some kind of like streaks or something which are a bit more clear so for that I want to use another fill layer in here add a fill and this time I'm just using the grunge leaks small for instance and I'm just dropping this in here and if we want to just visualize that you can all click it and you can see only that map and what I want to do is I want to multiply it with I'm sorry I just want to level it up so I have a bit more contrast in this and what you can do that with a level modifier here you can try to get it with the contrast and I think the contrast for this what I want to do will work fairly well I think it will let's see so what does this look like so it's pretty much the inverse so I think we would just need to invert this effect here because we want whatever is black now we just want to have that to be white so I think in the levels we can just flip it if I go to the roughness here is that how it works yeah so I'm just flipping those values so now whatever is white will hopefully do like will bring the out bring us this running water lucky let's see if this is true and now we can see that wherever there's some running water we can see this effect like we actually see the streaks so if you want to actually have the the water to make it clear where the water was running down then you would obviously need to invert this to have it the opposite but why I did this is because in my opinion this running water was already running down and thus collected on it so it just got a bit rougher but we are not done yet I still need to adjust it because now it's just fully black and this is just too much so we just wanted to have a like way more range and it's something more like this and then we can play with the other levels to just get some more detail in it so let's just see what we can do I'm just trying to lift the black so we just have some more range so it's not super super shiny everywhere but I think this is the way to do it if I just able to mass so this is what it was before let's just rotate the environment you can see how that looks if I bring it back this is now the effect so we still have the the feeling of the glass but then you get these streaky smudges on it and I think that is pretty much what I want to go for and see it looks like glass it's pretty cool and next up is I want to create these inside droplets or particles whatever that is and I want to use a height map for that height peppers and substance painter you can use that as a little bump metal or actually it's a displacement map but we will use the height map as our bump map once we render this so I'm creating a new fill layer again here and this will be we actually need to be on the just on the inside texture set for this so alt ctrl right click in the middle and let's create a new fill layer in here and call this inside breakable whatever and we just want to target height so now it's still the same as before we're just now working on the inside of material and I think we can also hide the other objects so now we can actually see inside the glass like this all right so it's actually fairly straightforward I just want to have something at the bottom here so what I can do then I can just find something which I think works well so let's just go to the break up and the properties here and then I'll just drop some kind of grunge map something with some little spots or whatever and I think this Grunch 113 might do it obviously it's way too strong but we can obviously dial it back down so let's just create a levels here and then let's see if we can actually visualize it by just looking into the height map so this is what it looks like and we want to scale it down so to top it as the scale option to just scale it down so it's a lot smaller something like this kind of offset it if need need be but then let's just work on the height here and just to add some more contrast something like that let's see how it looks and now it's still super strong so what we can do we can just reduce the overall effect so I want to first switch the layer to height and then in here I and then in here I want to switch it to or click on order Auto so it actually assigns the ranges properly and then I can just reduce the intensity by just reducing the height the white point so now we can see that we get some kind of little break up here all right so this is now breaking it up and this is maybe a little bit too much so now we just want to actually clamp it down so we get less detail in here so let's see if we can actually get it so this is what we need like just these little spots here and this is actually exactly what I want to get this kind of look now we can still dial down the oval intensity by just reducing it and slight amount more and now we have this these little break ups these little dents here so if I go back to my texture set list and I just bring back all the other ones we can now see that from the outside we don't have it but then once we look through it you can see there's these kind of little break up things here alright next up I was talking about that there on the inside here that there is some kind of like some kind of streaks of running water or some liquid residue and substance painter god famous a lot of not famous but a lot of attention because it has these nice physical paint and physical paint brushes or whatever it's called so we will be utilizing them now just to get some inside running water effect and by doing that I just want to create another or just another fill layer but I paint lay on texture set too we just wanted on the inside as well so I'm just creating a paint layer here which is this little stack plus thing and we just call this like running water or single tee like that and we're just on this texture set and we can just hide the other ones just for now and what we then want to do we can it control one I think is the hotkey for this but we can just click on the physical paint and in the physical properties we can or actually here on the on the shelf there is also brush preset and we just want to pick leaks for instance that should do the trick and if I paint now you should see that there is something running down and it's important that you bake the texture Maps because then it knows the normals it knows where it needs to flows so that's a benefit of having those the brush size a little bit small so I'm just increasing that so we get larger drips and also I want to set up in the and as in the channels for this brush that it should only affect the height and the roughness actually let's just pick the roughness for now so whenever we paint the roughness should be adjusted and the roughness should be painted black so it's it's it's good it gets more shiny on the inside I'm always hitting ctrl Z to undo because we're still not there yet we still need to fix ups on some settings here we definitely want the life to be a lot longer so at the bottom Q there is a particle life and we just max it out we don't want to randomize it that much so now if I paint we should see actually them running down all the time and you can see them like painting or just you can see that there is actually like running down and creating like a different kind of look to it I also want to adjust the emitter to be a single object only so it only when I paint I can click and it just creates me one drop and what I also wanted to do I want now that the size is so large I just reduced that down so we have pretty much this size which is cool maybe a bit bigger and then I don't want to have it too fate so the faith sighs if I think I need to reduce it all the way so it doesn't fade as much you can see now it's pretty much a straight line and this is perfect what I still didn't want to do is create some kind of motion left and right so there's a tube to turbulence power let's just boost it and see what we get yeah it's actually creating a bit more which is great so we can let's just go crazy and just see what the does those settings do yeah this is going pretty nicely going all the way left and right so this is a very cool effect and I think this is all we have to do so now we can actually vary our direct and paint why we wouldn't want to have some drips so I can click here and I need to wait wait for it to run down otherwise I'm stopping the animation or the simulation actually so I'm just clicking now and we can actually see that we get some really cool effect and let's say we just want to create a bump as well so or just a height so if I bring up the height and I just move the height up I think we should get a little extra now as well this might have been in the wrong direction let's just go the other way yeah you can see now now there is some kind of thickness to it which is amazing let's just obviously it's a bit much so I'm just reducing this by quite a lot and I'm just clicking still to get some more droplets here and you can see like how beneficial these physical maps are you as the physical paint brush you can just click and it actually creates all the hard work or does all the hard work for you it's pretty cool stuff that's like one more I don't want to create too many because it's it's it shouldn't be too much it's just like some kind of condensation drips here you can see it works very well now let's just bring back the other texture sets so there we go just for the fun of it can't actually do it no I can I could copy this yeah what the hell let's just copy and Senshi 8 it to all the other ones not actually does it I can copy at me I think it makes more sense like I'll copy this and I go to texture set 1 and I'll just paste it here and now we have the running water on this side as well so let's say I just want to create one droplet here on the top you can see now it's running all the way down splitting and it's stopped that's great one more here oh I think is actually because it's on the outside now we just need to reverse the effect so right now it's going on the inside we just need to go on the other side so let's just do this again just click here yeah that's pretty cool do one more here and I'm holding shift and right click and I'm just shift right click and dragging to rotate the environments all right so I think this is now I think more or less good for the glass so why don't we just export those Maps and see how they look in the render engine Oh actually we kind of IRA first let's just do that so IRA is the built-in ray tracer and I just click it takes a bit of time to load it up and then this is what it is so this is now ray trace and I couldn't find out how to actually get refractions working in here I know you can go in the shader settings here and bring up the refraction but I still couldn't get it to render even if I go back to the outside and I've reduced the opacity on my base like this and then I go back to the IRA thing it still didn't actually compute refractions properly so it just does this which is not correct it just it just feels like it's like transparent now it's it's like as if there's no thickness to it so I couldn't get it to work properly in i erase so that's why I just kept working in this year which nothing is fair enough it it works well enough so now that we have all this we have actually worked with to texture sets I didn't care much about the bottom because that it will be filled with liquid so what I want to do next is that your first minimize this guy and hit file and export textures and then we can go to the preset and find I think I have an Arnold one Arnold five custom which is just outputting the maps I need it is just the roughness at the height Maps that's all I need for this because I'm just working with this I didn't credit dust or whatever we ordered we can just do something really quickly in an Arnold I think so let's just hit the export thing here and go to export and then we can open the folder so we get the texture so this is what we got so if I click here we should see something this is the height map you can see there are some streaks on it and this is our roughness map you can see the running water on the side it's perfect so I just thought actually before we go into all let's just create a quick dust pass so let's go to base color here and make sure we are on texture set on the top one and then we can just create a dust pass quickly so I just want to create a fill layer again which is this guy and we just move it all the way to the top and we just call this dust and in here and the properties I just want to affect maybe height no maybe not let's just do a very basic color here and all we want roughness as well and then we go to procedural Oh actually go to grunge's and then we just maybe we can search for dust yeah some fingerprints crunch wipe dusty yeah let's just use this one and see what we get I'm just dropping this in here in the roughness first and let's just change a base color just to something black let's see if I hide the other ones this is now the dust pass and let's just do some balancing here just make it very rough like this it's still not rough enough I think this might work and then we just need to break it up with a mass so I'm just creating a what do I need a white mask and then in the mask I just want to create a different procedural actually can use another dust but let's use this bigger one here and just drop it or actually we need to create a fill layer first like that and then we drop it in here so now we have that so I just need to bring max you back the visibility on the base on all my previous layers so that I can go to the roughness and now I just dropped it in and now I have the mask in here so now you can see that I have more rougher parts so by just adjusting the contrast and the balance here you can see that I'm just creating the dust or these little rough areas where I need them to so let's just switch to the roughness here this just helps me to see what I'm actually doing and I just want to have like a pretty harsh effect something like this you can try scaling it down or scaling it up actually so we're not effecting too much and then I think this should do it and then we yes actually it's not bad as me it's just a bit too large I think I think this ought to do it so let's just go back to the full render so to the old material and you can see there's these drier parts now so if I go back to my base color we still have the same method so all I have to do now is just add some kind of color to this so I can just bring up the color here and you can see now we have some kind of dust we can just play with a mask like we can also assign like a gradient to this so let's just see if there is like a gradient no no something like that all right let's just pick a basic color for now and now we can adjust it later on in an Arnold if we want to add some breakup because I think that the roughness map is already broken up quite a lot so I don't think we need that much actually so the effect is super subtle so you can see it's very very little color here and I think we can't work with that let me actually boost this up a bit so we can dial it in later all right so I think this is now good so let's just hit s ctrl s and go to export textures and then we still need to go to config here and just bring in our textures again so we just want to make sure that we bring in the base color as well because I removed that before and this should be RGB and we want this to be the base color from RGB channel and this should be it so now we should have any export options it should actually export that as well now let's just choose the output path to be actually in our directory and we want to make sure that we export EXO as well instead of PNG so right now it's on PNG we want EXO all files and I'm not sure why it's not ticked on here let's just switch this up maybe it's an update issue yeah it was just update issue so now we have all the output so let's just hit export and wait for the maps to be backed out and then I'll see you back in Maya shorted emission I hope you like what I do with the new substance side of things so I might actually be doing a bit more tutorials about substance painter or a designer as well so if you like what I do please leave me a thumbs up for this video and maybe I have asked a question in the comments below thank you alright so I hope you guys a bit more familiar with all this so I'm just important the cache fairly quick here input Alembic we want to go up a directory to get the caches so we have the same object here we want to create a light on a light sky dome light we want to create a light source like a file image I mean I have a preset here which is just my studio light which I always use it switches to linear srgb which is not correct it should be utility sorry my bad it is actually correct your Hilty utility linear srgb is correct for this case so now we have my mapping here I want to create a new shader sign favorite shader a I stand in surface shader frame it so we can just call this AI bottle like that and we have it in here so let's make sure we reduce the base color we make sure that that we have the shade here bring in lighting information so we can actually see it reflecting and now let's just import those Maps I'm just dragging them in the viewport I'm doing the cleanup here so it's all sorted and then I'm just moving them over here and I'm dragging control middle Mouse dragging this place to detection on and all the other ones and I can get get a bit of those too and then in the Arnold TX manager I'm on a credit txt file selecting these make sure it's actually set to mute ility srgb here sorry utility this one needs to be utility srgb texture and the roughness needs to be raw and the height needs to be utility of raw as well so now this is updated I am just selecting them and I'm creating the x-files they are done I forgot to select the UM option so in the tiling make sure it's you them Mari Unum Mari and one more time then it found all the tiles refresh this and created one more time so now it's creating the rest of the TX file so now we have all of them on disk I what I wanted to create an AI range and connect the out red which is just a luminance value sorry it just could connect it here first and then pick the red connect this into code roughness and I will explain why and then the base color goes with let's just create an AI color correct first connect it up and then we're going to base color and then we want the height which is an AI bump and I'm just connecting the red as well which is illuminance and the out value goes into a normal camera it might actually you need to go in code but let's just see what oh that's just put it in both just to be safe show all attributes here and then we click the out value and connect it to the code normal which we have up there so now all these things are connected let's just move these guys over and then save it and then we can start the render alright so now we have the render on the left and I just created a camera quickly just to frame it so let's just see how the roughest looks if we view this with isolate selected mode and see if we get everything so this is a roughness map and I think we need to adjust it but we are in the code so what I want to do first I want to disable the specular completely no roughness and then I just want to go to the code bring it up to 1 and then we can already see we get this nice effect which we had before we can use a glass eye or we can push it actually I like one-point-six in this case if I bring the reference back up here you can see how this looks so let's maybe just move it somewhere let's just move this on this side and then this one can go to the other side maybe scale it down slightly there we go you can see it's a bit more reflective that material it's almost looks metallic so I just want to push it up a bit we can even go 6.5 obviously that's not 100% physically correct but I think it will just do the trick let's just see if we can actually push the rough is a bit so I like to enable smooth step so we clamp the values and then I can just reduce the input max a bit so we get more White's like that so now oval it should be a lot more rougher just see how that looks and you can see now we get these really dry patches here and I want to also increase the output min what it does it actually just lifts the blacks so if I go Oh point oh five you can see everything is a bit lifted now so now the glass is not super shiny anymore but we still have this this really dirty dust effect which is pretty cool we don't have transmission yet and I will explain why I did it how I did it so I disabled the specular completely which just means we don't get any specular reflection so if redness is off we just don't have any reflections the benefit though is that if this is off I can control the roughness independently from specular to the transmission or the refraction and the beauty of that is that normally if you don't do this I can show it if I bring in the refraction now you can see this is not my glass but if I want to have the roughness map or if I just want to have a reference in general let's say a point one roughness it will actually sandblast the glass you can see that it's it's not really it's not see-through anymore this is a physical correct phenomenon but because I need the artistic control I always break the link so I always disable this and now I get a super clean reflection or refraction next I need to boost my settings here we just have a three samples on the on the GPU now so we need to go at least on maybe ten we can't even go on 24 now it doesn't matter much and it just takes a long time to process you can see now how that looks and if I go back to this and I now boost the refraction again sort of roughness you can see now how it's getting sandblasted and we want a bit of that but not too much so let's first bring in the code again so we have the reflection and then I want to disable the specular so now we're only dealing with refraction on the specular tab and we this is now only driving the code this year and I think it looks already a lot a lot better than before so now we have some kind of roughness here we have an IR for my glass so obviously we can't change this independently as well so this IR here is for the refraction and this IR s for the specular you can see the controversy here it's it's not physically correct it doesn't matter though or I think it doesn't yes autosave and next up I want to create this little colors color shift here right now we have a white glass I want to make sure that we have some kind of colorization on it so the refraction transmission tab I want to go to color and I just want to pick some kind of green yellow green something like that and let's go a bit darker like that so you can see that I I'm not really changing the colour much in terms of like I'm not really desaturating it what I'm doing instead I will be using the depth fear and if I put the depth is this kind of like a physical thickness of the object if I go to two I think that the GPU always needs to get a restart for this to actually work so let's just do that so now you can see with the depth of five we only get this kind of green Sheen at the bottom here and this is what I want so you can see if I reduce it by a lot you can get the color back and where the glass is thicker we get a more saturated color which is exactly what I want but obviously we don't want it that strong so I just go back to maybe five and I think it's a bit too too yellow so I'm just switching it back to a bit more green color maybe something more like this you can desaturate a slight amount something like this I think this works very well just a slight amount of green at the bottom here and what I want to do as well I just want to reduce the amount of refraction on the edges it's also not a physical accurate thing to do but I think it does help to just get the look I want for this kind of effect so I can just plug in the value directly to the transmission here and just by doing that we should you should see that it only affects the edges so we need to fine-tune this so right now this is the effect but bring up the gain you can see you know it slowly pushes out towards the edges only bias moves it back in so now this is a kind of a little balancing act here to get exactly the look you want and I think something like this maybe let's just see how this looks obviously it's way too strong so what I always like to do then is just create an AI range range you can do lots of things I think a arrange works quite easy for this so I'm just poking these quickly up here and then we're just outputting the read to the transmission i want to then want to do is i just want to if i increase the output meant to wanted the effect is also I can then slightly just reduce it so we get like a really subtle blending on the edges here which is pretty much this is I think a good way so you get you see there some kind of fall off towards the sides and then let's just try to get the base color working right now this is connected but we don't have anything in years so if I look at this now this is my map right now is that correct I was expecting at least to see some kind of texture on it let's just boost it up a bit yeah there we go so if I just boost it you can see there is something happening here we just need to go a lot stronger up like I think actually I didn't had to switch it to srgb I think it was actually a linear already but it doesn't matter we can just leave it as it is I'll bring this up back to one we need to actually now use a map for this to disable the transmission where we have the texture so it's actually a bit more complicated to set it up in one shader so I'm just generating an AI range here hooking up the color and going into the input here and I'm just connecting this up quickly just to for me to extract the color it's a super low value which is did you go in the lower point oh five let's see if we see it now okay now we see it so now we have a little mask here and what I want to do with that is I want to connect this to my transmission map which is right now looking like this so I want to create an AI color correct and then I just want to plug in plug the output of that map into the mask of the color correct which helps me to actually graded only on those certain areas so if I could do this and I hook this back up here to the transmission I should now be able to reduce the transmission on that mask effect so now you can see I'm I'm dialing it down only on this area and by adjusting the range even further we can get even better looking like a better looking mat there so let's see oh this looks so now we have actually pretty much a black and white mask or a transmission and for the color we have this so now you can see the effect if I go to my full image you can see now we have this dust on top here and this is now controlled by the mask or by this multiply so if i zoom in the top here and I just bring down the multiply you can see I can easily just blend it in a tiny bit like this and this is pretty much the roughness effect I want it to get or just to the dust or whatever you want to call it and we still didn't touch up on the bump map which is on the inside which is just breaking up the little like adding these little dents and whatnot so I can push it a bit 0.5 so we can now see already we have a bit stronger these little droplets on the inside which looks pretty cool let's just adjust a range a bit it's a bit too tight I think it should be a bit softer now so we have that and the last thing what I want to do is adjusting the bump map and what I mean by that is I can create an AI noise which is and create a super broad looking map and I want to connect that into a bump and then I just picked the red and again a luminance value for this bump map and then in the output of this bump to denote I can show all attributes and I want to connect the out value to the normal and what this enables me to do is actually stack different bump Maps so if I look at the noise now this is a pretty broad one and the thing is actually fairly good already I should just be able to boost the bump height and we should see the effect I'm going for if I go maybe two point one you can see we get this nice distortion and you can see it actually on the reference pretty good that this line here is very broken and there's some kind of motion to it like it's not fully straight everything so obviously what I did here is way too much but the idea is that so now you can already see we get the slight dents here and this just totally helps to break it up and you can see this looks very nice I think the bottom piece here and this would pretty much be that so what I want to do now is we can switch into different environments and just see how that looks in not a studio environment and then I'll just render a full image here so let's just zoom out like this and then I'm just quickly selecting my hgi and just picking a different one so this is now how it looks in a different environment and I think obviously it helps it to look at stuff in different ones that but I think it still holds up we the dust is not too apparent but I think once it's moving was something you should see it a lot better and I definitely love the droplets in here so that's this is a very nice touch to all of this alright that sums up the video and I hope you enjoyed it it was a bit more in-depth like how to create glass what you can do like what tips you can do to break up the reflections to use the different code and specular settings in the shader and obviously we went into substance painter a bit more in depth I explained the steps a bit more carefully so everything is a bit more clear what I was doing and I just showed you a general way how to export maps how to paint and work with the tool itself so again if you like what I do please leave me a thumbs up I would HIGHLY appreciate that and share the video like share to your friends and yeah let me know how it works out for you and don't forget we have a very active discoid Channel and the link is in the description as well so be sure to check that out and join the community thank you very much and I see you guys in the next tutorial [Music]

Channel: Arvid Schneider

Views: 94,040

Keywords: realistic glass, shading glass, texuring glass, glass in substance painter, refraction in substance painter, what is substance painter, texturing, texturing tutorial, substance tutorial, substance painter tutorial, substance painter, substance painter 2021, substance painter tutorial beginner, substance painter stylized, arvid schneider, vfx, arnold, 3d modelling, 3d texturing, lookdev, rendering, 3d rendering, lighting, 3d lighting, maya tutorial, visual effects, vfx artists

Id: tEiczUXZ7Ws

Length: 46min 7sec (2767 seconds)

Published: Fri Apr 17 2020