How to Quickly Texture Clothing using Blender and Substance Painter

yep I know it's been a long time but finally I have a new tutorial for you hi guys Martin here and welcome to this new tutorial on my channel this time we'll be continuing the Marvelous Designer tutorial and we will be texturing the garment that we created previously and yeah there were some problems with the workflow I showed you in that tutorial so I'll be trying to solve some of these problems as well so hopefully you'll like this new video and let's get to it first off I will address a problem that some of you encountered in the previous tutorial basically every time you import it a character into Marvelous Designer using the workflow I showed you the animation started wiggling like this which is of course something we don't want so very quickly just download your character as color the format with skin from Maximo import it to blender escalada format and here don't forget to check these options one very important thing you have to do right away is to hit ctrl a and apply a rotation on the armature because that's something that's happening when you import it from Maximo your model is rotated 90 degrees on X so never forget to apply the rotation then just push your keyframes like this the same way I showed you in the previous tutorial add a t-posts at the beginning and one thing you don't have to do is to bake your animation that's something I found out and after that select your armature and the body and you will export it all as a lambic format which is the big difference and it finally made the workflow to work check these selected objects only and otherwise you don't have to change anything except for of course naming your file and export it the rest is easy just import our avatar as a lambic format you don't have to change anything and when you go to the animation folder you can see that now everything is working as it should be so I hope the solution is working for you and please let me know in the comments below whether you still have some problems with the workflow from this or previous tutorial so here we have our garment that we created in the previous chapter of this tutorial and as you can see we have it separated into several parts we have this belt here with a buckle so let's differentiate these parts with different color in our viewport display in the materials here first material for this belt second one for the hit on make it yellow for example or this orange tint also for clemmy's as the width sub red and we won't actually be texturing this buckle up here because that's what I've created in my previous tutorials which is a topic for another time in the previous chapter of this tutorial we actually laid out our UV so let's just check whether we have them still laid out now and I have some green color here as you can see this is what I got from Marvelous Designer after the export but what I found out is that it doesn't really matter the textures in the end look pretty nice even with these green colors so don't worry about this stretching it won't be too noticeable and the belt is laid out as well and if you want some intro to UV mapping you can watch my previous pedestal tutorials or by my spartan modelling course or even look at Zack Reinhard's tutorial that he just uploaded for blender 2.8 it really is great intro so I do recommend it after you've checked all the parts of your garment be sure to hit a to select all of them and then hit file export obj find a folder where you want to export your model name it properly and finally uncheck this apply modifiers and check the selection only box what I've actually already done was that I applied a subdivision modifier on one two this hidden and the clemmy's and then again I added one more subdivision modifier on a level of 1 and I didn't apply it this time after that just hit a to select all export your model one more time but this time make sure you do not uncheck this apply modifiers name it for example like this underscore HP and this way we easily created a high poly of our low poly mesh and we will be able to bake all the detail onto our original object in substance painter so now we can finally switch to painter we will of course start a new project with file new OpenGL format because that's what blender is using and let's actually choose 2k a resolution we can always change it later now find the OBJ's that you've exported from blender and choose the low poly version the one where you didn't apply your modifiers and here we are well seems to be something wrong with our normals that's of course because we didn't recalculate them in blender if that happens to you do not despair there is a quick solution for this it requires jumping to blender Doh so before we do that let's check if we have all of our texture sets here and you probably know that every time you export a material from blender a new texture set is created here in substance painter now I'm just checking whether I have everything I need and all seems to be correct except for the darn normals of course so let's jump back into blender we will adjust our model and re-import it back here into substance painter what you can do here is jump into edit mode hit this mesh normals and recalculate inside then you just export again just as we did before you create your low poly version without applying modifiers then you create a high poly version with applying modifiers and go back to substance painter and you know rewriting your original files is just fine back in painter click Edit project configuration find your new OBJ's and this looks good of course you can't view your models double-sided in substance painter well that's not true you can but you have to change the shader but we will do that later let's actually first bake our mesh Maps you did here in this texture set settings window and here in the output size let's input the 2k size that we decided on and also in the high definition meshes load our high poly model then all that's left to do is to uncheck ID since we're not using them and we are actually good to go to bake all our texture sets and even don't a new substance painter versions use GPU accelerated baking it still takes some time so let me just skip this part ok when the baking is done hit OK and here we go it looks pretty nice except for the parts we can't see due to the flip normals other than that I really like the result and also the high definition details that were brought into our low poly model when baking from the high poly object and now to solve the transparency it's actually very easy you just go here switch to this alpha test shader and voila we have double sided object here in substance painter one last thing I don't like is the fact that we baked our ambient occlusion and the Clemmie soar the cape actually created the ambient occlusion on itself we could fiddle with the settings of the baking and lowering some distances there but you know what's easier just remove this ambient occlusion mesh map here because we won't really need it anyway and with that we are ready for the actual texturing process now select your hit on texture set and switch to this layers window which I actually usually like to have here so you can tear it off and put it there or anywhere you like and for the basis of our material let's actually have a look into substance source where there is loads of useful materials here especially when it comes to all sorts of interesting fabrics and since my project is about ancient Greece in ancient Greece they used to wear a lot of linen we will choose this linen woven material which looks really great and has loads of options in it so hit this button and want to download you will be able to find it in your shelf you can write linen into the search bar and you can see that I have several types of linen here mostly default materials or the ones from substance source but let's use the one we download it and put it into the layers window of our hit on texture set the first thing we can do here is to raise the scale to something like 12 that looks about right and if you want to increase your resolution to see more details you can always do it here alright this looks much more detailed and this is a great base for our clothing texture now to add a bit of color to it let's actually switch to this double viewport by hitting f1 and we will be painting our color in the 2d viewport okay let's start with creating a fill layer deactivating all the channels that we don't need which is pretty much everything except for color and making it this bright red okay not so bright name your layer and create a black mask to hide everything and now we will paint only on certain spots for that let's use this polygon fill tool and with this color balance set to one just select the polygons you want colored and instead of selecting them in 3d viewport the easiest way is to select them here in the 2d viewport and then when you hit X to switch to 0 you will be deleting the mask now switch to 1 again by hitting X and fill this region here and this way we created this sort of a band around the lower part of this kitten let's switch to the polygon filling N and start filling these polygons up here around the neck of course due to the poly flow that's not as ideal as at the bottom part of our kitten it will not be as easy as before so let's start selecting these one by one then hitting X and removing some of them and then we will probably go in and paint everything in with a paintbrush so as you can see the result is not exactly ideal so yeah let's go down here to the brushes folder select this hard brush and with this lazy Mouse active you can lower the value here and start painting now there are two problems first we can't see too much because of the light so let's switch to this base color view and also our brush is jumping all over the place which is because of the alignment in our brush settings so let's reset our brush by clicking on this hard brush again and instead of the tangent rep alignment let's actually use this UV option and also switch the size settings of our brush from object to viewport and now everything works as its supposed to let's start where we want the edge to be and erasing where we don't want the color for this operation it might be better to use this polygon fill and delete these polygons with it and huh we forgot to use our lazy Mouse option so let's activate it again right here with the white color active start painting with it it might be good to lower the lazy Mouse value because if it's too high it sometimes becomes too unwieldy and if you set it to one it might behave a little better good now let's quickly repeat the operation on the other side of the kitten and you can probably feel how the lazy Mouse is helping you keeping your strokes steady this looks alright so now we can proceed on the sides of the heat on and for that we will use this handy shortcut where if you click somewhere then hold shift and click anywhere else on the model a straight line will be created between the two points it's one of those options I use all the time and it comes real handy real often it's coming along nicely though I think I will fill these polygons down here as well because somehow I don't like the white stripe down there so let's just fill this area and this area as well so that we have just a solid red color down here now it's time to black color variation so do everything as we did before deactivate all the channels we don't need and rename your lair to dark and before we proceed we actually will change a blending mode for this red color because as you can see quite a lot of detail is lost beneath this red color we have all sorts of dark areas here on this linen and we don't actually see that detail underneath the red so let's change this blending mode to something like multiply is too dark soft light doesn't work so let's make it hard light and you can see that all the detail is now preserved and we will continue with this blending mode so let's use a dark color for this top fill layer and again use hard light as a blending mode then create a black mask and just as we did before start painting in this 2d viewport by the way you can rotate the 2d viewport by holding alt and left mouse button dragging and if you hold down shift the viewport will snap to 90 degrees huh I actually forgot to paint the rest of this red layer so let's switch to base color again switch to the red layers mask and finish the stroke here and again I am using the shift shortcut to make my line straight and yeah this looks much better alright let's switch to the dark layer again and actually add a paint layer to this mask paint layers have one great advantage if you mess up something you can actually just delete them or hide them so that's why I like using them make sure you have your hard brush selected and this time we plugging in an alpha and I will add this alpha to this tutorial so you can use it at will by holding down control right mouse button and dragging your mouse you can scale the alpha and by holding down left mouse button and dragging you can rotate it of course you can reach these options down here as well in the properties menu just scroll up and here you can input any rotation value you want 270 is good in our case and if you again have trouble with some weird behavior of your alpha in the viewport just switch the size space to this viewport option and now after scaling and placing your alpha properly and messing up because we forgot to set the UV settings in the alignment so after that is done just click once and your alpha will stamp itself on the hit on of course we need to do it twice but good thing that this alpha is tileable so we can make a pretty nice pattern without a visible seam and let's do it up here as well concentrate Martin you can do it can do it yes nice this is looking good one last thing create a new paint layer just so that if we mess up we can just hide it later and with a default brush let's paint some strange lines here to add some interest to the sides of the hit on and of course to the other side as well for hit on model was symmetrical we could of course paint all this with mirroring in 3d viewport but we already simulated it in Marvelous Designer so that's why I'm doing all these operations in here in the 2d view port where it's possible to paint on the UVs and here you can see me using the lazy Mouse again and painting some dark rim on the neck area and then by switching to dark color by hitting the X button I am removing the areas that I don't want to have there repeat the process up here and yeah I think that we are ready with coloring this hit on next step is some dirt okay time to add some dirt to our garment for that let's create a new fill layer deactivate all the channels except for color and roughness make the roughness higher and the color darker actually to break up the monotony of the base color let's plug in this Grunch dirt texture into the base color Channel thing is when you're making a dirt layer you never want to use just a solid color that is the same everywhere you want to break it up as much as you can with some various intensities and colors so that's why I'm creating a new fill on this layer setting it to multiply channel don't forget to deactivate the channels you don't need make the roughness higher and the color darker and in here I can also plug in another grunge texture where I can play around with the balance and the contrast as well I keep repeating it like a broken record but the more variety and randomness you add to your textures the better and then let's create another fill layer on this fill layer substance ception and make it brown like this and finally set the blending mode to screen with some slightly lower opacity nice so this way we created some nicely buried dirt texture and now we can start blending it into our hit on texture with a black mask and some generators so as a first one let's choose this dirt generator and I'm not too happy with the way this curvature map is influencing the mask so we can safely remove it and then we safely play around with the Grunch amount and also the dirt level until we are happy with the result this is looking quite good and now we can add another generator above our dirt generator this time make it a position generator invert it and blend it better with our previous generator so use this linear dodge mode now of course the effect is too strong but if we lower it you can see that we have achieved effect like the garment is actually more dirty closer to the ground because that's where you usually dirty your clothes first now set the whole thing to multiply and play around with the opacity something like 84 will be nice and finally we can add a custom paint layer and with one of my favorite brushes which is disturb too you can paint away spots that maybe you don't like the dirt or you can paint in some handmade detail which as you probably already know is always a good final phase of your masking and painting process so rotate around your model paint where you think like painting is needed and then you can have a look at the layer on and off and also you can play around with the opacity I think this is much better good neck look at this belt but we won't be actually creating the material for it I will use some smart materials that I've created previously for my projects and also I will use the bronze that we created in the pedestal series so if you want to know how I made it just have a look at that free fundamentals course that I published here on YouTube and by the way on my patreon page you can download these materials for free you can just join any tear you want and then it will be free to download them so let's first use this brown leather with these lighter edges this works pretty much all the time and it's super fast so I recommend that you download it from my patreon page and of course we will mask away this buckle first in the polygon fill mode but there seems to be some problem due to the fact that I've baked my high poly on to the low poly model so let's just use this mask and paint away these areas here and with that done we will copy this mask and now as mentioned we will use the bronze Bowl smart material that we created in the pedestal series and just paste it here above our previous smart material create a white mask paste the copied mask into it and invert it and yeah I forgot this little thingy it should be bronze as well also just add it into the mask here with the polygon fill tool and remove it from the mask here then that's it very quick very useful this is what I love about substance painter finally what we now want to do is to create some transparency for our clothing making these edges to be a little jagged and torn because it always looks nice and just as with dirt it adds a little bit of life to this model so first thing you do you go to this texture set settings and here to enable opacity you have to add an opacity Channel nothing's happened that's because we need to first change a shader up here and change it from the Alpha test that we used before to this alpha blending something like this will then occur because now substance painter doesn't have any information on how to blend the transparency that we just added to fix it you simply just add a fill layer and add an opacity information here what we can do is with ctrl G add this layer immediately into a folder name the folder opacity and a little trick that we can do now on the fill layer that we created if you want to activate just this channel hold down alt and click on this channel and all the other channels will be deactivated which saves some time a few seconds but you know seconds 4 min 2 minutes then it's 4 min 2 hours and in the end he will save years so yeah and now you can see that if we set this slider to 1 our object is fully opaque if he slide it to zero it is transparent so this way we added an opacity information as a base layer and name the layer fill opacity now what we do is create another fill layer and on it we will paint our transparency so name it transparency and again activate just the opacity channel and set everything to 0 which makes our object transparent again we will then add a black mask and paint on this mask only where we want the trench guaranteed to happen the workflow is pretty straightforward I most often used this hatching brush I lower the angle jitter to make the brush less chaotic to something like four or five and when you start painting with it you can see that you are moving the opacity from the places where you paint on and that's what we want to do in this last phase of this tutorial of course if we painted everything in this 3d viewport we would be doing it for a long time so there is a faster solution just switch to this 2d viewport you don't forget to switch the alignment and the size base to UV and viewport because otherwise your brush would jitter in size and alignment would be all over the place and then using the shift shortcut you click here hold down shift and control which makes your line straight and click on the other side of the viewport and it will create a straight line with the brush that you've chosen you repeat the process several times and this way you will carve away your mask and it will look as though the edges of the fabric are torn you can even switch to this opacity channel to see your masking process better unfortunately you will not see the opacity directly in your 3d viewport you will only see this black and white indication of it otherwise the process is pretty much the same as always you will carve away your mask and then hit X and start painting it back adding detail like this and if you want to see the opacity in 3d viewport you just have to switch to the material view and you can see that we have some weird spots here where the cloth is basically hanging in the air so that's something we will have to paint away for that I usually choose this basic hard brush but when you switch brushes never forget that your alignment and your size space is reset to default so we will have to change it to UV and viewport again of course if you're painting in the 2d viewport with this hard brush paint away the sports that are hanging in the air you can again use the shift shortcut to make your life easier and because of the repetitive nature of this work I will speed up this portion pretty significantly here you can see me using another hatching brush and adding some manual strokes without the shift key to break up the edges and make it more random which you should always do how many times I've said that already like hundred times I think but you know it's true and speaking of manual detail with this soft brush I then finally go in and with the black color set I start painting back these little strands of cloth just hanging like this from the torn edges that's always the final part of this workflow for me I add these little lines I sometimes use this basic soft brush or even better you can use this chalk bold brush which can be even thinner and it works just fine for this purpose then when you've painted your Farren see you can add a filter like this over your mask and the filter is of course sharpen which brings out the details of your mask to see the opacity better you can just jump back in into the material view and here you can rotate around your model seeing the final look by the way if you see this blurred result in the 2d viewport don't be scared you just have to zoom out and in and it will fix itself you then repeat the process for all the sides of your model sometimes I just went in and started painting manually without the shift key making the edges a bit more jagged other times I created areas where I damage the edges a bit more than usual just to add some more visual interest to these areas and in a few cases I actually painted the transparency inside the cloth not just on the edges to make it seem like there is a part of the clothing that is so worn that there are actually holes appearing on its surface one thing that you should do is to keep the size of your brush roughly the same so that it seems like the hatching is always the same for the whole model and as you can see throughout the process I also started to paint the mask directly in the 3d viewport and here you can see me using the chalk brush to add the little strands of cloth exactly the same process I repeated for the Clemmie soar the cloak I basically just copied my layers from the hidden I pasted them onto the clemmy's layers then I changed the base linen color to red I added some dark patterns and edges and started adding some dirt that is more intense from below everything that we already did when we were texturing the hidden and finally I painted in the opacity using the same way adding a fully opaque layer and then on top of it adding a fill layer with opacity set to zero and masking it out only on the spots that I wanted to which was mostly on the edges and of course I added some loose strands of fabric and that was it when I was happy with the result I went into file export and exported my textures and when I click here in the configuration you can see my setting I have my own blender cycles preset basically I just added this opacity channel you set it to great Channel and then you can export your transparency or opacity map other than that the naming convention is the same as for the other channels i dint set the resolution for my clemmy's and the hit on to be for kate with somewhat more detail in it and i exported everything to use in blender let's now plug in the exported textures into the printable shader that we have on our Clem s4 that just load your images shift a brings out this menu first let's load the base color here in the folder that we created our textures to so find the newest base color for the Clem S which is here plug it into the base color and you can leave it to this s RGB mode then find your metalness which of course there is no information about metalness because cloth is not metal but let's add it anyway just you can see how you can plug it in set this texture to non color and plug it into the metalic socket do the same thing for the roughness oh and by the way I am duplicating my nodes by hitting shift D set it to non color again repeat the process for the normal map and the only difference here is that we add this normal map node in between the shader and the image and finally we will add the transparency map into the Alpha socket of this principal shader and again non-color is just fine and now when you render your result it should look pretty much the same as it does in substance painter with the alpha information present and everything looking nice and that my friends is how you texture the garment that we've created in Marvelous Designer I do hope that this tutorial was useful for you that you've learned something new and from now on I'll be again creating tutorials more frequently and also there will be more live streams from now on so definitely stay tuned and until next time Martin out [Music]

Channel: Martin Klekner

Views: 51,936

Rating: 4.9652405 out of 5

Keywords: b3d, blender, clothing, marvelous designer, substance painter, tutorial, painter, workflow, cg, animation, history, ancient greece, greece, chiton, tunic, garment, texturing, edges, torn, fabric, damage, transparency, opacity

Id: CY_jjmHosqw

Length: 35min 34sec (2134 seconds)

Published: Mon Oct 14 2019