Introduction to Substance Painter - Ultimate Beginners Guide

hey guess any important front-flip normals here in this very exciting video we are going to take you through everything you need to know in order to get started with substance painter it's gonna be maybe hour an hour or so something like that now and it's gonna be it's gonna allow you to be a pure beginner to something where you actually know how to navigate the software what of general principles are so before we get too deep into this we just quickly want to talk to you about our full introduction to substance painter series this video what you know is not a free excerpt for anything on this this is a whole standalone video but if you're interested in learning more about painter we have a full course which is over four hours long which covers essentially everything you need to know where we also to go through a more project-based approach where we do we texture this fat here from scratch yeah so if you're interested in something that's more project-based where you have a one to one thing you can follow that's gonna be probably your next step after watching this video exactly so before you also get started with anything painter follow the link in the description or google substance P be our guide and read these two volumes Volume one and volume two these are by far the best guides ever written on understanding PBR and if you don't know what we're talking about if there's a PBR you definitely don't have to read it yeah it's it's essential for any sort of modern-day texturing nowadays especially when you're doing it in in painter yeah it really is so let's open up painter and let's see what we have this is what it looks like whenever you first open up painter we're using 2018 3:3 and the thing in painter is you need something to work with like it's not like ZBrush and Maya where you can start start painting on nothing we need assets and projects so what are we gonna be doing is we're gonna go to file open samples and we're going to go this little nice guy called meet mat this is a really good really good project to work with because it's quite simple but has everything you need in order to get started with stuff yeah the nice thing about this is that all maps are there for you to use and like it's just easy to paint on because it's got nice you reason everything lately so do we use this in a full series as well this because it's an awesome way to get started yeah so you have all the tools you need over here such as the painting tools erasing tools knowledge we'll get to this a bit later on up here we have the menu such as saving loading quitting the software should you want to rage quit can you undo that navigation is alt left mouse button to rotate to zoom you hit alt right mouse button and drag and then to pan hit alt middle mouse button and now you can pan around you can also see we have a split viewport here where which we can see the UVs and the 3d model I don't really like to work like this I generally prefer to see the full 3d viewport so you can hit the f1 key to have the split view port which is what you're currently seeing f2 for the full 3d view and f3 for the 2d view or the UV view like this yeah most of the time I mean seeing as it's a 3d painting software you'll probably be using the 3d viewport there are instances where the UV viewport is useful like stamping on logos or something when we want to be more precise with lining stuff up but most of the time it's gonna be this viewport yeah so you can also drag stuff around so this is really cool and you are definitely doing this by accident so if you you don't want to customize your interface you can do this to your heart's content it's a really cool stuff and you can we can really make an interface which suits you you know everything is really modular here the way you fix this though is now we have screwed as unveil and repair is we go to window and we'd reset UI now everything is back to where you went off and this is important to say in the beginning because you will definitely screw some of this up yeah the nice thing about painter here is that the UI is relatively simple and the amount of UI options that you have are also kind of limited but in a good way so it's after this introduction you should have a fairly good grasp on on everything exactly then we can also rotate the lighting around if you hold down shift and then right mouse button so this is the only way to actually change the lighting and you don't actually have 3d lights and there is no way to to lock this to a camera not yet so if you're going behind here and you're seeing that it's really dark you need to hit shift right mouse button and just rotate it lighting this might seem a bit annoying in the beginning but on the stage it's become second nature yeah it's not going to be a problem at all then one thing you can see though is we have this glare and this is super cool but it's absolutely useless to us this might be cool if you're presenting your model but for any kind of texture painting this is it's beyond useless yeah it actually just messes up your colors most of the time exactly so the way we change this is we go to our menus here up on the right and the top one is called display settings we have a bunch of cool settings here but the one we want to disable for now is post effects disable this and we see that glare and now there is no more glare this is also a way we can change the focal length as well of our camera default 17 is fine for this guy but if you have it something like a human face it's going to look really weird yeah you probably want something closer to 35 maybe yeah exactly we can also change the environment map you're seeing as well because everything here is lit with an HDR I like I said we don't actually don't actually have lights at all we only have HDR ice so the way we change our lighting is we go in here and we changed the lighting you can see here that a lot of the default HDR eyes are quite bad because they contain so much color like now there's a green tint to it the other one has like a got a nice warm tint you really want to be careful with which HDR are you using I prefer one these guys like studio 2 is quite nice it's quite neutral and it doesn't have any color information I mean if you are interested flip normals also has a studio pack that you can actually use for this yeah but I think the default that come with substance are pretty good yeah they're decent yeah this is also where you can do the rotation but you don't want to do it here this is the pure purely the old I sort of shift right mouse button also keep in mind what comes to rotation you can't rotate it up and down so if you if you have an h2 right and something is super dark on the bottom or the top that's just tough luck and you can't really do anything about that change you're HDRI yeah exactly that's about it we can also change the exposure and you never ever ever want to do this when you're painting because now suddenly if you can make it too bright or too dark you're gonna over light or under light your texture set so make sure this is a 2-0 you can also enable the shadows which are quite cool because I can see a more approximate result of what you're doing you can change the computation mode as well here but light weight is quite good I honestly prefer to work without shadows on yeah it's because again like when you're painting textures we want like we want our beedo beedo to be as pure as possible and shadows can be good for previews but you might forget to turn it off at some point and then start to correct after the shadows yeah exactly then after we disable old stuff here and particularly pose effects and we know how to change lighting now we are quickly looking look at we here these are texture sets texture sets are essentially shaders the way I like to think about this is that every single texture set here has one shader assigned to it so whenever you're exporting this back into Maya the head the texture set would be the head shader it could also be nose groups based on body part two based on material of a coal like maybe brass and this would be called skin yeah and this would be called iron that helps me a lot yeah and that's really how you separate it so you would always prep it in a in another 3d software before hand by just simply you know select the objects or or parts of the objects that you want and your texture set and apply a differentiator to it exactly so you can see these also have different UVs as well so there is no overlap between them because they're there's completely separate shaders whenever you're dealing with texture sets you kind of got to discard the mentality of like an outliner or hierarchy or fewer objects because the hierarchy is completely irrelevant when you're texturing our hierarchies use Werner rigging and doing that kind of stuff but for this these are pure shaders let's go back to f/2 so we can switch between the texture sets but going up here and just clicking them or we can do this by holding ctrl bolt and right mouse button on the various tetris ends this is the way you probably want to want to do it because clicking up here is quite annoying let's say you're painting down here and and you want to switch it quite annoying so ctrl alt right mouse button we can also solo it so let's say you only want to see the body now you just hit the solo button this is something I do all the time is there a way to set up a hotkey for this all about yes it is it's alt Q is the old Max up key for it yeah I think so yeah one thing that's also nice is the tooltips that you get in the bottom left hand corner of the viewport whenever you're selecting hotkeys that is sort of shows you what possible options are like when you were rotating and yeah that can be quite especially in the beginning the hotkeys and what they do can be a little confusing sometimes yeah exactly you can also change the shader right here this is something we aren't covering this in this series but if you want to have a different shade or assigned to it for an sniff you dealing with opacity this is where you would do that then we have the brush tool by default we have a regular layer and we cover layers in a little bit the brush tool is one of these tools you are going to be using quite a lot so the hotkey is 1 and you can find it over here I prefer to use hotkeys as much as I can and by default you just got a paint like this one thing I do very often whenever I'm painting with this is that I disabled pen pressure for the Eider the opacity or the flow or the size so you can do that by going under right next to the size and disabling pen pressure because now we have the exact same pressure all over and you can do the same with flow so now we can enable pen pressure and now you have really a lot more control with it whatever the difference between the two are you can resize the brush by holding ctrl right mouse button and going left and right you can change the hardness by cold and controlled right mouse button and going up and down you can change you can rotate it which we can't really see here right now because there isn't anything assigned to it but you can rotate it by holding ctrl and and then going up and down so this is just gonna be a little confusing in the beginning it just takes some time getting used to exactly if he's gonna see your cur source rotating around that and then opacity is controlled little flow is control and then just go left to right you can also get straight lines but hold on the shift key while you're painting and you can hit the D key to get lazy Mouse this is incredibly hand if you really want like nice clean lines here so let's do so unless you just get nicer cleaner lines this way that's a D hotkey then we also have symmetry as well which is relevant with brush tool but Alt key there is L or you can go up here and enable symmetry this is really cool symmetry it's not like Mari symmetry which works on screen based it's actual real symmetry hey one thing to keep in mind as well is that you can't paint across exercise so if you want to paint on the body now you can't do that you have to switch to detector set and then paint on that that's why I recommend a hotkey for doing that because otherwise it's it's going to take too much time to go oh yeah we also have the color picker which is the P key which is honestly quite annoying for me but uh because we have to move your hand a lot but that's how you change the color picker the clothes that you click it or hold it down you click it and then you uh you click where you want right and then it switch now you can also right click to get up brush settings such as size flow spacing all these kind of things and on the bottom we also have the color as well so you can change the color to whatever you want to then we have layers so layers is really where the fun begins in painter we have regular layers which is exactly this that's actually go to the head and isolate this and delete this so you delete layers by him the trashcan and you have two different layers here you have the fill layer and then you have the regular layer which is just a paint layer the paint layer is where you can paint on it nothing fancy about this this is very straightforward this is where we can also project stuff on top and if you want to paint custom masks or whatever you want to do use a regular paint layer we have blending modes to the right and we can also change the blending mode per channel so if we go down here we have different channels we can paint for instant height so now we're painting with height and when painting it red at the same time so now we have some height information in our brush so we can go down here and we can change this now to height and we can out change your past day of this so this is the way you will control the different channels so if you if you have roughness for instance you do the same thing you can change the reference value and you would choose roughness and you've changed the blending mode or whatever it is so it's really cool you have such fine control over all the different channels right here where the magic happens though when it comes to painter isn't with paint layers like it's called painter but you really aren't going to do too much hand painting to be called substance a filler rubyconf essence filler because we are gonna be using the fill layer a lot so a fill layer is kind of like a material I like to think about every fill layer as a separate material because we have all the material attributes we need this is also where we see our properties and this is where this becomes relevant we can see down here we have all the properties for our filler or whatever it might be whatever tool it might be so we can change the color by clicking to the green part here the great part and we can change your color we can change the metallic is it metal is it not metal so we can make this metallic your roughness to make it really really shiny and we can't really see the effects of height or normal right now so this is what I mean with it being a material but now we have essentially created some kind of like almost like a car page shader or some kind of some kind of red material so you change this here so the interesting difference here between paint layers and fill layers is that for the fill layers instead of painting it you're sort of almost erasing it yeah exactly so the way what you the way you would do this is if you want let's say you have a base here with a car paint shader and then you have you want to have another layer on top maybe you have some rust on top of it you will make a separate layer on to fill layer on top make this rust and mask between them and I'll get to this a little bit as well so let's delete these and let's make a new fill layer as well so we're going to talk about one of my favorite features off paint which is adding grunge maps so before we added the color straight under here to it but what we're gonna be doing now instead of adding a color we are going to be adding a map into this so if you click right above it or is this base color we can now hit type grunge and now this is gonna be flooded with all some grunge's we have so many different maps and honestly I think this is one of the biggest strengths of painter because you can change the look off your texture so quickly and a grunge map can be used for for really anything there yeah there's a lot of good variety in the inner maps included in painter yeah there really is so one cool thing as well is that we have acts to try planar projections so currently this is using UV mapping as the projection method so now you can see we get seams where there are seams in the UV map and that's unavoidable that's what you would expect yeah exactly doesn't matter how good you map as you will have seams by definition but if we change the projection type to try planar now suddenly you are not going to have any seams anymore at least not where the UV sorry because now we have three planes which are projected maybe from here here and here depending on your setup and you get a nice blend between the planes yeah so where you would normally have seams with try planar projection and actually fades between the the different maps exactly so we can use your hardness to this and now you can kind of see where the different planes are so you can definitely see a seam but because we can change a hardness all the way down you know just get this soft transition and this also means that should really say this but it means you're you mat can be a lot worse it's not certainly stretching isn't that much of an issue yeah you also see here we have a little gizmo this is something they recently introduced in painter so before you only have you can only do it with rotation scale and here but now you can actually move it around you can use by default it's gonna be set to just move you said to rotate by hitting the e key and you can set the scale by hitting the our key and back to move with the W key so W E and R so one thing we talked about it's probably a good idea to be consistent here with which method you use yes so you don't start mixing the normal scale rotation and hardness with maybe with the gizmo or something exactly cuz now if you if you start to scale some stuff here and then you scale some stuff here it's really hard to know what's actually happening yeah you can have a crazy high value here but you don't really but maybe you can't see what's going on so I really recommend you stick to either using the scaling here or a notation here or I prefer to use just a gizmo I think this is a really good addition to it yeah yeah it's very intuitive to use yeah it really is you can get some really really good results with this you can also duplicate the fill layers around and then you can mask out different parts for instance you see here we have like a pattern going across you could duplicate it and then you can rotate it and now it can mask out different parts yeah so this is really one of the strengths off of painter so let's add something into the roughness slot as well now you can see we have slight variation in the roughness to this now this is where it becomes relevant that we have different channels by default we're just seeing the material so this is with all the lighting and everything into the model everything sort of like stamped or like together so you know if we were to add another one into the height we can see crazy stuff going on here now and this is really nice that we can see everything because this means that we get a pretty good approximation of what the final ones can look like but it's not very good for actual painting because when you're painting you need to paint every single math you need to control every single math you have so if we go up here to the top right we can see that we have material and then we have single channel so this is where you can choose two different channels we have like metallic roughness height normal and then we also have below we have mesh maps these are maps which are being generated by painter itself when you bake stuff we aren't covering too much of this in this series because baking is a whole separate chapter by itself now but you can choose these by simply clicking on them and now you can see the different channels you can also use a hot key which is C to go between them and shift C to go back yeah and here it becomes pretty apparent when you switch between something like roughness and then your height for example that you can see the different maps that we've we can put it into those yeah exactly it becomes very important to be able to see these individual channels because after you get a certain level of complexity into your maps you you might just have that there is some there's some reflection somewhere yeah where is that coming from to come from is it the height map driving it or what's going on here so C to go between shift C to go back and B to go between the baked Maps so here you have ID and in pollution curvature position thickness we have a whole separate video on this as well on YouTube where we cover what each texture map is doing yeah so we highly recommend that you check that out as well and to go back to material you simply hit the end key and for material this is something you're going to be doing a lot so really get used to these hotkeys when I was learning painter I was sitting down and straight up just hitting M key and the C key shift C don't wean them be shift we really get used to these these will this would be your everyday painter life yeah it's gonna speed up your painting a lot so now that we briefly talked about the fill layer we are needed we need to talk about masking because masking is also really where the magic happens yeah especially when you work with fill layers exactly must the matching happens in a few different places but particularly when it comes to masking magic just happens within substance exactly so let's make a two new fillers in a big this one is going to be like maybe it's like a red it's like a red paint layer and on top we're gonna have some kind of some kind of dirt so you can also rename but double clicking on it and you can call is right that's why I really like the material analogy with fill layers because you have the control of each individual channel and then you just sort of add new materials or shaders on top exactly like we cover this fairly in depth in the full series where we're talking about if you want to replicate you want to replicate rust you need to build it up in a methodical way the same way it's done yeah so now we have like a nice little paint paint material here and now we can add another one and here we can make this nice and crunchy yes you really just have to think of it I was like the the original base of this was painted with red and then over some years it got rust on top like that we set this again to try planar and you're gonna be doing this all the time I almost wish it was default yeah exactly one thing is well to keep in mind when you work with fillers I attempt to disable the channels I don't need for this one I don't necessarily metallic and don't in normal so we can disable that this just keeps a lot cleaner because then you have less parameters down here so now we have one layer on top like this and we have yeah we have a red one and then we have some kind of dirt layer then we will mask between these now is we right-click and we hit add a white mask which is going to keep everything away this or we had a black mask which is gonna erase everything this is very similar to how it's done in Photoshop yeah yeah so if you've ever used Photoshop and use masks in there this should be familiar to you exactly so now we we can see that everything disappeared we can also disable the mask by holding Shift key and clicking on the mask and we can look at the mask by holding the Alt key and clicking on the mask which i think is actually how you do in Photoshop Photoshop this is where we have our effect stacked as well this is really handy because here we have generators more on that in a bit anyway we have paid players so now let's add a quick paint layer to this and now we can start painting between these yeah that's an important thing to know you actually need a paint layer underneath your mask in order to modify it yeah otherwise it'll be completely white or completely black exactly so now we can see now if you hold the Alt key and click on the mask not on this part and layer but on the mask and we can see what we're painting this again becomes incredibly important when you really want control over stay out so hit the end key well again go back to materials and here we can now see exactly what's going on now this is where we can add some some height information onto this filler yeah that's the nice thing about the fill layer compared to the paint layer is here you can just up the slider exact whereas with the paint layer you would actually have to paint the height information it's know you can kind of see what's what's going on is kind of like it's kind of like this is carving into the painting so you can have a lot of control with this if you go into one layers and just adjusting the height value a quick tip as well is if you want to find control here you can hold on the shift key I know you can see that we're just getting like way we have way more precision over our values instead of just dragging and that becomes quite quite tedious so this is really one of the ways you can be doing a lot of your work you can be painting masks like this so it's a very quick and easy setup when it comes to masking it would remove this a restart the masking I just go add black mask again and then it all disappears you can also copy a mask and you're going to remove a mask all together so let's next look at the shelf the shelf is where a lot of fun stuff happens in painter this is what we have on the and but a full it's gonna be searching materials but this this has way more stuff than just materials do we we can access this is really we can drag and drop our stuff onto it and now we have a material this is one of the pre-made materials and some of these are simply fill layers which have been turned into smart materials buddy guys the algorithmic and some of these are made in designer and are way more hardcore and are really smart material and they're really really smart so you can just drag and drop them onto it and you can just see what what happens the way I really learned how to make materials in painter was to drag and drop a lot of materials and try to reverse-engineer them you know go through this and see what colored they're using what are you using for height or can a pattern side they use in here this kind of stuff is really handy so you can see one which this is made in designer so here you don't have the same attributes as before so if you've seen this kind of stuff that's not because you don't know painter well enough that's just simple because this this is made in designer and the author has has made certain attributes available I find these to be quite annoying because I can't really modified them from hearts went to content yeah but they're still really good as a starting point yeah and I mean as we all know there are some crazy designer materials out there yeah I can do all kinds of things so they can be quite useful exactly so here we have these are more these are simpler these materials they're usually almost like one fill layer just modify a little bit but under smart materials this is where stuff is going really crazy we will cover this a little bit more later on but essentially you get really advanced effects by it simply just dragging and dropping these onto it and this is also where people go a bit crazy with them and they just start to abuse this system where you know they just they don't learn how to texture they just drag into our smart materials and they think they're not a great texture artist we have a few rants on this yeah there's also videos about it and yeah you should check that up definitely so they're also more resources under here as well like this is where your environments are and [Music] suffix mark masks as well which are exactly since its mark material just musk we also have like our project maps who you see these were all armed the maps would have been baked by the Baker we also have alphas so if you want like a cool outfit onto your brush this is where you would find that let's actually show that real quick so if you want this in a color we drag and drop this into the color now we have a nice little map like this so you can do some pretty crazy stuff with this it's a very cool effects right away you know it's use it for for height and tah-dah you know we get some cool effects we also have all the crunches like we're starting with before where you this is where they all live you can also just search for them like if you're going roughness you can just type search for crunch but it's really handy to have them all here so in short this is where a bunch of stuff will live so definitely worth checking that out particularly the materials and smart materials is smart mask also if you want to bring in your custom resources like let's say you have images from Photoshop or whatever it might be you already baked your maps this is where you could bring them in so we have a little we have a material or our map which has been pre-made and with the way we get this in is we simply drag it in to our shelf and now we get this little dialog box up this is gonna tell you the name of it and then it's can tell you what this is this is an alpha sort of color LUT environment or as a texture this is a texture and you've got to define it as such if you bring me an HDR ice you've set into environment one thing I'd like to point out here something that I didn't know which was really annoying in the painting you can select multiple you know imported objects here and then just select all of them if they're all textures or all environments or those three yes yeah you don't have to do it one by one you can just drag a select the exact is quite handy you can also change you can add a prefix to it which I don't really find that useful but you could and then what you do is to import this under the current session into the project or unto the shelf so we just going current session which means whenever we restart painter and it's going to be reset that just keeps it clean for us here exactly so now we have our our resource right here so now if we have we make a filler now we can drag and drop this guy into the filler and this is how you would tile a map across there's something I was wondering me me coming from Mari I was wondering like it's true like a fill or tile adjustment or some like that but the way you would tile something across is dragging and dropping into a channel and now you can you know scale it up yeah and that only works with fill theirs yeah exactly so you could all set this to try planar as well which is quite handy so you might use a you probably use a combination of try planners and UV production yeah you know some materials might be projections and from the UVs and some might read planar exactly so next up we are going to be looking at the projection tool now that we have a resource we can actually use the projection tool the projection tool is here this is the hotkey is 3 for the projection tool and the way we use this is we go under our paint tool or under our properties here down to the bottom and under base color we drag our resource in here and that's what a regular layer and not a regular paint layer and EXI layer exactly because now we're doing bespoke paint yet on to this the cool thing about using this tool is that you can get very specific results such as if you want to have a logo in a very specific spot or you just really want this texture to be in you know this exact spot this is the way you eat traditional been painting something like Mari but now with all the additions of all these super cool features in painter you're doing less and less of this but this is still a really useful tool the navigation for this is the same as regular 3d navigation except that you're using the S key so if you want to rotate it it's s and left mouse button you want to scale it down is s and right mass but anyone to move it it's s n middle mouse button and then you use your regular regular hotkeys for resizing your brush and all that so this is an incredibly powerful tool if you really want to get specific textures in specific spots yeah and the nice thing about doing this with projection is that if you if you have a layer let's say that's it's a fill layer that's not using tri planar for some reason but it's using UV protection then you can always create a paint layer on top with projection to fill out you know those seams exactly you can also set this to tiling it's currently set to no tiling but we can set this to tile and now it's just gonna keep on painting as this is a tileable map you know this air is just gonna keep on going so the projection tool very very useful then we're going to be looking at the polygon fill tool let's make a new regular layer and let's look at into the polygon fill tool polygon fill tool is incredibly powerful because it allows you to fill in specific colors in specific areas so let's just try it by default and see what happens so now it's set to polygons which means that whatever polygon is selected we are going to be filling this in you can all set triangles which is also quite useful as opposed where this becomes really useful is if this is set to the mesh part like this the mesh fill option we now you can just click on a portion and we'll do it all the connected bits to this piece of geometry this is really handy for something like masking we mask out entire regions and not like wanting to have to hand painted exactly and then we also have you ve section as well so now we can mask out only the UV part of this this is entirely based on your on your you map so like Morton said this becomes really handy if we have a new fill layer and this is red and then we have another filler and this is not red blue and now we mask it out right mouse button add a black mask effect stack add a paint layer and now we can use this tool the polygon fill tool and simply just click where one to be so for v's you just move click these parts and now we mask between them yeah so you know just in case you didn't catch it you're not actually selecting with blue here you just you're selecting white for the mask and then that that just shows that blue that is on top of the red exactly this is a really useful tool like Morton said this is mostly used for masking other really use this for anything else sometimes maybe you want to select some polygons here in there but I've I've only used this for masking as far as I can as far as I can remember what key here is again for so it's one two and three and four pretty intuitive then we have generators filters and mask editors so let's look at some of these let's start with I'm gonna filler and let's make this the same kind of the same as what we had before don't tell me to read the paint it's gonna be a red paint and on top of this we can make another layer which is to be like a dirty one some of this and just change the scale of this hold on the shift key just to have a bit more position and we're generous become useful is if you want to mask between these different materials now now you saw before we were hand painting it but honestly hand painting that's for like if you're in 2001 yeah we are gonna let the computer do some of the work and the generators as far as I know they require the mesh maps yes exactly so if we add a generator to this again under the effects stack under layer oh sorry we have to make a black mask first and now we can generator to this now we have nothing has happened now because there's nothing there's nothing in it but if we go under the generator now we have a few of them one which is really cool is metal edges and this just brings you like really gnarly broken up edges the way this works is exactly Martin was saying if we go through our mesh maps by hitting the B key we can now see that we have an inclusion and curvature these these generators were like heavily on particularly curvature and and manipulation there because now we have data on where are the edges which is exactly what's happening here yeah I mean so you could use painter with purely paint layers and fill layers if you want to fact what you won't have access to the actual power of painter which is the generators in my opinion so you can hit the invert button this is something you're gonna be doing quite a lot you can also change the wear level for this now keep in mind this is a specific a specific January called metal edge where this is not great for a lot of things but it's also really good to get a starting point for it like you see it's very specific in what it's doing it's wearing it's actually what you would expect it to do so now we can we can delete this one and we can get another one just hit the X key there and now we can get another one which is the mask editor the mask editor is is a lot less sexy from the get-go but this has a lot more power into it this is also what I was saying before that this is where you have to start looking at the specific mask yeah hold down the Alt key and click on the mask and now you can see what's going on it's kind of like if you use someone's predefined brush in Photoshop versus kind of making your own brush exactly so this this allows you to do tons of different things where you can you can amp up stuff like the ambient pollution you can amp up the curvature and you can really get very specific results with this you can also under text your input you can add you guessed it a grunge and you can get very cool results with this if we can see where we can add this and set your pasady now to higher and that's a super funky texture so now this is where you can really get some some real power out of the masking the mask generator is something you're just gonna have to play with because honestly there are way too many settings to play around show you here but this is but essentially you could make the metal edge wear from the mask editor yeah pretty much you can get some very interesting results with this and again this is why we looked into our we watched our mosque here instead of looking in the material because it's just too hard to like you don't have enough information yeah and especially once you start stacking stuff on your help of each other you have more and more materials it can be quite hard to figure out what material and which generator does what exactly and this is again where we can add like a height to it and now you can just see that oh let's do new and now we get this this really nice result where you get like real depth into it so again this is one you're absolutely coolest things in painter yeah where you you really have a lot of power in this another one which is quite handy if you're going to delete this is oops that was deleting the entire thing yeah yeah that's important that you don't have to actually delete the generator every time you can just delete the generator that's being used in the generator yeah exactly yeah the container from yeah there's a specific one new using light is also quite handy this is again if you hold on the Alt key now you can see exactly what's going on here where this is you can mask out stuff based on light direction now keep in mind this doesn't actually this is not physically based or anything on this this just dude looks at your precision map and your world and normal map I believe so this doesn't respect shadows or anything like this but this is incredibly handy if you want to do something like I've worn a warrant texture from the top where you know stuff is there's been a lot of stuff happening up here but you don't want to bottom to it master it oh good you like snow with it yeah so you you don't don't think of it as maybe actual light but more it's just that it's just a mask yeah basically um it could also be the notes son the son has destroyed it and sonically this isn't you see a lot for it there's a lot of sun damage and everywhere and stuff so the light one is really nice and then you can also use a fill layer on top and you could you could pipe in different things are grunge's and change the blending modes here to something like multiply and now you can really break up this this material right yeah yeah so now it kind of looks like it's had a lot of heat from above and the you started to like almost bubble up or something yeah exactly so the power of generators is crazy in substance yeah this is this is this deserves its own video because there's way too much to cover when it comes to generators then we have smart materials smart materials are really really cool a smart material is just a saved material where all the settings here are saved so we can make actually let's undo this and let's have this so we could save this as a material let's say we want to use this exact material here for something else let's say you want to use this for it the body we can easily do that we can group this and we can call this so how do you how do you do that you hit ctrl G to group it and then we can name it now we can call it my smart so what this means is it's going to use the same the same curvature maps and everything it's going to pipe into the same places just in a different place so you could simply copy paste this onto a different one or we can make a smart material on it and you do this by holding down the right mouse button and Oh or clicking the right mouse button and then we have create smart material and now we can see that my smart material has been created now we can drag this on to one the other ones so this is incredibly powerful when it comes to texturing because now you don't have to texture every single piece by hand you can make one really kick-ass material and you can drag these onto the other pieces obviously do a better job in this and you can use as acid acid base so for instance if you have a project and you've got a text or like two hundred pieces of wood you wouldn't look for like these specific references for each of them you just make a smarter for good yeah and you wouldn't modify them and if you need something that's a little more hero for one piece of wood you could always drag on your smart material and then on top of that you know add more fill layers or paint layers yeah exactly smart material should really be used as a starting point yeah and not the end result so yeah this is you have all the predefined one done down here and like I said I really recommend that you go with them and just reverse-engineer the life out of them yeah that's gonna be quite handy and then the last thing we are going to looking at is IRA now we have done some real nice texturing on our model and everything is ready for presentation the way we can present this is we can use IRA which you find by clicking on this nice friendly camera icon up here so IRA is a really nice feature in painter as its proper right traced render engine and not like a real-time preview like you see in the actual viewport so here we have the render settings all the way in top here we set this to one second just to make it recording easier yeah but this is where you would set how long the the rendering time is going to be so if you want like a nice good render maybe set this to like 20 minutes or so yeah you can see we have some noise here but you can get that away by just increasing the next time yeah exactly so that that's one of my favorite features of Irey because it's so easy to it's always do use in terms of render settings because you have like one slider and that's time there isn't any like threshold craziness and then under here under display settings it will inherit all the settings from from the regular painter mode because it's still in painter so whatever whatever HT RI you have enabled it's going to set that up for you and it's going to light it properly here with nice shadows and everything look there isn't like a setting for enable shadows it's just gonna do that by itself because that comes built in with a stir ice yeah exactly so this where I want to show the flippin almost HD rice because I think they're just nicer than the regular studio HD rice but that's totally up to you exactly so once setting I always change is to clear color by default it seems like the change is setting now it's a clear code section enabled but if it's not in yours for some reason then I would highly recommend enabling it it just means that there is one clean color in the background because the HR eyes have so much stuff and when you're presenting your work you really don't want any nastiness they don't really look nice for backgrounds I think no no they don't you want like a probably a nice clean presentation here you can also change the ground plane or that is this is or by default set to pretty good value this actually works but you could also change this to something else should you do like you like this yeah so you know if your model is properly centered and placed on the ground where it should be that shouldn't be an issue yeah exactly then we also have if you scroll down we have our camera settings or you can click on these these aren't different they aren't like different menus they're just bookmarks to the same one so we have camera settings you can change this to something like thirty five millimeters if you want like a more less squished look for it I prefer a more thirty-five look and we can also change stuff like post effects if we enable post effects by default glare should be enabled which is quite crazy I really just hate the glare feature it just makes my stuff look nasty I think but if you want glare you can enable that and have nice glare on your models I mean if you're going for like a Mass Effect 3 look on your painter stuff then there can begin it can be nice exactly when it comes to post effects I just prefer to do all of this in Photoshop as I have so much more control over it and I think the tools they're just a bit nicer one thing though which is quite cool is we can use depth of field so if you enabled up the field and we'll just change the aperture now it's going to give you some pretty damn good 2d depth of field yeah you can also change your focus distance to see where it's gonna be now and now it's not rendering this is a purely a 2d effect or we can hit control middle mouse button to set the focus so we can set this all the way up so it blurs like crazy keep in mind this here is only a 2d effect if you want real depth of field you we first set aperture all the way down so doesn't go crazy we disable the 2d depth of field just disable post effects and now if we increased aperture now it's going to start blurring the render pretty crazy so this is actual 3d depth of field yeah this is quite nice yeah where this this is quite noisy though as we see because we have set it to literally one second but if you if you want this to look nice you've got to increase this quite a lot if the field takes a long time to resolve and as we treated up the field is the same hotkey for changing the focus so control middle mouse button for that yeah so it's I think it's a it's a really cool feature of IR actually to have that included yes you can make some really nice very cinematic looking renders with it I really like IRA yeah it's a really good engine we we use it for some for normals promo shots because it's it's here yeah like all the stuff rendered for the promo shots for the fan tutorial is all IRA there isn't there isn't any fancy stuff outside there you only want to save your render once it's computer for more than one second you hit save render and that's gonna save the render I prefer to save it as EXR file as I just have more control that way bring into Photoshop and keep editing in there or you can share it directly to art station if you are so inclined you can also just see up here it's done if it's not done it's gonna say not done yeah and rendering time one second I know one second pretty good so again the hotkey is f10 to go into IRA or you can click this now for a nice friendly button up here and f9 or click it again to get back into into regular painter the cool thing about IRA is that you can really preview your model so instead of exporting your maps out and you know setting them all up in Arnold or whatever is you can just get a nice render for it there so what I'm doing it the way one works well for this is I paint in painter and I go in to IRA see the result go back into painter painting here so it's a very iterative process so this really covers pretty much everything you need to know in order to get started with painter there are some features we haven't covered which deserve separate videos like exporting of maps and baking yeah because there they're just slightly bigger topics yeah any con fit in this so yeah I think you should be good to go from now on if you want to see more specific topics covered like maybe you want to do a video on purely baking or one on generators or something like that make sure to leave that in the comments down below for sure and if you do want a more in-depth one one that's more project-based we have our more comprehensive introduction to substance painter that you can grab over on the flipper most marketplace as well link to that in the description and in the description as well we would also have all the hotkeys used and time stamps for everything so if you want to revisit this video in the future it's going to be really easy yeah and also please share this with friends and colleagues and everything this is anyone who's wanting to get into painter yes yeah but yeah thank you guys so much for watching

Channel: FlippedNormals

Views: 429,706

Rating: 4.9459157 out of 5

Keywords: IntroToSubstance, 3d, sculpting, zbrush, concept, maya, tutorial, autodesk, film, vfx, animation, flippednormals, henning sanden, morten jaeger, creature, character, texturing, substance painter, substance designer, education, foundry, pixologic, nuke, art, fundamentals, art fundamentals, art school, art tutorials, blender, flipped normals, 3d tutorial, learning 3d, learning ZBrush, 3ds max, cubebrush, cube brush, gumroad, marvelous designer, photoshop, mari, blender guru, Substance Painter Intro

Id: RQ-hRk0WHJ8

Length: 51min 30sec (3090 seconds)

Published: Fri Mar 15 2019