Procedural Edge Wear in Substance Painter

hey guys it's me Philip welcome to another tutorial I wasn't expecting to do one so soon but after all the positive feedback I decided hey what the hell let's do another one and see how it does so today we're going to be looking at creating procedural Edgware in substance painter I use it to replace my ZBrush Edgware workflow I think this is a bit more flexible it's definitely quicker and you can just iterate and randomize it as much as you want very quickly so yeah let's get into it okay so we are in substance painter we will open we will click on file new we will grab our model we will set the document resolution to 4k we will set the normal map format to OpenGL at least that what works best for me in octane I haven't found any official date on this but I think OpenGL is the one that should be used with octane if I'm wrong please do let me know in the comments below I honestly couldn't find any info on this okay so we will start by grabbing basic ayran raw damaged material we can delete the default layer there we not going to tweak it in any way we just want it for preview purposes okay we can get rid of the UVs like this first thing we need to do is go to texture set settings go to bake mesh maps we need to bake the maps because substance painter doesn't know in real time where the edges are so it needs to bake this information in to map to be able to use it with their generators so we will take use low poly as high poly mesh in curvature we will go to for per vertex we will disable seams what enable seams does its curvature map will take and take into account the edge the edges of seams of your UV seams which we don't want in this case of course this can be useful in other cases but not in this one and leave the rest default a general rule of thumb with the curvature map is if it works just leave keep a default if you encounter some issues try getting around them by you know testing out different settings and see what's working for you okay so the bake is now finished so now we can start creating our edge where we will go back to layers click on add fill layer we will rename it to edge where and since we want to manipulate a height of our or like the depth of our geometry we will turn off all unnecessary channels in the fill layer which would be color metal rough and normal we don't need those we just need height and since we want to like dent into the surface we will set it to minus to minus point 25 you know this will depend on how on the height of the rest of your texture but since we're gonna just deal with the edge where we can pretty much set it to whatever number we want I just said it 2.25 because if you go minus 1 then the preview and substance painter can be a bit too like crazy and this seems to work the best now we will click on the layer go add black mask we will right click on the mask and add generator we will click on the generator and click on metal edge where and we get something like this now this is no good because it's just way too harsh the edges are you know flattened and like and and this is just not how the edge where wood would look because it's like literally super rough and like really harsh so we will alt click on our mask to preview it we will go into our metal edge where we will play with the where contrasts a little bit we will tweak the curvature way to down here I think this looks good and of course we could play with the scale of our grunge but I think the default grant scale works quite in our case because the Sabaton would be like 35-ish centimeters long or like one foot and this seems pretty yeah it seems to be pretty good obviously if the you need to take into consideration the scale of your object because if you had really tiny object the grunge on it wouldn't be super tiny it would be even small dents would be pretty large so you have to keep that in mind to get the most realistic results so now we're in math we're still in our masks and we will go into right-click add filter you'll add blur I guess we can keep it like on the default 0.5 for now because what we're after is before without the blur you can see that there is pretty jarring jump from black to white but it wouldn't look like that way metal it wouldn't just chip away it would more like you like bend inwards and dent so we need to get something smoother like this but now if we preview the material it's like way too soft I mean it could probably work in some materials maybe you like with gold the edges would be pretty smooth because gold is quite soft in terms of metals at least we will go back into our mask right click at filter because we want to get some more angular edges here and there or some sharpness so it's not all blurry as it is now and we will get that by grabbing blur slope we will tone it down a lot yeah we can actually grab them we can increase the intensity divider by 100 which will divide the intensity by 10 more than it was before and we can now tweak the input because as I mentioned before we need to keep in mind scale like this this is way too tiny for something it's an object of this size generally so we want to get something a bit bigger we can do that in blur slope source tiling yep that looks pretty good we can soften it even bit more using the blur that's in it oh that's maybe bit tomorrow maybe just get rid of the blur entirely okay so now this this is pretty solid base I think but what we what we want is to break it up a little bit because right now it's like kind like everywhere and quite evenly so we will right click at fill layer and we will drag in some procedural noise or grunge now this would depend a lot on the material that the object is made of for instance if you had wood you could introduce some of that wooden streakiness using directional noises or maybe even like some tile samples cloned stripes if you had something like concrete you could grab something like a fractal base some ore or this Perlin noise fractal or maybe NW sports or clouds because those would introduce more noisiness into it but the metal wouldn't be as noisy so I think we will just grab some maybe the 3d pearl in that that looks pretty good we will also need to adjust the contrast of the Perlin noise so we get some areas which are not affected like here and some areas which are affected here so let's crank the contrast up to I don't know something like this works scroll down and in noise parameters we can adjust the size of the noise this looks pretty good okay so now we have pretty basic setup and I I thought it I would leave it here but I think that it might be quite interesting to introduce a little bit more detail into this current set up so we will grab another fill layer and since this is metal we would have some scratches on it you would do the scratches scan like all over the or all over the object but I thought it might be pretty cool to add some scratches just the edges to create like some smaller dents because right now if we turn you can see that these are generally kind of like bigger shapes so we would add a little bit more detail to those we would we will scroll to scrunch scratch scratches rough and dragged us into our fill layer so from the get-go we see that we need to scale this thing down so we will go to scratch tiling and go like four will increase the scratch weight a little bit now we will increase the scratch dirtiness which creates pretty nice variation in the scratches and we can increase the dust intensity because that can introduce some additional detail here and there and now if we alt click on our mask and set it to overlay we were starting to get something but right now it's way too dark so we will go for like maybe forty thirty five let's see how that looks now we get these edges now obviously this is way too many of them so we can go to grunge scratches rough and scratch masking and we can get rid of some of the some of the dents you see that it kind of like overlay sit on top of our current map and we get a little bit of extra detail here and there okay so I mean obviously we could tweak this for ages but I think that just as a proof of concept this is fine I would add another fill because like right now it's still pretty you know you don't get very high noise areas and low noise areas so I wanted to change that you could do this with like maybe clouds if you like clip them so you get only some areas and then you would maybe multiply or overlay those but I think that using grunge is just offer us a little bit more variation and it just you know it looks pretty natural yeah I think the grant map eight looks pretty good yeah we can even keep this scale and we will overlay it on top and we will once again dial it dial it down a little bit you can tone down the scratches a little bit because I feel like they're way too prominent at the moment so maybe go like 15 if we can randomize it a little bit to get different seed yeah I think this seed is way better because I what I didn't like was that we had some scratches that were like in the same direction in one spot so we cannot got rid of that now if you look at look at the edges they have you know they got a little bit of that ZBrush quality that I would try I would strive for if I kind of you know use just trinthe smooth border or some flatten brushes and a little bit of smoothing and maybe some noisy alpha here and there so I think that it's quite nice that you can get that without having to do any manual labor now of course as I mentioned several times you can create loads of variation this is just something you know I quickly threw together to preview the workflow but for instance if you wanted to get more variation in the depth of the edge where you could just copy the layer click on the click into mask and just go onto metal edge where randomize it go into blur blur it out more randomized purlins so you get different seat on the on the big mask and randomize the additional dices and now you get even more of the edge where and it's kind of like more blended into the into the entire surface instead of being just on the edges ok so this will be it for this quick tip slash tutorial I will not show you how to get it into octane or whatever because it's just you know about exporting the texture and loading it into displacement but once again this is just the base if you wanted to really tweak this you would need to spend some time on figuring out the right scale the right intensity you would mask it out with more care for the details you could also add maybe scratches or something and overlay those on top of this so you would get like some variation in the size you maybe get some like tiny dents tiny scratches that way but we're not going to cover this here I just wanted to show you this and a neat trick I actually I translated this from substance designer because you would use this too in for creating Edgware in textures and I think it works even better in substance painter and I haven't seen anyone mentioning it before so yeah this will be it and see you in the next tutorial if you enjoy this tutorial please hit the like button and subscribe to create anything amazing with this definitely hit me up send me a DM or something or tag me and I will check it out and you know give you some feedback on it okay see you guys bye [Music] you

Channel: Filip Hodas

Views: 20,367

Keywords: Cinema 4d, 3d, rendering, filip hodas, hoodass, substance designer, velvet, texture, cgi, octane render, tutorial, realistic, cg, vfx

Id: oUNCI6hAMbo

Length: 15min 8sec (908 seconds)

Published: Thu Apr 09 2020