Substance Painter Tutorial - Beginner To Advanced

hey guys welcome to this video about substance painting in this video we're going to take an in-depth look at everything in substance painting i used to texture i'm going to explain all about smart materials normal materials masking filters and a lot more and to do this we're gonna make some textures for this wooden barrel i'm gonna explain at every step what i'm doing and why i'm doing it so i hope you enjoy [Music] so we're gonna start off by setting up a project go to file new then here we can select our assets first let's go with the mesh i'm just gonna navigate to my mesh click it then let's put the document resolution at 4k here you can choose your template if you're gonna render it in unreal engine i highly recommend that you put on unreal engine obviously but if you want to do something a mama said you can put it on pbr or whatever then here we can add our textures this will be the bakes that we did so i'm gonna navigate to them let's just add them all and if you don't have uvs you can do an outdoor unwrap but most of the times you have uvs already now we just hit ok and here we have a model now we can go to texture settings now we can select our bags here so normal map [Music] will space our id map [Music] ambient occlusion curvature [Music] and the position map [Music] lastly the thickness i'm going to explain a bit later what all these maps do but for now we have our model setup and we can start to texture i do not like the default ui the substance painter nowadays comes a bit so i'm gonna change it up a bit you can drag this one down let's drag this one up drag this one up and the prop this paint we're going to drag to the left and drag this one one more time to the left now it's a bit more organized in my opinion we can also hit this little icon and we'll get like a tap where we can navigate between all the different stuff in painting so if we just hit the producer producers we'll have all our producers here materials and whatever so one of the most important things in substance painter obviously is the materials so let's talk a bit about it as you can see we have a whole bunch of materials that come with substance paint and let's drag one in the layer stack so as you can see this is a fabric knitted sweater we just get one layer in the lace deck i don't work a lot with materials as i don't really like to another thing that we can work with is smart materials this is a lot better so let's go to woot let's pick a boot let's go with this one and you can see that we now have another material that's boot but you can see instead of one layer we have a layer group once we open it we can see every layer that makes this material up so if we just disable everything you can see that this is a material like this one and this will be our base and then it's just working with layers to break that material up and to make it more realistic so it's a lot better to work with smart materials as they will have just more to edit in substance paint personally i also don't really like to work with smart materials that ship from spain to gifts as it's just a really limited way of working the best workflow in my opinion is to go up here and we create a fill layer but this is just a layer with some basic values and we're gonna make our own smart material so instead of using this wood let's make our own wood so we can pick a color pick a brown put the roughness down now metallic let's make it a little bit sliding let's disable this one now we call this base then we can group it hitting ctrl g and we can we can call this boot material the next thing that i want to do is add some variation some color variation if we hit the z key you can go to the base color or whatever channel you want to see and you can see that we have a lot of variation in the colors like it's light it's more dark and saturated so let's do that with our own material to do this i'm just gonna go to filters so let's see filters we can also go here and hit filters and we're gonna use a huge saturation filter it's gonna work the exact same like photoshop this will allow us to change the color so let's drag it into a layer stack and the layer stack is just here you have your group and here's your layer stack of that group so let's hit on the filter and here you have the channels whichever channel you pick the hue saturation filter will be applied to so if we go to lightness we turn this down the color channel will get darken in any other channel it won't unless we hit the channel as well but for now we're just going to keep it at the color let's call this darken let's group it [Music] now in the base color this way the the settings for each channel are so let's go to base color you want to set this on pass through now you can see the filter will be applied to our base anything that's under a filter layer any layer the filter will be applied to but of course now it just makes everything dark and we do not want that so we can add a mask let's go to add black mask then we can add an effect we're gonna add a fill effect if we alt click on the mask you will see the mask it's just a preview let's go to a fill now we can go to produce rules we can choose a mask so let's go with clouds too just hit it and drag it now you can see that we have a mask like photoshop the white will be shown and the black won't be shown let's go to uv projection and put it to try planar projection this will just make sure that any seams are hidden if we put on uv projection now you can see we have a really bad scene and once we go to try plane it fixes itself so produce rule is just a tiling texture with some stuff to edit so we can change the balance this will change the intensity and the contrast so let's do something like this you can mess around with skill a bit and then if we hit m you will go back to your material view you can see now that we have some dark parts and some light parts so let's edit this a bit more so we get something that we like and i like this now we can duplicate the layer ctrl d and let's call this lighten now we go back to our filter we're gonna lighten the color instead let's also give the bit more saturation and let's go back to a mask now we want to edit this a bit so let's rotate it a bit let's give the new producer let's change the intensity a bit now you can see that we have some spots that are lightened so i like this but i think the effect overall is a bit too strong so let's go to a folder let's call this color variation now we can also add a mask here i'm gonna add a black mask this will get rid of the effect let's add a fill now we have a fill now we can edit the intensity of the whole folder so i like it like this actually a little bit lower let's put the balance here a bit higher so now we have some nice variation in our color i also want to get some of the variation back in the roughness so i'm just gonna hit the roughness channel um for this one as well hit the roughness channel but it's not showing as like i said earlier we need to go to a channel roughness and put the folded color variation to pass through now you can see we have some variation in roughness as well so i think that's a nice start for smart material i also want to emphasize something really important you always want to be working with filters not with actual fill layers as this is a really destructive way to work because right now we can change our base color and you can see that all the filters will update itself so it won't break let's go back let's we can even say it's blue and still works but if we did the darken with a fill layer that's just a dark and brown as soon as we change the base to let's say green now we're gonna have a layer stack that's not working as it will break because now you have the green mixed with the brown with a huge saturation filter it will just update based on the base layer now let's compare our own material to the other one that we have as you can see the wood is supposed to have some details we're missing any kind of details right now so we're going to make a new group start off with the fill layer just so we can hit ctrl g to group i'm gonna call this details let's take a fill layer i'm gonna disable everything except for the high channel let's call this layer height for the details now we had add black mask i'm going to add a fill at fill let's go to produce rules type wood now you can see substitute paint that comes with a boot produce rule so let's drag it alt click to preview the mask now we want to rotate the mask i mean the producer so now you can see that's aligned with the boot we hit m now in the height channel we can choose the intensity of the details so let's do it a little bit inwards now you can see that our wood has some details but only in the height now we can add another filter let's go to filters and the hsl again i don't really like to use any of the others as i just like to keep it keep it simple this filter works perfect so again for a filter to work we need to change the blending mode to pass through now in the filter we're gonna drag the lightness down as you can see anything where it's white now it's darkened in the color so now you can see that the wood is starting to look a lot better already so let's mess around a bit with how we want it to look and yeah i like this so let's call this layer color we can do another hsl and let's call this let's put it on the roughness channel again roughness details pass through now will work let's drag this if you drag it down it will be more shiny the more black the more shiny the more white the more rough so let's do it white if you disable it you can just see what it does so now you can see how much more detailed our boot is it's starting to look a lot better already so a big problem right now that we're having is that we have this wood planks as you can see the details are just continuing this looks really weird this breaks any kind of realism so early we gave one of the input maps an id if we hit b you can see the mesh maps this id map an id map is just used to tell substance painter i want to be able to select this part of the mesh and to mask it you create this in zbrush by using poly paint and baking it as the id map let's go to layers into details as soon as we have this whole thing done and we're happy with how it looks like what we have we can group this again as you can see it breaks again put it on pass through roughness base color pass through now it's working again let's call this one details let's call this one zero one let's do a duplicate as you can see everything is really strong as we duplicating the effect let's hide this one i'm gonna edit the mask right now we only have the details as a mask so let's hit m let's add a add color selection now you can pick colors let's add this one this one we're just gonna go one by one now you can see what we're doing as we have an uneven number we're gonna have to do this three times but for the sake of this video i won't so now we can go to this one now let's do the same here but with the other ones but we can also so yes the ones that are more bright let's select the ones that are more bright now you can see it's working again you can see it messed up the colors so all we have to do is check out the mask we can see that's applying it's from so let's change the output value to black let's do the same for the other one black now you can see it's working properly again and the reason why is if we keep this tool white it will apply the effect the hsl to everything that's white so these ones will be fully applied so just change to black now there's some mask which is good now to break this we can go to our woods we can just change the offset now you can see it's not continuing along anymore so that's how you can break this kind of stuff up i also don't like how many not start so let's just lower that so now we have a pretty nice detailed boot so now boot has a layer as a base layer a color variation and some details so we go through it you can see how with every group we're adding more detail to our material one thing that's really lacking right now is somewhere and so let's make that i'm gonna do another fill layer ctrl g to group it let's call this edge damage and there are lots of ways to make the mask for edge damage but the most easy way just to go to smart masks and type edge damage and you will see some stuff but let's keep that edge so now we can preview kind look at this the edge blur we're just gonna look for one that we like so i like edge strong scratched i like how that one looks let's drag it to our edge damage group and you see that it will add some edge damage the way this works is with the curvature map curvature we linked it earlier in our input maps it's this one let's go to curvature it's just gonna make all the edges of your model right and you bake this one out so now substance painter can make a map based from that information we go here to the curvature let's alt click it to see it curvature we get some settings so you can go to global balance we can decide how strong the effect is let's keep it kind of subtle here at curvature you can change more settings let's just mess around with it until we get something that we like so let's say i like this now we have some damage now we can change the fill layer to height let's get rid of everything except the height let's mess around with that a little bit and now instead of doing a filter i am going to use a base layer the reason why i'm using a base layer instead of a filter is as you can see now it's replacing everything in the color that we had before if we go to filters we put a filter the hsl let's put this to best through you can see that's keeping the details that's something i do not like as this will break the realism as the details are supposed to disappear when we have some broken edges let's change back to normal get rid of this one let's call this base now for the color we can just pick here let's make a little bit more light i think the height is a little bit too strong so let's turn it down a bit i think that's looking pretty nice but i think it's too subtle so let's go back to the mask global balance and let's put it up now you can see we have some real nice damage but the problem for me is now that all the damage is very boring and that's the same color so we can go back to a color variation we can just duplicate this duplicate layers we can put it in the edge damage folder so let's put this on past through again death at work color variation lighten and darken let's go to darken see the mask we want to make this a little bit smaller so it's actually working with this let's change the contrast the balance you can now see that we have some break up here so we can change the opacity for the strength let's do the same for the light and alt-click it to change the scale balance contrast and hit c to go to color now we can just kindly see that's working let's make some saturated spots the whole time you're just messing around with sliders that's all let's change the opacity as you can see in our edge damage it has some color variation this will just help to release them so i think that's looking pretty nice for edge damage now we can also say we won't have more dead damage so let's group the edge damage i see stuff breaks again one set it to pass through that's true and actually i forgot we only did the color but we still need to do the roughness channel so let's go back to edge damage let's go to base let's do the roughness as well so for damage let's just make it really rough now here we want to get rid of the roughness get rid of the roughness here we're gonna do a new hsl let's call this one roughness disable color and go to reference only now you can see we can edit the roughness as well let's edit the roughness a little bit let's say a little bit less rough let's add a quick mask a fill let's go to producers let's go with b and response so let's view it try planar balance skill contrast now you can see we just have a little bit more break up let's make the effect a little bit stronger and all this breakup all it does is just gonna help the material to be feeling more realistic so now let's go back to our folder let's continue our damage let's call damage make sure everything's unpassed through now first damage layer is the edge damage but we want to have some damage and overall as well let's do a new fill layer and actually we can just duplicate this whole layer stack instead of edge damage let's call it general damage let's view the mask let's get rid of it so now we have no damage in the general damage let's add a fill producer rules let's go to crunches and now we can just pick a producer that we like so i think this one looks pretty nice like there's some scratches from whatever we can change it however we want we can also invert it invert [Music] now it's just gonna add some scratches so let's actually change the name again let's go to scratches and now our scratches we'll have everything that we did early as well like we'll have color variation and all that good stuff so for this i do want to change the height i want to make the little bit more intense just a little bit now you can see we have a lot of scratch damage so what we can do is we can go to the mask we don't just need to use one produce rule we can also add fill we can put the blending mode on multiply and now we can add another produced row and we can like we can pick with this produce rule we can get rid of some of the parts of this one so let's go to cloud as you can see if we disable this and let's put on normal anything that's white here it will show in the old produced row let's go multiply again it will be a little bit more clear free of the contrast you can see that we are getting rid of some of the mask that we had earlier so we can just do whatever we like hit the m just for your material and you can see how it's now more subtle effect we can change how much it's shown through so i think like this looks really nice so we can view our channels the base color is looking good now and the roughness as well pretty happy with what we have now let's do it one more time ctrl d we can also do that to duplicate let's call this one general let's get rid of the mask again let's take a look at some smart masks type damage let's see what pops up edge damage i don't like this so we can just have a look by hand see if we see something that we like no it's not something that i like so let's go to producers and let's build our own mask so again fill it's always good to just look around maybe there's a smart mask that's gonna work perfect for you in one time and all the time there is something just gonna mess around it produce rolls so let's go to crunches noise maybe crunches let's go with this one let's change the contrast the balance so now we have a really beaten up boot and i like how it looks get a rid of some of the button the bottom again fill let's add another mask should we do it for this time multiply and mess around until you got something that you like so now i'm gonna call a smart material done [Music] actually i'm gonna have a little bit more details in the wood as you can see it's lacking some of the more finer detail if we compare [Music] you can see like these grains we don't really have that yet [Music] so in the details let's make a new fill layer let's call this height ctrl g let's name the detail um fine lines now let's go with wood lines you want to make sure that you're as clear as possible in your layers stack as the more layers you keep adding the more complicated your project is going to be and especially if anyone else is going to need to work in your substance painter it can be really difficult to find out later what you're doing so you just want to try to be as organized as possible so let's disable everything let's add a mask so let's see if we can find a producer that will add some nice lines so let's look we can also drag this up [Music] here we have some lines it's too much rounded i'm gonna have straight lines [Music] so i think these look pretty good [Music] i think the best what we can do is use this one as a base and then we can use this one's breakup let's start with that one at the fill i'm gonna add this one actually let's add the color back so we can see what we're doing let's rotate this again now you can see we have some straight lines a little bit too thick so let's change the scale now this messing up so let's keep that one we're gonna break this lock now we can edit the x separate from the y in the y we can just scale it up so we have more horizontal lines so i like this this is looking good one problem is that looking really really straight what we can also do is we can add filters to masks so let's add a filter let's type warp this just gonna warp our mask as you can see it's edited a bit density divider thousands good let's change the intensity so now we can disable enable and you can see it's adding some nice breaker now height let's disable the color again punch this down a bit i can see we have some more lines add another filter let's call this one color let's put the lightness down again pass through now you can see we're getting a lot of details in the woods i like how that looks the height you can also go to the height channel you can edit it here sometimes it's a little bit more easier as you have more control let's also go to the roughness duplicate this layer call it roughness and then the roughness channel i said on pass through again now we get the details back as you can see now we have a lot more detailed wood i also want to do this one more time as i said the other one looks good for breakup let's duplicate the whole layer it's called boot lines break up go to a mask now all we do is disable the warp for now go to producers let's see the directional noise let's check our base color i see it's too general right now let's change the contrast so let's change the scale again a bit the balance needs to be lower put this to three nah six as you can see now it's just adding some breakup details to do a little bit more balance and the more breakup you have in your material the more realistic it's gonna look like of course you can have too much breakup and it's gonna become a noise so you wanna avoid that i don't know what happened to the roughness that's messing up a bit let's go to the roughness let's make this more light instead we have a bit too much height so it's become really noisy so for this one i think we can disable the height the woodlands break up let's just drag this down if you have too much height it's just gonna become noisy so you wanna keep an eye on that this one as well let's track it down this one's wreck it down time for this one that's a bit better i think our boot is too rough though now yes that one go to the roughness let's make the breakup more white instead so now what we can also do is we can group this base color pass through roughness pass through let's call this primary details now for the wood lines these are secondary details put it to pass through base color pass through let's call this secondary details so i'm gonna quickly explain what primary details are and secondary details you also have the try terry details and micro details those are like the four layers that you build up surfaces you loot in zbrush as well all the time let's actually see if we can spot it here this one doesn't have micro details but it has all the others so the second the primary details would be these big shapes right these are gonna add a lot and then the secondary details would be like these lines that we were doing earlier there's still it's basically the more visible the details it's going to depend what class they are primary secondary tritary micro so this is still pretty visible so that is secondary [Music] and then if we zoom in all the way you see like these lines they're very visible but they're gonna break up the surface this will be the traitory details and then if you add some details that are like almost invisible that be the micro details in games we don't really use the micro details as you won't be seeing them as will just become a noise but you can use them but don't spend too much time on them they're more important when you have like really close apprentice like in films or whatever you also just kind of define whatever what is for your own like the secondary details doesn't need to be like really really small but if they're the second most visible details on your model then they become the secondary details so i do want to add one more detail pass just have like some some break up like some rounded stuff in the wood so let's add another let's do a fill group [Music] let's call this height we're going to leave the column so we can actually see what we're doing let's add a black mask let's look for something that's going to add some some rounded details like some areas i want to have some more detail i think a good one will be plasma let's add fill let's put it here now you can see we have some rounded plops change the balance change the skill [Music] i think something like that is pretty nice let's change the shape up a bit let's go to filter warp now we can warp it a bit now i want to get rid of some of these let's go to fill let's actually do another plasma change the balance or maybe a berlin noise change the balance now we have some spots now we can mess around with the blending mode so now only on the white the details are gonna show through let's make this one a little bit bigger now we have some spots i think we need a little bit more contrast so we can do a levels let's see a mask you just want to mess around with it so now we have some spots i want them to be a mid a little bit more spread so we can add a filter we can do a blur but not the normal blur you have a blur slope [Music] this just gonna break the shape up in a more organic way i think that's good let's go to height disable everything except for the height let's punch this in so now you can see our boot hasn't punched in height filter hsl let's change the lightness that's true this just gonna add a little more break up as you can see it doesn't add a whole lot it's just gonna add some breakup from the material so it looks less repeating so let's call this one spots let's move in a secondary details folder that's it for our wood material i think we have something that looks good now so now that we're done with our wood material let's compare so as you can see the wood looks good the advantage of making your own smart materials is they can make it look like how you want it to look if we use this material i don't like how this wood looks i prefer something that looks more grime and dark now we're gonna have to go in the layer stack and edit everything at that point you're just kind of working against yourself for me it's easier to just start afresh and do whatever you want now i know exactly how my smart material works and i can easily edit anything i want later on so one very important step is just right click now you can click create smart material actually let's change the name [Music] boots let's say tray for trigon so now we can right click create smart material now in a smart material step we will get a new smart material called a wood trike material now when you're working on any kind of project where you're using wood let's say i made this for this wooden barrel but i also have a wooden crate i can just drag the smart material it's gonna load now we have a smart material so now it's the same as using the painted default smart materials except for that we made this one ourselves let's get rid of the default one let's talk about something else that's pretty important how your substance painter looks it's like a small thing it's just gonna make working a substance painter more nicely i always want to work with the tomoko studio this one just has a little bit more accurate color like the base color will be more similar to your material color i like to put opacity all the way up and the blur also all the way up now with the opacity it becomes like a slide of how dark your background should be let's say like this if you want to add some shadows let's put on average if you have a really good computer you can put it on intensive but average is fine you can change the opacity like to put it somewhere down the middle the focal length i like to work with a really big one let's put that 80. and the bigger the focal length the less perspective you have and the smaller the more perspective you have if you're working with faces and portrait photography like 80 years they're usual that people go with again both effects both effects add some vignette nta lacing i like to just put it all the way on top and sometimes i like to work with color profiles but one thing that's like important you need to remember that it's gonna distort like your color accuracy like what you see is not the actual texture at this point so you can just pick one that you like and you can kind of mess around with it i don't like to work with this too much usually i just turn it on at the end to get a little bit nicer of a look but i'll come back and turn it off a lot of times to see more accurately when my textures are looking like texture filtering we can put this one a little bit higher it's just gonna give us a little bit nicer for preview you can change the ao intensity you can change the quality let's put that high now these other settings i don't really mess around with just go back and change the opacity let's put a little bit more like this and to me the viewport looks a lot nicer to look at now now of course we're working with multiple materials not everything's gonna be wood like here we have metal parts so let's go to smart materials [Music] and now you can choose to make another smart material and do it all from scratch but as it's just to show you a video i'm not gonna do that i'm just gonna go with the basic one let's type steel go with steel [Music] ruined so let's drag it now we're gonna have to mask out the metal parts add a black mask and what you can do is you can add mask with color selection now with the id map we can choose the parts that's gonna have the metal selected but as these are separate meshes i prefer to just go here but if everything is merged together you're gonna need to use your id map we can put it to object whatever object we click we'll have white applied or you can have black applied so let's go through it and now i'm gonna have to select all of these little things so better way to do it just to select [Music] everything here make it black now we make white the part that we don't want to be shown and now all that we have to do is add a filter let's go to invert just gonna invert the black the white and the white to black now you can see we have it [Music] let's also add some let's do this actually let's make it a little bit less shiny first on top of smart materials the easiest way to edit them is just to go to filters again the hsl all the way at the top let's say it's too shiny roughness and we can change it all really fast and easy i think that looks a lot better right now let's call that one roughness minus there's a pretty cool filter as well somewhere filters you have this rust filter you can drag this on top [Music] it's just gonna add some rest so pick something that you like i think that looks pretty cool it's a bit too much though [Music] so let's say this is fine now we have a steel rune let's call it metal and we have a wood i like to right click and give it colors this way you can just easily see in the layer stack what's about like if you have a lot open i can easily say this is red here's green here's a new material now we're pretty fond of textures one thing that i like to do is add a fill layer ctrl g to group it and put a layer on top called fx and it's just gonna be effects so let's call this one curve for the curvature to disable everything except for the color and roughness let's go to project clear project now we're going to grab a curvature map let's put in both slots this just gonna fill that channel with the texture let's set this on pass through roughness pass through let's go to the roughness now the blending mode we're gonna put this to overlay [Music] now it's gonna overlay your roughness overlay uh curved on the roughness is just going to give your model a little bit more depth and it's going to get some of the details from your high poly back in the textures you want to keep this settle though let's put that 25 and for the base color i'm gonna do the same overlay 25 it's just gonna add some depth it's a really subtle effect but it helps it is gonna darken everything though so we can also add another filter and i like to use the color correct filter here let's keep the name it's good color correct now we can just correct the color so let's go to a color channel we can mess around with these sliders just to get a better look so change it however you want to i think that's pretty nice we can drag a pbr validator on top and we can check if we're breaking pbr values whether it's red it's not good where it's green it's good so you can see that we broke a little bit just drag this one down a bit you can break it but just be aware of it that you're breaking pbr but in the end i like to just do whatever looks better but i do want to stick to some to the edge i don't want to push the pbr values too much in the broken side so i think that looks pretty nice i do want to change your edge damage a bit though so we can go in our layer stack we can look to damage general scratch edge damage [Music] now instead of changing the base we can do that but we can also just drag a hsl on top [Music] and we can edit it this way the thing with using these filters on top instead of going back in your base it's gonna make your material take longer to generate in painter so that's something that you need to be aware of but it's just faster and easier and you have some more control on top it's just going to be more organized so i do like to use it so let's call it color adjustment let's put the saturation up a bit lightness put that down a little bit too much i can see it's a little bit more saturated and i liked a little bit more like this you can also add a fill add a black mask fill project let's get our ambient occlusion actually filters we don't want to do a fill hsl black mask fill project let me integration now we have a mask widow ao and we can bake the ao into our texture we do need to invert this down [Music] at filter insert now you can see we're baking the ao into a color map again this is gonna break some of the bbr workflow it's just gonna make your textures look nice in my opinion when i'm doing redness and mama set i like to do this but if i'm doing something in unreal engine i don't like to do the ao bake into the textures as we can make a custom shade and we can control the ao intensity breakdown in the color in the shade itself there but for now i'm just going to keep it here in the roughness i don't like to edit it so now we're pretty much done with the materials we got our materials defined the only thing that we're missing right now is some wear and some weathering this is just gonna blend materials together make your textures come alive right now we don't have any impact from our environment this sounds a little bit fake but you'll see in a bit it's really easy let's go all the way to the top let's change let's put the fx at top i'd like to have that on the top all the time let's give the color let's call this weathering ctrl g and here we're going to do our first battering layer so let's call this one dust on a fill layer you can choose the dust colon whatever like to use like a dark bluish because this is really brown and a complementary color of the brown is blue so that's why i like to use the blue here let's go to a smart mask stat dust remember we can use a smart mask or we can create our own using fill and produce rules and maps let's look for one the softest edges the circle let's try this one [Music] let's put the balance up now you can see we're getting dust [Music] this is just gonna blend it in a little bit better the materials i think that looks nice it's a little bit too dark though make a little bit more light put saturation down a bit yeah i like that let's also do another one let's say plot let's just make some settings that look nice like a blood i like to use blood because it's like i'm thinking of battle seeing the vikings walking around for example and there ended up being some blood on the barrel that's how you can tell story through your text yes and they're gonna make your objects come to life a bit more for this one let's go to producer rules fill [Music] and let's see if we can find like a nice one i'd like a fluid now that looks horrible just go through your crunches and see if you can find something that you like black mask fill [Music] i want to keep this really subtle you don't want to have too much that's going to look weird let's change the color because this is going on both materials it's just gonna blend the materials together a bit better one thing that i want to do is though uv protection triple as you can see now it's going a little bit better like you have a splatter of blood that continues on the next thing so let's do a little bit less for this barrel i'm imagining it standing on the ground let's add another fill layer let's get smart mask and we have dirt ground [Music] let's edit this a bit put the ao down all the way [Music] let's do the curvature down as well let's do the balance the level up now you can see we have dirt that starts from the bottom to the crunch down let's do a fill you can go to producers let's do simple clouds and put this on multiply this just gonna break our mask up a bit let's do a level up a bit again just be in some folder ctrl g actually let's make this like mud it's gonna add some nice break up in the roughness [Music] that's a lot of height here it's not working well hold on just copy this mask if you put it on the wrong layer you can just copy mask [Music] like a black mask that didn't fill i mean paste into mask now we have a mask back we can get rid of this mask let's see why it's not working reserve the mask remove mask and i cannot find why it's not working so let's just do it again let's delete the whole layer let's copy the mask though [Music] copy mask i'm going to group it as a black mask so fill and paste into mask [Music] as you can see it's still not working that means the mask is broken so let's add a black mask if you shift click you can disable it let's go to smart mask and let's just drag it in again so ground as you can see now it's working and i'm not sure maybe it was just a book let's change the global balance like yeah let's put it up all the way i think that looks nice let's call this one base put the roughness down it's way too much so i think that's nice the problem right now is we don't have any variation in the mud so what we can do is we can create our variation lace again we can just go in here we can be really lazy just copy layers now ctrl d duplicate them we can just drag them from one smart mesh smart material into another layer stack as you can see now we have some variation back again i think that's way too much variation though so let's push that down i think that's nice so let's call this mat add a fill let's go with clouds again put it on multiply i'm not sure why this is breaking it so if it's not working we can also just group this again we don't pass through and on the second group now we can add another mask let's do a black mask at fill [Music] now we can track the produce roll here as you can see now it's working let's change the offset a little bit now we have some mud on our barrel this thing's still a little bit too much though can mess around with this mask we can go down to this mask we can change the balance you can basically add whatever you can think of like let's say it has some grass spots on it you can add some green spots or whatever and yeah that's basically all there is to texturing it's just you're working with layers and you keep building your stuff up so let's do a quick run through as you can see first we have a base it's just one solid color now we add color variation and roughness variation it still doesn't look like anything we add our details now it's starting to look like something then we add a damage it's gonna add a lot of nice break up not starting to look like something i'm gonna add more materials then we add some wear and some weathering it's gonna tell some story and break a texture more and then the effects layer that's it that's all this to text string like i said earlier we don't have the right colors though we have the color profile so you do want to see how it looks without and actually there's one more thing to text string that i've got to talk about right now we only worked with generators and produced rules doing everything with that but we didn't do anything by hand like to push your text just further you do wanna do some hand painting so let's say in the boot we can go here we can create a new layer make the group and let's say hand painted edge damage make it black now we can go to brushes let's search let's use a basic soft brush let's add a paint let's go to brush now we can start to paint some damage this is just gonna push your textures to the next level it's gonna look a lot more natural it's gonna have more breakup so now that we have some damage here so nice you can like follow your textures like the generators that we edit they can guide you here we have like this shape we can say all right let's take this shape let's just get rid of it and by following what you did earlier it's gonna make your text just look more natural so of course this looks horrible so now we need to actually change the attributes the color again i'm not using a fill layer i'm using a fill lay because i want to get rid of the details underneath it so in color that's color selected let's go with this one height roughness we do need to hide roughness we're gonna put this one really rough now on the height we're gonna push this one down that's looking pretty good and we can still also edit a hand painted stuff with filters and fills for this one i like to add a filter blur and slope change the divider and intensity this is going to give a little bit more of an organic look to what we did now we can just go back to the paint we can start painting away stuff that we don't want so again i'm just following the producers that we put in earlier it's a little bit slow if you want to have it faster you can go to texture settings you can change the size to 2k it's just gonna go through all your layers it's gonna generate them in 2k as you can see it looks a lot worse but now we can paint a lot faster so my computer is pretty okay so i can keep it at four okay it's just gonna generate everything again with that 4k let's continue to paint here i think that looks nice can actually add a little bit more detail make the little bit less big as you can see now our material has a lot more nice break up just turned off now you can see it adds a lot so you want to do this for everything here you can also go to bat ring let's make a new folder like that earlier you can add some dress spots it's called stress spot let's make it green less saturated right black mask add paint and now with the brushes we can pick one that we like i like to use this one a lot the dirt one now we can just paint some spots on there it's a bit too strong [Music] and you need to remember that whatever we paint we can edit it with produced rolls so you can add a fill for this to multiply produce rules let's add a spot now we can change this now we can just edit your hand painted stuff a bit more what you can also do is you can go to the blood one that we did we can add a paint now we can hand paint some blood away [Music] so let's say we paint that away the one problem doing it this way now if we want to paint that back we take the white and you can see it ignores the generated so let's undo that we're going to add the blood we're going to add a mask here on the left on the folder on top so let's add a white mask now if we get rid of this we can go back to the white and we can still paint it back but only where the generator generated it so it's a little bit less destructive and yeah that's really all there is to text string so now that we textured an asset all we have this control e [Music] we can pick a settings and we can export it i hope you enjoyed this video i explained everything there is in substance paint to texturing to what i use there's a lot more techniques and different stuff that we didn't touch on but those are all things that i do not use like you don't need them these are the basics and with this you can text you anything you want and once you get comfortable doing this workflow you can start to expand it and look a bit more on other stuff that is and these aren't the final textures that i did for this model over here you can see the final textures that i did for this model it's all using the same techniques and maybe one or two days i'm gonna upload the full video of doing these textures but i'm not gonna go into explaining what i do in the video as i already did in this video will just be a two two-hour long video of texturing so yeah i hope you enjoyed and if you want to see this video the next one make sure to subscribe bye guys foreign

Channel: TriGon

Views: 64,468

Keywords: 3d art, 3d, zbrush, tutorial, how to model, moddeling, 3d moddeling, game art, game dev, zbrush tutorial, maya, games, Trigon, trigon art, substance painter, substance painter tutorial, substance painter for begginers, substance painter game art, substance painter course, how to texture in substance painter, adobe, adobe substance painter, texturing, texturing tutorial, how to texture, substance painter advanced tutorial

Id: qcQPItAXxgE

Length: 81min 33sec (4893 seconds)

Published: Sun Nov 21 2021