Texture Maps Explained - Essential for All Texture Artists

hey guys anymore confront flip normals here in this video we are covering the various maps used in texturing this is something we were thinking about a lot and it's something we see a lot when it comes to new texture artists that don't know exactly what the various maps are you might be looking at the know be dough and being like the hell is it I'll be wondering what is different you know roughness map across honest what is actually vector displacement map what the hell is metallic and what an earth is ambient occlusion we're gonna be covering all these plus a few more maps in in this video yeah so there's there's I guess especially when you're just getting into texturing it can be kind of confusing because a lot of the maps seem to also do similar things so we'll try to shed some light on the difference different use cases for different kinds of maps as well before we get too deep into it we want to just quickly talk about this asset isn't made by a very talented texture modeler called seaman Pelican who was graciously provided this to us we were also working on a tutorial on how to actually texture in this asset which is coming out when it's ready yeah and maybe even a few weeks ago yeah so the very first map we've been recovering is it's the albedo or the color map for this asset here particularly if you look at the fan there's actually quite a lot going on but if we look at the color map just waiting to see a few times we can see the color map there's hardly anything actually going on there's a teeny tiny bit of dirt going on but stupidly simple it's stupid lease imple but it's actually very very simple the color map has a few names when it were I've been working some places we call it an RGB map some we actually just call it a color some call it the albedo I think the albedo is more technically correct term for it which is used in PBR tenfold diffuse as well yeah so it's a it's a has a lot of different names there's a lot of difference but essentially what it is is the color without any specularity or reflection or shadows into it which can be hard to I guess understand when you're just getting into 3d because everything you look at around you it has it will never ever only have color on it it's impossible like you can block out stuff with polarized lenses but what you're seeing with your eyes will always have reflections and you know other kinds of stuff on top yeah exactly so what a lot of people do when they're whenever they were starting texturing is to take they take a photograph of whatever - one texture and then they simply project this onto what he's doing the problem is now you're not getting the color now you're getting the shadow and you get into reflection into it as well again reflections can actually water down your your color quite a lot yeah like you can see here like how much the speck just adds to the color like how much whiteness and how less saturated it becomes like if you look at the top go back to that picture there the second picture right there look at the differences between those two the color I mean it's not even the same color no so that's why it's super important when texturing that you actually have a nobita map this is all the texture matrix XY see this is the perfect site to use if you if you actually want to do human textures yeah particularly here if you're looking at if you're looking at this how much how much lighting there is in this this is all all lighting and specularity and all that you there is just too much information there if you were to project this onto a texture and just leave it bad you would always have this very white light on to it even in in this version which has been polarized you can still see there is too much lighting information and whenever I've used these kind of textures I always had to paint out these subtle little sort of little dark spots and you just really got to remove not just the specular information but you've also got to remove shadow information yeah because otherwise you're fighting that throughout your entire texturing process yeah then you kind of cuz then once you light it you know those areas that you've now textured that already has shadow information are gonna get double shadow information and they're gonna get even darker now that said this is something we do cheat sometimes like if you want more focus on the eyes we might just leave a bit of shadows here maybe some of this we might leave that's also kind of akin to doing makeup on a character as well but if you want to ground a little bit more you can kind of fake that a little bit but in general the color beedo should really just be pure color with no without any reflections or shadows whatsoever yeah so again if we look at this just how insanely simple this is and how advanced this here is yeah like if you if from the from the model before if you take away all the pores and all these small imperfections just in pure color there's not a lot of stuff happening yeah around the pores you'll have some more retina but like especially here in the smaller thumbnails you can really see it's easier to get an overview of what the color actually looks like and in this quite uniform so it's also pretty simple button you know once you get into pores and stuff then you can start making it more advanced yeah it really is this is one big misconception I've seen what people do human texturing they they start off with like a really detailed color map and they spend eighty percent of the time on the color map when in reality something like a bump map which we'll get to later on if you don't know what that is is we have all these nice little pores and all that this is just as important because if you have a really good bump map you know you can go in and you can paint all this in color later on yeah more important almost yeah exactly I always start off with the bump map and then the roughness map which we of course will cover that it's actually crazy how simple you can sometimes keep your color map if your bumps or bump map is is super tight yeah yeah then that might be the biggest the biggest thing which improved my textures significantly was stop worrying too much about the color and work more way more about bump specularity and displacement we if you get those things right everything else will follow particularly for for four characters which is what I've been doing the most the next up let's look at what actually it makes this here interesting we're looking at the fan you see there is a lot of variation in here but it's not in the color so where where is it it's hiding nothing height is Anna roughness roughness is one of the most interesting channels and very often overlooked roughness essentially determines how sharp or how broad the reflections here are you can see we have tiny little thing prints here and this is all roughnesses all you can see here this all reacts to to the lighting when we move this around so well there you don't really want this unless it's paint directly on top of it you don't really want this in your color map no because then it's not gonna respond to the to the light in the same way that it does now it's really cool when you sort of like rotate the light across that the area that's highlighted by the HDR eye is like the same color and gives us this very like natural look to it and feel yeah it really does so roughness is really one of the most important Maps back in the old days before we had PBR you you would paint like you paint a lot of specular Maps we don't really do that anymore essentially all the reflections are controlled by a single map and that's called a roughness map it can also be called a glossiness map the difference between these two is that if we look at our reference map everything which is dark or black gets its really sharp and everything which is white is really broad reflections and a gloss on its map this is just inverted literally the only difference between them but it's important to know that roughness and glossiness are not interchangeable terms no the maps can easily be used with each other but you have to invert them so some shader systems revolve around a roughness map and some Revolver on a closeness you just gotta figure out which one you're using yeah and for something like if it's a broader sharp reflection you can think of like glass or the paint on a car like the glazing layer on a car that's a very sharp reflecting because it's very perfect you can it's like a mirror reflection but a broader reflection would be something that's like aluminum anodized aluminum sort of where the light is really dispersed and you can't see your own reflection in it a mirror would have basically been perfect yeah also one thing to keep in mind as well is that everything has reflections if like regardless of what is even if it's a piece of clothing there are still reflections on it and it just gets broader and broader to a point where at least in CG you don't treat it as a reflection anymore when it's that broad exact it does it still it still has perfection and there is this because you know stuff reflects on it yeah if you have if you have like a next to this and you can see it reflects I mean the light is still there so in still it still hits still hits the object it's more that it's so broad at that point that you can't you can't really see it but what it would often contribute to is maybe you can't see it specifically but it will contribute to overall brightness to whatever it is you're looking at you can see that with like an example could be a black t-shirt like you have light on that on a black t-shirt the t-shirt isn't gonna be pure black you're gonna be able to see a whitening because it reflects off all the tiny little fuzzy hairs that's on the t-shirt so then we we have these these are maps which determines more the specularity of it then we have displacement pump vector displacement and normal map so here we are looking at a displacement map so here we have a black black and white map where the white is being pushed out and the black is being pushed in so all of these maps are kind of like they they kind of do the same thing except for vector displacement and displacement map actually move the surface whereas bump and and normal maps give the appearance of moving the surface but it's all about like getting some sort of new interaction with light going up and down in the surface factly so these actually yeah these are all these maps are more like they're supposed to emulate modeling yeah yeah like in this case here we just have a plane where we have this but there is we have this texture applied to it but it's just a plane there is no modeling happened yes this is this the texture that we grab from the Flippen almost fabrics that we have because I think this just shows it off really well like you can see I mean obviously this map was a huge this would be for fabric so we a lot smaller so you wouldn't see all of this detail but it illustrates it quite well so like Warren's that here actually pushes the geometry out which means it generates geometry this means that it's quite slow to render but it's also the most physically correct one yeah because this is not a cheat at all this actually generates geometry so so you know if you have a if you using this for a t-shirt and you wanted it to like be stupidly realistic you would have a displacement map on it but like any it's it's really it can get pretty heavy because you actually need to subdivide your your mesh and imagine you're you know rendering a t-shirt where you're subdividing enough so that you can render each strand for like the pattern on this t-shirt yeah yeah that's not gonna fly no so you wouldn't do that so since this is so heavy this is something which you wouldn't really use in games in games you wouldn't use a normal map and film this is just for everything yeah a lot of times in film that would just straight up refuse to use bump maps even leads us to which it looks strangely similar yeah so this is what you would use for something like this because this is this is a cheat mmm tell that obviously doesn't have the same amount of geometry you know it doesn't actually generate in a java tree this is also really quick to to render out yeah this just gives the appearance of depth instead of having depth yeah and the cool thing about this especially like if we look at the fabric example we would need to tile this so much to have it look realistic on a t-shirt that I I can't see any situation where you would actually use the displacement map unless you're like flying across it or something it's like master level here unless you're yeah and then you would probably model it because you wanted to look extra crisp right so a bump map is really I mean reviews that infinity effects so much like where you have your displacement map on on top of the displacement map you put a bump map just for the extra fine poor detail so one isn't necessarily better than the other and they're they're they're complementing each other that said though if you had unlimited CPU power you know if you could render anything and it was all instant then you would probably stick to displacement just because it's it's more correct it's more actually generates geometry yeah but there is just no way that's happening yeah the cool thing about the displacement map is that if you if you took a spotlight pretty close to this plane the one with the displacement map on then that would actually you know can actually see it here it actually casts shadows besides each of the little fibers but if you go to the bump map instead you can see we're actually missing those casting those cast shadows we're only getting sort of like localized shadows on on what the the bump map is generating they will have a normal map normal app is just completely different from what a bump map is you see the difference if you look in top left corner is it as three colors as opposed to two so instead of just going up and down you can actually get the normal direction of the map which means it's it's significantly higher quality when it comes to when it comes to what information it can portray yeah you can kind of see that with the normal map we get a rounding especially in the highlighted areas like you can actually feel that it's cylinder whereas with the bump map it's flat because it can only extract like sort of like pseudo Exodus plays up to a certain point and then it's just up and downwards with with the normal map it goes in like three directions XY and Z that's what the RGB colors are for in the normal map yeah so you're gonna be seeing this map a lot if you're seeing a blue and pink map that's a normal man yeah but again you know you can maybe it's for games where you instead of using a displacement map you use a normal map for the base shape and then for the superfine detail then you could use a new bump map yeah exactly yeah normally it's also used in film as well I worked on films where we used a normal or normal map because it's it's incredibly quick to to render yeah I said this here is really slow to render well this this oftentimes is is more than for what you needed yeah I mean obviously there's a tiny bit of difference in render time from a normal map to a bump map just because you have more detail but it's really negligible especially compared to a displacement map yeah we used a lot of normal maps for parts of Cobian 5 which you know you don't have to see that yeah but at least technically a lot of it was done with normal it was a great moving pictures yes yes one of the things as well difference between these two maps is how they are generated so these both these maps specifically maps are generated from geometry so they're baked in in a render engine so this has been modeled up and then baked but this you can bake you can bake both of these out from geometry but you can hand paint this but you can't hand paint this unless you're some sort of artistic genius yeah who can paint in three colors and yes there are feasible there is no way you have to generate normal tree there is just there is just no other way so which means that we have tutorials on this as well where you we actually can convert a photo into a pub map we can take this into ZBrush we can start sculpting more on it and we can really get very tight details out of it the cool thing about painting hand painting a bump map is that if you're doing in the texturing software's like like painter or Mari is that you're kind of sculpting but while you're texturing so it's like a sculpting texture you can use it as that as well that sounds like an idea for another idiot then we have some examples here where this is a more practical example of where you would use bump map so here you can see this is with bump map and this is without the bump map and and because of the level like the frequency here which it's such a high frequency for the for the for the pores it doesn't really need to be a normal map like it does that the normal map here doesn't need to respond that well to like the like all like the directions of the normals here you just need up and down exactly so this is this is a perfect example of where you would use a bump map instead of also displacement map I've seen this been done it with displacement but that's honestly it's I mean you could totally use a normal map here as well yeah totally that would that would fly as well but you know a bump map will totally do the job yeah we also had some questions like how do you actually generate these kind of maps and this is again from the site we showed you before XY text for XYZ mm-hmm not mad we just like them yeah awesome stuff okay so that's that's it for for these maps let's move back into painter then we have an opacity map an opacity map let's go through this looks like this yeah I had to figure out just hide a height a portion of to model that's why it looks like that doors not relating the opacity for it so a pass-through map is simply where it's black it's transparent and where it's white its opaque so there we go beautiful nice little floating thing in space this is something you would you would use this for for glass or transparent surfaces where you really want to control it so very nice and simple then we have the metallic map if we look at this now we can see the different parts here are metallic and made of metal and different parts are not made of metal this is one of the things you need to do when you whenever you're painting at least particularly if you're using a PPR workflow you start off with them is this part metal yes or no if it's metal you make sure that metallic slider has been set to all the way to one and if it's not metal turn or you turn off again so this changes to look quite drastically on on whatever is you doing like you see yeah like technically I I don't know what happens no idea the way I keep track of it it's like anything says is a metal yes is a metal no then that's it's pretty straightforward that way and there is essentially no there's essentially no gradients of this like you can see that yeah you can have a gradient but in reality you have is that a metal yes or no you have some exceptions or metalloids which like you like might be like tin and arsenic there might be some examples here but yeah but those you would look at those in as exceptions and here you can see like if you take the metallic slider so like down 50% it kind of looks like oh there's some dirt on top or something but then you would actually just make this 100% metal yeah and then have a mask with dirt on top exactly so this is a pure pure mosque this looks like that's if we can go to metallic so here we can see that this here is the metal parts are indeed metal and non metal parts are not metal but then we have some part here which are it's metal but it's covered with something else so we can see you can see that in this case we have we have black paint on top and underneath it we have we have actually like a base metal one thing to keep mine as well is that when it comes to you have some examples up here oh no I hit it with area here you have some rust on top of it rust is not a metal not anymore essentially what determines if it's a metal or not does it conduct conduct electricity or not if it conducts electricity well you would use it as a metal so rust from a shading point of view would not be would not be a metal it used to be would like uh like uh what do they call like a superconductor like the ones that are ceramic are they technically metals because they conduct wait do they not conduct electricity is that how they work teach me about like superconductors yeah Morton has questions here bugs I think I just confused myself they're so shaders are really just built up from a very select few few channels here a few textures you have the color or albedo then we have the roughness which you can see this real no streaks then we have some kind of geometry based map it could be a bump displacement or a vector or all vectors thing we didn't talk about that yeah because that's a little hidden gym that we're not using here in painter yeah exactly I also quick note as well a displacement map is also is interchangeable with a height map there's there is no difference between them it's a black-and-white map which moves points up and down yeah but let's look at vector displacement because that's a little surprise yeah this is from this yeah this from our creature kit in ZBrush where we just have vector displacement maps make sure displacement maps are kind of like displacement maps but kind of what a normal map is to a bump map so with a regular displacement map it just goes straight up and down the cool thing about a vector displacement map again it contains our g and b so you can have different kinds of displacements having curvature you know having things that occlude each other and then extrude on top of that like you wouldn't like the front view of the ear the first picture on the left like you wouldn't have this sort of curvature going into the inside of the ear with a normal displacement map that would just sort of like be cut off but the cool thing about vector displacement maps is that they have the ability to sort of have these overhangs if you will yeah essentially this entire shape is one map yeah this is a regular plane wing which is about a million police and there's been dragged out this allows you to have way better control over your displacement would you like Morton said this here would go straight out like this yeah but now it actually curves I would like this so vector displacement is something which is not really being used a whole lot right now one of the reasons is honestly due to lack of documentation it's a bit of a pain in ass to set her up we used it on Pacific Rim and that would that look really good they looked it looked far crisper and had more volume percent volume better than regular displacement but it's also it's just a painting us yeah I mean again it is very comparable to bump versus normal you could see what the the bump map was doing was just pushing up straight up whereas the normal map got the sort of the nice curvature of the individual strands in there and and a vector displacement map essentially does the same thing just with actually moving geometry but it does differ from render engine to render engine how you set it up and depending on which software you're generating it from like here for Pacific Rim we were generating it from ZBrush and I don't know to like through 20 different setups where like okay now the displacement has to be one there and Tim there so it can be quite a hassle to set up but it does give you a much crisper result one practical use of this is like martensite in here this is from the creature kit where you can actually make these pieces and just drag them out so this is a this is pretty much the only use case where I ever use vector displacement is if we want to kit bash something like this then we have a few maps as well like we're going to talk about some of the the maps which are not plugged directly into a shader but they're more modulating the shader which can be stuff like cavity I'm inclusion curvature thickness which they're more there for masking and controlling where stuff happens in the shader you wouldn't plug something like a curvature into a shader directly like there's no curvature slot in the shader what you could do you could use it to to mask out two different materials so you can get you know you can get something like like this we could really mask it out based on curvature where I'm inclusion of whatever it might be so let's look at what these maps actually look like first we have cavity we let's go back to this and this has been described way better we can describe it in in this in this tutorial but Paul Pollino which is a great texture artist who Gleaners in Vancouver at the moment so this is what a cavity map looks like they is it's a black-and-white map which has it's really sharp and its really good for bringing out details in your sculpt it's kind of like if you took a bunch of dirt and you just sort of sprayed it into all here well all the cavities that exist in your model so we like fill it up with a color that's why it's so nice to use from asking yeah so this here requires a model yeah wait if you've started with a color a color you can you can truck that on to anything but this needs a model to actually work it doesn't certainly have to be a character it can be anything and you can generate this using mud box or C brush which is quite cool so the nice thing about this is that now you can take this map into something like paint or Mari I've been doing this mostly Mari and then you can really get out a lot of this extra these extra details remember we said before about how you shouldn't really you should really have any shadows in your color map well this is where put shadows into our color map it just makes it read better it doesn't have to be multiplied on top layers black you can also add color into this yeah you can unbunch a variation into this I think you actually had some examples showing where to actually use this yeah it has some examples here we can you can relisting hans certain details with this yeah yes right there you're looking at the albedo but the albedo has a tiny bit of cavity stuff in there yeah which just makes it you know it can be easier to render something that looks realistic then we have ambient occlusion let's look under illusion is often confused with a lighting map because it has often been used to fake something like global illumination or like ambient lighting yeah and it looks it looks really cool it's one of these where you know you can present your model like this and you can very easily see what's going on without any lighting interfering or any shadows or anything all that but this here has nothing to do with lighting the only thing I'm including I was doing is looking at where are the pieces close together so if you look down here it's not dark because it doesn't have a dark line here because there is any lighting it has a dark line because there's a lot of geometry here a good example of this is we can see under we see we're underwear them the cables are it's really dark because it's so close together yeah yeah so it's it's basically just to help you ground something because like it real objects in the real world have something equivalent to ambient occlusion which is just this is tiny occluded shadow where two surfaces stay contact and that's basically what ambient occlusion is trying to solve and instead of having to generate that when you are rendering you know then you would have to use a lot of Rays and computed a lot to get that result you can instead just chuck in an ambient occlusion map which is basically free to generate and then you know your objects are a lot more grounded already yeah this looks kind of good yeah you know it feels more grounder it feels like has a contour shadow but don't be fooled this er is 100% of sheet nothing physically based about this whatsoever apart from location of the different things but this map here can really really be a good help when you want to enhance details you might often have shots which they're incredibly rubbish flat lighting you can't really see anything and then you throw on an inclusion map and you can really get to some of them some of the details are again like again like this this is also one of the maps that you can use to mask out stuff let's pretend you had dirt or some snow or something that was stuck in between surfaces of things having that nice dark line there that the AO generates is is also a way to use that as a mask and this is really one of the fundamental Maps you need in painter if you are in any software but particularly in painter because you the smart materials will literally need if you don't have it like half the materials aren't going yeah so it's really important to have it and it would be used in a very simple way to to add dirt and tiny little shadows to it but if you want to not use this to modulate the color map this is something that can be used to very quickly add like just add dirt and wear and tear to it yeah yeah you can see there at the base of the fan you could have kind of streaking and some some dirt that's collected there at the base where the darkness is just because you know that makes sense with the AO so the neutrals are rendered as out as well as the render pass or AOV later on in your render engine and then it can composite this on top of it yeah you see that with with game engines if you're playing games and you can adjust the the settings sometimes you have a oh settings as well we can adjust like in the quality of it and that can drastically change the look of the game as well yeah you can look really cool one thing to keep in mind when it comes to evolution is don't just throw your ambient occlusion map in and set it to something like multiply you know you should add some colorant and you should treat it as as a worry the component of texturing you really shouldn't just go crazy with it because we can tell you can just tell that or the AO is way way too strong yeah and usually if if you generate an AO map and you just slap it on there put it to multiply then it's not gonna look good no it's gonna look wrong yeah what are the reasons it would look wrong is because now the shadows or the dirt looks black yeah it doesn't look black if you you know if you have dirt on your shoes the dirt isn't black unless you've been walking in ash or something and there's a bunch of color and everything so that again goes back to you know those observation videos we do what we really talk about all these kind of things yeah it's maybe the most common mistake in texturing at least one of top 5 is you you take your M occlusion and you just set it to multiply and you go home in your color a day the next up we have curvature that's a good curvature and curvature is pretty much exactly what you would assume it would look at the angle of your polygons and it will give you a map based on the curvature so here we can see there's a lot of curvature going on there's a lot of there's a lot of change in the curvature so if you have a table for instance the edges of the table would be white it would light up and this is really when the map switch is used so much in painter this is the one we which you if you use something like the metal edge where you would this is just all all the curvature so curvature is used heavily in painter and you can generate that directly in it yeah there's not so much to say about curvature map but at least is one of the most core ones yeah really it's really really important if you get this one right yeah it's like one of the core parts of texturing and painter yet it's so simple and self-explanatory actually that's what we wear you can see that this is all white because it's just a circle so it's there's curve coverage everything everywhere and then we have thickness thickness is something that for hard surface you wouldn't really use a lot maybe there are some use cases but this is a map which gives you it gives you a different value based on the thickness of it so you can see if we're really thin objects it's really dark and for more thicker objects it's really bright this is something you would use a lot to fake subsurface scattering let's say you want a subsurface scattering map you you might use this substitute scattering and mount map you might use this as a basis for it so that this is quite a handy map to have particularly for a subsurface scattering or maybe some translucency or something but I don't really find out finding useful at all for hard surface then we have a position map it is it the B key to toggle between these position maps are awesome essentially every single point on this model has a unique color which means that you can do all sorts of crazy stuff with this for instance you can add gradients from one point to another so if you want to have a mask which goes from this point to that point you can you can totally do that and this is without generating anything like it doesn't look at the polygons or anything this if you want to do mask a pure looks at the mask the pure looks at the point from there to there it's a pretty powerful map and you can do some crazy stuff with it but yeah it's probably it's probably not one of the like more core ones but it does definitely have its use cases and it's just a lot of comp yeah because then if you feel compositor then I'm just thinking terms of pure ice around here for example you wouldn't use a lot here of a company and super useful because then if you if you have this thing going through space like this yeah I know you can you can attach a point to you can attach something too if you had a car to it's on fire or whatever it might be they actually use it a lot when compositing and they're placing to the elements in the scene so like in a nuclear something like inning so you have smoke or fire it's very easy to place it in a 3d space with it's a 2d space that has a 3d representation of the position pass and then you can place it in there so it definitely has a lot of cool use cases but and even even in painter there are some some things you can do with gradients as well yeah absolutely and one of the reasons why painter is so bloody fast when it comes to all these these operations is because these maps are pre baked if you if you were to build a system which didn't have these maps who under same functionality and you you were you were trying to do some kind of edge edge detection or edge where and you would you would have to generate that every single time but right now you know it's already there it's old we already have the curvature so there's nothing to actually compute so a lot of operations in painter you might be like damn how is it so fast well it's all because it already has this information this is something which might actually be quite time-consuming to compute if you had to do it on the fly but it's already done for us now and that's why baking maps in painter is so important then the last map we're gonna be talking about is a very simple one this is the ID map this is essentially just masks where each portion you want to mask out has a different color for it which makes it incredibly easy and faster texture so let's say all this here is on a one texture set now we can we can simply do we can do a color selection you know if you're in a mask and then you can simply click and drag on it and then now you have a mask for that area so if you want some apart here let's say you want only the screws to to have a certain specular value you could very easily mask this out and give them a specular value so it's an incredibly handy mask to have it's also often overlooked because when when you're texturing you just want to get started with textures right away but I can't stress how important is to spend time creating proper masks great proper texture sets because that way you know you if you if you need to access all the bolts you don't have to go through and select all the bolts with a projection tool or something you can always just simply just click the color it's kind of like having selection sets in 3d you know you just select one part poop now you have selected everything yeah it's it's very handy for for masking stuff really quickly yeah so I think that's it for all the maps right now there are of course a bunch of different maps we haven't covered which are way more specialized but these maps here are some of the general ones just to sum it up in general to create a good-looking shader you only need like a few maps you need a color map or albedo just to get what color doesn't have then we need a roughness map to decide or to to determine what does the reflection look like and how intense is it then we have some kind of mesh map some kind of a bump or a displacement vector displacement or own map to decide you know this stuff to go in and out do you have some decals on it then we have metallic which determines a set a metal or is it not a metal and that's usually only the like you can have four Maps and you can describe pretty much any surface with that yeah the rest is sort of like it makes your job a lot easier and with all the mesh maps like cavity curvature and stuff it's a lot easier to automate a lot of things but they aren't necessary for painting textures no exactly like an ambient occlusion map isn't isn't necessary at all it will speed up your work significantly yeah but in at least in a regular PPR shader you are you're not gonna plug in the ambient occlusion anywhere you might do it in a game engine if you want to do only fake ambience you might have a global illumination or something yeah but those maps are there like the in when I worked in texturing home secondaries and they might be they might be masks or I'm occlusion or something like that so I mean yeah that's that's essentially it once once you understand these maps you can create essentially anything you want when it comes to texturing and anything from your imagination anything but yeah I guess that's about covers it yeah exactly these principles are all Universal Mari painter whatever engine you're rendering in it's all the same yeah paint you know you're in paint no I said but yeah you can use this for everything so I guess if you want to see more content like this in the future more specifically substance and takes your stuff make sure to leave a like comment and subscribe and make sure to turn on notifications so you can notified whenever we put out a new video you

Channel: FlippedNormals

Views: 197,881

Keywords: 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

Id: ZOHNRlrd1Ak

Length: 38min 14sec (2294 seconds)

Published: Wed Feb 20 2019