Texturing a Simple Airplane in Blender 2.8

hello everyone welcome to the CG cookie livestream I believe I've got everything set up correctly look give me a thumbs up or tell me a tough press one if it's working yes I see that there's still requests for like a intro theme song and apparently like smoke machines and lights and craziness but uh it's just me just me and my humble little office here to teach you some blender the best I can but it's great to see you all I think we're gonna have a fun stream it's gonna be a long one we are going to be texturing this airplane one awesome think it looks like we're good we're going to be texturing this airplane that should be familiar to you if you remember let me show you it comes from this course from Jonathan Williamson the introduction to hard surface modeling so it's a kind of a classic CG cookie course and the other day Jonathan gonzales was like hey has anyone ever textured this before I'd like to use it in a game project and I was like no we haven't so we absolutely should although Simon you said you've textured this before so you have but no one on our team has done it and so thought is a good idea I thought it's a great excuse to explore some of blenders texturing tool especially in 2.8 so that's why we're here today it it's not gonna be a short stream this is probably gonna be a full two hours we're taking the plane gray model where it will be UV texturing UV laying out some things and then texturing by hand a little bit of procedural stuff it's gonna be everything and what what I'm particularly excited about with this workflow is what he brings to the table the ability to texture some of these parts in real time like for example we're gonna paint the the airplane and then we're gonna start scratching away some of the paint and Evi allows us to scratch and see the actual real-time results whereas like with cycles I would paint a black and white scratch map for example and then plug it in after the fact now it's fun to actually see it happen in real time thanks to Evie so did I get a haircut I think a week or two ago I did it was fairly recent yes awesome awesome so I mean that's yeah that's kind of it we'll just dive right in since it will be a lot happening you can download this plane from the source files and I mean if you want to follow on I guess you could but if you want to do this on your own time absolutely you can and don't don't hesitate to ask questions because I will be covering a lot so if you need any clarification I'm happy to do that so with this and I am using the latest version of blender that is from yesterday I guess so it's hopefully we won't run into any deal breakers but one thing that is different is the tool bar at the top is changing and I have to admit I'm a little bit sore about that because I got so used to it for like nine months I wasn't like necessarily the biggest fan of it at the beginning but I got so used to it and now it's changed its most of the tools are found over here in the in panel so a 2.79 it was over here on the left and then I went to the top bar and now it's gonna be on the right but I showed I was talking to lay Appel about it yesterday and what's kind of silly is if we jump into sculpt mode for example let's see like yeah you can turn on dynamic topology from the sculpt menu you can turn it on from over here and the right end panel and then you can also turn it on in the like tool settings so like if I click sculpt I can literally turn the same setting on in three different places which is I don't know if they're working it out it's not a final process but being so late in development I was a little disappointed that we're making this big of a change but anyway we as if I'm doing anything but they are making this butene anyway I don't want to complain I want to just get right into it but that's being said I scheduled this this stream when I was very used to the top bar workflow and now I just got to figure out how to do it in the in panel shouldn't be too big of a deal awesome and the way I like to start with texturing is I want to find it with a with an object like there's a model like this there's several parts and so I want to find any parts that can be simply textured with just like a simple cedral material and start to eliminate things that don't need UV texturing for example so the cockpit enclosure the glass enclosure is a great example I don't really need to paint textures for it it's just select the object add a material a simple glass material so I've got it selected I'll hit the new material button and we will call this cockpit glass and then I also want to get used to these tabs up here some people have noticed that I don't use them very often I've started using them in recent weeks I usually end up finding myself tweaking them anyway but since we're starting to deal with shading let's jump over to the shading tab and see how that works for us so it enables look dev mode which is fun it's helpful and so we've created our cockpit glass material all I need to do for this is turn off what I need to turn off I need to turn on transmission all the way up to one you'll see that we start to get some transparency but the roughness value which I don't quite understand the roughness for our specularity is what's controlling that so if we go down to like 0.01 it gets much clearer however there's transmission roughness which seems to do nothing that you would expect the clarity to deal with that but anyway what we will see is that there's actually a cockpit underneath the glass but we don't see that through the transmission by default we have to enable that for Evie and in the material question from Omar what are those two orbs in the lower-right for so these are called I think shader spheres they used to be called shader balls maybe and there was some controversy about that but Pablo and his stream from yesterday said that they have updated that to be spheres I think anyway this is just a show I think like give you some real-time feedback in what your environment light is so you can select a different HDR world and that will update there and you can kind of see what it looks like in a chrome ball and also see what it looks like in a diffuse white surface sorry I just said ball apparently we can't say that but this is kind of common you'll see rendered tests posted online with people like doing an environment see and in putting a chrome ball putting a white sphere in the scene just to kind of demonstrate what the lighting situation is so that's kind of what they're there for you can turn them off if you want they are is it look dev previews where you can turn that on and off but that's just kind of there by default so I'll leave it for now and yeah so what I was doing is turning on refraction for screen space in evey and you have to first well I'm just going to first do it in the material itself so in the node in the in panel of the shader editor we can scroll down until we see screen space refraction so I'm going to enable that and we won't see anything because in addition I need to go to the Eevee render settings and turn on screen space reflections and then refraction that's under the reflections so after all that now we finally have some refraction happening but that's not really what I it's not looking too great is it it looks a little bit too much like a like a water droplet it doesn't look like clear glass if we look at the structure of this glass it should work fine because we have a little bit of thickness you know it's not like paper thin so that should be okay maybe we need to adjust the index of refraction at point four five well if I start taking it down okay we can see what that does it it's like the refraction kind of shrinks and we get this gap but if I make the the gap start to line up with the edge I think that's going to be a pretty believable kind of look index of refraction up to about there and what does look a little bit weird is we've got the refraction through the glass but we don't see the actual world around us and that's just a limitation or a feature however you look at it of the looked of vert viewport whereas if I turn on scene world there right now we don't have one so let's let's create one in the world tab let's add an environment texture and I will go grab an HDR eye from hgri Haven I have one that I like this one right here the symmetrical garden so now we can get a more fully a full comprehensive idea of what the shader is looking like now that we can see what is being refracted and so yeah I think this class looks pretty good it looks pretty believable we can tell that it's refracting but we also don't want it to be like a glass like a solid glass object which has you know much wilder refractions interestingly though the index of refraction being at 0.98 is is kind of strange because I think a value of one is is like air and so I want to say like 1.3 or 1.4 so maybe 1.5 actually not and thinking about it is like typical glass and that does not look good like that does not that's not what I expect so I'm kind of I don't know if there's something with the settings that's not working that well but um I just kind of manually turned down to 0.9 7 I think yeah so that's gonna be fine I'm going by looks here I'm not going by scientific you know expectations or values that we all know so anyway all that to say that the glass that's a simple object that I can add a material to and exclude it from the hand-painted texture collection only other thing I'll do is take the base color up all the way to white so that you can see that it's a little bit dark if you go down below white it starts to get like a darkened kind of glass so I want it to be fully clear all the way up to 1 and then I'm gonna hide that because that's one object off the list I think I saw a question Omar is that look dev evey yeah look dev is an Eevee it's a implementation of Eevee it's kind of interesting though because like you can have looked at on if I've got cycles enabled I'm still in look tab and this is e yeah this is e V and so I could I can texture paint and evey and this is this is where V's like gaining some some ground in the workflow as being like an intermediate tool so I can like texture and do what I said earlier like paint scratches in real time but then if my final final renders will be even cycles I can switch over to render mode and that's going to be cycles so you know the look devmode specifically is a version of Eevee but it's a it's not like rendering rendering with Eevee see what I mean like if you press render well if I turn this if I turn off scene world and I press render probably won't give me anything cuz I don't have a camera anyway like you won't see this what you see when you render is this alright same things when you're working with Eevee you'll see this so I think that's fairly clear it's an Eevee limitation the engine has trouble seeing a transparent service behind another transparent surface so a hollow glass bubble like that gives it a little trouble ok gotcha so that's why the index of refraction isn't what I quit was isn't the value I expected I suppose alright um that was kind of a long explanation about like my goal in the beginning of this texturing process is just to select objects and add simple materials that don't need the more extensive workflow of hand painting textures and laying out you these um so going into the cockpit now I'm not going to focus on the cockpit that much like my final renders as you could see I had it where was it maybe layout yeah like my final render is gonna be something like this it's gonna be outside it's not gonna be in the cockpit so I don't need to like spend a lot of time in the cockpit so I don't want to waste time in the complexity because there's a lot of pieces here a lot could be laid out a lot could be textured individually and I don't want to spend that time because I'm not gonna focus on it ultimately so it makes a great candidate for I think I switched I'm gonna try and stay in shading it makes a good candidate for adding simple procedural materials I thought there were too big buttons Eevee and cycles I don't know about the big buttons it's just a drop-down as far as I know well maybe you're talking about going from these two buttons anyway for the cockpit you know I'm thinking that just a simple metallic material will work to represent like a stainless steel sort of construction so I'm gonna add a new material I've got these little side panels selected let's add new material and call it let's just call it metal yeah it's simple enough maybe we can use it other places just a baseline metal material I will create that and to get to a metallic look let's increase wheel you can turn specularity off turn metallic all the way up now we've got reflections but the default roughness at 0.5 is too high how about point two it's looking a little bit more like Chrome which I don't want how about point three still a little more like Chrome maybe point four and then I think the base color is a little too high we want it to be a little bit darker it also doesn't help that the whole plane is this very bright white color so I'm gonna trust that these settings I've established are good enough for now it's looking a little too bright a little too chroma SH but I think part of that is due to all the reflections are being white due to the plane the the default like non-material plane so I'm just going to continue adding that metal material to other objects and I can always come back and make sure that this is what I want it to be later once that plane has its proper texture alright so we've got that the airplane body itself I think I'll I'll make the interior right here just what I'm doing is selecting a an edge loop at the bottom of the cockpit chamber and then ctrl + E to grow my selection and I know that I need one material for the paint itself the planed exterior it's all part of the same mesh so I need to material slots the first one will be for like what will be there to accept the the material in the future but for now since the secondary material I will add the metal to the second slot and then choose assign oh I'm I'm in whoops I'm not in looked at anymore there we go now you can see that the cockpit is assigned and right away not reflecting so much white our metal looks better so that white was definitely affecting it negatively but let's see any other objects in here I can have a metal material this one now we need us perhaps the middle of the what do you call it joystick is that what you call a cockpit thing I'm going to do the same sort of thing where we add two material slots I think the handle and the I want to call it like a gasket I don't know if that's correct but this this piece down here is gonna be rubber a black type of rubber control stick that makes maybe it sounds a little better and I'm going to add two material slots the first one is going to be for the rubber material that I just mentioned so new we'll call it black or we call it rubber black just in case I'm making another rubber maybe it's a it's a it's a good time to talk about how I'm naming these materials because I've got metal in it when I was rehearsing I called it cockpit metal because I want to put I want to sort of like organize the names of the materials by where they will be on the object so I'm working on the cockpit and a lot of these materials will not go other places so if that's the case I will add cockpit underscore name of the material so that they're all kind of when I look at the list they're all kind of grouped together however the metal I know that I will be able to use it down here for these little supports that the wheels the axles for the wheels so I can add the the metal there and because it's outside of the cockpit there's no reason to add that prefix however the black rubber you know I'm looking at the airplane again I don't think it will we want the tires to probably be black as well but that will be hand painted so it'll have some hand painted elements so I'm just going to I'm gonna leave it I'll call it cockpit rubber actually rubber black and then rubber is like another prefix or because maybe I'll have a brown rubber or maybe a red rubber it's like me thinking that there might be more to materials like this and so that's why I named them that way I don't know if that made any sense to you but something I you know that's kind of natural to workflows figuring out how to name and organize your scene and that's one thing that I don't I can't ever remember talking about why I name things the way I do but the more general it is and applicable to multiple places it will have a more general name but then the more specific it becomes it will it will have a multiple prefixed name let's see now for the black let's let's add that's create the settings for the the black rubber material the color of course needs to be much darker like a black and actually maybe we can leave the rest of the settings as is it kind of already reads that way maybe a little bit less specularity 0.6 maybe make it a little bit more rough there we go I think that's fine and then for the middle we will add actual stick portion we will add the metal make sure that I'm only getting the stick itself there we go a sign okay now for this this little square here I kind of assume is like a display a radar display something like that so I'm gonna add it as like a green slightly reflective screen so if we tab into edit mode let's go ahead and add this material slot grow the selection to be just the screen at a new slot and new material let's call it cockpit radar display let's assign that material we're just gonna make it you know like a slight slightly darker subtle green color that's a little too that's a little too much definitely darker than that maybe like this with a more reflect a specular yeah I'll go all the way up on one I'm kind of changing my mind in the middle of it let's go to a let's get leave it at 0.5 level of specularity but the roughness is going to go down to like 0.1 and now we can start to see a little bit of this kind of screen that I'm talking about you know I'm not putting too much detail in but like we're we're never gonna see it closer than like this and in that situation I think is gonna be fine I'm just trying to block out these materials as quick as possible so I can get to know really the fun more fun part of like hand painting the textures but you can't forget the cockpit either because with the alt H if we bring back our cockpit glass like we are going to see in there we need to have something another thing that's a little painfully obvious to me right now is there's no ambient occlusion so let's go ahead and turn that on it's not on by default in the e V render settings turn on ambient occlusion and right away especially in this screen this is every time I rehearse this I get to the screen part and I'm like oh my gosh I have to have ambient occlusion and you can just see that turning it on and off gives more depth and I don't know a better feel to this this whole thing we can turn on and off from outside it's especially noticeable in that screen for some reason but I am going to increase the distance perhaps slightly let's see what it looks like outside what is the default reset to default value 0.2 used to like to increase the distance a little bit my taste for the ambient occlusion it's it's a little too subtle right off the bat like the default setting so I usually push it up push the factor up to like 1.5 maybe even 2 depending on on what I'm feeling there we go but that looks a little bit better it's also kind of cool with easy that like when I'm inside the cockpit it reads pretty well but then when I'm outside the cockpit it just seems like you've seen those camera shots in movies where like a camera goes through glass like it's a CG effect but like it's what it feels like and I don't know that's kind of cool I expected evie I guess to like kind of glitch out when I do that but it seems to work very natural it feels very natural so anyway similarly for these little dials now they all are sharing object data so this makes it easier I don't have to apply the materials to each one but we can just assign it to one and it'll it'll propagate down to all those I will the first material slot to be that that same metal there's a metallic theme in the cockpit if you can't tell so we'll add the metal and then hit a new material slot let's go grab the radar display but then duplicate it because we're gonna use essentially the same settings but I'm gonna call it I'm gonna change it slightly so the cockpit gauge face let's say this is gonna be much darker and maybe in the like navy blue direction and I need to actually assign it to something so let's uh grow the salami be L ctrl L yeah this has a cut in the in the gauge so I can hit ctrl L to select that island and assign it there we go I think that looks kind of cool it fits with the cartoony you know nature that's also something to I'm not trying to texture then shave this thing to be like physically a photo real or anything like that it's gonna fit with the the light-hearted stylized nature of the model itself so I think we're you know we're going that direction and we're being successful with it next for the for the seat itself should I texture this I can imagine maybe texturing it a little bit so I'll leave the option open I'll just create a base material for now and because I don't like it being white so let's add a new material we'll call it cockpit leather and this is going to be a brownish material brownish orange definitely make it darker something like this yeah for now and since those are also sharing object data I only have to add it to the one did you know that you can assign materials to either object data or object themselves so if I wanted these two objects to share the same data meaning that I can you know move the geometry around and it will propagate to this other piece I want to maintain that but I want them to have different materials you would change where you assign it to you can assign by default you assign it to object data and that's why they share the material but if we change it to object itself then we can have different materials and we can you know add something here that's red or something anyway fun fact it took me a long time using blender to realize you can assign materials to different things it's kind of hidden right here let's undo alright so at this point I believe we can say that we are done blocking out the cockpit which is good you know like I just want it I kind of wanted that out of the way so I can focus you know when I start painting this thing I don't want to look at my painted texture and be like oh this looks cool but man that that white untextured unshaded cockpit is such an eyesore it can be a distraction so now that we've done that we can start thinking about laying out you.these does that work in 2.79 - yes it does that's that's a setting that's been around and also in 2.79 I don't know if it has this icon or not but it's in the same general location see if I miss any other question don't look like I did excellent are we following along every is it making sense I want to make sure you're with me still now we're moving on to you the texturing and I want to my goal right here is to make my job as easy as possible if I don't have to texture something by hand then I won't and that also goes for like the the wheels here I haven't really been outside the cockpit so now I'm gonna be thinking about what should be hand painted and what doesn't need it obviously the exterior of the airplane will need it so this is one object for UV texturing the the front of the propeller like the the dome I don't that has a proper name but the thing this thing is going to definitely be hand painted the propeller will be hand painted what else the wheels the wheels can be hand painted but only part of it so if I tap into edit mode on the wheels you know I'll just add the regular metal material to the little like hubcap portions but then the actual tire maybe I'll add some scratches and things like that awesome you guys are falling along seems really up so while I'm while I'm kind of dealing with this well I'm answering the question what needs to be you vide the wheel does need to be you vide so I've got all of my UV objects selected the the supports for the wheels do not need to be I think this seat I will go ahead and UV lay it out I mean this might be it so it's not all the objects but you know we've got several now the reason I only have to select this one up here is because they're sharing data so this bottom cushion will also inherit the UV layout and that's true for the propeller because it's using an array modifier and so I I really if we turn that off I only have to texture the one and it'll propagate around so I'll be kind of being aware of how your scene is constructed and making the modifiers work to your advantage is it can take some getting used to I guess it's usually easy to like collapse it all down into a base mesh and then start deciding this but you can also be very powerful to work in conjunction with the the modifier so I'm trying to maintain that all right with these things selected I'm going to go to local view so that I know that only the objects visible are ones that need you these it's kind of a pain whenever you layout everything you get it just the way you want and then there's one object that you forgot and you got to somehow fit it in somewhere so in this case I'm trying to eliminate that that frustration but in 2.8 we have the ability to edit mode multiple objects which is great for you being especially so we have a tab for you the editing let's go to that one all right it's yeah I guess this is fine it's yeah this is fine this layouts fine I don't really need the tool panel so let's hit T the T key get just a slight bit of real estate back and actually I think the wheels are sharing object data let me make sure yeah they are sharing object data so this one can be it doesn't need to be a local view so let me just well bummer what do I need I want to get that out of local view I guess I have to yeah you have to select everything again I don't think this selection anyway so let's go through these again I only need one wheel this time I don't need both to layout just those objects I think that's it all right back to local view with my objects for you ving and we will start laying things out it's curtains start cutting our seams now we're so cutting seams for something like this I think fairly simple like they're kind of primitive based shapes you know it's not like a human body that's that's got like no primitive very little primitive connection at all maybe the arms can be but in this case it should be pretty easy to lay these lay these you've ease out so an obvious spot is to draw a seam is to cut a seam around the wing and that's just going to eliminate a lot of stretching so we'll cut a seam there and then we need to lit like like split the wing and like fold it out you know like this and so I am going to cut a seam along the edge of the wing and then separate right there because that will make it fold out a little more evenly it's kind of like a subdivided cube shape cut those seams right there and then let me I'm gonna hit spacebar because I use the tool the tool search as my spacebar function and let's I'm gonna type in mirror select mirror we'll make the same selection on the other side of the model if it's symmetrical but I need to change it to be extend with extend enabled it will remember what you selected before and not not remove it so now you've got both sides selected works great for a symmetrical model ctrl e and choose mark seam all right so I'm I'm not gonna lay out yet I'm gonna cut a few seams that I think will will get me further down the road with laying out laying out too early it's kind of pointless in my opinion so the next thing to do is maybe cut a seam down the full length of the fuselage I think that's one technical term I have correct well cut that same control II mark seam and actually I'm gonna maximize this I don't like how small this viewport is so I'm gonna maximize it with control space bar so I can just select my seams in peace and unpromoted I'm inhibited that's the word all right so I'm going to cut the same thing that I did with the wing I will apply to our other fins all right so cutting a seam around the bottom and then up the side like this control a mark seam control e I mean sorry alt click to select an edge loop same exact pattern pretty easy since they're all similar shapes control E all right actually need to select the mirror control e mark seam all right do I have everything no I need to cut a seam around the cockpit remember we're not really worried at all about you these for the cockpit so I'm just gonna kind of seem to separate it and then in the UV editor I'll just kind of move it or shrink it way down because it's not needed and I believe now we can try to do an unwrap so with that selected that should be the majority of our seams we just need to fix maybe anything that I missed so unwrap all right so we can see our you v's laid out now I am a fan of these stretching visualizations so that it kind of shows what the stretching is like for the faces and in the where are we at it used to be in the tool panel but I believe now it's found in the inn panel it's not tool what about view oh yeah I remember it's hidden in overlays and then you're stretching that one is kind of buried but there it I just the reason I'm pointing this out he like just answered somebody's question on our site about where to turn this setting on and already that question is not correct anymore but we'll turn on stretching and I like to use area particularly that seems most useful because it shows that wherever there is red it's it's a lot of stretching and so I want to eliminate that stretching as much as possible blue to teal I'm okay with blue to green I might want to fix but blue to yellow and orange I definitely want to fix though to save police thank you thank you because this have this version has been crashing knock on wood save as plain stream oh one thank you thank you save police I very much appreciate it I've been a major buzzkill if it crashed and I had to start over thank you yes so we're talking about stretching now what this tells me is that the the end of the tale the fuselage is is too stretchy all right so I need to cut some relief seams so that it has a little bit more room to unfold and if you've happened to ever do origami I feel like you would be really good at UV laying out all right so we're what I'm gonna do is cut periodic cut seams just kind of like this right so I'm gonna cut this seam just as an example mark seam you unwrap and you can see that we have some relief on that piece now it only turned to yellow but once we do that same kind of cut to everything else to the rest of the the dome we should get a better layout so that's what I'm doing let me select that again just for the sake of symmetry let's select this and then select the mirror control e mark seam and now select everything and unwrap okay so it is a little bit better I expected it to do better than that maybe I should add another edge to it control Emaar seam now that's getting worse that's it's kind of strange I remember that doing that being better I wonder if it's the type of unwrap so angle base what about conformal turn on you subsurface modifier that's kind of interesting I'm not sure why that's laying out poorly maybe I should should I cut that all the way up control Emaar seam this is not how I did it in rehearsal well that works a little bit better but still this middle thing is bizarre okay I know that I've laid this out better than this so I'm going to actually maybe select all new seams for this back part let's circle select oh wait a minute let me just um let me just select those manually so on one hand this isn't that important like the stretching shouldn't be that big of a deal on the other but at the same time I know that I've laid it out better than this control it's a slight mirror saw I kind of want it to be better control a clear seam what if it was like maybe it can be more bream there with me I'm gonna maybe I'll cut fewer seams this time select mirror control a mark seam that is weird anyway yeah why not cut a seam around to make a separate dome out of the tail that's not a bad idea we can do that I'll the reason I wouldn't want to do it initially is I I kind of like it being one solid UV island but since it's not working out that way maybe I will do that okay then I think you're missing an edge I'm yeah this is cut this is what I expected as far as the edges but maybe the scale isn't one-to-one yes it you're going through the right troubleshooting thing make sure your scale it is set to one but that is definitely something worth checking and it's bizarre let me just try something real quick I'm gonna save this I'm gonna look at Oh and it crashed thank you save police let's try this again and I'm going to open up the Explorer version my rehearsal version because I swear my you these were better than that and UV editor I guess it wasn't I guess I only got to orangish yellow I'm disappointed in myself and even more so in my memory so I guess it's not gonna get better let's go with Ben's suggestion or his suggestion was it someone suggested clapping the back end off let's do that why not it's again this isn't that big of a deal is it sort of my OCD kicking in because the stretching still is not going to be noticeable but let's go back and someone mentioned kind of lopping off the back end so let's do it if we do it here now that doesn't that doesn't make as much sense control a mark seam and then I think only one of these needs to be entirely cut maybe turn these ctrl e clear those seams let's try this ctrl e no no could oh I need to that would have messed up controllable a mark seam and hit everything unwrapped select everything now where is that dome where is that dome at oh yeah it's right here and it's actually I don't need to perhaps have any seams like this actually I think I'll leave that anyway I spent I spent too much time nitpicking over that so let's get let's get underway again thanks for the help and the help me troubleshooting that guys but um anyway I guess that tail is not gonna be as clean as I thought it was earlier alright but we're done with a fuselage week we've laid out the UVs there and something that I'll do right now is remember that this is the cockpit internals and very unimportant we're not gonna worry about texturing that at all but since it's part of the mesh its included in the UVs so I'm just gonna move that off it's it's not important it does kind of skew the the colors of everything else you can see that as I scale that up and down like it does change the rest of everything but that's ok I'm just kind of done with these UVs and I know that I can push them off to the I can take what's unimportant and kind of shrink it and push it off to the side all right on to the next object I do not want to spend this whole time it's already been 40 minutes I don't want spend too much time you being so this should unwrap better as long as my memory is serving me correctly this is the front cone have you ever used the quad unwrapped add-on I have not used that Omar is that what does it do yeah I'm curious what that what that does the quad unwrapped it's not included with blender is it preferences quad it doesn't look like it not included alright so the same I'm curious again amar kind of what that does exactly but it's supposed to be the same idea as the back of the cone maybe the this cone is not quite as extreme so it should unwrap better but what I'm gonna do here is the same thing I need one seem to cut to cut the entire length of the dome so I'm gonna alt click on an edge like this and then I think I can just cut another edge down the middle of each propeller that's gonna keep it nice and uniformed we're gonna cut it down to about maybe there I'm very confident this will unwrap better and that should be about it whoops control Emaar seemed a you unwrap and Oh tricky mr. Williamson if we zoom way in there is a tiny little edge loop that I missed control e mark seam now it should unwrap better there we go now we're in the green to teal range and that's what that's what I'm comfortable with it's an add-on for that kind of devilish crybaby difficult seams oh interesting I'll have to look into it because that would it be nice to have like a knock out those those questionable seems pretty well and let the computer do most of it for you that would be great all right so this is a much better unwrap much easier now we do have some red to green to like lime green almost yellow is kind of color inside the propeller but we're not really gonna see any of that so I'm okay not cutting that out and giving it its own proper Texel density I'm just gonna leave it that's gonna be a very simple unwrap on to the next piece while I'm at it since I've unwrapped two objects let's just start hiding with H the objects I have unwrapped and then I can slowly visually start to take off my list what's left maybe save this as a new version the save police taught me a good lesson thank you and with this remember it is a an array modifier so I just have to unwrap the one it's gonna be a pretty simple object let's just unwrap along this this edge well actually go down the middle yeah that makes more sense and then to what I don't want to do is lop lop the propeller in half and then you have two separate islands I do like to to keep the island connected and so in order to keep it connected you just tell this edge for example to not be a seam so ctrl e mark seam unwrap it and maybe we can actually leave the bottom when connected to control e ctrl a clear seam but if you can see that the error is it's nice and attached here and it's fully blue so it's a really clean unwrap but then at the bottom they kind of overlap the the algorithm makes them overlap so if I turn off this seam ctrl e or I already cleared the seam you unwrap well yeah I guess at this point I should just kind of clear the seam entirely if we look at that again we still have some overlap and it's green well here's another option let's undo the seam clearing instead of this one ctrl e let's mark that a seam and let's make this one clear you what that should do is make these two edges connect and then you have an angle instead of this it'll angle like that let's see if that works like a charm there we go it's closer to blue and it's further away from green which is good so we maintain that blue to teal range it's a little bit weirder of an island shape they're still connected but I don't know there's maybe an argument that could be made that it would be better now I'm thinking about it getting a little OCD maybe it would be better just to cut it mark seam whoops you unwrap because now I've got long slender islands that I can kind of fit anywhere but again this is not like triple-a game quality UV layout I'm just I'm just getting the project kind of done it's you know it's like average you Ving work so it's not that big of a deal let's just leave it locked in half I guess and move on to the next thing alt let's hide this only two more things to unwrap man UV I get so OCD and you probably noticed sometimes in modeling like I just can't move on I gotta fix these stupid little things anyway so the wheels remember we're gonna make the out of the hubcap metal so they don't really matter I'm not gonna worry about them they'll be included in the UV map but I'll shrink them and move them over that they don't matter but for this we have a couple options for a wheel like shape number one I could just cut along here mark seam and then unwrap and it seems like the hubcaps were already separate objects like within the mesh separate meshes so that works out fine I don't need to cut seams there but for the main portion you can see it unwraps actually not that great it's got a lot of green in it so we have this option which doesn't seem to be optimal but then we've got another option let's clear the seam control e clear seam let's mark it right here down the middle of one of the grooves and maybe deselect one edge same kind of thing I want to lap it in half but then keep it connected the connection if you need an explanation for me is like you know if you think about the whole UV layout and if one part of the wheel is like in the bottom-left corner but then the other part of the wheel is like hidden in the upper right corner I just don't like that visually as an organization I want I want to know that this whole island belongs to the wheel I don't want to I don't like separating it out too much if I can help it so that's why I keep him connected mark seem you unwrapped and surprisingly this looks to be a little better it's not in the green range as much as it's in like the blew two teal range so I guess this is this is fine I expect it the other way to be a better unwrap but it looks like this is actually going to be superior question from Miranda how important is it to have nice islands and such for texturing because my appellant is sculpting course has lots of different little pieces everywhere and it fits but you always try to make nice-looking layout in your courses and keep things together yes so the reason you don't like lapel doesn't have to be really really fine-tuned with like how he places all his islands and organizes them it's kind of the concept of you know using let's see you smart UV project right if I do that it just creates a bunch of random islands not like the computer decides where to cut these islands off and that's that's okay because technology in texture in 3d texture painting has advanced so when we get to the texture painting part you know when I started computer graphics we didn't have the ability to paint on the 3d model you had to paint in Photoshop in a 2d package export your UV layout as an image and just paint according to the island so I come from that where it's very important to be organized in your UV Islands because you don't have the ace-in-the-hole option to paint in 3d now towards the end of college I started using body paint which was what the first 3d painting application I had ever really used that was kind of like Photoshop in cinema 4d and that's what I realized Wow seams are much less important because you can just paint seamlessly right over them and so that's definitely valid and in a quick and dirty job that's what I'll do is just lay out trash movies make a bigger texture map so that the seams and the Texel density is not so important because like look at this look how much wasted space Texel density is in this is in this particular layout whereas lamb pelleted he does better than this way better than this but still he I know what you mean he's got a lot of small islands kind of packed in there really tight I think I've explained that like it comes down a little bit to preference I think that a a cleaner a cleaner more organized way to work is a little bit what I'm doing but do you have to do it in order to get the job done no I think that's what I'll leave it as if I go back yeah to me this is just a little bit cleaner it's more optimal and yeah it's just my way of working it's always worked out for me I've never really if I don't have to be quick and dirty I won't so now that I've got I think all of my objects no no I've still got to do this so select this object and it's basically a cube which makes it pretty easy to unwrap we'll just cut seams around here and make sure I leave it connected somewhere no no no yes right here I can I can remove this seam that way it stays connected ctrl a mark seam whoops not smart Evi project unwrapped there we go nice and clean a little bit stretched into the green spectrum but I'm not too worried about it seems there's some fear about AI and the chat I can get pretty distracted by that whoops I didn't mean to leave local view can I undo that no you can't undo local view interesting anyway what's is alt H to unhide everything is my selection maintained oh it is cool so I can just go back to local view I think this is all my uvd objects I didn't mean to I want to maintain my view that has just the uvd objects I think that's this pretty sure yeah it looks like it alright so now that I've individually laid out each piece it's time to bring it together into a consolidated UV map so that I can only only need one texture that I can apply or one UV set that I can create textures across multiple objects and I can do this by selecting everything all my objects and diving into edit mode you can see all our UV is kind of on top of each other this is the piece of the cockpit that's important so I'll select everything except this guy shift L and these are pieces that can be position what do you call it packing the islands that's what I mean so you V average island scale I usually like to do first it kind of well I didn't do anything there but if the scales of the individual islands are off respective to the 3d view then it will correct and then I can go to UV let's redo my selection UV pack Islands there we go I don't know what that was about all right so we've got our Islands laid out they don't look the right size do they there we go yeah no I don't know I did both of those operations at first and they didn't do anything UV pack Islands now okay now that the right scale and they're packed so maybe I can spend a little bit of time trying to organize this a little better like like maximize my Texel density so let's see how could i how can I do that and is it really that important another option I've been I've been playing with lately is if you go to the UV pack Islands settings you increasing the margin can actually make for a better layout sometimes yeah I think this is fine this is honestly an example of like a quick and dirty layout for me because there is a ton of wasted space but for the sake of time I don't want to I don't want to get caught up in this this will be fine the only concession I really need to make is the texture needs to be bigger than what I was expecting so I was gonna paint it 2048 let me do a test to see if that's gonna be enough so if I add a let me save my scene let me go to texture paint and do I want I don't want to do this in the material slot that we left open for the paint material let's go ahead and create that in the material properties new we'll call it plain paint all right and then I need a texture so we'll go to the texture I mean the the tool settings and where it says no textures this is where the slots go so we'll add a base color slot and plain paint we'll call it just color underscore color and all caps that's how I like to name textures is usually the same name as the object but or the same name is like the the general like model that I'm creating or I'm sorry it's the same name as the object or model I'm creating with an underscore in all caps displacement normal color metallic that kind of thing that's just how I do it and then for these sighs let's go with 2048 the color let's make it that that kind of well let me look in the layout because that's where I had my image yeah so the base color is gonna be this brown sort of color back to texture paint and we'll make bummer so I need to yeah I guess I can't reference that information while I'm creating a texture 2048 plain paint underscore color and then that brown color is something like this I don't really need it I don't need an alpha Channel so we'll just deselect that shouldn't save a little bit of like file size space and okay so I was I was doing it the whole point of this was to do a test to see if 2048 is gonna be enough texture density and it actually might not be let me see you back here where it was kind of stretched yeah that might not be enough maybe I need to go to 4096 yeah I'll see if blender can handle 4096 so if I want to adjust that texture sighs the way to do that I'm in texture paint so something that I find is missing from the texture paint option is to is the shader editor I feel like that should be a pretty crucial part I always pull up a new panel for the shader editor so that way I can select the actual image texture and change their just important settings there so let's see properties for the for the node the paint color node which is our texture properties it's a generated map 20:48 while it's still a generated map I can change this to 4096 and it will eliminate any paint strokes that we made but it will keep the same base color so now I've up res to 4096 and our texture paint is gonna be a lot better alright so we're gonna go with that I feel like I missed a couple questions hold on a second let's see if I have a 10 million poly model is it let me start it I have a 10 million poly model it is you the textures hand-painted and now I want to lower the poly count significantly do I have to lose the UVs as a retopo then hand paint again or is there a same way to save the UV layout so if you what I would do is probably if you're talking about doing a wreath apology you can retopo them to match the new mesh on top of the old one and then baked textures from the first version on to the new UVs of the second version right just like you would bake bake normal Maps from one object to the next you can do that with color as well and that's how in the past I have if I've ever needed to do that you can basically transfer bake the map from from the first UV set of the model to the second model and it's UV set there can sometimes be artifacts just like whenever you're baking displacement or anything from one object to the next you know it's based on that cage and those settings so there can be artifacts you might have to fix manually but you don't have to start from scratch in other words can I say that you you bees if I want to lower the poly count with the models maintain all quads I don't know not with the retopo you can't like just transfer the UVs to the new topology if you use a decimate modifier I believe there is an option in there let's uh let's take a look if I leave if I go to object mode add decimate maybe not I thought there was a way to maybe not I know in zbrush whenever you like what would ya the decimation use the decimation master you could maintain you've ease I think but I guess that's not possible here I'm curious though that's something I should look into I wonder if it happens anyway you just don't have to tell it to anyway no not being read at all no that's I want you guys to ask questions so anyway I don't know if I gave you a definitive answer but I am gonna look into the decimation if decimation keeps you these or not anyway let's go back to texture painting yeah sorry where was I increase the resolution to 4096 and the reason I wanted to do that is because I was a little more loosey-goosey with my UVs and I'm trying to speed up the workflow a little bit I didn't take the time to fully optimize Texel density and so to compensate for it I create a higher resolution texture and we'll be fine blender handles 4096 textures okay so now to start texture painting these objects let's start with I'm gonna drag up a new panel so we can look at my reference for how I painted it earlier image editor and where was it feature that one I do not need to see you V's okay alright so we've got this we can kind of take a look at how we're going to be save alert thank you thank you thank you the yeah the color scheme here it's kind of a like a classical world war ii type plane was that was the general genre and so we've got this nice red cone on front even though and yeah I guess they did that in World War two I mean I looked up World War two planes so I assume that's true but these little like target symbols kind of generic you know but but adds a little bit of splash of color let's just maximize this I'm talking about these little symbols here very simple to paint you I don't know if this is an actual flag of a country but it's just you know kind of representative of that nice little yellow tips on the propellers but for now we're working on the fuselage so there's there's kind of two components that I'm gonna start with and it's the bottom being a watt a lighter color and then the top being kind of a camo sort of thing so we're gonna start we're gonna block out our colors and then start to add detail so the scratches will come later but first I just want to block out colors get some gradients involved and we'll we'll go from there but now that we have that you know in the picture I can I can work with work with this man I really feel like in this example maybe the shader where is it it's gone let's add a new tab for shading oh wow I just didn't see it there it is I feel like this is gonna work better for texture painting I've never used this panel so let's just get rid of it and this way I've got my node editor gosh I need to bring up that panel again image editor feature all right there we go so you can see like I've had people ask why I don't use these tabs all the time and I just am used to doing whatever I need in the moment and like separating the UI how I want so that's kind of why the tabs are not super intuitive to me you can't make one shading tab work for everybody's workflow its ferb I think it's more for beginners just to get into the mindset of oh there is a different set of editors for this particular task anyway yeah so I want to paint this object the fuselage a little lighter on the bottom half so texture paint and a couple things to be aware of in this situation it's that pink four I don't know that's a little bit of an eyesore but when you're you texture painting in blender 2.8 you have this texture paint opacity that's I think an meant over two points over pre 2.8 in that if you take it all the way down why is it just white actually I'm in solid mode okay if you go to look dev mode there we go so this is your your texture paint overlay is like the pure color information of your texture which is great because like a lot of times you don't want to paint with the shading of the object involved right there's OpenGL shading and you don't want that to mess with your understanding of the colors that you're painting so that's it's great to have that and it was cumbersome to really see that in the last version but we've got that as a slider now so when we slide it all the way down this is what the texture looks like incorporated into the material right so we're seeing the output of this if I if I shift ctrl click I've got the Wrangell node the node Wrangler add-on enabled if we shift ctrl click on that we get essentially the same thing so it's it's the pure color information of the texture but it's nice that we can have both depending on our needs if we want to see how the texture especially with the metallic that we'll be doing hopefully before too long the metallic scratches we can see how it's working in the material or we can paint it pure color information so in this situation I actually I want to I want to pay the pure color but I think I can do it within the the shading of the of the of the model so first let's establish the right color so I'm going to let's hold s to bring up my color selection and we will and I thought I did that s color pick is that not working crash nuts mmm I think this is the wrong version of blender let me try again where did I save that last one at uh previous layout oh well I'll just roll with it you can't say enough it seems alright so we are talking about texture painting this and if you noticed I was color picking s color picking the brown color it did not update here but it did update in the no it didn't s color pick okay that's bizarre so looks like color picking is a little delayed or said or something that's weird alright so I've color picked the color and now I'm going to just make it a little bit lighter this might be a good time to start creating a color palette something that we can go back to regularly so I will create a color palette you can only do that here you can't do it maybe you can do it in the end panel now yeah you can do it over here alright so maybe this is a good excuse then to maximize this view and just do my business here so color palette we've got one one version of the color let's go to the light version desaturate it a bit alright I think that's gonna work well add that color so now we've established the bottom and top of that particular style of plane now the read an issue with painting like unshaded Lee is that you can't see where your geometry is and you're just painting on whatever so you can either add the shading in or you can also use a wireframe alright so by turning on what is the setting called face selection masking by turning that on I can actually you know tell that I'm painting on the bottom of the plane up the wing without the shading information and that's that's nice so you that's kind of another option for for the best of both worlds sort of thing you still have access to the full color like I can color pick right there and it is the full color appllo as opposed to the shaded version but you can still make what the what the object is alright so we're gonna turn on symmetry where is that now okay it's all the way at the bottom of the in panel we will turn on X symmetry and I will use a stroke method of the line stroke method alright so I can now draw straight lines if I use the right color there we go now I can paint straight lines and it should be propagated to the other side perfect alright let's just paint the bottom here maybe actually undo that and make my fall-off a little sharper still getting used to no tool toolbar where is my fall off I mean this is exactly like 2.79 so it's I don't know it's been like a roundabout change anyway let's use this one right here that's that's my usual sharper fall-off preference alright I've got to get on with it I feel like I'm taking forever to explain this stuff now some something else I can do here it looks like my strength is not all the way up at one brilliant so I wasn't getting the full color try it again but what if I could do this a little bit faster rather than going stroke by stroke I wonder yeah I can actually probably do this from the side view and turn off where is it options yeah options occlude and back face culling and then also turn off fall-off normal thall off are you following with this is it are you following with those settings that I'm using feel like I'm bouncing around but now with those turned off the paint will project all the way through the object and and so I don't have to go stroke by stroke so I can literally paint right through that wing all right now you've got the top and bottom of the wing painted and the entire like the entire thing because the paint just projected all the way through and then do the same thing from the side maybe try and do a slight little curve all right I'll paint out some of that but this is making my job much faster right now boss I mean just a couple strokes I've painted the whole bottom question from Peter you switch to gnome yeah I did switch to Linux just curious if you don't mind me asking how does it compare to the Mac OS which distribution did you pick and what motivate you yeah I mean it's kind of a longer explanation I'll telling you like some of those details but I wanted to change computers I needed to because my Mac was five years old and it was starting to show I'm gonna switch to where's my stroke method back to space I'm just gonna clean this up while I trying to explain it hold ctrl and start painting so yeah I whoops might be hard to explain let me just do it real quick I wanted to try Linux because you know blender makes me believe in open source I know a lot of people use Linux the foundation uses entirely Linux so I know it's possible and I like believe in that ideology I guess so that's why I wanted to switch I went with pop OS initially and it was fine there were a couple quirks that that were a little frustrating about it then I switched to deep in OS which is gorgeous I think it's absolutely delicious as a user interface it had its fair share of quirks but I've solved I think all of them I'm able I'm up and running like full speed now but it's Linux to me is just like there's weird settings that are turned off by default and and you just have to find those it's different for each distribution I've tried that I've installed Fedora Linux on other systems before and and Ubuntu and stuff like that but anyway um is that what your question was yeah which distribution did you pick so right now I'm on deep in OS which is based on Debian stable yeah I know I I'm I mean people may be don't want to know that right now but like it's helpful to know what system I'm running and like what kind of things like that so yeah that's my problem happy to answer if we were in a coffee shop I would go on for a lot longer why I chose these things but anyway I am going to I need to re-enable in my options occlude and back face culling because I want to paint on this from the top that way it gives me a nice clean seam but it doesn't paint to the other side all right so that's actually I think we're pretty much done with that blocking out those main colors and maybe I can start painting let's just go to another object let's try and get most of this color rounded out and we've got that established let's start texture painting the red and gosh that is a hideous visualization I don't know what what that's what that's about but I need to create a material for this do I don't need to create one I can use the plain paint material all right we can use that one and just continue painting on the texture which needs to be like a red color let's go with this and then to just kind of flood the whole thing there's a fill brush yeah I guess it's a brush and for some reason the color does not stay from brush to brush so let's copy that paste it over to the fill brush and make the strength all the way up to one there we go got a nice red cone on the end go back to object mode all right I want to block out everything how about for this propeller let's also add the paint material playing paint it feels like the nose has duplicated faces underneath yeah it definitely does not that is something to do with the visualization Wayne Wayne and I are working on a project together and he's complained a lot about it like that visualization from if we do it if we go to texture paint mode yeah it does look like duplicated faces but it's definitely not and it also works this way I think with weight paint okay that seems to be fixed but it was working that way with weight paint texture paint still seems to be that way anyway kind of annoying I mean does anyone else think a beta software should be a you know should should not be like this I don't know I know I shouldn't start that I should not start that I do kind of think that they that they jumped the gun with the beta label I think it should have waited and stayed in alpha but I don't know I was proud upset about that earlier this week anyway object maybe late last week so anyway the propellers we're going to texture paint mode and we are using that same plane paint material which has the slots already set up I just need to fill it with a dark color we're gonna go with mostly black a little bit lighter than black let's say right there let's fill it awesome camouflage pink all right and while I'm at it I might as well draw that little yellow stripe at the top so let's do that with the texture paint I think I'll uh I'll just freehand it why not go to a yellow color maybe a little bit brighter yeah that's simple enough and okay I need to turn off my options for occlude and back face culling there we go I think that's pretty clean I could switch to the line brush or the line fall-off method if I wanted it to be super precise but that's gonna be fine we've got that blocked out and in the let's go to look that maybe that's what I need to be looking at alright we're coming along the let's fix the wheels let's just block those in while we're at it what's going on all right so the texture slots the first one is going to be our plain paint material add another slot this is going to be the metal the generic metal it's a sign that all right that looks good okay but that needs to be playing it painted dark another thing that's useful is if we go to texture paint you might you might not know this but I guess that only happens on procedural materials like things that don't actually have a texture applied to them interesting if I tab into edit mode and just select the wheel just the part of the mesh that I want to paint if we turn on this setting which I used initially just as a wireframe visualization but it's actually got a deeper purpose than that and that is for masking so if we read it a face selection masking for painting means it maintains your selection and makes it a mask for the sake of painting so in this case you know I've got I've got you can't really tell but the this metal portion is not selected now if I switch to my fill brush and let's let's make it that similar type of dark color maybe not quite as dark as the propeller there we go now we've got wheels that make sense color wise all right excellent so this is really like first step of texture painting done we blocked out colors and now we can start the next phase which I which is adding gradients in my opinion like this this is a blew my mind when Pete when I saw people start using gradients as like a baseline hand paint method method and it's it's really powerful so I'm gonna start adding gradients to each of these pieces it's kids fault I'm used to 2.8 he used it for his classes last year yes I'm I'm I'm on the 2.8 hypetrain for sure I just I'm not gonna get into it I think we I think we might have a crash and I didn't save my texture doesn't remember the hotkey for saving the texture is it nuts nuts mmm buzzkill all right how fast can I get back there alt s last restore file good idea recover autosave what is the date but the textures not there that's the problem there's no autosave for the texture information unless you save it to your hard drive so it doesn't really even matter oh man what a bummer I really have to do all that again we only have we have 40 minutes left I apologize this is lame but I'm just gonna try and get back there as fast as possible it might be quiet so I'm gonna concentrate but let's just try and get back there what bummer I was at a little em'ly a little bit because I I almost decided to use the version from May 6th because it was the last version that's it was the last really stable version I've used that and it also had the tool the toolbar at the top which I was used to but then I didn't want to teach that when it's not the way blenders gonna be so I don't know this person's been notably unstable but oh well yeah so tool settings let's just try this again yeah it is more crashes than usual for sure let's go to stroke line turn off my options fall off I liked it when those settings were all three together that was also a little bit faster man not the full strength and I will be sure to save it this time Peter Varga I agree with the idea of prematurity judging from the current state of things as an interface geek personally I mind the UI stuff the most among other things it's a bit of a mess at the moment I don't and why they're doing it this way don't help yeah I'm I mean I'm not I would much rather prefer development take longer and don't promise that it'll come out you know that's what a beta kind of says like we're about to release and then they did say we're gonna release at a certain time I would rather not have that promise and have like a purposeful development period then to jump the gun and kind of deal with this is this stuff but let me try and get there faster yeah right now I mean the toolbar like it was kind of annoying having having to scroll all the way left and all the way right but I think it I found it to be maybe a little more intuitive than been going back to this style where it's like okay we're how do I change what was I just trying to do yeah I got to go back to the options all the way down here turn on occlude go back to fall off turn on normal fall off like where is my color palette alright let's add that one X which it there we go anyway texture painting in my opinion has always been like sort of a neglected UI situation in blender it just it could be so much more intuitive but I mean you know there's all kinds of features that need to be worked on so I understand that all right let's try and fast-track this let's save my image but you know one step at a time and texture plain paint I need to say stream paint plain paint PNG is fine and texture paint mode was I doing yeah material plain paint fill it with a red color that's pretty bright okay and then what else did I do to propellers Oh another thing I forgot I forgot to do this the default projection paint setting so if we go to texture paint huh that's a bummer i hate when i forget this setting the default texture paint is a bleed value of two pixels which I feel like is never enough like you need at least 5 to 10 pixels for this to work reliably but I always mean to increase that bleed value up from 2 because if we look at our UV s you display texture paint you these yeah so if I go to 2 and paint this it doesn't have a material yet yeah and if I paint this you can see that there's just a tiny bit of overshoot right there and with with a lot of seams it's just not quite enough so I I recommend changing that value your your where is it options your bleed value changing that to five at least if not ten pixels and now when I fill it you can see that we have a lot more room for that that overshoot but I forgot to do that hopefully it doesn't come back and bite bite me all right and paint the yellow all right we're back here I think just the wheel is left alt s to save my image texture say thank you I mean I'm gonna have to be doing this I think like every few minutes let's see I need to I should also probably go to look dev yeah it's pretty cool you would like with the shading involved you can start to see the final product happen quicker and that is a fun part of this process I must admit all right say and I think we should be caught up once I once I add these materials and paint the wheel let's see one texture slot for paint plain paint another texture slot for the metal control assign the metal there we go and then finally texture paint just the wheel portion with a dark gray a really dark gray not the right brush oh but still has the color okay I believe we're caught up now Oh s to save our texture Ted um alright we have blocked these out and I was talking about gradients yes this is where my personal hand paint texture skills took a major leap forward by introducing just gradient painting and I'll show you what I'm talking about you've seen it before if you've watched some of my other stuff but um I am NOT a super gifted hand texture painter if you can't if you can't tell like I can do okay but I'm not like a super gifted one but this is one of my favorite techniques so let's go to the cone first texture paint and with the fill brush we have this option we have this option for painting a gradient so under the color you'll see we have a gradient checkbox let's turn that on and right away if I just all of a sudden we don't have a fill situation we have this line that's being drawn this is showing this like the spectrum of the gradient so if I let go you can see we've got dark on this side and light on this side but we can paint it as an overlay for example let's let's change the method from mix which just replaces the red and change it to a a darker color like I'm sorry I'm sorry total not the right thing change it to a different method a different blend mode like let's try overlay first if blender will let me do that bull I don't know how much I don't know how much how many more of these I can take and the stream still be still be I did save the texture didn't I image reload people people I saved the texture image open okay I did save the texture did I not save the file I okay have I ever mentioned how much I hate doing things twice have I ever mentioned that alright so we've got this like image reload what is happening here so paint color somehow got disassociated so the somehow this got disassociated from the image this one okay alright it's not gonna be that much work to redo I just need to I'm gonna save this file with my whole heart appreciate you sticking around I can't believe I've not really seen a drop-off in viewers appreciate you just sticking around there's no way this is fun to watch or terribly informative all right now are we ready to start painting gradients I need to assign plain paint control s I'm gonna do it again control s and the image is saved say a prayer to the blender gods that we can make it through this alright alright let's go the gradient stuff yeah I was painting the front and let's go to texture paint mode fill brush gradient and we're using where we wanted to use the overlay method that's right so yeah that gradient right there it seems simple but yeah I say it often with lighting too like gradients are super powerful for for good lighting it's just it works for lighting and it definitely works for painting as well at a painting hint hand-painted textures and we're back catch up okay if it crashes again I'm probably gonna call it this is just getting ridiculous gradient today I didn't save it with the settings did I overlay image save like after every paint stroke I'm gonna have to do this alright so that is helpful yeah adding the the gradient to to the the red cone it just adds a little bit more pop and a little more dimension to the color it also implies that if you can imagine this thing flying through the air over time the front of the cone is going to be worn away like the paint will be slowly weathered away whereas in the in the in the crease of the probably like prop where it's where it spins a lot there's gonna be grime and dirt and stuff that's going to darken this side of the propeller so it it makes sense why you would add this gradient and then likewise I typically like to add one to the front color so the fuselage color as well can you even see that you can start to see it show up a little bit but will also incorporate this into the into the material settings too like we'll have the darker color reflect a little less to represent dirt and grime getting caught in the crevice but my second pass is is adding these gradients because that helps a lot with the color adds dimension to it so go to texture paint mode on this guy and let's add another gradient let's just see what it does nice yeah you can kind of like layer them maybe I'll do a multiply instead nice yeah so just a little bit of gradients to break up the monotony of the the same color oh yeah alt s oh yes okay that's scary when the hotkeys not working for you control s and maybe on the wings too now that looks pretty good actually yeah I think I'll leave it how it is alright so we've got a little bit of gradients involved and that kind of again its main purpose is to break up the monotony of that that singular color next maybe I'll just jump straight forward to into yeah we'll go to the next stage I might take a little bit more time typically but for this I'm going to try and speed it up let's let's try scratching the surface right let's try and and do that right now set that up because that's probably the most interesting thing is real time painting textures so let's get this process set up we're gonna need another texture and this this is where we would use multiple texture slots so let's create a texture texture paint and yeah a new texture and let's just try the metallic let's add a metallic texture to it we're gonna do 4096 by 4096 plain paint metallic house call it metal and yeah so the default of black will be good because that means no metal so we'll start with the default being no metal on this plane at all and we'll hit OK and so we can by default we're painting the raw texture map itself you can see it plugged in conveniently right there into the metallic but if I turn off the overlay now we'll be painting the properties of the metallic the properties of the metallic eyeshadow brain for the properties of the metallic in real time with all the shading and lighting incorporated as well so for but I also need to think about this because if I disconnect it for a second we're painting black and white so zero is no metal but all the way to white is like pure metal but it's colored according to according to the plain color right so it's a metallic version of the of the brown that we've already painted that's not what I want so I need to do a little bit more work here I want the output of this going to the metal yes but I also want shader mix shader' I mean mix colors what I want let me just take it a little bit slower I'm gonna do that in a second let me first show you why it's not entirely intuitive if I start painting this map for example the metalness map you can see that I'm painting it well it's very it's not quite as strong like I'm painting metalness onto the object that's great but it's only half the battle like I don't want metal this coppery sort of brown bronze type metal I want it to be like a stainless steel metal well as if you remember from the metal we created up here the color for that needs to be white alright so if we look at it now that's what I want to see so in order to make this work in real time I need to add a color mix RGB save the file save I need to save my metal texture just gonna be black and white all right we should be good and in case of a crash and so I'm gonna use this not only as a factor for the metallic value but also as a mix factor for whatever color I want to be metal which would be this kind of gray color so now we're getting what I am kind of expecting aside from one thing and that is the fact that the roughness value will be different between the paint and the underlying metal so I also will use this map to adjust for that so let's add a shader I'm sorry let's add a color mix node this will once again be the factor where the black value is the the roughness of the paint which we've already established to be 0.5 so we'll look I'm hovering over it roughness ctrl C to copy it ctrl V to paste it and slop one that used to work all right whatever we'll just set all the RGB x' to 0.5 which is what it already was but for the metal but we want it to be much lower like point to maybe 0.3 if I recall all right so now we've got that that will adjust the roughness for us let Eevee kind of restart ok now the metal has a different shiny roughness than the the paint of the actual airplane so that was actually that was a lot of setup to get this to paint exactly how we want it like right now we can start painting scratches you know and it's painting real time it's pretty cool but this method this uh this color is not what I want to do this this or this this brush is not what I want to do I want to use a texture so let's erase that and let's let's let's just go grab a texture in the in the texture sand the tool settings let's go down to texture I think it's just texture yeah maybe texture mask can't remember now let's try this one we'll use a stencil and let's open up an image we'll click new and call it stencil and then we need to find that image over here in the brush grab our stencil and go open a file where do I have textures CC source is it grime just trying to find a general scratch texture is it this one no it's this one scratches I like this one a lot all right so what we can do is you can see the stencil right here but it's it's mostly gray so I need to adjust the colors let's increase the brightness and all the contrast first I think this is the one I like to use colors increase the contrast significant there we go and the brightness all right so now that I've got that you can see in the stencil that we can start painting scratches like this all right so let me paint a white color [Music] all right maybe it wasn't maybe it's not texture mask let's clear that and go to texture stencil okay there we go Oh save save save image save all images thank you thank you for having my back we dodged a bullet all right this is not you can see the texture or the the scratches start to be added but I feel like it's not it's not exactly what I want so let's go back to where's the stencil oh it's set okay that's why I'm looking for stencil that's what I want okay yes this is more what I'm looking for so this is where it gets fun because I'm actually painting you can see how it reflects differently actually painting scratches literally in real time scratching off the paint and and the metal is the bare metal underneath is what's left is this being mirrored to the other side no it's not might be a good idea to turn on mirroring just to get a little more out of it so you don't have to do quite as much work you'll have to turn it off once you get to the seam in the middle but it's not too big of a deal and what is my I can't remember what my options are okay I have back face culling and stuff turned on and just yeah painting out scratches I find this to be extremely fun you can't you can't quite notice it down here maybe I'll increase the size of the scratch okay now it's starting to show up a little bit better looks like some of my values might have been less than ideal so yeah this parts really fun this is um honestly this is like the climax of the workflow in my opinion being able to scratch off the paint it's similarly I guess like I enjoy painting grime like in real time as well because you can as you paint you diminish the reflection you you darken the color and all that works really well together oh I need to put some on the airplane wing as well yeah this parts fun but you probably get the idea by now there's a question from Omar does it look the same with cycles if you suddenly switch that's a great question recently it is a lot closer so if I image save all images ctrl s it should look very very similar what I would need to be a true comparison like right now we're using the built-in in the looked of Evie's stuff we're using the built-in HDR eyes but if I choose scene world alright you can see that and then if I switch two cycles very very similar extremely similar aside from the crashes the texture painting does look fun yes again the version from May 6th was a lot more stable so I mentioned I'm working on a project with Wayne we have stucked 22.8 from May 6 because it's more stable and more reliable but once it's all done and working well like 2.8 officially been released I can only imagine it's going to be very stable very solid and it is a fun process it really is I might I mean how much time is left about 10 minutes yeah I don't have a lot of time the crashes threw me off a little bit but the only other really thing I wanted to show you is is like painting the the grime and doing that in real time so instead of scratches adding grime and that's a fun process but you have seen like the core of the workflow and how it works in evey a lot of this is also practice for the fundamentals of texturing and shading class courses coming up that we are creating to launch the same time as 2.8 when it launches so this is practice for that it should be again much more stable and and in rock-solid by that point but yeah I think if you have any last questions I don't want to risk any more crashing and I'll think I'll just save it at this and I will update the the final file with textures on this page if you want to take a look at it the finished version I'm with Aaron I'm not gonna complain if you want to go over that to ours personally okay alright well then maybe maybe I will never use stencils all right well yeah I don't if you want to stick around you're welcome to there yeah yeah for sure we'll keep going and I personally won't go too far past the two-hour mark but I want to paint the grime that's gonna be my goal I want to paint the grime maybe paint scratches on the front to on the on the propeller here only thing I wish was possible is texture painting on multiple objects I don't think that is possible yeah I think it only texture paints on the active object so I do kind of wish that that wasn't the case you know it's a cool it's a cool thing with edit mode but um I wish it was true here too I should turn off symmetry because on the propeller on the the prop I think that's technically what this thing's called still I don't know what the red thing is called I know the propellers are called the props but anyway I'm just gonna add some scratches to this to fill out the context a bit and putting scratches in general on the surface I think is a good touch but concentrating it a bit more towards the front makes logical sense in my opinion no no no it's not working overtime that's not how I see it but like I just don't want to I don't want to be doing this if it's boring people I guess I'm pretty sensitive to that personally like if I'm if what I'm doing is boring to you that that would just that sucks I don't want that to be the case but if you want to stick around longer I will absolutely do this all right so I think that's good for scratches for now I don't really like the HDRI that I picked so much I'm gonna go back to the look dev I think it looks a little better a little more readable here yeah it's looking nice so let's take the same concept and now switch over to painting grime control s save the scene image save as save all images all right so the same thing with the grime we have to do a little bit of setup first and there's not really a texture slot I don't think devoted to devoted to this specifically let's take a look yeah and I suppose that doesn't really matter so let's just add another one and call it base color or or or roughness rather or specular let's call it specular let's just go at that plain paint I'm gonna the actual name will be grime 4096 by 4096 and the color will be for grime the default will be black again all right so we're going to be painting on the grime therefore white is on all right so we will create this no alpha that's fine okay so wait what happened it where's it plugged into now oh that's right it's black and so that's why we we lost all of our reflections however that's not really what I'm trying to set up instead what I'm trying to do let's think about what grime interacts with grime affects the color it darkens the color it also DISA D diminishes the reflection okay so those are the two components that we're going to be affecting so this map instead will will be a mix I'm looking at the reflection now the specular it's going to affect I would also need to affect the roughness that needs to to increase that value so let's go one by one for specular by itself the black value needs to remain what it was before I plugged it in so that's 0.5 and it the default is 0.5 the white value will need to be lower right so we're going lower into the dark spectrum so let's just say for now that that when I paint this map let's add white or getting an effect I don't seem to be getting an effect specular let's look at the plane grime I'm not painting on the right object okay but uh is that working oh I've got the stencil as well geez okay let's turn off stencil we don't want texture we don't want this Oh could we use it let's go ahead and use it let's uh yeah let's go ahead and use it why not all right so we paint that on ah you can barely see it let's change the texture out alright instead of using the scratch texture let's let's uh wear my image settings for this alright let's go back to one one alright and then choose a different image choose a grimy kind of gross thing how about this alright but I need it to be black and white I think yeah I need to be back black-and-white so maybe oh this is where I use the texture not at not texture brush but texture mask I think is this where I use it yeah yeah yeah yeah you can see it down there right so that's the kind of grime texture that we're painting in here all right cool so we can see that it is affecting okay we can see that it is affecting the reflectivity it's it's it's not so reflective in this in these parts but we need to affect more than that we need it to darken the color as well all right so we will duplicate this mix node and it will be this texture will be used as a factor for the black color do we see that oh that's right I painted it out good gracious okay so now we see it it's not only darkening the reflections like dimming the reflections but also painting the color darker all right we'll get there we'll get there eventually but um I mean can you kind of see what I mean that like this could be more intuitive I know it could be more intuitive from bouncing around to different places I know this could be more intuitive in other words if any developer in the community wanted to make a substance painter esque experience I think it's wide open ready for someone to do that anyway all right let's I think I've got it set up for now for I can start painting a bit and then we can come back to adjusting the shader but with my brush settings I want a different fall-off I wanted to be softer where is fall-off where is fall-off okay great yeah yeah yeah so now I can start painting the grime in this crevice that's gonna be fun also around the wheel the propeller like darken that give it a little bit of like stretch back that totally made that up but um you know like the planes moving really fast through the air so like the grime is gonna like project backwards along the the path of movement I guess there's some funkiness but wow so much more dimension you see how cool that is that is so much fun to paint and doing it real time as well love that but we can also if we want to be really thorough we can duplicate another color mix too for this texture to influence the roughness value and what we would do is be adding it actually we don't need another color mix we can just add it over here with another color mix sorry shift D duplicate this and change it to what I mean is we didn't need a separate color mix instead I can just add this value add and then we can control exactly how much all right you can see where that's being added all right the higher we go the the more rough it's going to be all right so we can see a really steep fall off a really steep transition so let's turn off factor there we go turn down factor nice all right so that grime is doing a lot of work for us now I like it let's switch over to the other object can save all images and go back to this guy yeah I really do like doing this real-time now and Eevee makes that possible he kind of saved all images all right save the scene save all images you guys are awesome so if you don't if someone just started watching now they could look at blender and be like whoa that's super cool it reminds me of like substance painter when you see those demo clips of like he's painting grime directly on there and it's affecting all those channels and that's pretty neat but if you've watched from the beginning you realize like there's been a lot of setup it's been a very manual process to get here and so I would love it if that workflow couldn't improve so yeah this was the last thing I wanted to show you very very fun let's see are there any other questions but yeah this was the meat and potatoes I wanted to get here I'm glad we did yeah I get once you get everything set up and you get used to the workflow it is quite powerful and but yeah that's I I just barely went over the fort for the two-hour mark save all images control s save the scene and you have all that's left to do is be more thorough and apply this stuff to the rest of the fuselage I did forget to add the the colors like the little symbols didn't forget just didn't get there but um yeah all of the things I wanted you to learn from it I think I've taught there hasn't been a crash yeah that's true maybe gradients was part of the problem yeah I wonder that's a good question but yeah it's very nice when it doesn't crash thank you guys for watching a question from Omar do you know if the CG cookie website gallery lowers the resolutions on your upload images I've suspected that it does but I can't say for sure for sure let me let me see something if I go to create and whoops if I go to upload a project description yeah so it doesn't it let me do a test I think it says upload an image it at least 2 megabyte in size so yeah it doesn't really say that it it automatically scales down I don't know I I don't know I would ask Wes maybe next time you see him I'll try and remember but um you know if he pops into a chat again ask him he would know I suspect that it does I suspect that it does because we get a ton of images and and we don't have infinite like storage space also that random custom crops a custom cropped thumbnails would be great yeah I know what you mean like an art station that is very nice I feel there's a lot of difference in my Helle renders an art station then NCD cookie yeah that very well might be true anyway I'm gonna let you guys go thanks for watching I apologize for the crashes was not quite as smooth an experience but if you just glimpsed the potential with texture painting this way with av making textures work with materials in real time that is a very bright future for us and that's really all I wanted you to take away but thanks for sticking with me this long I appreciate it and I will see you I don't know if I have another stream scheduled right now but sometime soon I think I think Lane pail has you next week but have a good rest of your Tuesday and I will see you next time goodbye you

Channel: CG Cookie

Views: 32,598

Rating: 4.9290643 out of 5

Keywords: blender, beginner, texturing, UV, unwrapping, substance, painting, nodes, procedural, pbr, principled, shading, layers, decal, eevee, cycles, image editor, uv editor, tutorial

Id: Rr5lj-Xm1gc

Length: 126min 59sec (7619 seconds)

Published: Wed Jun 05 2019