Texturing Characters in Substance Painter - Creating the skin base color | Adobe Substance 3D

[Music] so now that we're happy with our grain layers we can start actually putting color onto our model the first thing I like to do is create a simple layer that lets me control the specularity on the model sometimes need to create a new material and I'll keep the color default and adjust the roughness on the layer by putting air it up to one so there will be no specularity on the model while I'm texturing but I still have this layer at the very bottom of my stack so I can always go back to it and quickly slide the slider down and check out the model with the specularity on in case I want to so that gives me a bit of freedom in the process so on top of that I create the base colors folder and I'm going to start putting my color layers into it so my process of texturing is very simple it's basically close to that of real-life painting and stacking layers of light washes of color on top of each other so the first layer I'm creating is a base color for my skin and I want something a little bit peachy a little bit orange e and tone roughly in the middle range in terms of value and saturation so I don't want it to be too bright or too dark and basically a good place to start off with so all I'm concerned with is the color so if you alt click on the color channel it will turn off everything else and just keep the color so I'm happy with this layer now we're going to try and add something darker and use our ambient occlusion layer to place it on the model so I just duplicated my layer control D and now I'm making the color slightly darker and a bit more saturated and also a little bit more red and I'm going to use a mask a bitmap mask to be precise and add an ambient occlusion that we baked into that mask so now as you can see the effect is inverted of what we want so everything that I want everything that's occluded to be darker so in order to get there you have to invert your mask so I have added levels onto the mask and press invert and now I can also modulate the levels slightly to make it more intense or less intense until I'm quite happy so I like this and I'm ready to start adding additional layers onto my model and start we're going to start with something a bit more red so let's create a red layer quite a saturated red we can always tone it down with the opacity field later so again pressing on the color so nothing else of interest to us right now and I'm going to add a black simple black layer so now that I pay if I paint with white on top of it it will reveal our red material so I'm going to select my favourite brush for this which is dirt brush there's several of them I'm using dirt one which is a nice cloudy alpha on it that way it gives it will give us a lot of break up very quickly so I'm going to turn on this symmetry that way we can deal with both sides of the model very quickly and turn on the flow slightly and the opacity and basically paint directly onto the model wherever you want the redness to appear so this is a perfect time to start looking at your references so make the brush slightly smaller so it's putting the redness nicely inside the eye around the eyes because he's got small eyes around the nose a little bit at the tip of the nose he looks a bit like Rudolph right now but that's not about not a concern to us right now so this is their RBX imaging that i referred to earlier and this is basically what you want to look at when you're painting this so again redness around the cheeks around the lips and you want to add breakup to the lips later on as well as you see so the lips are not just solid color and this cloud brush is a perfect tool for that so added to where the chin is where he's gonna shave maybe he's got some scratches there I'm just spreading it around the model when I think there will be red areas so the Nicole area bit of a chest I want it to be a bit more red and like I said I'm not worried about it being too strong or him looking like a clown at the moment we can always turn it down later so if you want to see what your mask is doing you can go into the mask in the drop-down menu in your viewport and you'll see exactly the black and white layer that you're painting so if you're pressing X you switch between black and white and you can paint in and paint out the details as you desire if you press M you're switching back to the material mode from the channel mode so I'm just painting on that redness I also added another layer which is a bit more greyish red as you can see a bit more purpley it's around the eye area but also around the chin to tone down that bright redness sort of counteract it so in the end I decided to turn down this redness slightly because it was a bit too much and I also created on top another layer of red this time a bit more pinkish red in the same way basically just using the dirt brush and all those little spots I created by just toning down the size of the brush and painting it with a more concentration so another to break up the color of our skin which is a bit of this peachy yellow reddish tone I added a layer of yellow and I painted it with a very bright yellow and then just turn down the opacity again I painted it in symmetry and with dirt brush as well as a dirt brush 3 which is a spotted sort of dirt brush and you can clearly see that I did make some sharp strokes with my brush and they sort of created lines and I'm not really worried about that I'm going to clean that up later on with a refinement layer so it doesn't really matter if it's blotchy and spotted I just want to lay down colors so here's another color which is a bit more toned down the saturated red color where the stubble would be and now let's have a look at the veins so that the way I paint veins is basically with a simple soft brush the first soft white brush is perfect from that it already has a fairly low flow by default and I just take a greenish bluish color and basically paint wherever I want the veins to appear so what you want to do is check anatomy books or just search online for a map of veins on a human head they will usually appear around the middle of the forehead down the nose around the eye and around the mouth and down the neck and into the clavicles and into the armpits you don't want the lines to be like really harsh you want to break them up because the veins are not all at the same depth inside your skin they sort of vary and meander around so you want the the depth to look different in different spots and then just turn down the opacity of the layer once you are happy with the placement of the veins so it's a very simple process and nothing very complicated and you can also layer them with a bit more blue and a bit more green on top of each other for more variety another great technique to use for adding a bit more variety to your model and bit more redness is to use a some other brushes that substa come with substance painter like a cracks brush for example this brush lets you add a lot of simple patterns that kind of look like little veins little broken capillaries so I created another bright red layer basically and use the black mask but this time drew with this cracks brush and you can see it creates a little net spiderweb effect it's very thin and delicate so if you tone down the size of the brush you can use it on the side of the nose to pay it in the little details that the broken capillaries would have on a real face and you can basically go back and forth between black and white and break up the flow of these capillaries so it doesn't look mechanical and artificial that has this sort of organic feeling last thing that I would like to show you is when it comes to redness adding redness to your model is using the curvature map that is baked by substance painter so I added a new red layer and now I'm using a bitmap mask but instead of ambient occlusion I'm going to use the curvature that's baked inside substance painter with my other additional maps so once again the same as with ambient occlusion the map is inverted so I want to add levels to it and make sure that the redness appears inside the cracks rather than on top of the scale so I'm adding a levels layer and I'm going to invert the mask and I'm going to tend tone down of the opacity so you can see now there is redness inside the pores and inside the lines of the face and when you add the paint modifier on top of that mask layer you can start painting out the areas of the mask that you don't like and again very deep the variety the opacity of the redness on the model so when you turn that up the opacity you can see what I'm doing I'm breaking up those lines so they're not too regular you don't want like straight lines on your face you want it to be very subtle also feel that there is too much redness all over so I'm going to go back to my levels adjustment and play with the levels some more to reduce the redness a bit so it's only in the cracks and not so much on the surface that's better so now I can tone down the opacity again and just have a tiny bit of detail from this mask on top of the face I think that looks great so to break up my skin a bit more I also added a bit of purple color around the eyes usually you have a lot of purple in white people in the corners of the eyes there's also some bright color bright white almost white color in the corners of the eyes and on top of the nose by rule by D for the brightest colors on a Caucasian skin will appear where the bone is closest to the skin so here you can see another layer that I added of redness using the curvature map this time I did it with a darker red so if I bump it up in opacity you can see there's a darker red layer over everything again highlighting the cracks and cavities on the model now let's have a look at how we can break up this yellow color so I'm going to create a new layer and add a black mac to it so i can quickly pick from my model they want to pick this yellow and basically created that slightly darker color and a bit more saturated so now if i paint you can see i get nice color that would break up that yellow i'm going to use a sports brush which is one of the default brushes and what it does it spreads little dots all around the model when you're dragging the brush so you can change the alpha for this brush we don't want those circles we want something a bit more patchy looking so I'm going to just go into my alpha of the brush in the properties panel and I'm going to select one of the default alphas that come with substance painter it's called the dirt blur and it's basically like a scattered circle and if I take take down the size of the brush and just paint it you see it it adds a little bit of like tiny freckles all over the model when you drag it they can quickly break up your color and you can play around with the intensity of this brush later on I'm going to show you how to do very similar effect just using default materials that you can download from substance source website so it speeds up the whole process so this is basically this the whole process of painting colors based colors on top of the model using substance painter it is very simple and no hassle way to texture your character

Channel: Adobe Substance 3D

Views: 129,697

Keywords: 3d art, 3d character art, Allegorithmic, Authoring, Games, Material, Offline, PBR, Paint, Painter, Physically based rendering, Real-time, Render, Sculpt, Substance, Substance Painter, VFX, animation, art, character artist, game art tutorial, game character art, hand painting, mapping, materials, painting, skin, texture, texture baking, textures, texturing, vfx tutorial, zbrush

Id: 1L5hJalAUHg

Length: 17min 34sec (1054 seconds)

Published: Fri Aug 23 2019