hey everyone
Tim from chamfer zone here welcome back
to the texturing part of our Star Wars
droid tutorial I am working with
substance painter 2018 1.1 which is the
latest version and in the last couple
weeks they introduced a new UI here
which is very nice they changed a few
things around so that certain things are
not in the way so much anymore and it's
really nicely integrated here to this
side panels and other than that it's
pretty much the same old substance
painter experience so even if you follow
my older tutorials I hope you won't have
too many problems but you really
shouldn't and we are starting with a new
project and we gonna load the low poly
model here this next thing is we need to
get those details on there from our high
poly model so under texture set settings
which you will now find next to the
layer tab here we go over to bake mesh
Maps and this is your exactly the same
window that we are already used to from
the older versions of substance painter
we can then go over here to add our high
poly mesh and I like to bake in two
passes where the AO and the thickness
map are not part of the first pass and
actually I'm not baking the thickness
map anymore I don't think I really need
it for hard surface things it's more
like for organic things if you want to
have thickness around the Year lopes and
things like that so nothing that we
really need here for hot surface and
with those five Maps selected we can
then get a fairly quick bake and make a
control and if everything came out right
we are then baking the time consuming AO
map as a second pass
as a next thing we can then put our
resolution here to 4k by 4k which is
very high-risk but it doesn't hurt to
have it iris because we can always down
sample it if you would put it in the
game you would probably use a 1k texture
or maybe 2k max but it's just good to
have it available in a higher resolution
finger for example cinematic scenes or
just some other use cases where you just
want to have the highest details on it
and of course because this is a
texturing tutorial it's nice to see the
details up close and very crisp so I'm
gonna have it here at 4k
and I also want to have here our H
padding - let's say 32 pixels that way
the normal map information is kind of
stretching out to the sides until it
hits another UV shell and that way we
prevent to have any visible bleeding if
that was your set to zero especially
important for mipmapping if you put it
in a game so always good to have some
dilation with enabled here now the next
thing would be to put the frontal and
rear distance to a different parameter
and people keep asking me like what's
the best way to explain that and I
really can't give much other advice than
trying things out if you bake and you
see that anything is kind of cut off and
it doesn't look right the details are
not really showing then it's a matter of
changing this year two different numbers
but in general for me this number here
works very well especially for hot
surface stuff the way that we were
creating the high poly in a low poly
here where we don't have so much
different space difference and it should
just bake very good with these values
here and other than that it's a matter
of trying it out and see what works so
let's scroll down here we are gonna
leave that all
here as it is and we want to put that
here to mesh name if you remember in
Freddie Mac's we gave everything a
proper name for example hat underscore
lo which is the one that you see here
the low-poly model and then hat
underscore hi and that way it knows
exactly which components belong to each
other and will bake them properly and
also our entire lacing here should be
put to 8x8 for the highest quality here
you can see these underscore suffixes
that we added in Freddie Mac's so that
way it actually knows that these are the
ones that it should take and that covers
it as far as our common parameters go
the only thing that we still have to
change here is under the ID map we want
to have the color source coming from the
material color if you remember in max we
were actually applying different
materials here to our unique elements
and that allows us then with that map
here the ID map to quickly select
different materials and apply them here
to our texture which is a huge time safe
so I'm just gonna go ahead and bake and
I'm actually gonna fast forward the
baking process so don't be surprised if
that takes longer on your end and I'll
see you in a moment
and it looks like everything baked
properly you can also check it here if
you scroll down on the texture set
settings all the maps here that we had
selected in the baking window are now
actually filled in here automatically
and our ID map shows with colors and a
whole map is not filled in yet because
we yet have to bake it and other than
that it looks like it did a proper job
here I don't see anything off and that
enables us then to go ahead and bake our
AO map as the next thing but before I do
that I'm gonna go ahead here and in my
case overwrite the safe that I already
had
but definitely a good idea to already
save our project now and that way we can
quickly recover it if things are
crashing even though that doesn't really
happen too often anymore
and they also integrated how to save
feature now here in substance painter
which is a nice feature that they didn't
have before so let's go back here to our
baking dialogue I'm gonna unselect
everything that we were previously
baking and I go over here to our AO map
within these settings we need to put our
self occlusion to the same mesh name so
that it also recognises the naming
convention that we put earlier in Max
and I like to put that here too 2 5 6
for an improved quality and the only
other thing that we want to change is
under the common parameters here I'm
gonna put the subsampling to 2 by 2
that saves a significant amount of time
and the quality is still superb and we
really don't need to waste so much time
baking that map out unless you have a
super strong machine then you can of
course put it to a higher subsampling
here and i'll see you as soon as that is
done here in just a moment so now we
also have our AO map and you can see it
because if you zoom in you will see some
fine shadow here where we made those
extrusions and where we have a little
bit of height difference and the AO map
is important for some of the generators
and also of course in general it just
gives more depth to the whole thing to
have a bit of a shadow here and other
than that we have our main channels here
base color metallic roughness normal and
height map and to these channels that we
need to do all our texturing here within
substance painter we still want to add
two more channels to it which is in
particular the emissive so that we
are able to actually add some emissive
fear to those parts where it's supposed
to glow and also we need to have opacity
because this thing here is set up so
that it will actually be transparent if
you remember how we did that in Freddie
Mac's and then it reveals the inside
sphere that we have put there so that is
important to have these two extra
channels here and the only other thing
is that we have to change our shader
that substance painter uses here for the
viewport so that we are actually able to
see the Alpha information that we are
going to be working with here and for
that we go over to shader settings and
you can see here that it uses the PBR
metal rough and we want to change it to
that one here PBR metal rough with alpha
blending and now that we switched it to
that we will then actually see once
we're making use of the Alpha but before
we get to the actual texturing I just
want to have a quick look at some of the
features that substance painter comes
with especially for those of you that
are completely new to it for example you
might wonder within our text reset
settings why we have a different
resolution here than the one that we
actually baked out and that here just
means that we are looking at it in a 2k
viewport resolution if you change that
to a 4k then you get the original
resolution that we have baked out that
we can actually support and other than
that you can just take a look at it here
in 1k you can look at it in 512 and you
can even look at it here in the absolute
lowest possible resolution that
substance painter lets us display and
obviously that's where it gets really
pixelated and ugly so by default I
usually leave it at 2k which is a good
resolution to do your texturing in if
you put it to 4k epic
sometimes a bit slow especially if you
have a lot of layers on it and speaking
of the layers let's switch to that tap
here very similar to photoshop if you're
familiar with photoshop then you
probably recognize all these different
modes here that we can make use of and
also we have our folders and all sorts
of things that might be familiar to you
in that case so in order to actually get
a certain look here now in our drone
which by default always shows white if
you just baked all your textures we can
now make use of different kinds of
things like we could drag materials on
here or we could make or very own
material which is always a good starting
point if you are new to substance
painter so let's add a fill layer and as
you can see it comes here with our color
metalness slider roughness all the
channels that we have available and that
help us to customize our look so for
example I want that here to be a rat
drone and now let's say you want it to
be super chromey so in that case first
of all you want to have the metalness
here all the way to the right which
makes it then clear to substance painter
that this is metallic material here and
within our roughness we then have the
option to make it either a very matte
metal or very chrome II so it's really
all about being in control here over
these sliders and giving it the kind of
look that we want to have for it maybe
we don't want it to be as strong here
with our saturation so we can lower that
and really with that you can create your
very own material here with a certain
kind of a look and we can then add more
layers on top here like another fill
layer where in that case here we don't
have the metalness on once again if I
put it here to the right we have it but
it's always good
to work with either metalness all the
way on or off if I put it off here we
still get our roughness which we cranked
up all the way so it's still glossy but
you can tell that it's not looking like
an actual metal right here it more looks
like a glossy plastic but for the
demonstration purpose let's just put it
to an actual metal here because we
already added another fill layer on top
and it's always a good idea to think of
it in a way where you have the metal as
a base and then you put the metal
coating like a paint or whatever else it
could be on top of that and that coating
here which now is just another fill
layer should then have the metalness
turn off so now we are able to add a
mask to that and on that mask when we
right-click it make sure you actually
right-click the mask and not here the
actual fill material then we can add a
generator and within these generators we
have different options so I'm just gonna
use for example here the mask builder
which then exposes that material here
which right now is set to white so for
example let's crank that up here a
little bit so we get more information
and if we now go into our actual
material the fill layer we can then
change that here to any kind of a look
that we want to have and also once again
control the roughness and that way we
can quickly customize it here to a
unique look that consists out of two
materials one metallic and one
nonmetallic which is quite common here
within the hard surface texturing
alternatively if we don't want to create
those materials here from scratch we can
also already make use of these
predefined materials here
so for instance let's use the iron pure
I'm just going to overwrite the layer
that we just created here the red one
and you can see that this year is
already set to certain looks that
resemble that kind of a metal look like
a bit of a bluish or greenish tint maybe
in there and of course our roughness
here set to an amount where pure ayran
is not supposed to be like a full chrome
as it would be if we cranked it then
further up but you can see how we are
still in control here and we can really
make out of it whatever we want and of
course it's always worth to try out
different materials see what kind of a
look we get if you are here in the
selection of material you can just
override it by clicking on any of the
other materials and that way you can
really toggle through it very fast and
see what could work some of the
materials already come with some
patterns here built into them that we
can then also change around it's
completely procedural we can even change
the look of the pattern itself here and
we can change the tiling of it we can
add some rust and weathering so you can
see that some materials are more
advanced than others that are basically
just fill layers here let's take a quick
look here at these smart materials and
what these are is that they consist out
of different layers or materials here
which then have like masks and different
blend modes here already stacked on top
and that then saved as a folder makes it
for a smart material so if you open that
folder you can then see that we have a
dirt layer here we have this worn
surface which has been
created by adding that mask editor here
to that material and the material can
also be modified of course so for
example the roughness we can dial it
down and that once again just shows how
customizable everything within substance
painter is so enough of all the basics
let's get started with our actual
texture I'm just gonna delete everything
that we have here in the way select it
and hit that trash button gonna start
with a new folder gonna call it grill
switch over to our material tab and at
the raw iron material in it now
right-click the folder add a black mask
and add a mask with a color selection so
now we can select that grill here and
before we add our alpha information
let's also select the yellow stuff here
so now that element is all chrome I'm
gonna delete that layer one layer here
that we don't need and let's make a new
folder and start working on our alpha
that we want to have there at the grill
I'm gonna add a new fill layer into that
alpha folder and I'm gonna make the same
thing as before black mask and now that
fill layer that we just added in that
folder I want to put our opacity to zero
and now with the color selection we can
then simply select that yellow color ID
material and it gives us our alpha but
now there is a little problem which is
that the inner sphere is also gone
remember we had a sphere in there and
that's because in 3d max I should have
given it a different color it's both
yellow here let's press f1 to get into
that view and pick color here shows this
is both yellow and we need to actually
have this as non transparent so I'm
gonna add the paint layer here on top of
our color selection
go over to polygon fill and put it here
to UV junk fill and then just slide over
that and that did nothing I gotta put
that here to black on the color and now
with that selection you can see that we
actually have it as intended here
there's our inner sphere and now let's
carry on here with the inner sphere
while we're at it or I'm gonna call it
inner mechanics add a new fill layer
here into that folder and let's just
make it black or something we don't have
a mask yet so it basically overrides
everything gonna make that metallic put
the metallic to one and now let's add
our black mask here to that folder go
over here to polygon fill and then make
another UV chunk selection for the inner
sphere and we can call that your base
that fill layer add a new fill layer on
top add a black mask to it and now we
want to add a fill here to that black
mask scroll up to procedurals
and you can really just dry out
different looks I like to have this
checker pattern here looks kind of
interesting and with that we can go back
into our material properties here and we
can disable the color we really just
want to have it mostly for our height
information and maybe roughness and
metallic gonna crank that height up a
bit and that way we quickly made some
interesting details even if it's not
exactly one-to-one our reference let's
go back here to our stack or folders add
a new folder on top of everything outer
rings is what I want to be doing next
so with that new folder here let's go
back to our smart materials this time
and the one that I want is let me scroll
down here
it's the silver armor which I use quite
frequently already has some nice little
scratches and some subtle wear and tear
let's also add a black mask followed by
our color selection and let's just
select that so keep in mind that also
adds it here on top of our head for
wherever we had that mask that color ID
and that's exactly what we want so I'm
gonna continue here with another folder
and that's going to be our outer shell
so basically the biggest part of
everything and on the reference image
that looks to me like something
nonmetallic actually it's more like a
very hard plastic and you can feel free
to try out different materials but the
one that I found works very well for
that is the lat X black if you see that
it already has some nice interesting
wear on it
let's add a black folder on it as well
and our color selection and let's just
pick it so now if you take a look at it
it has some subtle wear already which is
really cool like these little roughness
scratches and it just makes it for a
really nice material I find also has
some interesting roughness information
here you can cycle through that with C
to take a look at all our channels and
now you see that we have a few of these
white little steps and that's something
that we can easily get rid of by
creating a new fill layer and we just
want to put it all the way here to the
bottom and now let's call that base or
base filler and just put that to a black
and see how that will just disappear
here pitch black and I want to have no
roughness for it whatsoever and that
basically takes care of it
now our alpha grille still has some
fragments here from that color ID so
let's go back to the color selection
and crank up that tolerance level to 0.5
which as you can see gets rid of it
entirely
that is something to keep in mind when
relying on these color ID maps that it's
based on pixels and we have to adjust
our radius or tolerance let's carry on
with another folder called red glow and
I want to put it as the name suggests to
red and our emissive information I'm
gonna put it also to red so now you can
see we get a bit of this glow here
already and a black mask and same as
usual just select our light here and I'm
gonna do the same thing here with
another folder call it our blue glow
also add a black mask and a fill layer
to it and I'm gonna have another color
selection here for these blue parts and
do the same thing as before here on the
emissive put it to a blue and then we
just need to scroll up here and also go
to our actual base color and we also
want to give it a blue can be really any
color so you can put it to green if you
prefer that but let's just stay here
with the reference for now and let's go
over I sometimes like to switch you with
f1 with the 2d and 3d view and let's
scroll down here to our inner mechanics
folder wanna do a little bit more work
here on that go over here to our checker
pattern settings and I'm gonna click on
that lock here so that we can scale it
only on one axis gonna have it 0.7 here
and 1.79 something like that to make it
a bit more square here and let's take a
look here at one of the reference images
that I found where we can see that there
is a bit of a glow in
as well that's gonna add for some extra
detail and we can then just go over here
to our alpha and actually before we
select one let's get back here to our
Glo folder and I want to add another
paint layer here on top of our color
selection and now within our alpha here
let me see if I can find it it's the
shape lines here and basically I want to
stamp some emissive information here
into those squares but before we do that
let's scroll down here to our properties
of our brush and I want to set it here
to UV and to texture so that it works
better here in our 2d view I like to
work in the 2d view most of the times
it's just more precise than doing that
in the free leave you I find and we can
adjust our spacing a little bit here and
the size just play around with these
properties in order to match it here to
our square patterns you'll see in just a
moment we also have control over our
line width fear and now it looks like it
actually fits right into that square
pattern here
and I'm just gonna stamp it down here
and you see it appearing there in the
background and now to change things up
we can rotate our alpha and put the lion
quantity to one change our line width
maybe a bit more once again so that it
fits our square here and then just zoom
in here and stamp it down but we want to
be here on our glow actually at a paint
layer to it I forgot that and now we get
that information also here for the blue
emissive and now another thing we can do
here is to make a right-click add a
filter and add a blur that way it
doesn't look so perfect because usually
with the glow you have a little bit of a
blurry
the fact around it to make it more
realistic if you toggle that and we can
do the same thing here with our red glow
also add a filter here on the mask and
maybe put the blur intensity down a bit
0.11
so now we have some interesting details
there for the inner part of that sphere
and once again it might not be exactly
as the reference but I think it would
have been just too much to do the
complete high poly there for the inside
so now let's add some extra details that
we didn't want to do earlier in max
because we can really do it in a very
quick way here
in substance painter I'm gonna make a
new folder call it extra details add a
fill layer and then within that fill
layer let's switch it to a black
material here base color and the
roughness we want to bring it down and
now let's add a black mask here to that
material and with that mask active we
want to select another alpha here let's
scroll up and you can see that double
circle here and that is exactly what we
need we just have to change the
properties a bit I'm just gonna make a
stamp here so that you see that it's
actually working but we still need to
adjust here our settings so that it
looks in accordance to our reference and
for that I'm gonna have to change our
circle out border width fear put that to
0.25 and the circle in scale we want to
bring that down and now we just have to
make the inner circle a bit bigger here
0.5 and now with that we have exactly
that kind of a shape as seen on the
reference let's get into our 2d view
here with f1
and then with our reference image here
on the right side I have it on my second
monitor we just stamped these patterns
in here where we see them so the first
one would go here and let's get into our
material here not the mass the material
and adjust our height information so
that it looks like it's actually going
inside so now we have some depth fear
for it and what we can also do is here
on our properties for the roughness
really bring it further down so that
this doesn't reflect any light so much
and that just makes for a better
contrast and then we just carry on here
and stamp that here in the other free
parts and we are not done yet because
there is more of these guys let's switch
over here to our roughness view just by
pressing C and that just makes it easier
to see where we actually place these
details because we have this nice white
on black contrast here and that's
essentially where we need them here at
the sides we can also toggle here our
View mode by the way to take a look at
the actual normal map here and you can
see how that really stamps in normal map
information here straight on to our
texture and let's just carry on here to
add these remaining details here and
that basically saves us a lot of work
like if we would have done that in 3d
max it would have just been extra work
that we can do much faster here in
painter and you can see now we have
these details on here that's exactly
what we need it let's take a look at the
reference those details here and let's
see if we need anything else here on it
we have another one of these rings when
we take a look here at the reference
which is there on that
ring segment there where we have the
silver armor for that ring we only want
to have the outer ring so I'm gonna
adjust our outer border with it's not as
thick as the others and bring down the
inner ring completely to zero so now we
can just stamp away here and at this
extra detail and that leaves us with
only one more element here that we want
to add through these alpha stamps so
let's take a look here at our reference
again and we have this metallic ring
there right next to the other one where
the camera is so let's go over here to
our materials and I'm gonna add a pure
iron material here into our extra detail
folder add a black mass to it and then
here with that ring alpha we can zoom in
maybe increase the width a little bit of
it and then just stamp it here into
place go into the properties of our
material enable height information and
then drag that slider a little bit here
to the left so that we have some actual
depth there as well and maybe I want to
add a bit more of that so now we can
actually see that there is some height
information minus 0.2 might work well
here for that and now what we can also
do on top of that is to simulate a bit
more depth there in the center of it we
zoom in here and compare that with our
reference it looks like there is some
more depth so let's switch back to our
other material here that one with a
black color for these guys
and let's go over here to our mask for
it and let's just change our alpha
information here to the shape brush that
is the default brush and let's just make
it a little bit softer here
bring it - something like that here and
also we can change our intensity here
and then really just stamp here into
that shape and that did nothing because
we need to put it to black which you can
do if you press X that switches it from
white to black same as in Photoshop I
think and now we have a bit of this
depth in there which might be a nice
touch so let's make some use of our maps
that we baked out earlier to add even
more detail you to it and what I'm gonna
do is I'm gonna have a new layer here on
top of everything make sure it's a layer
and not a fill layer and I'm gonna call
it curvature add a fill right onto that
layer and now let's scroll down here to
our base color and punch in curvature
here or just curve at that fill and then
here on the layer settings we're gonna
put it to overlay you can see how that
adds some extra detail here and we may
not want to have that much information
so I'm gonna put it here 250 opacity and
now we're gonna disable everything aside
from the color so now if we toggle it
you see a little bit of a extra detail
there doesn't have to be much and I'm
gonna make another layer here gonna call
it AO and you can almost guess it we're
gonna add a fill and add our AO map to
it just search for ambient here and that
will filter it here to our AO map now
I'm gonna put that to a multiply and we
can also disable everything aside from
our color information and then if we
toggle that that just adds a little bit
more and also let's bring our intensity
down here or our opacity I should say
maybe 70 so that it's not super strong
but it definitely adds
nice extra shadow here both our
curvature and Dao in combination at
these extra details and maybe we bring
that further down here on the curvature
to something like 35 so now let's see
what else we can do and I would say we
carry on with some wear and tear because
so far we have mostly a pristine version
here I'm gonna create a folder on top of
our extra detail folder going to call it
wear and tear head and I want to add a
fill layer into it this time we have a
fill layer again add another folder into
that folder call it hat selection and
now drag that fill layer into that
folder so basically we have two folders
add a black mask on our main folder go
over here to the polygon fill gonna use
the mesh fill and then select our head
now add another black mask to our head
selection right click and say color
selection and then pick that dark
material here so only that gets affected
for now add another black mask here with
the generator on it and I'm gonna use
our mask builder here for it so now you
can see how only that black region gets
affected and I'm gonna put that color
down to a more darker tone and also put
our roughness down so that it doesn't
look as nice and shiny where we have
that wear and tear now and that looks
pretty good here on the hat I don't
think we need much more than that
and now what I'm gonna do is take that
wear-and-tear hat folder here right
click and I'm gonna duplicate everything
and call it wear and tear body so now
what we can do is also first of all
rename everything properly body
selection gonna overwrite that mask add
a black mask here go over to our polygon
fill and once again with the mesh fill
select the whole body here
and you can already see how that takes
care of it here our color selection for
it already has this color here so we
don't need to do anything else and what
we can do within those material
properties is add a bit of a height
information here so you can see how that
really gives it a bit more depth I
didn't want to have that on the hat part
which is why I have two separate folders
don't think it suits it on the hat but
maybe we can edit also here to our inner
ring so I'm gonna make another copy here
wear and tear rings go over to the body
selection call it ring selection and now
delete that color here for the plastic
and just selected here for that ring so
now we aren't control over these
different elements go to the mask
builder and I want to bring that
curvature amount down a bit so that it's
not so heavy but otherwise we have a
nice continuous wear and tear here and
let's see if maybe we want to bring our
levels down as well so that it's not so
strong so that's why I wanted to have
these free different wear and tear
folders so that we are really in control
over these individual elements on it
instead of just adding it all over the
droid here as one by the way you can
switch it to orthographic view which I
usually prefer I don't even know why I
didn't do it guess because it's so
spherical I didn't notice now let's take
everything here all our layers press
shift so you got it all select it and
press ctrl G so that adds it all to a
folder here and I'm gonna call it our
default version and let's make two
different texture variants here of it so
let's close that folder right-click it
and duplicate layers that just makes a
perfect duplicate here let's switch off
the default version gonna call it bumble
be the new one and you might already
guess it I want to make it a yellow base
material here where right now we have
that latex black so let's go to our
outer shell folder here and let's see
what layers we got inside here that was
a smart material earlier let's go to the
base and really what we want to do is
change it to whatever color we prefer if
you like blue you can also go with that
but in that case I want to have a nice
yellow maybe with a bit of an orange
touch in here to get that bumblebee kind
of a look here on it and I want it a bit
more intense here the saturation and
with a bit more orange that always makes
for a nice contrast that yellow and
metal I find let's scroll up again here
and customise our wear-and-tear a bit
more here for this bumblebee version
let's go here to the body wear and tear
and I want to increase that a bit make
it a bit stronger here so let's bring
these levels up and also we can change
the color make it a little bit darker
and that way it makes for a bit more
visibility on there maybe bring that up
even further here on the levels of our
mask builder generator another thing we
could do is to change it up a bit here
the actual look of the wear and tear
where it's placed by clicking on that
random button since it's all procedural
it will just place it in different
places we might also want to bring the
contrast up a bit here and another thing
I want to do is actually mask that
camera eye region out a bit here so I'm
gonna go down to our outer shell folder
and to our mask I'm gonna add a paint
let's go over here to the
polygons Phil and just select it we can
do that here within our UV view and I
need to have the color on black or else
it won't work so now we have that masked
out here but we want that to be metal
actually and I want it to be the same
metal as the one here from our outer
rings so let's right-click the mask and
add a paint here to it so that now if we
go back to the polygon Phil we can put
our color to white this time and add it
back to it so I think that suits it
better than having yellow in there so I
think we could even go stronger with the
wear and tear let's scroll up and on top
of our wear and tear that we already
have we create a new folder here and I'm
gonna call it rust body and let's create
a fill layer that we kind of dragged
into that folder and then add a black
mask same as usual go over to polygon
fill and with the element mode let's
select our body let's add a black mass
to that fill layer right click it and
add another fill and now we're gonna
make use of one of the filters and it's
called the matte FX rust so let's drag
that here into our uniform color slot
and right now that doesn't look very
impressive let's go over to our fill
layer the actual material and change it
to something black here if you want you
can also try different colors maybe with
a bit of red in so right now it doesn't
really have the look I want so let's go
back here to our mask and I'm gonna
right-click it add another filter and
I'm gonna choose the invert so that
flips it around and just suits it better
here the whole thing looks like it's
actually forming up where we have our
divisions so we're gonna have to do a
bit more masking but first let's go into
these parameters and you can see that
you have some really good control here
over the spreading
and now let's go back to our main mask
add a color selection and let's just
pick the region that we really want to
have for it which is the outer shell
here the yellow part on that Bumblebee
and now we have some nice rust forming
up here let's go back to the material
properties here of that rust and play
with that height information so that we
have a bit more thickness there and
depth so I don't want it to be so strong
on the Hat what I'm gonna do is select
that rust body folder press ctrl-g and
I'm gonna call it rust body mask because
I only want that to be on the body for
now add a black mask and then with our
polygon fill we can make a selection
here back for the body only gonna
duplicate that rust body folder and
gonna call it rust head mask override
our black mask and now what we can do is
select everything here on the Hat and go
into these individual folders that we
created before and just bring that
intensity down here quite a bit the rust
spreading like I said I don't want it to
be so extreme there on the hat as it
used to be before but I think that still
looks pretty cool here maybe even lower
than that 0.0 15 and that way we still
have our actual hat here and has all the
details
showing nicely let's go into our color
selection here of the Hat mask and I
want to also have these silver ring
elements here you could also leave that
without the wear and tear might actually
look cool if it's just pristine there
but otherwise we can play around here
with different wearing tear styles for
that as well and now let's just close
that rust hat mask folder that we have
here just by clicking on that folder is
symbol and I want
have another duplicate of here let's go
to duplicate layers and I want to have a
third one here for our rings override
the black mask and let's just select the
body again here and now within our color
selection we can just click on that
minus symbol here for the gray parts so
that only those silver rings here are
affected if we toggle that and now we
have control over that entirely here
without affecting the other areas and I
might want to bring that smoothness down
a bit
same as our rust spreading itself here
and really just a matter of playing
around here with these sliders until we
like it bring down that intensity here
for these drips and otherwise I think
that looks pretty convincing here with
the wear and tear for it so one thing I
want to do is I want that to be black
here actually so let's go down to our
outer shell here this one open up that
folder scroll all the way down and right
click on our base and make a duplicate
of it gonna call it black and change it
to a darker tone here doesn't have to be
pitch-black
if you press C cycle through these
channels you can see that the roughness
for it is cranked all the way up and to
have more contrast I want that to be
only half as strong 0.5 press ctrl-g on
that black material that we have here
now and I'm gonna call it black masking
that folder add a black mask to it and
now pressing f1 we're back into our 2d
view here and with the polygon fill we
can now make a mask here for having this
part here showing us black
and now I'm gonna go over here to our
paintbrush and I want to do another
thing here first of all I have to put
that to UV and texture again and let's
put the hardness up all the way here on
that brush and I actually want that here
to appear also as dark material we're on
the black version we didn't really see
that because it's black on black and
here it might be nice to have some extra
contrast with that material here for
these screws and that is just more
precise to do in the 2d view even though
we could also stamp it right in the 3d
view but for the procedural things I
like the freedom you for some custom
work like that here I like to toggle the
2d 3d view for it so now we have our
bumblebee version here hope you like it
and you can play around with different
glow colors and just customize it
further if you want let's make another
version let's copy the bumblebee make
sure the actual folder under it is
hidden and I'm gonna call it what land
camouflage and just to show you how fast
we can create an entirely different
looking version again let's go here to
our base layer the yellow bumblebee
material if we toggle that and then up
in the properties here in the base color
let's search for woodland and that
brings up our camo woodland material
here and that's basically already it we
can change the randomness here of the
seat if we want we can even change the
color of the camouflage and we can
change the tiling however you like it
and we can also go over here to our rust
wear-and-tear if we want and also it
once again change the randomness of the
seat for it
let me just make sure I'm on the right
folder here and that way we have like
something that doesn't just look like a
clone of the other but actually is
another version here so I hope that you
enjoyed this latest 100% free tutorial
and I am going to release more tutorials
in the future both paid and free ones if
you want to support my tutorial creation
efforts you can donate a Bitcoin if you
want or send something to my PayPal
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donation is very welcomed and other than
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soon
Cheers
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you
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