>> Hey, guys.
Henning and Morten from FlippedNormals here.
In this very exciting video, we are going to take you through everything you need to know
in order to get started with Substance Painter.
It's going to be maybe an hour or so.
>> Something like that, yeah.
>> And it's going to be -- it's going to allow you to be a pure beginner to something
where you actually know how to navigate the software, what the general principles are.
So, before we get too deep into this, we just quickly want to talk to you
about our full introduction to Substance Painter Series.
This video you're watching now is not a free excerpt or anything on this.
This is a whole standalone video.
But if you're interested in learning more about Painter, we have a full course which is
over four hours long which covers essentially everything you need to know,
where we also go through a more project-based approach where we do --
we texture this fan here from scratch.
>> Yeah. So, if you're interested in something that's more project-based
where you have a one-to-one thing you can follow,
that's going to be probably your next step after watching this video.
>> Exactly.
So, before you also get started with anything in Painter, follow the link in the description
or Google Substance PBR Guide and read these two volumes, Volume 1 and Volume 2.
These are by far the best guides ever written on understanding PBR.
And if you don't know what we're talking about in terms of PBR, you definitely have to read it.
>> Yeah. It's essential for any sort of modern-day texturing nowadays,
especially when you're doing it in Painter.
>> Yeah, it really is.
So, let's open up Painter and let's see what we have.
This is what it looks like whenever you first open up Painter.
We're using 2018.3.3.
And the thing in Painter is you need something to work with.
Like it's not like ZBrush and Maya where you can start painting on nothing.
>> No.
>> We need assets and projects.
So, what we're going to be doing is we're going to go to File, Open Samples and we're going
to go this little nice guy called Meet MAT.
This is a really good project to work with because it's quite simple
but has everything you need in order to get started with stuff.
>> Yeah. The nice thing about this is that all maps are there for you to use
and like it's just easy to paint on because it's got nice UVs and everything's laid out.
>> So, we use this in a full series as well just because it's an awesome way to get started.
>> Yeah.
>> So, you have all the tools you need over here,
such as the painting tools, erasing tools and all that.
We'll get to this a bit later on.
Up here, we have the menu such as saving, loading, quitting the software.
>> Should you want to rage quit at some point.
>> Should you want to do that.
Navigation is Alt-left mouse button to rotate.
To zoom, you hit Alt-right mouse button and drag.
And then to pan, hit Alt-middle mouse button.
Now, you can pan around.
You can also see we have a split viewport here where you can see the UVs and the 3D model.
I don't really like to work like this.
I generally prefer to see the full 3D viewport.
So, you can hit the F1 key to have the split viewport which is what you're currently seeing,
F2 for the full 3D view and F3 for the 2D view or the UV view like this.
>> Yeah. Most of the time, I mean, seeing as it's a 3D painting software,
you'll probably be using the 3D viewport.
There are instances where the UV viewport is useful, like stamping on logos or something
when we want to be more precise with lining stuff up.
But most of the time, it's going to be this viewport.
>> Yeah. So, you can also drag stuff around.
So, this is really cool and you are definitely going to be doing this by accident.
So, if you, you know, want to customize your interface,
you can do this to your heart's content.
It's really cool stuff and you can really make an interface which suits you.
You know, everything is really modular here.
The way you fix this though is now, we have screwed this on the out
and repair is we go to Window and we'd reset UI.
Now, everything is back to where you went off.
And it's important to say in the beginning
because you will definitely screw some of this up.
>> Yeah. The nice thing about Painter here is that the UI is relatively simple and the amount
of UI options that you have are also kind of limited but in a good way.
So, after this introduction, you should have a fairly good grasp on everything, actually.
>> Yeah, exactly.
Then we can also rotate the lighting around if you hold down shift and then right mouse button.
So, this is the only way to actually change the lighting.
You don't actually have 3D lights and there is no way
to lock this to a camera, at least not yet.
So, if you're going behind here and you're seeing that it's really dark,
you need to hit Shift-right mouse button and just rotate the lighting.
This might seem a bit annoying in the beginning but honestly, it just becomes second nature.
>> Yeah.
>> It's not going to be a problem at all.
Then one thing you can see though is we have this glare.
And this is super cool but it's absolutely useless to us.
This might be cool if you're presenting your model but for any kind
of texture painting, this is beyond useless.
>> Yeah. It actually just messes up your colors most of the time.
>> Exactly.
So, the way we change this is we go to our menus here up on the right
and the top one is called Display Settings.
We have a bunch of cool settings here, but the one we want to disable for now is Post Effects.
Disable this and we see that glare and now there is no more glare.
This is also where we can change the focal length as well of our camera.
Default 17 is fine for this guy but if you have something
like a human face, it's going to look really weird.
>> Yeah. You probably want something closer to 35, maybe.
>> Yeah, exactly.
We can also change the environment map you're seeing as well
because everything here is lit with an HDRI.
Like I said, we don't actually have lights at all.
We only have HDRIs.
So, the way we change our lighting is we go in here and we change the lighting.
You can see here that a lot of the default HDRIs are quite bad
because they contain so much color.
Like now, there's a green tint to it.
The other one has like a nice warm tint.
You really want to be careful with which HDRI you're using.
I prefer one of these guys, like Studio 2 is quite nice.
It's quite neutral and it doesn't have any color information.
>> I mean, if you are interested, FlippedNormals also has a studio pack
that you can actually use for this.
But I think the default that come with Substance are pretty good.
>> Yeah, they're decent.
>> Yeah.
>> This is also where you can do the rotation, but you don't want to do it here.
This is purely the Alt -- oh, sorry, Shift-right mouse button.
Also, keep in mind, when it comes to rotation, you can't rotate up and down.
So, if you have an HDRI and something is super dark on the bottom
or the top, that's just tough luck.
>> Yeah.
>> You can't really do anything about that.
>> Change your HDRI.
>> Yeah, exactly.
>> That's about it.
>> We can also change the exposure.
And you never ever, ever want to do this when you're painting because now suddenly,
if you make it too bright or too dark,
you're going to over-light or under-light your textures.
So, make sure this is set to zero.
You can also enable the shadows which are quite cool
because now you can see a more approximate result of what you're doing.
You can change the computation mode as well here, but lightweight is quite good.
I honestly prefer to work without shadows on.
>> Yeah. Because again, like when you're painting textures, we want,
like we want our albedo to be as pure as possible.
>> Yeah, exactly.
>> And shadows can be good for previews, but you might forget to turn it off at some point
and then start to correct after the shadows.
>> Yeah, exactly.
Then after we've disabled old stuff here and particularly the pose effects and we know how
to change lighting now, we are quickly going to look at -- these are texture sets.
Texture sets are essentially shaders.
The way I like to think about this is
that every single texture set here has one shader assigned to it.
So, whenever you're exporting this back into Maya,
the head texture set will be the head shader.
It could also be not grouped based on body part but based on material.
I would call like maybe brass and this would be called skin and this would be called iron.
That helps me a lot.
>> Yeah. And that's really how you separate it.
So, you would always prep it in another 3D software beforehand.
>> Yeah, exactly.
>> Just simply, you know, select the object or parts of the objects that you want
in your texture set and apply a different shader to it.
>> Exactly.
So, you can see these also have different UVs as well.
So, there is no overlap between them because there's completely separate shaders.
Whenever you're dealing with texture sets, you kind of got to discard the mentality
of like an outliner or hierarchy of your objects
because the hierarchy is completely irrelevant when you're texturing.
Hierarchy is used when you're rigging and doing that kind of stuff.
But for this, these are pure shaders.
Let's go back to F2.
So, we can switch between the texture sets by going up here and just clicking on them.
Or we can do this by holding Ctrl Alt and right mouse button on the various texture sets.
This is the way you probably want to do it because clicking up here is quite annoying.
Let's say you're painting down here and you want to switch it, quite annoying.
So, Ctrl Alt-right mouse button.
We can also solo it.
So, let's say you only want to see the body.
Now, you just hit the solo button.
This is something I do all the time.
>> Is there a way to set up a hotkey for the solo button?
>> Yes, there is.
It's Alt-Q which I believe is the old Max hotkey for it?
>> Yeah, I think so.
Yeah. One thing that's also nice is the tool tips that you get in the bottom left-hand corner
of the viewport whenever you're selecting hotkeys that it sort
of shows you what possible options there are.
Like when you're rotating and stuff, that can be quite handy.
Especially in the beginning, the hotkeys
and what they do can be a little confusing sometimes.
>> Yeah, exactly.
You can also change the shader right here.
This is something, we aren't covering this in this series but if you want
to have a different shader assigned to it.
For instance, if you're dealing with opacity, this is where you would do that.
Then we have the brush tool.
By default, we have a regular layer and we cover layers a little bit.
The brush tool is one of these tools you are going to be using quite a lot.
So, the hotkey is 1 and you can find it over here.
I prefer to use hotkeys as much as I can.
And by default, you're just going to paint like this.
One thing I do very often whenever I'm painting with this is that I disable pen pressure
for either the opacity or the flow or the size.
So, you can do that by going under right next to the size and disabling pen pressure.
Because now, we have the exact same pressure all over.
And you can do the same with flow.
So now, you can enable pen pressure and now you have really a lot more control with it.
>> Whatever the difference between the two are.
>> Yeah, flow and opacity.
You can resize the brush by holding Ctrl-right mouse button and going left and right.
You can change the hardness by holding Ctrl-right mouse button and going up and down.
You can change -- you can rotate it which we can't really see here right now
because there isn't anything assigned to it.
But you can rotate it by holding Ctrl and then going up and down.
>> So, this is just going to be a little confusing in the beginning.
It just takes some time getting used to.
>> Exactly.
You can just kind of see your cursor is rotating around.
And then opacity is Ctrl -- flow is Ctrl and then just go left to right.
You can also get straight lines by holding the Shift key when you're painting
and you can hit the D key to get lazy mouse.
This is incredibly handy if you really want, like, nice clean lines here.
So, let's do some of this and you just get nicer, cleaner lines this way.
That's a D hotkey.
Then we also have symmetry as well which is relevant with brush tool.
The hotkey there is L or you can go up here and enable symmetry.
This is really cool symmetry.
It's not like Mario symmetry which works on screen-based.
It's actual real symmetry.
>> Yay!
>> Yay! One thing to keep in mind as well is that you can't paint across texture sets.
So, if you want to paint to the body now, you can't do that.
You have to switch to the texture set and then paint on that.
That's why I recommend a hotkey for doing that because otherwise,
it's going to take too much time to go over.
>> Yeah.
>> We also have the color picker which is the P key, which is honestly quite annoying for me
because you have to move your hand a lot.
But that's how you change the color picker.
The color is back to --
>> So, you click it or hold it down?
>> You click it and then you click where you want and then it switches.
You can also right click to get up brush settings such as size, flow,
spacing, all these kind of things.
And on the bottom, we also have the color as well.
So, you can change the color to whatever you want to.
Then we have layers.
So, layers is really where the fun begins in Painter.
We have regular layers which is exactly this.
Let's actually go to the head and isolate this and delete this.
So, you delete layers by hitting the trash can.
And you have two different layers here.
You have the fill layer, then you have the regular layer which is just a paint layer.
The paint layer is where you can paint on it.
Nothing fancy about this.
This is very straightforward.
This is where we can also project stuff on top.
And if you want to paint custom masks or whatever you want
to do, use a regular paint layer.
We have blending modes to the right.
And we can also change the blending mode per channel.
So, if we go down here, we have different channels.
We can paint, for instance, with height.
So now, we're painting with height and we're painting it with red at the same time.
So now, we have some height information in our brush.
So, we can go down here and we can change this now to height.
And we can now change the opacity of this.
So, this is the way you control the different channels.
So, if you have roughness, for instance, you do the same thing.
You can change the reference value and you would choose roughness
and you change the blending mode or whatever it is.
So, it's really cool that you have such fine control
over all the different channels right here.
Where the magic happens though when it comes to Painter isn't with paint layers.
Like, it's called Painter but you really aren't going to be doing too much hand painting.
>> Should be called Substance Filler.
>> Should be called Substance Filler because we are going to be using the fill layer a lot.
So, a fill layer is kind of like a material.
I like to think about every fill layer as a separate material
because we have all the material attributes we need.
This is also where we see our properties.
And this is where this becomes relevant.
We can see down here, we have all the properties for our fill layer
or whatever it might be, whatever tool it might be.
So, we can change the color by clicking to the gray part here,
the gray part, and we can change the color.
We can change the metallic.
Is it metal?
Is it not metal?
So, we can make this metallic.
We change the roughness to make it really shiny.
And we can't really see the effects of height or normal right now.
So, this is what I mean with it being a material.
But now, we have essentially created some kind of like,
almost like a car paint shader or some kind of red material.
So, you can change this here.
>> So, the interesting difference here between paint layers and fill layers is
that for the fill layers, instead of painting it, you're sort of almost erasing it.
>> Yeah, exactly.
So, the way you would do this is if you want, let's say you have a base here
with a car paint shader and then you want to have another layer on top,
maybe you have some rust on top of it, you will make a separate layer onto fill layer on top,
make this rust and mask between them.
We'll get to this in a little bit as well.
So, let's delete these and let's make a new fill layer as well.
So now, we're going to talk about one of my favorite features
of Painter which is adding grunge maps.
So before, we added the color straight under here to it.
But what we're going to be doing now, instead of adding a color,
we are going to be adding a map into this.
So, if you click right above it where it says base color, we can now hit type grunge.
And now, this is going to be flooded with awesome grunges.
We have so many different maps.
And honestly, I think this is one of the biggest strengths of Painter
because you can change the look of your texture so quickly.
And a grunge map can be used for really anything.
>> Yeah. There's a lot of good variety in the maps included in Painter, actually.
>> Yeah, there really is.
So, one cool thing as well is that we have access to tri-planar projections.
So currently, this is using UV mapping as the projection method.
So now, you can see we get seams where there are seams in the UV map.
And that's unavoidable.
That's --
>> And that's what you would expect, you know.
>> Yeah, exactly.
It doesn't matter how good a UV map is, you will have seams by definition.
But if we change the projection type to tri-planar, now suddenly,
you are not going to have any seams anymore, at least not where the UVs are.
Because now, we have three planes which are projected maybe from here,
here and here, depending on your setup.
And you get a nice blend between the planes.
>> Yeah. So, where you would normally have seams with tri-planar projection,
it actually fades between the different maps.
>> Yeah, exactly.
So, we change the hardness to this and now you can kind of see where the different planes are.
So, you can definitely see a seam but because we can change the hardness all the way down,
you now just get this soft transition.
>> Yeah.
>> And this also means that, we shouldn't really say this,
but it means your UV map can be a lot worse because now suddenly,
stretching isn't that much of an issue.
>> Yeah.
>> You can also see here we have a little gizmo.
This is something they recently introduced in Painter.
So before, you can only do it with rotation scale in here.
But now, you can actually move it around.
You can use -- by default, it's going to be set to just move.
You can set it to rotate by hitting the E key.
And you can set to scale by hitting the R key.
And back to move with the W key.
So, W, E and R.
>> So, one thing we talked about, it's probably a good idea to be consistent here
with which method you use, so you don't start mixing the normal scale rotation and hardness
with maybe with the gizmo or something.
>> Exactly.
Because now, if you start to scale some stuff here and then you scale some stuff here,
it's really hard to know what's actually happened to it.
Like you can have a crazy high value here, but you don't really --
but maybe you can't see what's going on.
So, I really recommend you stick to either using the scaling here
and rotation here or I prefer to use just a gizmo.
I think this is a really good addition to it.
>> Yeah, yeah, it's very intuitive to use.
>> Yeah, it really is.
You can get some really good results with this.
You can also duplicate the fill layers around and then you can mask out different parts.
For instance, if you see here, we have like a pattern going across, you could duplicate it
and then you can rotate it and now you can mask out different parts.
So, this is really one of the strengths of Painter.
So, let's add something into the roughness slot as well.
Now, you can see we have different slight variation in the roughness to this.
Now, this is where it becomes relevant that we have different channels.
By default, we're just seeing the material.
So, this is with all the lighting and everything into the model.
>> Yeah. Everything's sort of like stamped or like meshed together.
>> Yeah, exactly.
>> So, you know, if we were to add another one into the height,
we can see crazy stuff going on here now.
And this is really nice that we can see everything because this means
that we get a pretty good approximation of what the final one's going to look like.
But it's not very good for actual painting because when you're painting,
you need to paint every single map.
You need to control every single map you have.
So, if we go up here to the top right,
we can see that we have material and then we have single channel.
So, this is where you can choose the different channels.
We have like metallic, roughness, height, normal.
And then we also have below, we have mesh maps.
These are maps which are being generated by Painter itself when you bake stuff.
We aren't covering too much of this in this series
because baking is a whole separate chapter by itself.
>> Yeah.
>> But you can choose these by simply clicking on them.
And now, you can see the different channels.
You can also use the hotkey which is C to go between them and Shift C to go back.
>> Yeah. And here, it becomes pretty apparent when you switch between something like roughness
and then your height, for example, that you can see the different maps
that we've inputted into those.
>> Yeah, exactly.
It becomes very important to be able to see these individual channels
because after you get a certain level of complexity into your maps,
you might just have -- there is some reflection somewhere.
>> Yeah.
>> Where is that coming from?
Is it coming from -- is it the height map driving it or what's going on here?
So, C to go between, Shift C to go back and B to go between the baked maps.
So here, you have ID, ambient occlusion, curvature, position, thickness.
We have a whole separate video on this as well on YouTube
where we cover what each texture map is doing.
>> Yeah.
>> So, we highly recommend that you check that out as well.
And to go back to material, you simply hit the M key.
M for material.
This is something you're going to be doing a lot, so really get used to these hotkeys.
When I was learning Painter, I was sitting down and straight up just hitting the M key,
hitting the C key, Shift C, going between them, B, Shift B. Really get used to these
because these will be your everyday painter life.
>> Yeah. It's going to speed up your painting a lot.
>> So, now that we briefly talk about the fill layer, we need to talk about masking
because masking is also really where the magic happens.
>> Yeah. Especially when you work with fill layers.
>> Exactly.
The magic happens in a few different places, but particularly when it comes to masking.
>> Magic just happens within Substance.
>> Exactly.
So, let's make two new fill layers.
This one is going to be like, maybe it's like a red paint layer.
And on top, we're going to have some kind of dirt.
So, you can also rename by double clicking on it.
And we can call this red.
>> That's why I really like the material analogy with fill layers because you have the control
of each individual channel and then you just sort of add new materials or shaders on top.
>> Exactly.
Like, we covered this fairly in depth in the full series where we're talking
about if you want to replicate rust, you need to build it
up in a methodical way the same way it's done.
>> Yeah.
>> So now, we have like a nice little paint material here.
And now, we can add another one.
And here, we can make this nice and grungy.
>> Yeah. So, you really just have to think of it
as like the original base of this was painted with red.
And then over some years, it got rust on top or something like that.
>> Yeah, exactly.
We can set this again to tri-planar.
And you're going to be doing this all the time.
>> I almost wish it was default.
>> Yeah, exactly.
One thing as well to keep in mind, when you work with fill layers,
I tend to disable channels I don't need.
For this one, I don't necessarily need metallic and don't need normal so we can disable that.
This just keeps it a lot cleaner because then you have less parameters down here.
So now, we have one layer on top like this and we have --
yeah, we have a red one and then we have some kind of dirt layer.
The way we mask between these now is we right click and we hit add a white mask which is going
to keep everything the way it is, or we add a black mask which is going to erase everything.
This is very similar to how it's done in Photoshop.
>> Yeah, yeah.
So, if you ever used Photoshop and used masking there, this should be familiar to you.
>> Exactly.
So now, we can see that everything disappeared.
We can also disable the mask by holding Shift key and clicking on the Mask.
And we can look at the mask by holding the Alt key and clicking on the Mask.
>> Which I think is actually how you do it in Photoshop.
>> I think this is exactly the same as Photoshop.
This is where we have our effect stack as well.
This is really handy because here, we have generators.
More on that in a bit.
And here, we have paint layers.
So now, let's add a quick paint layer to this.
And now, we can start painting between these.
>> Yeah, that's an important thing to note.
You actually need a paint layer underneath your mask in order to modify it.
>> Yeah.
>> Otherwise, it will be completely white or completely black.
>> Exactly.
So now, we can see if you hold the Alt key and click on the Mask, not on this part,
on the layer, but on the Mask, now we can see what we're painting.
And this again becomes incredibly important when you really want control over stuff.
>> Yeah.
>> So, hit the M key well.
Again, go back to materials.
And here, we can now see exactly what's going on.
Now, this is where we can add some height information onto this fill layer.
>> Yeah, that's the nice thing about the fill layer compared
to the paint layer is here, you can just up the slider.
>> Exactly.
>> Whereas with the paint layer, you would actually have to paint the height information.
>> So now, we can kind of see what's going on.
It's kind of like this is carving into the painting.
So, you can have a lot of control with this if you go into one layer
and just adjusting the height value.
A quick tip as well is if you want fine control here, you can hold on the Shift key.
And now, you can see that we're just getting like way --
we have way more precision over our values instead
of just dragging and that becomes quite tedious.
So, this is really one of the ways you can be doing a lot of your work.
You can be painting masks like this.
So, it's a very quick and easy setup when it comes to masking.
If you want to remove this or restart the masking,
I just go add black mask again and then it all disappears.
You can also copy a mask and you can also remove a mask altogether.
So, let's next look at the shelf.
The shelf is where a lot of fun stuff happens in Painter.
This is what we have on the bottom.
And by default, it's going to be set to materials.
But this has way more stuff than just materials.
The way we can access this is really we can drag and drop our stuff onto it.
And now, we have a material.
This is one of the pre-made materials.
And some of these are simply fill layers which have been turned
into smart materials by the guys at Allegorithmic.
And some of these are made in Designer and are way more hardcore.
>> And are really smart material.
>> And really, really smart.
So, you can just drag and drop them onto it and you can just see what happens.
The way I really learned how to make materials in Painter was to drag and drop a lot
of materials and try to reverse-engineer them.
You know, go through this and see what color they're using, what are they using for height,
what kind of patterns are they using here.
This kind of stuff is really handy.
So here, we can see one which this is made in Designer.
So here, you don't have the same attributes as before.
So, if you're seeing this kind of stuff, that's not because you don't know Painter well enough,
that's just simply because this is made in Designer
and the author has made certain attributes available.
I find these to be quite annoying because I can't really modify them from heart's content,
but they're still really good as a starting point.
>> Yeah. I mean, as we all know, there are some crazy designer materials
out there that can do all kinds of things.
So, they can be quite useful.
>> Exactly.
So here, we have -- these are more -- these are simpler, these materials.
They're usually almost like one fill layer, just modified a little bit.
But under smart materials, this is where stuff is going really crazy.
We will cover this a little bit more later on.
But essentially, you get really advanced effects
by simply just dragging and dropping these onto it.
And this is also where people go a bit crazy with them and they just start
to abuse this system where, you know, they just -- they don't learn how to texture,
they just drag and drop smart materials and they think they're not a great texture artist.
We have a few rants on this.
>> Yeah. There's also videos about it.
And yeah, you should check that out.
>> So, definitely check that.
So, there are also more resources under here as well.
Like, this is where your environments are and stuff like smart masks as well
which are exactly the same as a smart material, just with a mask.
We also have like our project maps.
You can see these were all the maps which have been baked by the baker.
We also have alphas.
So, if you want like a cool alpha onto your brush, this is where you would find that.
Let's actually show that real quick.
So, if you want this in a color, we drag and drop this into the color.
Now, we have a nice little map like this.
So, you can do some pretty crazy stuff with this.
>> Yeah.
>> You can get some very cool effects right away.
You can also use it for height.
And ta-da, you know, we get some cool effects.
We also have all the grunges like I was talking about before
where you -- this is where they all live.
You can also just search for them.
Like if you go in roughness, you can just type search for grunge.
But it's really handy to have them all here.
So, in short, this is where a bunch of stuff will live.
So, definitely worth checking that out, particularly the materials
and smart materials and smart masking.
Also, if you want to bring in your custom resources, like let's say you have images
from Photoshop or whatever it might be, you already baked your maps,
this is where you could bring them in.
So, we have a little -- we have a material or a map which has been pre-made.
And the way we get this in is we simply drag it in to our shelf.
And now, we get this little dialog box up.
This is going to tell you the name of it and then it's going to tell you what this is.
Is this an alpha?
Is it color lock, environment?
Or is it a texture?
This is a texture and you've got a definer as such.
If you bring in HDRIs, you set it to environment.
>> One thing I'd like to point out here, something that I didn't know
which was really annoying in the beginning.
You can select multiple, you know, imported objects here and then just select all of them
if they're all textures or all environments.
>> Oh, that's true.
Yes.
>> Yeah, you don't have to do it one by one.
>> You can just drag -- select them all.
>> Exactly.
>> That's quite handy.
You can also change, you can add a prefix to it
which I don't really find that useful, but you could.
And then, what you do is you import this under the current session
into the project or onto the shelf.
So, we're just going to do current session
which means whenever we restart Painter, it's going to be reset.
>> That just keeps it clean for us here.
>> Exactly.
So now, we have our resource right here.
So now, if we have -- we make a fill layer.
Now, we can drag and drop this guy into the fill layer.
And this is how you would tile a map across.
This is something I was wondering, me coming from Mari, I was wondering, is there like a fill
or tile adjustment layer or something like that?
But the way you would tile something across is dragging and dropping into a channel
and now you can, you know, scale it up.
>> Yeah. And that only works with fill layers.
>> Yeah, exactly.
So, you could also set this to tri-planar as well which is quite handy.
So, you might use -- you're probably going to use a combination
of tri-planars and UV production.
>> Yeah. You know, some materials might be projections
from the UVs and some might be tri-planar.
>> Exactly.
So next up, we are going to be looking at the projection tool.
Now that we have a resource, we can actually use the projection tool.
The projection tool is here.
This is -- the hotkey is 3 for the projection tool.
And the way we use this is we go under our paint tool
or under our properties here down to the bottom.
And under base color, we drag our resource in here.
>> And that's with a regular layer and not a -- regular paint layer, not a fill layer.
>> Exactly.
Because now, we're doing bespoke painting onto this.
The cool thing about using this tool is that you can get very specific results,
such as if you want to have a logo in a very specific spot
or you just really want this texture to be in, you know, this exact spot.
This is the way you traditionally been painting something like Mari.
But now with all the additions of all these super cool features in Painter,
you're doing less and less of this.
But this is still a really useful tool.
The navigation for this is the same as regular 3D navigation,
except that you're using the S key.
So, if you want to rotate it, it's S and left mouse button.
You want to scale it down, it's S and right mouse button.
And you want to move it, it's S and middle mouse button.
And then you use your regular hotkeys for resizing your brush and all that.
So, it is an incredibly powerful tool if you really want
to get specific textures in specific spots.
>> Yeah. And the nice thing about doing this with projection is that if you have a layer,
let's say that it's a fill layer that's not using tri-planar for some reason
but is using UV projection, then you can always create a paint layer on top with projection
to fill out, you know, those seams.
>> Exactly.
You can also set this to tiling.
It's currently set to no tiling, but we can set this to tile.
And now, it's just going to keep on painting.
As this is a tileable map, you know, this here is just going to keep on going.
So, the projection tool, very, very useful.
Then we're going to be looking at the polygon fill tool.
Let's make a new regular layer and let's look into the Polygon Fill tool.
The Polygon Fill tool is incredibly powerful because it allows you to fill
in specific colors in specific areas.
So, let's just try it by default and see what happens.
So now, it's set to polygons which means that whatever polygon is selected,
we are going to be filling this in.
You can also set in triangles which is also quite useful, I suppose.
Where this becomes really useful is if this is set to the mesh part like this,
the mesh fill option, where now you can just click on a portion
and it will do all the connected bits to this piece of geometry.
>> This is really handy for something like masking, when you want to mask
out entire regions and not like wanting to have to hand paint it.
>> Exactly.
And then we also have UV section as well.
So now, we can mask out only the UV part of this.
This is entirely based on your UV map.
>> So, like Morten said, this becomes really handy
if we have a new fill layer and this is red.
And then we have another filler and this is not red, it's blue.
And now, we mask it out.
Right mouse button, add a black mask effect stack, add a paint layer.
And now, we can use this tool, the Polygon Fill tool.
And simply just click where you want to be.
So, for UVs, you simply click these parts and now we mask between them.
>> Yeah. So, you know, just in case you didn't catch it,
you're not actually selecting with blue here.
You're just -- you're selecting white for the mask and then
that just shows the blue that is on top of the red.
>> Exactly.
This is a really useful tool.
Like Morten said, this is mostly used for masking.
I don't really use this for anything else.
Sometimes maybe you want to select some polygons here and there, but I've only used this
for masking as far as I can remember.
Hotkey here is again 4.
So, it's 1, 2 and 3 and 4.
>> Pretty intuitive.
>> Pretty intuitive stuff.
Then we have generators, filters and mask editors.
So, let's look at some of these.
Let's start with another fill layer and let's make this the same --
kind of same as what we had before.
>> Don't tell me it's a red paint.
>> It's going to be a red paint.
And on top of this, we can make another layer which could be like a dirty one,
something like this, and just change the scale of this.
Hold on the Shift key just to have a bit more precision.
And where generators become useful is if you want to mask
between these different materials now.
Now, you saw before we were hand painting it.
But honestly, hand painting, that's for like if you're in 2001.
>> Yeah.
>> We are going to let the computer do some of the work.
>> And the generators, as far as I know, they require the mesh maps, right?
>> Yes, exactly.
So, if we add a generator to this again under the effect stack on the layer --
oh, sorry, we have to make a black mask first.
And now, we can add generator to this.
Now, we have -- nothing has happened now because there's nothing in it.
But if we go under the generator now, we have a few of them.
One which is really cool is metal edges.
And this just brings you like really gnarly broken up edges.
The way this works is exactly what Morten was saying.
If we go through our mesh maps in the B key,
we can now see that we have ambient occlusion and curvature.
These generators rely heavily on particularly curvature and ambient occlusion.
>> Yeah.
>> Because now, we have data on where are the edges which is exactly what's happening here.
>> Yeah. I mean, so you could use painter with purely paint layers and fill layers
if you want to, but you won't have access to the actual power of Painter
which is the generators, in my opinion.
>> So, you can hit the Invert button.
This is something you're going to be doing quite a lot.
You can also change the wear level for this.
Now, keep in mind, this is a specific generator called metal edge wear.
This is not great for a lot of things, but it's also really good to get a starting point for it.
Like, you can see it's very specific in what it's doing.
>> Yeah, it's wearing metal on the edges.
>> On the edges.
Exactly what you would expect it to do.
So now, we can delete this one and we can get another one.
Just hit the X key there.
And now, we can get another one which is the mask editor.
The mask editor is a lot less sexy from the get go, but this has a lot more power into it.
This is also what I was saying before that this is where you have
to start looking at the specific mask.
Hold down the Alt key and click on the Mask.
And now, you can see what's going on.
>> It's kind of like if you use someone's predefined brush in Photoshop
versus kind of making your own brush.
>> Yeah, exactly.
So, this allows you to do tons of different things where you can amp up stuff
like the ambient occlusion, you can amp up the curvature
and you can really get very specific results with this.
You can also under texture input, you can add, you guessed it, a grunge.
And you can get very cool results with this.
If we can see where we can add this and set the opacity now to higher.
And that's a super funky texture.
So now, this is where you can really get some real power out of the masking.
The mask generator is something you're just going to have to play with because, honestly,
there are way too many settings to play around to show you here.
But this is --
>> But essentially, you could make the metal edge wear from the mask editor.
>> Yeah, pretty much.
You can get some very interesting results with this.
And again, this is why we look into our --
we watch our mask here instead of looking at the material because it's just too hard to --
like, you don't have enough information, honestly.
>> Yeah. And especially once you start stacking stuff on top of each other, you have more
and more materials, it can be quite hard to figure
out what material and which generator does what.
>> Exactly.
And this is again where we can add like a height to it.
And now, you can just see that.
Oh, let's do another one.
And now, we get this really nice result where you get like real depth into it.
So again, this is one of the absolutely coolest things in Painter
where you really have a lot of power in this.
Another one which is quite handy if you going to delete this is --
oops, that was deleting the entire thing.
>> Yeah, that's important.
Like, you don't have to actually delete the generator every time.
You can just delete the generator that's being used in the generator.
>> Yeah, exactly.
Yeah, the container for it.
> Yeah, yeah.
>> But there's a specific one you're using.
Light is also quite handy.
This is again, if we hold on the Alt key.
Now, you can see exactly what's going on here where this is --
you can mask out stuff based on light direction.
Now, keep in mind, this doesn't actually -- this is not physically based or anything on this.
This just looks at your position map and your world normal map, I believe.
So, this doesn't respect shadows or anything like this.
But this is incredibly handy if you want to do something like a worn texture
from the top where, you know, stuff is -- there's been a lot of stuff happening up here,
but you don't want the bottom to be masked out.
>> Or you could do like snow with it, you know.
>> Yeah, exactly.
>> So, don't think of it as maybe actual light but more -- it's just a mask, basically.
It could also be, you know, the sun has destroyed it and stuff.
>> Exactly.
This is something you see a lot where there's a lot of sun damage everywhere and stuff.
So, the light one is really nice.
And then you can also use a fill layer on top.
And you could pipe in different things like grunges
and change the blending modes here to something like multiply.
And now, you can really break up this material now.
>> Yeah. So now, it kind of looks like it's had a lot of heat from above
and the paint has started to like almost bubble up or something.
>> Yeah, exactly.
>> So, the power of generators is crazy in Substance.
>> Yeah. This deserves its own video because there's way too much
to cover when it comes to generators.
Then we have smart materials.
Smart materials are really, really cool.
A smart material is just a saved material where all the settings here are saved.
So, we can make -- actually, let's undo this and let's have this.
So, we could save this as a material.
Let's say we want to use this exact material here for something else.
Let's say you want to use this for the body.
We can easily do that.
We can group this and we can call this --
>> So, how do you do that?
>> You hit Ctrl G to group it and then we can name it now.
We can call it My Smart Material.
So, what this means is it's going to use the same curvature maps and everything is going
to pipe into the same places, just in a different place.
So, you could simply copy paste this onto a different one
or we can make a smart material on it.
And you do this by holding down the right mouse button or clicking the right mouse button.
And then we have Create Smart Material.
And now, we can see that My Smart Material has been created.
Now, we can drag this onto one of the other ones.
So, this is incredibly powerful when it comes to texturing because now,
you don't have to texture every single piece by hand.
You can make one really kick-ass material and you can drag these onto the other pieces,
obviously do a better job than this.
And you can use that as a base.
So, for instance, if you have a project and you got a texture like 200 pieces of wood,
you wouldn't look for, like, these specific references for each of them.
You would just make a smart material for wood and you would modify them based on that.
>> And if you need something that's a little more hero for one piece of wood,
you could always drag on your smart material.
And then on top of that, you know, add more fill layers or paint layers.
>> Yeah, exactly.
Smart material should really be used as a starting point and not the end result.
So yeah, this is -- you have all the predefines down here.
And like I said, I really recommend that you go through them
and just reverse-engineer the life out of them.
>> Yeah.
>> That's going to be quite handy.
And then the last thing we are going to be looking at is Iray.
Now, we have done some really nice texturing on our model
and everything is ready for presentation.
The way we can present this is we can use iRay which you find by clicking
on this nice friendly camera icon up here.
So, iRay is a really nice feature in Painter as it's a proper ray-traced render engine
and not like a real time preview like you're seeing in the actual viewport.
So here, we have the render settings all the way on top here.
We set this to one second just to make recording easier.
>> Yeah.
>> But this is where you would set how long the rendering time is going to be.
So, if you want, like, a nice good render, maybe set this to like 20 minutes or so.
>> You can see we have some noise here,
but you can get that away by just increasing the max time.
>> Yeah, exactly.
So, that's one of my favorite features of iRay because it's so easy to use in terms
of render settings because you have, like, one slider and that's time.
There isn't any like threshold craziness.
And then under here, under Display Settings, it will inherit all the settings
from the regular Painter mode because it's still in Painter.
So, whatever HDRI you have enabled, it's going to set that up for you and it's going
to light it properly here with nice shadows and everything.
There isn't like a setting for enable shadows, it's just going to do that by itself.
>> Because that comes built in with HDRIs.
>> Yeah, exactly.
>> So, this is where I want to show the FlippedNormals' HDRIs
because I think they're just nicer than the regular studio HDRIs.
But that's totally up to you.
>> Exactly.
So, one setting I always change is the clear color.
By default -- it seems like they're changing setting now, so clear color section enabled.
But if it's not in yours for some reason, then I would highly recommend enabling it.
It just means that there is one clean color in the background because the HDRIs have
so much stuff and when you're presenting your work, you really don't want any nastiness.
>> They don't really look nice for backgrounds, I think.
>> No, no they don't.
You want like probably a nice clean presentation here.
You can also change the ground plane where that is.
This is by default set to pretty good value, so this actually works.
But you could also change this to something else.
You can do like this.
>> Yeah. So, you know, if your model is properly centered and placed on the ground
where it should be, that shouldn't be an issue.
>> Yeah, exactly.
Then we also have, if you scroll down, we have our camera settings or you can click on these.
These aren't different -- they aren't like different menus,
they're just bookmarks to the same one.
So, we have camera settings.
You can change this to something like 35 millimeters if you want, like,
a more -- less squished look for it.
I prefer a more 35 look.
And we can also change stuff like post-effects.
If we enable post-effects, by default, glare should be enabled which is quite crazy.
I really just hate the glare feature because it just makes my stuff look nasty, I think.
But if you want glare, you can enable that and have nice glare on your models.
>> I mean, if you're going for like a Mass Effect 3 look
on your Painter stuff, then glare can be nice.
>> Exactly.
When it comes to post-effects, I just prefer to do all of this in Photoshop
as I have so much more control over it.
And I think the tools there are just a bit nicer.
One thing though which is quite cool is we can use depth of field.
So, if you enable depth of field and when it's changed aperture,
now it's going to give you some pretty damn good 2D depth of field.
>> Yeah.
>> You can also change your focus distance to see where it's going to be now.
And now, it's not rendering.
This is purely a 2D effect.
Or we can hit control middle mouse button to set the focus.
So, we can set this all the way up so it blurs like crazy.
Keep in mind, this here is only a 2D effect.
If you want real depth of field, we first set the aperture all the way
down so it doesn't go crazy.
We disable the 2D depth of field, just disable post-effects.
And now, if we increase the aperture, now it's going to start blurring the render.
>> Pretty crazy.
So, this is actual 3D depth of field.
>> Yeah, this is quite nice.
This is quite noisy though, as you can see, because we have set it to literally one second.
But if you want this to look nice, you got to increase this quite a lot.
Depth of field takes a long time to resolve.
And as with 2D depth of field, it's the same hotkey for changing the focus.
So, Ctrl-middle mouse button for that.
>> Yeah. So, I think it's a really cool feature of iRay actually to have that included
because you can make some really nice, very cinematic-looking renders with it.
>> I really like iRay.
It's a sort of really good engine.
We use it for some of our FlippedNormals' promo shots because it's here.
>> Yeah.
>> All the stuff rendered for the promo shots for the fan tutorial is all iRay.
There isn't any fancy stuff outside there.
When you want to save your render, once it's computed for more
than one second, you hit Save Render.
And that's going to save the render.
I prefer to save it as an EXR file as I just have more control that way.
Bring it to Photoshop and keep editing it there.
Or you can share it directly to ArtStation if you are so inclined.
You can also just see up here, it's done.
If it's not done, it's going to say, "Not done."
>> Yeah. And rendering time, one second out of one second, so.
>> So, pretty good.
So again, the hotkey is F10 to go into iRay or you can click this nice friendly button up here.
And F9 or click it again to get back into regular Painter.
The cool thing about iRay is that you can really preview your model.
So, instead of exporting your maps out and, you know, setting them all up in Arnold
or whatever it is, you can just get a nice render for it there.
So, what I'm doing -- my workflow for this is I paint in Painter and I go into iRay,
see the result, go back into Painter and keep painting here.
So, it's a very iterative process.
So, this really covers pretty much everything you need to know
in order to get started with Painter.
There are some features we haven't covered which deserve separate videos like exporting out maps
and baking because they're just slightly bigger topics and they can't fit in this.
>> So, yeah, I think you should be good to go from now on.
If you want to see more specific topics covered, like maybe want us to do a video
on purely baking or one on generators or something like that,
make sure to leave that in the comments down below.
>> For sure.
>> And if you do want a more in-depth one that's more project-based,
we have our sort of more comprehensive introduction to Substance Painter
that you can grab over on the FlippedNormals Marketplace as well.
>> Link to that in the description.
And in the description as well, you'd also have all the hotkeys used
and timestamps for everything.
So, if you want to revisit this video in the future, it's going to be really easy.
>> Yeah.
>> And also, please share this with friends and colleagues and everything.
This is --
>> Anyone who's wanting to get into Painter, I guess.
But yeah, thank you guys so much for watching.