3D Creative December 2015

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3DCREATIVE MAGAZINE | Texturing assets with Substance Painter with a new window to choose what new textures you want to bake. Make sure ‘Curvature’, ‘World space normal’ and ‘Ambient occlusion’ are ticked. After pressing Bake Textures your project will be updated with these new textures. The normal map will have changed to use the new normal map, so make sure you re-apply your baked-out normal map from 3ds Max. Smart Materials: Substance Painter’s 04 Smart Material library has some very useful materials for us to use to begin our texturing. These materials not only paint the diffuse color, but they affect the PBR and normal maps, making sure they full integrate with your model’s textures. These materials are fully customizable, allowing us to produce unique tileable textures. To apply a Smart Material, just select Smart Material in the layers tab. The library is then visible for you to select the appropriate one; in this case, I’m texturing the metal hand guard, so I use the ‘Steel Scratched’ material as this has a nice metal surface with plenty of scratches and dents which fit this element. Smart Material properties: To access 05 the properties of a Smart Material, look for a mask with a red line under it, which indicates it has layer options. Click the layer and the generator is now visible, where you can adjust dirt level, dirt contrast, and grunge. Each Smart Material has different setups and generators so feel free to play around with them to get used to what they do. Note the Image Inputs contain an AO map and a curvature map to generate the details such as scratches and dirt. Substance Painter’s default library of Smart Materials is a useful starting point Exposed Smart Material properties for customization of the textures Remember to use the masking tools to remove unwanted areas the new material is affecting. By default all of your model will be textured using the new material until told not to. Gold ring: The texturing process can 06 really now start to speed up by using the mask tools and the Smart Materials. Just quickly dragging and dropping the materials into the layer stack quickly applies excellent textures to the asset. Here I drag the Gold Armor material for use on the ring that holds the leather together. This spot of color and reflective highlight will really stand out among the darker wood and leather. I adjust the settings slightly just to make sure that I had something unique compared to the default settings. We can paint an extra layer of dirt onto these areas at a later stage. Leather straps: I use the Smart Material 07 ‘Leather Rough’ to use as a base for the texture. To get a good worn-edge look I use a ‘MG Metal Edge Wear’ filter – I find this gives me Texturing different elements now becomes a quick process the best results for edge wear using both the with heavy use. I’m not heavy with the default curvature and AO maps. This is a good base but I color of the leather, so to make it look more feel it could be improved more, so I paint in more natural I edit the base color and edge damages edge wear using a white noisy brush in the mask color. I use a lighter beige color to help it stand layer to paint in areas that would be worn away out from the wooden panels behind it. 3DCREATIVEMAG.COM
3DCREATIVE MAGAZINE | ISSUE 124 The heavily worn leather strap using curvature map and hand painting The thick protective leather surrounding used the same techniques as the straps Outer leather surrounding: I will use 08 the same techniques here as we did with the leather straps, to texture the leather outer surrounding. I use the leather Smart Material with the ‘MG Metal Edge Wear’ filter applied, with slightly different settings which are shown in the image above. I tweak the colors again now to something that is more suitable for the shield. The curvature map plays an important part here to really get the worn texture down, so that it matches the ZBrushed creases and curves featured in the material. 81
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