Original subtitles

Okay, now it's time to give you a breakdown. You just saw some time-lapse for painting

details, using projection, adding different paints layer and this kind of stuff. And now

I'm going to explain you what's happening here. So, for the first step, I just add a

metal edgewear. Okay, so, in this way, I can have some lines on the edge. So, it's okay

or not? No, it's not okay because it's so generic, it's obvious computer generate this, and it's

not natural. So, I just add a paints layer and change the blending mode to subtract, and

after that, I just paint.

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and keep this area.

Okay, as you can see, this is the result.

So, there is nothing fancy.

Let me show you.

Okay, this is the paint,

and what I subtract is,

this is the result of metal edge wear.

Okay, so, let's see what's happening

when we turn on different paints layer.

So, why we have different paints layers?

And we could do that with just single paints layer.

Okay, it's okay, it's a good logic for that,

but I need to control each detail on the surface

differently and separately, okay?

So, maybe I just need to combine some baskets together.

And I just want to remove some part of some mask, not all the data.

So, for that purpose, I create different paint layers.

Okay?

So, this is the result that we have from Rust painting.

And this is the Rust transition.

The Rust transition 2.

And for the last one, the dirt leak.

So, for the dirt leak, I have a grunge.

With opacity near to 40.

And I just add a paint layer.

And paint some mask for that.

So, in this way, I can have this effect.

Roughness for this dirt.

is near to zero, it means we have reflective surface here.

Okay, I have normal and height and the blending mode

in all channel is normal for these dirt lakes.

So it means there is no info from the previous surface

in this area that we are going to use for the dirt.

And after all, we need some AO magic here.

So for the AO magic, I just create a fill layer with AO channel on

and the ambient occlusion slider.

And I change all the channel blending mode to the pass through

except ambient occlusion, it's multiply for default.

And the mask, I add an ambient occlusion generator.

Okay.

Turn on the macro height and normal and put anchor point from AO plus to the input

and change reference channel to achieve this result.

So it's not fancy and we know everything here.

We just give some time, paint rust and look at different references to achieve this.

And now it's time to move to the next step.

The next step is creating decal.

Some logo, some description, text on the body and let me create a folder for decal.

And I'm going to create decal number one to this folder.

Okay.

And let me create fill layer and decal number one.

And what about the resource that we are going to use for the decals?

You can search in the internet and find some good images,

or even you can look at your reference and create your decal, labels, or sign or logo in Photoshop.

So, I just looked at the internet and found some good stuff,

and I have a JPEG for the base color, and an opacity map for the mask.

So, I just create the base color and the mask in Photoshop,

and now I'm going to import it to the Substance Painter.

Okay, all of them are textures and into the project, and as you can see, we have them here.

So, for decal number one, I'm going to put the text here.

Okay, let me...

put the base color here, and let's go to the 2D window.

I'm going to turn off the UV wrap.

Okay, and let's bring down the size.

Where is the place that I can...

K.

So, okay, this is the place.

Let me fix the position here.

That's okay.

Yeah, I think it's ok.

So what's about the mask?

How we can use the mask?

The basic way is to add anchor point here and add black mask here, load a fill layer

and use the anchor point, decal number 1, and in a base color we play with the level

to achieve something like this, but it's not good.

And without mask, let me remove the mask, without mask we have this black border.

If we want to add height data, it's not related to the decal.

And if we want to play with the roughness value, it's not related to this.

So, what we can do here?

I'm going to load the mask.

of the decal in to the metallic part, metallic channel, because I'm not going to use metallic

in this layer, okay? So, it's like a placeholder. So, after that, I go to the metallic layer and

remove the opacity. So, there is no any metallic data, but when I go to the mask, add a fill here,

and load the decal number one anchor point, I can go to the metallic for the reference channel,

okay? And boom! Let me reset this. We have the mask. So, this is a mask, right? Okay,

now we can give high data, we can play with the roughness, and yeah, that's it. So,

let me fix the position, okay.

I think it's okay to be here.

Yeah, like this.

Ok, this is the first decal, now you can learn and understand logic behind using the tally,

using the mask and this stuff.

So let's go for the decal number 2, so the folder is decal number 2, and now I'm going

to add the fillet here, decal number 2, and I'm going to use this logo, ok, let me turn

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off the UV wrap, and I just want to put the logo here, like this, ok, and I'm going to

You have this.

Okay, and what about the mask? I have the mask. I'm going to put it in the metallic,

and we don't need metallic anymore. Let's add anchor point, let's add a black mask.

Okay, let's add the fill layer, load the anchor point, change the reference channel to metallic,

and boom! We have the mask.

So, now we can work on this mask, or work on these decals, and it's okay.

So, we can add black mask to the folder, okay, and in here I'm going to load the decal number 2,

reference channel to metallic, and yeah, I have the same mask in the folder.

So, if I go here and change the position of this layer, the base color, the mask should be updated,

and be careful.

You're not allowed to change anything in the UV transform for the field layer that you load the anchor point.

So, no change in UV transformation for the field layer that you load anchor point.

If you want to change position, rotation, scale, or anything else, you need to go to the source, where you put your base color, and change whatever you want.

Because they are linked together, and when you change something in the mask, or in the field layer that you load anchor point, it's going to break the chain, and the data is messed up.

So, this is the only thing you need to consider.

And, let me fix the position.

Okay, it's down for now.

And, we can add more detail to the decal.

Okay, let me...

Well, we can remove this mask,

because maybe we want to add something outside the mask.

So, it's not logical to have mask on the folder.

I just want to show you what's happening

when you move something or break up the chain.

So, for the decal number one, let's go and add some details.

For the first part, I'm going to add hide data.

Okay, as you can see.

And, we are going to put some grunge on the roughness.

Okay, something like dirt, for example.

So, okay.

and you can see what is the difference.

Or maybe we can add the roughness

in the roughness variation layer.

So let me put it on 0.5 and everything is okay.

Let's add the next layer.

Okay, I'm going to add a fill layer and call it Stig.

Okay.

So for the Stig, let me add a black mask.

In the black mask, I'm going to use the same fill layer here.

Okay, or I can put an anchor point here

and add a fill layer and load this anchor point.

We got number one mask, why?

Because if you load this anchor point here,

if I go here and...

...add a paint layer and change the blending mode to subtract and start removing some border here like this.

And if you have the anchor point from the decal and reference channel metallic,

the mask is not updated and it's not affected by the paint.

Okay, so it's not logical to use the decal number one for all the mask.

So let me change the decal mask. Okay, it's okay and now we can add a filter,

change the blending mode to subtract and yeah, get some border effect here.

And I decide to...

...change the color to something like brownish.

Okay.

Let's go to the mask here, I just want to add a filter like Bevel, okay, and let's increase

the smoothing.

So I just fade the edge here, as you can see, okay.

like this, and I can add a paint layer, put it on linear dodge, okay, and just paint some

effect here. Okay, it's like, okay, there's some sneak. Yeah.

like this. So this is the logic. I just want to create this demonstration. Okay,

and we can go here for a detail number one, for metallic, and now we have this.

Let's add another fill layer, use some grunges, change the blending to subtract

for example, increase the tiling, increase the balance. Okay, and we have this. Before that,

I can

change the blending mode to multiply, and now this is the result that I have.

So I'm happy with that. Okay, so multiply is a better option here.

and let me change the rotation to 90, change the typing to 4, for example.

Okay, I need roughness.

Okay, what's happening again here? I just use the decal number one as a base mask here.

I use Blair to remove some sharp border, and after that I just use the decal number one mask,

which is a combination of the base mask and the paints layer that I paint,

and a grunge. Multiply with them. So this is the result. It's like, okay, there is a paper here

and we paint some glow and stick before attaching this paper to the surface,

and after removing some part of the

paper, we can see the glow itself, okay? So this is the main logic here. And let me make

it a little darker, okay, like this, and...

Ok, let me put it on dirt. Yeah, dirt is better.

And we can change the disorder or scale.

Ok, let's go back to the paint. I don't want to have...

this one. Okay. I will go back here and, for example, fix this part like this, remove some edges.

Okay.

Yeah, like this.

But we couldn't

have this expectation after all this damage on the edge and the rust area

to have a clean and new paper here, right? So let me change the hardness here.

Okay. I can remove some detail here. Okay. Let me make it black. And yeah.

Okay, like this.

Okay, let's add the other layers.

I just want to add a paint layer here,

change the blending mode to linear,

and go to the projection,

and paint some, you know, leak flow here.

Okay, and let's go back to the paint,

and now you can understand

why I use different paint layers,

because I can remove whatever I want

related to this.

So, yeah.

Okay, I can decrease.

the value, something like this, and yeah.

Okay. Let's go for the roughness variation.

I'm going to create a roughness variation layer, number 1.

We can create color variation too, color variation number 1.

For the color, I just need to keep the color, and let's make it a little dark.

Put the blending mode to something like, for example, multiply, or maybe soft light.

Okay. Oh, it's on the metallic, so let me go to the base color, change the blending

mode to soft light, or maybe overlay.

Multiply, I think yeah, multiply is better, and we need to add black mask, add fill layer,

and in here, I'm going with decal number 1 mask, because I need to have this remove area.

So, let me add another fill layer, and put something like this, change the tiling to

10, for example, change the blending mode to multiply, play with the balance, contrast,

and yeah.

Okay, let's increase the tiling to 40, okay, and I can decrease the opacity here.

So, let's add another color variation. Color number 2. I'm going to copy this

mask, paste this mask, and I just want to change this grunge there to a scratch.

So, okay, this is a mask that we have, and I want to add the generator to the linear,

change the blending mode to multiply, use invert, contrast and balance.

Okay. Yeah, I need this gradient.

Okay. The color should be like brown and let me.

Okay. Yeah, it's okay.

And maybe Soft Light is okay, Linear Dodge, Multiply, yeah, Multiply I think is better.

Yeah, I think it's better.

So, this is the mask that I create for the Color Variation.

Before Color Variation, Color Variation number 1, Color Variation number 2, and boom.

And let's go for the Roughness Variation.

For the Roughness Variation, I'm going to use the same method.

Let's load the decal number 1 mask.

Let's add 3 layers.

In the 3 layers now we can choose, for example, this one.

Okay, let's make it 4.

Full Balance.

Or maybe...

This one.

and now I'm going to change the roughness.

Let's go to the roughness channel.

Let's change the blending mode for the mask to multiply.

Now we have this here.

You can play with the controls,

the balance, and yeah.

Okay, so we have this right now.

Okay, let me decrease the roughness to something like 0.4.

For the decal itself, in the roughness variation, I'm going to use 0.9.

So this is the result that we have.

It's okay.

And now, let's add a fill layer here in the decal mask, and use some grunges.

I think, for example, this one is good, or not, no, no, it's not good.

Maybe directional.

Play with the contrast.

Okay, change the blending to subtract.

change the tiling. It's not bad but it's too, you know, noisy so let me change this

one or maybe we can search for this scratch. Yeah, this one. Bring up the

balance. Okay, maybe vibes. Yeah, that's it.

Yep. Grunge wipe leaky, I think it's a good option.

Okay. Yeah. It's good.

We can use painting, for example, to remove this area.

yeah okay and at the end we can add a blur filter to the mask okay with lower

value like 0.2 something like this okay so yeah after adding blur we can have

more paper feel here and we can add blur slap to the color to the layer itself

not into the mask so I'd want to

effect on the color only and maybe intensity divider to 100 and as you can

see yeah we have this effect here

I can increase its source tiling,

decrease the intensity, and yeah, we have this.

So it's okay for this decal,

I'm happy with the result,

and let's go for the next one.