All language subtitles for militaryhat_part02_Leather.ENGlish

Now we are back to create our leather material and for the starting point I'm going to search

leather resources in Substance Community Asset. So I came over to Substance 3D Community Asset

website and in here I'm going to search leather. So I need SPSAR format for the base material

and here the leather rough is a good starting point for this project. So I open the file,

as you can see, and let's back to the Substance Painter. So importing resources in Substance

Painter in the latest version is so simple. You can click and drag anything you want and release

it in the layers window. Okay, so the leather rough is loaded and we need to put it in the

leather section and now we can delete the fill layer number one. Okay, so in the old time...

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during this tutorial the shader setting and displacement and tessellation should be turned

on because in this way we can control our height data which provide our displacement. Okay, so

let's go back to the project and everything is good here. Let's start tweaking the parameter here.

So for the first parameter I'm going to

rate the color and tweak the color over here and for the UV projection I'm going to use Tri-Planar

with the tiling number two. In this way I can have a good density here and if you are

suffering from the low quality in the viewport you can come over here in the set setting and

increase the size to for example 2k. Okay, so everything is okay right now and we can...

switch to 3D view just only 3D view. So let's go back to the parameter of the leather material and

the roughness I need something like 0.3. Yeah, it's better right now and for the dot intensity

maybe I can decrease the amount of dot intensity. As you can see it's affected on the base color

and I don't want it because I need some clean and not dirty leather over here. So for the

white stain I think the intensity is good. Let's decrease. Yeah, I think the higher amount is better

and for the small stain you can play with the parameter. No, I think this value is good. So let's

go to the technical parameters and now maybe decreasing

The height range is a good option here because we are using displacement modeling technique inside Painter.

So, the height data is so important for us.

Okay, this is the first layer and now we can create another fill layer. I'm going to call it Pattern for the surface.

They are the same. The name should be something that you can understand what's happening inside that layer.

It's not mandatory but there is no naming rules for this kind of stuff.

Okay, for the pattern I need just height and let's create a black mask because I'm going to control the amount of the height for this layer.

This slider here and for the pattern let's create a sub layer. The type should be fill and in the grayscale I can search grunge leather.

Okay, so grunge leather.

It's good. And let's increase the amount of the height. Okay, something like 0.01.

Yeah. And let's go back here. I need triplanar projection. Okay. And let's

increase the tiling amount. Now we have a good surface pattern here. And let's go

to the next layer. For the next layer, I'm going to create the edge damage layer because I need to

create some damage effect around here. But it's not too much because as I told you,

I need a clean version of the leather. Okay, not dirty or damaged one. So for this one, we can

keep color, height, and roughness at the same time. And for the color, let's bring up

the white value. And let's decrease the height amount to something like negative 0.02, for example,

for the start point. And for the roughness, it should be more rough. So I think around 0.8 is

good amount. Okay, now I'm going to change the blending mode of the base color to soft light.

So in this way, I can have a brighter version, a lighter version of the leather. And whenever

you damage something, the under layer, it should be lighter or maybe darker in some special cases.

So let's create a black mask. And in here, we are going to create some sub layer top of each other

and change blending mode to achieve what we want. So for the first, I need to add a generator. So

let's increase the space here, so you can see what happened. And here, edge damage.

is a good starting point. Okay, and let's decrease the ver level. Okay, increase edge smooth,

and turn on triplanar for grunge, and increase grunge amount a little bit, and decrease the

grunge scale. And to avoid generic result, I mean to avoid something like generated by computer,

we need to cut off some of the edge. Okay, so the mask, it's so complete, and it's so straight.

So let's add another fill layer here. And in the gray scale, I'm going to type grunge.

And for example, I'm going to use this grunge. Yeah, maybe. And put it on the subtract.

So increase the tiling, increase the balance, and contrast, play with the offset. Yeah.

And here, I can increase the

very level. Okay, so before that, all the edges have the same amount of the damage.

So it's not good, it's not realistic. So we just add another fill layer, and load some random

grunge, and put the blending mode to subtract. And boom, we have more realistic effect. And if

you want to have a damaging version, you can decrease the balance over here. And you can still

have some pattern here. But we want to have a clean version. So let's increase the balance.

And now we have a good amount of the damage over the edge. So the next step is using

warp filter. Warp filter can give us some custom effect. So let's add the warp effect.

And as you can see, this is the result with warp and without warp. So in the warp,

we can increase the intensity divider to have some more control of the intensity slider.

And we can change some parameters in the source parameters. For example, source tiling,

it can increase our noise type. Okay, that's it. And you can play with the source builder

to have some specific result. So let's increase the intensity to something like this.

And after that, I'm going to add another fill layer. And let's have some grunge leak.

Maybe this one. Yeah. And increase tiling to something like five.

And increase contrast to have solid effect. And increase balance again. Okay.

Maybe play with the offset value. That's it.

and change the blending mode to subtract again because... where is the subtract? Okay,

because in this way we can filter the damage on the edge with some random noise. Okay, so

let's play with the tiling amount and the offset to achieve the look that we want.

So I think it's good. It's completely procedural. It means you can come over to the sub layers and

change the parameters. For example, play with the seed option and every time you can get new

variation of the effect. So I'm going to add another fill layer and let's type leather

and with the grunge leather damage, which you can see, I can invert it. Okay,

decrease the balance, increase the contrast and increase the tiling amount.

Okay, for example, something like five, I think it's good.

So let's decrease the balance and increase the contrast

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and let's change the blending mode to linear dodge.

So in this way, I can have this effect on the surface

and on the edge at the same time

but maybe we can put it under grunge leak

to avoid generic look, okay?

So let's leave the tiling amount, yeah.

For example, this one is better, okay?

Decrease the balance

and maybe decrease the opacity of this layer.

So let's go back to the material mode, yeah.

And this is the version of the leather without edge damage

and this is the version with the edge damage.

So that's it.

So let's create another fill layer here and I'm calling Dust Surface.

For the Dust Surface I need some effect overall on the surface and for that I just need color,

height and roughness. And for the roughness I should choose something like 0.5 and for the

height maybe a little negative value is good and for the color I'm going to create a black

color for this layer. And for the blending mode you need to change it to multiply and decrease

the amount of the opacity. So this is the result and in the black mask I'm going to add

a generator like dirt. Okay so this is the result as we can see there is some dirt over here.

Yeah and that's it. So, uh...

Let's add some pattern for the strap over here. So, let's create a fillier

and I'm calling strap pattern and create black mask and put a fillier here

and in the gray scale I'm going to search for a strip, yeah, and let's

increase the tiling amount to something like 30. Yeah, the strip is good and for the pattern

you can use the same default value so it's good and maybe 25 is better and we can increase

and we can increase the width, okay, and we need to control the mask on the strap itself.

So, how we should do that?

You can do it in two different methods. The first one is to subtract all the area that we don't want

and the second one is select the area that we want and after that we can multiply the strip on that.

So, let's subtract

and in the polygon view we are going to UV chunk and select all the item here, okay,

and press X to invert the selection mode and press the area that we want. It's easy, right?

So, we should keep subtract on the top and we are going to add more detail under the paint layer

that we subtract the area that we don't want. So, this is good. Let's go back to the material mode

and here I just need height and we can increase the height amount. As you can see in the viewport

you can see the result of the displacement, right? So I think this amount is good.

Okay, so let's add another detail here. I just need to have some line over here,

so for creating this effect I need to add a fill layer and load a gradient,

something like gradient linear number two, and for controlling the position of that

we need to turn off UV wrap and the mode should be on none and now we can play

with the gradient itself. So we need to find the front strap UV island, which is here.

Let's press F1 to go back to the 2D and the 3D view at the same time and let's go back to the

mask mode so everything is okay.

I'm going to decrease the size yeah and a little smaller and increase the length

okay so this is the detail that I want let's decrease the width yeah

duplicate the gradient linear number two and put it over here so that's it and let's go back to the

material mode and as you can see we have our result but it's not good you know it's not

connected to the surface it's because we don't have any ambient occlusion right now but we are

going to add it with anchor point technique so before adding AO to our material let's create

some control layer I'm going to create a paint layer here and

name it control layer and I'm going to change the blending mode to pass the

all channel okay so in the all channel right now I have passed blending mode

for control layer and when you change the blending mode to pass it's going to

collect all the data from below layers and gather it to itself so now we can

edit all the data related to base color in here so I'm going to add a filter

over here and this filter is HSL and now I can control the hue saturation and

lightness here with this filter in this layer for the leather material so it's

so powerful technique to control our material attributes so another filter

that I want to use it's contrast okay with that I can increase contrast in my

data

I just need it in the color section so I'm going to press alt and click on the color

and it's going to turn off all the channels but not color okay so in this way I can control the

contrast luminosity and hue saturation and lightness at the same time beside that in the

height channel now I have all the data from the down layers okay so let's create an anchor point

now I can use the height data in a micro details in all generators okay so for that let's create

another fill layer in this fill layer I'm going to call it edge effect and now I'm going to add

a black mask in the black mask I'm going to add a generator and I'm going to load metal edge

generator over here and here as you can see the data that I applied on the model they are not

recognized with the generator so how can we solve this problem

We have a control layer anchor point that means I can access to all high data in this layer

Okay, because I can recall it this anchor point and access to a specific channel that I want

so in here in the metal edge where I

Can go down in micro high in the anchor point section. I can select anchor point control layer

Okay, and I'm going to change reference channel to the high

Okay, this height reference channel. It means now I'm going to use the data in the control layer in

the high channel, okay, so

Let's go to micro details and turn on micro height and now you can see what happened in the 3d view

So this is the solid

result from metal edge where okay, it's going to

Calculate the edges and all the effects based on mesh maps that we have here something like

ambient occlusion, curvature, position and world space normal but I can use the height data in the

project in this generator without baking in the first stage from HiPoly. Okay so now I can access

to my data in the height channel with macro details in the height channel and normal channel

and here I'm using displacement modeling. So my data and my details they are in the height channel

now I can use that in the macro height with the macro details in the generator. So let's turn it

on and we can play with these sliders to achieve the different result. You can change the way to

calculate the height data from Sobel, Smooth and Standard. As you can see there is a difference

between them. You can try it and you can select which one is better for your project and for your

result that you want.

Okay, so let's tweak some parameters here. Now you can use edge masking. It's good.

And I'm going to decrease grunge amount and grunge scale and wear level. Okay, so

let's decrease the wear level and increase intensity of the curvature. Okay, that's good.

And now I can decrease the grunge.

Maybe a little bit lower in the wear level. I can increase the wear contrast.

Yeah, in this layer I need the effect on the details in the displacement and height,

not on the edge of the model. So that's good. We can add a paint layer and change the blending

mode to the sub-track.

and paint over these edges to remove the effect that we don't want. So the white here is going

to remove everything and the black is going to revert that effect. So let's

paint over here to remove this effect. Yeah, it's okay. Now we can come back to the metal edge and

bring up the bird level. Yeah. Grunge scale, grunge amount,

and we can decrease the curvature intensity. Yeah.

And yeah, it's good. Now we can add another fill layer with some random grunges in this gray scale,

like this, for example, this one, and increase the tiling, increase the contrast and the balance.

Maybe a little bit tiling amount is good, and now we can subtract that. Okay. Now we can see

the effect. Maybe change this grunge is a good idea. Let me see. Which one is better?

For example, this one. Yeah, it's better. Okay, and now let's come back to the layer itself.

We don't want any data except color and roughness. So for the roughness we need to increase the data

and for the color we can use white value and in the blending mode I'm going to change it to soft

light. Okay, so now we can decrease. That's it. Yeah, everything is good. Everything is good.

We can come over here, add a paint and we can change this sub layer of the paint to linear

dodge and let's go to the asset browser and in here maybe using some brushes to add some details.

It's a good idea. Something like this.

For example, this one.

And let's add a little height.

Negative height is good, but it's too much.

Yeah, it's better.

Okay, let's go back here.

Some details over here.

Okay, that's good.

Maybe some details here.

Yeah.

And we can play with this amount of the detail.

You can add some white value with different brushes.

And after that, you can subtract the value with the black.

And in this way, you can create most unique effect

in your project on your asset.

So let's do

this one here as well.

Okay, that's it, that's good.

Yeah, okay. That's good.

That's good for now. Maybe after adding other materials on the model,

we can come back here and change the value of the edge effect.

That's good for now.

Let's go back to the HSL and maybe a little changing value in the color.

That's a good idea. And in contrast, yeah.

And we can decrease the luminosity.

And yeah, the effect is so good.

So let's add the AO effect that we want.

So in here, I'm going to add a fill layer, which I'm going to call it AO plus,

because I'm going to add AO for this material, for this part in this layer.

So I just need AO and I'm going to decrease the AO.

So.

Let's add a black mask and let's go to the AO channel.

Okay. This is the ambient occlusion that we have right now.

And I'm going to add a generator and this generator should be ambient occlusion.

So I'm going to invert it. As you can see, this is the best result.

And I'm going to use again macro details. So in the macro details, I'm going to use

macro height because we have the data for the details in the height channel.

So I'm going to add control layer and in the reference channel, I'm going to pick height.

So everything is good. Everything is good. Now we have all the data that we want here.

But as you can see, we had some details over here, but they are not integrated with the AO.

So what is the problem? Why they didn't integrate with this AO?

Because it's related to our layer order. As you can see, we have control layer.

And in this control layer, we gather all the data in the height channel, right?

But this edge effect, which it contains all data for this effect over here,

it's higher than this control layer. So we need to change this order layer

from top to down of the control layer. But this is the most

erotic movement that we can do because we are using control layer in the edge effect.

And if we move that here, this connection is going to disconnect it. And with that,

we don't have edge effect anymore. So we need to keep it here. And we can call it height

leather. And after that, we are going to change the blending mode to pass,

now apply to all the channels. So let's add another anchor point here. And with that,

we are going to load this high letter in the macro height,

not control layer.

So, in this way,

we can contribute this

effect over here, as you can see. I can go here and

add some data here. And they are

integrated with the AO+. So that's it. That's it for

this part. Let's press M.

And this is the effect without AO. And this is the effect with AO.

Now we can control the AO amount with opacity

in here, for this AO layer in Ambient Occlusion

channel. Okay, so let's bring it to

something like 70. Now you can control the amount of the AO

with this slider too, but I prefer to use this slider,

I mean opacity slider in the layer itself. Okay, I think for the

letter part, it's enough to add.

details because we are main focus on the logo and the fabric part and the leather shouldn't have

so many detail on itself. And for the final part, I'm going to use pass tool to add my stitching on

the leather part. Okay, after edge effect, I'm going to add another paint layer and call it pass

stitches. And let's go back to the base channel. Okay, now I'm going to use pass tool. And in the

asset, let's go and select top stitching to load the tools over here. And now,

I'm going to decrease the size to something like two. And let's add the details here.

Okay, that's good. Because our height and displacement is turned on in the viewport.

We can see what is the effect after using the top stitching. So I'm going to

change the parameter over here. I am going to turn on normal AO and turn off the high.

Okay, so for the third thickness, I think 0.2 is enough. For the stitching,

I'm going to use size in 0.75. Yeah, it's better. And let's go and turn on the height channel.

And in technical parameters section, I'm going to decrease the height range. In this way,

I can control what happened in the height. Okay, that's good. That's good. And maybe

increase the size to 3. Let's see what is the result. Yeah, I think 3 is good. But maybe

2 is better. Yeah, I think 2 is better.

So let's go back here and adjust the position.

Okay, so the main part is done.

After that, you can see the time-lapse

that I just placing the dots for the pass,

and you can see what's happening in the progress.

Now we have our past layers and we can control the blending mode for the color in here.

I'm going to use soft light and let's add a filter.

The filter should be HSL and I'm going to increase the lightness.

Yeah, something like this.

Let's go back to the past.

I'm going to turn off all the layers because I want to recheck it, everything.

Okay, this is the past one and let's create a whiter value.

Okay.

And I'm going to decrease the soft light to something like 50 or 70.

And for the thickness, maybe 25.

Smoother.

And let's go back to the height range. Maybe I can decrease the height and increase the normal.

Okay, the normal is too strong. Two, one. Yeah, one is good. Okay, and let's go to the

puttering setting. I'm going to change the type to leather. Yeah, the effect is so much better.

It's so much better. And we can increase the intensity or decrease the intensity.

The intensity is good. Let's play with the fading effect. Yeah, a little fading. Yeah, that's good.

That's good. That's very good. So I need this style. I need these parameters and settings

on all layers of the path. So I'm going to copy and paste brush properties on each layer. Okay.

So, as you can see, yeah, everything is procedural.

Okay, so for the Pass 4, I'm going to paste it. Pass 5.

Okay, and for the Pass 6. And now, I need to change the Pass 6 to something else.

Okay, so let's go to the Decorative, and in the Decorative, maybe Elastic Overlock Stitch.

Yeah, it's good. I need to inverse it, increase the size to something like 4, or maybe 5.

Yeah, 5 is better. And now, everything is good. And we can decrease the amount of the

opacity of the color, or maybe change it to normal and have a white value, and add Filter,

HSL, and control the lightness.

here like this. Okay that's good for now for me and this is the end part for the

leather and we should go to the metal part and create our material in the

metal.