In this video, we're going to lay down some simple base texture colors in substance painter to start off our texture in process. So let's open up substance painter and start our project. So first, let's select a template. We're just going to go with the standard PBR roughness, metallic roughness. We need to choose a file and we just need our low poly here. We don't need the high poly. We just needed that for the bakes. We just didn't marmoset. So we only need the low. We want to set our overall document resolution to be 4K because we want to get the highest we can go. Something I forgot I forgot to do here is I should have said that normal map format to Open GL instead of direct x. I do that by the next video but I forgot to do it for this part of the stamp, and you'll see what that does later. Let's go ahead and add our normal map by clicking here, and going to RTS 1440 normal Id and our AO. So we're going to add all of our bake all of our maps in here. Click okay. We can see it loads up our model in this side-by-side 3D and 2D view. I just want to see 3D now. So I click up here. I can also hit F2 on my keyboard to do the same thing. I see my low poly without any of the bakes I've done already. Down here under texture settings, we can add by clicking on here and dragging in our normal Id and ambient occlusion map, and then bake the rest of them. You can see what I said there's a few little strange surface areas, errors happening here because it is an Open GL normal map that we're trying to interpret using direct X. As I mentioned, I'll do a little insert on how to fix that. So did project configuration you can actually change it right here from normal map direct X to normal map Open GL. So now just based off our normal map, we can bake the other maps that we're going to need to make some are textures. So we already have a normal. We already have a color Id and an ambient occlusion map, and we don't want to thickness map. So this will give us our world space normal,our curvature, and our positional maps. These are just maps they're going to give some extra information based on what our normal maps doing that are going to help some of the generative painting techniques we use to make the texture for this. If we come into common, we can see we don't need to apply a high definition mesh. We don't need to really change any of these settings. I found that the standards and all of these worked pretty well. Just make sure that the output size is still set to 4K. Set bake, and it will convert our normal map into all of these other maps the world space normal curvature and position map. Now that I have my other maps, I'm going to start creating a series of new maps. I'm going to start creating all of my materials. I used to use a lot when I was first starting a painter. A lot of these standard maps that materials that you get from substance, but I found making my own from scratch usually leads to better results and I get a little bit more control. So go up into your layers tab and click the little paint bucket icon to create a new fill layer. Let's start with the black plastic, and that covers the majority of our material here. So I don't want to go all the way black, and I want to make sure mostly I control roughness. In the closer I get to white, the rougher gets the closer, get to black, the shinier it gets. Roughness to me is really one of the most important features of the PDR workflow, more so than even the normal or the color value. So I'm going to contain this in a folder because I'll be applying a lot of different types of generators to it. I'm going to call this black plastic. I'm going to drag this color into this new folder, and I can rename that just this something like base color, color base. We're just color. So that I know what it's supposed to be doing. I'll be putting a lot more fill layers, and paint layers on top of this later. I'm going to duplicate this, and I'm going to turn this into my gray plastic layer. These layers work much like layers you'd expect in Photoshop just they're applied over UV map. Here, I'm going to change the value to make it a lighter plastic grey. I'll be making a lot of modifications to these particular materials and later videos. I just want to get a nice base for what I'm controlling and where it goes. I right-click to add a black mask, so that I can control where the paint goes, and then I right-click on this black mask to go to color selector. This is going to be based on my id mask. So if you click pick color, it'll show you the colors that are available on the id mask and anything it finds with that light blue on the id mask You see now it converts to that gray color. I raise it up a little bit more in brightness to make it a little clearer for you to see, and you can see that now it's automatically painted everything that's supposed to be that plastic and left everything else the black plastic underneath it. We can see that our black mask now has a sections of white on it which represents areas that are now colored that material color. I'm going to make another folder, and let's call this one a glass material, is put up on the top of everything. Let's create a new fill layer, and stick it in the folder and now to the whole folder I'm going to apply a black mask. We see students does that everything is black in the mass. We don't see you anymore. At another color selector, go to pick color, and now it's only going to choose the glass parts. Let's go down to our fill layer, change its name. So we understand its function. I don't want a normal metallic or hide details on this particular object. I just want it to be very dark. So I'm going to go all the way to black, and I'm going to go really glossy with this. Again, I'll be applying different effects to this later, but this is going to be the basis of how I'm going to give it a a little bit of a the correct look. Just playing with mentalness to see if that'll give me an interesting refraction for this but I think I'm going to mostly leave it off. We can see what a difference in roughness really makes for how these materials will look different from each other. New folder, this time let's name it r. This is going to be our rubber material. So I'm going to create a new group for a new layer for rubber, and another material under it, let's make it nice and dark, and very rough. Again, no material normal or height information is needed here. Base color, and let's add a black mask. Right-click and go to my color selection, and select out the parts I want it to be black rubber. The nice thing about working in layers like this it makes it really easy to go back and forth and make little adjustments to things as we go. We're working non-destructively by having everything in these very organized layers. It seems like a lot to be putting folders ahead., and right now but as you'll see later, it becomes a really big deal as we start putting a lot more detail into the information. Again, like I always do. I'm looking at my reference off to the side right now, just checking to see what different colors it should look at right now I'm looking at these little bars and saying, what color do I think that would best represent them? So I decided this is where I'm going to use one of the built-in materials that comes with it. This nickel pure is just a nice shiny metal. The metal that that particular bar might actually be made out of the little bar that controls the straps. Now, I wanted to also go on these little hooks that go on them. So I can go to my polygon fill, go to mesh Phil, Instead of all the way to white. Because by clicking on that object, it'll fill just that object with the color. Since it wasn't in my hall at high Polly, It didn't get included in my color id map. But the polygon filled will identify it as a whole separate enclosed object and let me pick it altogether there. So we look around our model, and we have a start for everything. So is a good time to save our project. So this is a good start for a nice base that we can work from. In our next video, I'm going to start focusing on adding some small height details that are going to push out features, and add some of those fine details that we didn't model under a model, but it will look like we did when we paint them in as height mask information.
