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Okay, let's start the military hat project. Before starting the process in Substance Painter,

we need to do some checking this in our modeling tool or software. For example, 3ds Max Blender,

it's not specific to any software, it's a general rule that we should follow.

Okay, for the first, we are going to use displacement modeling in Substance Painter.

Okay, so for this purpose, we need to have a clean topology, a quad topology,

and at the most of the faces, we need a square face. Okay, so let's explain some logic for that.

I'm going to turn on the wireframe and after that, I'm going to create some sketch here.

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So,

whenever we have this kind of topology, I mean, this is a quad, right? But it's not a square,

it's some like rectangle and the space between vertex is too much. So, in this way,

after we creating subdivision and adding details, our details here,

maybe they are in a stretch and the shape in the final model is not good. So, we are stitching

to this type of topology, quad and square. At the most of them, it should be a square and the space

between two vertex, it should not be the long distance, okay? So, this is the first rule.

Clean, quad and a square topology. And even you want to use...

other software like ZBrush for adding details, the rules are the same for that.

So the second one is we are going to use opacity and displacement at the same time

in the logo section in front of the hat. So we are going to use opacity for cut out the shape

and for the displacement part we are going to push out our details. Okay, so this is the rules

and we need to create space between the plane and the main model. Because when we are baking

mesh maps in Substance Painter, the effect of the square should appear on the ambient occlusion

channel in Substance Painter. So whenever we use cut out and, for example, creating logo like this...

we can see the effect of the plane on the hat in the ambient occlusion and it's not okay for us.

So we are going to separate object from distance and after finishing texturing process

we can move this plane in the position that we want. So this is the main logic here for the

model and topology. So let's move to UV. Okay, I'm going to select both of them and add Unwrap UVW

Map and Open UV Editor. So we have a UV space, right? This square is UV space.

So the first rule is, please, attention to these rules because it's going to affect on your quality.

The first rule is, please, fill up all the UV space area and please don't leave any area free.

This is the rule number one. The rule number two is, please, keep the same scale for the UV island

that we see directly on the model. Okay, so for the parts inside the hatch, you can delete them or

decrease the scale of the UV because we didn't see it anymore. And we are checking

all the UV islands here are the same size. But for this plane, we increase the scale of the

UV island. What is the reason? The reason is, this is the main focus area with the highly detailed

part.

So, we need more quality on the texture for that. So, we are going to increase the area for this

space and fill up the UV space with that. And if you follow these rules, you can increase

your quality when you are texturing in Substance Painter. Okay, for the final step, I'm going to

add one material with the same name to these two objects. Okay, so I'm going to press M,

open the material, and create a physical material, and name it Unitary Hat,

and select both of them, and apply this material. So, let's create a color for that,

so we can see if the process is okay or not. So,

let's export the model in FBX format and going back to Substance Painter and start our process.

So, I'm going here, export selected and I'm going to set a pass for that and after that save.

Okay, I'm going to replace it with the original one and in the FBX export window we just need to

have a smoothing group on. So, press okay and that's it. Before you're exporting the model,

if you are going to work in other software for UV or editing the model, please notice that

you need to use smooth modifier or weighted normals. So, I'm going to use weighted normal,

it's okay and convert it to edit poly, that's it. Just a simple step or just use a smooth modifier

in 3ds Max or in Blender. You can

use shader smooth and auto smooth, it's good. And after that you need to convert it to editable

poly and export it again. This is the smallest step that I forget. So that's it. In the effects

window we need to check a smoothing group as well and okay. So we are done in 3ds Max.

Now let's go to the Substance Painter and continue our path over there. Okay so for creating

the project in Substance Painter we can simply click and drag FBX file in the window and the

new project window is appear. The template should be on ASM PBR metallic roughness and the document

resolution should be on 1k and normal map format should be on DirectX and the check

for the compute tangent space per fragment should be on. And our model

we didn't prepare the model in the uv tile workflow so we leave it here and press okay.

And the model is loaded here everything is okay. For the first step we need to create our mesh

maps. So we are going to bake mode and here due to we don't have any high poly model from other

software we just check this use low poly mesh as high poly mesh and increase our output size

from 1k to 4k and check on bench normal and increase antialiasing to 64x. So everything is okay

we should just press bake selected textures and we need to wait to complete this stage and after

that we can continue our process. Okay now the mesh maps baking is done and we can continue our way.

For the first step after baking mesh maps I'm going to create some folders for creating categories

and creating some kind of color ID. Okay so the first one is for the leather part,

the second one is for the metal, the third one is for the fabric part in the top of the head,

and the fourth one is for the logo. So

the folder number one is for the leather, the second one is for the steel or the metal part,

and for the third one we can call it fabric, and for the fourth one we can call it

logo or something like that. So let's create some fill layer

and play with the color for example red for the leather part.

blue for the metal

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and the yellow for the fabric and the third one can be white. So let's create the mask because

this step is so important for me and after a while it's so important for you because in this way

you can create category and focus on that category and create your material the best material for

that part and after that you can continue your way in the second one and the third one and the

fourth one and again again again. So for the leather part I'm going to add a black mask and

in the black mask I'm going to add a paint. The sub layer system in the Substance Painter is

very good. It's very good to use because whenever I don't want this mask I can simply turn off but

If I paint the mask into this icon or in the layer itself,

I couldn't even turn off or play with the opacity separately.

This is the most important thing that we should follow,

create sub-layers.

For the first one, I'm going to use this option,

Polygon Fill and the Mesh Fill.

Let's go to the Mask viewport and I'm going to mask here.

This is a leather part,

this one, this one, and this one.

Here, I have another leather part.

That's okay. Let's go back to the metal.

I'm going to create a black mask and let's go to the Mask again.

I'm going to create a paint layer and select this part.

So, oh, it's not a fabric, it's a metal, so press X to invert the color

and select again and press X to go back to the white and select the metal part.

So, let's go to the fabric. I'm going to add black mask and add a paint layer.

So, let's go back to the Mask viewport and I'm going to select this part.

And for the logo, it's an easy part because I can add and select this part and even you can

go to the Mask view to see what happened. So, press M to go back to the material mode

and that's it. We created a color ID for ourselves.

Fixing this issue, I mean one-sided mesh, you can come over here in the shader setting

and press double-sided so everything is fixed right now and after creating the categories

I'm going to set my viewport to the best setting that I want. So let's go to the display setting

for the first step I'm going to change environment map to the Tomoko studio and I'm going to increase

the exposure environment exposure because at the end I'm going to use ACES to mapping in the

viewport. So for the focal length I prefer to have some focal length around 80 or 90.

Yeah it's going to give me a good view and for the tune mapping function I'm going to use ACES.

This is for the display and let's go to the shader setting. For the shader setting the first thing we

should able we should turn on the double-sided option and after that I'm going to turn on

bench normal yeah and in the displacement I'm going to increase subdivision count. The

the main point here is if you are exporting from your software from your modeling software

a high dense 3d model with the good topology and good amount of the vertex you didn't need

to increase the subdivision count to 32 for example maybe 10 is good for you maybe 20 is good for you

but in here in this case I'm going to increase it to 32 because in this way I can have

a good displacement in the viewport. So that's it. And in the scale I'm going to set 0.05

because this is the number that I want to use in, for example, other software like Marmstead

Toolbag. So that's it. And it's okay for the shader and display setting. Let's check texture

set list. Yeah, the military hat is the material that I apply on the model in the 3ds Max. So

everything is good here. And that's it. Let's go to the set setting and in the channel I'm going

to add ambient occlusion and opacity because every time I try to use displacement modeling

in Substance Painter after a while I'm adding details. The details, it's like hovering

details on the model. It's not connected to the surface and the main reason is lack of

ambient occlusion. So every time we are using Substance Painter for texturing and we didn't

use HiPoly version that created in the other software like ZBrush, we need to add ambient

occlusion for ourselves and for our details in the Substance Painter. Okay and for the opacity

yeah I'm going to use opacity as I told you before for cut out the shape over here and

maybe some details on the hat itself. So this is the reason that I add ambient occlusion and opacity

channel to our list and after that I'm going to create a fill layer below all the category and

the folders and call it base layer and in the base layer

need to turn on all the channels and leave it the default value of the

channels itself because whenever I try to add for example metallic, roughness or

other data in the other channels we shouldn't leave it empty at the first

step okay so this is the reason and let's go to the next video we start with

creating leather material in Substance