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+  "text": " Okay, so I just want to start the texturing process by detailing out how I usually set up my layers and working with the setup here in terms of Substance Painter. So the first thing that I'll always make sure I do is add a empty layer. So I'll just add this fill layer here. I usually rename that to base, and this will just be a bunch of base values. So the benefit of doing this I'll just sort of showcase here is once we start to get into Adding in smart materials as an example here You can see when we go and cycle through our channels by hitting C on the keyboard here that some of the channels have this transparency issue so if we just Add in our base layer. You'll see there's no visual change to the way things are looking But as soon as we go through our individual channels, you'll see they're all filled out with some value So I like to do that to avoid having any issues with transparency. It means I can read my debug views a lot clearer And it's just a good practice to get into is just putting an empty layer at the bottom of the stack there And then the other thing I'll also do is add in a PBR validate node So this is a node that comes with the shelf. It's come to the starter assets and just Search for validate here. You'll see we have this PBR validate So you just drag and drop that into the layer stack here And then it will add that in on top of the substance layer so you can see that there This you would want to set up so you set it to 50 RGB and 70 to 100% reflectance there for checking our PBR values and it should be green On the model so you can see here that this is green At the moment that means that everything is within value range And so that's what we're looking for there as we working through our values and you can see a couple of areas where it's starting to Go red, which means that it's a little bit too dark in those cases You just want to make sure that the majority of your object is going to be green So if you're going below 50 RGB for a non-metal That's usually going to be too dark and then you if you're full metallics you want to stick within that 70% percent range So if you're making a pure metal, that's where you want to aim for in terms of Value there. So that's what we're looking at in terms of PBR values As far as this I'm going to go through creating these smart materials from scratch But this is roughly how I would start out my materials So you can see here a little bit of a preview of what we're going to be aiming towards So we've got our materials sort of set out there. Those are going to be our smart materials and then we're going to basically mask these using the color ID selections that we created earlier. So you can see here that we can mask out the different areas. I also sometimes will add in paint if I wanted to manually kind of add that material in somewhere or using geometry selection and everything I can assign that material to different areas depending on what I wanna do. So yeah, so now we're gonna work into creating our first smart material. So I wanted to start by just talking briefly about anchor points. So if you haven't used them before, they're basically a reference to a layer or to a particular type of effect. So you can create anchor points really easily by just right clicking and adding an anchor point. So here we can do that on the layer or we can also do that on the mask as well. So we get different types of anchor points depending on what we were doing. So just as a really basic example of how anchor points can be useful, if we paint in an example of material here, So we have our red mask and we'll paint this in as well. Let me just come in here and I'll do that with a little bit more of a harder brush. So we have our shape. So this is gonna be our example. So we'll just create an example there. And then I'm gonna add an anchor point to this. So this is now a reference and I can reference that anywhere else in terms of the layers. So as an example here, we'll create another material. We'll create blue and we'll add a black mask to this. And then we're gonna add a fill layer. And then from here, we'll add that anchor point that we just created, which was the example mask. So you can see that we have now a copy of what we had here. But what's really great about this is we can then add effects to this. So we could blur this mask, for example, now. And you can see that we can create this effect here. And then we can take the anchor point again. So we'll add a fill again. And then we'll add that anchor point in with the example mask. And this time instead of it being a normal blend, we'll do a subtract blend. And you can see that now we can create this nice halo type effect. So when we paint in this original mask, this is gonna create that effect basically, which is a really nice example. So that's a super basic example. One of the things I like to do in my projects is if I'm gonna be using a bunch of materials over and over again, so dirt is a good example, or maybe metal is a good example, I like to create a folder with base materials in there. And then here is a great example of this with the dirt is I created an anchor point for the dirt here. So you can see that that's just a dirt material. I've put some textures in there for dirt and I've created an anchor point. So then later on, I can turn this on. If I had a material, let's say we have something like this, we can turn off, say some of the effects and some of the dirt and everything here. Let's just remove these. And let's say I wanted to do a dirt effect. I could add a fill layer in, and then under the actual channels, I can come in and select my channels here. So I can select my dirt, I could do the same for the roughness, so it's gonna have the right roughness and everything. And then I can add a mask here, and we could do say a generator or something. So what's good about this is it's basically referencing that material from below. So it's nice and cheap in terms of the layer effect. It means that it's not having to calculate effects and things there multiple times. We're not having to have loads of folders where we duplicate the dirt a bunch of times. We're just going to reference that dirt. So that's really handy when you're building your materials. It means you can pull from your base materials below. So again, same kind of thing with the, if we were doing, let's go for and do the metal edge wear one as well. I've got a base metal. So I'll come in with the base metal for this one. want it to be metallic so we can pull that that base metal that we have in in our base material there and then add in say an edge where again like an effect like a generator or something and we'll do a metal edge where and that's going to now use that metallic from below so you can see here that we have our metal edge where but it's using the metal from that base material so we've got our values all set up correct and and everything. And then if we make any changes or tweaks to this base metal, then it's gonna propagate through in terms of our anchor point. So it's an instance of that layer, right? So just wanted to show that workflow. One of the downsides to this particular way of working is if you have these base materials in a folder outside of your smart material, and then you try to do an instantiate, which basically means we can create this material effect other texture sets so just show that here. We'll create it now on the leg. You're gonna see that what happens is a bunch of the details of this guy are not gonna work so things like the the metal edge wear effects and everything that like when they're instantiated you can see that they're basically are just gonna stop working right. So that's something that you just have to keep in mind if if you are going to work in this way that you can't use instantiation across the texture sets with those types of effects, right? So you can do it, but you have to move these guys within to the folder here. So if we then move this as part of the same folder and then we're to instantiate, this would definitely work then. So let's try and just show that process. You can see now we have the dirt and we have the edge wear and everything and it's looking good. But then that kind of defeats the purpose of having the anchor point system to begin with, because we're trying to reference that in multiple groups and layers higher up. So the only way to really do that is then to have everything in one big folder that you instantiate. So as we build out all of our smart materials, we could create one big folder that we instantiate and everything will come across. So that's one way to do it as well. So I just wanted to talk about those workflows because some of this stuff isn't super clear. It can be a bit confusing when it comes to how you actually have things set up. So I like to do this to save myself time. So I'll build out things like the dirt layers and everything there, and then build up our smart materials over time. So just wanted to sort of show that before we begin making our smart material. Okay, so now we're gonna start building out our first smart materials and trying to work on our texturing here. So when I say smart materials, basically just referring to a material contained within a folder. And so the first ones I want to start building out, which are going to make up the majority of our object here, is the dark plastic. And as I mentioned when I looked at the reference, I wanted this to be like a chipped kind of dark paint. This is my general reference for that. So you can see that we have some really nice stuff going on in these references. So a couple of things I wanted to point out here is the edge where you can see we've got lots of nice light scratches on the paintwork. We've got chips. We have these kind of stains as well to the material and a lot of color discoloration. You can see some darkness here in these areas and then it's lighter here, some sort of dirt type stains, lots of nice details, sort of drips and that kind of stuff. And then same kind of thing here, you can see similar sort of stuff, dirt kind of build up, lighter stains, darker stains, all that kind of interesting stuff going on. And then I've got this really nice example from the KX droid as well where we have the again same kind of feel we have the chips we have some staining and what I really liked about the dirt staining on this is that you can see it kind of feels like it accumulating as it as it dries you can almost see that it's like dark around the edges and things like that. So you notice this if you have say like a tea stain or something, if you put a tea bag on onto a plate and left it, it would create a stain very much like that where it starts to sort of dry more towards the edges or darker towards the edges and I just really liked that aesthetic. I thought that was really cool. So yeah, and then lots of really great example references here as well, similar kind of ideas and scratches and things like that. So that's the kind of basis of what I'm going for. And so, so yeah, so first off we want to start by just creating a couple of examples. In my reference you can see that I had, say the dirt and everything here. So to create that kind of base dirt material, all I did was basically create a fill layer and then I put some textures into that fill layer. So you can see that there, right? So we can duplicate this as an example. Substance doesn't, painter doesn't really come with many good dirt materials. So if you try to do a search just in the starter assets for dirt, you're not really going to get much coming up for dirt. You get some examples here. So if you want to build a base dirt, you can do that just by bringing in textures as I as I did there. The other alternative is that you just build it from grunges. So you can come in say with a grunge like search for dirt or something like that, and then bring these kind of information into the base material and then you can start to add filters to that. So we could come in with maybe say something like a gradient and use the gradient to basically get our texture. So there's a couple of different ways to sort of build these kind of things up. But I would say to be honest, like the most reliable result you're probably going to get is just by bringing in a texture. So we'll just use this as an example we can build this in so I'm gonna just keep that how it is and we've got our dirt I made some adjustments to it so this is just the base textures that I had as we've got a base color roughness and a height I'm not using metal and normal so we can actually just remove those and then I just fill some extra spot detail in there so some BM spots on top and if you double click these you can rename them as well to keep yourself organized. So we have our BN spots there and then I did a levels to basically reduce the height map information because I was finding that was just a little bit noisy and I want my dirt to generally be pretty basic there. And then if we want to make any further adjustments so we could do say a filter here and I often will use the hue saturation as a filter. So in this case I might want to make the roughness maybe a bit rougher. I can just increase the the lightness there and if you alt click a channel that's gonna isolate it so you can just easily create your dirt so that's our dirt as our base that's something that we wanted to create we can create our metal edgeware for chips and things later but we'll just put this into a folder and we'll just call this base materials and then I'm gonna start with my painted dark metal so we'll just call this painted dark metal metal dark and then And the first thing we're gonna wanna do is just add a fill layer and try and determine the value of our metal. And there's a couple of ways to do that or our paint, I should say. The first way would be just to color pick from the reference and that's gonna give you a value. Sometimes you'll see that these get pretty dark. So I'm just color picking randomly from some of our key reference here. We could go even darker. But then this isn't really gonna be great when we start looking at our PBR validate, right? So if we come over into here and pull this guy on top, we're gonna struggle with some of these values depending on how dark they are, they could potentially get a little bit too dark. So you can see this one, for example, is too dark. So how do we actually determine that? One of the ways that I like to determine that is with charts. So if I come over into my PBR swatches, so this is taken from our PBR charts. Usually we'll just use those as a guide. So the darkest value for 50 is coal. So we could pick that that's kind of as dark as we could go. And then we can also see we've got, say, a paint black material. So I would pick maybe paint black for this particular example. And then I can go a bit brighter if I wanted to. But this is probably a pretty good baseline. And we can just use our PBR charts for that particular detail, right? So that's something that can be pretty nice when it comes to just working into our materials and trying to figure out what our baseline value is. So I'll just rename this base paint. So that's a good starting point. Now we can start to work a little bit more into our materials. So the first thing I'm going to want to do here is just try and get some response and plastic feel to this. You can search in the library for materials and kind of then work backwards from these So if you have smart materials already in the library, you can come in and pull these in and then Take different parts from them. So a good way to kind of work is pull in say the plastic armor So yeah, so that's how this one is looking the plastic armor So as you pull different ones in different materials, we could also pull in our rubber as an example here And then we can just sort of visualize like what type of detail is this giving us is this stuff that we want to take over into our Own material basically so sometimes that can be handy you can look at them actual materials as well So we can come in with the basic plastic and then just pull that in as well and see is that detail that we want to pull forward Right, so I also have in my own shelf as well I have a series of different materials like ones from textures comm for example like plastics and things So that's another good way to do it. I can actually just pull in a plastic material and you can see this has some some nice detail like Roughness and things like that and then I could potentially use that in my material So I might want certain elements of that so as an example I don't want it to be say as dark as that material that we can see there So I might just pull this in and then just use say the roughness only and then for here We can just have that as a color detail So you can see already that gives us like some nice detail to our roughness and some variation that you can see from the material And again, we can just do roughness. We could also do height information and other things as well But that's how we can start to kind of build up just like a decent base there in terms of the material If you don't have any like materials that you want to use another way you can also start to do this is by grabbing roughness textures. So if we go to the start material here, come over into this section and start looking at our grungers, right? So we can start to build up detail in the roughness using the different grunge maps. And searching for say plastic, you might pull up some types of looks there, or you can just search for different grungers and see. So we can pick things that are gonna look pretty nice. So generally, if you look at the ones that we have so far, if we go over to roughness and we look at this guy, you can see this is what we have in the roughness at the moment. So this has some sort of brighter values here and darker values. So we're looking for something maybe along those kind of lines if that's the type of look that we wanted to go for. So usually I'm just searching by eye for interesting grunges, maybe like the grunge leak dirty could be a pretty good one to try out. So you just basically pull that into the roughness and then apply this and you can sort of see that there. And then I'll usually set this to maybe try playing a projection and we'll tile up the roughness there so you can start to see get some break up and that's what our roughness is starting to look like as we tweak these values. And then once this is set up nicely, then we can just pull in these other effects like the other roughness effects, right? So we could swap this out, say for the grunge muddy and then see how that looks. So we can easily just test how these types of results are working and what this is giving us from like a visual perspective, which can be pretty nice. So yeah, as we start to build these up, you can kind of see the result that we're getting there. So yeah, so that's given us a pretty good base to begin with. And then what I'll usually do, and we jump over into looking at our reference, you can see kind of how I structure the material here. So this is the sort of base material that we created. So we have our base, I add some effects and things on top, but this is the actual base here. So we'll just kind of go through that, I can show. So I have various different effects that we kind of start to build up. So this is just the base material, like the base plastic. And then as we start to add effects, you can see I've got some streaks, I've got some roughness variation, I've got some color variety. We do some edge wear, some lighter streaks, some surface detail. And then we start to just basically add an adjustment at the top. So that's kind of how we get to our base material here. So we'll go through just how to create this type of thing and then as we can add the other effects on top of that. So, okay, so next up, what I wanted to cover is just the, how I would then start to take effects like this. So we have our roughness and then pull this up. So these are our base values. This one is a base plastic. So we'll just put plastic shiny there. And then I want to start by adding a couple of different effects. So the first one is just roughness variation. So we're gonna put roughness variation. And then I also wanna make a folder for color variety as well. So for these guys, it's basically just by building up effects that we have in the roughnesses I'll change the blend modes as well so we'll come over into the roughness channel and then you can reduce the opacity to show those two combining together those different roughnesses that we have and then you can also play with things like overlay blend modes and see how that can actually impact the look as well so depending on the blend mode that you select you're going to get a different effect and it's going to come together with these different roughnesses right. So looking at the references as well that's another thing you want to take a look at so you can see different details building up such as these kind of stains. So that's the type of stuff I'm looking for so usually what I'll do is I'll just add in a couple of layers set to something like normal with a full opacity so I can preview the roughness and then I'll try and kind of come through here and select different ones. So the ones that I usually like to build up detail with are things, if I'm doing a roughness effect where it's going to be a rougher effect, I'll usually look for a mask that has maybe some more black and white areas. So something along the lines of this type of thing. And then I'll try to add that as an add effect. So as an example, let's just take, say, these spots, and we could add this in. So this is going to give us some nice roughness breakup you can sort of see that effect there and then if I was to combine that together with like linear dodge you'll see that now this is being added over the top of our existing roughness so we want to play around with that we can do depending on the effects here so we can just cycle through these as well if we select them you can just come through and cycle through the different effects and see how that can kind of impact things. So yeah, depending on the blend mode, you can get different effects with that. Let me try and put this back to. Yeah, it's kind of darkening things down a little bit, and I didn't really want that. I just wanted these kind of spot type effects. So just by changing the opacity there, we can get that looking pretty good. And then we can just keep duplicating up effects like this and adding variation basically with the different looks I also really like these kind of drip Roughness effects. These are always really nice for adding nice variety into your texture. So again, we can use different blend modes for that Experiment with those and then change up things like the tiling and you can see that we can easily add some of this nice kind of staining and things like that. We can always paint these types of effects out as we work as well. So that can be a pretty nice way to add variety into the roughness. For the color variety, it's kind of the same process, but we just wanna be working with color variation. So what I usually do here is look for a grunge that has a variety of black and white. So it goes from full black all the way to white. So something like this is a good example. and I'll do the same thing. I'll set that to Tri-Plano with a tiling. So that's a pretty good one. I'll usually just look for ones that have as much black and white variety as possible and sort of swap those out in the same way, try and find something that's gonna work. So this is a pretty nice one, for example. And then we'll sort of tile that up a bit. And then when we've got this working, we'll then add a filter and we'll use, not the hue saturation, use the gradient filter and then this is so what I'm going to try and do here is basically use these to give me different color variety so at this stage I just want really extreme color variety I don't want you know something that makes sense like some nice variation in color and then I can actually just reduce the opacity of this in terms of the base color so we go over to our base color channel and we'll reduce the opacity of this and we'll have this on a really low opacity and then what this will do is it will slowly start to increase some color variation into this particular result and if this is getting too strong you can put this on a one you can see that it still can be pretty strong in terms of color so what you would want to do there is then reduce the opacity of it again in the in the mask and then we can duplicate this up and change the colors again so we'll go now for maybe some blue sort of colors and then we can once we've got those blues in there we can then swap out the the actual texture again so let's swap this one out for this guy and we'll just put in now a little bit of the blue colors and you can start to see that we're mixing in all of these different colors and then with these actual masks as well you can play around with the contribution in the balance so that we can see how that's sort of adding in this nice color variation. And then we'll do the same thing here. So I'm going to now go for more of a orangey red kind of colors, I think. So we'll go something like yellows and oranges. So just mixing in these different colors into the base color so that it just has a bit more color variety, right? And so I'm going to swap this one out as well. Just come into here. Okay, and then I might want to put a little bit more of that yellow red kind of look in there. And you can mask these as well if you want to. So that's kind of how we just start to build up some just different variation into the material. We've got now some roughness variation, some color variation. And then I start to get maybe a little bit more specific with my effects. So usually for plastics, and we saw that with some of the references, they have sort of like a darker color in the crevices, and then they sometimes will have lighter edges. So those are, again, good things to do. So something you can do if you want to easily do that, taking some of our underlying colors is you create a layer here. So we're gonna add this into a folder and we're gonna just call this edges. And for this one, I wanna set the folder here to pass through and we'll set this one to pass through in the base color. So now we have, effectively, this is like collapsing the layer stack. So we'll call this lighter edges and then we'll duplicate again and we'll create a darker recesses, right? So we can do that by adding in our black mask and just adding in say a generator. So if we were to take something like the dirt one here, we can actually get some kind of dirt mask, which is feeling pretty good. And I probably would, for the dirt mask itself, I'm gonna reduce a little bit of the grunge and maybe the impact of this. So it's gonna be a little bit lighter in there. And then to darken this down, it's really straightforward. We would just basically add a filter here with the hue saturation. And then we can actually darken our base color a little bit there So you can see if we jump over to the base color view that's now creating a darker result We could also tweak say the roughness as well Just by adding in another hue saturation and we'll just impact the roughness only and then brighten up The roughness you'll have to jump again over to the roughness channel though and set these Layers to pass through so if you set those both to pass through now you'll see that we get Some of that roughness impact happening there, which is pretty cool So yeah, so that's a way to get darker and then we could basically copy that exact same effect for the Edges so we'll go back over to our base color view this one. We're gonna add Another filter with a hue saturation For the base color and we're gonna just brighten it But for this guy, I want some edges So one of the other things I like to do when I'm doing masks is I'll come over to the smart masks and use these So if we do a search for edges, we can grab different types of edges. So for example for plastic We might want something that's a bit softer. So maybe experiment with some of these ones which are dirt soft Edges and you can just drag and drop that into the mask And you'll see that the mask that that creates is something like this, right? And then you can experiment with the amount that that is contributing and the overall kind of level of this and everything If you want to play with the values of that you can always just add a levels kind of back into it So this would be a nice way to just create those slightly lighter edges This obviously has like a bunch of grunge kind of impacting it as well so for that we can always play around with the opacity of it and tweak some of the actual values of what we're getting here but you can see that that creates like a nice lighter plastic kind of feel to our edges and we can Experiment now we've got this with the value that we're brightening this we probably don't want to brighten too much We don't want it to be super obvious there and again same for the For the for the roughness right we can add a filter with our hue saturation and just get a slightly Rougher result on those edges. So if we sort of boost this up a little bit You can start to see that yeah, that's just catching the light a little bit and giving us some nice details So this is a nice way to add some more variety Then we can take more Closer look at some of the the details that we're we're coming through here So you can see that we have some darker staining we have some drips and things like that So again, those kind of details are pretty good to get in and you can notice If we turn this off and look at the reference example, that's some of the bits that I put in as well. So I have sort of go through these again. We have our like drips, like little streaks and things. We have our roughness and our color variation. We have some of that lighter edges as again, same kind of stuff. We add a surface detail, which we'll get into in a little bit. And you can see some smaller kind of stains and details there. So that's all really nice little adjustments we can make. So let's try and work on some of those other ones here as well. So now we have this nice material kind of coming together. I'm going to try and do the, I want to do the drips and the streaks. So we'll do some streaks or drips. So those are simple to do as well, same kind of idea. Usually for that sort of stuff, I'll search for leaks or I'll search for drips and usually you'll pull up or streaks, you'll pull up those kind of masks. I think drip use, is it leak that usually gives you the most reliable ones as far as masks are concerned? You can sort of see how these could be pretty nice kind of details. You can also, we'll get into hand painting some of this type of stuff later in the in the class, but yeah, I'm just focusing on procedural generation for these at the moment. So this kind of stuff is great. We obviously already played around with those kind of things. And then I would just basically add in a fill layer to begin with. And sometimes what can be helpful is setting it to red and then using a mask with it set to red. So you can actually start to see how that might look. So if we had these streaks and everything, we can go for our triplanar and we can tweak our scale of that. And you can see that we have these leaks maybe we can go for slightly bigger and then we can always swap this out right so swap this out for another one so this one is a really nice one for those smaller leaks and drips and then from that you can tweak the mask so maybe get a bit of contrast going on in there and you can see this is adding some really nice detail there so then we can just come in with some value and I think usually this is a darker value. So I'll probably go for just color pick from our reference, like a slightly darker base color here. We can kind of get that in something like this. So you can start to see those leaks coming through some of those little drips. And you can just vary this type of stuff up more and more. So you have this one coming in And then you can duplicate this up and swap it out for another version or variation here. So We'll just go in with our grunge leaks spots So that one can be pretty good as well and Then playing around with the mask and some of the contrast that that gives you can sort of see how that's giving us a slightly different result This one I like to just try to vary up colors as well as much as possible so things aren't always exactly the same you can just start to see how we're building that type of stuff up so that's how we would do some some more details like that kind of stuff and then once we've got into this one I also want to add some surfacing so getting up close to these kind of materials you can see often with this kind of stuff that we have some sort of feeling that there's like a texture to this like either from It being either painted or there's some kind of like Surface detail to this like a micro detail to stuff. So as we're working through I like to try and add that so this one is Looking a little bit like it's got more of a powder coated feel to it So to do those kind of things. It's really straightforward We'll go over. I like to use the the filter effects. So we come over into these the material finishes and you just basically drag and drop these into the project and you'll see that you get this kind of effect right and you obviously need to change up the scale of stuff so tweak the scale of this and we can change the intensity but this is just giving us that extra level of detail to everything making it feel more like a surface with that kind of nice response as well with the roughness and everything and that can feel really good when we start to get these little details and things coming in there, right? There's other ones in here. So you've got the grainy is pretty nice as well for say a painted metal You'd see that could definitely give us more of that like thicker paint kind of feel and experimenting again with the scale and maybe the intensity of that so that's obviously a very different Look to what we have here with the powder coated so it depends on the look that you're wanting to go for and I also I also really like the rough one, but I like to use the rough with some blur. So I'll usually come in with the, this guy, this one is great for metals. So I would blur the result just on the height map. I think actually on the, yeah, on the normals, I would blur this type of result and it can give this kind of like bumpy looking metal, which again, I find is a really nice result depending on the type of material going for. So that one can be pretty good as well. And then finally, what I like to do when I'm building out my base material here is I like to add some adjustments. So I'll just do like a final adjustment layer. And this can just be good for finally tweaking things. When you get to the end of the model and you want to just say balance out the base color or you wanted to tweak the roughness or whatever you wanna do there, that can be great for that kind of adjustment. So we just set that to pass through and we'd have to do that in the channels that we want to adjust. So we come over to pass through. And as I said, this is like collapsing down the layer stack here. So we're gonna add in a adjustment here with a filter. And I'm gonna come in with the hue saturation. So this will just allow us, I keep it empty to begin with but you can brighten or darken the base color here. And we can just keep that here and then we can do another one just for the roughness as well. And so then this can also give us a tweak. We can make it shinier on the roughness. It's gonna globally adjust everything below it, right? So that's kind of giving us where we wanna get to as far as the adjustments are concerned. So this is looking like a pretty good base for our dark painted metal. So the next part of the tutorial what I want to do is start to add more specific detailing. So in this example, you can see if we sort of jump over to here, this is what our base material looks like. And then we start to add detail. So here we have these kind of bigger global roughness changes, we start to do some adjustment to our edges, and then we start to do our metal scratches and we do build up our dirt and our grease and everything. And then we add other details. So we'll go through that as the next step.",
+  "segments": [
+    {
+      "text": " Okay, so I just want to start the texturing process by detailing out how I usually set up my layers and working with the setup here in terms of Substance Painter. So the first thing that I'll always make sure I do is add a empty layer. So I'll just add this fill layer here. I usually rename that to base, and this will just be a bunch of base values. So the benefit of doing this I'll just sort of showcase here is once we start to get into Adding in smart materials as an example here You can see when we go and cycle through our channels by hitting C on the keyboard here that some of the channels have this transparency issue so if we just Add in our base layer. You'll see there's no visual change to the way things are looking But as soon as we go through our individual channels, you'll see they're all filled out with some value So I like to do that to avoid having any issues with transparency. It means I can read my debug views a lot clearer And it's just a good practice to get into is just putting an empty layer at the bottom of the stack there And then the other thing I'll also do is add in a PBR validate node So this is a node that comes with the shelf. It's come to the starter assets and just Search for validate here. You'll see we have this PBR validate So you just drag and drop that into the layer stack here And then it will add that in on top of the substance layer so you can see that there This you would want to set up so you set it to 50 RGB and 70 to 100% reflectance there for checking our PBR values and it should be green On the model so you can see here that this is green At the moment that means that everything is within value range And so that's what we're looking for there as we working through our values and you can see a couple of areas where it's starting to Go red, which means that it's a little bit too dark in those cases You just want to make sure that the majority of your object is going to be green So if you're going below 50 RGB for a non-metal That's usually going to be too dark and then you if you're full metallics you want to stick within that 70% percent range So if you're making a pure metal, that's where you want to aim for in terms of Value there. So that's what we're looking at in terms of PBR values As far as this I'm going to go through creating these smart materials from scratch But this is roughly how I would start out my materials So you can see here a little bit of a preview of what we're going to be aiming towards So we've got our materials sort of set out there. Those are going to be our smart materials and then we're going to basically mask these using the color ID selections that we created earlier. So you can see here that we can mask out the different areas. I also sometimes will add in paint if I wanted to manually kind of add that material in somewhere or using geometry selection and everything I can assign that material to different areas depending on what I wanna do. So yeah, so now we're gonna work into creating our first smart material. So I wanted to start by just talking briefly about anchor points. So if you haven't used them before, they're basically a reference to a layer or to a particular type of effect. So you can create anchor points really easily by just right clicking and adding an anchor point. So here we can do that on the layer or we can also do that on the mask as well. So we get different types of anchor points depending on what we were doing. So just as a really basic example of how anchor points can be useful, if we paint in an example of material here, So we have our red mask and we'll paint this in as well. Let me just come in here and I'll do that with a little bit more of a harder brush. So we have our shape. So this is gonna be our example. So we'll just create an example there. And then I'm gonna add an anchor point to this. So this is now a reference and I can reference that anywhere else in terms of the layers. So as an example here, we'll create another material. We'll create blue and we'll add a black mask to this. And then we're gonna add a fill layer. And then from here, we'll add that anchor point that we just created, which was the example mask. So you can see that we have now a copy of what we had here. But what's really great about this is we can then add effects to this. So we could blur this mask, for example, now. And you can see that we can create this effect here. And then we can take the anchor point again. So we'll add a fill again. And then we'll add that anchor point in with the example mask. And this time instead of it being a normal blend, we'll do a subtract blend. And you can see that now we can create this nice halo type effect. So when we paint in this original mask, this is gonna create that effect basically, which is a really nice example. So that's a super basic example. One of the things I like to do in my projects is if I'm gonna be using a bunch of materials over and over again, so dirt is a good example, or maybe metal is a good example, I like to create a folder with base materials in there. And then here is a great example of this with the dirt is I created an anchor point for the dirt here. So you can see that that's just a dirt material. I've put some textures in there for dirt and I've created an anchor point. So then later on, I can turn this on. If I had a material, let's say we have something like this, we can turn off, say some of the effects and some of the dirt and everything here. Let's just remove these. And let's say I wanted to do a dirt effect. I could add a fill layer in, and then under the actual channels, I can come in and select my channels here. So I can select my dirt, I could do the same for the roughness, so it's gonna have the right roughness and everything. And then I can add a mask here, and we could do say a generator or something. So what's good about this is it's basically referencing that material from below. So it's nice and cheap in terms of the layer effect. It means that it's not having to calculate effects and things there multiple times. We're not having to have loads of folders where we duplicate the dirt a bunch of times. We're just going to reference that dirt. So that's really handy when you're building your materials. It means you can pull from your base materials below. So again, same kind of thing with the, if we were doing, let's go for and do the metal edge wear one as well. I've got a base metal. So I'll come in with the base metal for this one. want it to be metallic so we can pull that that base metal that we have in in our base material there and then add in say an edge where again like an effect like a generator or something and we'll do a metal edge where and that's going to now use that metallic from below so you can see here that we have our metal edge where but it's using the metal from that base material so we've got our values all set up correct and and everything. And then if we make any changes or tweaks to this base metal, then it's gonna propagate through in terms of our anchor point. So it's an instance of that layer, right? So just wanted to show that workflow. One of the downsides to this particular way of working is if you have these base materials in a folder outside of your smart material, and then you try to do an instantiate, which basically means we can create this material effect other texture sets so just show that here. We'll create it now on the leg. You're gonna see that what happens is a bunch of the details of this guy are not gonna work so things like the the metal edge wear effects and everything that like when they're instantiated you can see that they're basically are just gonna stop working right. So that's something that you just have to keep in mind if if you are going to work in this way that you can't use instantiation across the texture sets with those types of effects, right? So you can do it, but you have to move these guys within to the folder here. So if we then move this as part of the same folder and then we're to instantiate, this would definitely work then. So let's try and just show that process. You can see now we have the dirt and we have the edge wear and everything and it's looking good. But then that kind of defeats the purpose of having the anchor point system to begin with, because we're trying to reference that in multiple groups and layers higher up. So the only way to really do that is then to have everything in one big folder that you instantiate. So as we build out all of our smart materials, we could create one big folder that we instantiate and everything will come across. So that's one way to do it as well. So I just wanted to talk about those workflows because some of this stuff isn't super clear. It can be a bit confusing when it comes to how you actually have things set up. So I like to do this to save myself time. So I'll build out things like the dirt layers and everything there, and then build up our smart materials over time. So just wanted to sort of show that before we begin making our smart material. Okay, so now we're gonna start building out our first smart materials and trying to work on our texturing here. So when I say smart materials, basically just referring to a material contained within a folder. And so the first ones I want to start building out, which are going to make up the majority of our object here, is the dark plastic. And as I mentioned when I looked at the reference, I wanted this to be like a chipped kind of dark paint. This is my general reference for that. So you can see that we have some really nice stuff going on in these references. So a couple of things I wanted to point out here is the edge where you can see we've got lots of nice light scratches on the paintwork. We've got chips. We have these kind of stains as well to the material and a lot of color discoloration. You can see some darkness here in these areas and then it's lighter here, some sort of dirt type stains, lots of nice details, sort of drips and that kind of stuff. And then same kind of thing here, you can see similar sort of stuff, dirt kind of build up, lighter stains, darker stains, all that kind of interesting stuff going on. And then I've got this really nice example from the KX droid as well where we have the again same kind of feel we have the chips we have some staining and what I really liked about the dirt staining on this is that you can see it kind of feels like it accumulating as it as it dries you can almost see that it's like dark around the edges and things like that. So you notice this if you have say like a tea stain or something, if you put a tea bag on onto a plate and left it, it would create a stain very much like that where it starts to sort of dry more towards the edges or darker towards the edges and I just really liked that aesthetic. I thought that was really cool. So yeah, and then lots of really great example references here as well, similar kind of ideas and scratches and things like that. So that's the kind of basis of what I'm going for. And so, so yeah, so first off we want to start by just creating a couple of examples. In my reference you can see that I had, say the dirt and everything here. So to create that kind of base dirt material, all I did was basically create a fill layer and then I put some textures into that fill layer. So you can see that there, right? So we can duplicate this as an example. Substance doesn't, painter doesn't really come with many good dirt materials. So if you try to do a search just in the starter assets for dirt, you're not really going to get much coming up for dirt. You get some examples here. So if you want to build a base dirt, you can do that just by bringing in textures as I as I did there. The other alternative is that you just build it from grunges. So you can come in say with a grunge like search for dirt or something like that, and then bring these kind of information into the base material and then you can start to add filters to that. So we could come in with maybe say something like a gradient and use the gradient to basically get our texture. So there's a couple of different ways to sort of build these kind of things up. But I would say to be honest, like the most reliable result you're probably going to get is just by bringing in a texture. So we'll just use this as an example we can build this in so I'm gonna just keep that how it is and we've got our dirt I made some adjustments to it so this is just the base textures that I had as we've got a base color roughness and a height I'm not using metal and normal so we can actually just remove those and then I just fill some extra spot detail in there so some BM spots on top and if you double click these you can rename them as well to keep yourself organized. So we have our BN spots there and then I did a levels to basically reduce the height map information because I was finding that was just a little bit noisy and I want my dirt to generally be pretty basic there. And then if we want to make any further adjustments so we could do say a filter here and I often will use the hue saturation as a filter. So in this case I might want to make the roughness maybe a bit rougher. I can just increase the the lightness there and if you alt click a channel that's gonna isolate it so you can just easily create your dirt so that's our dirt as our base that's something that we wanted to create we can create our metal edgeware for chips and things later but we'll just put this into a folder and we'll just call this base materials and then I'm gonna start with my painted dark metal so we'll just call this painted dark metal metal dark and then And the first thing we're gonna wanna do is just add a fill layer and try and determine the value of our metal. And there's a couple of ways to do that or our paint, I should say. The first way would be just to color pick from the reference and that's gonna give you a value. Sometimes you'll see that these get pretty dark. So I'm just color picking randomly from some of our key reference here. We could go even darker. But then this isn't really gonna be great when we start looking at our PBR validate, right? So if we come over into here and pull this guy on top, we're gonna struggle with some of these values depending on how dark they are, they could potentially get a little bit too dark. So you can see this one, for example, is too dark. So how do we actually determine that? One of the ways that I like to determine that is with charts. So if I come over into my PBR swatches, so this is taken from our PBR charts. Usually we'll just use those as a guide. So the darkest value for 50 is coal. So we could pick that that's kind of as dark as we could go. And then we can also see we've got, say, a paint black material. So I would pick maybe paint black for this particular example. And then I can go a bit brighter if I wanted to. But this is probably a pretty good baseline. And we can just use our PBR charts for that particular detail, right? So that's something that can be pretty nice when it comes to just working into our materials and trying to figure out what our baseline value is. So I'll just rename this base paint. So that's a good starting point. Now we can start to work a little bit more into our materials. So the first thing I'm going to want to do here is just try and get some response and plastic feel to this. You can search in the library for materials and kind of then work backwards from these So if you have smart materials already in the library, you can come in and pull these in and then Take different parts from them. So a good way to kind of work is pull in say the plastic armor So yeah, so that's how this one is looking the plastic armor So as you pull different ones in different materials, we could also pull in our rubber as an example here And then we can just sort of visualize like what type of detail is this giving us is this stuff that we want to take over into our Own material basically so sometimes that can be handy you can look at them actual materials as well So we can come in with the basic plastic and then just pull that in as well and see is that detail that we want to pull forward Right, so I also have in my own shelf as well I have a series of different materials like ones from textures comm for example like plastics and things So that's another good way to do it. I can actually just pull in a plastic material and you can see this has some some nice detail like Roughness and things like that and then I could potentially use that in my material So I might want certain elements of that so as an example I don't want it to be say as dark as that material that we can see there So I might just pull this in and then just use say the roughness only and then for here We can just have that as a color detail So you can see already that gives us like some nice detail to our roughness and some variation that you can see from the material And again, we can just do roughness. We could also do height information and other things as well But that's how we can start to kind of build up just like a decent base there in terms of the material If you don't have any like materials that you want to use another way you can also start to do this is by grabbing roughness textures. So if we go to the start material here, come over into this section and start looking at our grungers, right? So we can start to build up detail in the roughness using the different grunge maps. And searching for say plastic, you might pull up some types of looks there, or you can just search for different grungers and see. So we can pick things that are gonna look pretty nice. So generally, if you look at the ones that we have so far, if we go over to roughness and we look at this guy, you can see this is what we have in the roughness at the moment. So this has some sort of brighter values here and darker values. So we're looking for something maybe along those kind of lines if that's the type of look that we wanted to go for. So usually I'm just searching by eye for interesting grunges, maybe like the grunge leak dirty could be a pretty good one to try out. So you just basically pull that into the roughness and then apply this and you can sort of see that there. And then I'll usually set this to maybe try playing a projection and we'll tile up the roughness there so you can start to see get some break up and that's what our roughness is starting to look like as we tweak these values. And then once this is set up nicely, then we can just pull in these other effects like the other roughness effects, right? So we could swap this out, say for the grunge muddy and then see how that looks. So we can easily just test how these types of results are working and what this is giving us from like a visual perspective, which can be pretty nice. So yeah, as we start to build these up, you can kind of see the result that we're getting there. So yeah, so that's given us a pretty good base to begin with. And then what I'll usually do, and we jump over into looking at our reference, you can see kind of how I structure the material here. So this is the sort of base material that we created. So we have our base, I add some effects and things on top, but this is the actual base here. So we'll just kind of go through that, I can show. So I have various different effects that we kind of start to build up. So this is just the base material, like the base plastic. And then as we start to add effects, you can see I've got some streaks, I've got some roughness variation, I've got some color variety. We do some edge wear, some lighter streaks, some surface detail. And then we start to just basically add an adjustment at the top. So that's kind of how we get to our base material here. So we'll go through just how to create this type of thing and then as we can add the other effects on top of that. So, okay, so next up, what I wanted to cover is just the, how I would then start to take effects like this. So we have our roughness and then pull this up. So these are our base values. This one is a base plastic. So we'll just put plastic shiny there. And then I want to start by adding a couple of different effects. So the first one is just roughness variation. So we're gonna put roughness variation. And then I also wanna make a folder for color variety as well. So for these guys, it's basically just by building up effects that we have in the roughnesses I'll change the blend modes as well so we'll come over into the roughness channel and then you can reduce the opacity to show those two combining together those different roughnesses that we have and then you can also play with things like overlay blend modes and see how that can actually impact the look as well so depending on the blend mode that you select you're going to get a different effect and it's going to come together with these different roughnesses right. So looking at the references as well that's another thing you want to take a look at so you can see different details building up such as these kind of stains. So that's the type of stuff I'm looking for so usually what I'll do is I'll just add in a couple of layers set to something like normal with a full opacity so I can preview the roughness and then I'll try and kind of come through here and select different ones. So the ones that I usually like to build up detail with are things, if I'm doing a roughness effect where it's going to be a rougher effect, I'll usually look for a mask that has maybe some more black and white areas. So something along the lines of this type of thing. And then I'll try to add that as an add effect. So as an example, let's just take, say, these spots, and we could add this in. So this is going to give us some nice roughness breakup you can sort of see that effect there and then if I was to combine that together with like linear dodge you'll see that now this is being added over the top of our existing roughness so we want to play around with that we can do depending on the effects here so we can just cycle through these as well if we select them you can just come through and cycle through the different effects and see how that can kind of impact things. So yeah, depending on the blend mode, you can get different effects with that. Let me try and put this back to. Yeah, it's kind of darkening things down a little bit, and I didn't really want that. I just wanted these kind of spot type effects. So just by changing the opacity there, we can get that looking pretty good. And then we can just keep duplicating up effects like this and adding variation basically with the different looks I also really like these kind of drip Roughness effects. These are always really nice for adding nice variety into your texture. So again, we can use different blend modes for that Experiment with those and then change up things like the tiling and you can see that we can easily add some of this nice kind of staining and things like that. We can always paint these types of effects out as we work as well. So that can be a pretty nice way to add variety into the roughness. For the color variety, it's kind of the same process, but we just wanna be working with color variation. So what I usually do here is look for a grunge that has a variety of black and white. So it goes from full black all the way to white. So something like this is a good example. and I'll do the same thing. I'll set that to Tri-Plano with a tiling. So that's a pretty good one. I'll usually just look for ones that have as much black and white variety as possible and sort of swap those out in the same way, try and find something that's gonna work. So this is a pretty nice one, for example. And then we'll sort of tile that up a bit. And then when we've got this working, we'll then add a filter and we'll use, not the hue saturation, use the gradient filter and then this is so what I'm going to try and do here is basically use these to give me different color variety so at this stage I just want really extreme color variety I don't want you know something that makes sense like some nice variation in color and then I can actually just reduce the opacity of this in terms of the base color so we go over to our base color channel and we'll reduce the opacity of this and we'll have this on a really low opacity and then what this will do is it will slowly start to increase some color variation into this particular result and if this is getting too strong you can put this on a one you can see that it still can be pretty strong in terms of color so what you would want to do there is then reduce the opacity of it again in the in the mask and then we can duplicate this up and change the colors again so we'll go now for maybe some blue sort of colors and then we can once we've got those blues in there we can then swap out the the actual texture again so let's swap this one out for this guy and we'll just put in now a little bit of the blue colors and you can start to see that we're mixing in all of these different colors and then with these actual masks as well you can play around with the contribution in the balance so that we can see how that's sort of adding in this nice color variation. And then we'll do the same thing here. So I'm going to now go for more of a orangey red kind of colors, I think. So we'll go something like yellows and oranges. So just mixing in these different colors into the base color so that it just has a bit more color variety, right? And so I'm going to swap this one out as well. Just come into here. Okay, and then I might want to put a little bit more of that yellow red kind of look in there. And you can mask these as well if you want to. So that's kind of how we just start to build up some just different variation into the material. We've got now some roughness variation, some color variation. And then I start to get maybe a little bit more specific with my effects. So usually for plastics, and we saw that with some of the references, they have sort of like a darker color in the crevices, and then they sometimes will have lighter edges. So those are, again, good things to do. So something you can do if you want to easily do that, taking some of our underlying colors is you create a layer here. So we're gonna add this into a folder and we're gonna just call this edges. And for this one, I wanna set the folder here to pass through and we'll set this one to pass through in the base color. So now we have, effectively, this is like collapsing the layer stack. So we'll call this lighter edges and then we'll duplicate again and we'll create a darker recesses, right? So we can do that by adding in our black mask and just adding in say a generator. So if we were to take something like the dirt one here, we can actually get some kind of dirt mask, which is feeling pretty good. And I probably would, for the dirt mask itself, I'm gonna reduce a little bit of the grunge and maybe the impact of this. So it's gonna be a little bit lighter in there. And then to darken this down, it's really straightforward. We would just basically add a filter here with the hue saturation. And then we can actually darken our base color a little bit there So you can see if we jump over to the base color view that's now creating a darker result We could also tweak say the roughness as well Just by adding in another hue saturation and we'll just impact the roughness only and then brighten up The roughness you'll have to jump again over to the roughness channel though and set these Layers to pass through so if you set those both to pass through now you'll see that we get Some of that roughness impact happening there, which is pretty cool So yeah, so that's a way to get darker and then we could basically copy that exact same effect for the Edges so we'll go back over to our base color view this one. We're gonna add Another filter with a hue saturation For the base color and we're gonna just brighten it But for this guy, I want some edges So one of the other things I like to do when I'm doing masks is I'll come over to the smart masks and use these So if we do a search for edges, we can grab different types of edges. So for example for plastic We might want something that's a bit softer. So maybe experiment with some of these ones which are dirt soft Edges and you can just drag and drop that into the mask And you'll see that the mask that that creates is something like this, right? And then you can experiment with the amount that that is contributing and the overall kind of level of this and everything If you want to play with the values of that you can always just add a levels kind of back into it So this would be a nice way to just create those slightly lighter edges This obviously has like a bunch of grunge kind of impacting it as well so for that we can always play around with the opacity of it and tweak some of the actual values of what we're getting here but you can see that that creates like a nice lighter plastic kind of feel to our edges and we can Experiment now we've got this with the value that we're brightening this we probably don't want to brighten too much We don't want it to be super obvious there and again same for the For the for the roughness right we can add a filter with our hue saturation and just get a slightly Rougher result on those edges. So if we sort of boost this up a little bit You can start to see that yeah, that's just catching the light a little bit and giving us some nice details So this is a nice way to add some more variety Then we can take more Closer look at some of the the details that we're we're coming through here So you can see that we have some darker staining we have some drips and things like that So again, those kind of details are pretty good to get in and you can notice If we turn this off and look at the reference example, that's some of the bits that I put in as well. So I have sort of go through these again. We have our like drips, like little streaks and things. We have our roughness and our color variation. We have some of that lighter edges as again, same kind of stuff. We add a surface detail, which we'll get into in a little bit. And you can see some smaller kind of stains and details there. So that's all really nice little adjustments we can make. So let's try and work on some of those other ones here as well. So now we have this nice material kind of coming together. I'm going to try and do the, I want to do the drips and the streaks. So we'll do some streaks or drips. So those are simple to do as well, same kind of idea. Usually for that sort of stuff, I'll search for leaks or I'll search for drips and usually you'll pull up or streaks, you'll pull up those kind of masks. I think drip use, is it leak that usually gives you the most reliable ones as far as masks are concerned? You can sort of see how these could be pretty nice kind of details. You can also, we'll get into hand painting some of this type of stuff later in the in the class, but yeah, I'm just focusing on procedural generation for these at the moment. So this kind of stuff is great. We obviously already played around with those kind of things. And then I would just basically add in a fill layer to begin with. And sometimes what can be helpful is setting it to red and then using a mask with it set to red. So you can actually start to see how that might look. So if we had these streaks and everything, we can go for our triplanar and we can tweak our scale of that. And you can see that we have these leaks maybe we can go for slightly bigger and then we can always swap this out right so swap this out for another one so this one is a really nice one for those smaller leaks and drips and then from that you can tweak the mask so maybe get a bit of contrast going on in there and you can see this is adding some really nice detail there so then we can just come in with some value and I think usually this is a darker value. So I'll probably go for just color pick from our reference, like a slightly darker base color here. We can kind of get that in something like this. So you can start to see those leaks coming through some of those little drips. And you can just vary this type of stuff up more and more. So you have this one coming in And then you can duplicate this up and swap it out for another version or variation here. So We'll just go in with our grunge leaks spots So that one can be pretty good as well and Then playing around with the mask and some of the contrast that that gives you can sort of see how that's giving us a slightly different result This one I like to just try to vary up colors as well as much as possible so things aren't always exactly the same you can just start to see how we're building that type of stuff up so that's how we would do some some more details like that kind of stuff and then once we've got into this one I also want to add some surfacing so getting up close to these kind of materials you can see often with this kind of stuff that we have some sort of feeling that there's like a texture to this like either from It being either painted or there's some kind of like Surface detail to this like a micro detail to stuff. So as we're working through I like to try and add that so this one is Looking a little bit like it's got more of a powder coated feel to it So to do those kind of things. It's really straightforward We'll go over. I like to use the the filter effects. So we come over into these the material finishes and you just basically drag and drop these into the project and you'll see that you get this kind of effect right and you obviously need to change up the scale of stuff so tweak the scale of this and we can change the intensity but this is just giving us that extra level of detail to everything making it feel more like a surface with that kind of nice response as well with the roughness and everything and that can feel really good when we start to get these little details and things coming in there, right? There's other ones in here. So you've got the grainy is pretty nice as well for say a painted metal You'd see that could definitely give us more of that like thicker paint kind of feel and experimenting again with the scale and maybe the intensity of that so that's obviously a very different Look to what we have here with the powder coated so it depends on the look that you're wanting to go for and I also I also really like the rough one, but I like to use the rough with some blur. So I'll usually come in with the, this guy, this one is great for metals. So I would blur the result just on the height map. I think actually on the, yeah, on the normals, I would blur this type of result and it can give this kind of like bumpy looking metal, which again, I find is a really nice result depending on the type of material going for. So that one can be pretty good as well. And then finally, what I like to do when I'm building out my base material here is I like to add some adjustments. So I'll just do like a final adjustment layer. And this can just be good for finally tweaking things. When you get to the end of the model and you want to just say balance out the base color or you wanted to tweak the roughness or whatever you wanna do there, that can be great for that kind of adjustment. So we just set that to pass through and we'd have to do that in the channels that we want to adjust. So we come over to pass through. And as I said, this is like collapsing down the layer stack here. So we're gonna add in a adjustment here with a filter. And I'm gonna come in with the hue saturation. So this will just allow us, I keep it empty to begin with but you can brighten or darken the base color here. And we can just keep that here and then we can do another one just for the roughness as well. And so then this can also give us a tweak. We can make it shinier on the roughness. It's gonna globally adjust everything below it, right? So that's kind of giving us where we wanna get to as far as the adjustments are concerned. So this is looking like a pretty good base for our dark painted metal. So the next part of the tutorial what I want to do is start to add more specific detailing. So in this example, you can see if we sort of jump over to here, this is what our base material looks like. And then we start to add detail. So here we have these kind of bigger global roughness changes, we start to do some adjustment to our edges, and then we start to do our metal scratches and we do build up our dirt and our grease and everything. And then we add other details. So we'll go through that as the next step."
+    }
+  ]
+}