In this video, we'll use the stencil we created in the last video to add details to our model. To bring it in, all we have to do now is just drag and drop those stencils right into substance painter, and we'll get it right inside of our shelf and then we can drag it into our stencil. I have a new fill layer with a black mask here called white paint. All I have to do is take this stencil, just like the one we used before for the grips and line it up in our view-port. So we can paint on top of the objects that we're looking for, making sure I'm set to orthographic view. If I come over to this lock section, making sure my brush is on white and my space is set to UV. We can see we can paint the words right onto the surface. Let's pop into our side-by-side view. We can see now that it's applied that on top of the unwrap. So let's go to the other side where we want to do release. We can just pan over, make sure everything's pretty even. Because we're in a UV, it's going to actually paint straight through. It'll ignore what's over top of it. So you can see it did paint release all the way through although it did cast a little paint on the underside of this whole thing. So we just go back with painting back in black and we can use this little eraser tool to erase any of this paint we've already put in. I like to do this with Phil layers and masks because it lets me change things like the paint color and roughness and maybe even a little bit of height information after the fact. So let's erase away this other extra text that we add in here. We can move on to the next bit. We're going to create a new layer and this time it's going to be named gold paint. Just like before, I can add a black mask. Drop in my stencil and by holding S and doing the right, middle, and left mouse buttons I can pan, I can scale, and I can rotate just my stencil. So between moving my view-port and moving my stencil, I get a lot of control over where it's going to go. I want to rotate my stencils, so it feels like it hits the right line. I know that my power buttons and my Fuji non little logo should be relatively sized to each other based on the stencil. So I want to make sure I pick a location for everything and that I don't Zoom in or out after I set the next piece. So I'm paying attention to where the power off and the one and two power on standby activate stabilizing standby should be located on this top piece. So I'm going to start speeding up my process here because you'll see, it more or less covers the same techniques that I've done, that I'm doing already just different areas in different regions painting and erasing end. Then I can choose my color of paint and choose its reflectivity. See how that looks when I change its glossiness. Now, I want to make sure my size is still relatively correct and I'm going to paint in the Fujinon logo. I'm going to add a little spot for my green paint here. This is one of the things I really think is really cool about this particular step to me. This is when all the work pays off and texture. It's just fun because I get to see all the modelling I've done, all the baking I've done, the high poly, low poly, the UV unwrapping, and I get to just start adding little details like this that really start bringing the level of realism out. So when we combine all of those together into a single layer. So this will just be my paint layer just a little organization. Now, I'm going to add a little badge icon. Something again I could have modeled out, but I've done. I'm going to do the whole thing with stencils instead. I'm going to use a fill layer and a black mask and paint in where I want to square and I'm just using the color difference to tell where it's going to be. It needs to be a slightly different gray. I'm going to use that blur and layers trick that I did before to get some nice round edges to everything. Play with the height a little bit. So I can inset it and then I duplicate that. I'm going to use color, so I can click on this red color so I can tell where the effect is happening. Then I use my blur and my levels. So this is going to help show me what I'm working with here. So I can get some nice rounded edges and I can shrink it relative to the rest of the object. Then I just turn color off, turn height back on, and then adjust the levels on both sides of this a little bit. Give it a nice little group to go into and adjust my stencil, just so we can get the Fujinon part of this logo right over the badge. Now that I have that painted into logo part, I can use height and give it a little metallic color. It gives it a nice embossed look right away. Much quicker than if I try to model that all by hand. The next thing I want to address is the little degrees indicators that are on the view lenses. So I make a new fill layer. I'm going to name this one degrees and throw black mask in it, and just stencil the 70 and the 60 in one at a time. I turn off my other layers and I'm going to put a red color onto degrees, so that I can see where it's being painted on. Once I have position I like, just going to use a simple Alpha. One of these little dot based ones that shaped parabola with a little hardness will work just fine. I can make a couple of dots. I'm just try to space those out manually. It's pretty small feature, so I have to be too careful with it. Once I have that, I can turn off the color and focus on the height value, and control it with a blur filter and a filter. Just like I do with the other features. This case I replace that levels with the client filter. It gives me a little bit more control. Finally, I have the little stripe to show how things lined up. I also have a similar stripe on the bottom of this view port that's going to show me, it shows me what I have selected in terms of the plus and minus here. So I'm going to make another IPs normal, and pick this shape capsule because it's going to give me some nice round edges. They don't have to be pretty simple shapes, so I'm just going to stamp it out, and then erase away the rest that I don't need. Add a new fill layer and this time, we're looking for the CE. The process for these next pieces is pretty similar, so I'm going to speed up through this and you can just see where I apply them and watch the same techniques. But just to you know, I'm doing the exact same thing where I create fill layer and make a mask for it. I paint through it and then I start adjusting height, give it a little blur every now and again with a clamp to get some more control over it. Other than that, it's the exact same process.
