Game Asset Creation with Blender 2.8 & Substance Painter

Set up Blender for modeling by adjusting preferences, increasing undo steps, and configuring scene units to metric centimeters; then clear the scene and save startup file and default files.

Organize your project folders, import and align reference images in blender, adjust real-world scale with measurement tools, and place references on a separate, non-selectable layer before modeling.

Learn to model the main grenade piece in Blender by creating a cylinder, extruding and scaling parts, adding loops, and organizing a local layer for the model.

Learn handle modeling for a grenade in Blender 2.8 by creating a cylinder, adding loop cuts, extruding along normals, and refining with vertex edits to match the reference.

Learn to model an explosives pack in Blender 2.8 by duplicating and arranging parts, adjusting geometry, and ensuring no intersections using reference imagery.

Create wires by shaping a curved path with a circular profile, adjust thickness, subdivide to add control points, twist with proportional editing, and duplicate for a second wire.

Create and refine a wire array in Blender 2.8, duplicating and positioning wires, adjusting rotation and control points, and lowering polygon count for real-time game rendering.

Explore high-poly modeling of a grenade explosive detail in Blender 2.8, including duplicating, welding, extruding, beveling, and preparing a normal map for a low-poly version.

Finish the main high poly for a game asset in Blender 2.8, refining edge loops, bevels, and subdivision, and add control loops and insets for topology and normal map baking.

Model a high-poly explosive pack in Blender, add threads and bevels, use subdivision, and bake a normal map by aligning high-poly parts to their low-poly counterparts.

Refine the handle geometry by adding control loops, isolating parts, and applying a subdivision surface modifier to create a high-poly handle.

Create a high-poly wire model by converting to mesh, applying a subdivision surface, and adding control loops to prep for wrapping in the next lesson.

Unwrap a cylindrical explosive part in Blender, mark seams, and unfold the 3D model into a flat UV map, using overlays to check distortion and optimize texture space.

Transfer UV maps to similar parts in Blender, copy texture coordinates across parts, and fix normals by flipping them to ensure correct face direction before unwrapping the model.

Unwrap and straighten the main explosive part and handle in blender 2.8, isolating sections, selecting edges, and applying uv unwrap to align horizontal and vertical edges for clean texturing.

Learn wire uv unwrapping by converting to a mesh, marking seams on cylinders and caps, unwrapping, and copying or transferring uv coordinates to align textures.

Apply a 2048 by 2048 square uv checker texture to the island, assign it to a new material, and adjust texture density by scaling and packing islands for even coverage.

arrange the uv layout for grenade parts by selecting islands, rotating them 90 degrees, and maintaining even spacing to maximize texture space on the mesh.

Finish the uv layout by arranging islands, rotating components to 90 degrees, and scaling parts to maximize space, producing a clean, space-efficient unwrap for this Blender 2.8 game asset.

Export low poly and high poly objects from Blender using underscore low and underscore high naming convention, exporting as FBX with selected objects.

Import your Blender low-poly model into Substance Painter, bake the normal map first, then generate and review all texture maps, and save the project to continue texturing.

Texture the grenade in Substance Painter using fill layers and black masks for procedural control, creating separate materials for explosive parts, the handle, and the wire with color and roughness.

Create and import custom alpha textures for text stamping in a metal material using Photoshop and Substance Painter, then apply and align stamped text on the model.

Texture metal surfaces in substance painter by layering noise and grunge, masking seams, and adding edge damage with height and color adjustments. Optimize by comparing 2k and 4k exports.

Learn to finish a metal texture for an explosive pack by layering dirt using generators, masks, and grunge textures, then manually paint dirt on the grenade edges for realism.

Texture the grenade handle by adjusting the base color, adding height with scratches and wood imperfections, and applying masks, grunge textures, and a dirt generator for color variation.

Finish the wood handle texture by applying dirt and dust with masked dirt layers, using a dirt generator and randomization, then add screws with mirrored normal-map painting and symmetry.

Create the wire material with color variation, using dirt and rust masks. Export texture maps from Substance Painter with the PBR metal roughness preset.

Learn to render your first shot in Substance Painter by selecting an environment, adjusting background and lighting, applying color correction and post effects, and setting 5000 samples at 4k resolution.

focus the camera on the explosive part with ctrl plus middle mouse to set focus and adjust depth of field, then render high-sample close shots in substance painter.

Import the grenade model and textures into Marmoset Toolbag, assign albedo, normal, roughness, and reflectivity maps, adjust environment lighting with sky presets, set up lights, and enable global illumination.

Adjust camera and lighting to reveal micro details; set diffusion to microfiber for borders; configure a centered turntable with controlled spin; then optimize render settings for high-quality export.

Master first render shots in Blender 2.8 by setting max resolution and quality, saving to a project folder, rendering wireframe views, and using color backgrounds for post-processing in Photoshop.

Continue rendering the asset from multiple angles, adjust rotation and lighting, and render close-ups with depth of field in Marmoset, then finalize in Photoshop with red and color backgrounds.

Compose renders from marmoset in Photoshop, remove backgrounds, add overlays and smoke, and adjust color for final presentation images.