![]() I start this process by browsing for a Substance Source material, generally through Painter’s integrated link. It is also amazing when I need to texture hero assets that are going to be close to the camera. I tend to use Painter a lot as I like to push details. This is where Substance Painter comes in. However, let’s say I want a little more control over the textures. Also, I can adjust options like the texture resolution (512 to 8K), material wear and tear, pattern types for things like flooring and cloth, and even save out my custom presets, which saves me a lot of time project to project. Texturing things like walls, floors, couches, metals can all be done in the Material Editor which keeps me fast and efficient. No more searching through gigabytes of texture maps. It’s like having your integrated material library right in Max. The plugin allows you to search, download, apply and modify Source materials without even having to leave 3ds Max. Some of the options even have multiple presets within the material, which gives you more ways to dial in your desired look.Īccessing the library is pretty straightforward, you have three primary methods: the online portal, the link in Painter or through Allegorithmic’s plugin for 3ds Max 2018 & 2019. One of the best parts of the library is that it is continuously being updated with new woods, clothes, tiles, wall textures and more, so it’s something you can go back to again and again. Whenever I need a particular material, I search for it and then drop my selection right onto my model. At its core, Source is a massive, library of scanned PBR materials. While you can use either of these tools separately, my two-punch combo usually starts with Substance Source. ![]() In this article, I’m going to show you how I apply both tools to my projects, using a new Mediterranean visualization as a guide. Both feel like they were created by artists, for artists and it was nice to find out that I didn’t need to be technically savvy to start using them. It is the simplicity of the user interface, and the massive amount of control I found through procedural texture creation that led me to integrate Substance Painter and Source materials into my workflow. So how do I satisfy both issues: the need for photorealism and speed? Substance Source and Substance Painter.Īs an artist, I want to focus on being creative, not learning complex programs that bog down my flow. Like others in this industry, the benefits of a physically based rendering (PBR) workflow have also become essential to my work, as it helps me bring more photorealism into my materials and scenes. IntroductionĪs a 3D artist working with realistic budgets, it is imperative that I have tools that help me push the quality of my work without taking up too much of my time. With that being said, my name is Kyle Jones, and I am the founder of Pixel Wave, a Southern California based architectural visualization firm and today, I want to talk about achieving photo-realistic materials in seconds with Substance Source and Substance Painter. I am so thankful for the prior artists that have shared their workflows and am excited that I am now able to pass my knowledge onto those artists coming up in the industry. It has been an excellent source of information and inspiration as I have continued to grow a 3D artist. I wanted to start off by thanking Ronen Bekerman for his blog and the opportunity to be a part of it! Kyle Jones, of Pixel Wave, takes us through his process with Substance Designer and Substance Painter and shows us how to leverage these amazing tools in ArchViz with achieving photo-realistic materials as the focus.
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