![]() You got a sense of how all these different maps work together and how best to use the maps to get the result you are looking for. ![]() You would pack maps into different channels, manually save DDS file types and build your materials in Max/Maya/Softimage before exporting to the engine. Here I learned how to bake, create normal maps, use Photoshop to manipulate reference images to create diffuse maps, and utilizing tools such as CrazyBump to generate gloss and specular maps. We prepare a lightRig base of our HDRI in Substance Painter.It’s important to mention that my journey with material creation for games began around 2007 when I landed my first games job. In Maya, we connect all our textures from Substance Painter into the "AISurfaceShader" in Maya. Having obtained a very good base for our cyberSoldier head, we add more intricate details and then export the textures for use in Maya/Arnold. "Generator" is a powerful tool in Painter and we explore it a bit more with the maps we created.Ĭlass 8: Adding more details in Substance Painter ![]() Working with our cyberSoldier head, we work through the workflow in Painter. With our cyberSoldier head ready to go, we bake and export it for use in Substance Painter.Ĭlass 6: Substance Painter Basics, Part 2 Preparation of our cyberSoldier head in Maya and exploring how "Material Blend" and "MultiMaterial Blend" work.Ĭlass 5: Substance Painter Basics, Part 1 The basics of the Substance Designer interface and an overview of the concept of procedural texture in Designer.Ĭlass 2: Substance Designer Basics, Part 2Ĭontinuing exploration of the interface and nodes as well as digging into the "mindsight" of using Designer.Īdding displacement, normal maps and fractal noise to build-up complexity to obtain a more sophisticated texture.Įxporting an asset from Maya to Substance Designer is essential for CG artists. Class 1: Substance Designer Basics, Part 1
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