Then you can use a procedural mask to do anything from altering the color in certain areas to using displacement to make it look like the object has been worn away. īy simply clicking and dragging, we could put a metallic material on your mesh, or make it look like leather. Immediately the low poly mesh will look better, because the ambient occlusion will be putting shadows in cracks where light is naturally occluded, and the normal map will be faking the lighting for bumps and crevices.įrom here, we could draw upon a vast library of materials and textures from Adobe’s online library called Substance Source. With a simple three-click process, Substance Painter can bake the details down to a series of maps that capture nearly all the detail of the original. You give it a low-resolution mesh that will be used in your scene, and a high-resolution mesh to extract detail from. The plugin provides a direct link to this asset library (buttons next to the search field). With Painter, the workflow is pretty straightforward: Adobe offers a large repository of Substance 3D assets online. The software is very mature and Adobe has done a great job making the featureset both comprehensive and reliable. Much like Photoshop, Substance Painter is the industry standard.
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