3D Creative December 2015

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3DCREATIVE MAGAZINE | Texturing assets with Substance Painter Model file Texture files The Artist Andrew Finch andrewfinch.carbonmade.com Software Used: 3ds Max, ZBrush, Photoshop, Substance Painter, Marmoset Toolbag 2 Andrew Finch is a principle environment artist for Microsoft’s Rare Studio. He has nine years’ industry experience and is currently working on his eleventh title. Texturing assets with Substance Painter by Andrew Finch Learn how Andrew Finch uses the powerful texturing software Substance Painter to add realism to this 3DCREATIVEMAG.COM battle-worn Viking shield asset
3DCREATIVE MAGAZINE | ISSUE 124 Discover Substance Painter with Andrew Finch… In this tutorial I will guide you through the process of creating a Viking shield inspired by the TV show Vikings. In the last tutorial we UV mapped a low resolution mesh of the shield and baked the high resolution data to a normal map. We also set up the Substance Painter project ready for us to begin texturing. In this tutorial we will use Substance Painter to texture the Viking shield to almost completion using a lot of the powerful tools it has to offer, such as the Substance materials to generate wear and tear. We will also explore painting the PBR textures and adjusting an already existing normal map. At the end of this fourpart tutorial series all the assets we create will be imported in Marmoset Toolbag 2 and set up in a quick scene to show off our model; but instead of rendering out still images for your portfolio, I will show you how to use the new Marmoset Viewer tool to create an interactive portfolio piece, which is a new very impressive way to display your artwork to potential employers, giving them the ability to examine your asset interactively. Updated base layer: In the previous 01 chapter I showed you how to import an already existing texture to use as our base layer. I thought this texture was a little too plain-looking and so I decided to add some detail and color; most Viking shields have a pattern on them, so I added a red background and a white outline to the wooden cross shape. I think this looks much better and traditional. All of the other elements that make up the shield will be textured using Substance materials. These materials utilize texture maps to define how they behave and are very powerful and quick at producing realistic seamless textures. Geometry Decal tool: We will be 02 using the masking tools a lot during the texturing phase and Substance Painter’s Geometry Decal tool makes creating masks very easy. You have many options for selecting areas to mask in or out such as UV islands, elements or polygons. You can drag and select elements in the 3D viewport or 2D viewport, and press F1, F2 and F3 to switch viewport modes. If you’re working on a complex shape that’s hard to select, use the 2D UV window to easily select the UV islands. You are also given a grayscale slider to pick the color of your masked areas; the same rules apply as any other mask texture, where black is removed and white is drawn. The base layer is an already existing diffuse texture from Photoshop Substance Painter’s intelligent masking tools easily mask out unwanted areas Baking out textures to take full advantage of the Smart Material capabilities Baking new texture: Smart Materials 03 are a group of folders and layers used to create advanced effects for your textures. In order for these materials to work correctly they require certain textures; AO maps are used to tell the material where dirt can build up, for example. A new texture which you can bake out in Substance Painter is the curvature map, which gives curved edge information to the material. This is good for wear and tear – areas that will be subject to weathering and general use. Under the TextureSet Settings, click Bake Textures and you’re presented 79
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3D Creative December 2015

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