I’m not looking at Substance rn but grunges should be under masks or smart masks or something like that. Since then it’s gone through very few changes, but then in June or July they completely Adobefied Substance Painter and changed the UI a little, changed the logo, and changed the name.Īnyways. A few years back Adobe bought Substance Painter from a small company called Allegorithmic. Thank you 80 Level for this opportunity to share my journey, thought processes, methods and I hope those who have read the article find this useful.If the video is from before this past summer there’s a perfectly reasonable explanation. Engage with the community on Discord, Twitter, and ArtStation, etc., these are filled with fantastic, supportive, and wonderful people. We all have to start somewhere and you will get there with practice and support. Start small, iterate, and practice.įinally, I want to share some advice for beginners and aspiring artists, it’s OK to fail, I have had my fails and we all have! Don’t feel like you need to get likes or follows, make materials for yourself, and don’t be put off if you see awesome work. Practice making simple materials first, don’t jump in and attempt a complex Sci-Fi corridor. Observation skills are paramount, observe the real world around you, take pictures and write notes. Please don’t just aimlessly follow a tutorial, experiment, and learn the different nodes. 80 Level, YouTube and ArtStation learning are great resources but I would like to throw a caveat out there. I highly recommend checking out the masters like Daniel Thiger and Joshua Lynch. From the outset, it was clear that by just utilizing features such as custom export pre-sets and shelf workflows, we could not only speed asset integration but we could start building a library of materials that all artists could access. This is when I discovered both Substance Designer and Painter. I started exploring new workflows to improve the consistency in terms of quality but also increase the speed of our art pipeline. In and around early 2014, the development of Stronghold Crusader II was coming to an end.
Actually, not too dissimilar to working with materials in Substance Designer and Painter. 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. It’s important to mention that my journey with material creation for games began around 2007 when I landed my first games job.
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