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SUBSTANCE SOURCE AUTOMOTIVE MATERIALS: PROTOTYPING

SUBSTANCE SOURCE AUTOMOTIVE MATERIALS: PROTOTYPING

SUBSTANCE SOURCE AUTOMOTIVE MATERIALS: PROTOTYPING

Hi, material lovers!

This is it. The moment when we follow up on our promise to release a massive amount of materials dedicated to automotive texturing. The team has been busy, and the result is our most substantial material package so far! We thought we’d deliver a bit over 300 materials and that’s what we promised; in fact, it’s going to be almost 500.

This release is also our broadest collection of materials so far, as we cover all the materials needed for the construction of a car: paints, leathers, plastics, textiles, and composites. Each of these materials is a fully tweakable procedural, scan, hybrid or MDL shader. And it’s all on its way to Substance Source.

We know that it’s a lot. So we decided to give you the time to dive into the various categories and material types. This is why we planned a release every week in June. And a few surprises to spice it up, because, why not?

Friends from everywhere: we worked on offering maximum customizability to the materials to ensure you’ll find useful stuff for any texturing project.

And friends from the automotive world, you’ll be pleased to know that for this release we partnered with talented professionals from the automotive industry. We stepped into their shoes to understand the constraints and opportunities in designing useful digital assets for the industry.

In short, the spirit of this release is a blend of universes and usages.

So have fun! Browse more than 1,000 presets or play with endless variations within each material! And why stop there? Get (technically) creative – hack into the SBS and MDL graphs; mix, layer or expose your magic!

Car Prototyping Materials

Today, we introduce the Substance Source automotive release, with a selection of the first 45 materials associated with concept cars prototyping.

Artists and designers can have a photorealistic vision of pre-concepts at the earliest stage of the design process. The materials we offer are those used in the creation of mock-ups.

The production of a car model is a long process. It begins with an extended period of iteration around the shapes and volumes of the car. Once this has been validated, and to get an impression of the final vehicle, modelers build 1:4, then 1:1 scale models.

It is important to note that mock-ups aren’t always created using the same process. In fact, since they anticipate the validation of visual cosmetics, the process varies according to the part of the car constructed. Designers need to use rapid prototyping techniques, automated multi-axis machining and hand modeling of plasticine.

Clay is the reference material in the design process of a car. Its neutral aspect is ideal for the comparison of different concept-car shape proposals.

We created digital clays reproducing the material surface, taking into account the impact of the various tools used to shape, cut and smooth the model. You will get an ultra-realistic look and feel.

Digital artists can now use digital clay textures over 3D speedforms at early stages of design to compare the digital model to the physical clay mock-up.

Full-scale models are created in clay. They usually consist of a wooden or iron frame, which modelers then cover with styrofoam. They then smooth clay over the foam. After this, modelers use various tools and slicks to finalize the shape of the car.

Camouflage Stickers

Later on, the design process prototypes test takes place with the cars wrapped in crazy checkerboard or swirl patterns.

The level of preparation that goes into such seemingly haphazard patterns is considerable. Car makers assign engineers to be in charge of developing bespoke camouflage for each new model. They work in conjunction with the vehicle’s designers to erase character lines almost as soon as they are drawn. Future models must be kept secret.

So today, in Substance Source, we introduce vinyl camouflage materials, with eight completely procedural patterns. This allows artists to adjust patterns directly on the 3D car model – or even to design new patterns with the .sbs graph.

Composite

While clay might be the material of choice for the main body of the car, prototypes of additional parts may be produced using composite materials.

The composites have several uses. You can create communication visuals to demonstrate the design process of a show car, for instance, or you could get a glimpse of the component before even launching fabrication of the mock-up.

Artists now have access to materials such as carbon and glass fibers, woven composite textiles, and felt. And each of these materials is completely procedural – and therefore customizable.

Metals and Coatings

Finally, prototyping calls for the creation of metallic structures. They will be used for the reproduction of the surfaces of cast and machined metals, as well as for baked metallic paints used in low-volume manufacturing processes.

That’s it for the first part of our massive Substance Source automotive release! Download the selection of free materials on Substance Source and start experimenting.

See you next week for the next release: we’ll be focusing on exterior materials. In the meantime, drive safely!

Substance Painter: Spring Has Come!

Substance Painter: Spring Has Come!

Substance Painter: Spring Has Come!

Jeremie Noguer on March 15 2018 | News, Substance Painter, Software, Content, Tutorials

There is a point in the life of software where you have to take a break from the new and shiny, take a step back and try to figure out how to strengthen the very foundation of your tool, and how to improve the core functionality before you keep on moving forward towards new and exciting features. The Substance Painter Spring 2018 release is the product of this reflection and the hard work of the ever-growing Substance Painter team.

An Improved Look and Feel

New Visual Style

Over the years we’ve frequently received feedback that, while our tools share the Substance name, they are quite different visually. As the Substance ecosystem continues to grow, we felt it was important to develop a common look and feel across all our software. This is the first step in this direction and you will see the other tools follow suit later this year.

Revamped Toolbars, Shortcuts and Layout

When working on a project, Substance Painter’s UI can quickly become cluttered with windows and settings, and navigating through it all can be cumbersome. We’ve added several new elements to help in this regard:

A new Dock Toolbar: Closing a window automatically docks it to the Dock Toolbar. It can then be summoned back temporarily by clicking on its icon. Each window can also be torn away from the toolbar to become persistent again.

New Contextual Toolbar: A new toolbar on top of the viewport displays shortcuts to commonly used settings of the currently selected tool. This bar also contains viewport options as well as shortcuts to the Render mode and the baking interface.

Quick Menu: A right-click in the viewport now summons the current Tool or Fill Layer settings under your cursor, allowing you to easily access all of your tool settings even in full screen mode.

Revamped Viewer and Display Settings: Lighting, Camera and Display settings are now merged into a single tabbed window while shader parameters get their own separate window, cutting down on the clutter these settings were causing together and making shader adjustments and custom shaders much easier to manage.

Drag and Drop Assets Directly in the Viewport: You can now grab any material or smart material from the shelf and drop it onto your mesh directly, bypassing the several steps needed to apply the material manually.

New Painting Experience

Even though we’re talking about Substance Painter here, painting has never been, by our own admission, the tool’s forte. Well, this is about to change, starting now! Improvements in the handling of pen tablets and new performance optimizations mean that you should experience smoother painting and stroke curves in 4k, even on lower-end laptops.

Improved Seam Padding

Seams are now almost invisible even when painting accross badly distorted UVs or very different texel ratios.

Improved Performance

Several areas went through a much needed cleanup, and performance has been improved across the board. Project loading, saving, viewport performance, shelf loading and thumbnail generation all benefit from this spring cleaning resulting in an improved user experience overall.

Improved Stability

We’ve been cutting through bugs to deliver a more stable tool, but as always if you see something, say something! Let us know about any issue you might encounter through the Feedback and Bug Report tools in the Help menu.

New and Updated Content

New 3D noises have been added to the Procedurals section of the shelf while a new 3D Gradient generator allows you to create linear gradients and masks in 3D space easily: switch to the Position map view, pick colors on the start and end points of your gradient on the mesh and voila!

Smart Materials and Smart Masks have also been updated to use the latest mask generators.

Already have a Substance Painter license on maintenance or an active Substance subscription? Download the new version now.

Don’t have either of these? No problem; you can also try Substance Painter free for 30 days.

Also, be sure not to miss the “Substance Painter Spring release: new features and updates” stream presented by superstar Wes McDermott. He will be live at 2 pm EST / 11 am PST tomorrow.

And if you are a new Substance Painter user, check out Wes’ tutorials: Getting started with Substance Painter!

ZHANG XIAO: HOW I MADE THE ORC

ZHANG XIAO: HOW I MADE THE ORC

ZHANG XIAO: HOW I MADE THE ORC

Meizi Yan on December 21 2017 | Substance Painter, Stories, Tutorials

I come from Changde, a beautiful city in China. In university, I majored in film animation and specialized in hand-drawn animation. I started to discover the computer graphics industry in 2007: I loved the cutscenes after finishing a game level so much that I began to teach myself to use 3D software while I was working part-time.

At the beginning, I used to create a new artwork every month. I don’t have as much time now. I still collect garage kits, but my budget is really small, so I hand-carve figurines and paint them myself. Mud carving is one of my favorite types of 3D art.

Art by Zhang Xiao
Art by Zhang Xiao

I have a lot of favorite artists, there are many domestic talents in China as well – we must continue to learn (▔^▔). I like prototypes a lot. Takeya Takayuki is one of my favorite sculptors: his work is consistently amazing, and he is good at making asymmetric, hands-on models that are uniquely charming.

How I made the orc

The Orc project has been in the back of my head for a long time. At work, I use the Chinese aesthetic style, so in my personal time, I love to do different things, like monsters. I played World of Warcraft when I was a student, and I am such a fan of the game that I have always wanted to reproduce its characters. I chose to portrait Hellscream: he represents the extraordinary physical power of orcs and the fighting spirit of someone who refuses to become a slave.

Unfortunately, I ended up having little time for the realization of this portrait, so I had to simplify the schedule:

  • Finish the high-poly mesh UVs in ZBrush
  • Paint only a half body
  • Finish the texture in Substance Painter

I spent almost 90 hours on the high-poly mesh and inserted some my own ideas for accessories and other elements. The most complex part definitely was the hair: I made it in ZBrush.

Art by Zhang Xiao

As soon as the UVs were finished, I began painting textures in Substance Painter. All the elements are much too complex without topology, that’s why the naming was extremely important. I finished the baking in Substance Painter as well. And here’s a sweet tip: after your optimized high mesh export, rename all the high- and low-poly meshes in your 3D tool, with the suffix _high and _low, then export them separately in FBX format. After that, you can bake all of them in Substance Painter without any intersection problem in your normal map.

Open the baking panel, choose the maps you want to bake, the texture size, and import all high-poly meshes. The trick is to use the Match By Mesh Name option.

Art by Zhang Xiao

For the texture process, let’s take a closer look at the orc’s facial skin.

I like to begin by looking for references. After so many fights, the skin should be very rough and weathered. The detail spots and wrinkles need to have small, medium, and large variations to avoid looking uniform. Furthermore, the color of the forehead, neck, and back tends to be much darker.

Art by Zhang Xiao

Once the planning is finished, we can start painting.

First, fill a base skin color, then add a Fill layer with baked lighting to get a subtle lighting effect.

Keep adding more Fill layers with Ambient Occlusion, using the Soft Light blend type.

Next, add a layer – I prefer using Brush Dirt 1 to paint different colors on the face and to get the big picture of the texture direction.

Art by Zhang Xiao

In order to add details to the skin, start by creating a folder, then add a Fill layer with a black mask. I use Fill for the black mask, with Gaussian spots, and tweak the parameters until I am satisfied with the result.

Art by Zhang Xiao

For the tattoo, begin with a Fill layer, add Paint to paint the pattern, keep adding Warp to make it look natural, with some edge variations.

Then add MG Dirt to achieve a peeling effect.

Then copy/paste, change the color a bit and add MG Dirt to make richer details.

Art by Zhnag Xiao

Time to add some veins, large patches, and some color gradient.

Art by Zhang Xiao

After I finish the facial textures, I can create a smart material in the library, so it can be applied again on the body. The hand paint part cannot be reused, but for this project, it’s already a great feature.

My final layer rendering was in ZBrush, but the Substance Painter default real-time rendering is stunning. The Iray rendering is also great, fast, and easy to tweak.

Art by Zhang Xiao

Why I chose Substance Painter

I loved the awesome promotion videos. After I tried the software, I was quickly taken by its excellence. I began with BodyPaint, transitioned to Quixel Suite, and now use Substance Painter. It’s intuitive, convenient, speeds up the project progress, improves work efficiency, and it’s easy to learn. The layers are similar to Photoshop, particularly after the Substance Painter 2.5 update. The digital pen pressure controlling and opacity of the brush helps a lot, and it works for both hand-painted and realistic styles. It’s an essential software for me right now.

Art by Zhang Xiao

Actually, I like all the Substance Painter features, since they are very practical, especially the recent features update.

Substance Source for Painter lets me directly access the Source library from the Painter UI, downloading materials to my library without having to exit my project. Also, the anchor point feature from Substance Painter 2017.2 is useful. It offers infinite possibilities for layering materials. I truly look forward to every update from Substance Painter, as it brings me surprises every time.

Art by Zhang Xiao

My “Princess Mononoke” artwork

Art by Zhang Xiao

This is inspired by Hayao Miyazaki’s animation “Princess Mononoke”. I really like his animation; his work conveys asian mysteries with historical inspirations, his characters and scenes are always excellent. Princess Mononoke is one of my favorite characters – an abandoned child raised by the wolf goddess. She is violent and wild, yet beautiful and kind. I really wanted to make this character, but it took a while before I found the time (there is never enough time!  ̄︶ ̄).

Art by Zhang Xiao

My next project will also be a girl. Actually, female characters are more difficult to create. I tend to get tangled up in the project. Especially the face (≥﹏ ≤).

Art by Zhang Xiao
Art by Zhang Xiao
Far Cry 5 trailers: how Andrew Averkin relied on Substance

Far Cry 5 trailers: how Andrew Averkin relied on Substance

Today, we present you the story of Blur environment artist Andrew Averkin: from his young days growing up in a family of artists in Odessa, to his key role in some awesome projects with one of the greatest VFX studios in the world! Discover how he recently adopted Substance in his work on Far Cry 5 trailers, and on his own project named “Utopia”. This article is a summary of the full story: if you want to read the long version, click on the link below.

Hi Andrew, thanks for taking your time for this interview. Could you introduce yourself to the community and tell us about your background?

Hi! My name is Andrew Averkin and I am 3D environment artist from Blur, which creates stunning game cinematics and visual effects for films. Also, I am the founder and the head of a game project called Utopia.

I was born and grew up in Ukraine, in the city of Odessa, in a family of workers, artists, sculptors, writers, and musicians. My father is a builder and handyman but in his youth, he loved painting same as his mother, who was a wonderful artist and poet. My great-grandfather was a first-class sculptor. Mom is an engineer by education, but life tied her work with library. Books and literature became her biggest hobby. Her father played trumpet for a long time in a military orchestra. I think that in part that huge passion for art and creativity were passed on to me by all these talented people.

In my childhood I was attracted to drawing, writing poetry and music. At that time, in the 90’s, my TV was full of Hollywood blockbusters: Star Wars, Terminator, Robocop, Alien, Predator – only a part of my favorite films of that time. Perhaps these films also influenced my formation as an artist!

A little later, when I had my first ZX Spectrum computer, and then a Dendy, Sega Megadrive, and PC, I began to dive deeper into the world of computer games. However, here I was wondering about how to create really great games with such wonderful graphics, storyline, and gameplay!

I remember my first and very significant meeting with computer graphics. I was in high school and a friend told me about one very interesting software. “You can create anything you want, and the only limit is your imagination!” he said. It was 3D Studio Max, version R2 if I’m not wrong. Literally the next day, I was sitting next to my friend and looking madly on his monitor, where he was spinning some amazing space stations and spaceships. All this moved and came to life in my eyes and it was absolutely beautiful! From that moment I realized that my life would be tied with CG, and since that time we have been best friends!

All these things were a huge influence on the decision of who I wanted to be and what I wanted to do.

You have worked on various projects with Blur Studio. How did you get in touch with Blur Studio and start working with them?

I first started working in advertising and architectural visualization because it was a great opportunity to gain experience and skills in 3D. Almost every day after work I continued to study other fields of CG.

After some time, when I already had several personal works and publications in a few 3D graphics magazines, I met some guys from Blur studio on a 3D forum. I already knew about Blur and was a huge fan of their work! I remember that wonderful feeling, the joy and ecstasy of getting my first big project with them: it was cinematic for Dark Souls 2, where I did few environments. This feeling was unforgettable!

With each new project, I got more experience and knowledge, and after 5 years of work I officially became an offsite 3D environment artist at Blur. I was lucky enough to take part in such projects as Dark Souls 2, Halo 2 Anniversary, Rainbow 6 Siege, Middle Earth: Shadow of War, Star Wars: The Old Republic – Knights Of The Eternal Throne, Destiny 2, League of Gods, Fallout 4, Far Cry 4 and Far Cry 5 and other stunning projects that are still under development.

Blur Studio is a company which specializes in creating visual effects and CG animation for a wide range of media – short and full-length films, advertising, concept art, music videos, computer game cinematics and much more. The art of Blur Studio was nominated for an Academy Award, among other awards. Blur Studio was founded in 1995 by Tim Miller and David Stinnett and is based in Culver City, California, USA. The clients of Blur Studio include: Disney, Universal Pictures, Microsoft, Bungie, Paramount Pictures, 20th Century Fox, Warner Bros., Activision, Nickelodeon, FOX, Bioware, Ubisoft, and others!

Blur Studio created in-game cinematics for Warhammer, Halo, Hellgate: London, Tomb Raider, Transformers, Dark Souls, Doom, Destiny, Assassin’s Creed, Far Cry, The Elder Scrolls Online, Batman, League Of Legends, Star Wars, Fable and many others, as well as visual effects for the films Deadpool, Thor: The Dark World, League of Gods, Avatar and this list can be continued!

I met a lot of good people, and it’s hard for me to describe the gorgeous kindness, positivity, and energy of everyone at Blur!I would like to take this opportunity to thank them. And first of all I want to thank our wonderful women’s team – Monica Haley, Tiffany Webber, Laura Pepper, Jennifer Miller, Savanna Aghassian, Celine Lam, Mariel Song, Rachel Berry, Daryn Houston and other girls, and very cool guys – master of all masters, father and teacher Jerome Denjean (Master Jedi), great Kevin Margo, kind Jeff Fowler, Al Shier and Chris Youngless, super charismatic supervisors and talented artists – Darren and Evan Butler, Chris Bedrosian, Dan Akers, Peter Wildman, Colin James, James Atilano, Oded Raz, amazing Mike Johnson, Sebastien Chort, Jean-Baptiste Cambier, Gary Christian, Valerian Zamel, Jeremie Passerin, Mario Adriano! Forgive me guys, if I forgot to name someone! I also want to thank Tim Miller – the founder of Blur Studio, the director of the film Deadpool, a family man, and a very kind and positive person!

“Substance Painter became an integral part of my work, which not only allows to create professional quality textures and materials, but also allows me to do it in much shorter amount of time”

Recently you worked on the trailer for Far Cry 5: what was your role in it? How did you discover the Allegorithmic tools and can you describe your texturing workflow on the trailer?

This is an unforgettable project for me, not just because I’m a big fan of Ubisoft games, especially of the Far Cry game franchise, but also because this project has become in some way unique for all team members and for Blur as a whole.

The Far Cry 5 trailer consists of three separate stories, each with its own characters. There were many talented people involved in this project who spent days and nights working to create a series of wonderful and photorealistic cinematics! One of my supervisors, Dan Akers, spoke in more detail about creating trailers at SIGGRAPH 2017.

In the Far Cry 5 project, I had quite a lot of interesting and varied tasks, from props to complete 3D scene creations. However, this project has become unique, and a challenge for me. Since there are a lot of close ups in all three trailers, I had to be sure that all objects look as high-quality and detailed as possible.

This task and previous experiences led me to the decision to use Substance Painter for the first time, and thanks to this I was able to create a lot of great textures for a large number of 3D models. I discovered Substance Painter as well as other products from Allegorithmic about three years ago, but I fully started to use it a year ago when I started developing my personal game project called Utopia.

Subsequently, Substance Painter became an integral part of my work, which not only creation of professional-quality textures and materials, but also allows me to do it in much shorter amount of time, which of course significantly speeds up the whole workflow.

A lot of objects were made for the Nick Rye scene in the garage, mostly furniture – racks, metal tables, chairs, concrete floor and so on.

For the church scene, we made church benches, pianos, a church altar with a chair, a votive candle holders, candles and candlesticks, as well as wilted roses. All these objects were textured with Substance Painter.

Now, in every new project that I’m working on, I try to implement Allegorithmic tools and use Substance Painter almost for all models! In the near future, I want to study Substance Designer, which will also certainly help to create even better textures and save me a lot of working time.

“The Far Cry 5 project has been a huge push to use Substance Painter in order to create professional and quality textures in the fastest way possible, both for personal and commercial projects”

Did you get a chance to try some of the latest Substance Painter features ?

Definitely! And I have to say that anchor points is amazing addition! But Am allowed to say that I am very very excited but the new upcoming layer instancing feature* that I’ve had the chance to beta test: it is going to be a really helpful, especially for the VFX industry! (Did I talk too much? :-))

Now let’s continue with your own personal project: the game Utopia. What can you tell us about it? How does Substance Painter integrate into your workflow on the project?

I know that many creative people are familiar with this desire to create something unique, something that will be able to give a part of yourself to others – a part of your thoughts, ideas, feelings and even emotions!

Long ago, I dreamed of creating a project through which I could do exactly this. There are many factors that influenced the birth of this idea; however, as I said earlier, the influence of computer games really contributed to me becoming a 3D artist. This gave me a clear decision and giant push to start development of my big project.

Image 5

The project is called Utopia and I want it to become an adventure game with elements of horror, fantasy and mysticism in which you have to follow parallel storylines. The game is positioned as a classic point-and-click adventure quest.

However, as the game progresses, there will be mix of other game genres such as action. Utopia will consist of several chapters, each of which has its own unique story, which will be linked to other chapters. Right now I can’t say much about the script, but I will briefly say that in the first chapter Utopia talks about one of the possible version of our life which is far from bright and colorful images that you are used to thinking about. I hope that the story of the game will be interesting!

Utopia is an indie project which I am developing in my free time. There are a few props modelers who help me from time to time, and my older brother is working on the logical aspect of the game. We are developing Utopia for PC with the Unity engine, but there are also plans to develop a version for consoles. Utopia is a young project at an early stage of development and we still have many obstacles to overcome, but things are already advancing and I am full of strength, ideas, desires and confidence to go only further and further to develop the game!

Finally, the brush packs you created for the game look super cool and helpful! Could you tell us more about them?

Recently I have been releasing video diaries about development of Utopia, where I show and tell the process of creating the game and talk about which programs we are using.

A word about Substance Painter since I use this software to texture all models for the game – because there are a lot of models inside the game and most of them do not require hand painting texturing, I decided to create a collection of alpha brushes and smart materials in different categories specifically for the Utopia project: stone, concrete, metal, fabric, plastic and paint, among others.These libraries are great time-savers, as you don’t have to do everything by hand.

Part 1, Part 2, Part 3, Part 4

You can follow Utopia on Facebook, VK and ArtStation, where I share a lot of useful information about as alpha brushes, 3D models, materials and so on. I recently released a pack of alpha brushes that can be used in any software that work with height maps, as well as a collection of hard surface 3D models. All this of course is absolutely free!

Links:

Artstation
Utopiagame (Facebook)
Utopiagame (vr.com)
andrewaverkin.com

*If you’re wondering what ‘s next for Substance Painter, tune in next Thursday for the latest news 😉

Thanks Andrew, it was a pleasure learning more about you and your work! Lastly, can you send us a picture of you and your desk?

Thanks, Allegorithmic, and thanks to everyone who is reading! I sincerely wish creative success, good ideas and excellent games to all you artists and developers out there!

The Best of Substance 2017: Architecture

The Best of Substance 2017: Architecture

As a new year dawns, the time has come to peer over our shoulders at the past twelve months of Substance. We’re proud to share with you the breathtaking art, smart artists, creative studios, and unexpected techniques that made 2017 what it was. Today it’s our pleasure to present the Best of Substance 2017: Architecture.

Deep Dive: The First Architecture Selection Update for Substance Source

The first architecture-themed update to Substance Source, our physically based materials library released in late 2016, loaded 12 procedural materials dedicated to architecture visualization experts – wood, brick, terrazzo, parquet and more. Complete with a detailed explanation of their creation, this post shows possible variations for every kind of render.

Physically Based Materials Workflow for Archviz

In this webinar, NVIDIA’s Andrew Rink and architectural visualization specialist Scott DeWoody explain how to create MDL materials and use Substance Designer’s new scan processing features.

Substance and 3ds Max: A Perfect Match

We recently announced the Substance Source integration in Autodesk’s 3ds Max Asset Library, giving you access to over a thousand PBR materials. Furthermore, this plugin can be used with Substance Designer to easily create materials with higher resolution rates.

Obvioos: Immersive Experiences for Real-Time Archviz

Obvioos, a two-man team of architecture visualization specialists, explains the hows and the whys of their business, as well as their use of Substance Designer.

Interior Design: The Fingerprint of Ibrahim Saad

Ibrahim Saad decided to add a little bit of grunge to his projects. Fingerprints, scraps, dirt – he illustrates how all these elements come together in his workflow to give a better impression of reality.

Here’s to 2018 and to bringing you even more Substance updates, materials, tutorials and inspiring stories!

P.S. We’ve just made our selection of the 19 architecture images that inspired us the most this year from our Substance for Architecture & Design Facebook community!

The Best of Substance 2017: Games

The Best of Substance 2017: Games

As a new year dawns, the time has come to peer over our shoulders at the past twelve months of Substance. We’re proud to share with you the breathtaking art, smart artists, creative studios, and innovative techniques that made 2017 what it was. Today it’s our pleasure to present our favorite games-focused stories with the Best of Substance 2017: Games.

Ghost Recon: Wildlands, a User Story with Substance

How does a major studio speed up prop and environment creation for a massive open-world game? Technical artist Guillaume Cerdan talks about how Ubisoft got it done with Substance.

Warhammer 40,000: Dawn of War 3 – Discover Relic Entertainment’s Texturing Pipeline

We couldn’t resist asking Relic Entertainment for some insights into their texturing pipeline for the newest game in the Warhammer universe. They responded with a detailed look inside their pipeline, including a breakdown of how they used Substance to create the Space Marine and Ork weapons.

Arkane Studios: Texturing Prey‘s Retro-Futuristic Visual Style

We sat down with Arkane Studios’ Tim Alexander, Eric Beyhl and Billy Lord to get a close-up of the texturing pipeline for Prey‘s environments and the studio’s approach to creating wear and tear using Substance Painter and Substance Designer.

Forza Motorsport 7: Visually Stunning, Packed with Substance

One of 2017’s most anticipated games is the focus in this in-depth article with the Turn 10 team!

Texturing Epic Games’ Robo Recall: Substance Painter for VR Workflows

Epic Games’ Robo Recall is one of the most fun arcade shooter games out there for Oculus Rift. Besides that, it’s also one of the best-looking VR games to date. We interview Edward Quintero, who was responsible for texturing the characters and weapons for the game.

How Pete Sekula Built Rome in (Almost) a Day with Substance Designer

Pete Sekula sure gave Substance Designer a workout when he created his Rome Fantasy Packs, plugging and hacking nodes to reproduce the detailed, intricate patterns of Roman architecture. See how Substance helped him save massive amounts of time and create complex surfaces for his one-man art studio!

Chico Spans: Creating Stunning Environments with Unreal Engine and Substance

We couldn’t help but notice Chico Spans’ Abbott FV433 Tank Interior when it crossed our radar this past summer, as it was complex, detailed and rendered in real time with Unreal Engine 4. In this user story, we had the pleasure of getting an inside look at the creation process from the ground up!

Here’s to 2018 and to bringing you even more Substance updates, materials, tutorials and inspiring stories!