3 more Allegorithmic challenge finalists share their tips

“The main inspiration was to create a multi-material character with a lot of texture types,” he says. You can add more detail to the mask using the Pen or Extrude tools. Not surprisingly for a creature that blends humanoid and invertebrate features, and contains both organic and inorganic elements, Kevin says that his biggest challenge was managing all of the different details in the textures, but that “it was rewarding to see how they all worked out together.”
The Substance applications’ fast, intuitive workflow also made the task a lot less daunting. This can either be baked into a vertex colour map or used to fill in a Material ID map baked from base colours, giving objects unique colour IDs. “I particularly enjoyed multi-material blending: it works well with SVG masks,” he says. Use a Transformation 2D node to control the scale of the texture detail. Wandah made good use of its features, including the ability to generate dirt, rust and scratches automatically, as well as multi-material blending. “I used both subsurface scattering and translucency at the same time.”
However, Substance Designer’s tools for generating rust and worn edges made texturing metal straightforward. Combine normals
To create rusty metal in Substance Designer, I began with a base metal material. Blend switching
I like to bring a simple target paint in for my diffuse texture and use a Blend node to turn the main output on and off to see how close the final texture is to where I want it. Read these:
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The best Photoshop plugins I like to do a Polypaint fill in ZBrush for reference. With many game developers moving to a physically based rendering workflow, JaeHyup says that the Substance applications have a key role to play in the process. “My first idea was to mix an alien with the anatomy of a fantasy creature like a centaur,” he explains. You can combine the Detail Normal of the material with the original normal map from the mesh using a Normal Combine node. “Substance Painter and Designer are both super-easy to pick up if you understand nodes and layers,” says Kevin. Koronus
Self-taught freelance character artist Wandah Kurniawan used the contest as an opportunity to learn how to create armour, drawing on concept designs for Crytek’s action-adventure game Ryse: Son of Rome to create his Titan, Koronus. Like many of his fellow contestants, Wandah found that it was the modelling work that took up most of this time on the project. Capcom artist stars in Allegorithmic 3D titan challengeHere we ask   the last three finalists of the 3D World and Allegorithmic challenge to breakdown the creation process, sharing their texturing tips. “It was my first time learning hard-surface [techniques] in ZBrush, so I really wanted to give my attention to the sculpting,” he says. Connect the resulting map to a new SVG node as a background to edit the mask. Mithala (Kreiken)
Xaviant’s Kevin Murphy took a multi-material approach to his sea creatureCurrently a character artist at Georgia-based game developer Xaviant, Kevin Murphy spent a month working on Mithala (Kreiken), his marine Titan, regarding the project primarily as a technical challenge. This also helps to assess the result of any drastic changes further down the pipeline by comparing the results with previous iterations. “My favourite parts of the software were the node system, and multi-channel painting to layers: a big time saver.”
File import
To set up Substance Designer for work, I drag and drop the .sbs file into the Explorer and the .fbx file into the 3D View. Using material IDs
It’s easy to plan materials in Substance Designer using the Material Selector or a colour mask. Like this? Add Rust
I used a Rust Weathering node to create the rust.

Updated: 24.12.2014 — 04:40