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This time, I imported the geometry of the main wall from Substance Designer. On the left, you can see the base color, roughness and metallic maps, while on the right, you can see that I generated the normal map from the already defined base color and roughness, and then I also used all the output maps from Substance Designer. For those of you who don’t know, it’s really easy to generate a normal map from a base color and roughness layer.
I also needed to add reflection probe effect to the 3D sphere, which I created from this map – a simple plane clipped at the desired angle, generated from the base color and roughness.

UPDATE: If you have been asked to use the new names in Substance Designer, you can easily find out if Substance Designer is installed by finding the entry named “Substance Designer”.

For extra quality, I also changed the normals of the sphere back to calculated ones, since I needed to animate the surfaces. In my case, where the surfaces were already intersected with the simulation, I needed to simulate the paths of the wind, snow and rain to the form of the sphere. The sphere was covered with a translucent layer, which was then placed in front of a layer with the calculated normals, to simulate that dynamic quality. From this effect, you can see the static and dynamic qualities added by the new version of Substance Painter.

I used Substance Painter to generate this image of a church bell. The geometry was loaded from Dimension, which already had the materials assigned to 3D, as well as the 2D texture map (normal map) exported from my Substance Designer file. The geometry was then mixed with the other materials (pink-based red color, mottle and dirt material, and the bell material). I needed to apply a motion blur to the geometry to simulate the motion of the bell. I did this effect from Dimension, rather than adding it directly to the geometry in Substance Painter.

In any situation, a texturing layer for every surface in your model can come in handy. When used along with traditional materials, a texturing layer can drastically simplify the editing process and give your scene a high quality look and feel. To achieve this look and feel, you need a great photo-texturing to pull off the perfect look. In order to achieve this look and feel, you need to simulate light and the special reflection of a surface. Furthermore, you need to give the materials a reflection pattern specific to the material. With Substance Painter, you can easily add textures and light to your model to get that amazing photo-texturing effect. You can also give a custom light direction to reflect the sun’s light on a subject. Substance Painter allows you to simulate that light, and the reflection of the surface, and even in a real-time environment.

Substance Painter is the essential tool for creating high-quality photo-realistic materials to bring your 3D content to life. In addition, using the integrated background workflow, you can quickly turn textured surfaces into materials for use in other applications and games. The Substance Painter 0.8.4 platform includes new raytraced, physically based rendering tools, and plugins. It is being used by people to create stylized products for broadcast quality and movie content.

Substance Painter is a new software for 3D modeling, and it offers an easy workflow where you can apply textures to the surface of the model. In Substance Painter, you can easily edit the color, reflections, and brightness of your textures. You can also connect to Photoshop where you can apply Photoshop textures. To edit textures, you can easily use any color editing tool, even advanced HDR tools such as Adobe Lightroom.

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The Substance Painter plugin file type used to have a lower version number (for example: 20.0) than the Substance Painter file type (for example: 22.0). This is no longer the case. We are now using the Substance Painter version number to identify the version of the plugin.

Substance Painter allows you to easily apply different textures to an object. Textures can be either unwrapped from a 3D model or procedurally generated. When you select a material in Substance Painter, you can see, in the bottom-right corner of the selection box, the type of the material.

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Next we get to work on the masks. Masks are areas that tell Substance Painter what to replace a material with. In the example below, I created a mask on the end of the nose of the shuttle with a clear coating on the tip. This would later be replaced with the clear material for the end of the nose.

It’s important to note that any changes made to the model must be saved after tweaking all materials or you could lose your work. Unfortunately there is no undoing between different steps in a session in Substance Painter. You must save your work once you have made any changes. Additionally, it’s often easier to make a new material and then alter a texture rather than fix an entire model. A good piece of software like Substance Painter will save all your work automatically!
After all of this is done, it’s time to render the final images.

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• New the Contrast features with new adjustments for under and over-contrast that help when mapping values to the contrast slider.
• Add support for editing the In-painting layers on the 3D view.
• Add an option to enter a brush tool at the origin of the current drawing layer (v-key) in the Brush panel.
• Add more Vectors tools for curve, splines and points.
• Add a feature to reveal multiple paths in a mask (like in SketchCAD).
• Add Snapping features for groups and individual items.
• New in Video LUTs feature, including:
• Display the values of the look-up-table entries and add the user’s own custom values.
• Add a LUT generator to easily create various LUTs from the original image.
• Correct the gamma correction settings in the new LUT generator.
• Create custom LUTs from any selection or from any channel using the new LUT generator.

• Windows 7, Windows 8, or Windows 10 (64-bit only)
• 3 GB RAM
• 2 GHz processor
• 10 GB available space
• 10 GB free space on hard disk

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