![]() ![]() ![]() In this article, I’m going to show you how I apply both tools to my projects, using a new Mediterranean visualization as a guide. Both feel like they were created by artists, for artists and it was nice to find out that I didn’t need to be technically savvy to start using them. It is the simplicity of the user interface, and the massive amount of control I found through procedural texture creation that led me to integrate Substance Painter and Source materials into my workflow. So how do I satisfy both issues: the need for photorealism and speed? Substance Source and Substance Painter.Īs an artist, I want to focus on being creative, not learning complex programs that bog down my flow. Like others in this industry, the benefits of a physically based rendering (PBR) workflow have also become essential to my work, as it helps me bring more photorealism into my materials and scenes. IntroductionĪs a 3D artist working with realistic budgets, it is imperative that I have tools that help me push the quality of my work without taking up too much of my time. ![]() With that being said, my name is Kyle Jones, and I am the founder of Pixel Wave, a Southern California based architectural visualization firm and today, I want to talk about achieving photo-realistic materials in seconds with Substance Source and Substance Painter. I am so thankful for the prior artists that have shared their workflows and am excited that I am now able to pass my knowledge onto those artists coming up in the industry. It has been an excellent source of information and inspiration as I have continued to grow a 3D artist. ![]() I wanted to start off by thanking Ronen Bekerman for his blog and the opportunity to be a part of it! Kyle Jones, of Pixel Wave, takes us through his process with Substance Designer and Substance Painter and shows us how to leverage these amazing tools in ArchViz with achieving photo-realistic materials as the focus. ![]()
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