#FREE Substance Designer: Painted Metal #3D + Animation #Joel Bradley

Walk through the creation of a fully procedural “painted metal” material in Substance Designer. The finished material can be output as either a set of finished bitmaps or an easy-to-use and highly configurable Substance package, which can be used in offline render engines such as mental ray and V-Ray or real-time engines such as Unreal Engine and Unity. Joel Bradley has designed this set of tutorials to take you from start to finish, from creating the details and diffuse coloration, to building depth and texture with normal and roughness maps, to adding the final touches that will allow the material to be fully customized by future texture artists.

LEVEL –  Intermediate

COURSE TOPICS:

Creating pitted and dented details
Adding and blending in scratches
Breaking up the surface with normal maps
Creating a roughness map
Adding an ambient occlusion effect
Exposing parameters to create variation and customize the material

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LEARN THIS COURSE FOR FREE *10 days of free unlimited access to “Substance Designer: Painted Metal”

Instructor’s Welcome Note:

– Hi there, my name is Joel Bradley and I’d like to welcome you to my Substance Designer: Painted Metal course. In here, we’re going to create a painted surface that can be tweaked and changed long after the substance creation process has been completed. To do this, we will, first of all, in chapter one, create three grayscale flows that we can use to help give our surface the illusion of both texture and depth. In other words, some dents, scratches, and pits or pockmarks.
We will also want to create a diffuse or base color for the paint, only here we will do it in a way that adds some much needed variation, simulating a bleaching effect that would suggest our surface spends a lot of time sitting outdoors in direct sunlight. To go along with that, we will also create a fairly detailed dirt layer that can be overlayed over the top of the diffuse colors by means of blending modes, opacity values, and a splatter node. Chapter two will see us put the grayscale flows that we created earlier to good use as we create a number of normal maps from them.
These can all then be combined in order to give our painted surface both the depth and texture that it really needs. We will need other elements adding to our substance graph such as some specular or reflective break up via a roughness flow that will create by utilizing blend, grayscale conversion, and levels nodes in order to give us the level of control over our reflections that we want. The chapter will come to its conclusion as we create a procedural ambiance occlusion effect that utilizes both normal and height maps in order to bring us a completely dynamic system.
Finally, in chapter three, we will walk through an easy-to-use and yet versatile way of exposing key parameters so as to give the texture artist real control over various aspects of the material, such as diffuse color, normal intensity, dirt amount, and of course, roughness or reflectivity. If you are as excited as I am to dive straight into the action then, let’s get started on our Substance Designer: Painted Metal course.

 

 

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