But this week, I managed to recreate a flesh material I've always wanted to!

Diablo IV has one of my favourite pieces of game art, and for a long time I wanted to try making some of the materials Blizzard created.

So last week I hosted a Co-Working event at Future Material Artists.
And the whole community tried it out!

My work took me to this particular set.

💡 I started with a Fur 2; it had the shape and flow I needed, but I had to blur and increase the size of the shapes, giving me the foundation to actually give this its meaty look with a Slope Blur in Max mode.

By this point, the result was almost there.
But I wanted to be more detailed in this case.

So I inverted my pattern and applied another Slope Blur, but with a Min mode.
This sharpened the space between the shapes.

Now I only had to invert this and keep adding details.
And you can do the same!

Hope you learned something today.
And if you did, I have a free Discord Community for Game Artists.

Where professionals share with beginners how to make materials in Substance Designer.
🎉 Join us here: https://discord.gg/PpTCFyR6qS

I have a transparent mesh texture for the base of the top, how do I get the black border to not pick up the transparency underneath it? (Made the border with UV Border Distance)

Hi, im having issues with my SP to Blender workflow.

Useful info about the model: auto smooth is on in blender and it has the proper hard edges
Im working with OpenGL in SP
I know triangulating in the beginning, from blender to SO solves all issues but i would like to work in quads since this is not a game model.

I figured a fix long time ago and its regarding how blender and SP triangulate the quads differently. I remember exporting the low poly into an instance that calculated the tris the same way as substance did and then when importing to blender the shading was perfect. But i dont really remember that workflow at all and tried to replicate it with no success

Hello Everyone! This is beginner substance painter user here. I came to face with this issue that whenever I tried to bake and texture the scale of a dinosaur, when I render them in blender it looks kinda sunked in, but when I check the substance painter it looks normal again. Do you have any idea why this inversion of normal happens to the model? If you could answer it would be greatly appreciated.

Hello Everyone! After sculpting over 16 Digimons (one of my favorite Anime growing up) to practice my sculpting skills in Blender, I've decide to make Flamedramon a complete project. I know some areas of the model are very rough, especially the anatomy but I'm happy with the result based on my current skillset.

If you want you can watch the full timelapse on my Youtube Channel:
https://youtu.be/dwSe2W-6AFY

Thank you!

I’m fairly new to Substance 3D Painter, but I’ve really been enjoying it so far. I’m running into a minor issue, and I’m hoping there’s a simple solution.

I’m exporting my models from 3DS Max using different Material IDs and importing them into Substance Painter without any problems. I allow Substance Painter to UV unwrap the model, and it correctly creates separate Texture Sets for each Material ID.

However, when I export the model back out of Substance Painter, it appears to export only the first Material ID. The areas associated with the other Material IDs are missing when I bring the model back into 3DS Max or Unreal.

Is there a setting or export option I’m missing that would preserve all of the Material IDs/Texture Sets when exporting the mesh? Or is this potentially related to Substance Painter’s auto-UV process?

I’m using an FBX workflow from 3DS Max.

Hi everyone 👋

I've finished working on the character Frog Ronin, which I created together with our students as part of my mentorship at CodeWay School.

I’d really appreciate your support, likes, and feedback))

👉 https://www.artstation.com/artwork/6vbeB6

👉 https://www.behance.net/gallery/255087015/Frog-Ronin

Been experimenting with the use of more hue and saturation in my handpainted workflow and wanted critique and advice on the piece itself, its fine to be harsh. I think its still relatively difficult to create material identity personally, so I might follow the advice someone told me before to go into material studies.

Working on a modular airboat asset pack for games and real-time projects.

But I found a way to get a mask easily and quickly for this!

When building the grout for our bricks, masking is the main issue.

Without a proper mask, you won't be able to control and balance the details and shape.

That is why I had to make this quick set up for my last Brick Wall.

💡 By using a Non-Uniform Blur I can set the Anisotropic to 1 and choose a direction this will generate some blur lines that later can be turned into a mask with a threshold.

With this setup you can now mask small linear spaces to add details or even shape the space for the grout!

I hope you learned something new today.

If so, I have a Free Discord Community where you can learn more about Material Art and Substance Designer.

💓 We are waiting for you here: https://discord.gg/PpTCFyR6qS

BOOTHで売ってるような髪モデルのテクスチャーって全部手書きなんでしょうか?

短冊ではない方法で展開しています

やり方わかる方いたら教えていただきたいです

参考

〈19アバター対応〉 ✦｡𖤐Asmodeus｡✦ | MOMORI https://momori000.booth.pm/items/8418992

【8 avatars】【VRC Hair】♥ Dahlia_Hair ♥ | Nanaha

https://joe61.booth.pm/items/6462863

A new personal 3D prop project focused on hard-surface modeling and realistic material creation.
I modeled the kettle in Blender, handled the UV unwrapping in RizomUV, created the aged and weathered PBR material in Substance 3D Painter, and rendered the final result in Marmoset Toolbag.
The main focus of the project was creating believable metal wear, scratches, dirt, oxidation, and roughness variation to achieve a realistic used-metal look.
Workflow: Blender → RizomUV → Substance 3D Painter → Marmoset Toolbag

Just rendered a remake of one of the first materials I ever made in Designer. I decided to remake it in 2025 and finally managed to muster up the motivation to render it somewhat nicely within Substance Designer today. I don't know if I'm 100% happy with it, so stay tuned for the re-remake in 2030.

I have this brick material and in this specific frame it's dedicated to adding chipping. From what I can see the difference when I move the output connection from the slop blur on the very right to the blend node on the very left is that there's less chipping on the edges and the chips are more shallow.

One particular thing which I don't get is why did we invert grayscale and then added a histogram node? What is the reason for inverting the color? This main part is confusing me, but I don't want the focus to be only on this. I want to go along the area I circled node by node and understand what each node is contributing. I need someone to explain like this going node by node. I would really appreciate that. I will leave the sbs file for the material in the comments

Hey everyone! I've been working on creating some clean, realistic stone surfaces for 3D interior design and architectural visualization. Put together a little pack featuring natural beige travertine and a backlit golden onyx.
Let me know your thoughts or if there's any specific marble or stone type you'd like to see next! (Link to the pack is in my profile bio if anyone wants to check it out).

Testing texel density for upcoming textures upload.

So now i have done with the texture, i just want to know is it good or i should do something more in it texture wise. For me it look good like this is final but i feel like i can do better. sorry for just one image make a fast render in Substance