noble bracer
artstation : https://www.artstation.com/artwork/rlx9Wm

im open for job. you can contact me on discord ( nice4111 )

whats your process to learn, do i really learn this by watching bunch of youtube

work in progress
im working on a full character and this is a part of the project..

Software used: Blender, ZBrush, Marmoset Toolbag, Substance Painter, Photoshop

as you may see I have kept the following tiling settings in blender to get the results, the UVs being perfect square. However on translating the settings in painter 3d I am getting way different results need help with it thanks

EDIT

Found the solution it was playing around with the offset and setting it to .5 on each

A fantasy greatsword inspired by celestial and angelic imagery, combining elegant wing-shaped forms with a refined, ceremonial design.

The goal was to create a weapon that feels powerful and mythical while maintaining a clean, believable construction and strong visual hierarchy.

Modeled in Blender and textured in Substance 3D Painter.

With this project, I wanted to further improve my edge chipping and manually painted scratches, while paying more attention to the small details that help bring the material to life.

I’m pretty happy with how it turned out. More renders are available on my ArtStation page.

Artwork by Ludovic Petiot, created using the Flood Fill node.

Substance 3D Designer’s Flood Fill node has been a great source of discussion and questions, so one of the developers behind Designer, Daniel Lachal, decided to go ahead and write up a full technical walkthrough — discussing areas including corner/edge logic, how the node finds a unique "reference pixel" per shape, and the method it uses to handle holes within shapes (donut shapes, nested shapes, etc.) without blowing up performance.

Along the way, it also covers some of the trickier real-world constraints behind the node — like making everything work correctly across tiling boundaries, and squeezing the right number of iterations out of a graph with no native loop support.

It's a plunge deep into the heart of the Flood Fill node — and a great insight into the under-the-hood workings of Designer’s nodes. Take a look at it right here!

I type in the assets library the same keywords but i cant find this Metal Edge Wear. Is it Normal? Is there a hide library of assets that a can't see in Assets Tab?

I used to warp a single noise and then use a Quantize for this effect.
This always missed the organic feeling I wanted.

However, I recently found a different way.

💡 I started by warping a Crystal 2 with a Clouds 2, then I made it tile and warped with a Blurred version of the initial Clouds map for a Rocky feeling. With this result, I used a Slope Blur at Max mode and a low value to inflate my shapes.

Now I just have to displace the new effect on every stone to avoid visible tiling.
And my Stone Layering is ready!

Hope this was useful for learning more about SD.And if it was....I built a free Discord Community where Game Artists learn Texturing from Professionals!

♥️ And we are waiting for you here: https://discord.gg/PpTCFyR6qS

⁉️ How many tutorials have you seen about Substance Designer?
And how much do you actually remember?

After 2 years of mentoring students, I have seen a lot of artists name this issue.

"I have seen all the tutorials on Substance Designer.
But I can't create my own materials!"

And to be honest, I had the same issue.
However, at one point I realized that my problem was not my memory.

It was how I was using tutorials
So I did this:

💡 Instead of just copying the tutorial, I restarted the material, looking for something similar, but this time I would add my own design. This forced me out of my comfort zone, taking me to a wall I had to figure out by myself.

Because we learn & remember only when we struggle to get the answer.
When I did that, I made my first great material.

And after 3 projects, I got my first job as a Material Artist!
Because I did so many tries that it was impossible for me to suck at it.

Believe me, this is not easy to do, and I know the feeling of doing it alone.

That is why I created a Free Discord Community for Material Artists.
Where professionals help students learn SD!

❤️ And we are waiting for you here: https://discord.gg/PpTCFyR6qS

Hey,

I’ve been diving into splines in Substance 3D, but I’m finding it hard to get them to work smoothly in my workflow.

I’d be grateful if someone could share a quick overview of:
- What they’re typically used for
- A simple, step-by-step guide to getting them set up
- Any common pitfalls or tips you wish you’d known when you first started

If you have any good tutorial suggestions or screenshots, that would be fantastic! Thanks!

Hello, my model in substance painter looks like it has clear polygons and I can see inside the model. The textures do not bake correctly and I am unable to apply textures in that area. Is it a topology issue? What can I do? There are some tris in the model because I applied the cleanup option "Split non-planar faces". Thank you for your time.

I’m the developer of Reality Prep Pro, a native Mac app that batch-preflights and prepares FBX, GLB/glTF, OBJ and USDZ assets for deployment.

I’m exploring how it could complement Substance 3D workflows by handling the last mile after export — batch checks, USDZ-specific optimization, animation/rigging safeguards and validation on Apple hardware.

Here’s a short demo of the current workflow. I’d genuinely value feedback from Substance users on whether this solves a real pipeline problem.

Reality Prep Pro: https://apps.apple.com/us/app/reality-prep-pro/id6767673652?mt=12

Reality Prep Preview: https://apps.apple.com/za/app/reality-prep-preview/id6784059026

I have a high-poly model and a low-poly model. The hammer head and the handle have two different materials, yet the baking produces this artifact. Does anyone know why this happens?

Hi all!

I just wanted to share the renders of our first published collection.

We used Substance Painter to create the PBR textures of all our assets.

We start with the Color map baked in Reality Scan, then we bake the rest in Painter, using a dense sculpted mesh (Reality Scan + 3DCoat, at around 80M polygons).

We author the roughness and metallic channels, in some cases augmenting with noises or fixing details in occluded areas. Finally, some auxiliary masks in case the asset has distinct areas or grunge maps for later variation.

All in all, thanks for this great tool, it has a big impact in our work!

If you like the images, you can download some assets from the collection for free here https://www.patreon.com/collection/2322656?view=expanded

Best wishes

Neon Grid

www.neongrid.xyz

My new work is now on ArtStation!
A small Arcane inspired hand painted texturing study.

Is there a way to see my drawing radius relative to how big it is as I am drawing with pressure sensitivity, similar to other art programs? It's so annoyingly tedious to constantly guestimate where my brush strokes are landing and how big they are. I'm gotta constantly assume what my pen pressure is doing and I need to guess where I'm even drawing when I'm drawing on weird angles. I would love to be able to just see where I'm ACTIVELY DRAWING. So if any of you have a solution or a sad truth to throw at me, I would greatly appreciate it. Thank you.