Fabric Creation & Fashion Inspiration in Substance Designer

[Music] [Music] you [Music] [Music] [Applause] [Music] [Music] do [Music] [Music] [Music] [Music] [Music] [Music] [Applause] [Music] [Music] do [Music] [Music] hello everyone welcome to our live stream my name is wes and i'll be your host today we have an expert in the field of digital textile materials pauline water texture artist she will discuss her fashion material collection for substance source dedicated to a diverse range of traditional outfits and weaves pauline will show how she achieved photorealistic results including laces embroideries patchworks braided threads and more so uh pauline thank you so much for joining us here today it's uh it's an honor and it's awesome to have you here and also while i'm saying this i i want to congratulate you on joining the substance team here at adobe i'm personally thrilled to be able to uh work with you on a daily basis so welcome to the stream pauline thank you so much for having me all right well uh we could just actually just jump in and get started so uh when you're ready to uh start your presentation just go ahead and uh and just enter in your screen share and uh we'll get going yeah should be good hi as a tiny introduction name is pauline if you don't know me i've been working with substance designer for quite a few years now um i taught myself how to create materials using substance designer and i've been working as a freelance artist for a bit more than five years and as a texture artist for two years a bit more than two years and i am a corgi enthusiast i i like them uh you can find me pretty much anywhere uh on the internet looking for either japanese or putting wood to directly um yeah um i as i tried to uh put something up like as a pitch to introduce myself i realized that um all the work that i did and um everything that has been uh popular kind of it was really quick and it a lot happened in just the two last years uh starting from an article in substance magazine like with my code and everything went very fast after that and i had um amazing opportunities to work with a lot of people because i i don't have like 15 years of experiences or stuff like that but it was in a really short amount of time really great experiences uh in the field of mainly fabric because i like i had kind of a feeling with it so it worked pretty well um and so it was uh kind of obvious that i had to work on fabrics again for the signature collection when i was asked like in last november of 2019 i right away knew that i was working going to work on some fabrics that i didn't know really what what kind and um what kind of techniques that i wanted to share um that was both interesting visually and interesting as like a technique like how to create materials because i i've created a lot of really intricate patterns and materials but most of them are not really useful so i wanted to combine the two and get a better like both my materials that were looking good and that were really useful and easy to play with so uh here you can see the different outfits it's kind of like in two parts there was like outfits first and then i had some other materials that i they were just the references were just too good looking so i had to like try it out and create something uh around it so uh yeah basically each of the five here outfits were separated in like two materials and um for each i gathered a lot of info a lot of references because i wanted both to be good looking in 3d but i really wanted to translate the the how would you say that the the skills that the people are actually it requires a lot of skill to create real outfits like that and i wanted it to be translated in the material as well so that it could look uh beautiful like from far away and also from up close and to really like get into details with each techniques and i actually learned a lot uh trying to understand how they were creating creating each material in real life so i can replicate it the proper way in 3d so yeah i've learned quite a lot about it and after that there was like five other materials to complete the collection and those were inspired by mostly intricate patterns that i i have a thing for that and bright colors i really loved uh looking for different references around the world because like there's so many people uh creating art with fabric uh around the world it's just fascinating to me so i had to make like tough decisions and um select only five only five of them and to get a proper kind of view around the world and stay in like team and same thing i wanted to be looking good from far away and from up close and to get as much detail as i could get because the real materials are are full of tiny details and it's just fascinating so i try to make the same thing but only using substance designer um so in the in this slide we're gonna try to take a look at two different materials uh the first one is uh uh the the lace the lace wasn't actually my first go i tried to do one uh before as a first try and you you realize uh fairly quickly looking between my portfolio and uh the collection that a lot of them were made two times um the first is usually just a try out see if if at all it can work and the second one is just taking part off and looking at what can be improved uh in that specific material so this is the v2 of the lace i'd say and i don't really want to spend too much time on that uh i just wanted to show you like kind of a quick tip um because if we take a closer look now at the the material you can see here all the blue uh frames are just patterned and it's just to create those uh those shapes so here you can see we have a flower right here and it's just a combination of a few patterns um that are put together that way and so that part is like the shape that the creating the shape is can be interesting but it's not why i actually like that material that much uh it was a real pain in the ass if i can say that to create uh because it's like really um hard to me to get my head around how lace is actually made and to create materials i try to at least understand a little bit um how it was actually made so i can translate it better but in that case lace is just um i don't know it was like it's cute it's cute looking i like lace and people are like were asking for me to create something like that because it's something that you don't find really as a procedural material so i tried to create one the best that i could um i really wanted it to be easy to play around and adapt uh to whatever uh project you're working on so here for example if we take uh a close look at that leaf for example you can see it's the basic shape and in the end the the pattern i'm working with is that kind of weird looking uh weird colored uh pattern right here um and there's a few basic rules that you can um that if you understand them uh you can create whatever you want uh with the the lace material in the end so here you can see uh using the air dba merge i can plug in a kind of masks of the shapes that i want and each time you'll see that the green one is the outline the red one is a kind of knot the blue one is another and the alpha stays the alpha the opacity and so that way i can create uh really intricate patterns like that if it shows up yep and you see the red one is a kind of a kind of love and the blue one is another and that way i just have to focus on that part on the beginning like the pattern at the beginning and the rest of it just depends on that note right here that one is a multi-switch so i can switch between a ribbon or a just a a a plain square and you can switch between the two depending on what you need if you need to do like just a ribbon or if you have to like make a whole tray uh you can have the two options here um there's there's a parameter for that and so uh when once you're on this thing yeah oh i'm sorry just one really quick question so when you have these uh it looks like you have these ids that you have here um you had mentioned something earlier i thought was really interesting that you said that you you know you kind of researched the patterns just to kind of see how the weaves were made and things like that so so this technique where you're using these ids and stuff that you just kind of came up with this yourself as after kind of doing some research on how the cloth is actually made is it kind of like that like uh yeah i had to like look for a lot of different uh kind of uh lace actually because it's like a traditional kind of thing in france but there's a lot of uh techniques that are that are used to create a lace and that one is actually inspired by the shanti lace and the one we the people know the the best is usually the kale uh from calais from the north of france but uh yeah it's usually like always the same kind of and it was the the easiest to translate because as you can see here everywhere there's an outline and so i can create masks fairly easily but on other cases there's no outlines at all and it's just the blending of the the knots that are in the back uh and they just merge perfectly uh together and it was just too too difficult to replicate easily so yeah i went for that one it was the the the pretty and easy way to do it yeah and for the for the shapes that you're creating if you go to the beginning of your graph are you do you start any of this with like an svg or is it just completely like just it's uh the whole beginning is is a disk that's what i have at the beginning yeah and it's a it's a yeah a lot of transform a lot of uh blur and mirror a lot since everything is pretty much um usually in lace you always have like some kind of floral pattern and the the the drawing of the flower is usually the same it always has that kind of roundish petals and that are separated in multiple parts so that kind of uh of flower shape is is used a lot and it's pretty easy to make uh as you can see here just for one petal i just take um transformations that like the same disc uh from the beginning goes in the transformation and it creates like kind of a heart shape right here and then you can just play uh with it with a warp to get to get it go down a bit and using a transform to get that shape at the on the inside and every time it's pretty much the same you have that mask and edge detect and a blend right away because that that is basically my mask as you can see in the red channel the edge detect is always like the outline so it will go in the green channel and i just blend the two of them in the screen or add or whatever just to get the two shapes on top of each other and that thing goes directly into the alpha and before i found this technique i actually learned in from eric whaley uh watching his stream and before that i was using a material transform and i was cheating in a sense that for like the the base color was one output one one mask the roughness was another mask and everything i just used like uh that thing as a transform for moving all the pieces together but that way is way cleaner and way easier to get the shapes done so that's why i try to use that technique a lot more working on that collection and i wanted to show actually both the the lace and the the the indian skirt material because they both use that same technique but for different things uh and so it's it showcases pretty much how what you can do using that technique uh not only you can work on mask but you can work on eight maps too and you can do pretty much anything so that's two uh case scenarios where you can use that technique um yeah and i was selling like the flowers and yeah everything goes to that node right over here and now if you like uh don't really like that pattern i would understand you can change it as you wish because you just have to pay attention like um how is build the the the input and recreate it yourself so for example here if we take a look at the the multi switch um in the end you can see that uh looking at the channels here you can click there and see only the red part so as you can see it's a basic mask uh looking at the green one it's only the outlines and the blue ones is another mask and all i have to do is plug any image with that kind of setting and it will recreate a lace pattern in the end so i did a quick thing earlier just to show you here i have a little pattern as you can see it's a leaf the same exact id so i have my blue mask red mask and the outlines in the greens and that way if i just unplug everything here and plug it in place you'll see that the pattern will go up right there and it's already uh like you already have the good knots in that's a bit a bit big for that pattern but you have the id you'll get the outlines uh going in the good direction the good uh loops that some people may recognize from a tutorial that i made um you have that same technique here and of course you can totally change uh all those knots uh in the in the the final render here are used loops but if you want to lose to like use any other kind of knots because there's a lot of different knots when creating lace you can create your own just as you can see here it's just one loop over there that is simply plugged in a tile generator with quite a lot of them like say it's a 100 by 100 and all that part here is just like to give it a little uh wavy effects so it doesn't look too stiff because that's the the usually the the hardest way to get good looking fabric is because creating those with um with designer uh it usually looks like pretty stiff and really geometric um real powder a real fabric is usually like really messed up from up close so that way you can have like some weekly stuff and there's no um regularity in this so um yeah that's pretty much it um and right there i created like that pattern directly inside designer but you can totally like create um one using i don't know photoshop or illustrator or whatever uh software you're using to draw and create something uh just keeping in mind always that uh the the blue channel and the red channel on the green channel each have like a role in that material but when you keep that in mind you can pretty much create anything and that's why it ended up being the most annoying and the best material i had to do for that collection so i i hope uh i'll see people try this out and make your own um the whole point of the um of this collection was mainly to create like tools for people to have fun with uh because creating lace is like really hard and not that fun to be honest uh that way you can like take each piece and keep the one you want keep the one you like and rework all the rest so that way you could you could basically delete all the the blue squares at the beginning and just get here plug your bitmap or whatever right there and you'll have the final result and then you can like change the color the roughness and the metallic uh to get the proper look you want for any of your projects so yeah that's pretty much it for the lace um that's it's it's it's mind-blowing i don't even know what to say i'm looking you know but i will say you had mentioned that this is version two right so i don't know man maybe you need a version three because it it's not looking so great you know yeah i'm just easy i mean this is like mind-blowing you look at this and you're like i mean i just i just mesmerized by the you know uh and i love the technique you have about how you're using the mask to create this it it's so incredible um this and forgive me for not knowing this but this this drop is it is it already on source is it available now or is it coming soon no no it is available and the lace is actually the lace and the the indian skirt are actually two of the three items so you can get those like now it's been online for like i i think it's just a week it was like just a week ago yeah and and just to reiterate for for those listening like the the the file that even the free ones it is the sbs so it's the source substance designer file they can open see all the nodes and it's almost like a whole tutorial in its of itself they could see everything that you did yeah exactly um yeah and there's uh there's a lot of different techniques because i i try to um to get like similar uh materials but they all have like i tried to teach myself something uh during each material either in the technique that i've learned from the references or directly inside designer and for each of the 15 materials there's always like a little like a little tip or something that i've learned along the way to do especially that material so yeah it was overall a really really interesting collection to create honestly yeah the the detail and the quality is it's just outstanding uh it's it's really amazing i think one of the questions uh that we're coming in i'm gonna go ahead and just answer this one but they were asking um did you simulate the garment yourself i i guess what they mean is the the 3d mesh that you're using in the through review oh yeah uh that thing yeah it's uh yeah i used a marvelous designer to do that um i actually use marvelous a lot to get like nice renders and the yeah it's basically just a square if we do that as you can see just like a basic square and you you may be recognize it because like there's that kind of bird shape in it and it's basically the image for all my fabric renders on my art stations so yeah it's it's it's always the same yeah i i wonder if we can include it now i mean um maybe it's something they can add to designer or alchemist or something yeah there's a there's like a cloth but on a sphere that is available already i think in alchemists that you can already find and try out stuff on it and that's pretty useful uh it's just that i like to uh have different like uh simulations like if it's a really thin material or a really thick one i like to be able to change up um the the base so i don't use that much the the sphere but um i mean the cloth mesh but yeah it's uh it's a really cool way to see because like usually when you look at a fabric on a sphere on a basic sperm um you don't really get the like the the same reflections and the same like uh behavior than on something something like pretty foldy-ish so yeah you get a better a better view yeah this is this is so much better maybe yeah maybe maybe now that you're that you're working with a team you can make some of these i'll try to just yeah that would be awesome yeah um yeah well if there's no specific question on the list maybe we can go to the the the indian skirt if it's okay yeah sure that's good let's do that yeah um so the graph may look at at first it may look a bit uh intimately intimidating i'd say but it's really not that big of a deal once you zoom in a bit um because you'll see uh again it's pretty much the same id than the lace we just watched um except here i still have like my rgba merge here uh with the same id and the except this time i had to find a way to get uh the eight pack the mask for the uh the sequins uh and for the the kind of i don't even know how like the tiny rope that you can see i wanted them to have like two different materials but um i couldn't do like a lot of um before i used that technique i was usually duplicating a lot of title samplers and i've learned that um the title samplers are are actually not that good id because it's really like um heavy on the graph and it's not really like the good the good thing to do so i try to work my way around and uh instead of having like a tile sampler for d8 map and one for that mask and another one for that mask and a fourth one for the alpha i just like used that technique and here you can see the same id except the red channel is my eight map the green one is the the sequin material and the blue one is the the rope and the alpha stays the alpha it's the opacity of avedo and that way i can just create a kind of the same floral thing i have a thing with flowers apparently and yeah so that way i can create like one of one of the petals and just splatter them and add some pieces along the way way more easily than working with uh four materials that i have to blend and unblend uh each time that way i just have one i can splatter it the way i want and just tweak it at the end and it's it stays the same and that way i can get like that flower with what looks like a lot of notes but honestly it's not that much compared to what i did before and here as you can see it's always like those weird colors but it works exactly the same as the lace before and so here you can see same id everything at the beginning here is the the pattern and the whole material really starts at this node right here that way i have here the whole materials all the mask the height map all the mask and the alpha in one note and i just have to split it and use it as mask for uh if we take a look at the colors for example i have the bes the base uh the ray base and then i have here the uh both the sequin it's the lighter yellow and the page is the rope and as you can see i can just i can just like get those masks back and blend them together to create that kind of thing um and after that there's only like a few a tiny variation in the color just to get it like a bit more frankie i guess but yeah it's uh it's always the same the same kind of id and what's uh uh useful with that kind of technique is that if you don't like uh the like that kind of sequin and you would like i don't know another shape or maybe another kind of feed uh if you'd like some other kind of beading you can totally um like change just that part up and everything uh will change in the end and exactly like i did for the lace i wanted um to have a material that was i had that i had a lot of different function uh that you you can use it like in a lot of different uh situations for so for that one uh i actually had to create a whole lehenga only um only with two materials so i had to have all the the the parts for the skirt and for the the top part as one material so i had to do like a square that was styling uh uh where is it somewhere in there um and that way you have like a the whole uh square and then you can have only trims like that one and you can find them all in the parameters here so if you go in the pattern selection if you here you have the bottom part with all the beadings and the flowers the top part is a plain fabric with only tiny tiny flowers and one trim at the bottom and the medial one is just that same plain fabric with the little flowers on top of it you can change pretty much all the colors the roughness and the materials for each bead and the the other material that goes with the indian outfit works pretty much the same you have a trim and a base material like you can twist up some stuff and create a lot of variation using just that that material and yeah that's uh that's pretty much it like the the interesting part here was to manage to get um all the shapes and all the aids in the um easiest way and the cleanest way possible because there there's like a lot of information that you have to put together to get that material in the end but i i had to like create something that was kind of user proof so that you can play with it without breaking it like um when playing around with the the parameters and stuff like that so you can pretty much do whatever and it always ends up being okay-ish looking i'd say um and it's it was the same idea with pretty much all the other materials it was trying to fit to the references and create something kind of with my own twists i'd say so yeah i i i don't know if there's any any questions oh yeah yeah actually pauline that would be a good time to look um so one of the questions here was um this one was just asking about if you feel comfortable let's see let's see asking uh i don't know i guess this one was um just asking i don't know i guess it's more uh just asking about your work full full-time are you working full-time at subsistence or do you work at other design houses too and if so where can they see more of your work so i guess just asking a little bit more about your your kind of overall like day-to-day like like your jobs like what are you doing well i used to um to teach in some schools in paris um and i was like giving introduction places and classes for substance designer and substance painter and i had like a really good time i've learned a lot there too but right now yeah i'm i'm working full-time for the soos uh simpson sauce team uh i've started like uh last december i think and it's been yeah just just a year uh last february sorry um it was uh yeah just a year as a freelance still and now full-time full-time yeah that's awesome yeah uh and so another question uh yeah this is a good one too this was asking like about um if they would have a different outcome if they created the pattern like say they started the pattern in maybe illustrator or something like that uh rather than from scratch and designer is there a difference between working you know one way or the other maybe like us like we said earlier using svg node or importing in like illustrator paths something like that well i i guess you could do um i mean that's that's why i love uh samsung designer it's just like you can you can do you if you feel more comfortable like creating the thing in illustrator or or in photoshop or using only svg nodes you can totally do that i i just like like i don't know creating patterns is you it may not like it looks like fun for some some of the people but it is to me so yeah i like to spend some time uh creating uh those patterns from scratch to your clean side designer but yeah you could usually do that from illustrator photoshop whatever it works exactly the same and that's why i wanted to point out the idea that once you understand the erg the rgb kind of setup you can do whatever you want with it yeah like whatever right you could have just maybe used a completely different tool uh and then just pack the maps and brought those in and use your system i guess that's the other thing that's so great about designers you're basically building this system that can be reused you know on on many different you know fabric materials like this so it's like now that you have the system it really comes down to oh i can just replicate a new fabric by just creating new shapes yeah exactly and that was that was the whole idea it was just so that you you that the the toy is already working and you just have to customize it and make some arrangements wherever you want but it's like it works you just have to do something with it you can do absolutely whatever you want yeah and uh well just i guess while we're here on this there this let me hit just another question this one was talking about the pattern switching and you you did kind of show that earlier but maybe while you have your graph up so it's just asking how was the pattern pattern switching done and i think it was what you showed with um where you you know like you said you have this layered kind of id that you're doing and then you're able to to you know make the patterns in that that way as you feed it into your graph um i'm not sure i understand the question like no it's actually more about the pattern switching part like you had showed that a little bit earlier where you were able like i think when you showed the leaf example yeah okay uh yeah um it was actually like a an id that i had after the the collection was out uh so um i go on to that a bit later with like um i don't know it was just like you you can't like have a material i can do only one thing i did that for a long time and it never like it was never used by anybody else but me and in that situation i had to think not only to do something uh cool looking that i liked but i had to think about the people that were going to download it and play with it and maybe they don't want to have like flowers and stuff like that and that way i already gave like three options for like each material so you can switch between like the ribbon the trail and the square one for the lace and that one you can have like the the bottom top and middle part but you can create your own and it's just a basic like um multi-switch so you can plug like all your three uh different patterns and it's a parameter that you'll find again if you use it in substance painter for example you'll find that same parameter and you can like put it on any kind of mesh you're working on at the time it was just about like using the same technique and um kind of duplicate duplicate the the parts that i wanted and let the rest be just free and do i don't know the most the most um items possible like you can create a lot of variations and never have like twice the same material playing around playing around with those so yeah i don't know if that answers the question oh yeah yeah yeah super versatile in what you can create once you have your system in place yeah okay yeah um we can we can just keep moving forward then uh yep but i i i kind of showed everything that i wanted to show okay well maybe it wasn't quick no that's okay that's okay uh some more questions for you then uh perfectly uh uh this one the other question here was i think earlier when you showed some of your renders it was asking about uh pictures rendered in substance designer ira or did you use like an external renderer how do you render your portfolio shots everything is from a designer using ira oh wow okay yep great i tried i actually tried to learn a blender for that specific project but it was two weeks ago uh and i had like it was too much information to get in two weeks so i said yeah okay i'll i'll do that the way i know uh but i i got really interested in in blender looking at people doing incredible stuff so i'd like to try it but i yeah i have to find time for that i guess yeah and uh this was just another question about just kind of your background but have you ever worked in any fashion house uh yeah i did i had the the opportunity to work with the louis vuitton team for a year and i it was a very interesting opportunity because like i didn't learn a lot at say regarding a substance designer but it was an incredible like way to learn about the industry and uh you i i was like looking at materials that i probably never see again in my life it was like uh very very interesting there was a lot of i've learned a lot about how everything is is made for the industry and how uh how the colors are picked and how each uh material is actually like each props is actually created like a lot of times to get the good the good idea and how to get like fast and um different uh prototypes that you have to deliver pretty quickly so that this decision can be made and that's why uh i it was easiest it was easier for me uh using substance designer because i i think it's the best way to have like a lot of variations very quickly and you just have to like get a render done for like you can you can let it go for like five minutes and it's already good looking ish enough uh good looking enough so that you can um like present samples and people can pick from that and then you can go ahead and push the the project further but yeah it a really really interesting uh experience here wow that's awesome yeah and uh paulie let me ask you are you able to hear me okay i think they said i was having a little bit of a audio yeah i hear you're a bit slow actually okay i'm not sure why that is actually happening okay is it any better now it's getting a bit better yet okay how's that yeah perfect okay okay all right yeah i'm not sure what's going on there but that's okay uh a few more questions for you then um someone else would like to know if um have you textured like a full garment directly in designer are you ever using the udem workflow oh uh the udemy workflow well i actually learned what viewings were like two years ago i had absolutely absolutely no idea it was a thing so i'm still not really comfortable like working with it but i do like texture pretty much any everything using substance designer yet but i try not to use udems that much just because i don't know i just i just don't feel that comfortable playing with it but and there's always like kind of another way i i'd rather like play around these with my uv shells and get it right um directly like in maya whatever to get my material at the end looking okay on the mesh i don't know are you using substance alchemist for any of the processes uh mainly for a review when you have like a lot of but it's it's like uh mostly for work i don't i honestly don't use alchemists uh on my uh personal projects or on my free time at all uh but it's uh it's really useful when you have to like take a look at a lot of materials and try try out if it works or not so for work i do and this question here is a little bit more technical and it was asking if it's possible to rotate the pattern along a shape border do you have any techniques for that um well not yeah and i think like in the last version of substance designer you have uh more options i think it's in the title generator we have like a lot more uh tweaking options for that kind of of things but i don't work on um like i didn't have the chance to try out uh this particular like uh like nod recently but i i've seen like what you can do with it there's like tiny demo videos on the youtube channel where you can see what you can do with it and i think that could be one of the best options right now to work with patterns along along a specific like shape or whatever but no other than that i usually do a fairly crappy technique using a lot of transformation and a lot of time and it works oh it always worked okay so far so i keep doing that but there's probably like a lot of better options coming in the future yeah there's always so many different ways to to handle this in designer i guess which is weird but i'm like you i'm like always using transforms and blends like multiple times but it works you know and you can see what you're doing yeah i know and that's why and like i i tried to sell a simpsons designer when i was mostly working with uh with students when i was teaching uh i mean substance painter is really good looking and when you know photoshop a tiny bit you can like recognize like the ui and you know okay there's my layer i know that it i know it's hair i know what it does i know how it works and so it's fairly easy to get a grip of it like you're just painting materials on whatever mesh you put in so i i understand why people go to painter more easily than designer but i don't have that much fun using painter it's pretty much the opposite and i like the way you can tweak anything with with designer if there's anything that is bothering you on a specific pattern or a specific shape or whatever you can just tweak it directly in painter i don't i don't think it's that easy i don't know it's probably just my point of view without my biased point of view but i don't know oh yeah and yeah and uh the other thing too is um that i was thinking about is like a lot of times you know you're working on things and then like i'll ask like nicholas you know veerman like oh like how would you go about this and he'll always be like oh yeah well you use this is that you know there's always like you should have done this this whole different way so there's so many different avenues you can take which i guess in a way kind of makes it a little challenging because like uh you know how do you learn something you know but i guess what it really comes down to is like you you just do what like you said earlier you do you i mean you you create what and if it works it looks good then there you go it worked yeah exactly and that's actually why a lot of the the renders i have on my portfolio are like renders alone and i don't share the graphs that much because usually it's just like a bunch of stuff that works but it doesn't make any sense when you look at it and if you'd asked me to find the specific parts in the graph in the end i that there's probably a good chance that i don't know where it is it just works that way so and that's also one thing that i've learned to get right uh with the the whole uh qa team that are uh it's just fascinating to me like how they can spot uh stuff that you don't even you you don't even look at it when you're creating uh that stuff and that's where uh the line uh is uh it's getting uh blurrier now but i for a while when i was beginning to work with the source team it was like a qa was almost like um um restraining something like you couldn't do exactly what you want because it's cost too much but once you get a grip around it you actually realize that there's uh for each problem you have like a hundred solutions and the one you get may be working but there's probably a better way to do it so yeah that's that's probably why i've learned the most working with the team and as you said like having uh nicola jermaine like close by if you have a question is a privilege that i discovered and it's honestly it's perfect when you have like tough questions he has an answer so that's perfect for me yes he is he is just the most absolute amazing person uh i mean just highly technically skilled but then also very artistically skilled as well and it's just man it is just an amazing opportunity to be able just to ask him questions like i ask him questions all the time it's funny because like i do this thing where like i'll i'll ask him a question and then like i'll delete it because i feel embarrassed like oh i have something and so like he made this comment once that he said something like yeah i'll notice that like all of a sudden you sent me something and then it just disappears and i'm like yeah i was too embarrassed to ask you you know so it's kind of funny um but uh uh pauline i'll go ahead and ask you why don't you stop sharing your screen we kind of transitioned right into the qa and uh our video view uh that way i think we're just kind of staring at the same screen yeah uh okay yeah we're going to continue with some q a but uh yeah micah had prompted me to why don't we go ahead and make that transition yeah sorry maybe it was a bit too fast i i just wanted to i didn't want to spend too much time like working about um talking about how i met the patterns because it wasn't like the most interesting part i'd say in the material it was more about like okay there's a toy you can play with it no yeah i could show you like how it works what you can tweak and what you can't and just go do something with it oh yeah no problems at all and these these streams are nice because they're just kind of like just a chat you know it doesn't have to be rigid or anything but uh yeah there are there are some more questions so we'll just keep keep moving through here um this other question was asking about like i think like really early on when we were talking about the shapes you had you know you went to the beginning of your graph and you showed that you had well a single shape and you know you derived everything so the question is someone was asking is it possible to create any pattern creation with a single shape i think that's what they're talking about like i mean in that case it worked but as their scenarios were like oh there's this very complex shape and i i can't do it but i guess you have other techniques and tools yeah i i think like um when you when you finally understand how uh the the shape you're trying to get he's made it it gets really easier and that way i don't know if you really paid attention but at the beginning of that graph i have i had a disk but i also have like just after that a transformation because this if you take a disk and you scale it like a lot it becomes a square and you don't have to worry a lot about having a square or not it's just like understanding how uh maps work how uh eight maps uh work and how like um a basic thing like in black and white well what the black uh does in the material and what the white does and how you can like um play around with those shapes and it's it may sound a bit abstract because it is but like you you just have to deconstruct the shapes as much as you can and once you uh once you like understood really like how how do i do that thing without having like how do you make a triangle for example without having a triangle you just have like a disc or a square and you have to like think uh another way and that's actually how i i've created most of the patterns it was just like okay i would love to do exactly that thing but i can't so how do i do almost the same thing and that's usually how i get those really intricate patterns that don't always look really that good from up close but sometimes it works and that's perfectly fine and that's also why there's usually two or three uh different materials before the one that i post um either a session or whatever it's usually like the third yeah the second of our third material with the exact same id it's just that i tried it didn't work so i try again another way and it works okay ish so let's try again and third time uh i think it's that third time's a charm exactly yeah but that's i that's really cool to hear you say that though because like you know even for myself when i'm trying to create stuff and i struggle and i i feel like like i'll start it's like throw it away like that's no good let me start again and then i feel discouraged and i'm sure maybe other people do but but even someone as as experienced and and it's such a high level skill as yourself i mean you're kind of doing that too you know it's multiple versions and you kind of work your way so honestly i feel like that's very uplifting and i think it was really cool for you to share that that you're like hey you know i i did a couple versions and it didn't look good i kind of tossed them aside and try it again so that that's that's i think that's really uplifting um let's see yeah lots a few other questions here this one was asking if you've worked on any anything on a shoe material i guess related to like shoe materials uh and and the other it's kind of the second part of it is um how did you learn to take that extra step to making something photorealistic um for the shoe part of the question i did then it's a really uh really like complex it's an other world inside the world of fashion and like everything like like jewelry or [Music] our shoes yeah or accessories is it's basically a whole a whole another world it's something completely different that you can literally um like it's probably the same techniques but it's not the one that i know the best and i just like i'm more into outfits and fabrics and less about other accessories so not really i didn't get the chance to work on that uh and the second part of the question was yeah it was just i guess asking like uh let me try to find it did this how did you learn to take that extra step to make it photorealistic i guess you know do you have like any thoughts on that like going from you know making something look well it looks well photorealistic yeah well actually i i tried to make some stylized stuff before like when i started really on substance designer i thought uh i found a tutorial on youtube like for stones staley stones um and i tried to do that and i quickly very quickly realized that stylized is way harder to get to get good looking in the end it's like a completely different um id behind the material and i think the the photorealistic part of the material is it's honestly because it's easier to get i i in my opinion at least it's way easier to get like a photorealistic uh material than semi stylized material so it's it's the easy way honestly yeah yeah another question here uh what is your approach to designing a pattern from scratch and it's asking like uh you know like for example like picking shapes patterns tiling uh you know the from the moment you create a blank file yeah uh will it i usually have a very kind of clear idea of what i want in the end because it's like i always start um projects by the the wrong hand uh and starting i already have in my head the final render that i want but i don't know how to get that so i know that i want something that looks like that with that kind of atmosphere and shininess and stuff but i don't know how to get that and i usually from the moment i get the id to the moment i uh launch a substance designer there's usually a few i'd say days of uh reference uh looking up for references pictures and and looking at videos and i just spent a lot of time on wikipedia to to just try to get the better having a kind of an overall vision uh for example if we take the like the the lace uh the lace material here uh the the pattern was made out of uh i think there's like a dozen pictures that i've saved and they were all kind of similar uh in the shapes and in the patterns and you just have to pick whatever you like and it's like okay i like that part but not that one so i'll just pick that part recreate it and select another platform and the other reference and do a bundle of stuff like that and just pick whatever you want and if you have no idea because i'm i'm a really bad creator but i'm a really good ex uh like i i create stuff usually easily when i have references but i can't really like create patterns from scratch on the top of my head so i usually go look for references a lot and i use uh pretty much always either pictures or or videos or things that i found it's the the magical part of the internet is that whatever you've you're looking for you pretty much kind of yeah you can find it looking at the right place you can find anything so oh yeah uh do you use uh some math uh to create specific patterns um well no not directly i mean using nodes it's basically using math right but i'm not a math people at all um i've discovered a a tiny bit of functions recently are you creating some stuff um and my material and it was like my first working function and it was doing basically nothing but i was so proud um so i i don't i would love to know how to do that and how to like i think we were talking about it with a with the calling of mine like um the base like how to work with shapes and work with transformers and blends and stuff like that it's like the the basic level of substance designer and then you try to get like more into complex patterns and different stuff and then the next level is like the effects map and the pixel processor and i would love to know how to use them but i don't exactly so i do i do work with whatever nodes are already in the soft and it usually works pretty fine and that's how i i managed to get like that weird way of thinking like i want a triangle but i have a circle what do i do it was basically the same thing because when you know math you can do anything with designer but i don't know math so i i do triangles with their circles oh that's that's awesome yeah i i completely i'm in the same boat like yeah yeah i like what you're saying because it is it's magical and if you and if you look at nicholas you're going back to nicholas verman like you ask i mean yeah like he's literally like a magician you know and it's like you know you see this and to me it's like you know it's just math but to me it's like whoa it's actual magic you know yeah i know and i remember like like when i was when i was in high school man i remember like i was in art classes and they're like oh what are you gonna do when you grow up and that kind of stuff and i was like ah it doesn't you know i was like always failing math and they were like you know i was like it doesn't matter i'm going to be an artist i don't need math and it was like the dumbest thing i've ever said in my life you know and it's like i mean talk about being haunted by like a stupid decision like you know so now here it is i can barely add numbers together uh because i didn't pay attention in school and it's like wow so you do need math it turns out yeah kind of but yeah yeah but you don't i mean yeah like you said you don't need it i mean designer there's so many different ways you can work but it's just yeah you know there's a lot of other things you could do as well but i don't know i still say like yeah you're not really hampered by not being able to do it i see lots of amazing artists producing you know amazing work and you'll ask me like oh no i didn't use pixel processor i didn't i didn't do any functions i just did you know this way and it looks amazing you know so i guess like you said you know i love that quote you you do you uh you know yeah but it's it's exactly that and i asked i've been asked a lot uh when i was first posting like uh very intricate patterns and showing the graph that was humongous and i was like yeah okay and people were like yeah okay but it wouldn't be easier if you just did that on zbrush or in photoshop and yeah probably it would be easier but it's it's more fun that way just let me do me and you do you yeah so yeah that's why i i try to uh to encourage that and let people know that if you don't like a part of a graph like there's a lot of different materials you can find everywhere on the internet and if you like um you like the finish of a metal for example a metal material you like the finish of it but you don't like i don't know the eighth map or whatever just take the part that you want and do something else with it and that's that's the whole game i'd say yeah well speaking of designer how many hours do you normally spend in the program i honestly i i have no idea all i can say is ever since i started it was like uh 2017 um i was uh on substances i was working all day so you can pretty much say six or seven hours a day we can include it and whenever uh my work day was over i was usually closing the work project open a personal project so yeah i pretty much like ate breathe and drank uh substance designer for three years now so wow it's it's not healthy i don't recommend it but i've learned a lot so so oh so you don't you're saying the substance designer diet's not really healthy for you uh i'm just kidding i mean you can try i did it i'm alive so it's fine you know yeah uh okay so uh how much time do you usually take to finish one material um is it very i guess it kind of vary but not that much because like i i'm one of those people who get bored really really fast and so usually if a material takes more than two days i quit and it never see the lights today so everything that is on my portfolio either took like 10 to 15-ish hours maybe a bit longer for some of the whole garden garments and like the outfits but the material itself like typically the the sari the pink one that is on my portfolio the mesh took a day the material took a day and a half and it was already too long and i hated it when i had to post it so it was like i was happy it was ending and it just it was just out that way so yeah she doesn't have and uh for example the the list material that we took a look a bit earlier that one took uh it was the third and try just to keep in mind um but it took like probably like six or seven hours top you know longer than that i just get bored and i just like scrap everything i look back at it yeah there's something wrong with that and there's something wrong with that so let's just start out over again and so i try not to spend too much time on otherwise i just i just start again too much yeah this one uh this next question was asking i guess about time again and i'm sorry i i apologize i can't pronounce what this word is it's probably really stupid of me but it's it's how long did it take to create the lenga linga material yeah sorry sorry guys yeah me too i mean it's it's an indian word i'm sorry if i pronounce every of the words wrong but my heart is there i'm with you yeah i want to say it right and i just i can't uh yeah and that one's basically is specifically took uh yeah probably probably two days because you have like i first started with the only the bottom part so where you have all the trims put together and then the variation so for the top and the middle part were made after and there was quite a lot of qa on that too so they took probably overall like two or three days something like that maybe more honestly i i can't remember really and uh see oh th this is an awesome question too are are you going to make uh dedicated tutorials like your fabric tutorial with level up was fantastic uh and i guess people are asking are you gonna do more well i do have a very good news for you all right yes and yeah there's a tutorial we're going to be up probably this weekend i hope and we'll see probably this weekend and it's a two-part tutorial uh the first part is how to create a whole dress in marvelous designer and the second part is how to texture it using some of the materials from the fashion the drop fashion that that is on source and the uh lace material that is that we just take a look at oh that's awesome where uh will those tutorials be uh they will be uh available for free on my youtube channel you can oh awesome yeah okay yeah um i guess vincent's and marine they're in the chat and maybe maybe they can post a link to that but that that's awesome yeah um if i can take like uh is it okay if i show my screen like for a little second i have like tiny images for that so yeah let's do it yeah yeah so those are the the thumbnails for the videos that will be like part one part two and so we're creating that same dress and it's the same idea for the people who saw um the the level up tutorial it was pretty much the same id um but like with uh two years like a year and a half gap between the two so it's not really the same material not really the same technique but uh the same idea overall so that's awesome and and so for part one you're actually going to show marvelous designers i've been wanting to learn that so it'll be it's awesome you're going to show how that works yeah exactly and it's uh it's basically like how i've created that dress from scratch uh using only one picture reference because like you can get all the reference picture you want and you can spend a lot of time uh gathering references and looking for all the points of view but usually when i mean in my case when i find something that i really love there's only one picture of it and i can find like the back or the size of that same dress so it was like how do i manage to get that dress in 3d using only one picture and texturing it with materials that are already existing um and just yeah putting putting everything together really quickly and to be honest i had the idea of that tutorial like the next day after it was published so i started last thursday i guess and the first video was uh it was finished like maybe three hours ago you know so i hope it's gonna be this weekend but maybe it's gonna be a bit longer the first part will be this weekend for sure the second we'll have to see okay that's that's awesome yeah yeah great and uh yeah i guess uh yeah colleen you can go ahead and stop sharing your screen and uh we'll look to kind of just close things out i do have just one more question for you and this one is um just asking how you started out uh like how did you learn like what courses did you look at can you can you give some insight there well uh you wish for actually my first teacher i've watched a lot of tutorials on the youtube channel on the sun's youtube channel and the thing is with those uh materials it was really interesting because you could create like there was mostly most of them the tutorials you can find are for like creating wood or creating stones or stuff like that really kind of game ready materials um i wanted to both learn how to create great materials but i wanted to have fun too and so that's how i started to create like a basic wood material but adding a pattern in the aid map and creating like abstract flowers and stuff like that and i actually kind of loved it so i kept going and honestly never stopped ah that's that's awesome that's that's great yep well um pauline i guess we can go ahead and start closing things out so um you know i just really want to thank you for uh joining me here today uh and walking through your material it was it was just it was really inspiring it was awesome to see you know you're how you work you know your your ideas how things kind of come together uh it's really awesome and then also i just i really want to congratulate you so glad that uh that you're full-time full-time enjoy uh joining the team i mean you've been you've been around already for a while but now it's awesome that that that you know we're all kind of together uh in this in this big team so uh i for one am thrilled to be able to work uh with you i can't wait to ask you all kinds of questions so uh yeah i'll try not to ask something stupid and then delete it so you can there's no stupid questions i get embarrassed and then i remove my questions so watch what that might happen uh but uh yeah so it's really great do you have any kind of last things that you want to shout out or anything any closing statements well i yeah i'd like to thank uh i mean i was working alone on alone on that collection but there's actually a lot of people who helped me without knowing and there's a few people that really helped by giving references and giving tips and stuff like that so i will probably forget a lot of you and i'm sorry but on the top of my head i would really thank uh all the qa team uh anthony and gaetang you're like you're the best i just i just don't understand what you do but you do it great so keep going uh there's also daniel and eric and jace and like you guys are amazing just you're so inspiring and it's really a pleasure to have that chance to talk with all of you and just exchange on ids and tips and stuff like that uh and andrei too and like there's a lot of people i i don't know if you can thank them all but uh there was a lot of people involved in the creation of those material and yeah thank you from the bottom of my app really it was a great adventure that's awesome pauline yeah i know exactly what you mean like everybody that we work with on the substance team and i guess you know they not not people don't get to really see the behind the scenes you know but like everyone everyone that you come across that's in the substance team is just such a they're so wonderful everybody is so wonderful and it's like it's such a family environment i just love it so yeah i'm so happy you're here you know thank you and i i thought for a long time that i was the only weirdo like looking too close at stuff and being fascinated by the materials but we're we're a happy kind of weirdos and i really love the fact that you can talk about rocks for hours with people it's just i just like right here that's great i'm sure they're like there's lots of other weirdos like all of us online as well probably watching this uh but again yeah just thanks uh one other thing i just want to announce uh we have a live stream uh our next live stream it's coming up on december 17th uh this one's gonna be with uh steve talkowski uh steve is awesome i don't know if he's watching this but if he is steve hey man i can't wait to hang out with you on that live stream steve's such a cool guy he's really into robots uh which and he makes lots of really cool robots so what steve's gonna do is run through like basically like a whole work workflow of adobe tools like he's gonna be using uh medium uh which is really cool uh our vr sculpting software uh painter he's also gonna jump into adobe dimension for rendering and stuff but uh i'm really looking forward to seeing like what he's gonna show with medium and how that works is a vr sculpting app so really cool stuff uh coming on december 17th and uh as always everybody just watching just stay tuned for like our twitter account we're always kind of you know posting out info new stuff that's coming and things but um anyways just want to thank everyone for joining us today uh stay safe everyone take care and we will see you on the next live stream thanks pauline and see you guys later bye you

Channel: Adobe Substance 3D

Views: 11,770

Keywords: substance source, environment artist, materials, procedural, PBR, Physically based rendering, environment art, 3D design, 3D painting, 3D texturing, realistic, hyper-realistic, texturing, 3D material, substance designer, substance painter, game art, gamedev, digital art, game development, free, allegorithmic, 3d, substance painter tutorial, devlog, substance designer tutorial, art, game devlog, substance painter stylized, substance painter tutorial beginner, substance painter 2020

Id: 2YQZ8A2Cqi0

Length: 84min 45sec (5085 seconds)

Published: Thu Dec 03 2020