Packaging Creation: From 2D Designs to 3D Visualization

[Music] bye [Music] [Music] [Applause] [Music] [Music] [Music] [Music] do [Music] [Applause] [Music] so [Music] [Music] hello everyone welcome to our live stream we have two guests from the substance source team and ronin mahan the artist behind our source videos nicholas pollock our head of content creation anna ease our color material and finish designer as well as ronin again a freelance artist who's joining us here today so today we will be discussing packaging creation and we'll showcase how 3d tools can complement 2d graphics you'll discover how to define and design intention including color and finish palette patterns logos and how to achieve a photorealistic result so welcome everybody so glad to have everybody here on the on the live stream today uh thank you for joining us so also for those who haven't seen it yet we've published an article about packaging goods with an inspiring video again a collaboration between the source team and ais and nico with ronin cmf designer and 3d visualization of cpg so let's have a look at the video before moving into the details [Music] get this [Music] me [Music] times [Music] it's still flipping [Music] hmm [Music] awesome that was a beautiful video amazing amazing work so now i'd like to uh introduce nicholas uh who will explain uh he'll go deeper kind of deep dive in how and why the 3d tools and digital materials are great solutions uh for creation and visualization of packaging so nicholas when you're ready uh take it away and go ahead and start sharing your screen all right thank you very much wes just checking here nicholas uh did uh were you having a little trouble with the screen share i'm not sure i see it coming up yet yes uh no worries no worries uh we'll just give it here a second so just bear with us everyone uh nicholas is working through his screen share there hello again i just got kicked out of the of the meeting now we have you nicholas i can hear you there we go it looks like it's working uh thanks all right live streams okay thanks nicholas man take it away all right perfect hello everyone and thank you very much wes um so yes indeed um today we'll be speaking about packaging um and through examples of the video um we will showcase the design the texturing and the visualization of consumer packaging products using adobe substance 3d application and parametric materials from our asset library substance source an ace and one will explore together the many bridges um that can be built between 2d and 3d workflows and the opportunities they open for packaging designers in terms of design efficiency image production quality productivity and most importantly creativity in terms of design and to do this we design a fictional liner lineup of cosmetic and beauty products we created a complete range of containers bottles together with their boxes a detailed visual identity branding together with colors and material stories to cover the main steps of a typical packaging design process and this is very much a collaborative exercise anais the color specialist from the substance source team will first drive you through the initial design phase which deal with selecting the colors and materials from the library and customizing them to fit with the brand values and identity that she created most importantly she and ronan will showcase how 2d elements play the centric parts to the texturing iterations they made in 3d converging to a photorealistic result texturing steps merge on one side elements traditionally created using 2d solution like branding logos text and patterns together into a three-dimensional representation of the final objects including accurate materials and texture information it offers a photorealistic preview of the complete design before it is even manufactured and substance materials enable designers to judge on a critical aspect of product design which is how the product will be perceived from a color finishes and even a haptic perspective by the users designers can can create details um the different surface and textures and patterns specific to packaging materials like the grains of papers plastics and metal foils to name just a few to gloss and matte combination we relate it specifically to printing um techniques or even process driven surfaces effects like embossing as you see here and waffling hot stamping and even more complex effects such as vacuum metallizing to just name a few in the same way designers produce 2d graphics iteration for logos icons and text composition 3d tools enables creative to tweak and customize them together with material surfaces in order to produce an even greater amount of variation in proposition in terms of design and tension and this powerful design tool set takes a new dimension when we look at applying cmf stories across different typologies of products materials in their parametric natures allow deep customization to fit with the identity and the product style this is a significant a significant time saving through the design process a substance source library offers ready-to-use materials so that as you will see after an ace and running could really focus on exploring more on the design side and the cmf variation creation and finally going beyond product design itself as they explore the creation of lifestyle images creating a complete 3d scene staged using adobe dimension to build com to build context around the product and tell a storytelling and this is just a few opportunities in terms of design that we will show you today as the design implications are very very wide from sustainability and saving resources to changes in product product manufacturing with the possibility to work with additive manufacturing for example but now it's stay more time and i will hand it over to ronan and anis so that they can show all of this live starting with an ace and the design of the product line anais can you show of screen yes sure okay so okay so hi everyone uh today we are looking into the design of beauty packaging so i put myself into the shoes of a packaging designer and design usual identity of the cpg lineup so now i will show you how to define a design intention from the definition of a complete cmf palette including color and finish palette pattern and designer from logo thanks to 2d graphic design tool such as adobe zone illustrator that is of course established too to facilitate the creation of packaging however ronald and i will examine how 3d tools can complement new designs facilitating workflow and boosting efficiency when developing an entire range of products for designer marketing teams retailers and even engineers so together we will follow the different steps of cmf process to design and visualize a fictional 70 lineup so first we will extract color material finishes and panel pattern information from cmf mood board in illustrator then we will create a materials collection thanks to system source and to finish we will use systems alchemist to drive material presets in order to create a full product range so let's go uh to start so on one side i have already opened illustrator without the cnf brief so for this live stream we don't have the entire schema brief just a specific part with specific details that we want to focus on so on the underside on the other side i open systems launcher just a reminder the substance launcher is an application that helps manage the system suits install the different software and access to system source so you just click on the tab systems tools and as you can see source is an ever growing content library where you can find high resolution and tweakable asset for texturing so now that my digital tools are open we can move to the first step extract color materials finishes pattern of information from a mood board made previously so here you have the wood ball so the mood board is the concept shop a created to represent an aspiration as well at the look of the product thanks to images and example i decided to define an ambulance named surreal nature so for the color palette i choose to work with vegetal green and natural earthstone with strong floral accents so in order to pay tribute to the spring season and of course i added a palette of prismacolor ranging from green whites to floral tones and these are combined with rounded and padding and soft shapes so this will be very useful for the rest of the design pipeline then we the next step concerns how to create visual style guide for the packaging collection so this is one of the most essential documents to ensure design consistency through any related product you create the logo is an important element of the packaging design so in this instance behind the logo of the packaging my idea is to focus on an old to botanical race so the typography therefore mixes more calligraphy with softness and i was inspired by the shape in my wood board so using adobe illustrator the pattern can be created digitally very rapidly so here i initially required some vector shapes to create the tie label rounded pinstripe pattern with and with this one in place i now have the basic repeating units of the pattern so i used 2d digital touch such as illustrator to guide the visual elements which constitute the packaging this will allow me to guide woodland in the realization and the implementation of the visual style guide for the packaging lineup but sometimes it's hard to realize to work and to explain surface and materials taste that's why 3d tools can complement to the design in that texturing and digital visualization provide enormous potential for efficient development and iteration around the packaging so for the bill of material i'm talking about the worm so i said i selected the first tract of material subtracts from substances in order to give me a material design concept so here you have translucent and gradient materials textures surface and paper shiny effects and all prism's best possibility for experimentation thanks to substance source material library so now i will show you the application of the element mentioned above on a small bottle and a box so as you can see using illustrator has a style guide it's the colors of materials and the placement of the logo in pattern is easily applied to each product not however that this process applies to td to 2d design specifically so when designing 3d the palette of material becomes a matrix of infinite possibility and combined combination of the elements mentioned above so for the bill of materials i choose my material on system source and i will show you how to tweak them and create a collection of material on the tab of the library you just have to click here and type a word in the search bar for example in this case we need a textures paper so i want the name and now substance is searching all the material linked to the words so you can choose from all materials available so now to thick downl screen so i just click on the substance alchemist icon and the material is directly sent to the software so i as a cmf designer this is my favorite tools why because it's very very simple interface and very intuitive to modify and suit my personal preference to tweak a material so i will show you the interface of substance alchemist so on the right side i can easily change the mesh because it's interesting to adapt my material to the shape so here it's the packaging so i'm gonna choose the cube just like that then on the low part this is my collection with my material and i just have to drag and drop the materials to the 3d viewport to watch it just like that and at the end on the right side this is the tweet panel so i'm just sorry i'm just gonna change the parameters for each material and i will tweak my collection for the packaging so i'm starting with the paper and what is interesting is the fact that i can adapt it to my cmf needs so in order to help me i will directly use my cnf brief to show you how to trick your materials and change that in order to stay close to my stem of brief so first i'm gonna change the color i click here and i click on thick screen color and i can choose my color on my moodle so for example if i am interested in this color i just click on this one and here i have the good color with the good name and the good reference then i can change the roseness so here if you want to have a very glossy finish you can change that as you can see it's very shiny or i can have something very much it depends on what you want then i can change the brain intensity so if i want something with a strong rain i just change the parameter or not if i want something very smooth i can change the fiber lens i can change also the fiber rotation i'm just going to zoom in to show you the rotation of the fiber and if i did zoom if i want to have a chrome effect i can change the wrinkle intensity and as you can see you have this very current print effect so now if i think my preset is over i just need to click on this icon name given name for example people want save it and your material appear on your collection is very very simple so examining material from the product of cmf designer we can reproduce the condition of the company design project i mean thanks to 3d i'm able to focus on why such consideration of details are so vitally important in the world of packaging designers details such as logo or the position of the composition whether or not it is printed or recessed or embossed whether elements are glossy or matte and so on so before just before i'll let you with ronan uh i would like to show you an example of print that we have on substance tools so i'm just gonna change the mesh i just want to show you the quality of material that we have this kind of print and the effect for example here is a metallic effect but of course i can change the size of the text i can change this text itself for example here the collection name lim i can change the colors as always you can pick directly in your mood board i can change the roseness if you want to have something very matte or completely metallic for example default intensity and of course the fault density so in order to add more details and more ambulances i created a second cmf brief to add diversity in the ambience of the packaging so this second brief is your traveling skies oh sorry yes it will be better like that yes so which one in skies uh the idea behind this team is we plunge into the aquatic room so from the sea to the sky so hairy and aquatic blues you need this sensitive and luminescent pink to the idea is to create a timeless and minimalist one in color but also in the pattern to have a timeless kind of pattern so we use the same design process with different cmf steps and the same iteration so in first in 2d and then in 3d so to conclude i just want to say that thanks to illustrator substance source and substance alchemics it's even easier to develop a common creative language with ronan now i can send to you my cnn brief and my 3d collection to build the lineup of products so thanks to running skills i will visualize concepts with various levels of refinement in order to make critical decisions and to test the qualities of the design proposition in terms of the shows of materials of pattern color and finish it through through the development of the packaging collection so now i will let's show you so if i will electron show how to destroy packaging and show you the beneficial impact you could have on your cmf day-to-day work i think we were going to actually ask some questions at this point and ace just to go over some of the great points that you made about your um cmf package it's actually i'm taking a look at that and we see if we could take maybe a short break just to go through just a few questions and um just bear with me for a second just see if we can gather anything we may just jump right into your session here ronan yep it looks like we're okay with questions so far again uh we are going to just continue to kind of collect the questions from the chat so if we if we do have some uh we'll definitely get into those uh but uh thank you so much and east that was an amazing presentation and thank you very much uh for sharing uh your the details and the workflow so uh ronin with that said why don't we just kind of transition over to your section here and um we are going to just take a look at uh what we have i think we're going to cue a short video to start with that [Music] so hello hello everyone my name is ronnie mann i'm a freelance 3d artist um so i'm going to show you how we go from 2d and he's an aces little 2d document into the world of 3d so we're going to make a little small piece of packaging like this one here and um this is the result that we're going to look for i've got a lot to go through today so i probably won't go through every single step but this is supposed to give you an idea of how quickly we can work so without further ado i'm going to jump into substance painter if you've not used painter before it's very like photoshop this is the model that i made itself here i think i actually ripped apart my my partner's cosmetic box just to see how it works so this is a box we're going to use down the bottom here we've got a nice library of materials we've got all those lovely patterns that denise was speaking about that she sent over and we've got a nice collection to to get started so if we come back quickly to an ace's um cmf brief from this page here i can see what colors an ace is going for as well as what proportions she wants me to use in the image or even in the video this is a great guide for me just to see the colors and stuff that she wants to use down here i've got the materials as she mentioned so she actually sent these over to me in a format that i can use in painter these are sbs ar files they just plug in directly into what i um i work with and so some things they just don't get lost in translation because i'm using her exact um her exact materials that she sends over from this page again i can see which pattern she wants to use we're going to try out some logos and this final layout just gives me an idea of how she'd like to start the placement and how we how we should texture this asset okay so like i said i'm going to move fairly quickly but the method that i'm going to build it is from sort of outside in i'm going to start with the base materials and layer up any text and fonts and end with any finishes and that way you get a nice realistic result so i might start with a little bit of paper i'm just going to throw the paper on the top of the object here so i've got this nice cardboard paper i'm just going to bring up the colors that an ace is talking about as well just so i've got a nice reference so we've got some nice cardboard on our packaging the color is not quite right so i'm just going to go over here to her preset switch it to this dark sort of terracotta this is a bit more in line with the colors that she's using the next thing i'm going to do is i'm going to add a quick fill there going to call this pattern i'm going to add a black mask and add a fill and i'm very quickly just going to drop the pattern on top so now our pattern has been applied to the box if i change to the split view so this is 3d and on the right is 2d you can see how that pattern has been applied so i can just move that around scale it up and down um change the rotation um i can basically place this exactly how how i want so i think something something like that will work the next thing is uh the color isn't what uh and it's specified so i'm just going to come in here to my base color pick a color a bit like what anise was doing earlier and pick that pink so now we've got a nice uh layer of pink um pattern over the top you can see the um the realism of the materials is coming through so this is the fiber of the the cardboard or the paper showing through on on my pattern over the top i think that's maybe a little bit strong so i'm coming over to my height map i'm just going to reduce this this is a very like photoshop uh where you want to reduce the uh amount of the pattern that's showing through let me just uh tune that down i believe the cardboard needs to be set to height [Music] okay let me just uh yes ah yes sorry i need to change my um height to replace the height that's there because we don't want so much of that wrinkle showing through so i'm going to replace that height and just reduce that down so now i've got a little bit of the pattern uh the grain showing through but not too much i've given the pattern a little bit of um even offset there let's just sorry my window seems to uh classic i'm just going to drop this back on the bottom sorry just bear with me for one moment i'm just going to reset my uh ui just because i lost some of my my uh options there okay so i'm going to come back what's fun ronin how that kind of works out for you or you're trying to mess around the windows are going everywhere yeah i don't know why this one is uh is popped off no idea okay let's just uh reduce the height down just a little bit okay so we've got our pattern we've got a color the next thing we want to add is maybe a bit of text again same process add a black mask how to fill and for our fill we're going to just add this text layer here so now we've got some text on there this is just some text that i prepared earlier so it's nice but i want to add maybe a black color color to the material it's going to switch that to a little plastic microgreen material so you can see these are layering up but i don't really want to see the text affected so much by the underlying layer so i'm going to change that to replace as well and i'm going to give that a little bit of height offset okay so we've got a little bit of punch or embossing to our text and we've got some color to it you can see that the pattern is not quite right so i'm just going to come back into my pattern back into my fill just move that down a little bit okay so we have done text and pattern the last thing we want to do is a logo so i'm just going to add another layer called logo i'm going to add this to a group because i'm going to do a little bit more to this one it's a bit like photoshop you want to keep nice groups and organization and keep it within a group so on this logo the same process we've had before we're just going to add a black mask with a fill and we're just going to drop our logo in here if i come back to my split 3d 2d view you can see my logo has just been projected over the entire box just going to scale it down put it in the position that an ace would like to use and i'm just going to turn off the repeating of the the tiling so that's very like photoshop or any other 2d illustration program you've used you just place the logo where you want to again we're seeing a bit too much pattern coming through from from underneath um instead this time i'm going to um separate out the the punch or the the structure of the height into it into a separate layer uh which is this one here and i'm just going to give it a bit of height like that and again set him to replace and so he's uh replacing what's what's underneath again so we're layering all our various pieces easily now for this height i'm going to do something a bit different i'm going to reference another mask so i can control all this from one place so if i go back to my logo i'm just going to add an anchor point and then back in here instead of using the logo as a fill i'm going to actually use that anchor point as a fill and i'm just going to select this one okay so now i'm using this underlying layer as a reference for for for this top layer which is doing the um the the embossing so why would i do that i'll show you now i'm just going to blur this layer and add a gradient curve what this does is it interprets the gradient that i just created by by blurring allows me to do lots of different effects now with this um with this layer but i'm still referencing that underlying mask so if i just have a quick look at what's happening to that mask this was my original mask from below this is my logo then i'm blurring it a little bit and doing a gradient curve i mean it sounds all very technical but if i go into that gradient curve now i can start to play with how that's affecting the emboss so i can do all sorts of um procedural if you like changes to this let's just change the logo color to the color that nas would like me to use which was i believe it was this nice accent color here so let's change that to that again i'm just color picking so here's my height i'm doing a little bit of punch and i'm playing with this this parametric or procedural um curve here just to to drive what it's actually doing to the to the packaging itself so that way you can just get lots of different types of effects for that um embossing maybe you want debossing um i think i'll go with something something a bit like this again i can control this uh the the material of this logo all from here so if we want it a bit uh shinier or more rougher depending on what an asus brief is finally on the back um we've got some text but it's a bit hard to read because the pattern's a bit um it's it's layering up on top but these are the sort of things you realize once you start to apply an aces brief to 3d objects you know we start to see issues and think about solutions to them so for the pattern i'm going to add another fill and i'm just going to put type in here a square again that just projects the square on to where my marquee is so if i turn off the repeat you can see here i'm starting to make space for for what we're trying to read on the back and again like all of the um the options here they're parametric so i can adjust balance and play with how that looks but for now i'm just going to make a nice square and draw it uh draw it over what i want to make legible if you like and probably at the top there might have left some space for a logo okay so very quickly we've textured this asset we've added a logo and um i might at this point make a little quick ira render for for elise and send it over to her it'll have a higher quality image for her to give feedback on and perhaps she says to me oh ronan that looks great can we see the other logo and now it's just very quick to iterate at this point because we've set up um our little system we've set up our series of layers and i can just start to swap in what i want into this layer it starts to reference everything that i've built already so now i can even drop in a text layer if you like so if i just bring up the font size just a little bit so now we've got a text layer i can type in here whatever i want this is logo whatever your logo is i think we use gleam in the end um i can also change fonts and they sent me over some fonts to use through substance designer i can uh export those fonts for using painter so i can just switch between them if we want to use them and i think a nice in the end we end with the the g just because it was it was nice and simple respected her um her brief follow the curves fit with the shapes um so i think we ended up with the g in the end which was uh this one here and i'll just scale him up a little bit okay so that's very similar to the result i showed you at the start what if um an ace wants to me to do a different brief a bit like what she talked about earlier there i'm just going to bring that back over again next we're going to do the ultramarine scra skies that anise talked about which is a completely different treatment of the packaging it's got a different set of colors it's got different materials to be used different patterns a different rule set a whole whole different look so we're going to very quickly do that version now and now it's just as easy as just duplicating this this group which was the uh the first surreal nature this is going to be called this is called the 3d version 2 or variant 2. and i'm just going to uh turn off the various layers just to bring us back to our our base uh our base raw uh cardboard packaging instead of the cardboard we're gonna use some paper this one here i'm gonna increase the tiling i'm gonna use the normal version of that uh maybe maybe this grain is just a little bit too strong in your face maybe uh at least give me a little bit of feedback on that one i'm gonna switch over to normal and reduce that opacity that layer down a bit uh make it a bit more refined and i believe we went for a nice uh let me just swap over my this is the colors for ultramarine sky and i'm going to use this nice sort of ivory off-white here for the base cardboard paper next is my pattern we've got our old pattern from before we're just going to come down to where where our pattern lives drag in the other pattern that just goes straight over the top i'm going to adjust where that pattern is on the box itself turn off the tiling on that one okay so maybe it sort of sits somewhere like this again from seeing in 3d you start to realize issues or where where you might want your pattern to repeat or not or where an asmr might need to change um her design um brief just because how it actually ends up applying to the object itself i'm going to change my color to that lovely deep navy color that we have here we've got our text back in i believe we used white for the text instead for this one so i'm just going to change my color here to sort of white it's more about um relief on this one a bit um embossing the the text more than anything and finally we've got our logo so instead of the g i believe we used last source instead i'm just dragging this logo back in on top and roughly placing it here so we liked the the fine elements of this logo i felt we felt like it um it worked well with the fine and angular shapes here but it's obviously not very legible when the two of them sit on top of each other so first let's change the color to one that we're going to use here which is this nice sort of light blue and finally i'm just going to duplicate this layer and instead of the logo i'm going to put in a circle these are all included all these shapes and masks and stuff there's this ton of them there in in the library itself so i'm going to use this circle and let's just scale that a little bit and change the color maybe to the navy and just put it below that layer so now we've got uh the logo sitting on top we've got a bit more contrast um i'm not happy with this pattern showing through from underneath so again we're going to come into our height set him to replace what's going on below so now he starts to sit over the top and the embossing of this text is probably a little bit um soft compared to the size of what we did before so if we come back to our logo um where's my lover here we got my logo hey it's the height there i'm just going to reduce down the softening effect and maybe we even maybe we don't emboss it maybe we deboss it so sit sit down in um into the surface instead so while i've been working way there the back has sort of just did itself really it just followed the rules if you like that we had set up beforehand so very quickly there we've got two two different variations in no time at all so you can see how quick that that process is um now we're going to quickly jump into uh dimension and i had not used dimension before this project but it's a great way to see more than one object at once so now we're going to see two or three objects together you can start to to judge how the collection works together rather than um in painter we're kind of in isolation i guess we're judging one um asset we haven't got any sort of other reference points so if i jump back to dimension here i am in dimension i've got my three different color variations i'm just going to drop in the the last acid that i need handy little thing about dimension is it just takes all of the textures and everything with you so once i've exported from painter it just brings everything together so i can sit in here and painter sorry in dimension i can change the lighting that i'm using if i'm doing studio lighting maybe i want to do a sort of a hero shot you know i can quickly change the background color to um you know something that's been let's change this side to background environment yes i can change the the background color to a color that an ace wants to use in her mood board and um you can also if i jump over here from above you can start to create some interesting scenes so let's see let's create a little studio light let's put it in the sunlight and sort of rotate that around a little bit i'm going to come here to the sun increase the cloudiness and this will just soften fall off of that light itself here i'll probably reduce the shadow opacity a little bit and you can see here i'm using the render preview so the the quality just keeps improving so now i can start to see the objects working together um i can even drop in some quick backdrops like let's put a little sort of fabric backdrop to it maybe uh let's reduce up to bring it over a little bit yeah you've got a library of materials to use here as well so maybe i'll drop some polyester on there and change the scaling like five or ten or so so very quickly i can start to see them as a family working together or not do the shapes work together how do the colors work we're getting a little more complete picture we can send this off to an ace for for review we can start to think about the family of of what what other materials should go with this should it be any fabric should the what's the packaging like that these sit within um you can even do some fun things like i'm just going to throw maybe some splashes on here maybe you're starting to think of some great ways of maybe marketing this this product so let me just scale that down a little bit and i'm going to use some nice water here i'm just playing earlier let's just move this back down okay so maybe i want to um sell the fact that it's sort of hydrating i'm thinking about how to uh things that i want to do in the video that's showing this off um so very quickly in dimension we can um start playing with ideas for uh how the packaging looks how does the font work together what are we trying to say about the product is the smooth peeling is the water involved you know you you sort of your imagination didn't go well at that point um so now we're going to cut back to the video and see a little bit more of a slice of uh what we did for the [Music] with video [Music] so with my presentation we've started with a single asset we've talked about one variation we've worked that through we've added more variations we started to see the products together as a family these are all important things just because the whole process is a bit fluid you know i'm in germany and aces in paris i can send her real time what i'm doing she can say oh you know change logo maybe this pattern instead will swap it out very quickly we iterate and get to um a place where we're happy with with the look and that it fulfills her brief she's happy with materials and they look realistic and in a realistic setting so through the course of these videos we've had to do a lot of assets and a few a few expert tips and tricks i guess for for what i've learned along the way um with my previous example we sort of we made layers and we made masks and we sort of built it up in a linear fashion and i realized at some points you want to make big artistic direction changes you know maybe we want to change the logo or like we said other pattern or something and when the the layers are all individually stacked it becomes a little bit difficult to manage that on a global scale so one little thing or tip that i learned as i as i made it the assets instead what i would do was i would start out by purely working in black and white and set up my masks beforehand and it looks a bit like this so i've got my logo i've got the various bits on there that i want i've got my text and stuff that i can edit later and i'm just blocking out the shapes that i need maybe there's a label or something that i want there and so i just work in black and white initially and then i reference those masks i call the master mask if you like just using angle points so now this version one it's um it's using the same masks just to achieve the the look that it has version two is the same three and four and where that starts to become powerful is say okay and ace again says or or nikola says you know positioning of the logo is not great let's just shift that up to here for some reason make it twice the size much happier with that for whatever reason um and all i have to do is effect that base mask and you can see now all of my different variations have have changed based on what i did with that initial base mask it's not just a perfect reference as well i'm actually changing what's happening to those masks in the later layers so here you know i'm doing different kinds of dbos effects if i come back into this to this logo and play again with the gradient curves or whatever or change how i'm actually affecting the logo if you like so it's it's not just a one-to-one uh perfect reference it's even more powerful than that you can stack these effects on top of each other and then very quickly you know i can export out that object again and say somebody wants to have gold or whatever on the lettering that's no problem it's it's literally the press of a button so i can drag gold on there instead you know it's so quick to to iterate at that point because you've built a nice structure to work with so that would be my one tip i guess would be work initially in black and white you know lay out your your your package design or layout or logos and stuff and then reference that later in painter and and you can harness the power you can output you know here we we we started to output eight and ten different variations in no time because everything's been driven by that nice layer structure um once we're done with variations and picking out what which versions we're going to use we start to introduce more materials here we have soft organic shapes we're using the substance source atlas is here and they're just simply put on simple planes and this again starts to reinforce the bigger picture of what is this packaging who is it for what do we expect you to feel and want and you're just getting a much rounded picture of do i need to go back and make some early design changes does need to think of some different shapes does she need to send me some more materials and we can work in parallel you know i don't have to wait for her to to to catch up we can work in parallel i can just drop those in at any time so again here we're using more of those little nature leaves and shapes there's lots of hundreds of them in the library and now we can start to see how the family works together maybe we'll bring in some fabrics maybe she'll send me some tissues and stuff to use and and finally we have a nice sort of rounded picture a family of really nice cosmetics that look realistic and are fun to work on and fun to iterate the design on so um yeah i think we're just going to have one last look at um at the video just to see some more of what we ended up doing with all those [Music] products [Music] that is awesome thank you so much ronan that was such a great live demo and thank you for walking us through that man really really appreciate it um so actually we can move into our q a session so we have been um getting a list of questions here uh from our chats we have vincent and marine uh from the substance team who also uh have been monitoring the chat so uh why don't we just dive into a few of these questions that we have here um so let's say uh take it from the top i guess uh so the first one was asking about the font uh was that geometry mesh or an alpha um so the font in painter was just um an alpha actually the font and painted was actually a text it's a special type of layer so you can type like any kind of text layer in photoshop so i can type you saw me type in the logo and stuff later on in the video i believe most of the time it was just just normal map so that's just giving me the information if i ever need to really punch it out and we need to see silhouette i'll just output the height map of painter and use that in whatever program you want your your rendering in just use that as a displacement map and that'll actually give you you know actual relief like tessellate displacement so most of the time i was just purely using textures and normal apps and using that editable um text layer in in painter oh awesome awesome uh so this one this was a question just saying very new to this and then just asking what is a black mask i guess sorry like i said i i sort of went quite quickly there so i wanted to show the range what we could do a black mask just like in in photoshop is a mask that's filled black as in you can't see anything yet until i add something white in there now i was saying fill because i was filling it with a pattern so that's just me filling with a white pattern that an ace has sent sent to me just as an image and so i'm starting with black and then i'm filling with white so i could paint on there i wanted to show you maybe painting or gradients or something i just ran out of time a little bit but a black mask is just a mask over your layer that stops you seeing that layer until you add white to it and so how do i get patterns out of illustrator to painter can i just import them directly um depends i mean i and i think and they sent me um jpegs or tgas or flat flattened pngs i can just drop those straight into that's what i ended up doing i just dropped those straight into painter as resources to be used yeah exactly so right now like you have illustrator files um i mean we're not importing in uh the actual like um the the actual like illustrator file itself or any of the vector work it's just going to be like uh basically like a merge down image that you're importing in as a resource so with painter you can import um any type of texture resource map whether it be jpeg png or whatever so that's that's kind of the process as of today so there's they were sent to me as vectors uh by any so i had infinite resolution i just baked them down to uh 2k or 4k depending on what i needed for if i wanted to get really close i just did a 4k texture from it and use that as an alpha oh awesome awesome uh so this question here is asking uh how the reference cards uh stay on top of assassin's painter says painter doesn't take the focus and cover it is it something and substance painter i am missing uh i guess it's time do you mean oh yes so i had an ace's lovely uh mood yeah colors on top that's just a separate program um i believe it's called rf that just floats over the top it was just an always on top sort of thing but what i do actually end up usually doing that was just for demo purposes i sort of end up building up um a little swatch of her colors that i can pick color pick directly from in in painter instead but you can do it both ways you can either float something over the top or have it on a different window and just color pick from there because painter can use any window i've got three monitors here so i can color pick from anywhere basically yeah that that's an awesome application actually just uh posted the link in our chat so yeah totally totally a great application to use uh all right so let's see here uh this one i guess i can answer this one this can i do some basic animation with substance painter and the answer is no not at this time we can't do that um and this one's can you talk about your approach uh when deciding shots and transitions in your product presentation videos so usually as part of the brief as well we'll have a an overall guideline for where we want to go what what do we want to see nicholas and a and ace will prepare that you know they'll say oh we want to talk about architecture we want to see these facades they'll also supply some music and a lot of that just kind of inspires me i listen to what they're saying what they want to see i tend to make uh and look at the the materials initially listen to the music get a sense for the vibe and mood and then i just block out in very big chunks initially you know oh the first third of the video is about architecture the second third is about this and i just kind of slowly narrow my way down try and find them the main key shots i won't really move the camera or anything and then slowly blend and transition from there i guess the music helps a lot and talking to a nason and nicola help a lot just to understand what they want you to feel or what they're trying to say with the materials some weird magic in between i don't know after that it's awesome uh so it's the next one is uh are uh are any of the people involved interested in doing a detailed tutorial series on this project we'd love to see more details on using designer matching real life paper etc that's a great idea i mean i guess i guess nicholas said maybe we could you know yeah we could talk about that and then maybe be really cool uh for for you to have something we could write up on academy or something but uh yeah rona i don't know if you have a uh a channel your your own specific channel do you do your i mean i have i have a youtube channel and stuff i'm just so busy sort of making things and you know working with various people it's hard to find time to do tutorials i try and share it in small amounts it just feels like sometimes i i want to say it in the most perfect understandable way but you know you probably know yourself it takes a lot of time to really distill that down and and give people enough time to understand what you're saying so i find it a bit difficult to find the time to do that but on my social media or to youtube or twitter or whatever i tend to push out what i can little thoughts or or things like that where i can maybe when i get a bit more time on my hands i can sit down and try and make it digestible and interesting awesome awesome yeah i'm sure i'm sure many people would want to see it uh so this other question here is asking about the model is i guess they're asking a model it's a stock model on any of your libraries or did you model it specifically for this project so that box i modeled myself for the project like i said i tore apart uh a piece of uh one of our cosmetic cosmetics in the in the in the the bathroom just to see how it's folded because you saw the animations it unfolds and that realism is is important you know and ace and nicola said here we want to make this kind of a cardboard box and i just found the closest thing here some of the other models were actually provided by the source team i believe that squeezy tube bottle was perhaps some of them were based on nicholas's own designs as well so either i modeled them or nicolas modeled them some of the stuff you saw in dimension were just stock models so the cloth there's plenty of splashes and fun things to just drop in in dimensions so that's when you can start to build your scene very quickly that's what i liked about dimension you know i hadn't used it before it's just very quick quick to rapidly prototype and see that family of objects together so dimension's quite good for that just just to throw things at it and see what sticks basically otherwise yeah it's just model something simple yourself or find a stock model or something oh great um so so the next one was asking like in the rendering of this presentation they were making a mention that it's very fast is that because the presenter is using a fast computer or the rendering engine fast i'm not sure what you mean by randy do you mean the the videos or what i was showing on i i'm thinking it means the dimension section that you had yes um yes my machine is fairly fast um sort of invest in yourself it's a i-9 10 900k and i'm using the rtx 3090 which is amazing by the way it just makes everything just so fast even painted all the bakers and painted they're just like instant i remember having to sit there maybe wait for a couple of minutes or something super quick so yes the machine is quite fast i purposely made it for this kind of real-time work um so everything is very quick but i think dimension you know that preview mode it sort of iterates anyway so it builds up in quality quite quickly so what you saw there on my machine you know took a couple of seconds and it just keeps iterating um but technology seems to be such a quick pace you know so you know a couple of years ago all the stuff would be not really feasible now it's all real time that video that you saw was real time as well so no more long waiting for rendering rendering or anything which is the power of the substance materials as well they're already real-time materials you know they're all pbr so um yes yes my machine is fairly fast but not crazy you know uh and that this was a a section here it was just asking about missing the anchor point section they were asking if they could see it again um i i don't think we have time to do a screenshot um but i will say that uh yeah th this uh this is recorded and we will be uh just able to watch on our channel on demand right after uh but uh ron i just wanted to give you a moment like uh is there any specific thing that you would want to mention about using anchor points the one thing to remember about anchor points is they're super powerful and awesome but you need to have the anchor point below whatever you want to affect in the stack so a layer above for it to reference an anchor point the anchor point needs to be below that's why i started with black and white on that example i built up my masks dropped the anchor points on at that point so that later on however many layers later i do it i can just say hey look back at that original mask and it goes oh yeah there it is drops it on if the anchor point is the other way around and above your layer you can't reference it so that's the only thing about anchor points but it's like um yeah it's probably one of the more um complicated things to learn in painter but once you get it just sort of it clicks and it's really powerful oh yeah definitely a second that i mean like um yeah so if you're new it's a little bit of a complex you know you know a feature to wrap your head around but once you use it man you'll use it like every project i use it like all constantly and you'll find all these ways of like oh you know the biggest thing is it's just a way to like link data in the stack you know like link one piece of information to another layer and once you can do that the complexity of blending you can build is really cool so definitely worth checking out um this next question is asking if it's possible to build uh i guess in substance a 3d model uh hey nicholas maybe you would like to talk about that uh no no it's not uh it's not possible at the moment uh into substance um so the the models that we used for the video uh this time were modeled in other applications um and um more interestingly um the previous video that we uh that we created we um uh alternate the the ways that we create um 3d models um especially to fit with the uh the actual industrial design process which is relying on specific tools and um and understand you know the the challenges that everybody from in the in the design chain and the creative change faces to um to get this done so um it's it's actually life testing you know how designers work uh through the collaboration that we have all together with ronan and enes awesome and and we do have uh some stuff coming down the pipe as well if you look back on our youtube channel we we had a video that kind of showcased some things that we're working on so uh you know just check our youtube channel we've got some surprises that you can you can check out with that um so this next question is asking how how did you export your design to dimension is it or is it copy and paste so i went from painter to dimension and it's literally one of the export presets once i'm done with all the texturing that you saw there you hit export textures select the dimension preset that outputs an fbx file or sorry an obj file which is the mesh and all your textures and an mdl file i believe you just drag and drop that obj file which is the mesh itself plonk it on your screen and it appears magically with all the textures everything applied it's just really nice so many programs where you like you have to slowly couple it together piece by piece so this is really nice integration with dimension just export from painter drag and drop into dimension and it's there all applied every material set up cracking awesome yeah super easy to do um so the next question was asking if substance is compatible excuse me compatible i can't say that we're compatible with blender 3d so it's been a weird day for me um so yeah i'll take this one really quick so uh yeah definitely all of the substance tools will work with blender i use blender like as my main app all the time so it works pretty well um one of the things i'll say like if you're exporting from substance painter like you can just export like your your metal rough channel you can also create your own specific like like you may not see like a blender preset i don't think from substance painter but if you uh you can just make your own or you can just export the metal rough channels and it works great another thing i will say is that um in one of our showcase videos we had about you know kind of the state of 3d with substance that's what i was talking about checking that out we had some nice little surprises in there uh we also showcased a blender integration that we're working on uh that's coming along super well i was actually able to play with that yesterday so it's that's coming along great uh also do want to give a shout out we have emmanuel's in our chat i always see him here so hey man uh good to see you uh he makes a fantastic uh blender plug-in uh where he he uh it actually works across various applications and of course he has a send to from painter so i definitely recommend checking out uh his work and his channel and um and i think we can probably vincent might post a link to that in the chat if he vincent if he hears me but anyways that's that's another great solution as well uh so moving on actually another question just popped in here this one's asking about what is the process you're using to define the color theme you want to start in collab i think you're best suited for to do uh to answer that question yeah that's good to define a that's the question that's right um so to define a color palette so for me i started to define [Music] a mood board i mean to to i research different kind of uh images or samples from everywhere i can find it i mean on website outside in the street or in the museum or in the in the uh in my environment in general and then i started to create mood boards and i need to to combine different kind of images and then i start to have kind of color palettes and ambiences and from this point i started to extract the color and then i tried to create a color palette and try to work with the intensity of each color i mean this is very important to work with the proportion of each one in that you have the right color palette uh in mint to the moon ball that i've made before so yes this is how i work awesome thank you so much you will you would want to see my cut you would want to see my colors if an ace wasn't there maybe having neons and everything so you know all the images you know that's all of their color thought all that process has gone in is what goes all the way through to give us that lovely sparkly result in and there's an important part of the very beginning of the design process because colors is not a separate part of the design it you know it travels around many different things such as products shapes and typologies and and the way we define the ambiences and the color palettes at the very beginning is just to showcase the different values that we want to convey through the products if the product is performing a certain a certain job or a certain feature but also what is the the context around it is it something that um aims to um uh showcase sustainability or you know uh quality or performance or and and this will drive heavily arched choices not only of colors but also materials and finishes that we use throughout the design awesome thank you thank you nicholas for that for that clarification um so so everyone i think we will pretty much close out the q a there's just one last question i just kind of wanted to open up for for everyone here and they were just asking do you have any tips for beginners people totally knew because maybe we could do a quick like have have you guys just give a quick tip to uh new users out there why don't we start with you ronan um for me it would just be experimenting and trying these things a lot of this software is either free or you can get trials and things like that it's just through trial and error you'll never get it right the first time that's how i learned i think i'm kind of mainly self-taught um just playing with bashing stuff together bashing 3d scenes together that's how i started i think i made some cityscapes or something like that um there's plenty of pl free resources there's lots of great communities online now so that'll be a great way to start i would find thank you thank you anis did you have any tips um i would say approximately the same thing everyone and the idea is to try and retry and sometimes it's working sometimes it's not and to continue and to follow the the different uh helper on the different website that we have already have on youtube and other great thank you and uh nicholas do you have any tips uh yeah yeah i i will completely follow what was just said by nathan ron and i would just add to uh to this that uh it's better to start with something and to learn from what is existing um it's a it's a great way to understand how things are made and and and on substance source you can find some free materials that you can understand how to create them by looking at some stuff that is already done and to drive some techniques and and tips and tricks from uh from learning from this content and to create your own after that it's a great way to start awesome thank you guys all so much that that's just great uh so that'll be it for our live stream today so i just uh definitely want to thank uh ronan uh and anis nico for being here today uh it was awesome to see your presentations it's always inspiring uh especially want to say thank you to ronan as our special guest for being here and then also nico and east it was awesome i love having members of the substance team on the live streams i mean you guys are all heroes to me i just everything you guys do is just it's awesome so it's it's really cool and i think it's awesome for you know the you know people who are using the tools and who are learning just to kind of see you know how things work behind the scenes here at harriet substance so that's that's awesome that you guys took the time to be here today um yeah it was great and just as we closed you guys any last words that you want to share i guess that sounds bad to say last words but about any closing statement for the live stream thanks to you with yeah thank you i think i think it's just a testament to the software and the substance themselves you know how just two or three people you know we can put together videos and ideas like that very quickly so yeah i also want to say thanks to all the source team i use all their materials all the time you know don't give enough credit to them um i often open up their materials a bit like you're saying just how how on earth does that work okay so yeah awesome set of tools i love them yeah the uh the source team is actually quite amazing um i've had the honor to be able to work with with them with with you guys you know lately a bit more and it's been really cool the whole team i hope i'm not sure if they're watching but also special shout out to all the source team uh back back at work and uh all the stuff they do it's quite magical um okay guys well i guess that'll be it one thing i do want to say is uh just just a reminder to anyone watching that uh just want to plug our next live stream uh so that'll be with uh corel uh cornelius uh and it'll be a stylized character art in substance painter and uh she'll showcase her workflow for creating the character anna from the comic book maul grey2 by jordy leyfevor and so thank you very much everyone for joining us stay tuned for the next webinar and stay safe and we'll see you next time take care everyone bye

Channel: Adobe Substance 3D

Views: 10,286

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: uJlsAmE7OM8

Length: 81min 56sec (4916 seconds)

Published: Wed Apr 21 2021