Procedural material creation for fashion design with Substance

[Music] [Music] [Music] [Music] [Music] [Music] [Music] hello everyone and welcome to our substance livestream my name is Wes and I will be your host today we have with us Nikolas our head of content creation on substance source Pauline who is a texture artist working with the source team as well as maximilian who is also working with the source team as a technical artist Pauline and Max produce amazing work and it's awesome to get an insight into their expertise and workflows and we also have marine from our marketing team who will be monitoring the chat our main man Vincent is off today today we'll be looking at procedural material creation for fashion design with substance but before we get started I want to give you an update on our recent source release so we recently we recently released the 2021 collection dedicated to fashion design now available on substance source these 100-plus new assets complement the palette of 400 digital fabrics already available in the online library made up of more than 90 procedural fabrics and 20 print execution decals this selection multiplies the creative possibilities tenfold use the collection in V stitch or Clos to generate incredible variety with the substance source materials for fashion and apparel now I would like to introduce Nicholas who will go in-depth on why we decided to create this collection for the fashion industry Nico can you start your screen share and take it away when you're ready hi mm-hmm thanks thank you Wes can you get me on some ice cream all right just checking here to see if it's coming in yet yeah there we go it's all good Nicholas thank you okay thank you very much and hello everybody today I would like to quickly a bit more about how we created the latest collection dedicated to fashion industry for certain schools and more specifically how digital materials can enable new work flutes and perhaps even optimize the way we design and build fabrics and fashion items moving forward so first I'm going to introduce myself my name is Nicholas and I'm head of content for 3d and MSE I'm at Adobe I get the creation of content for substance source our online library of ready to use PDR materials and to create this collection we had to step into the shoes of designers we sell cheap materials and technology trying to understand together with the team of experts how we can translate them into the digital world and how we can innovate in the way we might make things or build things better and marginally what's inspiring and what's curious to designers not only into the world of fashion because that's what's healing our creativity and we built this collection exactly in this way and we believe that digital materials can help designers and artists to be more efficient in network and more creative we wanted to provide content ready to use content to follow the following work phones first design fabrics and digital and how to get fabric still in photorealistic secondly designing items garments and this is to add all the necessary detail to a piece of clothes or an accessory in a realistic way in order to make it a final product and finally combining both a hundred more times and generate the various community of outfits colors of details that compose the complete product collection and with this we able to help designers to create photorealistic visualization of outfit fastest and more easily which can be handy when you need to populate an e-commerce platform with lots of images but even beyond making the design process shorter by giving stylists more creative freedom to test design in digital express their design intention more accurately and consequently limit the numbers of prototype event en possibly save time and money so what's new with a some digital fabric textures this is not a new concept and this is not even the first collection on certain source and many of you are probably familiar with the standard techniques what is different with this collection is that it's fully procedural and for those who know do not know the terms procedural assets of texture that were completed generated completely used an algorithm and this digital recipe if you will have the benefit of being first lightweight soluble and by definition totally parametric meaning that changing a parameter will create a different and unique visual result and that's where it becomes interesting as you can see in this video each fabric as act as a generator capable to create an infinity of unique variations and in this case the fabric materials come with predefined parameters allowing you to customize the colors glossiness and even the structural fabrics in one word a procedural mechanism is it is its own library of possible very issue now let's dive into how we categorize the collection and of course we model ourselves with the existing families of how textures are made grouping together these different types of woven structures like here you can see examples of conveyors and twirls and denims and many other structures in this aesthetically you'll find more than 40 most common woman fabrics all the way to fabrics that are composed of multicolored young woven into iconic pattern such as tax iron or Vichy you can control selectively the colors of the warp and weft threads and yarns and design complex color color harmonies and we couldn't get away with this without talking about knits of course and we've been working on Nick's structure such as Jersey the interlocked and many of other fabrics where you have the control over the size of the structure and the thickness of the yarn to design your very own textiles but also we worked on printing textiles where we combined the basic structure with the different attributes of the printing patterns giving access to parameters that give you the possibility to modify every aspect of the prints such as the colors and glossiness but also the thickness of the prints of the different combination with the fabrics below giving an endless amount of possibilities and moving even further in testing more complex structures combining weave and embroideries to more exotic combinations of pearls and stitches showcase how far you can go with profitable techniques going beyond and so to summarize with the nighti fabrics collection split into these four Terry we aim to cover more than 50% of the standard fabrics that's fashion designer used daily as their professional work but in order to create those recipes I was mentioning before we model or approach on actual manufacturing diagram understanding the wealth of knowledge from the factory floors to understand how things are made in real life how do we fabric in the different meetings and we techniques we try to mimic them in digital we treated the complex intertwining of yawns to which we added the details the randomness and the little effects that and perhaps sometimes of the effects that makes the fabrics looks real and believable but you'll see more in an instant with the demo and this is just a starting point because you can see the different structures here of the woven and the knitted structures recreated fully in digital because all these structure are available on substance walls and the SBS file contains the full breadth of the fabric structure so if you happen not to find a fabric you see in this current collection you can make it from an existing graph perhaps move even further in building your digital IP treating your own lineup of custom weeds even under a specific set of constraints using substance designer and of course planning we'll come back come back sinner in a few moments but the result is a powerful combination of photo realism and creative freedom the ability to test freely as many design options as you need in a realistic way and down to the young level if needs be here's an example of the few variation in a single procedural asset but the numbers that you can generate is obviously endless consider the impact that it may have on the design process itself and man effect in manufacturing cycles moving forward they provide a freedom to explore more colors more patterns in such a way that design intention are better understood decision educated and documented leading to fewer prototypes fabricated and press and perhaps let less samples produced and being able to generate the entire color range of a fabric in a few clicks and more if needed it can be very handy if you must generate thousands of images to feed an e-commerce library or an online compare configure and just think about the amount of resources and some required to do so if you have to scan every single one fabric before starting your work and I'm back to us Thank You Nicholas you can go ahead and stop sharing your screen that was an awesome presentation now we're going to switch over to Pauline she's gonna walk us through an actual live demo of a material in substance designer Pauline please go ahead and start your screen share and take it away when you're ready okay there we go Pauline I think you're immune sorry that's okay that's okay yeah you're good I believe I'm part of this team and we're gonna take a look at those three materials here and I'm going to show you how they were made directly inside substances idea but before that the first thing we have to focus on are the references because every time you start working on a material varies with realistic-looking you have to really take take care of the final look of it so usually the first thing I do is look for references I try to have some samples because I find it easier when you have real samples direct in your hand and sometimes you have to try it for yourself in that case it was for meeting and I find it easier when I try it out just to see how the thread works and how basically it's supposed to look like Indian so as you can see parts time in 30 I look a lot for references I try it out a bit and then the time I stand on stands designer is way smaller because I think I better hands understand the material in the first place so if we now take a look at the materials in substance designer here we have the stitch then a table and what you have to understand working with knitted fabrics is that you're basically working with the very long piece of yarn and you're just making knots in it so that way I just think you reproduce the best that I could the two kind of nuts you can find in a meeting pattern so you have that one year that is basically just going up and down on each other it's basically enough and that one that looks more like braid and once you have those two materials you just have to combine them together and using here tied to narrator you can easily create that pattern right here and it is the base of your material on top of that you can see you have your braids on top of it and those are created using exactly the same shape and as you can see the graph itself is fairly simple because when once you understand the basic shape and like how it works basically it goes way faster to produce those kinds of materials and if you go through the library the system shows different meeting materials you'll probably see that most of them are created on the same base because it's fairly always the same kind of techniques that are used to create those materials in real life and so that way we have those braids and those ones underneath and you just have to blend them together and you get that pattern fairly easy using some choice chain type generators and the blue so that's how you create basically that kind of pattern pauline sorry to interrupt you but i was wondering could you zoom in to the to the first part of your graph so that we could see that basic shape like like when you at the very beginning how did you make that shape it's super intricate it looks like but it looks it seems simple once you show the ship it is kind of simple the thing is that the fibers over the existing six s designer and I use it as a base for pretty much all the threads that I have to create in every material and the trick is is to since yarn who is you should be made of little tiny for instance were together I faked that effect using an anisotropic nodes here and as you can see I just like rotate it to be around the same direction as the the fibers and just miss multiply it on top that way you have a fake tiny threads effect and then to create shapes its belly like here is just a simple swirl so it creates an S and when you me Rory it makes half of a braid basically so you can get that butter and fairly yeah early evening and yeah as I said pretty much although they're needed pattern works the same way so you'll find those kind of tunics or the braids and the nuts you'll find them a lot in those materials and you just have to find a way to get them work together nicely and since you're only working with one thread in that case you basically have parameters for the color of course but also the metallic and roughness for that friend to change the look of the fine material in the case of woven material most of the time just there yep most of the time you're using two threads one going vertically in one going horizontally and they're woven because they create waves basically so they're just like going up and down on each other and they create that kind of pattern right here what is what is interesting in that case is not really the pattern itself because it's fairly basic if you take a look at the ATM right here you can see it's basically they're just doing they're just crossing in crossing each other basically but the knife the nice thing that I try to work a bit more on those one supposed to break the regularity because when you create those kind of fit so as you can see here it's exactly the same method you use the fiber and the end and it's such a bit noise on top of it just to create that effect but once you plug it in title generator as you can see it's fairly simple and regular you can play a bit with the parameters of those notes so they can have during different directions and color so you can mess around a bit with it already but what was really interesting and I discovered that not like a few months ago there was a big discovery is that using a multi-directional work and I know is you can actually recreate you know those files with the threads spits you can do that fairly easily so as you can see here is my material so it's just my two tires and it generators to have all the fit and there's only one one of each once you plug it in the multi-directional work here it creates as you can see those tiny things where it doubles the fiber and it drains the regularity so on those kinds of materials when you have to create a big surface using always the same thread at the beginning it's way easier to put it in place in the you know using either time generators or whatever just a transformer and then once you have good schedule because we try to create usually scan you can create like ten by ten centimeters texture and it's really I mean on on everyday clothing you can see the ten by ten fairly easily you can see it repeat so the point of creating procedural texture was to create it bigger that way you have more variation and it's easier to to texture like a whole codes forever for example and you can you can do it very easy just by making it at the good scale and then drinking it and breaking it up with some more ease and some warps Pauline could you zoom into the 3d view just a little closer so we could see that detail awesome and then with that non-directional warp you used what is that noise that you have feeding into that it's the basic ocean noise Wow that's that's awesome technique you can play around with this game and the thing you need to if you want to trade out the only thing you need to know is she took the multi-directional work in the maximum otherwise it creates some kind of gray scales around it the max goes you can see two frets the mean effect right there is like it it's it makes it thinner I think is that and the chain makes some Wiggly stuff it's very fun too you should try them but the max effect does that it just doubles and you can see two or more threads what's funny to do too is to shine them up and that way you can like if you want to work on like a bow a roof at the end that is going the parts you can do that a few times behind each other and it works and it's the the fiber into every time you do that wow that's awesome right I'm writing this down yeah this is great very cool so yeah that's pretty much it for the base materials and we have quite a few of them so they pretty much all build the same way and the ones I must admit I had the most fun working on were the embroideries it's kind of my thing I like it so if we take a look now at the Japanese people one and that one was fairly easy in a sense that the whole material was a simple idea the thing was I just wanted to be able to create any pattern and complex pattern either using a bitmap that I could import or using an SVG known like I did there and it's nice and so I needed the material so I can just plug my bitmap in their own or my pattern in there and it creates the embroidery for me and once you did that it was very easy to change it up and add some things on it so if we take a look at how the material itself whoops you have here the same basics friend at the beginning there's a transformation and then I I plugged it into a tight generator that way I could create that kind of pattern with where there's a lot of threads going failing you the same way and I have like that a whole picture just with threads everywhere that way I could easily change the direction and use it with there so everything easier and as you can see I use here save transform grayscale just to orient it the way I want basically and I use a ask right here to blend it over with you like over it then using a level just to sharpen the edges and you just have to combine like that all the threads together so as you can see here I have three of them it's always the same pattern here and they all blend it together at the end and that creates as you can see masks if you put a level and you can trust it a lot at the end it reads something like that and that is basically your mask for everything from color roughness metallic the anisotropic direction to so that way you create only one mask and you can modify it finish anything you have those holes yeah it just adds a little detail if you look at the the outline you can see tiny tension poles that happens a lot on embroideries I mean around it at least so they were that way - it's basically a lot of purple its shapes that are splatter everywhere and you think and on uniform blur you get seeing the inside stays pretty much the same and it if there's a lot more on the outside that way when you use then that's the shape that's my pattern totally flat you can substract it and as you can see create suits for those tiny tension points around everywhere it's awesome once you invert it you get it and you just put it on multiply over therus basically and it creates those tiny things what I usually do it's oh it's the case here I try to have a normal map for everything and I duplicated just for the phones because I I like seeing them and it's usually very subtle so I tend to duplicate it as you can see there's only here the tiny step for the embroidery and the folds around it and you can just combine them together using an open line and you see a bit better here is the original version and here's the combined one it creates a bit more depth around the pattern yep and once that's done that was the hard part now the fun part is just to create any pattern and that way you can change a lot of things the way I thought about it was using various scales because it's easier using an Instagram select as you can see here it's the beginning of all the damask that I created after so I needed to create a battery with only three grey scales and that way you could fairly easily get the pattern at the end using the the Easter one select in some cases it's easier to create complex patterns using either another software and drawing it using a bitmap you can also create as VG s VG's directly inside designer and that way you can as you can see here the the body is an S marina but for the feathers I thought I thought about during demo but then it was like it's gonna be a really really time question so I'd rather draw one so that's what I did there I drew one and then using a tide Center you can you can get the whole tail in one go and I don't have to draw em all it could have been too tedious to do that and I honestly didn't have time so that way you can combine the two of them so here I have the straight version of the feathers just using this word to give it the S shape just so it looks a little bit better sorry and then you you can simply combine them all combine the two of them together always using as you can see those three Riskin so I have quite a greyish lighter gray a mid gray and black and of course you can add as many gray scales as you want you just have to then duplicate that part right here and use the histogram set up just move it around to get the good grayscale which one you want to pick up and it's going to then go and modify the base color the roughness and adds and add everything the way you want so if there for example I want you add something right there and I will draw it in white you will see there so I'll end up with a golden embroidery and it's true and you can get tiny stuff it takes them for some time you can get like tiny stuff like that inside and that way you can easily try out and try out and change colors if needed change the whole material if needed and you can just go ahead and be creative and if you don't like it you just take it off and that's that's pretty much it so yeah the double embroideries works pretty much that way always using the grayscale in english yeah that's that's pretty much it Wow Thank You Paulie that was that was incredible I mean that was awesome to get an insight into your workflow here in designer yeah I'm going to hit you up offline to ask you for the substance source files afterwards but but that's a good point though because since these are on substance source the the actual SBS file please correct me if I'm wrong Nikolas but that SBS file is available as well for people to download and check out and designer so that's really great yeah probably seriously these were amazing techniques that was really cool before you actually stop sharing your screen I want to take a small break right now just to addressed a few questions in the chat and Pauline I have several here that are probably geared towards you and so let's just keep your screen share going in case you need to reference anything but but let's see here let me ask a few of these so one question is is there a way to have pattern spacing change polygon stretching like a rope like a row of buttons yeah I'm not sure if I'm following this one C is there a way to have a pattern spacing change I I guess it means like you're like if you had like a row of buttons is it possible to - I guess I think I and honestly if there is a way to do that I would love to know I try to do that with beats most of the time I try to have a line of beats and the only way I could do that was either you think using better circular circular and and trying to create some have shapes and put it together to get like nice things but other than that there's a lot of great notes that you can get pretty much anywhere the substance community is pretty great about it because they share a lot of stuff so I'm pretty sure you can find someone who tried it out already but I don't have any tips for it right now Leslie yeah okay awesome so here's another one now what if I want to create a custom embroidery fabric is substance designer the only software that they could use what about painter they just haven't really gotten into designer so is this pretty much designer I mean have you ever tried doing any work like this in painter well I tried but it's basically the same thing as here by that I mean I usually create the material that are just threads you can basically stop at that face right here and just using a material from that I then would put it into painter and paint some yeah some some masks around it I mean to create some yes masking of that material but I I personally prefer designer because I feel like I have more I can do know what I want with the material but it's only person but like I rather do it that way yeah yeah I would agree with that too and that's one thing I always try to recommend to people is is designers definitely not as as daunting or scary as it looks yeah it's not-- base but the nodes are really more art oriented nodes yeah there's functions in math but I mean for the most part the nodes you see are things like levels and transform and blend and it's more like digital compositing except for textures you know so it's yeah I highly recommend don't let it scare you jump in and give it a shot so so Pauline there was a small clarification on that last question I asked the one about the row of buttons it was saying row without distorting so I guess maybe creating a row of patterns without them distorting I don't know if that that rings any helps at all but yeah I'm sorry I'm not really sure on that question myself no but I think that if it's a distortion it's mainly because of your movies I don't know pretty depends on the case obviously so yeah that's okay that's amazing okay here's another question is it possible to load a UV map and create a pattern from this specific map I do that a lot yeah there's a lot of materials that I don't share because they only go from the mesh that I put it on so I would love to share a love of my materials but a lot of thing it wouldn't work other than on that mesh and usually the way goes is you can in the 2d view go in seen right there and this V here V is in 2d view and that way here on the the plane that's the the plane from the software I can see there right there and that way you're organized enough to three nicely I'd say you can see them directly in the 2d view on some cases I like to get a UV snapshot directly from usually Maya and try to do some basic outlines directly inside either Photoshop or you straighter but yeah you can you can basically create it directly there you just have to you you just won't have the whole tiling it both weight material that's pretty much it you can do whatever you want basically to you oh yeah and then also we have the maybe I'm saying this wrong but we also have the the bake where you can bake you Vida SVG show there's that option as well yeah okay let's see here a few questions coming in we can also hit some of these um bindi and let's just hit one more real quick so let's see here just let's see this one says just for a thought how do you visually represent how a fabric stretches I think you kind of hit a little bit on that with the directional blur and how you were giving those tension points yeah and it really depends on the material itself that's why I said in the beginning I try to have a tiny sample next to me every time I work on fabric just to be able to stretch it myself and see okay there's so that points is actually going there and it's just easier for me to get it directly and the way to replay to replicate it is usually always the same it's usually like either using warps or directional warps oh yeah those that's pretty much it the warp is really useful to stretch things in one way or another discovering that works can go in negative was a big thing for me because you can like squish a lot of things you can like warmth and so they take squash but you can squish them too and increase like really nice stuff around friends for them basically every stitching it's really useful okay awesome awesome okay Thank You Pauline for taking a moment for those questions and we can always circle back near the end of the stream but I'm gonna go ahead and start switching gears a bit so Paulie and you can go ahead and stop your screen share and we're gonna start to transition so of course the fashion industry is not only about creating textiles but it also has a lot to do with clothing and jump back to Niko who's going to talk a little bit more about this so Nicholas can you go ahead and start your screen share and you can take it away when you're ready and actually while you're preparing that I do have another question Nicholas that I think you could answer so let's hit that really quick so this one says I've seen a previous post on the kind of do-it-yourself scanning fabric materials and getting them into substance what's the difference between doing it that way versus procedural there's much difference in terms of cross decision getting the right technique for the right purpose scanning will enable you to have the exact accurate replica of the of an existing sample that's that's very very important in certain cases the procedural way will give you more control and creative freedom into making change to that very specific fabric so things like my clean were mentioned before is to is to perhaps walk a little bit onto from the fabrics in a certain way that's something that you can do with procedural technique that you caught with them with the scan unless you change drastically during the basic maps that you got from them from scaling to keep the benefit from doing the question Corky yes thanks Nicholas yeah so go ahead with the next part of your presentation thank you for taking time for that no problem if you see my screen that I think you've ever twisted and so as you were mentioning the second part very much about the finality of the other thing is just converging fabrics and shape together into the final piece of material of clothes or or downs a lot of accessory which is which is the the finality of the thing and adding all those extra details that makes it a unique design and then really sticking away back so all the details are coming together and said that these are the pockets the seams and the different broad ways and Eggos that you find on both and to visualize complex details such as blessing and these levels in a realistic way can require a lot of resources that's design in it and stylists don't often have the luxury to spend so the goal in a way of this part of the collection is to remove this complexity by creating content that would in a way do it for you and so that was a question before splitting materials and embroidery into two different parts this is face basically what we want we intended to do and so sorry do you see the next slide okay since in changing this slide here as a BTT that's what we that's what we did with procedural decals which is basically our materials that reproduce the visual attributes or specific techniques that are designed to be applied locally on garments and so we splitted these elements into categories where we explored many technologies to create details on on on clothes such as prints like cell print transfer and this time very literally digital printing of artworks of fabrics and the different effects this would have onto the surface of the materials and the textiles to embroideries top stitching on top of a fabrics to create blessings and logos and simply write down your initials on i'ma show two to embossing and I'm having control over the thickness in the faucet and possibly the the smoothness of the the awkward being waffled into into the fabrics you to all these details that makes it a lot more realistic for our tweens and scenes and Stitch even labels that you need to add to the six-four information making the thing more believable anyway and some design tools that are simple to use just importing a 3d artworks created using any 2d program into the substance materials and it will be transformed into into the desired print execution and here is an example of a closer that we created with the decal for flat embroidery where the substance logo is basically transformed and you have an addition of this of this outline which you can control specifically adding the small effects that would be a lot of whistles hungry to to actually create using 2d techniques and because it's also completely procedural you have control of the design of the effects so changing changing the color of it is it's not a problem or even changing the thickness of the Sun trying to to just fit whatever design intention you are looking for and you know in a video this is a little bit more obvious to just drag and dropping the elements on your model and position it in skeleton and then customize it in the same way whether it's an embroidery or a simple sticker you have the possibility to add extra level of details that will help to make the item identical to the final real product and it's a great playground to its in a way ultimate test bench to scale every element to the right size shape and colors before moving to production or even validate that the upwards of your business is fed to this to this technique and moving forward you can test many other things and what it was also very interesting is that these elements can be combined into each other to build more complex artwork and so for instance here this example is mixing flats embroidery with more fluffy ones which have the capability to incorporate patterns and change colors so even glittery a broad reason and many more if you if you dig in substance tools but some letters show that it's alright and then I'm gonna end up microwatts Maximilian who has been working on designing the decals and and has produced this visual visuals and it will basically drive you through how to use the decals from the collection so max is your time and can you share your screen and the color when you're ready can you see my screen yeah that looks great max okay perfect so hi I'm max me and I'm a technical teast here for the substance or steam and I will just show you some of the decal that we created for for substance source we'll show you some different variation of t-shirt so we will start first with this variation t-shirt so I can use some funny decals so here a magical I can just drag and drop it into the into my to leave you here and as you can see I can now just position and rotate and scale a decal wherever I want and a great thing that we did for digital is that you can drag and drop your own input so for example here I can just put my custom cut off decal here which this little cute fish right there and as you can see I will take the shape of the image and also the color or the speckles we have the the blue color of my image so now I can just simply rotate it and basically ever what and maybe this guy with a friend so I can duplicate this guy here and maybe skates down here and change color with another input we have also some second decal so we go I can show you that maybe if I want the second scale the fish so I can I can just click on the on the second decal and it will so so guys this is kind of little shiny disc and so if I just drive it with a mask as I did earlier with this kind of mice you will see that my it was second the scale fish so that's a substance so I have parameters and I can for example play with the amount of second here so a bigger ones and for example the color of the stitches here and the great thing with second is that you have a color for each site so when it's going upward you have another color so we we did that too and we can you can also drive the direction of the second with a custom masks too so for example here if I go and drag and drop another decal you will see that you will have both direction left of the of the second and you can of course change the color of it nice blue here and and he's like there and there we go you have your your your Fisher and you can also use the tool of a substance painter as the pink the pink brush for example to place your second exactly where you want I can also if I stand right there you can see that you have just kind of seen you can remove them too - so we have you have exactly what you what you want and that that shine like the career in singer so I think that's it for the first one I can show you the other one it's possible yes I can show you here another one which is you use a lot in education it's the the eye shine prediction like this so again I just drag and drop I can scale it wherever I want and as you can see that's this kind of print there where you have this reflection here and as you can also add your custom custom images on it so you can just drag and drop anything and we'll have the print exhibition exactly like that you want you can drug these these images for example which is in case a substance so this illustration where it was made in substance I know so I have few parameters here like the Sun size and some sparking in the water so the Cree interesting to have some more control on the design and for the parameters of the decal you can of course place with the ref as for example for something more shiny here or less shiny and also control the the for intensity as you can have with this kind of print execution you have another one here which is which hey hey max yes sorry you interrupt you max I was just looking at your screen I'm not I don't see it updating for me are you in substance painter or is it being shown through a different application yeah I own citizens finger No yeah cuz I think we're only seeing the the shirt with the fish okay so we'll yeah let's see we just stop sharing and Alicia just okay sure okay no problem sorry everyone a little technical difficulty we'll start it back over okay there we go see the gray one yeah yeah yeah oh good now thanks max sorry about that I guess I will just read it just to be sure so yeah I was talking about the high shine glossy decal here so this kind of of printing locution and I was in that you can also of course put your your custom if custom color on it so for example these images if I drag it up here we can have the the result that she wants and I was thinking that this one was was a substance so I can this recession was was main system designer so I can have control of some parameters as the the Sun sized is for him density here and for the decal itself we can play with the roughest for examples of something more shine here or or less and play with the default intensity here that you can have in this kind of print executioner so let's see it for for this one and yeah I just go ahead for the last less variation here which I will show you that we also provided some some scenes so here you can see I am those red seams and if I just click on other seems that I have a mentor you can just see that in working again can you change the look of the of the seam so that's pretty nice and pretty quick too so we generate on say max I'm sorry again man it looks like it it just started freezing again yeah I'm not sure about that maybe just a really quick okay looks like it might be frozen maybe just a quick share and I'm here again see if that fixes it is that okay yeah there we go sorry about feel nice no problem now I was just saying that we also provides some some scenes and stitches and in Vayner if you just so you can move them whatever you want if you click on other one it will replace it and keep the same place so you can quickly iterate and enjoy some some different themes and we will just finish with some embody some emboss the cancer is that's the same same same feature you just you just drop your decal and you will be able to add your custom masks for example I can take this substance logo here and that will emboss the t-shirt and just act in the in the ayat and normal of the t-shirt and you can of course play with some different even parameter for example the sharpness of the emboss to something more like a cushion or a contrary some some more emotion and that's it for me a sanction song alright that's awesome max thank you so much man hey I'm sorry that I had to interrupt you a little bit with some of the reasons and yeah yeah no no problem at all though man it worked really really well so yeah again Thank You max that was awesome demo and it's really cool to see you know the level of what we can do with this with this new assets that we have from source and again just remind everyone that that collection is out there and ready to ready to for you to give it a shot so max if you'd like you can go ahead and just stop sharing your screen now so we have just one other question that will go into before we close out the stream so this is kind of a general question that I think maybe everybody can take a little stab at but basically this one's asking which what is the most compatible and best rendering software that works best with substance to bring out the real characteristic of fabric as the material turns up to be a bit unrealistic so I guess they're asking like what's the best renderer for working with fabrics and the substance materials that were showcasing yeah so anybody you guys can take it I don't know you sure I mean if rendering is a bit more easy for you is shading to because we're only focusing on the texture here and of the shading and the shedder actually does a lot in the fabrics so as long as you're okay with shading a bit that say any and your rendering platform I prefer IRA dirty inside designer but that's that's just me I don't know yeah and that's a that's a great point because one of the things with with substance with our physically based content that we create we're basically rendering agnostic so I mean it depends if you're using you know v-ray Arnold Carell Kiesha just any of these range of renders you can basically work with anything the physically-based data that you're authoring in the maps it will work in any of these other renderers so that that are again physically based so I really think it doesn't really matter so much what render you're using just as long as the materials you author are authored correct in terms of being physically based and again you know environment your lighting everything's set up okay but Nicolas max you guys have any thoughts on that or I actually there's a there's quite a few more questions I forgot to scroll down in the the list here that marine sent me so so it's not or you can go ahead Nicolas no no it's just you mentioned some perhaps additional questions okay sure actually max we do have several for you I'm sorry I missed these when you had your screen share going but it says how did you do stitching so straight and have an indent that just you just dry I don't show that but is there some just some drag and dropping to the 2d viewing will fall out the shape of the of the of the cloth so nothing to do in fact you just have to drag and drop the decal yeah and so that's like again you're using the decal and they use like the shortcut that that automatically that's the projection what's the projection mode it sets it to I forget it's the projection okay yeah and then you can choose the transform tool to move it around basically exactly and you maybe you sometimes you have to enable designing to to make the steams continuously into your clothes okay great thanks max this was another one towards for you this one's saying they were just asking if you were using vector based art in the demos you were using because it's since he is enlarging the image non-destructively no no no no just simple simple application at the d-calif rather than that okay awesome so another question here was the end result looks amazing that's that's cool and they asked have you tried creating a Terry towel that will have long threads I was wondering the same for long thread fabrics like artificial plush fur can you simulate towel like textures what is the theory of terry what a Terry towel I got to be honest I'm not really sure what it is either but I think it's geared more towards like basically it's asking fabrics with long threads yeah yeah that's always a hot case for texturing because that just displacement so for something that is more more like thread with a lot of height no I didn't myself because yeah that's pretty pretty hard to doing you know with okay and another question here is the text - math - and SP is that a generator how which which one the texture yeah just says text - mask tool in substance painter maybe they were referring to some of the the I think it was probably more some of the decals I think one was like when you somebody goes oh I have some custom you can type your text on it but you can also as I was showing just import your custom custom text imagine and in plug-in Suites but you can of course type something right directly into into the decal okay and this this one here was that just this was just asking if you could show how stitching works again I don't know how long it would take you but if you could just maybe you could just jump into your screen share again and just know that real quick and while he's doing that there was a couple other questions here that that was referencing node so actually have it going already max Lewis let's jump into what you here first yeah so on do we do so if I search I'm seeing here this farm I just drag and drop here and as you can see now they're just one-on-one in color and so you can see it's not dining so just have to enable the the the repetition or recently and there we go you have your Sims mister two movies great a big ones and that's it awesome easy easy enough yeah that's great yeah and so max just since this is a decal when you do the drag-and-drop it is there do you have to hold down like control to drag-and-drop it's okay yeah I always get it confused alright so all the drag-and-drop it basically will automatically apply this using the well what does it automate those limit projection yes make a plan up objection and if you go into the UVs you you will have the dining disabled so you don't have to worry about that you can really simply move it onto your mesh okay awesome alright so these next two questions this is actually speaking about nodes so I'm thinking this is more designer related thanks thanks max for jumping back into painter there force this one was just asking what's the best collection of nodes to make zippers I don't know if we have anything like that already I know there's a few in painter right look do we have some some brushes for that but we have some d-calif of zipper in in substance source but in in pager i don't know but you can create your item a pen and try to stand something but we did that in for citizen source so you can exactly like I show you can drag and drop your your zipper and okay yeah so it's a basically another decal collection yes like you showed with this stitch okay awesome so okay well this one probably really is for you Pauline then this so this is asking what's the difference between making a pattern using an SVG and making it using nodes the difference is your patience do you do you really have time to trade it all with shapes I mean I love doing that so I won't judge at all but do you have time to do that if it's for you you can spend all the time you want and it might be a bit easier as a material at the end because you you're playing around with a lot of shapes so it may become a bit heavier if you're trying to do some lights materials that you want to use for video games for example you're trying to do something like light it's not the best way but if it's just for pure fun and trying now and just messing around with shapes I say go for it - yeah great and then I guess also if you needed to maybe if the type of shape you were building up if you do it node by node you could introduce a few procedural parameters to that I guess yeah yeah I guess if you're just up for the challenge of it right yeah yeah no patience and the time you have to put it in yeah yeah we've showcased a couple I think we've called it the insanity Awards where we've seen some people do some really amazing things where they've procedurally built I remember the one guy who built was basic like an island there was a leg there were sail modes yeah it was really really awesome so great well everybody just oh yeah Nick let's go ahead yeah if I just may add something to this discussion is it's just a matter of what you want to do with it and it kind of workflow yet that you're using because if you are as a designer working about with patents and and have a specific patterns that you will use a lot every day to create new clothing you know using same patterns that you know has smaller variation than it's worth perhaps you design it using using notes because there you have the most control of other possible variations so if you want to adapt it to to the substrates you're playing in to them then you have a lot more control if that's something that you're going to use only once then perhaps assertively tom from the of perilous pass to to take litter it really depends on that on the how you want to set up in and the quantity of prediction that you want makes very very nice Nicholas thank you for that for that information I think that's pretty much all the questions I did see just one more in the chat we'll hit before we close it out and this one was can you import large mesh count objects from ZBrush into substance and I think that yeah you definitely can so basically like how heavy mesh you know like like yesterday I used a mesh it was 9 million mine excuse me 9 million triangles I was using that in substance painter no issue Maxim I mean how far have you pushed it do you know counts but I Nevada shoe is this I can tell yeah yeah I think it's just a helper yeah it's yeah it's however much you can throw out your machine I think like I don't I am pretty sure we don't have some type of special like polygon max count or anything like that but I think it just depends substance painter especially but most of the substance tools being GPU bound I think it just it's how beefy is your GPU I would say yeah all right well great so you know I think this is going to conclude our stream for today so I just want to thank everyone for joining us live and special thank you to Nicholas Pauline and max it was really great to hang out with you guys for this live stream love to see the insights you guys have and also it was really cool to see the demos Pauline and max that was super inspiring uh even for myself you know like I get to work here and I see things but then it's it's it's really special for me to see you guys work too and see uh you know things that I don't normally get to see like that so that was super inspiring thank you guys very much so what I want to also say is just let every I know about our next stream we don't have a cool image to put up right now but the next stream is going to be on July 30th it's gonna be 10:00 a.m. Pacific Standard Time is when it starts and it's going to be about substance 3d and news so we'll see what that's all about and just keep a eye on our Twitter you know our Facebook groups things like that where we are constantly just updating that with information on streams like this and Vincent is you know working over our Twitter stream and stuff so he'll have more info on that as we get closer to the stream so again thanks everyone take care be safe and we will see you next time and lastly little special shout out to Vincent happy birthday buddy see you guys later very much [Music] you

Channel: Adobe Substance 3D

Views: 30,619

Keywords: fashion design, substance source, substance painter, substance designer, texturing, fashion designer, fashion, fashion designing, tutorial, livestream, cgi, #apparel, fashion industry, fabric, sustainable fashion, fashion trends 2020, physically based rendering, fashion illustration, fashion designers, pbr, 3d art, fabrics, luxury fashion, substance, texture, 3d, allegorithmic, adobe substance, procedural generation, procedural texture, texture mapping, perfect, easy, fast, simple, adobe

Id: QNcPl3myYg0

Length: 77min 21sec (4641 seconds)

Published: Thu Jul 16 2020