Stylized Character Art in Substance Painter

[Music] [Applause] [Music] so [Music] [Music] [Music] [Music] [Music] [Music] so [Music] [Applause] [Music] hello everyone and welcome to this new substance live stream i'm i am van sango and i'm really i'm really pleased to be with you tonight with a special invitee carol cornils hello carol how is it going hi vincent thanks for having me thanks thanks for being here as well so carroll is a really talented 3d uh 3d character artist as you will see she comes from chile and i saw in the chat that we have a lot of people from uh latino america uh ancestor buenos dias todos so we are very pleased to be with you and we are here to talk about a special project that uh that cabral is going to show um actually carol is doing a lot of character art of course a stylized character art and she made a special character which is called anna which is a version of a character which has been drawn by a spanish and catalan artist to the artist comic artist called georgie lafebre who is in barcelona like me so which is nice i may have the chance to talk with him one day and he made a character called anna for a comic called malgrete who has been edited in french and who is really popular and carol who loved the character decided to do it in 3d so before to talk more maybe camera you can share your screen and present a bit yourself so people can see what you are able to do so we see your screen uh well um some of you may know me most of you i don't think so um as vincent was saying um i'm a 3d character artist based in chile and i've been worked in um various of the entertainment industries since 2014. i work in games advertising and i'm currently focused in animation um you can see uh on the screen there are my social media um [Music] is uh basically everything because that's my portfolio and well um in the picture i'm the girl in yellow i've been i've been uh drawn towards since uh before i have memories so um i've been very lucky to be able to make a career of out of it um so um to make the story short um i'm going to show you on some of my characters um this is a jasper um my fennec fox that i think it's my most um known uh walk since she went viral last year and she is also very special um for me and for the streams particularly because uh she's one of the first characters that i actually um finish it um in substance from my personal work before that i i only uh had used it for work yeah it's beautiful and i guess we we shared this one last year because it was released and you what did you use for the fur um well the first done in in maya skin um well uh the fun thing about her well something i didn't mention is that i um used the the class from gret hettinger which is a texture artist i think at dreamworks and i learned a lot from him so that's very recommended and um i lost the idea well anyway um [Music] what was i in case he made a great job and yeah maybe you want to talk about what we see behind the panel i think that will lead to the next slide there is a small character just behind there oh yeah well uh the thing is that um well i learned a lot with this character and was really fun um and since i can't really show anything that i've done for work because i'm a character artist and we usually work in pre-production so everything i've done is either in still in production or um well this is a little bit of the process that i did with uh the defox um where i started uh from the concept phase um the blob um i did some fashion drawings to see what where i wanted to go and uh the project kept growing in my mind so eventually um this uh little um stop bus bus stop um has a sticker which is a lamp you can't really see her there but eventually i modeled her um also and uh did a little past so um what is fun about the personal projects as well as you see with the movies is that sometimes you guess since you start growing your library of stuff um the world's uh kept keep growing and and getting more more characters uh interactions in your mind you you start um imagining stories um that's that's something very fun and these same stories that you start imagining uh from the characters uh can be applied to the texture work uh um for example uh this is another personal walk a girl she's based on cat that i had um named luna and here you can see my cat where i try to take some of the four um shapes from her and try to um mimic those in um human design and there's a lot of uh little things that this character had that um has that um had to do with what my cat liked um for example the little wrist band that she has uh was her necklace um there's um um the the proof uh where she's sitting um it was um the place her favorite place to sleep and very very tiny things like that so um that's very fun from um working with character art that you can um say little things uh with the decisions that you make yeah as we'll see and as we see right now you really love to to put some small details that are may are not visible at first sight but when you look a bit more uh into the model you see that we already have two questions for you it goes fast um the first one someone wants to to know exactly what's the name of the texture artist that give you some lessons greg hettinger greg hedinger like this h e d i n uh g uh okay so i'm going to past it in this chat right now so we'll have greg hettinger okay cool who made the obviously a great teaching job and yeah and some people are curious for the sculpting phase are you doing it in a zbrush yes yes i use c brush that's my favorite packet for modeling and i'm also very used um to maya because in at work we usually i've usually had to um work with it but for personal work um i i stay within c brush and other cheaper options okay cool someone is saying about this model that in the chat that they love the hair thank you well um this character um is named pansy and she's based off a concept from brit myers i tried to bring her like uh one to one um are obviously some um differences with the original concept but um i tried to keep the essence from her um um the things that were super fun about hair other than the hair because i spent a lot of time um working on it um is that the placement of the um tattoo on the arm um i couldn't really place it uh until she was posed uh because i had to calculate uh the exact exact position um which couldn't be done on the tpos um because i usually texture the characters in t and then use the the textures um for rendering the poles um this is to make things simpler on the texturing process and and the other thing that i like a lot is like the dress texture um because um there's um a lot of fun textures going as a shared on the substance source and this was one of them um that's it it can have a very specific use like in this case that's awesome and i'm going to ask a question as well because um about the hair where how do did you do it um well the hair uh it's basically two tricks um i grabbed the hairbrush from dylan akron um he's also a 3d character artist and his brush is very famous between us character artists and i also did a strand a single strand over a spiral and then duplicated it all around her head and post it individually so i didn't have to do every curl uh every single time but um i saved a little bit of time um okay just in case of course you can ask your question within the chat we have pierre and casimiro in the chat to ask all the answers so don't hesitate to ask any answer about about this live stream about your future they can know predict the future so don't hesitate uh what i do for the question is if this is these are questions that are really related to what we see on screen right now i'm going to ask them for five to ten minutes more or less if it's if it's a general question i'll i'll try to keep it for the end for the q a at the end but once again don't hesitate to to to ask in the chat and we are going to go to the main um thing of this streaming which is presenting anna um anna is a character um created by jodi lafebre and um it's um she's he has actually a very backstory with a funny backstory because um when i saw his drawing i was um very uh attracted to them i was like um i really want to model this in 3d and um sometime but i was uh already working in a few personal projects so i let it pass and a few months later you already contacted me and he asked me um if i was willing to do a commission for him which was anna um so we came to terms that uh we should make her as um [Music] how you say it um i forgot about a collaboration instead um that's how this project uh took place um you should really check his work because um it's he his drawings are crazy good um he has an amazing sense of the character i mean like the personalities um it's super fun how he treats them and i think that's what captivated me too so um well um sorry sorry just something that you say that was interesting i think is actually when he commissioned you for this before because uh yeah the this this comic uh um is so is published by dargo by darko and he he wanted to do it in a version of it in 3d and he had a lot of feedback that the design of the character wasn't meant it wouldn't work really well in 3d that was the first feedback he he received and finally you you did it and it looks it looks obviously awesome but that that's really cool i think the this kind of story that's at first the same it's not visible and finally he and everyone can see it it's really yeah i think um on one side i'm a bit drawn for those characters that um pose a bit of a challenge um but i never thought that that's uh that's that's the conversation that we have that uh he mentioned uh someone's uh said that his drawings um weren't very uh trans it wasn't easy to translate to 3d but uh when i was working with anna i mean i didn't have that many issues so um well if you've seen the comic um i'm going to change to the other slide which is uh the references that i took from her um i removed every um possible spoiler from this um reference screen so i had way more references going on when i modeled her but um something that you may actually see here is that the proportions aren't consistent they are meant um in in a 2d perspective uh to represent the proportions that will portray better a certain feeling so that was uh the first uh big challenge that i had um to convey all these proportions and uh make a species of average that was also appealing for her but other than that um she was she was a very and a very nice treat to work with um and it's also um very special for me because uh usually when i'm working on a new character um and pre-production the story is not fully told and for this character i had the story at my full disposition from the very beginning which was super uh amazing also um because i really like when i'm i'm making a character i really like to think about the little things that they do on their daily life and that can influence how they dress and very very um specific specific things that might not be visible uh like for example on the texture work um i have a turntable here from here uh you can see um they're very tiny details that can't be that probably won't be perceived here um that have had to do with the wear of the clothing um and [Music] those uh decisions uh usually have to do with uh what kind of work does she do um what are her preferences um in fashion sense and things like that so um it's it's very fun to have to have those um insightful i mean to have those um decisions already visible for you uh before starting a walk yeah that's actually interesting because as you say it may look uh simple texturing while when you look at first but as we'll see there is a lot of small details and on the screen under all the details and actually coming back to you on your previous slide or with the references someone is asking if you are using a lot of references images when you start i guess we have a beginning of answers but to gather information guidance and um to incorporate in your work so do you use a lot of references yeah yeah i i'd rather be looking at have a lot of reservances that i end up not using have more than i need then i have too little for example it's just the comic part of my references but i would have a full library of fabrics that i want to reference for example for the knot on there on her um scarf i have like 10 20 different um scarf nuts um laying around with different fabrics so um i'm going to make a fabric silk which was my end decision or i'm going to use another another kind of fabric for the blazer what which kind of fabric i'm going to use this it's going to be a soft one it's going to be a more a stiffer one in the end i i chose um uh this material um which i really love um that it has this um a bit more stiff uh feeling to it um and that i tried to preserve in the model too so um the the 3d model and the textures usually go hand in hand and there has to be a lot of communication between the team so that you can achieve the best possible wrestles um believable because materials have different properties that it's nice to take into account when you're creating cool that's awesome so many people are asking if the story is uh is in paris or in france um is it is it mentioned it looks like uh yeah there is a i don't remember i don't remember but it's it it looks very uh but it also could be italy um there are very similar places all around europe and i think since a big part of the story has to do with the river and with the sea it could be italy actually i don't remember i don't remember the exact location of it or if it's an imaginary city i i really don't the best is to buy the the comic con yeah yeah it's a it's a very nice story like it's love story but um in told in an unconventional way um like you start reading it backwards and it's uh crazy because you can read the comic on the way uh they majority presents it to you and once you finish it you can't read it the other way around which is super crazy yeah that's a great alien um what i like the most also about the story is that it's also unconventional in the sense of the arcs of the story it's not like a typical comic or animation story but it's a bit more focused on reality on things that could uh actually happen in life so it's a very special story um i think you all would love it cool so should we go to to them yeah i think if you are ready we can go within substance painter and see a bit the model okay let's close this thing well um here i have um empty scene of substance um i'm going to quickly show how i set up the scene um because uh there might be some questions about it um settings okay ctrl n is for the musing um i'm going to use this uh subdivided model of mana um i use a subdivided model because um that seemed otherwise the seams would show once i bake the textures and the subdivision has to go on the same animation package where you're going to render it afterwards um and for this project i'll use the uitile workflow which allows me to use the material on multiple uv tiles yeah um actually someone is asking if you are using a high poly and a low poly but i think you are using just one level just one yeah high poly yeah i'm using just one model um for animation it's very rare it can't be used but it's very rare that you use a high poly because you really want to have a very streamlined very polished surface that's easy to deform later for the rigors and the animators you want to achieve very unusual um very impossible poses sometimes for the camera light later and having too much detail to realistic detail on the surface can provoke some issues later i haven't worked with directly with a very um uh how he said um with riggers that involve texture work uh like for some um surface details so i i wouldn't be able to say about that but i know some productions may use that also um that they are actually baking some information but it's more on the rigging side that's triggered and for sorry another question for the pose of your character someone is asking if you are uh pausing your character during the preparation while sculpting or but i think you do more neutral pose and do the the posing after sculpting and texturing yeah it depends a lot on the production uh but for personal work since i have all the time in the world and i already have the idea in my mind and i don't have to present it to anyone uh i usually do an a pose um which is with a um slow word a bit more than the t1 um that allows a more natural feeling for the clothing falls and the shoulder position and it's easier to pose later at least for me it's definitely not easy for the riggers because they have to weight the the fingers on a 45 degree angle which um some may hate me for that that's good yeah they are here for for this they will hate me seeing that but no they they i i love my rigors like they the conversation that goes uh between the teams is usually very important and i really love their insights they have learned in a month of information that i wouldn't have gotten if it wasn't because of them so i'm going to quickly walk about the settings that i use for baking the textures and i'm going to do a very quick baking and set the a basic skin material um and while speaking i can answer one two more questions before continuing with the demo yeah but the baking is really fast okay um so um for the output uh no i normally use uh 2k but i'm going to leave it in one for this file so that it it bakes a little bit faster um and generally i change them oh well i'm i'm baking the normal map um but it's going to use only the the low poly um mesh that i have here so that i have a base to work on for the world space normal it's the same the id i usually change it for measure d or polygroup um upli tool always and i tend to forget at that button um ambient occlusion self-occlusion has to be same mesh name otherwise you'll get a weird uh texture artifacts on the forehead um on or from the clothing on the body um curvature also same mesh name position there's nothing to change and thickness um also same machinery and let's bake yeah so generally it's fast but meanwhile i just going to for people who may not know what a rigger does it just prepare the mesh to be animated after after white so he's going to create like a virtual skeleton and define what the skeleton is controlling on the mesh and for the question because it's on i don't have a lot no it goes fast and for the poses uh i don't use rigging i post them like in the same way i sculpt and in c brush so um even if my i get a lot of questions if i do rigging but i i don't i just post my characters and in the old way okay so uh there is a question that i'm going to translate because it's in spanish someone is asking if you you import the models into substance painter with materials on it i would say you have no choice because if you want to be able to you have to have some at least one material to to be able to create a texture set in order to sculpt and the the second part was um if it's only a one uvs or multiple uh i think you are using uv tiles in order to get more resolution as we can see here on the left on your screen yeah for example this is the reset for the body um for the clothing i have all of this um and for example and you can separate them in more parts to get better resolution but i try to optimize this a bit and for example the blazer uh the 1014 is the one that i used and it has another um uv tile on the top part which is the um inner part of the mesh that i also made a new v i separated it that way so it's easier if i have to delete one and then recreate it i just um can move it upwards cool nice yeah we were super happy with your vitals because at first it was a huge vfx request that was the the top one priority for vfx and we see that it's uh since we have implemented it it's really used in animation of course like you but also in the fashion design project design because it it allows people to get a precision that they wouldn't get before so we spent lots of years but finally it paid off yeah i'm super grateful for it so let's see yeah so what you carol did is she if you correct me if i'm wrong she stored her work in smart materials so she's going to apply it on the model right now um and well um here i selected the skin um stack and i'm going to create very quickly um and i'm not going to go through all the steps of the skin but i'm going to go through the ones that are more important to me um here with the smart material selector i type face and select the skin phase material which comes with by default with substance and this skin material um i actually select um let me turn this off which is select all of these which are devices create a folder and then i create um with the base skin you can select the color you can make her darker wider [Music] and um this is the basic folder um you also would like to go through all of these um materials that appear and check the scale of them so that the posts are showing on the right size for example i think here they are looking a bit too um too big but the pores are um on another stack so for example this i could change to 8 or 10 depending on the size i want them to show um and afterwards i have that set i create a fill layer where i'm only going to work in the color and i set uh three different color layers with a black mask and um paint layer um and with this i start working with the color shading which is very important for making a character look alive um for example i like to paint the tip of the nose uh with red um [Music] and i will always create a different paint layer for different sections of the face for example the cheeks and afterwards i have that um created the mirror is um the symmetry is super important for this part um you can't really use symmetry if you are working in a post model so um that's very important to take into account and um i also use a lot this blur layer um to make um things uh look a bit more smoother so um this looks terrible you know um but i'm going to pass to the finished model so that you can see a bit more clearly uh what's my logical um thinking behind it okay i'm going to close this one sorry do you think after you when you you do the other model can you show the wire frame of it yeah yeah um the wireframe on display settings uh you can turn on the wireframe uh this mesh is subdivided so um the original one is way uh more optimized but you can see here the quads okay a little bit yeah so there is a good resolution yeah um and this is subdivided at least two times for the texture work so if we go back to the skin and the um skin shades i've colored them here i'm going to show you the mask for example for the red i have all these paint layer different paint layers here which give a lot of life to the character actually there is a good trick here that you use even for productivity and performance which is good is that you don't paint directly with the the material you do you apply the material and you put a mask on it yeah you have more flexibility and the performance wise it's it's way better yeah yeah it's way better and also you can change the material afterwards you can copy the mask and paint on a different one um if you paint with the material uh you're committing that to that material for life and you don't want to commit that much with the material so definitely it's better to have options yeah and i think there is something really interesting here that you you may want to tell after know after is the three colors that you are using for this skin because you have red yellow and blue which may be weird at first but actually which makes a lot of sense so why we do we have these three colors um well uh if you look at the skin of a person you may actually think that's very simple color and just as with the realistic characters um if you are only using the single skin color here i turned off the skin shades and here i'm turning them off you see there's a lot of difference if i turn them off she'll feel dead and if i turn them off on she starts starts to feel alive like she has blood underneath um for the red uh that's basically what i um i'm more um how to say from happening um considering that which are the parts that um have more um blood irrigating uh to the to the face and which parts it looks um more prominent and for example you can use these shades not only for the face but for the whole body um and for me it's specifically important to use on the hands because uh with the hands you convey a lot of motion uh which is not always um very taking into account um in in animation but um it also um helps a lot on the availability so um hands are very important and the yellow the red is mostly um wait uh refer to the bloody parts um the the yellow uh refers to the um [Music] parts that have more fat uh on the face underneath and the parts the word the bone is closer to the surface and the blue um it's also for um it's very subtle and the blue has to do with uh the parts of the of the face that where the blood is going back to the body because uh that blood looks a bit bluish and also it has to do um with the parts of the [Music] body that have hair underneath uh because that parts look look more bluish um for example if she was a male character or a trans uh character she would have um more bluish um i would add a blue paint layer around her a chin yeah that's interesting and all this part would be more blue but not the case so that's right and the blur the blur technique is really cool basically you define roughly the zones the right zone and you just apply your blur and it gives the subtle results yeah the blur is um it's a lot it's it's a life-saving thing technique because uh you save a lot of time with it otherwise i would be having to blur every single uh little thing and it would be very um i would lose a lot of time on trying to define it as with the blur um i just apply it and i can turn um dial the the intensity with the slide um it also makes the color a bit um [Music] lighter uh to the eye so um it's um super helpful and if you see um the i have patches of yellow and blue on the on the face but i also apply those on the hands um well um the colors on the hands tend to be um a bit more less strict so to say because you don't pay too much attention to the hands but it can a lot add a lot of um the ability to to the characters so um that's something um nice to have in consideration i hear a blue um a little a little hints of yellow um here's my red mask all the hands yeah that's very nice because that's what we said first when we say that at first it can look simple but if you look at all the certain details that what makes it believable and what's fun with the um with the mask stack is that you can have a mask over and down the blur so you can have more defined details that you don't want to blur and others that are softer so and you can add multiple stacks of blur if you want something more blue you throw it down the two uh blur filters and if you wanted a bit more defined you throw it upwards that's more heavy for the compute computer those so you have to consider it if you don't have a powerful machine um i think that's it for the skin um what i wanted to talk about uh so someone is asking actually uh well i i think i don't know if he's right or not because he said that it was about the text cell resolution why is the excel density different does it matter in animation so the textile density seems quite regular i i don't know do you put more resolution into the face or yeah yeah i actually put more resolution into the face um but it's not that much if you see all the squares here can be like half of the size maybe but it's not not too different either um it also depends on how much you want your character to deform later um on where you want it to deform more or add more detail to um because you don't want to have a more mesh than you can handle either some riggers some productions may want to have a very optimized mesh because their rendering engines don't can't hold that much geometry as pixar or disney so to say for example when i worked on my fox uh i created hair i i didn't have a proper computer i made her only with a cintiq companion and the machine took a whole three days to render a single frame for example because i didn't have that character optimized with my new machine it took me about uh two or three days to render the full sequence okay so you have to take all those things in consideration two depending on where and what you're working for do you do you know by heart what is your gpu right now uh it's the reason uh i forgot it um we can see it later yeah i can check that later uh but i have a reason of the powerful ones and nvidia from 2080 i think okay so yeah my machine could use a bit more ram though but other than that it's very powerful let me just see why from off um um let's talk a little bit about the details on the on the clothing i think that might be a bit interesting because if you see at simple glance uh for example the blazer can be uh super boring but i actually have a stack of three different materials in there uh that are doing different things so um if you want we can check that yeah definitely and meanwhile yeah for the taxi license it was asked in the textile densities the texture resolution not the polycount but i think they were quite no that's right i i think they were i don't know if there was more texture resolution or if it's more precise on the face i think it's the same yeah it's a bit bigger on the face than the body but otherwise um it's okay yes it's basically um it's very similar because if you see uh cartoon characters have very big faces so the these are the arms um but they aren't that much smaller yeah and also it depends generally you you put more resolution on the face because that's what you are going to focus on uh yeah when looking at a character so yeah you have to take this in account yeah it also depends on the production tool so um let me change to the clothing which uh it it takes a little bit a lot um and here i marked with color the layers that i wanted to talk about um and let's start with the blazer for example uh for the fabric it's if i would only throw a single material it could actually work but in order to add a bit of life to it i added a lot of uh noise to it so for example um let me turn everything off um i have this is the main fabric and i have two stacks of it because um some of the patterns are facing um different directions so um it's it could be one if every every pattern was facing the same direction and by pattern i mean um the way the the clothing is built uh like in real life um like the uv for this character i used marvelous designers so um the uh uvs um have the same shapes that real clothing would have for these particular blazer which is a nice trick because actually it gives even more believable uh yeah textures and materials there's only one issue that it has is that for this part it has a very pointy tip and the uvs tend to deform the so that's something that i didn't realize at the moment but it's causing me a lot of nightmares now so um take your patterns and how they are going to deform it's not normally that normally it's very um intuitive but in this case um sometimes it can happen that they deform in ways that you wouldn't uh think of yeah talking about this uh there is just someone who asked how do we prevent seams but if you have a talentable material and you do this technique like respecting the real seams of the clothes that's the best way to do it because you will have the theme that you would expect to have in the in the the real one so yes using for example uh you are using chloe or marvelous designer uh marvelous designer um for example uh when i'm working with clothing i actually want the scenes to be visible um because uh the seams are placed in in places where the seams would occur in real life so it would it would be very weird for example not to have this seam over here um on the neck part you see um yes and there's another vertical thing occurring here but also has to do with how the pattern is cut and i could make it more evident uh with a bit more work and i think it would be it would actually look better than trying to hide it so um at least with uh with clothing uh seems are a good thing to have in my experience you can use the as you said the pattern that exists yeah there is tons of pattern if you google a close pattern and you can use that as a reference yeah um for the fabric i have uh this is my favorite material the cotton mercerized where i turn off the the color um this one is by default in substance painter yeah this is by default and substance ah i was um selecting the the mask that's why it didn't show so um the the material is very smooth and it's it makes everything look softer so i tend to um use this as a roughness and normal map um noise uh for the clothing um to add a little bit of life to it because otherwise um if you see if i turn on the wood wool shop one and turn off the mercerized um here i'm going to toggle the on off it adds a little bit of of smooth the smoothness to it um and there's a lot also another detail that i wanted to touch um which is um the dirt um clothing usually gets very dirty in certain places with very little use so i usually take that into consideration for example this is my dirt um folder which is super soft so it can't be easily perceived but if i turn on the mask you can see the places where it's applied um which is the armpits which they will always get dirty even if it's just a little tiny bit and the places with more um that are closer to the touch so for example in this character i could have ordered um a paint layer um for here on the cuffs where she could be a bit more dirty or maybe um if she was eating she could have a stain of around here or if she's sad on the ground she could have stained her bottoms but um all those little things say a little bit of the what the character does and how does she take care of her clothing and stuff so um it's very nice to have those things into account and for example uh here um since the armpits are the part that have more noise i added a little bit of a carpet material which is also default in substance source which adds a very tiny little bit of noise here um it has also this mask which makes this which makes it more subtle so you see um this has uh this noise mask and it's it's also been being filtered but by this other mast so what um it looks uh odd in the end it's way less than the material would do without any of them and i also added um a paint layer with an hsl um filter into it to add a little bit more of saturation and change a bit of the lightness toward some sort of color stain into it if i put the base color and i bring the saturation up and lightness down it should start showing but it isn't for some reason [Music] i don't know what's happening but it's it's not looking i change the hue it's not happening but this usually should uh like jump right into um be very obviously be very obvious if you see um for some reason the mask wasn't working but if i bring it out of the folder uh the hue change make a a big difference saturation lightness also so i use this mask to add a little bit of color to my to my stains and but i also try to keep them hidden so that it won't be uh too dirty yeah once again just subtle details that that makes the difference um and well i think that's what i wanted to say for the blazer that you can apply to the pants and shirt also [Music] the other thing that i um well the shoes um are a good example of this um i'm going to hide her body so that i can show them um meanwhile you hide sorry someone is asking if the the clothes are double-sided or how do you do the interior no okay oh yeah you just made it it depends um for example for the pants they won't really show inside so i just do the fold and keep it there but for the blazer they are it's double sided because um this blazer was made to open and she could take her the blazer off so if you see the t-shirt um she will never take it it off so it's it's transparent on the inside um but the blazer isn't um and the shoes since uh she can take them off um i made um them a special material for the interior uh which is the fabric and i separated it into the leather and added a wood material to the to the heels and [Music] and the soles so uh they are very stained because uh she is even though she is a character that uh takes a lot of care on her clothing she has her favorite pair of shoes that i never saw her take like i saw her always wearing them during the whole comic so i added a bit of wear to them which was um a bit more than uh the rest of her clothing because they're they are her favorite shoes so she uses them all the time so something that's you seem to like to do is to take a material which is at first doesn't have any relation with the final one and but you are taking for example the roughness map or one of them or the or the height map depending that's interesting so here you see you have wood uh fabric yeah i have a con i i even have a concrete material for the uh for the stain so for example i have the concrete material which i'm using to stain these borders which is going to make the the uh i'm going to make it past like it was ground um or earth um i have uh for the leather for example i have um two different leathers um toward noise um for example i have the main leather for the color i have this one which i add i named ambient occlusion pose because i'm only using it on the ambient occlusion parts where i want more noise to be visible and i have this other artificial leather which is making the part of the main leather so um that's something that you can do um in substance you can play a lot with the with layers and change the change the channel that you're working with um play with it and you don't have to stay for example if you want to use the high map of the grass material and add it to some other material to make some noise you can perfectly do it so yeah that's that's super fun about it um and the heel that you were mentioning vincent um well i used a lot of i used plywood i use high frequency plywood i used um hsl again to change the color of it because if i turn it off or the wood looks a bit lighter so but i wanted to keep the shoes very black or with the idea of black and i have also a paint material um which is a folder where i added a steel paint and a wax paint too out of some noise so um yeah that's there's a lot of noise and stacks and imagination going on when when i create those uh mixes yeah that's that's always a good good idea to explore material like this to isolate layer channels and see what's the influence of the roughness map the highlights etc because as you are doing you can think of using it in another context yeah um i think of substance source like a candy store like yeah you're a kitten candy stores when you're looking at all these materials what what can i do with this so it's very fun um to go the and explore and i usually tend to um privilege the materials that have a good high map or a good normal map because those are uh the the things that uh give a specific look um to the they also influence the roughness so um when you have a good uh high map um you can use it uh for a specific uh roughness look um it affects a lot of the final look of the material [Music] someone is asking as well why do you work at a high density like this i guess because you sculpted uh is there a specific reason or just because it was yeah um well as i mentioned when i was um showing how i set up the the scene i like to um subdivide the character uh using the same package where i'm going to render it later and use the same subdivision method to avoid the sims showing up because if i used uh the character at um the smallest subdivision and then i subdivided in maya for example for the rendering because i i don't really have to subdivide the character in my uh for it render i only have to say um add the characteristic um i only have to turn it on on the render engine so but that rendering engine is running a mathematical method to subdivide the character and that's going to affect the uvs and for consequence also it's going to affect the seams so if you have a an absol unsubdivided character and you're running that mathematical method the themes are going to show up yes or yes so the best way is um to avoid it uh in this card in in this um example i'm using the cut clock method and that's a very standard so uh you are very safe to use the cat plug mostly for everything there might be one or two situations where you use another one but cat luck is usually my way to go great thanks for the explanation yep so um and a lot another little thing that i wanted to mention um and that's uh something very um that that can go um unnoticed is that uh there are very little things that sometimes can uh make that a character looks believable or not for example um in the render it's not uh you can't really see it but um i work the sides of this coffee cup with a different material so um which can be very interesting for some that it are just this little bit of um side for the cardboard can add so much life to a character or world where it uh belongs to um and also the paper cup um which is also a mix of different materials um for me i i don't know if it's just me or there are very few paper materials that you can find around and i'm a very fun i really love uh different paper textures because um when before joining the entertainment industries i was a traditional artist a traditional print maker and i used woke with paper textures also so i love to look at them and work with them so for example to make this paper cup i had to use a fabric material for the roughness map and a little bit of noise and then i change uh the color uh with a fill layer and added uh different range maps uh to add a little bit of texture so you have to get creative when you don't find the material that you want and come up with uh weird solutions um but for the cardboard part there's there are these two materials that i adore from substance source and they work just so perfectly i only tweaked a little bit of the um hsl uh i added an hsl filter um to change a little bit the lightness of it and make it pop up next to my um image my um fantasy paper so they wouldn't look the same color we can see that you you should drink a lot of coffee because it looks pretty realistic yeah i actually don't drink that much coffee i'm more of a tea person okay coffee is also good yeah both works but as you say yeah the small lines that you add is really making a difference from far and from close actually it works it works really well so i think you you have you have shown everything that uh did we forgot uh did we forget anything no i think that was everything that i could um that i wanted to talk about because there are a lot of other materials in this character that they basically follow the same principle so it would be more of the same yeah maybe we can try to launch an ira run there okay to see it a bit and uh meanwhile it's uh it's loading because the irate takes a few seconds so for people who don't know you yeah it's a good idea to say yeah and that's your opening um meanwhile is loading actually there is someone who is asking if you are using a bit of subsurface for your character so i think we'll see it's in ira if i'm not wrong yeah for the texturing process i don't use subsurface scattering because it tends to make it a bit slower and i really like to paint be able to paint fast um that's something that used to happen with the first versions of substance painter that i had since i was working with a cintiq that couldn't was um below the minimum requirements i couldn't really paint a straight line um in a or a curved line because it would uh like get stacked yeah um and i would have to come up with different solutions like painting zbrush importing the textures and whatever but eventually uh as the program got more optimized uh i could actually start painting uh with my cintiq at some point until the latest versions were all the program got more complex and well my same thing was already old so i had to move on to a full pc um an actual pc just before to launch that because someone is asking something if you can show the normal map of the model so the normal channels i guess okay um no which is i'm going to show the normal and high map together because um yeah so we can see that it's really like the eyes and maybe the the the cup i know there is a bit but the rest is really sceptical yeah i i tend to do it very subtle um and um when they're i'm working with smaller characters i might uh pop it up a lot but when you're working with a real life sized characters like a human you want to have those things very um you want to keep them very subtle uh so uh to keep the focus where you want it to be otherwise you would always be looking at the laser instead of her eyes or expression or whatever she's trying to say definitely that's sometimes uh when you see some beginners of student works that's one of the issues sometimes the lack of stability like the details are too strong because people say hey i i want to show that i know what a normal map is for example also they're going to to put a lot to to make them stronger for example and while it's a bit loading array which is already quite fast um someone was asking uh what the hsl filter stands for so someone answered like it's a hue saturation light lightness and it's a way to offset either the the hue the saturation of the set of your model so you don't have to change repaint everything you can just offset to make it like more green more red lighter darker etc what is cool about that um filter is that you can instantiate it across all the texture sets and you can have global dials to toggle the whole character so for example if you um your production requires a more saturated colors you can total them all at once so that you work in the colors that um work well for your eyes because sometimes your eyes can get strained while looking at very saturated colors but if you have that toggle you can keep it uh stable for your eyes and then bring the craziness up for the export moment and uh finishing with the subsurface question i usually don't paint with subsurface on but only paint the shading uh very subtle like you would see it in a plain picture and then uh for the render i turned the some subsurface on but to avoid uh toggling and um figuring out how much it's going to affect the um inner texture to the outer one i only duplicate the my color text texture and um add uh sometimes um not sometimes always add this um how you say the [Music] the intensity it has a color uh a sub surface always has a color and an intensity of how the light is going to react so uh that color is very important that you set it like in a realistic manner um the the car i use the uh numbers that were on the arnold documentation which are is 100 for red uh 35 for green and 20 for blue and that tends to give a very natural feeling to the uh texture while also dyeing it a bit more reddish orangish um on the places where the light hits harder um and also the thickness map helps helps a lot um you have to tweak it a little bit uh to make it uh better because if you only bake a [Music] standard thickness map it's not going to include the the inner parts of the body like the bones and muscle that might make things uh thicker than they would be if it only was skin all around so yeah yeah definitely and for people who were wondering in the in the chat yes the subsurface scattering is a is activated on this render and uh yeah as kevin explained it's the the color used for substitution scattering is the same than the skin tone right i'm going to go to the quickly to the to select the skin and back to the eye render because here my shader settings if you see and for the skin i have uh the subsurface scatter enabled and this is the color that i was mentioning which is a hundred percent for red or one uh three three point zero three point three five four green and zero point two four blue um i have memorized it because i use it so much but uh you can look it up on on different document rendering documentations and they will appear similar values some might be more exact so much less but this is the one i like to use well that's uh awesome honestly so thanks a lot i think we made a ton of the project we can switch to the q a phase where we have still some questions for for for the people so meanwhile the the screen is loading we are going to start so first a small question about the model someone was were curious was curious about the polycount how many polygons i have no idea i didn't i didn't check but i can look it up so yeah definitely um so this one has been answered more or less because someone is asking if for each uber islands is using the same scale the answer was no because the face has more resolution but for the clothing uh at least i keep it consistent uh between parts because the size of the texture is going to impact uh how it looks so um for the blazer yes all the parts have the the same um textile density uh but for the body not necessarily because um it's going to be covered in so places with uh clothing so you won't see the seams and you can get away with different sizes or you could create different instances for the same material with different sizes too much which is more way much complicated um another way would be uh instead of uv using the uv projection for the uh material of the skin would be using the tri planner which is um a 3d projection of the material on the character and that would solve you all your size differences in on the uv and um on the uv and on the mesh would hide the seams also yeah depending on the project also it if you have to think about performance there may be some path with less importance as you say where you will give less resolution just for the sake of performance it really depends of the project um so what someone was was are you using the latest version of substance painter or specific one yeah yeah right now i'm using the latest substance version and someone is asking where do you work so you're a freelancer right yeah i'm currently freelancing uh the last uh project where i worked with uh is an unannounced project at nickelodeon um i worked last year [Music] well i'm i'm looking up right now different projects but since freelancing is very tightly [Music] uh tied to the amount of personal projects you put out there and since 2020 was a very complicated year for um uh making personal art for some like me um i didn't really put much out there so recruiters didn't find me and this year has been uh slow um but otherwise right now i'm going to publish anna so probably um something will pop up yeah and by the way we you made many other projects some of them we would would have liked to show to show them but we had to ask for the authorization and we did not have time to do so but i invite everyone of course to visit uh art station or instagram of carol because they are super great yeah and another person is curious about freelancing and he's asking how do you find clients for first you have to have talent i guess it's important yeah yeah you have to put your best out there um yeah i would suggest that you um it's something that a lot of people say that you only put out there what you want to work with um like you really have to show uh what are the kind of projects that you really would like to do for a client to um in your portfolio and not and avoid putting those works that even though you might be proud of how they turned out uh you want to uh you wouldn't want to do them again uh for another client so um really part of the one what you really want to do and try uh to make that the best as possible like put your all into it so that it will stand out um no uh it's different for every artist um i've been told by some that you should always do fine art because that grabs more attention uh but personally that didn't work for me um the projects that grabbed the most attention and and that um have brought me more work have been those that i made up the concepts um but working with uh the concepts with other artists also um allows the clients to to know that i can actually take a concept that they worked before and i can translate it so it's also important even though those uh projects might not be as lucrative for me as the other ones so um it's a bit different for for everyone um there are other artists whose um personal work personal concepts won't grab as much attention as i've been lucky uh to get attention on mine um and there are other other schools uh who want to find out at all but will be doing every always um original characters so there's a bit of everything and i can't really say a formula that will work for everyone um but for me it's it's a bit of both i i would add also that a word to month work a lot so when you have a contract or whatever be be serious the respect of the deadline as much as you can um because that's uh how you you build a nice reputation as well and another very important thing is keeping the files organized um with proper naming conventions um like everything you have to name like all the meshes please keep all your meshes with the proper names because then finding if you have a 20 30 items in in a single character is going to be a nightmare to find something if you haven't named it if everything uh it's named like um 3d sphere or leo or whatever or the standard name that of the initial shape that used going to be a nightmare yeah good good tips it's true that and sometimes also someone is going to open your scene or and if they say okay a folder one uh layer one layer three layers it's not a good experience for them yeah well as a freelancer uh the characters that i made i make um and especially because i am a pre-production artist um they won't always make it uh right as i made them to the end of the production so uh there's always someone else who's going to take this file um i said 3d modeler would doesn't do rigging especially um there's a rigger that will always have to open my file and if that person hates the walk um that's going to be an issue you have to make her their life easier because that's actually your job but if it's a rigger is it important no i'm checking yeah it is of course um for the polycount um the unsubdivided model has 274 000 which is quite decent i was expecting more but uh it's good yeah it's good um so some other questions uh first i think you may have a survey in the chat soon pierre or casimir are going to to share it it's really important that you give some feedback so we can improve each time uh if you love carol if you hate carol but i don't think so just tell us and um so we can improve so a few other questions uh it's the right time if you have other questions oh hi magdalena who is in the chat um so what are your most important tips for texturing stylized character um i think uh the first thing you have to keep in mind is what's the what's go role of your character going to be um because um as i texture this character uh i put in a lot of small details but if the wall of your character is a very plain it's going to be um have very simple color materials instead uh you may adding that much uh detail and thought on how the clothing uh on the clothing as i made it's going to be an overkill and you might have to delete it afterwards um and the other way around if your character is going to be in a very realistic setting um you have to think uh how materials react in in the real life so uh always work in context you are not the as the uh head of the show you're there to make an idea work in a whole universe so um texture wise model wise i think that's most important that you character serves the story that you character serves uh whatever it's going to be into so yeah i think that's the most important thing and uh there is another question actually but i i'm going to [Music] it was like what do you feel is the most challenging part for you from start to finish but i guess it depends on the project so let's say for anna what was the most challenging part the most challenging part is um i would say uh overcoming the um [Music] the broadcast procrastination part of every one of us because i really enjoy each part of the process so um for me um personally it's important that um there is modeling in each project that i work with otherwise i wouldn't do it because that's what i enjoy the most but um once i get texturing texture texturing it's a whole world and it's super fun to do so for the texturing part uh watch what what would be the most challenging i don't think it's challenging anymore because i'm so used to it but having good uvs is going to make your life easier so if you can take a little bit longer into really thinking how your character is going to deform it's going to save you a lot of time uh like the example that that i showed at some point in the stream that i had this issue with the um uvs on the back of the blazer if i had spent a little a few more minutes in the beginning uh thinking that part i wouldn't have gotten to that issue and i wouldn't have to go back to fix it in order to publish the mesh later so um i think uh paying attention it's it's always important and i don't think there's something that's particularly particular difficult about the process but there are many steps and you have to take every step into account each time so uh i have a little notebook where i take notes of all the things that i don't want to hold all the time in my head like um for example the number that i just memorized uh for the uh how the skin goes through how the light goes through the skins and and then back uh that's something that i took the note because uh when i'm modeling i don't have that number in my head but since i was text texturing a few days ago i had that number in my head so there are going to be things that you will constantly forget and it's good to have uh some reminder of them with you all the time okay thanks someone as well is asking how long have you been into the industry uh well um i started um learning 3d by the end of 2011 but by the end of 2011 i mean by christmas of 2011 so you could say like twenty ten years yeah and it took me uh until uh february of 2014 to get my first job and that was um in behavior which is a games company no it was in santiago they had a studio here and i worked there around four years until it closed um and then i moved full to animation because uh while i was working games i also was freelancing once once in a while for advertising which was also stylized uh cartoon language so okay well um there is a last question i guess um yeah how do you do when this one is many people will like that because it's not just when you're a freelancer it's uh also in any production how do you do when there is a client who asks for feedback and this one feedback change a lot of things in your project like uh i asked for more money yeah more money okay more time more money so yeah yeah that's usually stop station yeah that's also why it's really important when you have a project not only if you are pregnant to really clarify at first everything that the clients or your art director or whoever wants in order to prepare for this because it always happened yeah well as a freelancer particularly i sign contracts uh every time i'm going to start a project without a pro without the contract i do not start working without the signatures because uh that makes sure for on one part that i'll be able to get paid uh without any issues and that the client will get uh would also be satisfied with why with what they receive and on the contract i on the contract part when i'm negotiating i am super sure of uh giving by written part that uh what i do is based on the initial concept they are giving and if they are going to change the concept in a different direction which is um um it changes the direction of the character to one very something very different that's going to be a different negotiation and needs to happen again so all that well there are options uh every every time is different but um that's mostly it yeah yeah i actually had to be made like few years ago really funny videos about the creative director and that was just about this about changing uh do it but more like this like that um so i think we we made everything [Music] um [Music] [Music] [Music] um [Music] [Music] foreign okay let's switch back to english if not we are going to lose everyone um but thanks a lot carol for being here just uh as a reminder well not a reminder but our next live stream will be on may 11th is everything goes well with nicolas verman so if you're a substance designer a user you know nicolas he's the product owner of a substance designer of one of the best users of the software so if he he he is going to share some of his magic and i'm super excited for this one as well because i learned a lot with him and you are going to learn a lot as well so once again thanks a lot carol muchas gracias um we have learnt a lot and as you will see on the chat just after the live stream people are super happy so thanks everyone for watching and see you for the next live stream bye-bye thank you so much everyone thank you for coming to watch and see you see you again you

Channel: Adobe Substance 3D

Views: 11,875

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: 2lmc5764Lxs

Length: 103min 40sec (6220 seconds)

Published: Wed Apr 28 2021