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๐Ÿ“ฃ Introducing Layer Search in Origami! With this update, you can: ๐Ÿ” Search by layer name and filter based on type. ๐Ÿ“ฐ View where each layer lives and inspect its parents by clicking on them individually. โœ๏ธ Edit, rename, or delete a layer while searching. ๐Ÿ‘‡ Take a look:

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Origami

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13,485 Aufrufe โ€ข vor 3 Jahren โ€ขvia X (Twitter)

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Mordechai Hammervor 3 Jahren

This is such an incredibly helpful feature! Is there a keyboard shortcut to trigger this search?? If not, I staunchly (but humbly!) request one.

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You can also use the Gradient layer type in Toolbag to make planar knurling like for this pistol grip panel ๐Ÿ˜Ž Adding a sync point above the layer lets you use the effect with smart mats and generators as well.
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๐ŸŽ“Learn how to create a powerful Worn Leather smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a fill layer with a black mask applied. Inside its mask paint a simple pill shape and use a blur slope filter to introduce some random shapes. Apply a marble veins fill layer on top with its blending mode set to color burn. Apply a warp filter as well to introduce some randomness followed by an anchorpoint. 2. Create another fill layer using the same technique to apply some dirt in the crevices of the wear. 3. Next, Inside the main fill layer apply a tiling raw leather texture to its Color and roughness channel 4. Create an additional fill layer up top and apply a black mask to it.Inside this mask retrieve the anchorpoint information followed by a blur filter with a value of 6. Use a levels to increase the spread of the mask. Apply another marble veins matching the values of the marble veins fill layer that we previously added and set its blending mode to multiply. Lastly retrieve the anchorpoint information from the previous fill layer again but this time set its blending mode to subtract. This fill layers properties should have a dark diffuse color and a matte roughness. 5. Add another fill layer with a bright diffuse and height properties with a black mask applied to it. Inside its mask retrieve the anchorpoint information again followed by a blur slope. Apply the anchorpoint information again but this time set its blending mode to subtract. Now we have a worn leather effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!๐Ÿ’š #gamedev #gameart #3dmodeling #3dartist #texturing #UE5 #unity #artstation

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How do we enable single-layer PCBs to support the routing complexity of multi-layer PCBs? We're making a "Bridge-Programmable Interconnect" chip. This chip is "programmed" by traces etched on the top layer of the PCB, it allows any configurable pin to connect to any other configurable pin Why is this a big deal? Single-layer PCB etching can be done in minutes on a UV laser, but because they don't have vias it is impossible to change layers. Using an interconnect chip, you are guaranteed to be able to route any signal over any other signal. By placing these on your single-layer PCB, you can reconfigure wiring such that you don't need any vias!

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ใ€๐Ÿ“ขใ€‘ One thing coming with the next VTube Studio update is the "layer group" editor โœจ After creating one, a layer group can be used to bulk-set layer screen/multiply color overlays (and more!) ๐ŸŒˆ๐ŸŽจ๐Ÿ–Œ๏ธ It'll be on the VTS beta branch soon if you wanna try it out early โฐโœจ

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๐ŸŽ“Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!๐Ÿ’š #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

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๐ŸŽ“Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!๐Ÿ’š #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx
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๐ŸŽ“Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!๐Ÿ’š #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

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Vitalik Buterin on Ethereum as the economic layer for AI โ€œThe blockchain to me is the most natural way to allow applications and cooperation between many different people in the long term without needing to agree on who to trust. The other thing is also the economic layer. This is the layer where blockchains can support AIs.โ€ Vitalik believes Ethereum will play a large role in the future of decentralized AI: โ€œIf you have more decentralized AI, that means you have different AIs (agents, programs) that are controlled by different people and need to interact with each other. And for that interaction to be possible, you need to have an economic layer. Either cooperation is based on economic incentives and economic rules. Or itโ€™s based on central control. Itโ€™s usually one of the two, and if we can set up the economic system, that makes more decentralized interaction between AIs possible.โ€ Source: OKX (Apr 2026) Read our full article on why AI agents will need Ethereum for low-risk DeFi below๐Ÿ‘‡
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Vitalik Buterin on Ethereum as the economic layer for AI โ€œThe blockchain to me is the most natural way to allow applications and cooperation between many different people in the long term without needing to agree on who to trust. The other thing is also the economic layer. This is the layer where blockchains can support AIs.โ€ Vitalik believes Ethereum will play a large role in the future of decentralized AI: โ€œIf you have more decentralized AI, that means you have different AIs (agents, programs) that are controlled by different people and need to interact with each other. And for that interaction to be possible, you need to have an economic layer. Either cooperation is based on economic incentives and economic rules. Or itโ€™s based on central control. Itโ€™s usually one of the two, and if we can set up the economic system, that makes more decentralized interaction between AIs possible.โ€ Source: OKX (Apr 2026) Read our full article on why AI agents will need Ethereum for low-risk DeFi below๐Ÿ‘‡

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