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🟢Substance Painter Tip: The Passthrough blend mode in combination with the Smudge tool lets you adjust generated/filter results in a non-destructive way. E.g.: The Blur filter operates in 2D space, which can cause visible seams at the UV island borders. A fix for that is to add Paint above...

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Keeki | 3D Artist

5,695 subscribers

29,483 Aufrufe • vor 3 Monaten •via X (Twitter)

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6 Kommentare

Profilbild von SirB3ar
SirB3arvor 3 Monaten

recommend you use this one dont break the uv and use 3d space not the uv for reference

Profilbild von Keeki | 3D Artist
Keeki | 3D Artistvor 3 Monaten

Oh yea this one is cool, thank you!

Profilbild von BlueSnapdragons🔨🤖
BlueSnapdragons🔨🤖vor 3 Monaten

That’s genius…

Profilbild von Laru🌱
Laru🌱vor 3 Monaten

thank you so much

Profilbild von Licht
Lichtvor 3 Monaten

I love it! I'm really interested—where or how can I learn to texture like that using Substance Painter?

Profilbild von Keeki | 3D Artist
Keeki | 3D Artistvor 3 Monaten

Thanks! I think the best way is just to start, and then improve on what you dont like

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🟢Substance Painter Tip: Often, instead of using the symmetry mode, you can use the Mirror filter. It's less buggy and very helpful when you accidentally forget to enable the symmetry mode. It also allows you to mirror other filters, patterns, etc.! Note that it mirrors in UV space, not in geometry space. So there are cases where you cannot use it. You might want to keep that in mind when working on the UVs.
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🟢Substance Painter Tip: Often, instead of using the symmetry mode, you can use the Mirror filter. It's less buggy and very helpful when you accidentally forget to enable the symmetry mode. It also allows you to mirror other filters, patterns, etc.! Note that it mirrors in UV space, not in geometry space. So there are cases where you cannot use it. You might want to keep that in mind when working on the UVs.

Keeki | 3D Artist

14,269 Aufrufe • vor 25 Tagen

🟢Substance Painter Tip With "Anchor Points" you can link layers together (e.g. use one layer as a mask for another), which makes workflows much faster. Example: You have a shadow layer and want to add an outline around it. Instead of repainting the outline every time you change the shadows, use an Anchor Point: 1. Add an Anchor Point to the shadow layer 2. Add a Fill Filter for the shadow outline layer 3. For the Fill grayscale, select the Anchor Point 4. Add a "Mask Outline" filter 5. If you paint new shadows now, the outline will adjust automatically!
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🟢Substance Painter Tip With "Anchor Points" you can link layers together (e.g. use one layer as a mask for another), which makes workflows much faster. Example: You have a shadow layer and want to add an outline around it. Instead of repainting the outline every time you change the shadows, use an Anchor Point: 1. Add an Anchor Point to the shadow layer 2. Add a Fill Filter for the shadow outline layer 3. For the Fill grayscale, select the Anchor Point 4. Add a "Mask Outline" filter 5. If you paint new shadows now, the outline will adjust automatically!

Keeki | 3D Artist

38,950 Aufrufe • vor 4 Monaten

you can easily paint in sculpted folds in Substance painter by using the following setup: (the Sculpted Folds folder) New layer with just height info. Paint effect in the black mask to paint where you want the folds. Blur Directions to create the falloff. Blur to soften it all.
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you can easily paint in sculpted folds in Substance painter by using the following setup: (the Sculpted Folds folder) New layer with just height info. Paint effect in the black mask to paint where you want the folds. Blur Directions to create the falloff. Blur to soften it all.

Pilgrim

206,089 Aufrufe • vor 2 Jahren

Blend Space Assets in Unreal Engine actually have an Analysis mode that will look at the foot placement to calculate how fast a character was moving and put the animation in the correct position on the blend space. Way better results than just "eye balling it". #UETips
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Blend Space Assets in Unreal Engine actually have an Analysis mode that will look at the foot placement to calculate how fast a character was moving and put the animation in the correct position on the blend space. Way better results than just "eye balling it". #UETips

Chris Murphy

18,235 Aufrufe • vor 2 Jahren

Did you know that the Clone Tool in Substance Painter makes it simple to fix seams? This is how 👇 ‼️ Press V and area to set the source area to use Clone.
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Did you know that the Clone Tool in Substance Painter makes it simple to fix seams? This is how 👇 ‼️ Press V and area to set the source area to use Clone.

Michal Kalisz

55,877 Aufrufe • vor 2 Jahren

CSS Trick 🫠 You can create gooey effects with filter using CSS or SVG if you want color 🎨 .blobs { filter: blur(20px) contrast(30); } .blobs { filter: url(#​goo); } The trick is to blur the thing, then cut the blur off with contrast. You can make some cool effects with it ✨ The CSS approach is basic and limits you to black and white. You need to blur the subject and then use contrast to lessen the blur. .blobs { filter: blur(20px) contrast(30); } The SVG approach gives you a lot more freedom. That looks like a lot 😬 What the filter does is take some source and pipe it through different effects. At a high level, you're doing this: 1. Blur the subject with standard deviation "stdDeviation" 2. Mess with the alpha channel values inside feColorMatrix to get the contrast 3. Composite the effects Good thing with SVG filters is you can rinse and repeat and use them on other things 🤙 Have a play with the demo and check out the DevTools where you can see the effects of using different values CodePen.IO link below! 👇
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CSS Trick 🫠 You can create gooey effects with filter using CSS or SVG if you want color 🎨 .blobs { filter: blur(20px) contrast(30); } .blobs { filter: url(#​goo); } The trick is to blur the thing, then cut the blur off with contrast. You can make some cool effects with it ✨ The CSS approach is basic and limits you to black and white. You need to blur the subject and then use contrast to lessen the blur. .blobs { filter: blur(20px) contrast(30); } The SVG approach gives you a lot more freedom. That looks like a lot 😬 What the filter does is take some source and pipe it through different effects. At a high level, you're doing this: 1. Blur the subject with standard deviation "stdDeviation" 2. Mess with the alpha channel values inside feColorMatrix to get the contrast 3. Composite the effects Good thing with SVG filters is you can rinse and repeat and use them on other things 🤙 Have a play with the demo and check out the DevTools where you can see the effects of using different values CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

190,822 Aufrufe • vor 2 Jahren

I just got the "Window Magnetism" feature that is rolling out as part of Horizon OS 2.1! In both Passthrough and VR, windows will automatically Anchor to flat surfaces, and can be easily detached. It also (thankfully) doesn't require a Space Setup scan to work in Passthrough.
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I just got the "Window Magnetism" feature that is rolling out as part of Horizon OS 2.1! In both Passthrough and VR, windows will automatically Anchor to flat surfaces, and can be easily detached. It also (thankfully) doesn't require a Space Setup scan to work in Passthrough.

Luna

27,061 Aufrufe • vor 6 Monaten

The way Dynamic Island works is unusual yet satisfying at the same time. The combination of bouncy animations, blur effects, and the flow of every icon involved in the experience is just awesome to me.
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The way Dynamic Island works is unusual yet satisfying at the same time. The combination of bouncy animations, blur effects, and the flow of every icon involved in the experience is just awesome to me.

Alvin

14,759 Aufrufe • vor 3 Jahren

Here's a tip for the new Vertical Streamers! You can source clone your game play and use a composite blur filter to make your backdrop aesthetically pleasing!
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Here's a tip for the new Vertical Streamers! You can source clone your game play and use a composite blur filter to make your backdrop aesthetically pleasing!

Miss Dusk ✧🌙 ➔ Twitch Con

68,386 Aufrufe • vor 3 Monaten

Here a trick for eye shadows: Add an edge where the eye shadow should start and separate that part in the UVs. That results in a nice, sharp shadow, that you can easily adjust with a shapekey! Usually that area is pretty awkward to paint, so this method works great! Here🔽
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Here a trick for eye shadows: Add an edge where the eye shadow should start and separate that part in the UVs. That results in a nice, sharp shadow, that you can easily adjust with a shapekey! Usually that area is pretty awkward to paint, so this method works great! Here🔽

Keeki | 3D Artist

70,610 Aufrufe • vor 4 Monaten

CSS Tip! 🤙 You can use mask-composite and some JavaScript to create this pointer proximity following glow border ✨ .glow { mask-composite: intersect; mask-clip: padding-box, border-box; mask: linear-gradient(#0000, #0000), conic-gradient(#0000 0deg, #​fff, #0000 45deg); } The trick is to mask a background-image with a combination of mask layers. mask-composite: intersect; means the mask used will be the intersection of the layers 🔥 use source-in, xor; in browsers that don't support intersect; In this demo, you can use pseudoelements and rely on scoped custom properties to do a lot of the heavy lifting for you 🙌 Once you've masked the background, you need to update the starting angle of the conic-gradient on pointermove 👆 You can work that out by getting the center point of each card and then calculating the angle between that and the pointer with Math.atan2 🤓 let ANGLE = Math.atan2( event?.y - CARD_CENTER[1], event?.x - CARD_CENTER[0] ) * 180 / Math.PI ANGLE = ANGLE < 0 ? ANGLE + 360 : ANGLE; CARD.​style.setProperty('--start', ANGLE + 90) You plug that into your conic-gradient mask as a custom property accounting for --spread ⚡️ conic-gradient(from calc((var(--angle) - (var(--spread) * 0.5)) * 1deg), #000 0deg, #​fff, #0000 calc(var(--spread) * 1deg)); To get the blur, you apply a blur to the glow container on each card 🤙 .glows { filter: blur(calc(var(--blur) * 1px); } That's it! Layers of masks that are clipped and composited before being blurred 😎 The added trick is to fade each one in when the pointer is in the defined proximity of the card. For example, don't show unless within 100px of a card. You can see that in the video. Check out the JavaScript code for that 🫶 Couldn't resist making this one 😁 CodePen.IO link below! 👇
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CSS Tip! 🤙 You can use mask-composite and some JavaScript to create this pointer proximity following glow border ✨ .glow { mask-composite: intersect; mask-clip: padding-box, border-box; mask: linear-gradient(#0000, #0000), conic-gradient(#0000 0deg, #​fff, #0000 45deg); } The trick is to mask a background-image with a combination of mask layers. mask-composite: intersect; means the mask used will be the intersection of the layers 🔥 use source-in, xor; in browsers that don't support intersect; In this demo, you can use pseudoelements and rely on scoped custom properties to do a lot of the heavy lifting for you 🙌 Once you've masked the background, you need to update the starting angle of the conic-gradient on pointermove 👆 You can work that out by getting the center point of each card and then calculating the angle between that and the pointer with Math.atan2 🤓 let ANGLE = Math.atan2( event?.y - CARD_CENTER[1], event?.x - CARD_CENTER[0] ) * 180 / Math.PI ANGLE = ANGLE < 0 ? ANGLE + 360 : ANGLE; CARD.​style.setProperty('--start', ANGLE + 90) You plug that into your conic-gradient mask as a custom property accounting for --spread ⚡️ conic-gradient(from calc((var(--angle) - (var(--spread) * 0.5)) * 1deg), #000 0deg, #​fff, #0000 calc(var(--spread) * 1deg)); To get the blur, you apply a blur to the glow container on each card 🤙 .glows { filter: blur(calc(var(--blur) * 1px); } That's it! Layers of masks that are clipped and composited before being blurred 😎 The added trick is to fade each one in when the pointer is in the defined proximity of the card. For example, don't show unless within 100px of a card. You can see that in the video. Check out the JavaScript code for that 🫶 Couldn't resist making this one 😁 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

1,180,709 Aufrufe • vor 2 Jahren

Mario Kart World is definitely 60fps in handheld mode. I think it looks like a high frame rate because the consistent blur between the two frames makes the motion look smoother. This was filmed in 120fps. You can see the blur in the cracks on the road.
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Mario Kart World is definitely 60fps in handheld mode. I think it looks like a high frame rate because the consistent blur between the two frames makes the motion look smoother. This was filmed in 120fps. You can see the blur in the cracks on the road.

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Is there a scientific explanation for this? There’s another video where it goes all the way up and blend in with the rest of the grass. You will not be able to tell which one is it.
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Is there a scientific explanation for this? There’s another video where it goes all the way up and blend in with the rest of the grass. You will not be able to tell which one is it.

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