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Anyone know solutions/workarounds for the artifacting thats happening in substance painter?

As you can see, when I use triangle or polygon fill, theres noticable artifacting but when I paint using the brush, theres none

whats the cause of this? the maps are at 4k at the moment
umm i also previously had them on seperate islands but the artifacting was the same, so i thought id try just not seperating them but it issue persists


is this just a SP limitation?

>inb4 muh questions thread
just fucking help me or more threads will die!!!!!!
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>>701011
heres with polys shown for ref
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>>701011

It's a feature of polygon fill just use a blur filter on it later.
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>>701011
>>701012
Yeah that's just a quirk of poly fill that it doesn't anti-alias the edges. I'm pretty sure it's so it doesn't overlap into other places which would be bad (well it tries as hard as it can).
Just do as >>701013 says and put a blur on it. Or try not to use poly fill unless you absolutely have to, and try to see how far you can get by using the different generators, and fills. Paint layers should be the last thing you're adding after you get as far as you can go with procedurals. And generally, if you're using them creatively, you can get incredibly far with them.

Often times I'll just use a big filled square texture as a fill (instead of a brush/alpha), set it to non-repeating, and position it where I need in the UV view. Generally that gets the job well enough. The ability to move things and scale in the 2d view like Photoshop is incredibly useful.
If you're having to go in manually with the paintbrush/polyfill to mask things you haven't probably set up your UV's right, or you havent used the generators as well as they should be.
Not to mention, the square fill trick is procedural. Which means I can use it as an anchor and instance it on the other side if I need to, or other places on the model. Not only that, I can swap out the texture with anything else if I want.
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>>701123
I guess I haven't really understood the optimal workflow for sp then

Normally I set up my islands, think about what materials I want for different parts and then mask out the different bits
I do use procedural creations for some things, but others I just drop on smart materials or sbsars I already have from my library.
I don't do much creating in SP at all actually, I usually make sure ei have my materials already then use SP to bake on any HR mesh then peice the matetials together and create the combined map
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>>701133
Yeah that's not how you should be using it at all. Just dropping in mats or smart materials and calling it a day is the worst way to go about it. Because you're just gonna get sub-par results, and it'll make your model look half assed or worse.
If you're not looking to actually texture an object and just want to get something basic on there, then that's fine.
If you want something to look truly finished, take the time to give it a lot of love. SP is an incredibly powerful tool, just gotta make sure to really get your hands dirty with it.
Honestly I've been spending more time texturing a model in SP than I have actually modelling it. Modelling something is like 20% of making it, and texturing is the other 80%.

>Normally I set up my islands, think about what materials I want for different parts and then mask out the different bits
I do that as well if I have multiple things on the same map. Again, I just opt to use the procedural generators as much as possible, and if I can't do the fill trick instead. I'll paint a mask as a last resort.
Fills and generators can be used with whatever models, paint layers can't.
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>>701123
I second this.
The thing with the brush is that, unless you have it set super hard, it softens the paint by "bleeding" the stroke into the surrounding pixels. Usually you use poly fill to make hard perfect cuts, like for separating materials. If you are using it as such, try to have straight UV's, as straight as you possibly can. And also try to support the material changes with the geometry, that way the cut will be invisible.
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>>701135
>Just dropping in mats or smart materials and calling it a day is the worst way to go about it.
I've seen people say this at least a dozen times now but they never elaborate further. Just keep regurgitating the "tell a story with texture" line. Okay? How?
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>>701322
1. Write the story
2. Rasterize it
3. Project-paint it on the model
4. ???
5. PROFIT!
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>>701011
Where is the artifact?
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>>701328
He meant the jaggies on the polys
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>>701322
>tell a story with texture
That's the faggy way of saying it but yeah. Not so much about telling a story like "ah, yes this dragon dildo was once owned by a furry faggot in Georgia, but now it's prominently displayed in my dildo collection", but more about the environment the object is in, and what it's actually made of. You know, shit that would ground it in the scene that you're placing it in.

When I'm texturing something, lets say for example a wooden bench, I try to think about all the shit that would make it look the way it would look at the time the image was taken. How long it's been there, how has it been battered by the elements, where is it worn out, where would stuff accumulate...
In any case I'mma break down my process for ya, and give some tips. This might take multiple posts though. So I'm gonna break it into a few different ones.
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>>701338
>First, start with references
Fill up your hard drive with benches, from any and every angle. New, old, worn out, everything. You can't have too much reference.

>Lay out your base materials
I tend to work in a weird order compared to how things would be layered IRL. I start with the base of what would be outside, then chip away at it, and then add grungy stuff on top of all that if I need it.
In any case, lay out what your base is. Let's say wood in this case. This is where you'd slap on your materials and smart materials. Though I tend to avoid using anything with edge wear or stuff like that. Just opting for something clean to start off with.

>Show what's underneath
Obviously it's more wood in this case, but the wood underneath hasn't been exposed as much or anything, so parts of it would be lighter.
So this is where I'd either use another material, that would look like how it would be underneath, or just make one. Then with a black mask, expose some of it with fills or procedurals.
That's not enough though, so I'll duplicate the layer, throw an hsl filter on it, make it slightly darker and less saturated. Since it has the same mask as before, it's in the same place, so now you can add another fill on top set to multiply to add some color variation, so it looks like some parts have been exposed for longer.
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>>701338
>>701339
>Weathering
Next I'll do some in-depth weathering. I'll think about where people have sat, or where their arms would be resting (if the bench has arms). Those areas will be more worn out to a degree depending on how old and used the bench is. So I'd just use a color fill layer, set to dodge/add, and use masking to make those areas lighter. If it's an old bench, it'd be lighter, but if it's a newer one, it wont have much of an effect or not at all.
In addition to this, I'd also think about places like the feet of the bench. Maybe it's been moved around. Those places will be pretty banged up and scratched, so I'd mess around with the height and colors of those areas as well. If for some reason the bench had a lacquer or clear coat on it, then that would definitely be a bit worn out on those places. As well, people may have left fingerprints and oils from their skin on the arms, so I'd use a layer with a higher roughness, and use the hand alphas and fingerprints and stuff to add those. I'd also add scratches by using another high roughness layer.

>Dirt and grime
On top of all that, I'll add dirt and stuff. It's easy to go really overboard with this, so take it easy. In any case, think about places dirt and dust would accumulate on a bench. Most likely between the little slats that make up where you sit, the joints where parts meet up, the feet since they're close to the ground, even the underside of places (maybe rain hit the bench and carried some of the grime so the surface tension has it hang on the bottom of things, and leaves the grime when it evaporates). Then I just go in and start adding all that grime and dirt and stuff using masks and procedurals.

I think that's it for the most part. Maybe I'll do a tutorial or something sometime. Though I can't imagine it would be all that interesting.
Overall though this was pretty broad. Best advice is to just think about your object and where it would live.
Hope this helps at least.
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>>701322
>>701338
If you've got any more questions or anything though I'd be happy to help out where I can.
I'm by no means an expert, but I've really been hitting some pretty good strides with my texturing lately. So it might be good to take it with a grain of salt, but in any case it's probably better than just dropping base materials and calling it a day.
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>>701341
That's very helpful thanks, I'll have to try it out.
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>>701338
>>701339
>>701340

Helpful posts on 3. No way.
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>>701365
Not all of us are shitposting. Some just wanna make good work, and see good work get made.
Though that's probably a silent minority now.

>>701343
Hope it works out for you. I'll probably make a tutorial or something on how I go about it. Just gotta make sure it's all concise so I'm not wasting people's time.
I'll post it here if I ever do it.



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