Author Topic: workflow... damaged version of texture set  (Read 2809 times)

After watching many excellent tutorials and doing quite a bit of research, I have created my first texture set. I used multiple masks to define areas for separate materials, used smart materials and other materials.  Ended up with quite a set of layers and a resultant texture that I am very pleased with for my first attempt.

But now I want to damage and dirty it up a bit and I am wondering what is the best way to go about this as most dirty and damage materials involve masks that destroy or override the masks that I already have in place.

This is not a criticism, just a workflow question. Did I approach this wrong? Should I have planned for this eventuality? I'm not sure how I would have done things differently.

Through the use of LAYERS you should be able to do this without damaging what you did before.

Perhaps a picture or two would help, and then the experts (not me!) will be able to give some more specific advice.  Be sure your screen shot shows your painted object and your layer stack.  Adding some circles and arrows will be helpful if you talk about specific portions of your model.
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So here's the textures and my layers.

I just want to add some edge wear, some dirt, some stains...

You probably want to add extra fill layers on top of all this with a dirt material for example and use a smart mask on it to layer dirt over the shoe.

Thanks for your reply Jeremie, I did try that, but it was more than a little a heavy handed.

Perhaps I will try again and see if I can't refine it more rather than discarding it.

Thanks for your reply Jeremie, I did try that, but it was more than a little a heavy handed.

Depending on what you mean by "heavy handed," you might want to try playing with the strength ("opacity") of either the layer or the mask.

Keep in mind you can change the strength for each channel independently (see top-left corner of my picture).

You can also change the "blend mode" from Normal to one of a zillion other blend options.  I still rely on a lot of random guesses when I change blend modes.  Some I understand fairly well, but I use them rarely enough that I keep forgetting what to expect with about half (or more) of them.

Lastly, you can do some interesting stuff by inverting the mask, too.  Pick the mask sub-layer, then click on the Mask button I highlighted with the thin-lined box.  Inverting the mask and/or changing the strength of the mask will also change your result.  That could be useful if you wanted to paint something where this is (or is not) ambient occlusion, for example.

I'm confident Substance Painter has the tools you need.  It's just a matter of finding them.  Good luck, and post a close-up picture when you get the result you're looking for.  Also please tell us how you did it.
Last Edit: September 10, 2016, 03:09:42 am
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When I say "heavy handed", I mean that it affects the entire model.

I've reduced the texture set to a single map (not because I want, but because there is no way, yet, to combine texture sets into a single map). In order to define the material, masks are required then to show and hide various areas.

How do I combine the various masks? Because when I add edge wear etc, I get new masks defined by the effects maps (curvature, etc) that override the masks defining areas.

I watched the mask editor video, and its great... but he is working with a single texture set that covers only the area he's working on. Makes it a lot easier. Until you don't want 30 maps for a single object.

Thanks for additional explanation.

This conversation has now exceeded my limited ability to help.  Hopefully someone else can provide some useful guidance.
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Thanks for additional explanation.

This conversation has now exceeded my limited ability to help.  Hopefully someone else can provide some useful guidance.
Thanks for adding to the conversation, though. I'm very new at this and all ideas and tips are going to be helpful somehow, somewhere, some time.

Best practice is to create folders for each material on your mesh and use the id color masking on these folders so that you can put anything in there, your material + tear and wear and manual painting, all masked by the id color mask.

Best practice is to create folders for each material on your mesh and use the id color masking on these folders so that you can put anything in there, your material + tear and wear and manual painting, all masked by the id color mask.
Jeremie,

I am still working to grasp the id mask method. It seems simple enough, but Painter produces a gradient as opposed to a simple color as Designer does; I know I heard/watched a part of a tutorial describing the method and something about "tolerance", but I have not been able to find it again to properly implement the method.