Substance Painter Texture Free ((FREE)) Download
Vanesa Domagala
Generally, the first step in the 3D process is to create a model, or what is usually referred to as a mesh. By default, most meshes are a slate gray color, or can be viewed as a wireframe. 3D modeling software is used to create these objects. The next important step in the process is to add textures and materials to the object to create the visual appearance on its surface with a 3D painting software. While many programs can do both of these tasks in the same application, Substance 3D Painter is the industry leader in texture painting, allowing you to texture a model in real-time.
When creating a new project and adding a mesh object, Substance 3D Painter offers several import settings you can use to extract information from the object, including textures. You can also import baked maps automatically. When your project is complete, you can export bitmap textures, or export the geometry of the model. The export window can be opened through File > Export textures. For a complete overview of the export settings available and how to use them, please refer to the Substance 3D Painter documentation.
Substance 3D Painter is a 3D painting software that allows users to texture and add materials directly to 3D meshes in real-time. In comparison, Substance 3D Designer is primarily a material authoring software that generates textures from procedural patterns inside node-based graphs. So, Designer is an alternative to creating textures and materials, which you can apply to models inside Painter.
Substance 3D Painter is compatible with most major and standard 3D file formats. You can import mesh files into Painter to texture. Supported mesh file types include .fbx, .obj, .abc, .dae, .ply, .gltf, .glb, .usd, .usda, .usdc, and .usdz. You can also export to these file formats as well. Substance 3D Painter will prepare the proper files, materials, and textures required on export, or you can use the export settings to customize this output to your needs. For more information, see the documentation.
Well, that image from substance painter is lit by an HDRI, whereas the scene in Unity is only lit by direct light sources. If you want the lighting conditions to be similar, make sure to use a skybox and bake your lighting/enable auto-baking in the lighting settings such that ambient lighting and reflections are actually generated - in a physically-based renderer these are just as important as direct lighting.
If you want use the textures that you already have, you could use the following node setup to "convert your normals to Open GL" by connecting a separate XYZ, invert the Y, combining the X, NEW Y and Z to the normal map nodeand this is a raw result with an HDRI (you need to tweek that to make it better).
The glossiness is way off. If I manually apply an inverse gamma correction to the Glossiness texture in Photoshop (Image > Adjustments > Exposure > Gamma Correction > 0,4545), the material looks much closer to the source:
PlayCanvas (manually gamma corrected)764800 29.6 KB
Why does this matter? Well, when working with texture creation programs such as Substance Painter, you want to be able to see the final result, and not get an entirely different result when importing to the render/game engine. You also want to be able to reuse textures between different engines. And as we can see from the examples, the odd one out here is PlayCanvas. Right now we have to author textures specifically for PlayCanvas, which is a pain.
When I import my model (.fbx) to draw a texture in the substance painter and export it to the .gltf format, I find that the metal I paint is gone and replaced by the shiny black, and then when I put the exported model in the three.js/examples/webgl_load_gltf.html case, I found that my model was dark and needed to be added a directLight can only see a point, the effect is not very good, but the case of importing the painter painter does not have any problems.
I can open the same textures in Cinema 4d and they look right. I'll then save it as an obj with the textures and try to open it in coat. And the obj opens and there's a new paint layer. But it seems blank and doesn't appear on either on the tex editor or the viewer.
But then....I open the substance painter files in Photoshop and just create a new file of the same size (4K), paste in place, save as a tif (same format I saved originally though I've also tried jpeg) and it imports fine.
What format are the texture files in? If a Substance format, it won't work. With them being a competitor in the Texture Painting space, they don't want to collaborate on file support. Try exporting texture maps as .PNG or .TGA
Then that's something Andrew should know about. Send an email to sup...@3dcoat.com and try to zip all the texture files > try to attach in the email. Before you do that, try a few sample models, like the default 3DCoat Material sphere or Robot. Export Import to Substance > test paint > export back to 3DCoat. If that still creates a problem, then it is indeed something Andrew will have to diagnose.
David Oroian, Weapons & Hard Surface Artist at AMC Ro Studio, walked us through the process of making a wood material for a rifle, showed the steps of color correction, and explained how he adds personality to the textures to make the result realistic.
Creating wood textures is a lot more difficult than creating metal textures, and because of this, many beginners avoid it altogether. I know the feeling well because I was there, but it comes a time when artists need to push through this wall and learn how wood texturing can improve their art and elevate their portfolio.
We need to do the same for the wood, even more so. Yes, the wood base color is already 10 times more complex than a gray metal. That does not mean it has a story, consider it as a starting point, just like bare metal is a starting point and machining marks will give it a manufacturing story.
When the wood shape requires a different pattern, start by adding it in. Create the manufacturing story that wood tells based on how it was shaped. That's the only way you can create a hyperrealistic wood material. Avoid using a single texture to cover all your wood elements. Procedurally or not, it's impossible to texture a complex geometry with a single texture meant to be applied on flat surfaces.
Because of the wood characteristics enumerated above, I decided to avoid procedural wood entirely. I ventured into what I like to call hyperrealism because only that can satisfy my idea of accuracy.
After applying the left and right textures in Photoshop, it was time to merge all source materials together. In Substance 3D Painter, I carefully placed where my sides go, and together with the previously made plywood tileable material, it was now a full texture (but far from usable).
Adding filters is not the end-all solution, manual mask paint is also a requirement because some textures simply can't be tweaked to the desired values, so new textures need to be overlaid on top of what we already have.
Here you can see a clear example of tweaking the shadows and removing an unwanted spot from the texture.
As I said in the intro, wood is organic at heart and it's impossible to texture a complex geometry with one image. Because we had 3 main textures and many smaller textures, color correction is one of the most crucial steps because it ties all the images together.
The goal of color correction was to go from source to final:
A game-ready gun can have multiple UV sets and materials. When that gun is not in your hands (e.g. a player holds it 50 meters away from you), to optimize the game, alongside mesh optimization (LODs), material draw call optimization is also required (lessen the draw calls by lowering the number of texture sets).
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