Elena Rossi
Substance Painter is a texturing tool for 3D models that can be used to create realistic or hand-painted textures for games, films, and
| Characteristics | Values |
|---|---|
| Clay and subsurface scattering in Substance Painter | Clay and subsurface scattering can be used in Substance Painter to create realistic digital skin |
| How to enable subsurface scattering | To enable subsurface scattering, add a scattering channel in the Texture Set and enable the main Subsurface scattering setting in the Display settings |
| Tips for using subsurface scattering | - Enable shadows to improve realism and final look in the viewport - Use reference images for color and detail placement to avoid unnatural results - Introduce asymmetry and vary noise patterns to avoid a CG-like appearance - Scale pores to a realistic size and reduce intensity for subtlety - Balance subsurface scattering to avoid a clay-like or gummy appearance |
| Substance Painter Texturing Courses | - Substance Painter Texturing for Beginners by Nexttut Education - Texturing for Beginners by Hamidreza |
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What You'll Learn
- Subsurface scattering in Substance 3D Painter requires setting specific parameters
- The scattering channel works as a mask over the subsurface
- Enabling shadows improves the realism of the final material
- A scatter map is useful for scattering different colours or distances
- Exporting SSS maps out of Substance Painter for use in Marmoset Toolbag or Unreal Engine 4
Subsurface scattering in Substance 3D Painter requires setting specific parameters
To activate subsurface scattering in Substance 3D Painter, several parameters need to be set. The scattering effect adds detail to 3D models, but it may look odd without other adjustments. Enabling shadows can enhance the final look and improve the realism of the material.
In the Shader settings window, the "SSS Parameters" group allows users to change the scale and colour to match the target material. In the Texture Set, a Scattering channel can be added to act as a mask over the subsurface. If the channel is black, there is no subsurface effect, while a white channel will produce maximum subsurface intensity. This channel is a grayscale value that defaults to black.
Users can add a fill layer in the layer stack to control the default colour or use a paint layer to manually adjust the intensity. The main Subsurface scattering setting can be enabled in the Display settings, found below the Post-Effects settings. Enabling or disabling the Subsurface effect applies the change to the entire project.
The Subsurface scattering effect in Substance 3D Painter can be used to great effect, but it is important to consider the overall composition and adjust parameters accordingly.
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The scattering channel works as a mask over the subsurface
To activate the Subsurface scattering effect in Substance 3D Painter, several parameters need to be set. Firstly, in the Texture Set, a Scattering channel must be added if it is not already present. This scattering channel acts as a mask over the subsurface. When this channel is black, it indicates an absence of subsurface, whereas a white channel denotes maximum subsurface intensity. This channel has a default black colour and is essentially a grayscale value.
To control the default colour, a fill layer can be added to the layer stack. Alternatively, a paint layer can be used to manually adjust the intensity. The main Subsurface scattering setting must then be enabled in the Display settings, found below the Post-Effects settings. It is important to note that enabling or disabling the Subsurface effect will impact the entire project.
The Subsurface scattering effect can enhance the overall appearance of the final material, but it may look odd when used in isolation. Enabling shadows can improve the final look in the viewport and make the final material more realistic. This can be achieved by enabling the "Shadows" setting in the Environment settings window.
With Substance 3D Painter, users can add intricate details to their 3D models in real-time using smart materials, masks, and brushes. The scattering channel, in particular, offers a powerful tool to control the subsurface scattering effect, allowing for a range of intensities from none to maximum, depending on the colour selected for the channel.
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Enabling shadows improves the realism of the final material
When working with Substance 3D Painter, enabling shadows can significantly enhance the realism of the final material. This is especially true when working with the Subsurface Scattering effect, which can appear odd if presented alone without shadows. Enabling shadows in the Environment settings window adds depth and detail to the overall presentation.
The interplay between shadows and the Subsurface Scattering effect is a critical aspect of achieving realistic results. Shadows provide context and depth to the scattering effect, making it appear more natural and convincing. This is because shadows mimic the behaviour of light in the real world, creating areas of darkness and light that give the impression of three-dimensionality.
Additionally, the use of shadows can enhance the perception of texture and material properties. For example, in skin texturing, shadows can accentuate wrinkles, pores, and other skin imperfections, making them appear more realistic. This is achieved by using smart masks and generators to enhance the realism of shadows, edges, and subsurface scattering. By doing so, the final material gains a sense of depth and complexity that would otherwise be lacking.
Furthermore, the combination of shadows and Subsurface Scattering allows for a more nuanced exploration of colour and lighting. For instance, enabling "Compute Shadows" in the Display Settings allows for an accurate interplay between shadows and the scattering effect, enabling artists to fine-tune the appearance of their materials. Shadows can also be used to enhance the perception of colour, as seen in the example of adding peachy tones in thin areas and deep reds in cavities to enhance the visual impact of Subsurface Scattering.
In conclusion, enabling shadows in Substance 3D Painter is a crucial step in improving the realism of the final material. It adds depth, enhances texture, and allows for a more sophisticated interplay of lighting and colour. By utilising the capabilities of the software, artists can create materials that convincingly mimic the complexities of real-world surfaces and objects.
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A scatter map is useful for scattering different colours or distances
Scatter plots, also known as scatter charts or scatter graphs, are a useful tool for observing and presenting relationships between two numeric variables. Each dot on the plot represents a single data point, with its position on the horizontal and vertical axes indicating its value.
A scatter map is a type of scatter plot that uses geographical coordinates as its variables. For example, John Snow's 1854 cholera outbreak map, which showed that cholera cases were centred around a particular water pump, is a famous example of a scatter map.
The primary use of scatter plots is to identify relationships between variables, which can be positive, negative, or null (uncorrelated). Scatter plots can also be used to identify outlier points and unexpected gaps in the data. When there are many data points, scatter plots can suffer from overplotting, making it difficult to discern relationships between points and variables. This can be alleviated by sampling only a subset of data points or by varying the transparency of scattered points.
The colour of the dots in a scatter plot can be varied by setting the AlphaData property to a vector of different opacity values. Additionally, the transparency of the scatter plot can be adjusted by setting the MarkerFaceAlpha property to 'flat'. The size of the dots can also be adjusted to represent a third variable.
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Exporting SSS maps out of Substance Painter for use in Marmoset Toolbag or Unreal Engine 4
When exporting SSS maps out of Substance Painter for use in Marmoset Toolbag or Unreal Engine 4, there are a few things to keep in mind. Firstly, Substance Painter and Toolbag use different techniques for SSS. In Substance Painter, you may have authored your SSS map to work with the SSS shader. However, Toolbag and other 3D applications may require a different approach.
To export your SSS map from Substance Painter for use in Marmoset Toolbag, you can follow these steps:
- Ensure that you have set up Subsurface Scattering correctly in Substance Painter by adding a Scattering channel in the Texture Set and enabling the main Subsurface scattering setting in the Display settings.
- Export your texture using the Unreal Engine SSS (Packed) preset. This will combine the SSS mask with the Albedo in the Alpha channel.
- In Marmoset Toolbag, instead of placing the exported SSS map into the Mask slot, put it into the Scatter Map slot.
- Adjust the slider to increase or decrease the strength of the SSS for the areas in the mask.
For Unreal Engine 4, the process is similar. When exporting from Substance Painter, use the Unreal Engine SSS (Packed) option. This will add the SSS mask to the Alpha channel of the Diffuse texture. Then, in Unreal Engine 4, you can use the Mesh Map option and set it to the Alpha channel.
It is important to note that SSS shaders in Toolbag can take both a Scatter Map and a Mask. The Scatter Map defines the colour and depth of the scatter effect, while the Mask defines where the SSS effect is visible. Black values in the mask will use Lambertian shading, while white values will use SSS.
Additionally, when exporting your work from Substance Painter to Marmoset Toolbag 2, you may encounter limitations with the number of slots available for your maps. It is recommended to focus on the essential maps, such as diffuse, roughness, metallic, and normal, along with your raw baked AO.
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Frequently asked questions
Clay and subsurface scattering are features in Substance Painter that allow users to create realistic textures, especially for skin, by layering colours, adding pores, wrinkles, and adjusting roughness.
To enable subsurface scattering, you need to add a scattering channel in the Texture Set. This scattering channel acts as a mask, with black indicating no subsurface and white indicating maximum subsurface intensity. You can also enable the main Subsurface Scattering setting in the Display settings.
Some common mistakes to avoid include overusing a single colour, which can make skin look flat and plastic, ignoring reference images, creating too much symmetry, and misusing subsurface scattering by either not using it at all or overusing it.
To create realistic skin textures, follow PBR principles by emphasizing base colour, roughness, normal/height, and subsurface scattering. Use reference images of skin, colours, pores, and light response to ensure believable results. Layer effects to mimic the complexity of real skin in stages: base colours, secondary variations, fine details, and adjustments.
Yes, there are online courses and resources available for beginners, such as the "Substance Painter Texturing for Beginners" class offered by Nexttut Education on Skillshare. This course is designed for artists new to Substance Painter and covers various texturing methods and techniques.
