Substance Painter2紋理立體模型

本教程將指導(dǎo)您完成創(chuàng)建立體模型，你就可以在你的網(wǎng)頁瀏覽器進行交互的過程。本教程將分為三個部分，我將使用3ds Max建模，Substance Painter2的紋理，和Marmoset Toolbag創(chuàng)建交互式場景輸出到Web瀏覽器。

This tutorial will guide you through the process of creating a diorama that you will be able to interact with in your web browser. The tutorial will be split into three parts, I will use 3ds Max for modeling, Substance Painter 2 for texturing, and Marmoset Toolbag for creating the interactive scene and exporting to a web browser.

本系列的其他圖文教程

3ds Max的場景布局及場景建模

Marmoset Toolbag創(chuàng)建交互式場景

Step 1: Texturing the rusty car

With the car imported into Substance Painter you have to bake the maps in order for the smart materials to work correctly. You want to make sure you've baked normal, AO, Curvature, World space normal, thickness and position. Also bake at a high resolution (2048* should be good enough) for this asset. With the maps baked you can now drop the Machinery Smart Material onto the car. I then start by turning off all of the layers except the base and work from there. I changed the color to a sun bleached red but kept the roughness value low so it was shiny, we will build the dirt on top of this layer so it fits the design better.

第1步：紋理處理生銹的車

隨著汽車進入到Substance Painter，你必須烘焙貼圖，以便智能材料的正確工作。你要確保你已經(jīng)烘焙正常，AO，曲率，自然空間正常，厚度和位置。在還有烤高分辨率（2048*就足夠好了）這個資產(chǎn)。隨著地圖烘焙，你現(xiàn)在可以刪除的機械智能材料在汽車上，然后我通過關(guān)閉所有的層除了基礎(chǔ)和工作從那里開始，我改變顏色為陽光漂白紅色，但保留了粗糙度值低，所以它是有光澤的，我們將建立在該層的頂部的污垢，使其更好適合設(shè)計。

Step 2: Aging the car.

To make the car more aged and weathered I added a fill layer with an even stronger bleached red, but this time I increased the roughness value to give the impression of a dull surface. This is applied to the whole car at the moment so to fix that I added a black mask to the layer which should remove the dull layer completely. Right-click on the mask and apply a MG Mask Builder Generator. This generator uses those baked maps to smartly apply details over the asset, using the curvature map for example. The material knows the more exposed areas of the mesh and so applies white in these areas revealing the dull material. As you can see in the image the dull red paint is applied on the top curves of the door.

第2步：老化的汽車。

為了使汽車更老化和風(fēng)化，我加了一個填充層具有更強的漂白紅，但這次我增加了粗糙度值給沉悶的表面的印象。這是適用于整個汽車的時刻，以便修復(fù)，我添加了黑色面具的層，應(yīng)刪除沉悶層完全。我右鍵單擊并應(yīng)用MG掩碼Builder的。該發(fā)電機使用這些烘焙地圖巧妙地運用細節(jié)在資產(chǎn)，例如利用曲率地圖，物料知道網(wǎng)格的多個暴露區(qū)域，因此適用于這些領(lǐng)域顯露出呆滯料白色。你可以在暗紅色油漆在門的頂部曲線應(yīng)用于圖像中看到。

Step 3: Applying the base rust layer.

Using the same technique as the previous step I added a rusty colored fill layer and applied a MG Mask Editor. With this layer, I added procedural grunge maps in the image inputs section of the generator. This added an extra layer of detail and made the rust generate in a more natural way. Because these are procedurally generated we don't always get the look we want. So, in this case, I applied a Paint modifier to the mask layer and this now allows us to use the paintbrush tool and particle brushes to paint in or out more rust detail.

步驟3：應(yīng)用基礎(chǔ)銹層。

使用與前一步相同的技術(shù)，我添加了一個生銹的填充層并應(yīng)用了一個MG掩模編輯器。這一層，我加在發(fā)電機圖像輸入部分程序垃圾地圖。這增加了一層額外的細節(jié)，使生銹產(chǎn)生更自然的方式。因為這些程序產(chǎn)生，我們不能總是得到我們想要的。因此，在這種情況下，我使用了一個油漆改性劑的面具層，這使我們現(xiàn)在可以使用畫筆工具和粒子刷油漆或出更多的鐵銹細節(jié)。

Step 4: A second variant of rust

Not all of the car will rust in the same way because of the different metals and exposure. I added a Sunken Metal smart material to start off with and then went through and customized the layers to best fit the look of the car asset. I wanted a fine rust with some metal still showing through. I applied this material to the wheels and interior of the car.

步驟4：銹的第二變型

由于不同的金屬和暴露，并非所有的汽車都會以同樣的方式生銹。我添加了一個凹金屬智能材料開始，然后經(jīng)過和定制的層，以最適合的外觀的汽車資產(chǎn)。我希望有一些金屬仍然表現(xiàn)出良好的鐵銹。我把這種材料應(yīng)用到汽車的輪子和內(nèi)部。

Step 5: Masking tools

In order to quickly mask out certain areas of your asset you can use the masking tools. We have the option to mask via polygons, UV shells, meshes or triangles. I used Polygon Fill in this case and selected the polys I wanted to add the fine rust too. If you use a black color you can also remove areas of the mask. These tools are very handy and speed up your workflow.

第5步：遮罩工具

為了快速掩蓋你的資產(chǎn)的某些領(lǐng)域，你可以使用屏蔽工具。我們有選擇通過多邊形，UV貝殼，網(wǎng)格或三角形遮罩。我用多邊形的填充，在這種情況下，選擇我想加入太多細銹。如果你使用黑色，你也可以移除遮罩區(qū)域。這些工具非常方便，加快了你的工作流程。

Step 6: Shiny metal surfaces

I applied a steel Rust surface smart material; this material gave me a shiny chrome metal with rusty details to tie in with the rest of the car asset. Again, customize the layers so they bed in nicely with the rest of the car. While masking some of the areas of this asset it wasn't possible to use the polygon fill tool, so I had to rely on hand painting, which was okay but more time consuming.

步驟6：閃亮的金屬表面

我應(yīng)用了一個鋼鐵銹面智能材料，這種材料給了我一個閃亮的鉻金屬生銹的細節(jié)，以配合其余的汽車資產(chǎn)。再次，自定義層，使他們在床上與其余的汽車。雖然屏蔽該資產(chǎn)的一些領(lǐng)域，它是不可能使用多邊形填充工具，所以我不得不依靠手繪，這是好的，但更多的時間消耗。

Step 7: Dirt build-up

Now the metal work is complete I wanted to add a final layer of dirt and grime build up over the car. I added a dark grey fill layer with a high roughness value and removed the metal, normal and height values from the material as I didn't want to paint in this detail. After adding a black mask to the layer I painted in white using the Dirt paintbrush to build up areas of dirt. The corners and around the wheel arches were good places as well as the interior of the car. I tried to follow the natural areas of the body of the car where dirt would collect over time.

步驟7：污垢堆積

現(xiàn)在金屬工作完成我想在車上添加的灰塵和污垢的最終層建立。我添加了一個深灰色填充層與高粗糙度值，并刪除了金屬，正常和高度值從材料，因為我不想在這個細節(jié)。在圖層上加了一個黑色的面具后，我用白色的畫筆在泥土上涂上了泥土。角落和車輪拱門是好地方，以及汽車的內(nèi)部我試圖按照車廂，污垢會收集一段時間的身體的自然區(qū)域。

Step 8: Using particle brushes

Once I was happy with the dirt layer I used the 'Leeks Heavy' Particle brush and painted into the same dirt mask, adding streaks of dirt as if rain has washed away some of the dirt over time. You can also use a black color to subtract dirt using this technique, it helps the dirt look natural. This was the finishing touch to the car textures and it was now ready to be exported.

步驟8：使用粒子刷

有一次，我很高興在泥土層我用了“Leeks Heavy”粒子畫筆和畫到同泥土面膜，加入的污垢條紋仿佛雨水洗去了一些污垢隨著時間的推移，你也可以用黑色來使用這種技術(shù)減去污垢，它有助于污垢看起來更自然，這是畫龍點睛到汽車的紋理，這是現(xiàn)在可以導(dǎo)出。

Step 9: Creating muddy terrain

For the terrain underneath the road I wanted a muddy material for the grass to grow out of. To achieve this I used a tillable mud texture with an accompanying normal map. Simply drag your textures into the Substance Painter texture shelf and apply a fill layer. Drag the diffuse and normal maps into the color and normal slots and adjust the roughness value to something quite rough, as I didn't want the dirt to look too wet all over. I adjusted the UV scale to 1.7 to get something that looked good without tiling too much.

第9步：創(chuàng)建泥濘地

對于道路下方的我想為草長出來的泥漿物質(zhì)地形。要做到這一點我使用了一個可傾斜泥的質(zhì)地加上一個正常的地圖。只需拖動紋理到Substance Painter紋理架子，并應(yīng)用填充層。將漫反射貼圖和法線貼圖拖動到顏色和法線槽中，并將粗糙度值調(diào)整到相當(dāng)粗糙的部分，因為我不希望污垢看起來太濕了。我調(diào)整了紫外線的規(guī)模為1.7，得到的東西看起來不錯，沒有平鋪太多。

Step 10: Creating puddles.

I wanted to add some puddles to the terrain to not only break up the terrain but add a lot more interest to the tiling mud texture. Having something as highly reflective as water in the scene will add a lot to the quality of the final image. I created a fill layer with a very dark blue color, then I put the roughness and metallic to black to create a reflective surface. For the height I went slightly negative so when I paint the puddles they drop below the terrain height a little. Using the dirt brushes with a sharper edge, I then painted in the mask to reveal the puddles.

第10步：創(chuàng)建水坑。

我想一些水坑添加到地形，不僅打破了地面，也增添了不少感興趣的平鋪泥的質(zhì)地，具有場景中的東西作為高反射水會大量增加最終圖像的質(zhì)量。我創(chuàng)建了一個填充層具有非常深藍色，然后我把粗糙度和金屬為黑色，以創(chuàng)建一個反射面。對于高度我去略有下降，所以當(dāng)我畫他們放棄下面的地形高度一點點的水坑。使用污垢刷用的邊緣更清晰，我再在面膜涂揭示水坑。

Step 11: Finalizing the terrain material

To finish off the puddles I changed the opacity of the layer to revel the muddy terrain beneath it, which created a nice little effect giving the impression of actual depth to the puddles. This now completes the muddy terrain material and it is now ready for exporting.

步驟11：完成地形材質(zhì)

為了完成我改變了圖層的不透明度陶醉在它下面的泥濘地，它創(chuàng)造了一個可愛的小效果給予實際深入到水坑的印象水坑�，F(xiàn)在完成泥濘地材料，它現(xiàn)在準(zhǔn)備好輸出。

Top tip 1: Flat puddle surface

The puddles need to be very flat in order to look like deeper puddles. Here you see my Normal map channel and you can see the flat normal area where the puddles are painted in. You may get an instance where you still see the terrain normal map detail affecting the puddles, this breaks the illusion so to fix this you can change the blending type of the layer from Nmdt to Normal. You may have to do this on both the normal layer and height layers depending on how you paint the height information. I changed the group to Normal blending mode to get the flat puddles you see here.

小貼士1：平表面水坑

水坑需要非常平坦，以便看起來像較深的水坑。這里你可以看到我的法線貼圖通道，你可以看到水坑在涂平正常區(qū)域，你可能會得到這樣的情況：你仍然可以看到地形法線貼圖影響水坑細節(jié)，這打破了錯覺，從而解決這個問題，你可以改變從Nmdt為普通圖層的混合型。你可能有這取決于你如何繪制的高度信息要做到這一點對正常層和高度層兩者。我改變了組為普通混合模式，讓你在這里看到的扁平水坑。

Top tip 2: Exporting to textures

When exporting your textures make sure you select the right package you intend to use to render your assets. In the config drop-down list there is a list of packages to choose from. The benefit of this is Substance packs your textures into the correct format to make the whole import/export process a lot simpler and less time consuming.

小貼士2：導(dǎo)出到紋理

導(dǎo)出當(dāng)你的貼圖請確保您選擇要使用渲染你的資產(chǎn)的權(quán)利包，在配置下拉列表中沒有可供選擇的軟件包列表，這樣做的好處是物質(zhì)包你的紋理到正確的格式使整個導(dǎo)入/導(dǎo)出過程簡單了許多，少費時。