I was introduced to 3D modeling back in high school, in the late 90s, with 3ds Max 2.0. I had no idea of what I was doing: there were no tutorials back then.
#Substance painter vs 3d coat software
I studied computer science and worked as a software developer for four years while I kept doing 3D stuff for fun, still in 3ds Max. In 2007 I was approached by Blur Studio to do some freelance work. That’s when I realized I could actually make a living from something I enjoyed more than my current job at the time. I kept doing some freelance work and in 2010, I was hired by nWave Digital in Brussels to work as a character modeler on animated features. Since then, I have been working in several studios in France and Belgium, doing all sorts of modeling and lately I have been taking shading more seriously.And that’s how I got into Substance Painter. Do you follow any rules or guidelines to bring this emotional level to your art? When we look at your characters, we can almost feel their personalities through their look and their pose. Most of my personal work is based on other artists’ concepts. There are tons of great concepts I’d love to make in 3D but there are only 24 hours in a day, so I have to be very selective. When I pick one I really like, I ask myself, “Ok, what makes this one so special, what is it that I like so much about it?” Once I have spotted that shape, that particular face, or a dynamic pose, I really try to focus on it and make sure I don’t lose it during the many iterations of the modeling process.
Then there are other tricks, like “taking it to 11”. For instance, when I make a correction in a sculpting program, whether it’s fixing some proportions, emphasizing an expression, or just modifying the shape of a nose, I make that modification on a layer. When I’m done and feel satisfied with the result, I set this layer’s influence to 150%.
It will exaggerate the modifications I made. #Substance painter and 3d coat software#.
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