Delaney King Profile picture
Feb 26, 2022 21 tweets 6 min read Read on X
Game artists always benefit from learning how to leverage non destructive and procedural methods. #gamedev #SubstancePainter
This means setting up systems for tuning the results rather than just painting or baking on a fixed thing that is hard to edit. It makes you freer and faster.
Here I create a greyscale mask map that defines the bevelled ridges. I then reference that mask (using an anchor point) in other layers to create normals, dirt and AO.

So changing one changes the others.
This is handy because I can then import this into the game, play it and see how many ridges look good- too many could be busy or turn to mush when mip mapped in the distance. I can tune down the values and then hit export and the game updates.
Combining smart materials, anchor points and your own substance generators to make certain elements means you are empowered and can iterate quickly.

If changes are slow and painful, you will never get your best work done.
The same principle is seen here in my hand painted textures for Dungeons and Dragons Online. This was PRE substance, but I made use of photoshop layer effects to carry a lot of the work for me.
This is a simple bevel and emboss effect with an outer glow set to multiply. All I had to do is paint a white mask and the majority of the shading was done. This let me make fast changes and line up seams (we didn't have good 3d painting tools then so it was just photoshop)
This is just two or three layers with the same effect applied, to allow me to overlap details.

I then handpainted over the effect for touch ups.
You can see the exact same trick used here to create the trim. By thinking ahead and making effect presets and material type texture set ups I could do hundreds of textures fast.
And I do mean hundreds. So many costumes, weapons and monsters. All using smart procedural effects to keep me sane.
The same principle works in 3d as well. I used 3DSMax on Dragonage so I could form simple plates with a few polys- and have referenced modifier stacks to automatically apply smoothing, thickness give it a trim and uv that trim dynamically.
Blender is okay at this stuff, but Maya is terrible. Max is by far the best core modelling system because of the way it let's you stack modifiers and pass data up to the next modifier above- all in real time. All dynamic and reusable across projects.
I see a lot of people working by hand on things in a destructive or fixed way.

For example, putting lizard skin or leather texture on a bajillion poly model in zbrush and baking it.

Instead, you could do this dynamically in your texturing package- allowing you to...
Dial up and down the scales, change the scale shape and quickly brush out scales that don't sit well on the animating model.

Being able to dial in values and tweak shapes and brush in effects just gives you far more control and response time.
So yeah- best advice I can share is learn to make an art PIPELINE so all the stuff you have to produce is consistent, easy and fast.
Learn to make set ups that do the heavy lifting for you, and frees you to make artistic choices, or take client feedback.

Work smart. Learn non destructive workflows x
As always, you can butter my buns here:

Ko-fi.com/dellak
Oh and you can save a huge amount of pain by learning smart objects in photoshop.

Say I have my icons for every button or object in my inventory have a border or background... you can save it as a file and import it into each as a Smart Object. Change one, changes all
This means I can make, say, symbols used on my ship textures, flags and so forth all reference the same source image. If I change that, every texture gets updated.

This is great if you need to remove all the skulls and bones symbols in a Chinese release.
Like, store all your English words of textures and gui elements as smart objects and when you need to localise into Japanese or Italian, it's easy.
I made this in photoshop. It's completely unrelated to the lesson, I just think you need to smile.

(Bell peppers are called capsicums in Engand.)

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More from @delaneykingrox

Nov 6, 2023
A video game that simulates #ADHD. The mission objective changes at random every few minutes and whenever you walk into a new room, your inventory shuffles one item and sometimes it becomes invisible for a few minutes.

You auto steer into table corners.
Whenever you get more than one sidequest there is a chance you go into overwhelm and your controller will pretend it is unplugged.

The corners of the level starts filling up with laundry.

You put down an item and it vanishes when you look away.
You have timed missions but during loading screens that can dramatically shorten by an hour or five.
Read 19 tweets
Oct 28, 2023
A 3d character walks into a bar.

The bartender doesn't say anything.

You realise you haven't put collision or a trigger volume on the bar asset.
A 3d character walks into a bar.

The bar jitters and flies off into the distance.

You need to turn off "use phsyics" on the bar asset.
A 3d character walks into a bar.

The bartender says "why the long face".

You sigh and open your 3d modelling ap. Long thin triangles are bad for quad draw performance.
Read 19 tweets
Oct 18, 2023
In Life Is Strange Before The Storm, one truth Rachel Amber tells Chloe during "two truths and a lie" that she is a Leo.
The brilliant thing is later if you pay attention, her birthday is the day after Leo ends. But her starchart has her on a cusp.

This is brilliant.
The series has a few moments of absolutely brilliant subtle clues in it that add layers of meaning, but you have to be sharp to spot them.
But if you miss those, there are still blatant clues around the place that give some level of depth.
The main mysteries of the game aren't hard at all, probably to a fault, but on replay there are far more little ones.
Read 21 tweets
Oct 13, 2023
A technique I highly recommend to #gamedev artists is to look at actual shipped game assets.

There are various ways to get hold of them, such as programs like Ninja Ripper, Utiny ripper or via archives.

And I must stress this is for learning purposes ONLY. NEVER use them.
Being able to look at models from a wide range of titles, see how they are rigged, how their Uvs are layed out, the triangle count and modularity... it all helps you understand the ACTUAL end result you are aiming for.
I think it is really important that students bridge the gap between where they are at, and what the end products are at.

You may think "oh, the models in X game are super high end, high tech stuff" but when you actually crack it open and examine it in your DCC...
Read 11 tweets
Oct 10, 2023
There is no ethical use of AI art.

There is no future for humanity in a world where all human endeavour is stolen and boiled down to something that replaces humans.

What do humans do in a world where humans are not employed to create?

Is that a world you want to live in?
If you take away the creative process of human artists into pool, the zeitgeist becomes entirely manufactured from an ever decreasing pool of looping cannibalism.

Pop literally eating itself.
Endless product without exploration. Product feeding on product.

No art movements, no re-evaluations of our place and relationship to the world.

Homogenisation and starvation.
Read 12 tweets
Oct 9, 2023
Draw calls are responsible for a good 50 percent of the chugging issues I have helped games with.

A draw call is "okay now draw me an apple, and come back when you are done for the next instruction."
Then you ask for another apple. Then when they return you ask for another...
So the GPU is running back and forth to the CPU when it could just do that once and "draw me a pile of apples".
Rendering an apple, in this example, takes a tiny amount of what a core on the GPU can render. So by welding all the apples into one bigger mesh, it can be done faster in one draw call than all the fucking around to draw them one by one.
Read 15 tweets

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