Art by Zhelong Xu

Zhelong Xu: Making Magic with Substance

support@allegorithmic.com on October 2 2017 | News, Substance Painter, Stories

Artist Zhelong Xu draws on inspiration from Chinese art and folklore to create intricate 3D art using Substance. In this tutorial, he uses the new anchor point feature in Substance Painter for some truly unique patina work on his signature statues. Enjoy!

Hi Zhelong! This is not the first time we’ve talked, as we interviewed you on our blog last year for the release of Substance Source! For the few who don’t know you yet, could you introduce yourself to the community?

光叔(许喆隆)您好!仰慕许久,这不是Allegorithmic第一次采访您了,去年在Substance Source资源库发布的时候我们就已经做过一篇您的专访!对于那些还不了解您的海内外朋友们,您能再介绍一下您自己吗?

Hi, Allegorithmic! It’s been great getting to know you genius guys who developed the awesome Substance toolset. I am Zhelong Xu and I come from Jingdezhen, China. This city has been known as the “porcelain city” for the past thousand years and I am very proud of it:). I've been working in the CG industry since 1998, and have been creating art every day since then. Right now I have a studio for CG education and garage kits development in Shanghai. You can find my ArtStation right here.

Hi,Allegorithmic,很高兴认识你们这群天才-开发出substance系列出色工具的人。我叫许喆隆,来自中国景德镇,那里被称作“瓷都”已经有一千多年的历史了,我很为此自豪☺。1998年我开始接触到CG这门艺术,一直到现在我每天都在创作。我现在在上海,有一个工作室从事CG教学和模型手办开发的工作。可以在我的Artstation页面找到我的作品

Your recent work on a dragon statue has gotten a lot of attention. It’s also one of the first times we've seen anchor points in action since the feature was released in the July 2017 update of Substance Painter. Could you tell us more about your texturing process on this project, with a specific focus on your use of anchor points?

您最近的作品一座龙雕刻《一洗万古凡马空》继续受到很多关注。这也是自七月Substance Painter2017.2 发布Anchor Points功能以来,首次看到使用此功能的作品。您能介绍更多这个项目的贴图过程吗?特别是关于Anchor Points的使用。

This is a case study from my online course. It comes from one of my concept sketches.

这个项目是我的网络课程里的一个案例。首先是来源于我自己绘制的一张概念草图。

The emphasis is on the curly “Chinese style”.

在造型上主要是强调“中国式”的曲线美感。

The material inspiration comes from a Chinese magazine about classical temple wooden sculpture. I took the picture with my phone and found some other references from internet.

那么在材质上的灵感来源于我6月从深圳飞往上海的班机上看到的一本介绍中国古典寺院木雕的杂志。我当时拿手机拍下那张图片,然后结合了一些因特网上的参考。

While I was creating this, I wondered if these mottled aging marks and varied colors could bring different feelings to my artwork. Substance Painter is the most convenient tool for achieving this, so I created all the textures in Painter.

First of all, let’s talk about the structure of these materials. These are all same textures except the base part. The base is similar to the painted wooden statue after years of wear, with different colors showing through. With this idea in mind, I started with the dragon head first, then created smart materials to apply to other parts. I finished with some fine adjustments.

我想那些斑驳的岁月痕迹以及丰富的色彩能给我的作品带来不一样的感觉,而Substance Painter将是实现这些最方便的工具。这个作品所有的颜色贴图我都是拿Substance Painter完全独立完成的。

首先来分析下这个材质的构成。这个雕像除了底座,别的地方的材质都是相同的。类似于经过岁月洗礼的上漆木雕的效果。不同的只是颜色上有所区分。这样可以定下一个制作的思路,就是我可以先制作龙的头部。然后创建一个Smart Material用于其他部分,之后再稍作调整和修改。

Step 1

Here, I'm starting with the head. In general I separate the materials into several “layers”. It’s the same idea as the design of Substance Painter because all complex materials are made of several base colors with different roughness and metallic. For example, a complex granite material made from a dozen different grayscale colors. The detail of our work depends on how we break down all the subtle layers. What we should do is overlay and create some masks to mix them together.

开始制作头部。我一般的做法是把物体的纹理材质拆分成若干个“层”,这个思路其实和Substance Painter的设计思路是一致。因为这世上任何一个看似复杂的材质和纹理都是由若干个纯色,分别带有不同的粗糙和金属度构成的。比如说一个复杂的花岗岩材质只是十几个不同灰度的颜色组成的而已。我们的作品细致程度与否就是取决于你怎么把这些细微的层分解出来。我们要做的只是往上叠加并且制作某些蒙版让他们之间互相渗透。

We can start with the wood base color. It will be the background of the old materials, which will become visible through masks. Therefore, I won’t set the saturation too high.

首先是木头的底色,这将作为这个老旧材质的底色被其他图层蒙版透出来,所以一般我不会把饱和度调整得太高。

There are some different color paints on this statue, so I added the aging paint A (brown), the stains in the slits B (brown), and the edge wear C (brown). These three different brightnesses and and differences in the purity of the brown color create the wearing effect.

然后木雕会在上面有不同的彩绘。所以我添加了代表A岁月老化的底漆(棕色),B凹缝里的污渍(棕色),和C边缘磨损的棕色,这三种不同明度和纯度的棕色都代表了磨损效果。

For the next step, I will add cyan color, a deep red lip and bright golden metal paint. I finish this by applying a layer of dust and adding a roughness painting layer on the top. (It’s better to create different roughnesses even in the same color).

之后上面有表面的青色,龙唇的深红色以及亮眼的金属漆金色。最后再加上一层灰尘。最上层添加一个粗糙度的绘制层。(我需要在相同的颜色中也创造出不同的粗糙度)。

This is the structure of base material. As you can see, it’s not complex at all. At the end of production, I’ll make some scratches in order to add damage to the model.

基本材料的构成就是这样。并不是特别复杂。在制作的最后,我希望添加一些划痕以弥补模型上并没有制作的破损。

Step 2

Now it’s time to use anchor points. In the past, I used generators to make those scratches, then stacked them in different ways in every layer that needed this effect.

The problem is that I have too many paint layers: blue, red, gold, and so on. The scratches must be reflected in each layer. Scratches need to pass through all layers to the bottom, revealing the bottom wood. Anchor points allow me to achieve this without pasting all those scratches to all layers as it offers a “micro detail” option through the link to associate the layer masks. What I need to do is make a scratches layer with height information, use this layer as an anchor point and reference it on the layers that need scratches. As you can see, I only need to adjust one layer to achieve the effect I want on all the layers.

这个时候Anchor Point就派上用场了。通常来说,在以前,我只有把这个划痕用发生器制作出来,然后用不同的叠加方式叠在每一个需要这些划痕的图层蒙版上。但是问题是我做的油漆层这么多(青色金色红色等等),我的划痕必须在每一层上都有体现。也就是说,划痕将要透过这些层一直到达最底部,透出最下面的木头效果。Anchor Point让我不必每一层都去粘贴这个划痕通道。他提供了一个“微细节”的方式。通过“链接”的方式把图层的蒙版之间取得关联。我只需要制作好有高度信息的划痕层。之后把他作为锚点,链接到那些需要出现划痕的层上面。这样我只需要调整这个层,就可以达到关联的目的。

Without scratches(anchor point)无划痕
With scratches(anchor point)有划痕
Use anchor points to reference layers下图解释了锚点链接的层

This is really cool. The subtle variation of material appears in many places. Scratches cross through each layer, and this gives the effect of a very old wooden statue.

Even better, scratches affect different channels and you can use levels to adjust each channel’s details. I can get a lot of results automatically in this way.

这实在太酷了。可以看到作品最终在很多地方出现了这种细微的材质变化。划痕划过每一层油漆到达底部—这正是真实木雕做旧的效果,更棒的是,划痕在不同的通道链接,可以通过level来细微调整出现的效果。如此一来我可以得到非常多的效果,并且是全自动的。

Step 3

After finishing the dragon’s head, I made a group to create a smart material, and then applied it directly to the other texture sets. In this step, I also modified some unnecessary or less good-looking layers. I slightly adjusted it, but I didn’t change the overall material structure.

制作好龙头之后我把图层打组,创建了一个Smart Material,并且直接应用到其他的Texture set,这里需要注意的只是要修改一些不合理或者不好看的层。略作调整。但是整体上的材质结构是不会改变的。

For example, I removed the red lip color from the body material while adding more blue and cyan.

The rule is that I wanted every different body part to have a fixed, colorful painting effect, such as: the dragon’s chest is blue, the belly is red, and the neck is gold. I am using this method to distinguish the color of main body. The rest of dust and scratches are automatically calculated by the smart materials. I was pretty happy with the result. I finished all remaining objects using this method, and I only needed to spend a little time making minor adjustments.

比如,我在身体上去掉了龙唇上的红色。并且增加了更多的蓝色和青色。规律就是龙身上不同部位我都想让他有一个固定的彩绘漆的效果,比如龙的胸部是蓝色,腹部是红色,龙颈处则是金色。这样进行主体上的颜色区分,其余的灰尘和划痕则是由龙头的Smart Material材质自动计算的。看上去很不错。剩余的物件也按照这个方法。只需要花上一点点时间略微调整。

I spent about 10 hours on the whole texturing process including rendering time. These renders use the default Iray in Substance Painter, and rendering each shot takes only about an hour.

整个贴图过程,我大约使用了10小时。包括渲染的时间。 这个作品和以往一样也是用sp内置的iray渲染的。每张图只需要1小时左右。

How did the anchor points change your workflow?

Anchor Points功能如何改变了您的工作流程呢?

As I mentioned, anchor points changed my way of thinking how to add details. You can start with the large piece of material first, without worrying about getting an unnatural result after adding too many details.

For example, create multiple base materials first, then the small damages will insert between these materials, rather than doing it manually. In the past, we could only hand-paint in this situation. But now, the automatic effect is even better.

At the end of the official video tutorial, there is a very cool tip. The damage to the spacecraft can be controlled by the paint layer’s different depth. It’s very cool. I suggest that everyone have a look at that demonstration.

对我来说,锚点功能正如我上面提到的,改变了添加细节的思考方式。你可以先制作大块面的材质,而不用担心细节的添加带来的不自然因素。例如:多层材质互相叠加,之后一些细小的破损需要在这些材质之间互相穿插影响,而不是凭空生硬地添加上去—-以前遇到这种情况只能手动paint处理。现在这个效果是自动的并且更加好。当然官方的介绍视频最后演示了一段非常酷的操作,那个飞船的破损可以通过一个paint层控制不同的深度,非常酷,建议大家都去仔细看看那段演示。

On another note, you also participated in the Meet MAT contest. Could you tell us about your experience in this contest?

另外,您也参加了MeetMat公仔大赛了对吗,您在这次比赛的经历如何能分享给我们吗?

This contest was really interesting, and it was the most enjoyable CG competition I have ever seen. When I look at the results of those wonderful works, I deeply feel the greatness of human creativity. Art can really change our lives. The stubborn playful Van Gogh, the material candy robot…can you imagine how much love went into creating these? I also created a little guy – I didn’t spend much time on it, but I really enjoyed it.

哈哈公仔大赛非常有趣,这是我见过最有趣的CG比赛。当我看到结果公布的时候那些美妙的作品,我深深的感觉到人类的创造力如此丰富,艺术真正的改变了我们的生活。倔强俏皮的梵高,材质糖果机器人。。我的天啊,是得多么有爱的人才能做出来?我也创作了一个小家伙,虽然用时不多,但是也乐在其中。

This is a hero character that Chinese people like a lot. His name is Wu Song and there are a lot of legends about him. The most famous one is that he defeated a tiger by hand. Of course, this is only written in a novel. This is why I created this funny kid with a tiger hat, which is also a small special accessory from China. Of course, my work is not very prominent compared to other contestants, but I was very happy. I was smiling while I was painting his smiling face. Happiness is the theme of this contest, happiness is also the purpose of our CG industry, and even the purpose of life, isn’t it?

这是我们中国人很喜欢的一个英雄人物,他叫武松,有很多传奇的故事,最著名的一个是他徒手打败了一只老虎,哈哈当然,那是小说里写的。所以你看到这个有趣的孩子头上带着一个老虎帽子呢,这也是我们民族的一个小小特色的饰品。当然和其他的参赛者比起来,我的作品并不是很突出。但是很开心,当画他的笑脸的时候我自己都会笑。快乐是这个大赛的主题,并且,快乐是我们从事CG行业的目的甚至是人生的目的,不是吗?

What are your future projects?

有哪些未来的项目呢?

I would like to keep teaching CG and continue making artwork, of course. But I think I should take a break for a while. By the way, have you seen the lamb splashscreen when you launch Substance Painter ?

未来我可能会继续从事cg教育这块,当然还有继续创作作品。但是我想我应该休息一阵子。对了,知道substance painter2017.2启动画面那只小羊吗?

I will bring it to the real world with 3D printing technology. Simulating Substance artworks with real material should be very interesting. And as with “Fearless Journey” and “A Dragon Statue”, I will make the actual items to sell. So whatever you like to do, just do it.

我会把它用3D打印技术做成实物带到真实世界里来,用真实物料模拟Substance,想想都有趣。而且就像《金麟少年》和《一洗万古凡马空》这样的作品,我都会做成实物贩售。所以,喜欢什么就去做什么~加油就对了。

You have been making art for close to 20 years and you’ve also started teaching online students in China. Is your son also one of your students? :)

您已专注艺术创作接近20载,也开始在中国开始收网络入门弟子,请问令公子也在您门下吗?☺

At the moment, he’s only five years old. I don’t want him to pay too much attention to the computer screen yet. Sometimes we draw together and I tell him some silly stories that I make up. ☺

I would like to continue my online courses, and they are temporarily on a Chinese-language website. By the way, I am working on a tutorial for Allegorithmic’s Substance Academy. I would like to finish it as soon as possible. Thank you all!

呃,他才五岁呢。我平时不大希望他老是关注电脑屏幕。我有时候会带着他一起画画讲一些自己编的乱七八糟的故事。☺

关于网络班,我应该会一直做下去,当然暂时是在中国的国内。对了,我正在给Allegorithmic制作一个Substance Academy的课件,希望能尽快做完让大家看到。谢谢大家!

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