本视频教程是关于Mari与Substance Painter Designer太空舱纹理贴图设计大师班视频教程，时长：4小时30分，大小：16.5 GB，MP4高清视频格式，附工程源文件，教程使用软件：Mari，Substance Painter Designer，PS，作者：Zak Boxall，共20个章节，语言：英语。

分享MARI是一款全新的具有创造性的3D纹理绘制产品，最初在Weta Digital开发，主要用来解决高细节的纹理问题，后被用于影片《阿凡达》、《第九区》等的开发制作中。

MARI能够轻松处理高细节——数以万计的复杂纹理——快速且简单。

MARI深受欢迎，并收到了来自各式各样的纹理绘制社区的预定请求，这其中不乏Double Negative和Framestore这样的大客户。

Substance Designer是Substance贴图工具产品系列之一，它可以帮助美术师高效地创建并且重复应用贴图。

Substance Designer是首款能够混合及应用位图, 矢量图和其他元素的专业贴图工具，使用它能够制作复杂的贴图。

用Substance Designer制作的贴图具有许多传统位图不具备的优势。

后者相对静止且用线性方式制作，而用Substance Designer制作的贴图更具活力，在制作的每个阶段都可以被高度的自定义。

Substance Painter是目前最优秀的次世代游戏贴图绘制软件，该软件提供了构建3D素材所需的所有工具，包括粒子笔刷，可以模拟自然粒子下落，粒子的轨迹形成纹理。

当然还包括了Material Painting材质绘制，可以一次绘出所有的材质，同时几秒内便可加入精巧的细节。

同时软件支持Linux，8K导出，色彩管理，UDIM管理和脚本API，使Substance Painter与VFX工作流程相结合比以往更容易。

Substance Painter拥有一个独特而全面的工具和内容生态系统，围绕3个主要软件组件展开，包括3D绘画软件，可以用画笔，面具和粒子的纹理，呈现并轻松导出到游戏引擎。

材料制作软件：用户可以使用非破坏性的，基于节点的，程序化和可编写脚本的工作流程来编写纹理和材质。

图像材料生成工具：能够帮助设计人员提取花木PBR纹理并生成法线贴图。

My name is Zak Boxall and I’m a texture and Look Development Artist in the Visual Effects industry. I’ll be showing you the steps I took to recreate this space capsule 1-1 based on photographic reference. We’ll dip into Mari, Substance Painter, Designer and Photoshop. But the goal here is to understand each step and not just follow along, we’ll go through the why’s and how’s, so by the end of this series, you’ll be able to apply these theories to your own models. It’s also worth noting, we won’t be using any third party plugins at any point.For those of you that are already familiar with Mari and are used to working with layers, we’re going to be texturing exclusively in the node graph. I’ll show you how the node graph can allow you to work more efficiently and organised, in a procedural yet non destructive manner to get full coverage as a base. But we’ll hand paint details on each mask, to fully realize and match our reference.With nearly 4 and a half hours of content we’ll go from beginning to end, grading the on-set photos, removing shadows & highlights, making tilables and building the colour map. We’ll then break the texturing into the various layers required for current physically based renderers. We’ll paint all channels in isolation, and work in different details into each map, to ultimately help define a surface that’s visually interesting, but matches our reference.We’ll paint maps such as specular roughness, different levels of displacement and isolation masks for further control in look development.We’ll also go through how to create multi layered procedural edge wear and dirt masks from scratch inside of Mari – Similar to smart masks you can get in Substance Painter.The emphasis is on using these procedural techniques as a base, where we will then hand paint on top to art direct and paint hero moments, to help tell a story with your asset.And finally all along the way, I’ll show you how I work non-destructively in anticipation for feedback expected in a production environment.