Concept art is a crucial process that bridges written ideas with fully realized visual storytelling, establishing the artistic vision, style, and mood. It is essential for creating visually appealing environments in games, cartoons, and stories. This process involves using reference photos and Clip Studio’s perspective rulers to create background concept art. Form is key in this process, and it helps visualize the idea and gain a better understanding of the final product.
Stylized concept art is used to create a visual representation of a concept, whether it’s for a character or an environment. It helps visualize the idea and gain a better understanding of what the final product will look like. This article provides a step-by-step guide on how to create stylized concept art using Clip Studio and Blender.
To create a focal point, use contrast to make it stand out from what’s next to it. This can be achieved through different ways, such as having a focal point or using a shadow.
Angelo Tsiflas created a stylized environment Witch Hut using ZBrush, Maya, Substance Painter, and Unreal Engine. This tutorial offers tutorials about computer graphics, digital painting, animation, and VFX, helping users master the art of creating unique and engaging stylized buildings for game environments with digital painting and 3D.
📹 Tips for Drawing Backgrounds!
Backgrounds are Important for storytelling! But no one seems to want to draw them! In this Episode, Brent and Max draw …
How do you get into environmental art?
Environment artists typically have several years of experience in 3D modeling, sculpture, and design. To break into the industry, one should study 3D modeling and build a portfolio of original 3D environment assets and set dressing pieces. Film and game studios seek artists with expertise in the VFX pipeline, strong knowledge of geography, architecture, and physics, experience processing and working with scans, high-level drawing skills, ability to interpret reference material, real-world understanding of proportion, depth, scale, and physical space, efficient UV layout experience using a UDIM workflow, and the ability to imagine expansive worlds for video games.
What software do environment artists use?
3D environment artists use various software and tools, such as Maya, ZBrush, 3dsMax, Blend, Substance Painter, World Machine / Gaea, and Unreal Engine, to create and lay out digital 3D environments for films and video games. They create sets from concept art, real-world reference, and scans, populating them with assets known as set dressing. These environments are often built or extended digitally when filming in real life, such as outer space, historical recreations, or fantasy lands.
In video games, world building is even more complex, as the environments must function and react according to physics and the game universe’s rules, such as preventing characters from walking through walls or objects from reacting to gravity.
How do you make a concept art style?
Concept art is a crucial art form that establishes the artistic vision, style, and mood for various media projects, including films, TV, video games, animation, character design, and other imaginary environments and characters. It involves researching, sketching ideas, refining selected designs, and creating final renderings. The techniques used in the concept art process depend on the project and artists’ preferences. Concept art is essential for any visual medium involving fictional settings and characters, as it serves as the bridge between written ideas and fully realized visual storytelling.
Key elements of concept art include the style and look of characters, color palette, lighting, visual atmosphere, composition and camera angles, scale and proportions of structures, props, and other physical elements, and the practical functionality of designed elements like technology, costumes, or vehicles.
Where do concept artists get their ideas from?
Concept artists use research to gather visual references from various sources to inspire their designs, understanding different styles, cultures, and historical periods. They create visually rich and authentic worlds by immersing themselves in the subject matter, enhancing the storytelling experience. Essential skills for a concept artist include strong drawing and painting abilities, knowledge of anatomy, perspective, and composition, proficiency in industry-standard software like Photoshop and Illustrator, understanding of storytelling, narrative, and visual communication, and adaptability to work within tight deadlines.
These skills enable concept artists to create visually appealing designs that resonate with the audience and enhance the storytelling experience. By focusing on these skills, concept artists can create visually appealing and engaging designs that resonate with their audience.
Is there a high demand for concept artists?
A report indicates that the number of concept artist positions in the United States is anticipated to increase by five percent from 2018 to 2028. Furthermore, the number of concept artist positions and the average salaries associated with these roles have demonstrated a pattern of growth over time, which suggests a robust demand for these professionals.
How hard is it to get into concept art?
Starting your journey as a Concept Artist is an exciting and achievable endeavor in Creative Media and Entertainment. This article aims to guide you through the process, starting with the first step, which may seem like a distant dream. It covers various aspects of the career, including what a Concept Artist is, career paths, salary expectations, job expectations, software learning, top schools and colleges, digital portfolio examples, communities and blogs, potential employers, essential books and resources, and general advice and tips.
The guide also provides examples of incredible digital portfolios, communities and blogs to join, and potential companies to hire. It’s essential to remember that the journey is 100% achievable and deep-rooted in your passion for creating innovative and visually appealing content.
What are the 7 rules of art?
The principles of art are essential in determining the success and completion of a painting. These principles include balance, contrast, emphasis, movement, pattern, rhythm, and unity/variety. The artist decides which principles to use in a painting, and the use of one often depends on another. A successful painting is unified, visually balanced, and moves the viewer’s eye around the composition.
Balance refers to the visual weight of the elements, creating a sense of stability and “feeling right”. Imbalance causes discomfort in the viewer, while contrast is the difference between elements in a composition, making each element stronger in relation to the other. Contrast can be achieved by juxtapositions of any of the elements of art, such as negative/positive space, complementary colors, or notan.
In summary, the principles of art play a crucial role in determining the success and completion of a painting. By utilizing these principles, artists can create visually appealing and impactful works that engage the viewer.
How do you break into concept art?
To become a concept artist, one must obtain a high school diploma, pursue a bachelor’s degree, obtain an art certification, practice regularly, create a portfolio of work, start networking, gain experience, and apply for jobs. Concept artists specialize in conceptualizing products, vehicles, characters, and more, and must have several skills to be successful. To become a concept artist, one should obtain a BA in a relevant subject, such as art, graphic design, animation, illustration, or computer-aided design.
They must also compile a portfolio of work and network to gain experience. Concept artists are responsible for visualizing and creating various creative assets in various settings, and their success relies on their skills and experience.
Where to start with concept art?
To create a successful concept art, follow these five steps:
Develop a plan: Sketching is often the first step in creating a concept design. However, it’s essential to have the right tools, practice concept sketching, refine the art, and finalize details like value, lighting, and texture.
Create the initial ideas: Sketch ideas for an action-packed movie or fantasy video game, such as futuristic scenery or magical landscapes. This process helps turn creative vision into visible art, setting the stage for the creation of every other aspect of the project.
Revise the art: Revise the art before bringing it together to create the final product.
Do concept artists get paid well?
As of September 17, 2024, the mean annual salary for a concept artist in the United States is $132, 826, according to the most recent data.
📹 The Ultimate Beginner’s Guide to 3D Environment Art
Environment art is hard. Like really hard. In this video, Diego is going to give a beginner’s guide on how to create beautiful game …
i don’t really like drawing people but I love drawing backgrounds, when I used to watch gravity falls I used to screenshot EVERY scene when there’s no characters and just the background. I still have the collection on my old tablet,I really love backgrounds, especially the artstyle in gravity falls xd
I actually kept finding myself in the dilemma that drawing characters without backgrounds just doesn’t ever feel interesting enough, but by wanting to draw backgrounds for everything not many projects get done. They just do so much for storytelling, it feels like wasted potential not to have them nearly every time.
Real quick: I am currently tracing some of my old photos for references of buildings that don’t exist anymore. These structures can’t be found even online. For this, I thank you for reminding me of the importance of changing the final outcome of these scene’s through understanding it’s perspectives and avoiding tangents. Cheers!
I just began realizing the amount of story a background can tell about a character. I come from a simple pencil sketch childhood. No color. I was actually afraid to try to add colors to my artwork. I wasn’t familiar with how they worked (water color vs. Marker vs. Acrylic, etc.). But I began using color and now… I’m OBSESSED with learning how to fo backgrounds! I’m not sure how color unlocked it, but…. yeah.
Omg thank you so much for this. I may find backgrounds a lot of work too, but it definitely a great, especially when it comes to storytelling. Not to just replace the blank canvas behind the characters we draw, but to show a story within a story. Give the audience some snippets like clues that could help them put together a story that creators are telling. Backgrounds rock just like character designs and everything else within the making of animations.
This is amazing, I have always struggled with creating background environments for my characters. I gone so far as to learn 3D just so I didn’t have to. But perusal this article really reframes my thinking on how to go about it (Trearting it as it’s own character, which is silently telling the audience more about the characters who inhabit it). I will definitely be taking your advise of starting with my own environment and go from there.
Love the effort you both put in the article👍. Been drawing BG’s for years, since its part of being a layout artist in an animation studio. Still, I’ve learned new things today from this article: “…old villages are organic places that form over time”. And… “BG are characters. They may not have speaking roles, but the feelings they convey are clear”.
I’m here because I’m trying to draw my current favorite couple kissing against a background of an orchard in full bloom. So much art of this couple (and many other couples, come to think of it) just show them, and them alone. Backgrounds can do so much to elevate the emotion of a scene, and set you apart from other artists!
it really amazes me the amount of dedication that u guys put in your articles. So higly educational, entertainment, very high value content. It is so much easier to grow as an artist with all the information that is shown. Backgrounds has been difficult ofr me, but with all the tips here, i will definetly try everything and practice more! As allways, thank you! I hope you guys can submit more helpful articles!
one of my favourite artists is Simon S. Andersen (the creator of owlboy) and i was mostly drawn to his works BECAUSE of his backgrounds! like, the detail in some of his stuff is downright inhuman! especially the art for edm artist ‘savant’ and his album ‘Zion’ i’ve always wanted to try and get properly into backgrounds, but never got around to it, but it truly is one of the most breath-taking artforms, and with it, you can hide so many details anywhere!
Thank you for the article✨ I’m an artist that’s in the midst of trying to find out what type of illustrations I could do. I’ve been an artist since my young years and it was a personal choice to just slowly explore it throughout my life as i make it. I’m majorly inspired by animations and book illustrations, and to me scenes are not just captivating because of the people, but the backgrounds they’re set in. I would like to be able to put out full scenes, where the coloring, lighting, people and background tell a story in themselves. It’s a lot of work but what in practicing art isn’t! Thank you for the tips. They give me direction on what resources to pick while growing in my art capabilities
this made me respect backgrounds even more, i kinda always knew that theyre not just something rushed for characters to run around in, but rather an environment that tells a story within it. so i like that you treat it as a character, it gives me a whole other perspective to it (and maybe can help me draw interesting backgrounds idk) TL;DR: perspective is hard :’) but what i think why artists tend to avoid backgrounds (like me) is because it can feel intimidating, i can imagine a cool background with a mood and story for a character to live in, but i immediately get frustrated and overwhelmed because there are so many elements that makes a background good with so many objects that has to be in perspective or they will feel out of place (which we obviously dont want).. which is what this article stated at a point, instead of thinking about it as complex buildings or whatever you can think of simple shapes, just like characters. characters and figures seem to be the thing to start with for any beginner and eventually they stick to it and it becomes a comfort zone, maybe cuz drawing characters feel more impressive like “omg it just looks like mickey mouse”, or maybe because characters are the focus in most media and artists wanna draw their favorite people, i rarely see someone being like “i started drawing because i liked the backgrounds of looney toons” or something. while anatomy can be an analogy for the elements and objects working together in a background… but.. is anatomy really what you think about when you see spongebob the question “why most artists only draw/start with drawing characters” interests me and i doubt i even scratched the surface uh maybe cuz characters feel simpler to draw, more appealing?
You guys are Rad! Thx for all the inspiration. You remind me of what it was like in animation class all them yrs ago and man do I miss it! Love being around silly creative people drawing all day and having fun coming up with funny entertaining ideas! I studied 2D animation some yrs ago but under the intense military style sgt like drilling critique majority of our classes self esteem dove to beyond un-epic proportions. 🤣 Now after yrs of continued practice drawing and building back up my beaten down self worth I am now starting to develop my own animations once again! Yay to healed self esteem! 😂 Backgrounds are definitely under rated but definitely worth creating. I have recently been drawing more of them. I think people feel intimidated by them but thanks for making another amazing article!
Awesome examples! I loved the smart use of curve lines for the more natural, medieval village setting. My main problem with perspective was always going further than drawing rectangular blocks everywhere – and I think this lesson was very valuable. Regarding beautiful rendering of a room at 13:57 – how would you approach this, as you can’t just sit and draw from this perspective. Would you make a photo and trace it? Or copy just looking at a photo? Or sit in the room and just try to imagine looking at the room from this high perspective, readjusting all the objects? (this last one seems the most artistic, but also very difficult to grasp as you’re not drawing something you see)
I LOVE drawing backgrounds and do them better than I can draw characters, but for a story I need to be able to draw a background that a character(s) fit into and somehow that is soooooooooo difficult. I’m given the character drawn coloured and lighting done, but then attempting to fit a scene around them feels so hard to wrap my mind around!
Hello Brent and Max, this was a awesome article on background, I suck at drawing them but this article gave me a TON of info to help me get better at drawing them, not sure if you guys would see this, but I also wanted to ask if you can make a article about animation freelance commissions? I have seen your pricing article, but would like to know more about animation commissions, I cant seem to find any good ones on YouTube. I know nothing about the subject but would like to start doing animation commissions. The only real info I got is that I might charge per frame.
Amazing article as always! Love that you use people’s OC’s. Speaking of beautiful backgrounds, you guys should check out Genshin Impact– they have such immersive, unique and gorgeous backgrounds in the game that are breathtaking. Also, would have loved to see the sources referenced for the backgrounds you used in the article, or the artists that did them. For example, who did the lovely computer scene at home at 14:01 ?? Such great use of light and simplified shapes
For me drawing backgrounds always gave me anxiety, Where do I start when do i stop! Especially urban/city landscapes with vectorian historical architecture that have waaay more none repeating details, so even if you wanted to simplify it you still have to include all of those major designs, a character can be as complicated but in my mind its still a single contained object to draw, backgrounds are the opposite, many objects with each object having it own details! And each detail has its own details!!
For me, I have fun when I do natural backgrounds, but I hate drawing buildings and cars and interiors and that stuff. I don’t like straight lines in my work for example. And yes there are styles where curly buildings and stuff look cool, but that doesn’t really lend well to my style. If I do backgrounds that involves a bunch of straight lines like a city scape I tend to make them really out of focus and just blobs of colour cause I really have no interest in that sort of thing. Someday I’ll force myself. But as a hobbyist it’s difficult for me to justify drawing things I don’t enjoy.
I believe that most artists choose not to include backgrounds with their characters because it avoids the challenge of adjusting the proportions between the character and the environment. For instance, if there’s a shop in the background, they need to ensure that the door isn’t too small or too large relative to the character, and managing such details can be complicated.
9:25 While adding things is nice to add story elements, or tell a story on their own, a background ought not to be considered the same creature as an “I Spy” or a “Where’s Waldo”. If there are too many elements competing for the viewer’s attention, or being inserted for the sake of filling a void, then either the staging should be tighter and more efficient, or you need to let the background breathe and dispose of excess paraphernalia. There are exceptions during which the background has a necessity for complexity (think steampunk cities, Howl’s gorgeous room, the parade scene from “Paprika”…) but in general, a background is in service to a story being told, and will generally exclude extraneous elements as the scene requires.
Oh hey!! That’s me! @13:59 Wanna know my secret? I use the Sims 4 to map out rooms LOL. Trust me, you still have to know how to draw props in the correct perspective, color theory and correct lighting, as well as how you want to show your character’s personality through their environments, so this definitely wasn’t a shortcut/cheat and more of a tool to help me figure out how I wanted the base concept to look before I went into the actual drawing stage. You have to know the rules before you can break em, and I still have a lot to learn about backgrounds! Thank you Brent and Max for such a cool and informative article! I know I learned a lot and will most likely be redrawing this background in the future with this new knowledge in mind! :>
This is excellent. I have tried for years to look for a background painting class for 2D Animation. There is only basically one teacher out there that has a long waiting list. All of the other programs that teach background painting, you have to sign up for an entire four year program at art center of Pasadena. This is why so few people are actually painting backgrounds. There’s just not enough courses That teach this in great detail.
Absolutely incredible article. I’m a college junior majoring in Fine Arts, and throughout ALL the perspective drawing units I’ve taken, no one has ever really explained how the horizon line works in perspective like this. That short animation showing how different camera angles affects the horizon line blew my mind lmao. Excited to try all this out!!
-> 😏 Maybe We’re The 1st Spiritist* Pop-Metal Or Rock Band In This World… But Don’t Pay Much Attention To Our Neanderthal English, HaHa ❤ HaHa *NOTE: -> Spiritist is who professes Spiritism, the Gospel continuation It has began with the books by Allan Kardec and continued in the books by Francisco C. Xavier, the greatest and more important medium/prophet of spirits of the last centuries
great article!! this article kick started me into finally drawing more backgrounds. ONE peeve though. you said only 4% of the art submitted had backgrounds, but my question is that do you specifically ask for art in general? or do people submit mainly character artwork? because i feel kind of skews the point if a majority of the art submitted is probably character references or character art acting as reference. you’re main point still stands!! (that being that not enough artists draw or have the tools to draw backgrounds), just a minor, no-big-deal thing that annoyed me 😅
I’m confused about doubling the background size, if your final project is going to be standard HD, then when you bring the BG into the comp do you leave it larger thus cutting off portions of what was drawn or do you scale it down to fit (shrinking line width in turn)? I hope this question makes sense.
The reason why I don’t draw background it’s because they have so many details and I’m perfectionist. When I tried to learn about background I discover how many things I have to learn. And most important (for me) is perspective with is hard to learn. I wish there would be easy way to draw background for me. Also I’m scared that I add to much items on background and there will be no focus on character. You add character somewhere in background and I want charter to be centre of the story.
Unsolicited tip for this website: In your little theme intro, you should reverse the drone shot so it’s zooming in on you rather than flying away Having the camera go from birds eye then down to you is a subversion of expectation and allows it to end with you guys waving Having it fly away from you to a dirt lot just makes me think “these guys own a drone”
Guys, I really wanna listen to your opinion about IA art. I am an average artist in the process of eternal learning. And everything I’ve seen in the last few months about AI art is very discouraging. I think part of what always motivated me to want to study art was my admiration for those who already had this ability. The effort and hours of study that an artist needs to have to produce artwork, for me, were part of the value of that art. And now I feel like a lot of this is going to be lost, it’s all too easy for AI, years of study to produce an artwork are now easily overcome in a few minutes. I caught myself more than once browsing pinterest and wondering if those pieces were really made by real artists or if they were AI works. Well, I admit that following the developments of AIs in the last few months has been quite agonizing for me, but hearing the opinion of more experienced artists on the subject it’s a good help to try to understand how an artist’s path is going to be from now on.
so I am working as a full time comic book artist..i completed a full comic book and now i am working on two more but the real difference is..now i have a very strict deadline to complete the pages…now the problem is ..when i was working on my previous project i had lot of time to add details and hence i made each and every page detailed..with proper proportion and measurement..but its causing a trouble for me now as i have very limited time to complete..so i wanna ask you guys how can you all .decide …like how much details you should add in a bg…because i always engage my time in finding even minor mistakes in each and every panel because i am afraid maybe the client would notice😅😅 ..its actually causing my speed to slow down alot..how csn i quickly draw backgrounds and be selective with what details should i put and which one to remove..😭😭
Thank you! Thank you very much! I’m just the kind of person who really wants to paint landscapes, but I don’t have the slightest understanding of how to do it well. I’ve studied a bunch of materials from what I have, I’ve read a bunch of books, I’ve tried different techniques, but all I get are first grade drawings.
Backgrounds – The environment IS a character — Lines, lighting, etc. Created life can go further – Composition, shape, color, style 1. Grab things from around your house – stage them set director style 2. Place in a foreground, midground, and background 3. Understand how they relate to the horizon line 4. Drop in a layer of simple shading Digital? – Bigger is better – 6×9 and 300 dpi common dimensions 1. Gather reference of places you want to draw (Google Maps) 2. Establishing shot (roughly block out angle and simple, rough shapes) – More is better here 3. Add a perspective grid to check horizon lines 4. You can move buildings and elements around to make them more visually appealing and readable 5. Things further away, simplify 6. Add values (flat fill or gradient) Tips – Repeat elements (e.g. mostly squat buildings, or mostly pointy verticle structures) – Don’t leave your backgrounds empty (you can always add more) – Vanishing points should be clear and highlight story beats / emotions Low horizon lines – Simpler – Greater sense of depth High horizon lines – Reserve for when something interesting from the birds eye view Source: Sketchfab – For referencing 3D models of complex vehcihles
I hate drawing backgrounds. No problem drawing any perspective, but it’s boring af. I just want something to do this for me, so I’ve been modeling my own backgrounds for almost 2 decades (comics). If AI could do backgrounds for me, I’d use it. Unfortunately, AI for 2D is utter crap. Nothing in this Universe will convince me to like drawing backgrounds, BUT… it’s a necessary evil for me. Mangakas are lucky, they have people drawing backgrounds for them in their teams.
Dear Brent and Max, Thank you so much for this article. It has helped me so much. This has given me the guidance I need to improve my skills. I am working on a manga. Here are my guilty confessions I want to share with you and others: 1. I’ve been avoiding the drawing of backgrounds many times because I worry that it will distract the reader of my comics away from what’s actually going on in the panel whether it be a dialogue or an action. 2. Another reason is, it also saves time because even though I have drawn an establishing shot to show where the scene is taking place I don’t feel the need to keep drawing the environment over and over again. Maybe it’s a shortcut. 3. I don’t know how much detail is too much or how much is too little. I end up falling into the perfectionist trap. So yes, I am still learning. Thanks again. 👏👏👍👍
I personally tend to avoid backgrounds because I feel overwhelmed over the idea of trying to basically make a world my characters are in, like say my character is in a Gravity Falls esqe town, trying to convey that while also not taking too much attention away from the characters themselves seems like a daunting task. Trying to find a middle ground of enough detail to get the setting across but not too much detail that it takes eyes away from the point of the piece. As opposed the characters just kinda of being a set piece for the background itself, ie. It’s an upward shot of two characters gazing at a giant intimidating mansion or something
Idk if I am outing myself as just being a big dummy. XD But 3:53 “Objects that are rotated have their own vanishing point.” One little phrase next to the visual example helped make this thing that frustrated and scared me away from backgrounds for so long just instantly click and make sense. Also the concept of tangents is probably why objects and character looks so wonky and muddled in my backgrounds. I think these might be very basic things to know probably. But you never know what you don’t know, ya know? So I appreciate this so much, these are game changing information for me.
Hey! I adore your articles and would love to join your Discord. It says to see the website I need to react to the rules message. When I submit a reaction it says “We appreciate your enthusiasm, but… Your reaction was not added because there are too many reactions on this message.” So I can’t get beyond the welcome part of the group. Maybe there’s a way to reset the number of reactions so new members can join? Thank you for creating such wonderful and insightful articles, and building the BaM community!
I believe people don’t like drawing backgrounds because they are very technical and time consuming. I would love to draw backgrounds but I prioritize practicing things I’m more interested in like the characters so anatomy and design and gesture are more important for me to practice which is why I’m not the best at backgrounds.
I think the real reason is most artist, at least the kind you find on the internet who are very into whichever pop culture niche they like, just find backgrounds boring compared to characters. To varying degrees, of course. Hell, I have a friend who never draws anything other than anime bimbos – and pulls the most “meh” face in the world when anyone suggests he draw anything else.
I wish furry art didn’t upset me so much. I don’t know why it does since I grew up perusal cartoons with anthropomorphic characters. But every time I see a furry OC I get triggered like an college art professor critiquing anime. I think its the erotic art that ruined it for me. Also the abundance of mediocre furriers on deviant art and other blogs.
Well my friend backgrounds are like street girls they are sexy but it absorbs to much time Im making a comic and I’m not saying keep it simple but be to the point and as you finish your comic story add some detail and background because you ll take 6 to 10 years if you put to much detail my project almost took for 1 chapter like 4 months I being doing my comic simple to the point and I’m almost finishing I’m in chapter 10 and I’m almost finish and it’s a month
i’m one of those artists that finds backgrounds important but really hard to approach it’s simple with people for me because i know the priorities and i know that even with little detail, if i place focus and effort in setrait places it will look good however i really don’t know how to apply this to background journey can you make a article on casual background drawing? like not filling the whole canvas with shapes but just enough to add depth and character
I think people dont like drawing backgrounds because it doubles the workload or maybe takes even longer than drawing the actual character, a bad background the person didnt spend any time on only ruins the drawing. Most people seem to start a drawing by just drawing a character so then they have to try and force a background into it. I really respect someone who can draw backgrounds well because mine are really bad.
@Stylized Station can we get more workflows that involve Blender rather than Maya? I get that they transfer pretty easily as far as information received in both programs (blender being jack of all trades and maya mainly used for retopo and sculpting), but im guessing a lot of people coming to these sites are solo game devs or small teams….. and if they are, im going to assume a lot of those creator are thinking like me and saying “2500 dollars a year for Maya is not worth buying when blender is free but a little slower”. So it would just be nice to see people with more common workflow rather than Maya every time (although its industry standard). Some may say the same about substance painter but if you buy it off steam its a one time purchase and although it wont upgrade after a year, you still have a fully functioning program. Even a Blender-Zbrush-Blender-Substance (Painter, Design, B2M) -UE4 workflow would be nice to see.
Now that the substance suite has become fully integrated into the Adobe eco system with all of the pros and cons ($$$) that brings, do you have any plans to launch a similar course for the new updated Quixel Mixer software? I do want to learn 3D texturing but as a hobbyist I don’t want to pay Adobe monthly for the privilege.
4:57 any source for that? Im pretty sure spot lights are implemented as point lights with a directional attenuation and an angular attenuation, which would mean 1 spot light is actually slightly more expensive to compute than a point light. Remember that even fragments that are not lit by a ligth have to be computed by said light, because it has to check wether it can iluminate them or not.