‘Tis the Season of Assets, All Year Round

The most outstanding Substance 3D Assets articles of 2022.

    2022 has been a particularly busy year for Substance 3D Assets. The asset library has grown from 13,000 assets at the beginning of the year to well over 17,000 assets at year’s end. At the time of writing, and with all well-deserved respect and admiration for our valiant competitors, Substance 3D Assets is now the largest curated 3D asset library in the world.

    We’ve written a lot of words about the asset library this year – about new releases as assets, as well phenomenal projects being created thanks to the asset library. To wrap up the year, we’re presenting a rundown of our Assets-heavy articles of 2022.

    A big step this year was the introduction of a new type of content to the 3D Assets library: environment stages. With these assets you can place a model within a selection of ready-to-go environments, and quickly get a photorealistic render.

    Artwork by Lionel Koretzky

    Photographer, Director, and Lighting Designer Lionel Koretzky worked with his team at PIL2 to create the environment stages, ensuring that you are lighting and staging your 3D model within a setup created by experts in the domain of photography.

    Artwork by the Substance 3D content team

    With the exponential growth of digital interactions between customers and brands firmly in mind, the Substance 3D Assets team prepared a wide range of assets to help brands scale their output of product visuals efficiently. Here we present some of those assets, and the advantages they can provide, as well as a short film by Ronan Mahon demonstrating many of these assets in context.

    In September the Assets team announced the release of a collection of models and materials suitable for graphic design projects, helping with the creation of books, cardboard, stickers, business cards, posters, and much more.

    The Assets team added over a hundred models, and as many materials, to the asset library this year. This gives you the possibility of easily adding fruit, vegetables, desserts, drinks, splashes, and much more to your scenes – and texturing them so that they are both photorealistic and mouth-watering.

    Artwork by the Substance 3D content team

    The immersion of 3D renders and experiences has provided medical professionals with more tools for pain control and rehabilitation, and helped to navigate the medical environment. With this in mind, Substance 3D Assets now includes assets allowing you to rapidly create 3D visuals of medical spaces, medical equipment, drug packaging, and sections of anatomy. 

    Early on in 2022 the 3D Assets team released an immense range of stylized assets – well over a hundred parametric materials and dozens of models. This article explores the assets created, and the potential they can bring to stylized projects.

    Showing is always preferable to telling, and the 3D Assets team chose to demonstrate the results that could be obtained with their release of stylized materials. Here, Art Director Pierre-Antoine Moelo and the 3D Asset team’s own Damien Bousseau discuss how they used the resources in the asset library to bring Bell Island into being.

    Freelance 3D artist Sebastian Marek details step by step how he used the resources within the 3D Assets library to kitbash a mechanical spider toy, and ultimately create a short, animated sequence. 

    The 3D Assets library has a vast range of models and parametric materials dedicated to the automotive sector. Here, we’re specifically looking at tires, for vehicles of all shapes and sizes.

    Parametric planet materials allow you to create desert worlds, water planets, or environments barely yet dreamed of. Couple this with a range of futuristic surfaces, and sci-fi-themed filters, and you have a vast selection of assets to help you create worlds far removed from our familiar, everyday life.

    The addition of meshes to the Substance 3D Assets library last year motivated the Substance team’s internal artists to explore what sort of incredible artwork they could create with these new resources. Here, Simon Le Paih details his process in using the asset library to create a detailed robot arm scene.

    Pauline Boiteux has extensive experience in the areas of procedural fabrics and the 3D clothing design. Here, she discusses her creation of two garment-themed scenes, and the advantages that the assets in the library brought to these projects.

    In this article Damian Bousseau explores his creation of three scenes with diverse atmospheres – the Winter, Dune, and City scenes – highlighting visual development and concept art in 3D, and how such scenes can be effectively created using techniques accessible to artists who are relatively new to 3D.

    When Jean-Bastien Juneau-Rouleau began exploring the meshes in the assets library, he opted to focus on the tiny details that can bring a scene to life. Here, he discusses his creation of a shuttlecock scene, fingerprints and all.

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