Once the lighting setup was in place, I focused on refining the camera positioning and field of view to best present the material. I also added two cylindrical meshes to create a composite of shadows in the final render. In post-production, I adjusted the shadow settings, added some sharpness, and applied a subtle vignette, all within Marmoset. Occasionally, I enhance the final material further in Photoshop, making minor tweaks to tone and details as needed.
Conclusion
The project took about four days to complete, as I had to draw the individual mosaic tiles for the central figure manually. Although it was the most time-consuming part, it was also the most fun to work with. There’s something relaxing about creating each tile by hand; it felt almost like working on a traditional art piece.
One of the biggest takeaways was the importance of patience. It’s easy to get caught up in the process and overwork, so taking breaks helped me step back and see things more clearly. Sometimes a fresh perspective makes all the difference.
Overall, it was a valuable learning experience that pushed my texturing and material creation skills further, from figuring out how to achieve a cohesive, dynamic background tile in the centerpiece to balancing detail and consistency throughout the piece. Also, to my surprise, working with mosaics in Substance 3D Designer was a lot easier than I thought. It was a fun and interesting project to work on, and I can’t wait to use what I learned here for future projects.
For anyone starting with Substance 3D Designer, I know it can be overwhelming at times. I’ve been through that phase myself. It’s a powerful tool with a lot to offer, but progress takes time. Don’t be afraid to dive in and make mistakes; that’s part of the learning process.
I highly recommend starting with the fundamentals. Daniel Thiger’s tutorials are excellent for understanding the basics of shape construction for various types of organic materials and material logic. ArtStation Learning also has great content, especially regarding hard surface materials.
I also recommend creating a personal library node project with explanations and images, it’s a great reference when you revisit nodes you haven’t used in a while. Vincent Derosier’s “Survival Kit” is another excellent resource; it helps you to reinforce the core principles in a simple format. Additionally, I suggest studying SBS files from artists you like. Reverse-engineering those graphs is one of the fastest ways to grow!
Finally, joining Discord communities such as Experience Points, The Club, Beyond Extent, and Future Material Artists is a great way to get support and feedback. These spaces are full of talented and supportive artists, and participating in their challenges is both fun and a great way to improve!
Thank you for reading this breakdown. I hope you like it and find it helpful! Big thanks to 80 Level for giving me the opportunity to share my work and process. If you’re interested in seeing more of my work, feel free to visit my Artstation profile. Cheers!
