When the Canvas is a 3D Model
The idea of painting directly on a three-dimensional model, as if it were a painting, has always been very attractive to 3D artists. 🎨 Although 3ds Max is not specialized painting software like Substance Painter, it has a set of tools and plugins that allow applying color and details directly onto the geometry in the viewport. This workflow offers immediate feedback, shortening the gap between the visual conception and the final result.
Native Tools: Vertex Color and Basic Painting
The most basic and integrated functionality is the use of Vertex Colors. By selecting an object in Editable Poly mode, you can access the color palette to paint individual vertices. 🖌️ Although this technique is limited in resolution (depending on the mesh density), it is incredibly useful for creating simple masks, marking areas, or making quick color adjustments that are visible directly in the viewport, especially when combined with lighting that shows the vertex colors.
Painting on vertices is the most direct method, though not the most detailed.
Expanding Possibilities with Plugins and Integrations
For texture-level control, plugins are the answer. Scripts like Texturizer (available on ScriptSpot) allow painting on the mesh using UV information, essentially acting as a Photoshop brush projected onto the 3D model. 🔌 The most powerful integration is with Substance Painter. Through a mesh ID map or UVs, you can paint in Substance and see the changes update in real time in the 3ds Max viewport using a Substance material.
- Immediate Feedback: See color and material changes instantly.
- Non-Destructive Workflow: Many methods work in layers, allowing corrections.
- UV Precision: Painting is stored in textures based on the UV layout.
A Practical Workflow
The most efficient strategy is usually hybrid. Use Vertex Paint to block out large areas and define color concepts quickly directly in Max. Then, for fine details, specular channels, and complex effects, export the model to Substance Painter for deeper work. 💡 The key is to leverage the strength of each tool: the immediacy of Max for quick ideas and the power of Substance for the professional final finish.
If your model starts to look like a 70s color test, don't worry. 🌈 Sometimes digital brushes have more personality than expected. A simple reset usually restores sanity to the scene.