Foundry has confirmed what many suspected was coming: perpetual maintenance is officially on its way out. From 1 January 2027, all active maintenance customers for Nuke Family, Mari and Katana will be converted to subscription plans at their next renewal. Renewals during 2026 will run as normal. After that, Foundry’s entire licensing structure will be subscription only, with no further perpetual updates. According to the company, this change “aligns Foundry with industry-standard licensing practices.”

Same price (for now), probably not for long

The company promises that 2027 renewals will start at the same price as current maintenance, with annual increases not exceeding five per cent. In other words, yes, prices technically stay the same, but you might want to assume that five percent rise is baked in. The subscription is available only on an annual or quarterly basis. For a full commercial licence, Foundry lists €3,139 per year, including taxes, or €1,719 per quarter, including taxes. Indie, student and non-commercial versions exist, but these are not viable for most studio use. Customers who decline to renew will retain their perpetual licences for the last supported version but lose access to updates, support and bug fixes.

A year to plan your escape route

Announcing the change a year early, Foundry’s Alex Foulds said the goal was to give customers “the time and information necessary for a smooth and predictable transition.” Smooth or not, 2026 now becomes the year to review budgets, check pipeline dependencies and decide whether subscription fits your studio strategy, or if you will freeze your perpetual licences at the last maintenance release.

Predictable transition, unpredictable reception

Foundry says a unified subscription model will “accelerate development and deliver more features and performance enhancements”. That statement has not been independently verified at press time. The real test will come when existing users renew in 2027 and see what value those new builds actually deliver.

Studios still running older versions of Nuke, Mari or Katana should check support timelines and network licence compatibility well before the end of 2026. Once maintenance lapses, Foundry’s technical support and update access will be gone.

Proceed with caution

Licensing transitions have a habit of exposing pipeline surprises. Test the subscription editions in controlled conditions before rollout and confirm version parity across render nodes, farm licences and DCC integrations. Because as of 2027, everyone, from the smallest comp shop to the biggest feature house, will be renting their Foundry tools. For good.

The post Foundry locks in full subscription future for 2027 first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

With Mari 7.5, Foundry introduces a long-promised feature that fundamentally changes how artists work with texture maps: Multi-Paint. This update lets artists paint or project on up to eight texture streams at once: diffuse, specular, bump, displacement, roughness and more, all from a single node.

The update also integrates a Bakery-powered Texture Transfer system for rapid re-baking between objects and UV layouts. Both systems are built to speed up high-end workflows in film and visual effects, where hundreds of UDIMs and dozens of maps per asset are the norm. The following is a based solely on Foundry’s official release notes and documentation. So, take it with a grain of salt and test fpor yourself, we didn’t have the time to update Mari yet.

Multi-Paint: simultaneous control of eight texture streams

Until now, Mari’s paint engine supported one RGBA image stream per paint node. Artists could paint colour (diffuse) directly on a model, but each additional surface channel such as bump, specular, roughness or subsurface required a separate node, layer or bake.

Mari 7.5’s new Multi-Channel Paint Node eliminates this bottleneck. A single node can now carry up to eight streams (texture channels) simultaneously. Each stream corresponds to a channel in the chosen Shader Model such as Arnold Standard Surface, V-Ray Mtl, or Unreal.

When a Multi-Channel Paint Node is active, the Multi-Paint Palette appears in the Palettes toolbar. The palette lists all streams associated with the shader model such as Base Color, Roughness, Metallic, Normal or Height, and allows enabling up to eight at once.

The active or Primary Stream determines what the viewport shows during painting, identified by a white eye icon in the palette. While you see and interact with the primary channel (for example, diffuse), every enabled channel receives the same brush stroke data in parallel.

The Multi-Paint Palette: command centre for channel management

The palette acts as a live editor for channel configuration. Artists can:

Select active streams (up to eight).
Set individual Blend Modes per stream (multiply, overlay and more).
Assign foreground and background colours or load image inputs.
Define Primary Stream visibility and quickly swap preview targets.
Reset, batch-edit or clear streams.

Adding textures is drag-and-drop from the Image Manager or file browser. When an Image Group is dropped into the palette, Mari auto-assigns textures to shader channels by matching filename patterns such as “_rough” or “_disp”.

Mari 7.5 introduces Multi-Paint Presets, stored as reusable configuration files in the Shelf palette. These presets capture stream layouts, colour and blend settings, allowing consistent setups across multiple assets or shader models.

Painting tools rebuilt for Multi-Paint

A large portion of Mari’s paint engine was refactored to handle the multi-channel context. The following tools are now compatible: Paint, Paint-Through, Roller Brush, Blur, Clone Stamp, Warp, Slerp, Tow Brush, Pinup, Paint Buffer Eraser, Select Tool Fill, Marquee Select and Paint Buffer Transform.

Each of these tools operates through the Multi-Paint layer stack. Brush properties, projection masks and painting palette parameters are now multi-aware, ensuring that texture projection or cloning behaves consistently across all active streams. Mari supports both colour and image input per stream. For procedural workflows, users can feed channel-specific images or colour corrections before committing to a bake, maintaining Mari’s hallmark non-destructive approach.

Image Groups: intelligent texture organisation

The Image Manager was redesigned to handle large datasets typical of production texture packs. The old tab system is gone, replaced by hierarchical Image Groups. Image Groups can be created manually or automatically when folders are imported. Inside a group, images can be sorted, renamed or reassigned. When dropped into the Multi-Paint Palette, Mari matches textures to shader streams using internal Material Ingest Presets (*.mip files). These presets store naming conventions and expected channel mappings for common vendors such as Texturing XYZ or scanned materials.

If automatic assignment fails because of unconventional filenames, artists can open the Image Group Properties table to manually link each image to the appropriate shader stream. A Lock Streams feature prevents reassignment of locked mappings during auto-assign. This makes Multi-Paint particularly suitable for texturing workflows using large texture libraries or vendor-supplied scan sets with predictable naming conventions.

Shader Model Context and Node Integration

Each Multi-Channel Paint Node must be initialised with a Shader Model. Supported shader contexts include:

Arnold Standard Surface
Autodesk Standard Surface (1.0.2.x)
3Delight Principled
Principled BRDF
USD Preview Surface
Unreal
VRay Mtl (5 and 6)

The shader model defines which streams are available in the Multi-Paint Palette. The palette updates automatically when switching between nodes in different contexts. The node can be merged into existing node graphs via a Multi-Channel Merge Node, integrating seamlessly with existing layer stacks. Artists can switch between single-channel and multi-channel painting by simply selecting the desired node in the graph. Resolution and bit depth can be defined per node such as 4K 16-bit, or the node can inherit channel settings downstream using the Use Channel Settings toggle.

Preset Workflows and Shelf Integration

Preset workflows address one of Mari’s historical pain points: repetitive setup across large asset sets. Once a Multi-Paint Palette configuration is complete, it can be stored as a .mpp file (Multi-Paint Preset).

Presets can include colour values, blend modes and stream assignments, and can be batch-applied to new paint nodes from the palette’s dropdown. Hovering over a preset reveals thumbnail previews for verification before applying.

In large-scale productions, this allows technical directors to define standardised setups for shader models and distribute them via the Shelf palette to all texture artists.

Bakery-powered Texture Transfer

The second major technical upgrade in Mari 7.5 is the Texture Transfer system, powered by Foundry’s in-house map-baking engine The Bakery. Previously, transferring texture data between models relied on a particle-based method that could be slow and sometimes inconsistent. The new Bakery system replaces it with a GPU-accelerated baking approach that can reproject paint data across topologies and UV layouts far faster and more accurately. In practical terms, Texture Transfer enables the reuse of existing texture work when:

Retopologising a model
Updating UV layouts
Creating LODs (levels of detail)
Transferring look-dev setups between asset variants

Users can select one or more nodes in the Node Graph, right-click, and choose Selection > Transfer. The system opens a dialog allowing specification of source object, target object and patch (UDIM) mapping. Foundry’s documentation cites an internal benchmark: transferring three 28-UDIM 4K 16-bit Paint Nodes into a single 4K UDIM in roughly ten seconds, a significant speed-up compared to the previous generation.

The Bakery supports transfer of Nodes, Layers or Channels. Transfers preserve topology-based alignment where possible, and a Patch Fill Color option highlights untransferred areas, allowing manual correction afterwards. The legacy particle transfer system remains accessible through Mari’s Python API for backward compatibility, but Foundry now recommends the Bakery workflow for all new projects.

Workflow Example: Multi-Paint and Texture Transfer in practice

1. Setup: Create a Multi-Channel Paint Node, select a Shader Model such as Unreal, and define resolution and bit depth.
2. Import assets: Drag vendor texture packs such as Texturing XYZ into the Image Manager. Mari auto-creates an Image Group.
3. Assign channels: In the Image Group Properties, map each texture to the correct shader stream or use Auto-Assign with an ingest template.
4. Activate Multi-Paint: Open the Multi-Paint Palette, enable desired streams such as Base Color, Roughness, Normal, set the Primary Stream, and start painting using any supported brush tool.
5. Preview and bake: Use the Paint-Through tool to project images while previewing the Primary Stream. All enabled channels are painted concurrently.
6. Transfer: Once the asset evolves, for example a new UV layout, select relevant nodes, choose Transfer and re-bake textures to the updated geometry.

This workflow shortens iteration time between concept, look-dev and final asset while preserving fidelity across multiple texture channels.

Performance and scalability considerations

While Multi-Paint greatly improves efficiency, painting multiple 4K or 8K 16-bit streams simultaneously significantly increases GPU memory demand. Each stream is stored and processed independently, so large UDIM sets can quickly saturate VRAM.

Foundry’s release notes do not specify new memory optimisations beyond the core multi-threaded backup system, suggesting artists may need to monitor GPU load closely. Using lower-resolution previews or fewer active streams may be advisable on mid-range hardware. Texture Transfer performance depends on The Bakery’s compute configuration. Transfers are faster on multi-core CPUs with high disk throughput.

Compatibility and industry formats

Mari 7.5 continues to support standard exchange formats: FBX, OBJ, Alembic, OpenEXR and USD. The new systems integrate with UDIM workflows and scale comfortably beyond one million polygons in a single topology. Shader-model-based mapping ensures compatibility with renderers such as Arnold, V-Ray, Unreal and 3Delight without custom remapping.

Final notes and caution

Foundry’s documentation emphasises that Multi-Paint is a complementary workflow. Artists can combine it with traditional Paint Nodes without breaking compatibility. Existing projects can adopt it incrementally. However, the complexity of eight-stream painting introduces new edge cases in performance and layer management. Artists should benchmark Mari 7.5 on representative assets before integrating it fully into production pipelines. As with any major feature update, test before committing, particularly in environments with shared asset libraries.

Conclusion

Mari 7.5 marks a structural evolution of Foundry’s texturing toolset. With Multi-Paint, texture artists can finally paint multiple channels in perfect alignment, directly within a single node. The Bakery-based Texture Transfer complements this by making map reprojection effectively real time.

Together, they shift Mari’s focus from per-channel micro-management to holistic, multi-stream surface authoring, a change that may redefine standard practice in VFX texturing.

The post Mari 7.5: Multi-Paint, Texture Transfer and the Death of the Single Channel first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Substance Painter 11.1, released on 18 November 2025, marks a technical milestone: the long-expected switch from OpenGL to Vulkan on Windows and Linux. The change brings the viewport renderer, texture computations, and baking to Vulkan, aligning all platforms with the Metal backend introduced earlier on macOS.

According to Adobe, Vulkan should improve viewport performance and shorten baking times. GPU raytracing now uses Vulkan-based compute, replacing both OptiX and DXR. This unifies GPU-based baking across AMD, NVIDIA, and Linux systems. However, users should verify GPU compatibility, as the new API may change hardware support requirements.

New Ribbon path tool

The central addition in Substance Painter 11.1 is the Ribbon tool, a new member of the path tool family. It repeats or stretches a texture seamlessly along any 3D surface, with precise control over start and end segments and options for sharp or curved corners. The Ribbon can lay down clean gradients, trim details, or even deform text along a path, useful for stitching, labeling, or placing ornaments around complex geometry. Adobe describes it as a “cleaner tool for more precise drawing with paths.”

Ribbon paths are compatible with symmetry, dynamic strokes, and come with blending modes for overlapping alpha, height, and normal channels. Artists can adjust size and opacity per vertex, decoupled from stylus pressure, giving finer control over variation along a stroke. Two new presets, Custom Ribbon Grayscale and Custom Ribbon Material, are provided to demonstrate advanced uses, such as multi-channel path strokes with dynamic ends and corners.

75 new presets and categories

Painter 11.1 adds 75 new Ribbon presets, grouped into new categories accessible from shortcut buttons in the Properties window. These include:

• Apparel: stitches, zippers, and fabric tears
• Basic: lines, gradients, and dynamic custom ribbons
• Grunge: surface cracks
• Hard Surface: panels, grips, welds, and mechanical seams
• Organic: bandages and wrappings
• Paint: brush-based gradients
• Text: text-along-path templates

Typing “ribbon”, “paint”, or “path” in the Assets window filters the relevant content. Switching presets no longer deselects the active path, streamlining iteration.

Symmetry for fill layers and effects

Symmetry now applies to fill layers and fill effects using 3D projection. Both mirror and radial symmetry are supported, activated via the contextual toolbar or the Properties window. Fill layers gain a new flip input resource option to mirror text or logos while keeping them legible on both sides. The symmetry UI has been reworked with dedicated sliders for each axis and a smaller radial display.

Physical displacement size

Displacement in Painter can now be defined using real-world units. Users can choose between Normalised, Scene-based, or Physical size (cm) units. This makes it easier to align displaced geometry across DCCs or game engines that expect physically accurate height values.

Vulkan raytracing and performance updates

Beyond rendering, the Vulkan backend modernises Substance Painter 11.1’s baking system. Raytracing via Vulkan replaces previous DXR/OptiX-based implementations, bringing GPU baking to AMD GPUs and Linux systems for the first time. Adobe notes faster render times, particularly at high resolutions. Performance has also improved when working with very large or elongated triangles, resolving earlier issues with low-poly meshes used for tiling texture creation. Shader compilation is faster, and the default brush shape has been updated for better roundness and hardness behaviour.

Smaller but useful updates

Substance resources in tools and fills now include a Resolution Override group. This allows changing the generation resolution (Auto, Texture Set, or Custom) with an optional scaling factor—useful for optimising quality or performance. The Substance Engine has been updated to version 9.2.5, and export presets now correctly handle grayscale mesh maps.

Fixes and known issues

Crashes during project loading and path snapping have been addressed, along with several interface glitches in the Path panel and tool properties. However, Adobe lists known issues with the new Ribbon system, including UV tile performance drops, tangent loops at corners, and instability with very long text paths. HDR colour conversion under ACES on Linux still clamps values, and the right-click menu remains undersized on HD displays.

Practical note

As always, production artists should test the Vulkan backend and new path workflows in controlled environments before using them in active projects. Hardware behaviour, especially for GPU-based raytracing, may vary depending on drivers and GPU vendor support.

Summary

Painter 11.1 is less a feature flourish than a structural overhaul. Vulkan unifies the graphics layer across all platforms, the Ribbon tool introduces precision path workflows, and displacement gains measurable units.
Together, these mark a shift toward more predictable, platform-agnostic performance in Adobe’s texturing flagship.

The post Ribbon Rules: Substance Painter 11.1 goes Vulkan first appeared on DIGITAL PRODUCTION and was written by Mike Kuhn.

The latest and final major release of Howler 2023, the GPU-accelerated digital painting and animation tool for Windows, is now completely free to download. That’s right: the software, previously priced at $72.99, now invites anyone with a penchant for pixel play to grab it for the generous price of zero. According to the announcement by CG Channel, this move comes as developer Dan Ritchie refocuses his time on filmmaking. While the software will still receive occasional bug fixes, it won’t be getting new features. Consider it stable—but not expanding.

Painting, FX, and Frame-by-Frame Animation

Howler 2023 has long been a Swiss Army brush for digital artists working in post and VFX. The software supports both raster and video workflows and is designed to handle traditional-style 2D animation, frame-by-frame work, as well as FX compositing and color effects. If your timeline involves keyframes, rotoscoping, or motion estimation, Howler’s feature set leans firmly into that space. The engine is GPU-accelerated (via DirectX), so real-time preview and performance benefit from modern graphics hardware. Among its standout tools are motion prediction-based retiming, frame blending, stabilization, glow effects, particle brushes, and general time-based filtering—a hybrid between a painterly aesthetic and VFX tweaking.

It also includes tools for 3D painting directly onto generated meshes and terrains—think elevation maps, erosion, and lighting. While not a full 3D pipeline solution, it allows painting in a Z-buffer-aware environment, complete with shading and lighting options to preview volume and light direction. Don’t expect OBJ imports or complex UVs, but terrain sculpting and faux-volume painting are definitely on tap.

Community and Patreon Support

Howler 2023’s transition to freeware is emblematic of a broader trend in indie software financing, where community support and Patreon contributions play a pivotal role. The developer’s shift from a one-time purchase model to a donation-supported platform allows the project to remain accessible to all production artists, even as occasional bug fixes and performance enhancements continue. This model ensures that while the feature set remains frozen, critical maintenance persists, keeping the software reliable for demanding production pipelines.

The Patreon financing aspect underscores the enduring relationship between the developer and a loyal user base. For those who appreciate the careful balance of innovation and stability, contributing via Patreon offers a pathway to sustain essential updates and fine-tuning. As always, any integration into current projects should be preceded by thorough testing—after all, even the best freeware requires a safety net before diving headfirst into a complex production environment.

Compatibility and Platform

Howler runs on Windows only, with no macOS version on the horizon. The final release version is stable, and although no new tools are in store, occasional bug fixes remain to support existing workflows. And for those who have already paid for the software, this transition might feel a bit like getting a refund in spirit—albeit after years of artistic loyalty.

Download and Further Info

Howler 2023 can be downloaded for free via the official site.

The post Brush for Free: Howler 2023 Now Costs Nada first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The Blender ecosystem just got an upgrade, and it’s free. If you’ve ever wished for Photoshop-style layers while painting on 3D objects, your wish has been granted. This newly released Blender add-on lets you create and manipulate textures directly on 3D models, mimicking the simplicity of Photoshop’s layer system. Designed for digital artists, compositors, and texture painters, the tool aims to make texture workflows more intuitive while staying light on your wallet.

Photoshop Layers Meet 3D Models

The add-on introduces a layer-based painting system that feels familiar to anyone used to Photoshop. It’s built to integrate seamlessly with Blender’s existing tools, allowing artists to paint textures, add details, and refine their models without leaving the Blender environment. Each layer can be adjusted independently, making the process of tweaking textures far less daunting.

For anyone working with multi-layered textures, this approach reduces the headache of constant adjustments. Change one layer, and the rest of your project remains intact. That’s stability and simplicity rolled into one.

https://twitter.com/himawari_hito/status/1874735261680332996

Free, but Not Fragile

Despite its zero-dollar price tag, the add-on shows promise for professional environments. However, as with any new release, early adopters should approach it with caution. Fact-check its stability in your pipeline before fully committing to it for client projects. Experimental tools are fun until they aren’t.

Ready to Download?

If you’re itching to try it out, the add-on is available for free now. You can learn more and download it directly from Gumroad.

The post Paint Your Blender: Free Add-On Brings Photoshop-Like Layers first appeared on DIGITAL PRODUCTION and was written by Bela Beier.