For those who don’t know the tool: Pilgway makes 3DCoat for sculpting, retopology, UVs, painting and rendering. It connects to Blender, 3ds Max and Houdini (and LightWave) via applinks. 3DCoatTextura is the texture-focused sibling.

GPU paint, finally with nodes

3DCoat 2026 is now in public beta for Windows, and the big change is GPU Per-Pixel Painting. The new system adds a procedural Node System for UV-based, non-destructive texturing and lets artists create materials, masks and effects in a visual Node Editor. Parameters such as rust intensity, base color, glossiness and scratches remain editable during work, with real-time viewport feedback on the 3D model.

For artists who have spent years painting a layer, committing to it, regretting it, duplicating it, hiding it, naming it “final_final_02_nowforreal_b”, and then crying softly , this is the headline feature. The workflow moves more of the material logic into editable graphs. The development thread labels the build as an early beta and says it is not recommended for production environments. Believe the developers when they say that!

What the Node System does

The system uses GPU nodes and dynamic compilation into optimized shaders based on NodeGraph Language, or NGL. Procedural operations, mathematical operations and noise generators run directly on the GPU. That matters for texture artists because procedural work can become very chatty. Every mask, noise, curvature blend and dirt pass adds another little gremlin to the stack.

The documentation lists a full Node System with Node Editor, Node and Object Inspectors, Node Graph, NGL, GPU Nodes, Filters, Masks, Materials, Modifiers and Volumes. The GPU Texturing documentation also lists Per-Pixel Painting and PBM Channels.

The docs describe PBR texturing in 3DCoat around Albedo, Depth, Glossiness and Metalness channels. Painting can modify multiple material channels with one brush stroke. The new node system now sits beside that painting logic, rather than replacing the idea of channel-based texture work.

New smart materials, new smart masks

The 2026 beta introduces NGMaterials, NGMasks, NGModifiers and NGFilters. NGMaterials are procedural smart materials. NGMasks generate procedural wear, dirt and scratches. NGModifiers and NGFilters handle geometry deformation and procedural post-processing of current layers. The new materials support approximately 30 channels.

Procedural texturing in a painting app is always a balancing act. Artists want control without turning every barrel, robot arm or old pipe into a PhD in graph management. The Object Inspector tries to keep that sane. Parameters can be pinned from the node graph to general object or layer controls, so a material can expose useful sliders without making the artist dive into the full graph every time.

The UI adds a Node Editor, Node Inspector and Object Inspector. Node header colors are now category-based in the 2026-03 NS Beta. New nodes are created at the position where the right mouse button opened the menu, not where the cursor happens to sit when the menu action finishes.

Layers still matter

The new graph workflow does not remove the old layer habit. The beta adds the ability to select multiple painting layers, move selected layers within the painting layer tree, and group, hide, unhide, duplicate or delete them.

In GPUPPP mode, layer masks use brightness rather than relying exclusively on transparency. Normal Map Support appears in node-based materials in the 2026-03 NS Beta. A crash when clearing the Node Graph in the Node Editor has been fixed, and rectangle or CTRL selection of multiple nodes has also been fixed.

The 2026-02 preview also allows image reading and writing formats to be replaced via Python extension. Objects created by C++ functions from Python scripts will not be garbage collected by Python, avoiding double freeing.

Fabric, fur and soft displacement

The 2026-03 NS Beta adds a Soft Displacement property. The changelog describes it as a displacement effect designed to work with a normal map. It shifts vertices without affecting shading, reduces its shadow impact by half, and uses the normal map to define pixel orientation for shading.

SoftDisplacement combined with Sheen can simulate fur, while FWSNormal defines its direction. For PPP texturing, Show Displacement Mesh must be enabled and tessellation must be configured.

Retopo and modeling also get crumbs

The headline belongs to 3D texture painting, but the beta also touches retopo and modeling. The 2026-03 NS Beta adds an option in the Retopo and Modeling Room: Switching Pen Mode to Rectangle After the Select Transform Activated. Polygon Tree has been improved for speed with large files.

The Sculpt Room gets speedups for Blob tool filling in Smart Hybrid and a new lasso placement option for the Blob tool in Smart Hybrid. Live booleans get a crash fix when unghosting. STL import fixes address overly small scale on import.

3DCoatTextura’s learning mode keeps saving and loading in the internal .3b format, with a limitation of 10 layers and render watermarks. OBJ export remains available with limits: 4000 triangles from the paint room and texture export up to 512 by 512 without watermarks, or higher resolution with watermarks. Commercial use is not allowed for that free learning-mode output.

Pricing, because artists own wallets

The official 3DCoat buy page lists 3DCoat 2025 Individual Node-locked at €379, VAT not included. It is a permanent personal license, allows commercial use, works as a platform-independent license and includes 12 months of free updates.

The same page lists subsequent updates at €45 from month 13 onward after purchase, or €90 from month 25 onward if the €45 upgrade was not made, with another 12 months of free updates.

Bottom line

The best news is not just “nodes”. The useful news is that the system connects to painting layers, masks, smart materials and viewport feedback. That is where texture artists actually live.

The caution flag is equally clear. The build is beta, Windows-only in its current public form, and explicitly not recommended for production environments. Test it, break it, report the boring bugs, and do not bet a delivery on it yet. The graph may be shiny, but the deadline goblin remains undefeated.

https://3dcoat.com/forum/index.php?/topic/34175-3dcoat-2026-gpuppp-development/

The post 3DCoat 2026 gets GPU nodes first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the tools: Abstract is a Stuttgart-based developer of 3D production tools, with InstaLOD covering CAD conversion, geometry optimisation, LOD generation, remeshing, and automated 3D asset processing, while InstaMAT handles generative materials, procedural texturing, and reusable material workflows. Its wider stack also includes Polyverse for cloud-based asset management and 3D data processing, plus RSX Engine for real-time collaboration and cloud synchronisation.

Abstract has released native Linux support for InstaMAT and InstaLOD, launching both products as public preview builds for production environments based on RHEL-compatible distributions. For teams that have been watching Windows and macOS take turns finding new and inventive ways to be mildly or majorly irritating, this removes one more practical objection to moving parts of the pipeline to the free side.

InstaLOD 2026 Targets VR and Animation Pipelines

Not all objections, obviously. Humanity still invented GPU drivers, licensing servers, and dependency chains. But one less objection is one less objection.

The Linux builds are designed for Red Hat Enterprise Linux 8 and 9, Rocky Linux 8 and 9, and RHEL-compatible variants including AlmaLinux, Oracle Linux, and CentOS Stream. The company lists VFX Platform 2023 compatibility and states that the Linux versions are available to all users, not only enterprise-tier customers. The free Pioneer tier is also supported on Linux.

InstaLOD on Linux

InstaLOD has already been used inside large enterprise infrastructure, but Linux-based teams previously had to work around the lack of native support. With the public preview, the same optimisation workflows can now run directly in Linux environments. That matters for studios relying on render farms, asset-processing clusters, or secured infrastructure, where Windows-only tooling tends to arrive with a small sigh from the administrative BOFH.

InstaMAT on Linux

InstaMAT Test: Painting, Procedurals and Pasta

InstaMAT, the Linux release, brings its material workflow into environments where studios already build, iterate, and scale content libraries. For look development and downstream production, the practical point is workflow continuity. Linux-based DCC and studio pipelines can integrate InstaMAT without forcing artists and TDs to bounce between operating systems or maintain platform-specific detours, clunky virtual machines or Wine-Layers.

Native builds, no translation layer

Because the Linux versions are native builds rather than emulated or container-dependent workarounds, InstaMAT and InstaLOD on Linux support full GPU acceleration, multi-threaded processing, and direct hardware access, enabling scaling from individual workstations to asset-processing clusters and render farms. Just a thought.

For pipeline integration, Abstract brings Bash, Python, and Perl automation, as well as render managers, asset-tracking systems, and CI/CD pipelines. That is probably the most important sentence for technical directors: the tools are intended to slot into existing orchestration rather than demanding a new island of vendor-shaped infrastructure. Nobody needs another island. We have enough islands. Some still run Python 2.

Blender and Maya integration

The Linux release also includes DCC integrations and are shipping native Linux support for Blender and Autodesk Maya. InstaLOD geometry optimization is available in both Blender and Maya, while InstaMAT is available directly in Blender. Further DCC support is planned, no word on the real-time bridge to Lightwave.

For Linux-based Blender and Maya pipelines, this means geometry optimization and material workflows can be accessed inside the DCC environment rather than through export-and-roundtrip workflows. That is not glamorous, but neither is waiting for a conversion job to fail at 3:12 in the morning because one path separator felt unappreciated.

Supported systems and requirements

From Concept to Play: Streamlining Asset Pipelines with InstaMAT’s Scalable Workflows

The supported Linux distributions listed are Red Hat Enterprise Linux 8 and 9, Rocky Linux 8 and 9, AlmaLinux 8 and 9, Oracle Linux 8 and 9, and CentOS Stream 8 and 9. Hardware requirements start at 16 GB of RAM, with 32 to 64 GB recommended for larger scenes.

Linux-specific capabilities listed for this preview include broad feature parity with Windows and macOS, plus Polyverse integrations into InstaLOD Studio and InstaMAT Studio. (Polyverse is Abstract’s cloud-based asset management and 3D data processing service. Also the thing that embeds the Video above.)

Public preview, not final release

Abstract calls the Linux release a public preview – the builds are solid, well-tested, and ready for serious production use, while also still inviting real pipeline feedback. In practical production terms, that means studios should test with their own distributions, drivers, storage setups, render managers, permissions, and DCC versions before dropping it into the middle of a deadline. A shocking concept: testing software before trusting it with rent money.

The Linux builds are available now through Abstract’s application for existing license holders. New users can access the builds through InstaLOD or InstaMAT licensing, including the free Pioneer tier. Feedback and issue reports are being collected through the Abstract Community.

The post Abstract brings native InstaMAT and InstaLOD on Linux first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

InstaMAT is finally leaving early access with its 2025 release scheduled for 22nd July. This means it’s an excellent time to look at the breakthrough new features slated for this release, from AAA quality terrain generation, artist-friendly curve painting tools, layer references, and a massive improvement to the real-time viewport with raytracing. Packed with over hundreds of additions and improvements, InstaMAT 2025 continues to push the boundaries of what’s possible for generative 3D asset creation for all industries, from games to VFX.

Studios face mounting pressure to deliver expansive, visually stunning games on tighter schedules, all while supporting multiple platforms from high-end PCs to mobile devices. InstaMAT streamlines 3D asset texturing with scalable generative workflows for faster game development.

In the fast-paced world of game development, speed and scalability are paramount. A key bottleneck in this process is the asset pipeline—creating, texturing, and optimizing thousands of 3D assets like environments, props, and characters. Traditional workflows, reliant on manual texturing and iterative adjustments, are too slow to meet modern demands. InstaMAT, developed by Abstract, revolutionizes this process with its procedural, scalable workflows, enabling studios to streamline asset creation and move from concept to play faster than ever.

The Challenge of Modern Asset Pipelines

Game development has evolved dramatically. Open-world titles like Cyberpunk 2077 or Elden Ring feature thousands of unique assets, each requiring detailed textures and platform-specific optimizations. With increasing production complexity AAA production targets become increasingly difficult to meet while staying with the budget. Meanwhile, indie studios and mid-sized teams must compete with AAA quality on leaner budgets. The asset pipeline, which encompasses modeling, texturing, baking, and optimization, often consumes weeks or months, with repetitive tasks draining resources. Scaling a single asset category, such as environmental props, into dozens of variations (e.g., different wear levels or materials) is labor-intensive. Additionally, ensuring assets perform across diverse platforms without sacrificing fidelity requires complex, manual adjustments.

These challenges highlight the need for scalable, automated workflows that maintain creative flexibility while reducing production time. InstaMAT addresses this need with its intuitive layering and node-based systems, designed to scale across asset categories and automate repetitive tasks, empowering teams to deliver high-quality games efficiently.

InstaMAT’s Scalable Workflows

InstaMAT is a breakthrough generative asset design and texturing tool that transforms production pipelines by prioritizing scalability and automation. Its layering and node-based workflows allow developers to create, iterate, and optimize assets at scale, seamlessly integrating with game engines like Unreal Engine and Unity. Unlike traditional tools that require manual edits for each asset variation, InstaMAT enables teams to build flexible, reusable systems that adapt to entire asset categories and automate complex processes.

Layering Projects for Category-Wide Scaling

InstaMAT’s layering system offers a non-destructive, artist-friendly approach to texturing, resembling familiar layer-based image manipulation and compositing tools but tailored for 3D assets. Designers can stack effects such as base materials, wear patterns, decals, or dirt in layers, adjusting parameters to create variations without starting from scratch. This system is ideal for scaling textures across an entire asset category, such as props, vehicles, or architecture.

For example, a single layering project for a set of sci-fi containers can define a base metal texture, procedural scratches, and dirt masks. By tweaking layer parameters (e.g., rust intensity or polish level), artists can generate dozens of unique boxes, machinery and other props from one template. These layers are resolution-independent, ensuring textures scale from high-res consoles to lightweight mobile platforms. The result is a unified, visually consistent asset category produced in a fraction of the time.

Node-Based Projects for Workflow Automation

For technical artists and larger teams, InstaMAT’s node-based system provides powerful automation capabilities. This workflow lets users build custom pipelines by connecting nodes that define material properties, texture maps, or optimization steps. Once created, these graphs can automate repetitive tasks across hundreds or thousands of assets, streamlining production.

For instance, a node graph for environmental rocks can automate the creation of normal maps, ambient occlusion, and diffuse textures, with parameters for size, erosion, and moss coverage. Applying this graph to a library of rock models generates unique variations instantly, each optimized for specific platforms. Nodes can also tap into powerful geometry processing technology from InstaLOD (Abstract’s end-to-end asset optimization and creation software) to automate LOD (level of detail) generation, ensuring assets are game-ready without manual intervention.

In the following video, you see how the layering project for sci-fi containers was used in a node-based workflow, simply by dragging the project into the workspace. This enabled the artist to build on the project to add more procedural logic and functionality, such as performing an automatic retopology, uv-unwrapping and baking. The result is an end-to-end asset pipeline that enables dramatic cost-savings whenever applied.

Integration and Optimization

InstaMAT’s workflows integrate with Abstract’s ecosystem, including InstaLOD for automatic retopology and asset optimization, Polyverse for cloud-based asset management and RSX Engine for real-time collaboration. Textures created in InstaMAT are exported in standard PBR formats (e.g., base color, metalness, roughness), ensuring compatibility with major engines. Projects and materials are instantly be uploaded to Polyverse for cloud-based execution, shared collaboration, and organization between project members, while assets can be optimized and processed in the cloud making it a versatile solution for large and small teams alike.

Use Case: Scaling a Sci-Fi Prop Library with InstaMAT

Imagine a mid-sized studio developing a sci-fi shooter with a sprawling space station environment. The art team needs to create 200 unique props—crates, panels, and terminals—with varied textures (e.g., clean, rusted, battle-damaged) optimized for PC, console, and mobile platforms. Traditionally, this would require weeks of manual texturing and optimization, with artists painstakingly crafting each variation. With InstaMAT, the studio streamlines the process:

Step 1: Layering Project Setup

Artists create a layering project for crates, defining a base metallic texture with layers for paint, scratches, and decals. Parameters like rust intensity and decal placement are adjustable, allowing one project to generate 50 unique crate textures.

Step 2: Scaling Across Categories

The team adapts the layering project for panels and terminals, reusing shared layers (e.g., rust, dirt) while adding category-specific effects like holographic displays. This scales the workflow to cover all 200 props with consistent quality.

Step 3: Pipeline Automation

Leveraging InstaLOD nodes in InstaMAT for automatic retopology, baking and LOD generation; technical artists build a node graph to automate asset processing: low-poly generation, texture map generation (normal, roughness, metalness), texture application, and LOD creation. Using InstaMAT Pipeline to process all 200 props in a single batch, creating both texture LODs (4K/2K/1K for PC, 2K/1K/512 for mobile) and geometry LODs (100%/50%/25% polygon reduction) with platform-specific settings.

Step 4: Project Syncronization

InstaMAT integrates with Polyverse to provide all project members with up-to-date assets and workflows. Using Polyverse Sync, all assets are syncronized across all artists’ and developers’ workstations ensuring consistent versioning and material updates across the entire development pipeline.

Step 5: Collaborative Iteration

Using RSX Engine’s real-time collaboration functionality, the team reviews the props under different light conditions, in difference scenes while tweaks material shaders collaboratively, finalizing the prop library in days.

The outcome is a visually diverse, optimized prop library completed in a fraction of the usual time. The studio delivers a polished game on schedule, with assets that perform seamlessly across platforms, enhancing player immersion.

In the following video, you can see how it all comes together. With RSX Engine, running in a browser, the props are directly downloaded from Polyverse and a scene is assembled collaboratively with other users. The props can be reviewed with full interaction using component logic of the game project. Next, you can review the prop library, using the Polyverse web application.

How Game Developers benefit from InstaMAT

InstaMAT’s scalable workflows address critical industry needs:

• Efficiency: Layering projects reduce manual work, enabling rapid iteration and scaling across asset categories.
• Automation: Node-based pipelines eliminate repetitive tasks, freeing artists to focus on creativity.
• Cross-Platform Support: InstaLOD technology integration ensures assets are optimized for any platform, from VR to mobile.
• Accessibility: Free Pioneer Licenses make InstaMAT accessible to indie and student developers alike, leveling the playing field with larger AAA studios.

As games grow in scope and complexity, InstaMAT empowers developers to build richer worlds faster, without compromising quality. Its procedural approach not only accelerates production but also fosters creativity, allowing teams to experiment with bold designs and deliver unforgettable player experiences.

Get Started with InstaMAT

Ready to streamline your asset pipeline? Sign up for a free Pioneer License or request an evaluation to explore InstaMAT’s full feature set. Join the Abstract Community forum to share workflows, learn from peers, and stay updated on the latest tools. From concept to play, InstaMAT is your partner in crafting the next generation of games.

About Abstract

Abstract is a deep-tech company pioneering 3D and AI technology. Its products empower game developers, VFX and film, enterprise, XR, and metaverse industries to deliver efficiently with massive cost savings. InstaLOD converts CAD to 3D, optimizes geometry and automates 3D pipelines, InstaMAT introduces generative materials and scalable texturing, Polyverse enhances cloud-based asset management and 3D data processing as a service, while RSX Engine enables real-time collaboration and cloud synchronization when building 3D applications and games. Abstract is driving breakthrough innovation in 3D and AI across industries.

The post From Concept to Play: Streamlining Asset Pipelines with InstaMAT’s Scalable Workflows first appeared on DIGITAL PRODUCTION and was written by Advertorial.

Blender users who enjoy procedural tinkering and material painting but dread shader graphs, UV unwrapping, or node spaghetti might want to peek at a tool that skips all that. A new, free tool by Manuel de Jorge enables painting PBR materials directly in Blender’s 3D viewport—without needing UVs, textures, nodes, or even lighting setups. The painter’s playground is immediate, shader-free, and aimed at creative speed, not technical overhead.

I made a free addon that lets you easily layer paint materials!
byu/TheWorkshopWarrior inblender

The tool uses MatCaps (short for Material Capture), a long-standing method in 3D to display materials based on captured lighting and surface information. While typically used for viewport shading, Manuel’s tool takes it further by letting you blend multiple MatCaps together, in layers, using a brush-based interface. Think of it as painting with lighting and material response baked in—ideal for concepting, prototyping, and lookdev work.

PBR without the pipeline

This tool bypasses the conventional PBR workflow, ditching texture slots and node setups. Instead, you paint directly onto the object in the 3D viewport, and what you see is what you get. The approach is non-destructive and designed to be artist-friendly, with each brush stroke adding to a stackable layer of material behavior. The MatCaps come bundled, and you can add your own.

No shader graphs. No UV maps. No BSDFs to troubleshoot. Just pick a MatCap, paint, blend, repeat. The idea is not to replace proper texturing workflows for production—this is clearly a conceptual tool for look development and exploration, not a final delivery solution. But for rapid prototyping or quick shading mockups, it saves time by cutting out setup overhead entirely.

Brush-based blending and fast feedback

The system allows you to blend MatCaps using custom brushes, offering a painterly way of designing complex material appearances. Since everything runs directly in the viewport, feedback is immediate, even for more complex materials. Think speed-painting with photorealistic materials—without fiddling with node graphs.

The tool is free, but where’s the catch?

No catch. The MatCap painting tool is free to download in beta and available on Gumroad. It’s “a quick and dirty” solution, with no UVs, no lighting, no shaders—just results. The author notes that this is a one-man project, so expect some rough edges, no tech support, and a lot of freedom to experiment.

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The post Dirty Shader Hands? Use MatCaps! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

Adobe Substance 3D Designer has a new addition to its procedural arsenal: the Kizzle Splatter Node, developed by 3D artist Kai Mergener. This custom node simplifies the creation of intricate patterns by offering an intuitive approach to scattering and aligning elements within textures. Designed for efficiency, it caters to professionals working in procedural texturing, VFX, and real-time graphics.

What Is the Kizzle Splatter Node?

The Kizzle Splatter Node is a powerful solution for artists dealing with repetitive or complex patterns. By introducing streamlined controls for density, scatter intensity, and element alignment, the node addresses common challenges in procedural texturing. Artists can customize attributes such as rotation randomness, scale variation, and blend modes to generate dynamic textures without resorting to elaborate manual configurations.

Whether creating debris fields, fabric textures, or organic scatter patterns, the Kizzle Splatter Node enhances the node-based workflows that Substance 3D Designer is known for. This addition not only speeds up the material creation process but also reduces the need for external scripts or plugins, making it a practical choice for various production environments.

The Developer: Kai Mergener

Kai Mergener, the creator of the Kizzle Splatter Node, is a seasoned 3D artist and developer with a focus on addressing real-world production challenges. His contributions to the Substance 3D Designer community emphasize practical tools that streamline workflows without sacrificing artistic control. The Kizzle Splatter Node reflects Mergener’s deep understanding of procedural design and the needs of professional 3D artists, offering a user-driven solution that integrates seamlessly into Substance Designer’s ecosystem.

Use Cases in Digital Production

The Kizzle Splatter Node is ideal for professionals across multiple industries:

• In game development, it streamlines the creation of procedural textures like foliage, rubble, or terrain.
• For VFX, it simplifies generating splatter masks and seamless scatter patterns for compositing tasks.
• Material designers working on industrial or artistic projects can achieve precise, repeatable patterns with minimal manual input.

Pricing and Availability

Substance 3D Designer is available as part of Adobe’s Substance 3D Collection, starting at €23.99/month for individual plans. The Kizzle Splatter Node is a community contribution and can be accessed through Kai Mergener’s artstation – a personal License costs 1 US Dollar, and a professional license costs 3 US-Dollars.

Conclusion

The Kizzle Splatter Node exemplifies the collaborative spirit of the Substance 3D Designer community, bridging artistic creativity and technical precision. With its procedural capabilities, it provides a centralized and efficient approach to pattern creation, making it a valuable addition for game developers, VFX artists, and material designers alike. However, its adoption in live projects should follow careful evaluation to confirm its stability in complex production settings. For more details, visit the official pages for Kizzle Splatter Node

The post New Kizzle Splatter Node Enhances Adobe Substance 3D Designer first appeared on DIGITAL PRODUCTION and was written by Bela Beier.