Feature Requests

Is there a way to add an alpha color or an eraser to polygon fill, so we can erase using polygon fill? That will come in handy when we are filling without using in mask. Sometimes less mask has better performance, so for some small things I wouldn't bother to use it.

1. Add options for different resolutions for specific textures.2. Allow for custom sufix/prefix withouth having to create new output template. Our game engine uses additional maps to run sheen/sss ect. We have set up the custom user channels to paint these maps.However, to save memory, we dont need these maps exported out at the same resolution as the base maps.It would be nice to be able to specify a different export resolution per texture the same way you can specify a file type and bit depth.  Also having options of 1/2, 1/4 or Double the texture set size as well as specific resolutions might help too.Being able to add a prefix or sufix without having to make a new output template or changing the material name or manually changing the file name would be helpful when making variations.  If we exported our textures but also wanted a clean version without the dirt for example we could just add a simple _clean prefix without having to search through an extensive list of o

Currently, all imported resources are embedded in the project files.In many cases, artists may use the same images/textures across multiple project files. As a result, these resources are unnecessarily stored in each project file, taking up a lot of space and making the project files larger. Using linked resources would prevent this duplication.At the very least, having an option that allows users to choose how they want to store their resources would be very welcome.Each option has its own use case. This is why this should available for users. 

I would like to propose an editable 2D grid warp workflow for Substance 3D Painter, and request a supported public API for integrating tools like this into Painter’s native 2D viewport.I have developed a working plugin called 2D Warp Grid. It lets artists reshape projected logos, decals and other layer content in UV space without changing the mesh UVs. A typical use case is correcting the shape of a logo on a curved surface after it has already been placed.Video demonstration:Watch the 2D Warp Grid demonstration on Google Drive (no sign-in required).Current plugin capabilitiesGlobal: a grid over the full 0–1 UV area. Local: a rectangular grid fitted around the layer content. Custom: draw a rectangular area directly in the 2D editor. Independent row and column resolution, up to 10 × 10 control points, with Smooth and Linear interpolation. Move individual points, or select multiple points with Shift and move them together. Move, rotate and uniformly scale the whole grid in Local and Cust

When painting multiple strokes on the same layer, the Normal channel blends strokes in an additive/accumulative way by default. There is no brush/stroke-level option to make a new stroke replace or overwrite the previous stroke’s normal information. To achieve an overwrite result, I have to either change the layer blending mode or create a new layer for every stroke. Creating many layers hurts performance and makes the project messy; changing the layer blending mode affects the whole layer and does not solve per-stroke behavior. 

Please continue investing in and expanding native Linux support for Substance 3D Painter.Linux is already widely used in professional 3D, VFX, game development, and content-creation pipelines. Many artists use tools such as Blender and Unreal Engine on Linux, yet having reliable access to Painter across the same workflow remains important.A well-supported Linux version would allow artists to work on their preferred platform without requiring dual-booting, a separate Windows machine, or compatibility workarounds. It would also strengthen the Substance ecosystem among studios, independent artists, and Linux-based production environments.Please treat Linux as a first-class, long-term platform for Substance 3D Painter, with maintained builds, modern GPU support, and feature parity with Windows and macOS.

I would like to request support for nested / hierarchical Effects in Substance 3D Painter's Layer Stack.The goal is not to introduce a full Designer-style Node Graph, but to allow the existing Effects used in Layers and Masks — including Filters, Generators, and other effect types — to be organized hierarchically.A good reference for this workflow is the nested Filter system in World Creator 2026, where an effect can contain other effects and multiple levels of hierarchy can be created.The main reason for this request is that Painter's current linear Effect workflow becomes increasingly difficult to manage as Mask and material logic becomes more complex.The Core Problem: Painter's Effect Stack Is Fundamentally LinearPainter already provides most of the building blocks needed to create sophisticated masks and material effects.For example:Curvature Ambient Occlusion Position Thickness Grunge Noise Generators Levels Histogram Scan Blur Warp etc.The problem is not a lack of available Effec

Currently, when exporting out an individual mask, the export dialog box only allows the user to pick a file format, and uses the current document size for the resolution. It could be useful to allow the user to pick a different export resolution- that way for performance reasons they could be working in their file at a lower resolution than the final intended texture size, and be able to export out an individual mask at that final, higher resolution without having to change the size for the whole project and wait for everything to update.

In the Export Textures > Settings Window, the output map names are always cutoff, even when i expand my window to be very wide. I don't see why the text line doesn't just expand to show the whole name when there is plenty of space. This would improve clarity when preparing to export.   

If I lay a ribbon path and I create another layer path that aligns over it it would be cool to group multiple overlapping child splines to folllow parent spline, then control those splines.

It would be great if we could have a getter/setter for the layer color tags.

Feature Request: Local Cage Offset Painting for BakingI'd love to see a Paintable Cage Offset feature in Substance 3D Painter, similar to  Paint Offset in other programs.Currently, we can only adjust cage distances globally or import a custom cage. In many production scenarios, only a few small areas require additional projection distance. Being able to paint the cage offset directly on the low-poly mesh would:Reduce baking artifacts on complex assets. Eliminate the need to create custom cage meshes for minor issues. Speed up the baking workflow significantly. Work perfectly alongside the existing Skew Painting system.Ideally, artists could:Paint positive and negative cage offsets. Preview the offset cage live in the viewport. Blur/smooth the painted values. Rebake automatically while painting (similar to Auto Rebake). Store the offset map per Texture Set.This would make Substance Painter's baking workflow much closer to others programs while keeping everything inside Painter 

I’m coming to here a little pissed off after losing FOUR HOURS of work because apparently for the last hours of texturing, I hadn’t noticed the small red text (usually covered by my taskbar) that was letting me know that I was NOT saving my file. So, eventually, when substance painter inevitably crashed like it always does, I lost SO MUCH PROGRESS. PLEASE for the LOVE OF GOD, make it so whenever the program is unable to save, it appears as a POPUP, so people like me who usually don't check the error messages will be able to fix the issue before it overwrites progress. Yes, you can argue that I should always be checking the error messages, but I would argue for an issue as big as the FILE NOT SAVING, that it deserves an error popup window. Thank you.

## SummaryPlease add a Python API to set the active brush color (Base Color and other channels) on Paint Layers.## ProblemCurrently, there is no way to set the brush color of a Paint Layer through the Python API in Substance 3D Painter. The available APIs allow:- Reading and writing **Fill Layer** uniform colors via `_substance_painter.source.set_source_uniform_color()` and `set_fill_source()`- Reading and writing **shader parameters** via `alg.shaders.setParameters()` (but this only covers shader-level params like sssColor, not the active brush color)However, there is no public or private API to set the **active brush's Base Color** that gets applied when painting on a Paint Layer.## Use CasesThis limitation blocks many useful tools and workflows:1. **Per-stroke color picker / eyedropper plugins** - Sample colors from the viewport, a reference image, or a baked map (World Space Normal, Position, etc.) and apply them as the brush color for each stroke. This is critical for stylized tex

Please add "Save and Compact" to the keyboard shortcuts menu so we can assign it a hotkey or overwrite the default Ctrl+S.Right now, the standard incremental save system balloons project files with dead data, making them way larger than they need to be. Often I’ll find files that are upwards of 800+MB that compress down to less than 100MB. The only way to purge this is by manually clicking through the file menu every time, because the action is completely missing from the shortcut settings.While I understand this isn’t the default as it can take longer on large files. I’ve found that for almost every file I’ve worked on it takes about the same length of time as saving normally. I work with other artists who constantly forget to do this manual step, which results in massive files that bloat our repos and seriously slow down our pipeline. If we could just tell the team to change their Ctrl+S shortcut to Save and Compact, this problem would be fixed immediately.It's incredibly frustrating

My biggest gripe with Substance Painter is not being able to isolate and view what an individual layer is doing. Once you have a lot of groups and layer stacks it becomes extremely combersome to toggle layers on and off. Could we utilize the drop down menu in the viewport that allows us to view individual maps and channels to give us not only a layer mask preview but the selected layer(s) as an option also? Better yet, just give us a node graph, please and thank you.

Hello Adobe Substance 3D Painter team,I would like to suggest a few features that I believe would significantly improve the hand-painted texturing workflow. One-click Color Picker Remove the confirmation click after using the Color Picker. When pressing P and clicking on a color, it should be selected immediately without requiring a second click to confirm. Hide Mesh Parts by UV Islands Add the ability to hide or isolate mesh parts based on UV islands. This would make it much easier to paint areas that are occluded by overlapping geometry without constantly changing camera angles or manually hiding meshes. Photoshop Live Connection Add a live connection between Substance Painter and Photoshop. This would allow artists to use Photoshop's advanced selection tools (such as the Lasso, Polygonal Lasso, Magic Wand, etc.) and have the changes update directly in Substance Painter. More Color Picker Layouts Add additional color picker interfaces, such as: Triangle color picker

Currently, the Texture sets are clearly distinct UV maps. This suggestion would add the possibility to merge those together at export, instead of having multiple sets of maps. EDIT : I've merged a similar user idea thread with this one. This way, the feature suggestion will have more upvotes, therefore more visibility on our side. This thread has been created in regards to a future QOL (Quality Of Life) release. We’re trying to prioritize users’ needs; therefore, your voice is very important! Please write your feedback below and don’t forget to vote for your favorite suggestions!All shared images are purely for visualization and not functional features.  

The core of this proposal is simple: when a channel is toggled OFF, its blending mode and opacity values in the layer stack should be greyed out, allowing artists to instantly filter out visual noise.To maintain a seamless workflow, simply interacting with a dimmed slider should automatically re-activate the channel, sparing the user unnecessary clicks. Naturally, whenever a channel is actively driven (whether by the main layer, generators, or filters), its text must return to a bright, solid white.This minor refinement offers a massive quality-of-life boost, minimizing visual fatigue and making the interface communicate far more intuitively.Thank you.Max

Could Substance Painter add a feature to directly train a textured model into a Gaussian Splatting model and then export it?

Right now a very common workflow  of mine is to create a masked fill layer to display a certain Visual like let’s say green slime across the entire suit of a ghostbuster.Once I set up the layer properties I define my mask by using generators, paint, and most importantly fills, because I can reposition or scale them later.In order to add a fill effect to my mask I drag it from the shelf onto the model, so I get a good starting point for the position. At the moment the only way I understand how to do this is to drag an alpha to the model, choose “Mask” from the pop up menu. This creates a new layer with the mask I actually want to be a part of the mask I was currently working on. So I need to scroll to the top of the layer stack, select the new mask, copy the effect, delete the new layer, scroll back down, select the mask I was working on and paste the effect.This procedure is most painful the first time around after which I will usually duplicate existing mask effects as a starting poin

I would like to be able to copy a path between the layer stack and the mask stack.At the moment, I can only copy and paste paths within the same type of stack, either layer to layer or mask to mask.But, for example, I use the ribbon path to create a lace border with base color, height, normal maps etc., now I have to paint off it’s edges in the mask stack if I want to merge it with the rest of my textures (it would be quite difficult if not impossible to create a perfectly matchingpath in the mask stack), if I could copy the same path into the mask I’d be done in a sec.Well, in many cases it can actually be easy to match path, but I mostly work with clothing and where there are folds involved it because very, very hard. The same is true when creating path effects of any kind (for example for edges effectgs): some are needed in a painting layer, others in a mask layer, but at the moment the path has to be redrawn for each stack.Being able to copy and paste paths between layer and mask s

I would like to have fast way to find necessary parameters and no scrolling over a whole tab.