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It's not shown in the video, but there is an option in the Poly Reduce node to keep Quads and it does a marvelous job keeping intact the original shape decreasing geometry in the areas whereis not needed. Unfortunately the Poly Reduce node only keeps quads if the input mesh is already quad based. In order to get quads from non quad geometries you need to try the Voxel node.

can stop posting this kind of low-quality 'showcase' articles? If I wanna find showcase/reel, I can find them easily on Viemo, cgsociety. Everyone know houdini can be used to do destruction, simulation, etc. there is no need to show another destruction unless posting a helpful 'tutorial'. However, this is not.

Can it produce quads, too?

28 posts
0 questions answered
Knald can generate a Normal, Derivative, Displacement/Height, Ambient Occlusion, Concavity and Convexity maps in around 5 seconds on a modern mid-range GPU. When loading an existing Heightmap directly, all other maps are generated instantly and automatically.

What does Knald mean for artists?

  • Versatile work flow – Artists can import and work with Normal, Derivative, Heightmaps and photo-sourced textures.
  • All calculations & processing are performed in double/single precision floating point (float64/float32).
  • Pixel perfect 8, 16 and 32bit support – Our file I/O and image processing pipeline preserves your high precision data.
  • Best in class Heightmaps – Excellent quality, accurate height maps generated from a Normal/Derivative or photo-sourced texture.
  • Best in class real-time AO – Extremely high quality and clean results rivaling baked AO at 600+ rays.
  • Ultra fast results – Real time AO, Concavity and Convexity map generation adjustment means no more waiting for bakes.
  • Simultaneous map processing – See and adjust the results of all maps instantly.
  • Real time (scalable) tessellation in the 3D preview – See what your heightmap looks like before importing it into an engine.


AO, Concavity & Convexity Maps

Sketching in Knald © Knald, 2015

Knald’s ultra fast & extremely high quality Ambient occlusion results rival that of “baked” AO at 600+ rays. Fully adjustable in real-time which means no more waiting! Our stunning Concavity & Convexity maps can be tailored quickly and efficiently to suit your specific needs. Gone are the days of waiting for bakes to finish and then adjusting the results in an image editing application to make them usable. Optimized to be used immediately after export, adjust the results to your liking in Knald & and multiply or screen them when texturing!

Mesh Ambient Occlusion

Knald head sculpture © Knald, 2015

Even bakes from multi-million polygonal meshes that can take almost 30 minutes in other modern GPU baking tools take only 2-3 minutes in Knald. By harnessing the power of 64bit and modern GPUs, Knald can even generate Mesh AO from UV mapped multi-million polygonal meshes with only your amount of VRAM limiting your potential! Want to use a 10 million triangle mesh straight from your sculpting application of choice? No problem! As long as your GPU has sufficient VRAM you are good to go! When uvsed with our Concavity, Convexity & Image based AO, you may never need to “bake” another AO map again!

Transmission Maps

Female model in Knald © Knald, 2015

Designed to be used as omni-directional thickness map (with an attenuation ramp) for semi-translucent materials, Transmission are generated in much the same way as our high quality Mesh AO solution. & it’s just as fast. Simply load a mesh into Knald (multi-million polygonal meshes are supported), check a box and then watch Knald do its magic. After only a couple of seconds you will be greeted by your new and beautiful texture which is viewable with real-time translucency in the 3d preview window.

Powerful ColorToNormal functionality

Coloring in Knald © Knald, 2015

Knald’s versatile ColorToNormal mode enables you to create Normal maps from photo or Heightmap source data, via our robust I/O pipeline, with full 8, 16 and 32bit (integer and float) support. This allows you to then tweak the settings to generate the desired result – all instantly viewable, non-destructive & adjustable in real-time prior to integration for near instant gratification.

Real-time tessellation in the 3D preview

Knald sphere © Knald, 2015

With 7 levels of tessellation, Knald allows you to view your Heightmaps displaced on a multi-million polygon primitive mesh in real-time, using our 3D preview’s fast, efficient & scalable tessellation.

Stunning Parallax

Our high quality Parallax solution, a synthesized tangent space and true height field, allows you to visualize the magnitude of displacement which correctly corresponds to the Normal/Derivative map in a fast and efficient manner.

Physically based Specular & Gloss

Knald’s adjustable Specular and Gloss (A normalized, Blinn-Phong model in a torrance-sparrow formulation) allows you to to pre-visualise your final asset and view your progress with or without gamma correction. Knald also enables you to import and apply Diffuse and Specular textures to the 3D Preview, allowing you the flexibility to create and preview your work in whichever way best suits you.

Lighting, Mesh rotation & UV control

Effortlessly control your lighting, mesh rotation, UV offset & tiling amounts – then reset them with a click of a button.

Still have questions?
James Chan did a breakdown of his realistic character made during CGMA course Next Gen Character Creation: hair, skin texture, clothes, rendering, and more.

1 March, 2019

Nicolò Granese did a breakdown of his Think Tank cinematic character project made from scratch: modeling, texturing, lighting, rendering, and more.

19 February, 2019

Alejandro Olmo talked about his Shaman character made within CGMA course Next Gen Character Creation. Software used: ZBrush, SP, Toolbag, Mari, MD and more.

28 September, 2018

Yarrid Henrard talked in detail about his fictitious 3D character based on one of Nivanh Chanthara's awesome concept art pieces. Software used: Maya, ZBrush, Substance Painter, and Knald.

19 July, 2018

Olivier Lau talked about using photogrammetry techniques and tools when creating realistic materials.

6 July, 2018

Pete McNally, a 3D artist with an impressive career, shared his thoughts on Artomatix, Reality Capture, Substance Designer and the future of 3D production in general.

31 May, 2018

Timothy Dries did a short and sweet tutorial, sharing his grass creation workflow.

28 April, 2018

Ehsan Ebrahimzadeh discussed the production of the amazing 3d environment, that combines futuristic backgrounds with lush vegetation and gorgeous ruined houses.

13 November, 2017

Senior environment artist Clinton Crumpler from The Coalition talked about some of his thoughts on breaking into the industry and shared some helpful production ideologies and habits.

28 July, 2017

Dr. Eric Risser and lead artist, Seán Walsh talked about Artomatix - new service, that uses deep learning and clever algorithms to create fantastic modern textures from different sources. 

14 July, 2017

Anthony Trujillo was kind to give a breakdown of his award-winning stylized environment. Great look at the sculpting, texturing and the beautiful lighting setup.

13 June, 2017

Ehsan Ebrahimzadeh talked about the production of his amazing "Our Heritage" project, which he's assembling with Aidin Salsabili. Amazing high-level environment design.

8 June, 2017

Self-taught 3d artist Adam Kenyon showed how he created this stunning tribute to ‘Last of Us’ in just over 5 weeks.

10 May, 2017

Matthieu Gouault discussed the way he created some nice candles to use in games.

24 April, 2017

3d artist Josh Van Zuylen discussed the creation of CyberRunner - a phenomenal environment work, done in UE4.

1 March, 2017

Environment artist Stephane Fontaine talked about the creation of assets and materials, which would work well for a stylized video games.

13 January, 2017

3d artist Christian Cunningham gave a detailed breakdown of his recent Unreal Engine 4 environment. He talked about the modeling of the environment assets, the creation of textures and post-effects.

1 December, 2016

3d artist Timothy Dries experimented with foliage and lighting in UE4 and created this cool-looking Rainforest environment.

15 November, 2016

3d artist Elliot Sharp talked about the way he uses Modo, Substance Designer and Quixel to build incredible virtual firearms.

4 August, 2016

Umar Khan gave a detailed breakdown of his most recent personal project, based on the concept by Dan Brown. He talked about the production, creation of assets, materials and the whole composition of the scene in Unreal Engine 4.

16 May, 2016

3d artist Andrew Weir talked about his experiments with stylised rendering in Unreal Engine 4. In this project he wanted to create a little level, which would look similar to The Witness and Firewatch.

9 May, 2016


4 May, 2016

Character artist Svein Yngve Sandvik Antonsen gave a detailed look into his amazing series of great 3d models of the most iconic Diablo bosses.

3 May, 2016

Former Rockstar Games technical content artist Ashley Thundercliffe talked about his way to approach high-quality environment creation. He talked about his approach to composition, production of unique assets and optimisation.

25 April, 2016

3d artist David Lesperance from Valve talked about the main tasks of the environment artist.

12 April, 2016

Rockley Bonner has been hard at work on his Darksiders inspired project for a while now. In this post he talks about his inspirations, the assets and the composition of the scene.

4 June, 2015


10 May, 2015


10 May, 2015