Transparency with Refraction (more on this below).A flat gray Specular Mask set to use Dota Specular.Now that we have finished creating our textures in Substance Painter, I’ll import my mesh and it’s textures into Toolbag 3. (Thanks to Chris Stone for showing me this trick!). Adjust the Intensity to your own preferences. To give our edges a lot of depth and overlap, add a Warp Effect in Substance Painter by right clicking on a layer and selecting Effect. Experiment with gradients to draw the eye to specific elements in your piece! In stylized art, gradients can often be used to establish focal points and provide contrast. The highlighted edges will give us a lot of pop in our Emissive channel in Toolbag, while the darker greys will provide us with depth.įor a layering effect, add a simple gradient. Next, establish a simple grayscale base with edges highlighted in a light gray/off-white color. Later on, these maps will drive our procedural materials within Substance Painter. In this case, we’re going to approach it using Substance Painter.īegin by importing your high poly and UV unwrapped low poly, and bake the Normal, World Space Normal, Ambient Occlusion, Curvature, Position, and Thickness maps. You can follow this structure in any texturing software, whether it be Photoshop, Quixel, Substance, and so on. Tip: The more planar your crystal sculpt is, the more light it will catch, and the better your final result will be! Texture Creation & Preparationīefore we take our mesh into Marmoset Toolbag, we need to generate the textures that will drive our shaders. Afterwards, I import the base mesh into Zbrush where I subdivide it, refine, and add details. I begin by creating a very simple base mesh in the modeling software of choice (base mesh pictured left). The software packages used throughout this tutorial are Zbrush, 3ds Max, Substance Painter, and Marmoset Toolbag, of course! Sculpt You can see how I used this approach in my War Axe of the Ancient Tree asset. In my spare time, I enjoy making stylized art and I put together this tutorial together which covers my process for making stylized crystals. I hope you enjoyed this article, if you have any questions, I remain at your disposal on ArtStation, Twitter, and Instagram.Hello everyone! My name is Dylan Mellott, and I’m a Hard Surface 3D Artist currently working at DICE Los Angeles. The good publicity and popularity that it can bring you if your project is a visual success is a great bonus too. I use this technique all the time, and it works: I'm so eager to see the result and I absolutely want to keep going until the end. The best advice I can give you is to visualize what it might look like and imagine the end result in your head. The most difficult in this kind of project is to keep the motivation, it is very hard to work on the same project for 5-6 months in a row, and I often gave up during the previous project. The texturing still takes most of the time and is the most complex part, this is where you bring your project to life, it requires the most concentration and technique. I suddenly have a real idea of my working speed, and it is very important to know. The high poly of my next project was made in about thirty hours (exterior and interior included). It is important to do this because it allows you to know what your real working speed is and if someone wants to buy your model, it will give you a better idea of the price you can set. I'm currently doing another car and I'm calculating my working time using an application called Clockify. This project lasted 7 months, I didn't work on it every day and sometimes I didn't even touch it for 1-2 weeks. I already model with my desired number of vertices, this avoids making too many modifications later. This allows you to have a completely sound base and to model the most complex shapes quite easily. The first thing is to create an outline of all the shapes of the car. This workflow is taken from one of my favorite artists in terms of car modeling: Karol Miklas, I invite you to see his article on 80 Level. That's why I'm going to share with you my new workflow, much more appropriate for car modeling and much more efficient. I then subdivided it and used DynaMesh the problem with this process is that you lose a lot of quality when baking because DynaMesh restricts you to a certain number of polygons. What I did for this project is I started doing all the low poly in Polygon and sent it all into ZBrush. To be honest with you, I'm currently working on a new car, and my workflow is completely different from my FJ60.
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