![]() ![]() I’m now going to show my lighting setup for the scene. Once I was happy with how the skin looked, I created new materials for the body, hair, weapon, and everything else. This function is typically used to highlight peach fuzz on the skin when making a photo-realistic model, but it can give a nice effect when used on hair or clothes, depending on the desired visual result. I adjusted the Fuzz Map slider to add more volume and light to the face. However, in my case I tried to keep things simple due to the style of this character. Additional maps can also be imported here to achieve a more realistic and detailed result. So the best decision would be to max out the parameters one by one and see how they work, adjusting the sliders down to the desired level. Each character will have its own settings, as the size of the mesh and the style of a character play a great role in this case. Next, I set the Diffusion to Subsurface Scatter and played with the parameters to see how they would affect my model. The next element to set up is Reflectivity: I set it to Metalness, as I’m working with the Metallic Roughness template in Substance Painter and created a Metalness map. I checked the Invert box to invert the map and make the surfaces glossy. The same applies for the Gloss module, which includes the Roughness map (editor’s note: a Roughness Microsurface module was added with Toolbag 3.05). ![]() If you’re working with DirectX format of Normal maps instead of OpenGL, don’t forget to Flip Y in the Normal Map module, otherwise you’ll get weird shading on your model. I started by creating a new material, applying the textures, and dropping the material on the relevant skin meshes. Let’s apply some materials, starting with skin. This makes it easy to create a number of materials and apply them to different parts of your character. What’s great about Toolbag is that it preserves all of your mesh groups according to how they were organized in your modeling software package. In my case, I was creating a game-ready model, so I worked with a low poly. Now that the textures were ready, it was time to jump into Toolbag! It handles low poly and high poly meshes smoothly, rendering both at high speed. All of my textures are exported in a 4K resolution. I highlighted the peaks and darkened the valleys a lot which helped to emphasize the edges of clothing folds and wood grain. I tried various approaches to achieve a hand painted look using the PBR features of the program. TexturingĪfter the low poly model was ready and retopologized, I imported it into Substance Painter and started the process of baking and texturing. However, you shouldn’t rely solely on your memory, so always remember to collect a good amount of reference before you start. This has a lot of advantages, as it allows me to experiment with silhouette and proportions without boundaries set by a readymade base mesh. I use primitive shapes when sculpting stylized characters. I usually stick to this approach with all of my personal pieces. ![]() The high-poly version of this character was sculpted from scratch in ZBrush. and I highly recommend checking out her amazing work here. This character is based on a concept by Kati Sarin S. In this article, I’m going to share my process for rendering my Samurai character in Toolbag 3 and discuss how to create beautiful presentation shots for your portfolio. ![]() At the moment, I’m focusing on creating 3D characters and looking forward to new exciting career opportunities in game development or animated movies. I’ve been working on some amazing projects for Disney, Envato, and mobile games studios. Hello, my name is Yulia Sokolova, I’m a freelance Character Artist and Tutorial Instructor. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |