![]() 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. Hello everyone! My name is Dylan Mellott, and I’m a Hard Surface 3D Artist currently working at DICE Los Angeles.
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