An additional render was created using V-Ray to showcase the original sculpt. Render - Look dev was done in Marmoset where the model was also lit and rendered. Extra care was taken to create a pattern that would not draw attention to the symmetry of the model. Our website uses cookies to collect statistical visitor data and track interaction with direct marketing communication / improve our website and improve your browsing experience. Learn from 3D designers with CGTrader tutorials. Textures - The model was textured using Photoshop 3D Coat was used to paint over the UV seams. High-res animal images and textures were used to create realistic patterns and variation. Watch the 3D Tutorial called How to Enable Emissive in Marmoset Toolbag created by ninashaw. The xN ormal plugin in Photoshop was also used to add extra details to the normal maps. Microfiber (Fuzz) Diffusion Occlusion and Cavity Maps Emissive Maps. Diffuse, s pecular, gloss, subsurface scatter and emissive maps were created in Photoshop. Creators of Marmoset Toolbag: the essential real-time artists toolkit. Maps - Normal and ambient occlusion maps were baked in xNormal. UV - Half of the model was UVed in Maya on a single 4k texture map which was used symmetrically across the model to optimize texture space and reduce the number of texture maps. Game-Res Model -The high-res sculpt was then re-topologized in Maya to create the game-res mesh. When doing this my main focus was keeping the poly-count at low level with minimal sacrifice to the silhouette and form of the model. This was done by using the concept as a reference for the overall form of the creature while using a mixture of human and various animal anatomies as reference for the mid level forms and details. High-Res Model - The creature was sculpted in ZBrush where a balance was established between the original concept and aesthetics/believability in a 3D medium.
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