Invert the Normals of the newly duplicated geometry.Scale the duplicated geometry to be outside of the original crystal.We’re going to create a second piece of geometry that nests inside of our existing crystal, which gives us a really awesome refraction effect in Toolbag. We could have stopped at the previous step and accomplished a decent result, but there are a few more options that can help push our crystal further. The goal for the next steps is to increase the fidelity and quality of our crystal. We could stop here and have something decent, but let’s go one step further! Creating Refraction Those settings should get you something like this. Emissive: Adjusts our map from Substance Painter.Rim Light Scale: Adjusts rim light color and it’s intensity.Specular Scale: Adjusts color and brightness.I strongly encourage experimenting with the sliders in this section! Below is an explanation of each slider found under the Reflectivity material: Of particular note, the Rim Light setting can be used to fake a colored light along the edges of your asset without having to add an additional light. For example, in the video above, I adjust each parameter to demonstrate their individual outcomes. The Dota Specular Reflecitivity model has parameters that can introduce some really cool effects! I use this Dota Specular because it allows me to experiment with having very self-contained results, while reserving the ability to add additional support lights if needed. 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. Note: In Curvature baker parameters change the method to Generated From Normal Map to get proper results.Hello everyone! My name is Dylan Mellott, and I’m a Hard Surface 3D Artist currently working at DICE Los Angeles. Then I export the Normal Map and replace them with the Normal in Mesh Map and bake the rest of the maps. For a better result, I add a blur filter that will make the objects look less brand new. I apply them on a fill layer with a slight amount of height, then use a mask with a paint layer to put the details on the mesh. ZBrush could be used to create these, but I discovered later that having it on a layer in Painter gives me the ability to easily modify them if I ever need it. One of the first steps I do in Painter is to finalize the normal details, by creating decals and any other pattern or engraving, usually with Photoshop. Before I work on the materials I would create a lighting scene setup in Marmoset so that I can go back and forth and preview the final material as I work on it. Once I have baked the Normal and AO Maps in Marmoset, I move on to texturing in Substance Painter.
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