One really cool thing that stands out to me (particularly on the front and rear iron sight posts) is the subtle and softer shapes that convey more of a plastic material while metal parts have clearer/sharper edges. Awesome stuff. All the texture detail is extremely subtle too which I love; though there is an unfortunate seam at the business end of the suppressor.
A minor nitpick; it looks like there might be some UV distortion on the optic left hand side? You can just see the "Morrison Optics Co" is slightly distorted. It looks like it is based partially off the 1P63 Obzor, right? Love that optic.
Also perhaps the suppressor is unrealistically small considering it's suppressing a Cheytac round, but that's easily dismissed since it's a sci-fi/futuristic weapon.
The plastic colour in the latest update looks much better, even though it's only a slight change. Perhaps a minor thing you could tweak is the scratches on the bolt carrier, they seem identical in size and 'randomness' to those on the magazine — you could have the bolt scratches more directional since it's moving in a fixed direction and keep the magazine ones as they are. Currently I don't think it's super likely that the more enclosed bolt carrier would be as scratched as the mag, but again it's a minor thing.
The light dirt seems pretty spot on, maybe a little bit more on the underside + in crevices like those on the stock adjuster? I guess that depends on how subtle you want it. That rounded underside that runs across the body looks like it would gather a lot of grime.
Great crits man. I backed off on the procedural scratches and got some more image overlays / painting in there. Added more grime and general wear and tear too.
I'm mostly concerned with how did you do the edge damage on the sight as well as the little ring thing on the silencer. Tried something like that myself and came out completely different no matter what I tried.
Plastic surely looks neat, but I'm concerned with the normal map damage above the trigger guard area - I'm not sure if this type of plastic gets worn like this, never seen it before. You could also put some vertical scrapes on the magazine, it would make a lot more sense than those random scratches you've got there at the moment, those kill the flow imo.
Thanks guys, and thanks @ComradeDispenser for the crits, always helpful.
My texturing process in PS is to start with fill layers to get basic material values dialed in. Then add several pattern layers to each material to get texture variation. After that I use images and handpainting for contextual wear and tear.
Each material is a folder with a mask pulled from a baked ID map.
I use a lot of masks made from object space normals, AO, and sometimes curvature maps (though not this time). The edge wear mask comes from running the Find Edges filter on the object space map, then multiplying AO and a grunge pattern over it. Once you have that edge wear mask you can use it to mask off the metal finish to reveal a raw metal material underneath, for example.
You can get dirt masks by multiplying an inverted AO map over the up vector of the object space map, leaving just upward-facing cavities. You can get a lot of masks from just manipulating raw bakes. By using adjustment and pattern layers for those manipulations, you keep everything live and editable.
Usually handpainting (or image overlays) is needed for that last 20% of quality. Stuff like the damage on top of the scope is masked edge wear along with just going at it with a brush for a little while. Even when painting though I'm usually painting on the mask of a color or pattern layer to keep things editable.
A bit late, but may I ask you why you put these extra loops in your lowpoly, like on the buttstock or the cheek pad? Is this to prevent skewing ? Your bakes always looks so über perfect
Replies
The model shots are out of 3ds viewport, the bake / texture shots are from marmoset. All the texturing is in photoshop.
A minor nitpick; it looks like there might be some UV distortion on the optic left hand side? You can just see the "Morrison Optics Co" is slightly distorted. It looks like it is based partially off the 1P63 Obzor, right? Love that optic.
Also perhaps the suppressor is unrealistically small considering it's suppressing a Cheytac round, but that's easily dismissed since it's a sci-fi/futuristic weapon.
Thanks everyone else for the comments too. Should have updates as soon as I can put metal gear down :icon_exclaim:
Also wondering what the tex res sizes are for these bits. Keep it up!
Started to texture, still WIP
quick color adjust on the plastic too:
The light dirt seems pretty spot on, maybe a little bit more on the underside + in crevices like those on the stock adjuster? I guess that depends on how subtle you want it. That rounded underside that runs across the body looks like it would gather a lot of grime.
Do you have any tips/tutorials etc. for making this kind of textures ?
I'm mostly concerned with how did you do the edge damage on the sight as well as the little ring thing on the silencer. Tried something like that myself and came out completely different no matter what I tried.
Plastic surely looks neat, but I'm concerned with the normal map damage above the trigger guard area - I'm not sure if this type of plastic gets worn like this, never seen it before. You could also put some vertical scrapes on the magazine, it would make a lot more sense than those random scratches you've got there at the moment, those kill the flow imo.
My texturing process in PS is to start with fill layers to get basic material values dialed in. Then add several pattern layers to each material to get texture variation. After that I use images and handpainting for contextual wear and tear.
Each material is a folder with a mask pulled from a baked ID map.
I use a lot of masks made from object space normals, AO, and sometimes curvature maps (though not this time). The edge wear mask comes from running the Find Edges filter on the object space map, then multiplying AO and a grunge pattern over it. Once you have that edge wear mask you can use it to mask off the metal finish to reveal a raw metal material underneath, for example.
You can get dirt masks by multiplying an inverted AO map over the up vector of the object space map, leaving just upward-facing cavities. You can get a lot of masks from just manipulating raw bakes. By using adjustment and pattern layers for those manipulations, you keep everything live and editable.
Usually handpainting (or image overlays) is needed for that last 20% of quality. Stuff like the damage on top of the scope is masked edge wear along with just going at it with a brush for a little while. Even when painting though I'm usually painting on the mask of a color or pattern layer to keep things editable.
So No substance?