need to figure out a solution for knurling across an arbitrary surface
in HP. thinking about doing unique UVs for the grip with a knurling
heightmap and tesselation + displacement
(I'll post this here rather than clutter up your sketchbook)
Are you using Designer to create these materials? If you haven't checked it out it's perfect for this sort of
thing; you can get variation by plugging in a (faded) grunge to a
splatter circular node, which makes breaking up repetition super easy.
It's also a great way to get more out of the stock grunge nodes. Since
you're compiling these in TB you could also have several variations of
one material (with exposed params to switch between them, or simply for
tweaks and adjustments) and just plug that .sbsar into your TB material.
That could also be useful if you've got objects that need a
significantly different material scale or resolution. Anyway, that chrome mat is looking awesome already.
the gloss maps are just grunges at different sizes combined with each other, theyre all at about the same scale in terms of noise frequency, the UVs are autogen so i scale those instead. i should probably start doing the uvs non-normalized so they're all at world scale and then make materials according to some target texel density but not doing that yet
need to figure out a solution for knurling across an arbitrary surface
in HP. thinking about doing unique UVs for the grip with a knurling
heightmap and tesselation + displacement
did a test object this morning which p much worked; remeshed the HP, unwrapped UVs on the remesh, subdivided back up to density, then applied surface noise in zbrush using some knurling alpha pattern on the UVs
Looking good, the newer sharper edges are spot on Id say I doubt there is much you can improve in modeling or on the clean look, Id go all in on texturing now, strong wear, drybrushing, unique details, humanization and all that stuff to push the next level ; )
Replies
Are you using Designer to create these materials? If you haven't checked it out it's perfect for this sort of thing; you can get variation by plugging in a (faded) grunge to a splatter circular node, which makes breaking up repetition super easy. It's also a great way to get more out of the stock grunge nodes. Since you're compiling these in TB you could also have several variations of one material (with exposed params to switch between them, or simply for tweaks and adjustments) and just plug that .sbsar into your TB material. That could also be useful if you've got objects that need a significantly different material scale or resolution. Anyway, that chrome mat is looking awesome already.
did a test object this morning which p much worked; remeshed the HP, unwrapped UVs on the remesh, subdivided back up to density, then applied surface noise in zbrush using some knurling alpha pattern on the UVs
I doubt there is much you can improve in modeling or on the clean look, Id go all in on texturing now, strong wear, drybrushing, unique details, humanization and all that stuff to push the next level ; )