Yea they are totally ok as long as they don't screw something up. Generally quads are easier to work with because they give you rings and loops that make your life easier, as well as subdividing and smoothing cleanly. But there are times that triangles or n-gons will totally save the day and keep you from making monstrously hideous topology.
Plus, essentially when generating hard surface assets, fine detail that presents a challenge too model 'in-situe' can typically be resolved by using 'floaters' (floating geometry) which you'll likely run into at some point working on this gun.
For the sake of not spreading misinformation I'll have to be the naysayer here.
Regardless of how cool Painter is, by its very nature it is still something that happens at the very end of the pipe (texturing). Therefore if a production relies on strict approval steps (for instance : approving the high (with floaters) before it being sent to another artist or even to an external vendor for retopo/bake/texturing), mixing things up by relying on painter for important details is just too much of risk as it would require the model to be fully retopoed and baked in order to finally review and approve of these details.
Not that it can't be done that way of course - it's just that it's clearly not always the case if only for planning/scheduling reasons, simply because everything that can go wrong will inevitably go wrong at some point.
@pior Sorry, I should have clarified: baking down floaters(and designs/patterns/tiling details/text) is destructive and a potentially stymied choice in the pipeline. Nothing to say kitbashing them to the high for approval or even temp autounwrap and quick detail pass in Painter isn't more efficient and non-destructive.
Well, I'd still disagree. A studio can have some very good reasons to want to lock everything down at the highpoly stage with final floaters - even for things like tiling trims and 3d text.
Again, that's not saying that Painter isn't great - it's just there are too many production scenarios out there to make such a broad generalization. It may be often true, but not all the time - therefore that would be spreading a misinformation imho.
Fair points. Best workflow/pipeline practices are certainly subjective and every artist/shop has their own. A lot of pipelines are, or already have, moved away from the traditional 'high poly first' process though.
There are so many options/methods for hard surface these days that the tradtional 'rules' have blurred a lot in recent years.
Some insightful thoughts lads, thanks for sharing. I've not worked in a studio system, just various remote jobs over recent years and even then mostly pre-vis for production advertising, so my realtime art asset pipeline knowledge base would be intermediate at best alongside familiarity with Painter as well
Too the OP, you've IMHO a solid grasp of the basics at the moment, so I'll also recommend looking up a couple of **gun** hard surface artists over on Gumroad, Tim Bergholz and Tor Frick, from whom I'd personally learnt a sh*tload via their excellent informative tutes that I really believe had pushed my current progress to the next level.
Replies
Is tris are ok in high poly modeling?
Thanks for your comments
Does the triangle break something?
For the sake of not spreading misinformation I'll have to be the naysayer here.
Regardless of how cool Painter is, by its very nature it is still something that happens at the very end of the pipe (texturing). Therefore if a production relies on strict approval steps (for instance : approving the high (with floaters) before it being sent to another artist or even to an external vendor for retopo/bake/texturing), mixing things up by relying on painter for important details is just too much of risk as it would require the model to be fully retopoed and baked in order to finally review and approve of these details.
Not that it can't be done that way of course - it's just that it's clearly not always the case if only for planning/scheduling reasons, simply because everything that can go wrong will inevitably go wrong at some point.
Again, that's not saying that Painter isn't great - it's just there are too many production scenarios out there to make such a broad generalization. It may be often true, but not all the time - therefore that would be spreading a misinformation imho.
There are so many options/methods for hard surface these days that the tradtional 'rules' have blurred a lot in recent years.
Some insightful thoughts lads, thanks for sharing. I've not worked in a studio system, just various remote jobs over recent years and even then mostly pre-vis for production advertising, so my realtime art asset pipeline knowledge base would be intermediate at best alongside familiarity with Painter as well
Too the OP, you've IMHO a solid grasp of the basics at the moment, so I'll also recommend looking up a couple of **gun** hard surface artists over on Gumroad, Tim Bergholz and Tor Frick, from whom I'd personally learnt a sh*tload via their excellent informative tutes that I really believe had pushed my current progress to the next level.