@Pav3d so with 14 UDIMS, are you gonna render that in Marmoset or in Engine? I have heard that Marmoset runs into a max amount of textures that you can use
@Pav3d so with 14 UDIMS, are you gonna render that in Marmoset or in Engine? I have heard that Marmoset runs into a max amount of textures that you can use
Im not using a UDIM workflow, its just sets of textures. Marmoset hasnt been giving me any issues with texture limits atm. Those 14 are just the main ones, Ive got a few more for things like eyelid shadow, base etc.
I'm also curios as to why one would have a separate texture set for the eyes, since they're so small in comparison to everything else.
Haha sure, here you go:
Since the eyes are key to giving life to a character its worth devoting a lot of resources to them. A realistic character in a game will always have their own eye texture.
Great work! As others have said, the silk looks really convincing. Any chance of a quick material breakdown?
Hey thanks! The main silk pattern was made as a filter in SD which would spit out masks into the user channels in SP, this is so that I could control what material group each part of the pattern would use on the fly. (Though eventually, as the amount of layers got larger, switching a toggle would take several minutes and sometimes resulted in a hardware lock up :P )
This filter would also create the normal map and height map which were used in detailing (cavity dirt etc)
Then in each material group would be the usual layers, grunge, speckle, cavity dirt etc. The pillowing layer raises the area slightly which gives the material a "puffiness" as though it is a soft silk. Things like memory creases (which can be sculpted, or in my case, made with a brush in SP) add to this effect.
Since silk has a coloured spec it has around 50%+ metalness in the texture, this gives it that silky look, and is something that has to be balanced carefully so it doesnt just look like a metal sheet.
Roughness on the left and metalness on the right
Once of the key things I found in getting a good silk result was making sure the silk threads themselves had a broken up specular highlight, here is a real world example:
You can achieve this by using curvature maps generated from your normal or height maps.
Thanks everyone for your kind words, its very encouraging
@oraeles77 Only a few smaller details like the knots are mirrored, which on reflection I should have mirrored more, like the arm armour for example. It uses 14 texture sets at 4k each
I was asked on artstation about how I made the chisel brush I talk about on the first page for engraving. So I thought Id explain on here:
First I made an inverted square pyramid in 3ds max and baked it to a plane. You can make this in zbrush or even in SD. Or just use my one:
Then import it in Painter as a texutre.
Then you need to make a blank layer and set the brush to normal only.
In the normal slot add the pyramid normal.
Remember to set the colour space to "signed normalised" this means the brush will adapt to whatever your base normal is, so you dont have to worry whether or not the green channel is up or down.
You will need to adjust the brush settings in order to get the desired result, make sure you have follow path on. here are mine:
And thats it! Now you can draw some engraving. This was made to mimick sharp brushes such as orbs cracks in Zbrush.
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Esp. such an armor is just a lot lot lot lot lot of repetitive work. Thumbs up!
I'm also curios as to why one would have a separate texture set for the eyes, since they're so small in comparison to everything else.
Everything is so nicely crafted!
Congrats for this work! it's awesome.
Congrats for all the work, it turned out f******* amazing. I have no words.
could anyone give some insight? very new to hardsurface
thanks)
Hey here is the unsmoothed mesh,it has a shell modifier to give it thickness. All the holes would then be done in zbrush
my attempt looks like this)
How did you create the armor holes?