WXS-07 'Depopulator'

#26

When all the armour/suit parts were textured I moved onto texturing/shading the head. Texturing was also done in SP, using the ‘airbrush’ method.
This is a popular approach to painting skin/organics and comes from the traditional sculpting/silicon mask-making techniques. Layering on the skin tones using different tones for different regions. This gradual building up of many layers can give quite a natural look and is a quite enjoyable process.
I painted an epidermal(top layer) and subdermal(tissue below the surface of the skin layer) map, which were piped into the Vray skin material.

I also experimented with painting a base reflection map(mostly derived from an AO/cavity/SSS map ripped from 3dsMax’s Render Surface Map tools) which I then duplicated and adjusted in PS for the glossiness map.

#27

Next it’s onto shader look-dev in Vray. I always have my scene setup in Max and SP simultaneously, and just paint/adjust/save, test render…tweak shader…paint, adjust, save…render…tweak shader… NOTE: Just make sure you’re not using SP’s default .png file format as the .png plugin in Max is broken and the link to SP will not work. I usually use 16bit .tiff

This way you can pretty much get instant feedback on the results. Although I have come to realise that Substance Painter is pretty much a WYSIWYG environment and towards the end I was confident that the results in the Painter viewport are practically 1:1 with Vray. This ends up saving a lot of time as the test render phase can be a long…long step in a project.

And finally I can see how it’s all coming together. I often ‘printscreen’ renders and paste them to PS for quick adjstments/paintovers
as this can lead to new ideas, or inspiration.

#28

So once I had completed all the modeling/texturing, and had everything assembled in 3dsMax, I realised that this bloke definitely needed some sort of base, or platform. So it was back to Zbrush again for some more hard-surface action… :slight_smile: This time using Zmodeler/Radial symmetry:

#29

The platform was also textured in Substance Painter using the very same techniques:

#30

Having created the platform I still felt something was missing…an environment! :slight_smile:
So I set about building one. The elements were created in Zbrush/3dsMax, and the scene assembled in 3dsMax. About 10% of the geo in the scene is kit-bashed from a Vitaly set and Zbrush IM brushes.

The great thing about building a cylindrical environment is that it’s so useful to be able to ‘steal’ shapes from the topology. All the pipes are spline shapes extracted from the main set so they already in place, and as they are editable splines I could make use of this powerful toolset in max. Also, any object can have it’s pivot aligned to the main set and be clone-rotated for perfect placement very easily.

#31

I then began texturing. I didn’t need to put as much work into this stage as the environment would be in the background and probably depth-blurred(which it was) but I was addicted to Substance Painter at this stage so I didn’t care…:slight_smile:

#32

For texturing a lot of the background props i tested out a tiling texture idea I had in mind for Substance Painter. I just imported a square proxy plane with UVs from 3dsMax and textured it using tiled maps and procedurals. You get the normal/height, and roughness for free as you’re working across the whole material at once. Plus the all the map detail is synced. Then I just exported the maps using the same Vray preset.

#33

And an example asset. So quick to do as you don’t even need to unwrap the UVs. You can just apply box-mapping or use the Vray tri-planar-tex map.
And bearing in mind that this is a background prop, this is good enough. Spend time where you need it. :slight_smile: I could have just used any old shader but I like to use personal projects to test out new ideas/workflows so it’s never time wasted.

#34

With the scene assembly/lighting rig finalised(after days of experimentation/testing ) and everything in place it’s time for final renders! NOTE: not as exciting as it sounds…

The character was saved out as a Vray Proxy for the final stages of rendering

#35

I will often printscreen a render in progress from the frame buffer and just start experimenting in PS whilst the render is still ongoing. This will be a noisy/grainy image but it doesn’t matter as it’s just for testing purposes.
Call it impatience…:slight_smile: but it’s great to be able to get ahead of yourself and try out different ideas just like sketching. No matter how crap it looks, as nobody will ever see it…oh!..wait!..too late…

#36

And at last…the finished render(or one of them) Straight render with a few levels/colour correction tweaks, but no paintovers.(background did get some painting work) The background ended up heavily blurred, and I also exported a VRay Glare and Bloom pass from the Vray mesh lights to composite.

#37

Oh man, terrific work and a bit difficult to gage where to focus attention as we’re spoilt for choice plus he’s seriously taken on a personality all his own :slight_smile:

#38

Really awesome and inspiring.

I am trying to follow a similar workflow to yours for a very small project of my own and I have a question. I’m trying to texture something and add some normal map details in Substance Painter using alphas. Is there a way to drag out and stamp an alpha, similar to how I might do it ZBrush? I’ve tried the stencil option, but it’s a bit clumsy having to paint over the alpha with another brush.

#39

@sacboi , as always mate, thanks for the kind words and encouragement. :slight_smile: Just woke up this morning to a Zbrushcentral top row, which is a real honour. I can’t believe it. Plus I was contacted by Allegorithmic(developers of Substance Painter) who invited me to do an artist interview to discuss my use of SP on this project. Almost makes all the hard work worth it! :slight_smile:

@Joo52 , thanks a lot mate. You can’s ‘dragrect’ your alphas in SP, but you can use the any brush to just stamp down detail with whatever alpha you have assigned to the brush, rather than having to use projection painting via stenciling.

Also, in SP2, they’ve added a Normal channel so you can now stamp Normal map ‘alphas’, which is a really great feature.

#40

Ah. For the life of me I couldn’t find dragrect or anything similar, but I’m sitting here on version 1.4.2. I’ll update and see if it was thrown in later.

EDIT: Just got updated to 1.7.3. Still can’t find the dragrect option. Can you direct me to it? </EDIT>

As for normal map editing, is there any advantage of this over editing the heightmap channel (other than maybe reduced texture budget)? I’m intending to use the asset in UE4.

#41

@Joo52, sorry mate, that was a typo. :slight_smile: I meant you can’t dragrect in SP.

But the stamping in SP is great, much more accurate than dragrect. You just apply your alpha to a brush and stamp it down! :slight_smile: Using the hotkeys to rotate/scale/control opacity. It’s a very efficient workflow.

As for Height Vs Normal detail. It doesn’t make a huge difference as the details are usually so small in the UV space to texel ratio.

I’ve been testing out the Normal stamps in SP2 they’re working great. It depends on your shader setup in UE4. as you’ve said, it’s an extra draw call. Th best thing to do is export normal/height maps as a test from SP and try them out in UE4 under the same conditions.

#42

more renders;

#43

Haha. Didn’t occur to me to just click once with the brush selected. Thanks for the tip.

Your character looks great. Very thoroughly realized. He looks like someone I might meet in the new Doom game.

#44

Thank you so much for creating and sharing these step by step guide and video lessons, they are incredibly useful and easy to follow! and your final images are just amazing!!

#45

Liudmila, thanks you very much for the kind words. It means a lot coming from an artist of your talent. I’m a big fan of your recent work featured here. :slight_smile: