![]() I had a lot of fun doing this and it also gave me some time to reflect on my journey. I hope that you had some fun reading this small summary of my journey.įinally, I would like to thank the team at .uk for giving me this opportunity to write about my project. I tried to keep it short and simple, highlighting the more important aspects of my workflows. I know how hard it is sometimes to go through an entire article, so if you made it this far you have really earned my respect. This concludes the breakdown of my project. I know that it can be really soul-crushing sometimes but to have those extra eyes really helps to push the project to the Next Level. Over time it is easy to develop tunnel vision and become oblivious to the most obvious mistakes. Never shy away to ask for feedback, especially when you are working on a project for over several months. Now you will hear this quite often but I wouldn’t say it again if it wasn’t important. When I am satisfied with the result I render the image out in a super high resolution and give it some postprocessing in photoshop. This may sound a bit tedious but it really helps to push the quality of each shot. For my usual setup, I create for each individual shot an extra camera and a sky. Nothing special here, soft lights from the HDRI and the directional lights and hard lights from the spotlights to highlight certain areas. For the lighting, I used a combination of hard and soft lights. You want some variation not an explosion of colours.įinally, I rendered my result in Marmoset Toolbag 4. Keep the tints subtle and don’t make all the plates individual. ![]() As plates would be replaced over time.īe careful though not to overdo this, you don’t want to end up with a sparkling rainbow samurai. That really made the overall colours more interesting and added some storytelling to it. To push it even further, I selected random tiles and gave them a small tint. The result was ok, but I was still not satisfied here. My solution was to select some of the rows and give them a different colour. It made the whole Armor look really boring. ZSketch brushes specially brushes only used for ZSketch. Curve Bridge brush create polygon bridges to weld edges. InsertMesh brushes quick access to any mesh you can imagine. The issue which popped up already in the early stages of the texturing was the uniformity of the Armor plates. Groom brushes designed specially for use with FiberMesh. For the colour palette, I chose to go with the colours of the barn owl as mentioned before. I usually like adding dirt and leak types with different roughness values, that will make your textures instantly more interesting and give them more depth. That gives you a different perspective on your Asset and really helps to improve your final result. While working on the textures I always switch between the different channels, mainly the albedo and the roughness.
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