Use this occlusion map to create a mask, add a Sharpen node, then add noise to the edges to make them more irregular. You can retouch the mask to control where the wear appears on the model. Read these:
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The best Photoshop plugins “If I ever updated my sculpt in ZBrush, I could easily re-bake my input textures and have the final textures generated based off the new sculpt,” he says. Pasha has been working in the games industry for three years, including outsourced modelling work for major titles like Dragon Age: Inquisition and Elder Scrolls Online, and loves creating characters. Javier was under no illusions that creating the creature – his interpretation of the hydra from the film Jason and the Argonauts – would be a tough task, not least because he had never used Substance Painter or Designer before. 01. Not only does it reduce processing time but it makes it easier to make changes later in the project. “Initially I watched my favourite childhood [cartoon], Dino-Riders, which is where I chose the name Krulo, after [Krulos], the evil Rulons’ leader.”
Scott’s next step was to gather reference material, including photographs of lizards, dinosaurs, dragons, “and some excellent concept pieces from Pacific Rim and [multi-player shooter] Evolve.”
Scott worked on Krulo before and after work for two months, getting used to Substance Designer in the process. Tidy your graphs
It’s very important to keep your graphs tidy when working in Substance Designer. This workflow also made refining the Krulo easy. Set proportions
I changed some of the proportions during the sculpting, but tried not go far from my main idea: a creature with massive hands and mantis paws. “It was a hard month,” he confesses. Here, three amazon artists explain how they created their creatures and share their texturing tips. “I quickly became a big fan of the mask generator nodes. “It has a unique workflow, and I can see this being the direction a lot of game studios will be heading,” he says. “The most challenging aspect was [achieving] the colour combination of the model, finding a sweet natural combination,” he says. UV layout
I unwrapped all of the parts using UV Master and exported to 3ds Max, where I optimised my model and fixed some seam issues. 3D World and Allegorithmic challenged video game artists to model a unique Titan and texture it using Substance Designer or Substance Painter. Like this? “The reward was seeing the character take form, and begin to seem real.”
Create a mask
To create a worn metal effect in Substance Designer, start with a simple colour map and an occlusion map baked from the high-resolution model. 03. Tundrashift Krulo
Naughty Dog character artist Adam Scott shares his approach to texturing a Titan”I wanted my Titan to be a large lizard, mounted with a human rider to help show the scale,” says Naughty Dog character artist Adam Scott. Hydra
Freelance artist Javier López Sotoca reimagines Jason and the Argonauts’ beastMadrid-based character artist Javier López Sotoca spent six weeks working on his Titan in his spare time, fitting the work around his day job. You can use the Edge Wear node for this. It’s easy to keep adding nodes like mask generators, level adjustments, hue shifts, and detail overlays, but doing so can make your graphs balloon to unmanageable sizes. However, Javier found the software quick and intuitive to use, praising its masking workflow and “fast and easy previsualisation.”
In the end, the biggest challenge Javier faced was artistic rather than technical. Insania Devastator
Whale Rock Games’ Pasha Guba textured his creature in seven hours in Substance DesignerWhale Rock Games 3D artist Pasha Guba drew on a mixture of sources for his Titan, including Pacific Rim, sea creatures and video game characters such as Blizzard’s alien race, the Zergs. The main thing I found useful was the opportunity to complete the whole process, from baking the model to rendering, in one software package. This article originally appeared in 3D World issue 189.

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