11/23/2023 0 Comments Marmoset toolbag substance painter![]() I created and saved multiple camera angles that were used for my final renders. This is used to compliment the silhouette. ![]() A cool Omni in the back is used as a rim light.This behaves as the main light, highlighting the head. A warm Omni light just above and off center from the head. ![]() I used an HDRI from this great free pack by Joost. To emulate the lighting style of a classical portrait, I used a simple 3 point lighting setup. To make sure my textures looked sharp in the final render, I turned off Use Mipmaps for each texture and set my Diffuse to sRGB. pngs, I didn’t need to manually update my textures everytime I exported. Since Toolbag auto detects changes to the. I created a preset in Substance Painter, which meant I could export it immediately and hook it up to Toolbag. Material SetupĪside from the Anisotropic settings, my texture setup was simple. I then assigned it to the Direction Map slot in Toolbag. Since it had multiple UV islands that were not aligned in the same direction, I created a simple gradient using the Position Map generated from Substance Painter. However, for this piece, I needed to tell Toolbag which direction the anisotropic reflection should shine across. Instead, I used the settings pictured above. ![]() Since the arm cloak is on its own material and is mapped to one large UV island, I didn’t need to create a map for the Anisotropy Direction. I later used the Anisotropic Reflection shader in Toolbag, which gave me a really great result. In this case, I have it set to full metalness. Having a very high metalness value on the cloth helps give it the velvety feel. I imagined it would catch some dirt and dust from brushing against trees or castle walls, so I added some wear to the ends. I created the feather pattern in Zbrush and tiled it in Substance Designer before exporting the masks into Substance Painter. Making it deep red and bright gold helped it stand out against the rather muted colour scheme of the rest of the character. There would be scratches, light dents, dirt, grime, and discoloration from where it’s been knocked around, either in battle or from travelling.įirst, I took it as close as I could to velvet in Substance Painter. For example, Lordling would have had his squires attached onto him, so there will be oily finger marks all over it. How old is it? How was it used? Have they been picked up, dropped, damaged and repaired? This informs what details I need to add to tell the story. When making materials, I like to come up with a backstory. Metal Materialįor the armour, I wanted to create a decorative custom made set that has some wear and tear. I used a fuzz mask here so that only the gloves are affected. This helps create a sense of softness for the fabric. I’ve also created suede leather, which required making use of the Fuzz component of the Microfiber Diffusion model in Toolbag.
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