3D Creative December 2015

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3DCREATIVE MAGAZINE | Texturing assets with Substance Painter Varying the wood color: The wooden 09 parts of the shield are looking a bit too samey, so to fix this I use Photoshop to edit the base wood texture we originally brought in as our starting layer. I make the texture lighter in color. Back in Substance Painter, I import the new texture and apply it as a new fill layer to my stack. I then apply a black mask layer to make it invisible. I can now use a white noisy brush to gently draw in some highlights to the wood. As this is a fairly noisy surface you would expect a lot of variations in color and dirt. Hand-painted dirt: Now all of our 10 Smart Materials are placed, we need to start to bed them in more so they look more natural. We do this by painting in details such as weathering and dirt. So on a new empty layer, I use a black noisy brush and lightly paint in dirt build-up behind the nails and in the creases. Don’t be scared to add too much, because if it looks too heavy when we are done we can always reduce the opacity of the layer or use a mask layer to soften the effect. Painting dirt build-up: On a new layer 11 I continue to build up the layers of dirt, painting in all of the corners and crevices. I keep certain areas more clean, for example where the shoulders or forearm would be continually rubbing the surface. I like to keep each element’s painted dirt on separate layers, so I can use the layers’ opacity to tone the effect down if it’s too heavy without affecting the whole shield. Coloring the dirt: Doing the same 12 process as above, I paint some dirt detail on the metal hand guard areas, particularly around the nails. As this is a metal surface, I can add some color to the dirt layer to represent rusting. I keep the color dull so it doesn’t stand out too much from the rest of the shield. I also add some larger patches of rust color on the spherical surface just to vary the diffuse coloring. Stitching mask: I feel it would be an 13 easier process to paint the stitching in Photoshop rather than in Substance Painter, where I’ll have more control over such a finicky process. Using the UV texture and the normal map texture as a guide, I use the normal map texture to show where the height data is for each stitch so the textures line up correctly. I paint a black-and-white mask of stitching, making sure the stitches are untidy to look more natural. I save the texture out. Imported layer mask: Import the newly 14 created mask texture into Substance Painter and select it in the Textures tab of the Using a second pre-made texture to add variations to the wood texture Hand-painted dirt and grime to really weather and age this asset Continual build-up of painted dirt layers on the wooden panels 3DCREATIVEMAG.COM
3DCREATIVE MAGAZINE | ISSUE 124 Metal dirt layer with an element of rusting Stitching detail for the leather straps will add a focus area of detail to the shield Using an imported texture as a layer mask Dirtying up the stitching to match the dirt on the leather straps Shelf. Create a new fill layer and add a black mask, then right-click on the mask and select ‘Use texture as mask’. Select the stitches mask we just imported. You should now see the stitching appear on the leather straps as intended. Adjust the layers color and PBR values to look natural with the rest of the shield. Dirty stitching: The stitching stands 15 out too much from the leather strapping because it is too clean. The stitches need to be dirtied up to match the weathering and wear on the leather straps. On another new layer, paint in some dirt but try to match the patches that are on the straps so it looks consistent. The straps really add something different to the shield with their organic shapes and details. I want to add more details to the rest of the shield to finish off and get the asset into Marmoset Toolbag 2, which I will cover in the next chapter. The Artist CHECKOUT CHAPTER 04 ON PAGE 086 Andrew Finch renders the final shield asset… Andrew Finch andrewfinch.carbonmade.com 83
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3D Creative December 2015

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