I paint around the corresponding areas of the face from different angles and use masking to blend between layers in Mari and make sure there are no seams or breaks in the transitions between different types of skin.įor the diffuse map, I start out by finding a good texture/photograph sample for skin and make a seamless texture out of it, which you can tile inside Mari for a base layer. I also like to create a tileable texture to blend between the transitions in the skin. I start by combining all the different channels in Photoshop and cropping the textures of the forehead, nose, and face. For the skin painting, I typically take a decimated version of my sculpt with UVs into Mari and use the Texturing XYZ displacements to add fine pore and wrinkle detail. It is a detail-oriented process – making sure that each wrinkle, fold, surface or edge has been sculpted over and given its own details.įor the texturing process, my main tools are Mari and Substance Painter. The final, but most important thing to do, is just making sure that every part of the model is sculpted. For more hard surface assets I like to stay in Maya and include small sculptural details later on in ZBrush. I repeat this process with accessories – using Zmodeler in ZBrush to make a base to sculpt on. It is much easier to pull the cloth where you want/art direct how it looks and lays on top of the other forms while in ZBrush, especially when fine-tuning a pose. My reason for this is that you will usually have to sculpt on top of simulations out of marvelous to get good results anyway and by learning to create clean bases in ZBrush, it helps to simplify the process. I have also used Marvelous for some clean bases, but generally, prefer to sculpt clothing in ZBrush. Some of the artists I look up to and try to follow for reference include Raf Grassetti, Frank Tzeng, Igor Catto, Vimal Kerketta, Rino Ishak Zvizdic, Rodion Vaslov and many more.įor clothes and costuming, I use Zmodeler to create clean bases in ZBrush, which I then use to construct clothes with panels to mimic clothing in real life. I also look up to other artists to get inspiration for how a character is going to be communicated in 3d. I try to keep my anatomy and pose feeling natural for a character/animal as I believe that is an important part of making a believable character. For example, in my Giants project, I used historical references from the Metropolitan Museum’s online collection to look at different types of shields that the Giants may have scavenged for as materials after a battle. After this, I try to find additional real-world references for the costumes and props of the character. I then look for real world reference of similar faces to use for comparison – it is better to use a single face as a reference and then deviate from it. The first thing I try to look at in the concepts I have chosen is how the artist uses light and shadow to communicate anatomy. So far I have not worked on any industry projects, only personal and school projects, but I cannot wait to enter the industry. The resources that they provide are incredible and the teachers are very knowledgeable about studios and the processes they use to complete a project. Gnomon gave me all the resources for learning how to work within a professional pipeline. I took Gnomon’s 2-year modeling and texturing track and I can say it is the best educational experience I’ve ever had. Eventually, after almost a year, I decided to go to Gnomon. From there, I went to college for Production for Film/TV but it was not what I really wanted to do. I started using programs like Maya, Mudbox, and Blender when I was in high school to learn about the process of modeling and texturing. There weren’t very many programs for VFX at my school, so I used online resources to learn. I’m Sinjin Treharne and I grew up in Palo Alto, California.
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