Topping these layers, details like deformation, scratches, wear, grunge, dirt, etc., were added. High-quality reference images were used to paint on these intermediate layers after combining them in Photoshop. Then I added layers that gave texture to the asset, like cracks and scratches on leather, an intermediate paint layer on metal, a fabric pattern for the cloth, and a jute fibrous pattern for the rags. The base layer had minimum details and basic colour and roughness information. The most invaluable trick that I learned for the realistic treatment of props is to give them sufficient roughness breakdown.įor the albedo, I built layers. The primary materials of the accessories were leather, metal, jute, and cloth materials. For embroidery on leather, stitches, and the braid on the hat I created various IMM brush instances in ZBrush and used the curve function to run it across the desired path. This implies that I need only unwrap and texture one-half of the assets. The advantage of creating assets on a giant quadruped is that both sides can never be viewed simultaneously. The design of many of the assets had some semblance of symmetry and hence I relied on the mirror function of ZBrush. I manually arranged the curves to manufacture the randomness in all these assets. The same guides were used to create a cylindrical low poly which I carried to ZBrush to retain the deformation. For the rope, I wound multiple cross-sections in the form of a helix to achieve a realistic rope.
As fitting these assets on the horse involves a variety of deformations that cannot be accounted for in the base mesh creation stage, requiring a post high poly treatment.įor assets like belts, reins, harnesses, and ropes, I used the sweep curve feature with respective cross sections suited for the design. Since the majority of the assets were organic, I had to find creative ways to retopologize. The lantern was the only asset where I reused the base mesh as low poly for baking. I modelled the base mesh for assets like the hat, the saddle lantern, and the canteen in Maya using hard-surface modelling techniques.
#Marmoset toolbag substance painter software#
The software workflow I used for this project was Blender-Substance 3D Painter-Marmoset Toolbag. Two such devices are called the “Lightening Conductor” and the “Day Vision Goggles”.
#Marmoset toolbag substance painter series#
To adapt better to this new world, Mercury builds a series of devices. On his preliminary explorations, he gathers that the atmosphere on the surface is un-ionized and filled with the brightness of daylight unlike the ones in his world. On one of his expeditions, he accidentally discovers a world outside of his own and calls it ‘The Surface’. The narrative of Mercury follows him, an explorer and inventor, who resides in a world within the realm of the clouds. I conceptualized a character called Mercury with a series of artifacts fitting a steampunk theme. Project Mercury was something I created for my first trimester in the MA Game Art program. One such key project, my first attempt at character and game asset development, is called Mercury. They introduced me to several software tools, like Blender, Maya, ZBrush, Substance 3D Painter, Marmoset Toolbag, and Unreal Engine, and helped me understand industry-standard software workflows, game assets, character, and creature creation pipelines. Working on my university projects has been a steep learning curve for me. My background and experience immensely helped me in learning and acquiring the necessary skills required for game asset development. My experience with design, love for art, and passion for games led me through this journey of true self-discovery. So I decided to give game art a fair shot. Seeing the result of the effort of artists that went into the making of the games inspired my curiosity to learn. Creating fantasy worlds and designing fictional characters gave me a sense of fulfillment. Ever since I was little, art and colors have come naturally to me. I have been practicing traditional art almost all my life with mediums like oil on canvas, watercolor, charcoal, oil pastels graphite, etc. All the constraints factoring into the creation of tangible objects felt restrictive.Īrt has always been my one true love. Although engineering introduced me to the field of 3D, which I am immensely grateful for I believe it lacked the essence of creative freedom. I have a bachelor’s degree in Mechanical Engineering and four years of experience as a product designer in India. I received my master’s degree in Game Art from Sheffield Hallam University. I like creating game-ready characters, creatures, and props that further the narrative, weaving together a tale of visual storytelling. Hello! My name is Adarsh, I am a Character and Prop Artist from the UK.
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