They need to stay relative to the character, as they are just small point lights helping areas to pop more. I used additional lights (labeled “B”) that aren’t child objects of the Sky. Make sure your character has been exported at the 0 0 0 world position from your 3d app. This is because the Sky and Lights rotate around the world origin, and having a character placed at the world origin will allow the lighting to work well at every angle. I placed them as child objects under the Sky so that when you rotate the sky using Shift+LMB, it turned the lighting setup with it. I set up several lights in a classic and precise 3-point lighting setup (labeled “A” which were key, fill, and rim Spot Lights). I started by selecting a nice Sky Preset and set the Brightness to a low setting to avoid having pure black shadows. The sooner you test in-engine, the more time you will save! The lighting setup was as follows: You don’t want to work dozens of hours in Substance Painter only to realize that it looks way different in-engine. This way I can simply press export and it automatically updates everything in Toolbag, giving me a view of how my textures will look in-engine. Then, in Substance Painter, I set up the textures export folder and linked everything to the character’s material in Toolbag. Of course, I would tweak these throughout my texturing and posing process. When my character was ready for texturing, the first thing I did was to import it into Toolbag and quickly set up a few lights and a Sky that would closely resemble the final mood. I bake additional maps directly in Substance Painter based on the low poly model and Normal/AO maps. When it comes to baking maps, I use Toolbag to generate Normal, Ambient Occlusion, and ID maps from the high poly model. 3DCoat has powerful unwrapping tools, so I tend to place seams and unwrap everything there before importing my meshes into Maya for packing UVs and smoothing groups. Another good aspect of manually retopologizing before detailing the sculpt is that I can use it as a base for the in-game model. Retopology and BakingĪs I mentioned earlier, I mainly use 3D Coat for retopology. For instance, I added slashes on the character’s armor in a way that indicated that they were caused by other knights during battle. Instead of spamming slash alphas in every blank space, I tried to add damage in a way that made sense and was believabile. At this stage, I started adding edge wear, breaking chunks of armor, slashes, and so on. I love to play with making non-linear widths for these bevels to explore more interesting results.Īfter this step, I disabled Dynamic Subdivision, added subdivisions and started sculpting details. Once I was happy with the low detail character, I added mid-level details, mainly bevels on edges around big flat areas. If this low-level detail version looked bad, it wouldn’t look better with more details. Of course, it lacked mid and high-frequency details, but at this point, I was focused on achieving surfaces and curves that were clean with no waviness. I creased any sharp edges and activated Dynamic Subdivision in order to get a better preview of the final look of the SubTool without completely losing the ability to modify it. I generally do this by hand for hard-surface objects, but I used zRemesher for the organic parts to achieve clean, low-geometry base meshes for each part of the character. Then I retopologized the SubTools, mainly using 3DCoat. Of course, this can’t be achieved completely before I have clean topology to work with, but the earlier I manage to get the right proportions, the easier it is to add detail later on. At this stage, I try to block out the proportions of the different elements as quickly as possible. The character is based on a concept done by Fino Feng during the first phase of the contest. I started by blocking out a rough model of the character in ZBrush. These are among my all-time favorite game character sculpts and I had been wanting to try something similar for quite some time. My main references were character sculpts from Darksiders II. My topics will include lighting, rendering, and how I used Toolbag’s animation features to enhance storytelling. In this breakdown article, I will discuss my process for creating my King Arthur character. I also teach character art for games at New3dge school. I started working in the games industry in 2016 and I am currently working at Lightbulb Crew on the game Othercide. Hello! My name is Antoine Dupuis and I’m a Character Artist living in Paris, France.
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