FMP: Lady of the sword - Rigging, presenting (Marmoset, UE4)

The rig was quite time consuming. I tried rigging it in Maya, but I had some problems with it and ended up doing it in Max. The final result didn't look perfect, so I just converted it into an editable poly and fixed the flawed areas. I will definitely get back to this and do the rig again for the final hand in.
The presentation in Marmoset was almost done by the time I finished texturing, because I always take the time to plug in my unfinished textures in Marmoset, to see how they look like outside Painter. One of my tutors advised me to use one of my testure sheets (the most colorful one) as a background, and I think that advice did wonders for my presentation.

I still need to work on the UE presentation. I Put my character in engine and worked quite a bit on the materials and lights to make it look more like the Marmoset presentation, but I know it can be improved. My only problem now with UE is the eye shader. I had tried several methods to make the cornea transparent and mentain the "fake AO" i went for, but no matter what I did, the gradient is a little too harsh. Also, the normal information on the iris is barely visible, so I will probably need to find a fix for that, too.

FMP: Lady of the sword - Baking and Texturing

The first baking test came out quite messy and I had to spend some time to solve all the baking errors I had (most of them on the gloves and fingers, some on the armour). The end result was the following:

I started texturing the caracter using the Metallic Roughness workflow, but when I got to painting the armour I found myself a little lost. In the concept, the metal looks very colorful, and I wanted to replicate that. For some reasons, whenever I tried to add colours to albedo channel, the transitions looked odd and harsh. I tried lowering the roughness, but still, the issue remaied.
 Then, I did some research on stylized texturing workflows and decided to switch to Specular Glossiness. My goal was to have the armour pop out with vivid colour variations, as in this image from Darksiders 2.Drawing the reflected colour made more sense to me than drawing the actual diffuse and the look of the metal soon started to resemble what I had been trying to achieve from the beginning.

After the presentation, my tutors told me there was no way to use the Specular Glossiness workflow inside Unreal Engine. Soon, I also found out there was no way for me to convert my texture sheets from Spec Gloss to Metal Rough directly in Substance Painter. However, that was not much of an issue, since I found a tutorial on how to convert those maps manually in Photoshop.
Progress of texturing: