FMP: Alfodr, The Wizard - Texturing, Feather creation and Hair textures

Texturing was quite a long and tedious part of the project. I spent roughly two weeks working on them and even though I'm quite happy with the way they look, there's still room for improvement.
One again, I gathered a bunch of new references, this time to see how other artists approach old/worn out objects/textures.

I began by setting up a base material for each surface: gold, leather, cloth, etc, consisting of just colour, 2/3 layers of colour variation, base roughness and height. I generally leave roughness variation as the final layers and this was my approach this time as well.
Since my character is wearing several leather pieces, I tried to differentiate each one, not only  to make them have a different feel and materiality, but also to make the objects read better. At the same time, I tried not to go overboard with the hue variation from object to object.

For the skin I used reference pictures to establish the overall tone. Slowly built up more variation with additional layers - red tints, blue, yellow, orange, brown moles, darker moles and small veins. It took a bit of cleaning time until the skin stopped looking blotchy and I could finally start working on the roughness and SSS. After bulding up the roughness as I'd usually do, I added an additional layer with a much lower roughness value and used a mask with a fill set to "cells". I liked the effect a lot.
There are a few more adjustments that I'd like to make on the skin textures, however towards the end my project got corrupted. Whenever I try to export the textures for the skin material the program crashes. For all the other materials it works just fine.

After the texturing part was done(or nearly done), I started generating the textures for the hair cards in XGen. I separated all the hair onto 2 texture sheets: one for the long hair, eyebrows and eyelashes, and the other for the beard and fur. After generating all the maps in  Maya: albedo+alpha, direction, AO and normal, I created an additional map in Photoshop to use as specular.

After generating the first set of maps, on the following day I intended to use tht project as a base and just tweak the hair guides and modifyers to get a different result. Unfortunately for me the project got corrupted and I could not open it anymore, so I had to start from scratch.

When creating the feathers I followed a tutorial from ZbrushCentral. So, I made them in Zbrush using Fibermesh. Then, I exported the feathers into 3ds Max where I applied vertex colour on them. I made a plane, unwrapped it, then baked the feather onto that plane in Substance Painter. I applied a simple dark grey texture, with a 0.5 roughness value for the barbs and something similar for the rachis. To get the greenish reflections I had in mind, I set the specular value to green in Marmoset.

After I had everything in place texture-wise, I started placing the hair cards in 3ds Max. At first I tried using curves and applying the Path Deform modifier, but somehow that didn't work. As I couldn't figure out what the problem was, I started placing the hair cards manually. This is my progress so far:

FMP: Alfodr, The Wizard - Retopology, UVs and Baking

The retopology was done in Zbrush and 3ds Max. I started out in Zbrush using Zspheres, and I tried to do nearly everything there, since I've had a lot of troubles lately using the conform brush in 3ds Max. When I finished doing the base topology, I imported everything in Max, mirrored and adjusted each and every bit. The poly count was 52k triangles.

When everything was done, I started unwrapping, focusing on straight edges with as little deformation as possible. I divided the objects onto texture sheets as following: skin (2k), eyes (512), leather and metal with no transparecnty (2k) and textures that require transparency (cloth, chainmail, 2k) 

Retopologizing and UV mapping took me around one week.
By the time I started baking and texturing, my university had closed due to the virus pandemic. Ever since, I've been working a lot slower. My PC handles all the programs I use quite decently and although I know I might face some issues when setting up my UE scenes, everything is good for now.

My first attempt at baking the textures came out with a few errors. Luckily for me, they had an easy fix and all I needed to do was to adjust the pants and give the belt buckle more topology.
Still, I couldn't make the vertex colour work for all the objects. Some of them, the ones that required transparency and had no underlaying geometry didn't bake correctly. For example, I gave the high poly chainmail a blue vertex colour - the colour didn't draw a shape on the low poly plane underneath as expected. Instead, the whole plane was blue. Duplicating the low poly and attaching the copy to the high poly geometry seemed to fix the issue, but there was still some deformation left on the chaimail. Instead, I decided to use the Substance painter Chainmail material and tweak it a bit.

FMP: Alfodr, The Wizard - Sculpture

For my second project I chose to do a concept with a Norse/viking aesthetic. I have long been passionate about the subject, and I finally felt confident enough that I could build a compelling character in this particular style. When I first started out I was planning to convey the style and feel of God of War characters. The idea proved not only hard to execute, but also unrealistic for my lack of experience and little time I had.

I started out as I usually do, building up a base mesh in Zbrush and gradually make all the clothing and accessories.
Most of the parts were done in Zbrush, aside from the base of the horn, sword and leather bag. I simulated all the cloth parts and boots in MD.

 I decided to leave out some of the jewellery he is wearing since the concept might be a bit over-designed, at least to me. After discussing with my tutors, I decided to give up on the horns as well. Even though they reminded me of Mimir's horns and looked quite interesting in the concept, the idea did not translate well into 3D as it is. They would have required some adaptation, but in the end I thought they would simply not work on a human character.

The overall shape of the body was quite a tricky part. I started out from very defined muscles on the arms and abs, but ended up smoothing everything and working on a more subtle approach. I somehow wanted to find a middleground: realistically, there wouldn't be much definition in an older man, but I also wanted him to look strong.

The face was another big challenge. I worked from a bunch of reference pictures, until one of my tutors pointed out that the concept artist used Mark Hamill's face in the concept. However, a likeness sculpture would have taken me a lot of time, since I have never tried to do one before. Generally speaking, face anatomy is one of my weakest points and I will work to correct that in the future.
I stopped tweaking the features the moment I got a decent looking result and started building the secondary and tertiary details.

After all the major forms were in place, I went on to refine them. I spent quite a lot of time adding wear and scratches to the leather, knowing that I wouldn't be able to add  them in Substance Painter as precisely. I tried to take each individual bit and think about how that piece would age/ where I should add the wear. For the metal decorations (such as the ones on the chest) I made a mesh using an alpha, dynameshing and zremeshing as needed. Overall, the sculpture was a long and fiddly stage, but one that i very much enjoyed.

Final version of the sculpture:

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 I haven't updated my blog for quite a long time, since I've been struggling with some health issues. Everything began back in February when I started having troubles sleeping and occacional episodes of sleep paralysis. Things have gradually gotten worse and one night I had to go to the ER, because I was sleep deprived and having a panic attack.

 The clinician at the hospital, as well as my GP suggested that everything, including the occasional arrythmias I was experiencing are most probably related to stress and anxiety.

 I knew that I pushed myself very hard this year - there was no clear boundary between work and spare time, thus more often than not I ended up working 10+ hours a day, even on weekends. Everything, just to make sure I make the best out of my time in university and not miss the opportunity to develop my skills.

I never felt overwhelmed and I never suffered from anxiety before. But soon I realized that no matter how unexpected and surprising, all the stress I've been through has drained me and I needed rest.
As a consequence, during the quarantine I took my time and worked at a much slower pace. I also tried not to stress over keeping this blog up to date, knowing that I could take a few days off later on and go through all the processes I have completed.

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:

FMP: Lady of the sword - Retopology

The next step in my process was retopologising the high poly mesh. The whole process of retopology+UVs took me 6 days, since I tend to either retopologise subtools at an early stage inside Zbrush or start from a low poly mesh in 3ds Max.
The hair and the wing were probably the trickiest parts I had to figure out. The hair was made out of individual strands, made with a curve insert brush in Zbrush. They all had subdivision histoy, but even at the lowest level the mesh was a bit too high. So I proceeded to retop it manually,  with extra care for the hair strands that were detaching from the mesh.
Since the wing was supposed to have some thickness, I could not use an alpha for it - I needed actual geometry. I used the same approach and in the end I managed to get rid of most of the triangles.