ZBrushCentral

Orc

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Now open Substance Painter – File and create a new Project. Select your mesh (helmet.obj) and load it. Now click on Bake Textures and let`s import our *_high.objs.

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Notice that I changed the Output size of the texture baking (usually I bake at 2k or 4k) and under *Match – I changed to By Mesh Name – This option will allow Painter to track the names and match it to bake all the maps.
I keep all the default parameters usually. I only tweak it if I have issues after baking.

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[FONT=arial]Now it`s time to texture and have some fun.

I highly recommend my friends Christophe Desse Youtube channel -https://www.youtube.com/user/xtrm3d He has some great stuff. Just go there and watch it! Im sure you`ll learn a ton!
Allegorithmic guys has some great stuff as well! Highly recommended- https://www.youtube.com/channel/UC-toy9WMImypmLAiU9h_SzQ
I wanna also say thanks to my friends Corey Johnson and Adam Scott for the tips as well :wink:
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I usually start from scratch all my materials. I like the idea of build them up but you can grab one of the presets (called materials/simple or Smart materials/complex layers) and start from that. What I usually do is to create my own Smart materials once I establish a proper look/material and use as a starting point across the other materials to keep it consistency.

If you wanna load into the same scene different objects you can. You just need to assign different materials in Maya and Substance Painter will recognize each material and assign a “Texture set” to each of them. So you can have the helmet, face, accessories, and different bakes and maps for each uv set. But I tend to find it too heavy for my machine so I like to keep things separated and simple.

This is a simple demonstration of a quick material creation.

[FONT=arial]Im gonna start creating a group to separate my materials/objects. [FONT=arial] I like to create black masks for each group and then using the Geometry Decal (selecting by UV Shells) I create my white part of the mask, revealing only what I selected. You can manually paint if you want to, or if your highpoly has vertex color into it, itll automatically bake an ID map which you can use to select colors to generate masks.

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To make it easier to follow, I`m gonna add a material called Aluminium. I create a fill layer and then just double click on the material I want. This material has a proper metallic value, roughness and color added to his properties. It has also some bump information, which automatically adds to the normal map. So everything you see in the viewport will be exported to its own maps.

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[FONT=arial]Now I wanna create some dirt on top. Add a fill layer, change color to something like dark brown. This dirt I want to be with no metallic, high roughness. And to generate this dirt, Im gonna add a black mask, and a generator. The generator will create a mask using all the maps previously baked to design and “generate” it. You can add a Paint modifier on top and tweak it as well. [FONT=arial]The great part of this process is that is super versatile because were painting masks. So we can change colors and material properties at anytime.

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This is my basic workflow. Of course you have to keep adding layers and details, carving out some damages using the height properties/modifiers and so on.
Another thing that I really love about it is that I can change the resolution of my final maps at anytime. So usually I work with 1024 maps but at the export time I change it to 4k. Substance painter will recalculate every single brushstroke and every generator and recreate your maps at 4k. MIND BLOWING!.
My final helmet has probably more than 40 layers. And in the end, I added a final touch in Photoshop for the horns. I like tweaking my maps and doing a final pass for crispy details in PS.
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After doing all the textures and maps, I did a quick pose on Zbrush on my low poly mesh.

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For the realtime rendering, I like working with Marmoset Toolbag 2.
Theres a lot of material out there about it so I wont cover it as much today.
My tip is to make sure your sliders are working properly. All the skin sliders should affect a lot your mesh. If not, re-scale your scene/model and keep doing until you find a sweet spot.
[FONT=arial]I like to make my model black to help me tweak the specular/glossiness and all the sss effects.

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[FONT=arial]I have a normal map, a glossiness map, AO, colormap (diffuse/albedo) and a cavity map in this shader. I like using two speculars and usually the second one I add a bit of anistropic to it to help me catch some light in certain areas. Sometimes I paint masks for scattering but I havent in this particular project. [FONT=arial] Other than that, you just need to plug all the maps from substance painter and manually tweak a bit each material. The lighting will help a lot in the final look as well, so my tip here is to make sure youre not overexposing, something that will flatten your image and materials. Keep the final adjustment for the exposure control :wink:

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Ive got a few questions about plugging some maps from Substance painter into Marmoset Toolbag 2. I dont think theres a huge jump between the two. But I dont take what I get at Substance Painter as my final result either. Shader and reflections can vary from engine to engine, so the key here is to make sure you understand what look you`re trying to achieve.

So in my case, I wanted this metal helmet with some “shiny” horns. I did what I thought it was looking good in Substance Painter. Exported the maps – Normal, Glossiness, Albedo, Metalness, Specular – and plugged them in Marmoset Toolbag 2. Remember that Substance Painter has their own shaders and you were painting using a specific HDRI as an reflection environment, which can affect “diffuse colors”. When you apply them to your model in a different lighting situation, it can look different or not as you expected, and sometimes even cooler/better! So bear in mind that you might have to tweak it.

You can see my complete shader of the helmet and see that Ive adjusted the Glossiness slider a bit and added a Secondary Reflection. Im pretty sure the anisotropic reflection is not 100% accurate in reality with these materials but that`s fine. Sometimes we cheat a bit to get a specific looking material :wink:

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That`s it for today guys. I hope this helps :wink:

I didn`t want to flood the server with all these images, so if you want to see High Res images, please visit my website -
http://glaucolonghi.com/portfolio/orc/

Take care!

Awesome project and a great making of!

Congrats!

Fantastic, glauco. awesome tips also. Thanks for that

fantastic !!!

Outstanding! And Thank You :smiley: !

Amazing Work Glauco. Thank you for the workflow breaking down.!

very nice, i love the real time views!
ty for share Ur workflow…

****ing good man hahha, love the details on face.

Thank you a lot for the kind words guys.

My friend Dado Almeida has put up the making of in a PDF format.
You can download it here for free :wink:

Hope you all learned a bit with this making of.

See you next time!
Cheers

Awesome, thanks for sharing some of your knowledge.

Nice job Glauco!

Thank you guys. I`m glad you like it :wink:

Your Orc is really Great and the tutorial truly amazing and very interesting too. i am really Glad that i was a part of your inspiration for this piece. Just one thing that is JB MONGE not JP :wink:
BEST
JB