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1. #WARP IN SILHOUETTE STUDIO BUSINESS EDITION MANUAL#
2. #WARP IN SILHOUETTE STUDIO BUSINESS EDITION WINDOWS#

With the Interceptor, macro details meant considering what areas would be most affected by the elements. When considering texturing details, I work from macro (like the overall Roughness variation) to micro (like small chips on the edge of the bonnet). It seemed appropriate, given Mad Max’s context of chaos and disorder. A large part of creating realistic-looking texture is breaking up uniformity wherever possible. Occasionally, I’d add a very subtle Warp or Blur filter, particularly over scratches for example. I found adding Levels within the mask gave better overall control, then over it all, a subtle Sharpen filter.

#WARP IN SILHOUETTE STUDIO BUSINESS EDITION MANUAL#

However, when combined, these subtle details elevated the entire project.Īfter detailing a manual paint layer, I would add a subtraction fill layer (adding more of these where necessary) and manual paint subtraction where necessary.

When isolated, many of these layers were almost imperceptible. Next, I’d apply a manual paint layer and add detail where necessary.

I always try to keep in mind the visual properties of each surface type when doing so. I would then apply a black mask to this layer, then continue to layer general grunge fills within this mask. Also following the advice of this tutorial, I put a subtle Sharpen filter over everything.įor each surface type, whether it was paint, sand, rust, or base metal, I tried to keep the same basic workflow, which went as follows.įirstly, I create a fill layer with base values: Color, Roughness, Metal, and Height, if needed. I recommend this to anyone trying to improve their texturing skills. I learned this tip from a great ArtStation tutorial by Jason Ord. I then turn down Opacity, which gives the edges a good highlight. The Interceptor was a great opportunity for me to practice laying different surface types.īefore I begin any project in Substance 3D Painter, I put my baked Curvature Map in an overlay fill layer which only affects the base color. You can see in this image how parts were separated by material:

#WARP IN SILHOUETTE STUDIO BUSINESS EDITION WINDOWS#

I split the Interceptor into three materials to maintain good texel density across the board, these were separated by the exterior shell, interior parts, and extras like the windows and wheels. Wherever possible, I’d use the rectify tool from TexTools to straighten my shells to optimize my UV space and avoid stretching. I go round the model, mark the seams on the hard edges where required, and hit ‘unwrap.’ Most of the time it’s as simple as that. I like to keep my UV process as straightforward as possible. They sped up the UV process tenfold, allowing me to mark seams piece by piece and apply a checker map at the click of a button. I did this in Blender using two plug-ins: TexTools and UV Packmaster.

I did end up unwrapping the model for the texturing process. If I wanted to review this model at a later date, I know I’ll be able to retopologize it. However, because I’d kept the mesh simple, I ensured I’d created a model I could go back and optimize so it was game-ready. With this in mind, the Interceptor ended up being a high poly model. I love the idea of revisiting past works to see what I can improve, so I always work under the assumption that I’ll look back at a project later. As mentioned earlier, I also tried to create a model that I could easily go back and work on later – a great reminder that a project should be a living thing, rather than a fixed benchmark of progress. I find it easiest to learn new techniques and improve my skills when I keep things loose and have fun. Rather than focus on creating a model that was game-ready, I decided to use the Interceptor as a chance to showcase and improve my texturing skills. Keeping the mesh simple also made it easier to edit, so I added edge-loops only when absolutely necessary. My rule of thumb was that without the modifiers, my base mesh should be a game-ready model. I kept my base mesh as simple as possible. I then set the bevel to be limited by weight and identified and marked any hard edges I wanted to be affected. For each part of the vehicle, I used a bevel modifier over a subdivision modifier. I found HardOps extremely useful throughout. My Blender workflow was fairly plug-in-heavy. I found this a great way to break the work up in my evenings after work, spending an hour or so whenever I had the chance really helped keep myself focused and maintain a steady flow. I always keep an unreal mannequin in each of my Blender scenes for scale reference and look up real-life dimensions wherever possible.įrom there it was a case of taking things slow and steady, each day picking out a specific area I wanted to focus on (the engine, the side vents, the door). When I was blocking out each object of the car, I focused on keeping everything proportional.