Home / 3D Gallery / Female warrior 3D Character Art and Tutorial by GEORGIAN AVASILCUTEI
Awesome deal on many 3d courses

Female warrior 3D Character Art and Tutorial by GEORGIAN AVASILCUTEI

Female warrior 3D Character Art and Tutorial by GEORGIAN AVASILCUTEI

GEORGIAN AVASILCUTEI is a Freelance Character Artist from Bucharest, Romania. In this post you will see Female warrior 3D Character Art and tutorial by GEORGIAN AVASILCUTEI.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

by GEORGIAN AVASILCUTEI

 

BACKSTORY & INSPIRATION

14 years ago I discovered the 3d world when I stumbled on 3ds max by mistake. I fell in love with it instantly. After 3-4 years I landed my first job in the industry. Eventually I was lucky enough to meet the guys from DontNod and start working with them. This changed my life. Working alongside so many great artists really helped me evolve and I was soon able to make the step from environment art to characters. Now I’m working full time outsourcing with DontNod and from time to time freelancing. I’m in love with my job and I’m really happy that I earn a living doing something that I love.

Some time ago I found the concept that inspired me to make this character and saved it in my inspirational folder. The face of the model was actually sculpted a few months before and it’s a portrait I did of a close friend of mine. I showed her the concept and told her that I will make this outfit for her and she was as happy as I was with my choice. I liked this character mainly because it was not like most of the concepts out there where female warriors are half naked. It was different and I knew it would be a challenge, especially the embroidery. And I love challenges.

Also I’ve decided from the beginning to share this with everyone since when I was in my early years in the 3d industry the amount of good tutorials and example models were quite small and I would have really liked having my hands on a model like this one.

LEARNING THE SUITE

I’ve had the pleasure to work with the old DDO on some characters I did a year ago and I was really impressed with the results and with the time I saved working with it. After that I was all eyes on you guys waiting for the new release. I was not disappointed. For me Quixel Suite is a life saver texture regarding as much as Zbrush is for the modeling process.

Working with the SUITE was quite amazing. It’s easy to work with. You can make an almost finished version of the textures in a really small amount of time. The fact that whenever you add a detail on albedo it also gets the metalness and gloss values right and that you can see it all developing it’s awesome.

My normal workflow usually starts with creating the albedo and after that making all the other maps. The SUITE saves a lot of time by doing those automatically with little or no intervention from me.

WORKFLOW BREAKDOWN

My workflow is quite simple. It starts with baking the normal maps (tangent and object space), height map and ambient occlusion. After that I bake a color ID texture by adding different colors for all the materials I have, and then tweaking it in Photoshop.

I usually go and create the base colors for the materials from the colorID map. I could tweak the colors from the Suite materials directly but i prefer doing it prior to that because I use some patterns for color variation and material detailing that I already had.

Then all I have to do is to get into the SUITE and add some materials for every color I have. Normally I make some small adjustments for the materials but nothing too extreme, just some opacity change and color picking to match my previous base colors. Other than that it’s all about the great material presets the SUITE comes with.

One thing I tend to change often is the Dynamask for the color variation for every material. This is the place that I usually go and test completely different materials. The smart materials from the SUITE are made the same way. You can see that the leather smart materials use dusty metal as a color variation material as default.

For most of my materials I’ve added another layer of color variation using some really different material and creating a Dynamask to fit it. It’s always nice to see how every material and every mask you make can give you a different result.

Quixel Suite is quite straight forward and simple to use. Just play with different materials and masks. Improve your texture with different dirt and color variations from all those amazing materials that you have access to. Don’t settle just for some logic choice materials. For albedo variation (at least) you can easily use any material from the library. Test it with different masks and colors. It will pay off.

FINAL TOUCHES

At this point my texture already looks great and to be honest a few years ago I would have considered done. But since the SUITE saves me a lot of time now I have a lot of time to play with dirt and variations to add more depth and realism to the texture. A few hours later of adding details and tweaking the masks I’m done. Doing a texture like this before it would have probably taking me something like 5 working days and now in just a few hours it’s done and looking great. That’s why I love Quixel Suite.

EXTRA: HOW METALNESS WORKS

This project uses “Metalness”, a branch of PBR introduced by Disney. Instead of using a specular color map, you can use a black and white metalness map, where white = metal and black = nonmetal. For many this workflow makes PBR easier to get into, as you don’t need to worry about the complex relationship between diffuse and specular — the shader simply takes care of it.

You can enable this workflow in DDO by checking the “Metalness” option in the Base Creator.

Note how the Metalness map is completely black for nonmetals but not completely white for metals. This is because the metal has dirt on top of it which is a nonmetal. Since the dirt is not completely occluding the metal the values are grey rather than black.

You will also note that the embroidery has a near white Metalness value, despite being a fabric. This is because golden fabric is woven with thin ribbons of metallic yarns.

THE SCIENCE BEHIND METALNESS

Physical measurements (scans) of materials teach us the following facts: Nonmetals are primarliy diffusely reflective, on average 4% specularly reflective and exhibit noncolored reflections. Pure metals have little to no diffuse albedo color, are highly specularly reflective and can exhibit colored relections.

Metalness takes advantage of these facts.

Instead of using both a diffuse albedo map and a specular albedo map, Metalness introduces a combined “Albedo” map. This holds diffuse albedo for nonmetals and specular albedo for metals. Since metals have no diffuse albedo color anyways (= black diffuse), there is practically no loss of information this way. The metalness map thus tells the shader the following:

Color = white: Metal. Make a constant black color for the diffuse, and load the specular color from the albedo map.
Color = black: Nonmetal. Load the diffuse color from the albedo map, and make a constant 4% specular reflection.

This shading method enables performance gains, uses less texture memory, frees up the GBuffer and requires less disk space. For this reason and the general ease of use it has become a widely adopted workflow, most notably popularized by Unreal Engine 4. It should be noted Metalness is not without its caveats, as it can have a negative effect on quality.

For weathered metals, there will be parts of your Metalness map which are neither pure white nor pure black, as there are soft transitions between the metal and various nonmetals such as dust, dirt and rust. Almost no metal surface is 100% clean, so a metalness map would rarely be colored with a solid white for metals, but instead contain a range of gray values where the metal is soiled.

This poses a problem for the Metalness shader: soft transitions between metals and nonmetals may spawn notable rendering artifacts such as white haloing. This can be avoided to some extent through careful authoring, but introduces quality limitations that you will not get with a Specular map

THE PROS AND CONS OF USING METALNESS

+ Ease of use (does not require a degree in Optical Physics)
+ Great for performance (less disk storage, less used texture memory, GBuffer gains)
– Less control
– Potentially lossy quality

Can Download the Breakdowns on gumroad: https://gumroad.com/nimlot26

Facebook: https://www.facebook.com/georgianavasilcutei
Artstation: https://www.artstation.com/artist/nimlot/profile

Digital Art, 3D Art, 3D Modeling, 3D sculpting, zbrush, Zbrush sculpting, cgvilla.com

Zbrush Human Zbuilder

About John

Check Also

Baking Maps in Substance Painter 2 by Dylan Mellott

Baking Maps in Substance Painter 2 by Dylan Mellott In this post you will see …