Creating an Antique Chinese Wine Container From Start to Finish Using Mari and Arnold Renderer

hello everyone welcome to my channel my name is chinchin and on this channel we talk about creating photorealistic 3d assets in today's video i want to show you the general strategy i used to create this antique chinese wine container this thing took me about two weeks of free time to finish i am working full time now so i think my videos will come out a little bit slower apologize for that i will still try my best to make them as helpful as possible there is a reason why i chose to make this asset this time because the last asset i made the bulk of the work comes from modeling i think i was spending about eighty percent of time tried to finalize the modeling details and once that was done the texture itself was actually quite straightforward because i had so many surface details i can bake masks with for this asset the situation is a little bit more opposite the bulk of the work is on texturing this time because the surface in general is quite flat to make this thing look interesting i need to make a lot of a specific mixing of materials and i think i will have to do a lot of projection that's also the reason why i'm doing this one in mari this time i want to quickly show you what the model looks like as you can see it's pretty simple the main vase body area is very simple modeling everybody should be able to do that and it's just a little animal thing on top and i also did some damages some scratches just to create some variations some irregularity to help with texturing but mostly this thing is going to be relied on texturing starting the work in maori on the corner you can see the reference i'm using mostly i'm not follow it completely one to one because i only have this one reference and it's pretty low resolution i'm just gonna use it as a general guide to decide the general material i'm gonna use and how they're mixing so the first thing we do is to use a merge node and put down our first material and i've decided the base material is going to be a bronze type of material i have prepared couple tolerable textures for two to three different kind of material that i know i will use so the first thing is browns and i'm gonna use a tileable note and just throw a very simple bronze material in it and the first thing i have to fix is the seams i will create another merge note right under it and i will create the paint note so i can paint out the seams first the reason why i'm not using a tri planner for something like this is that with some kind of like cylinder type of shape object a tri planner never works that well it turned to stretch quite a bit so i rather just use a normal towelable note and paint out the seams the next material after observing the reference i want to create this gold paint material so the process is exactly the same i'm going to use another merge note another tolerable note and then i'm going to paint out the seams as well for this one at this point i'm not caring about the color too much once i start to create different material masks between the different materials they're going to be standing right next to each other and that's when i will start to adjust the colors and see how they work right next to each other the next material i want to create that is very obvious on the reference is those green areas and that most likely is patina that develops through time a metal so the next thing i'm going to create is a layer of green patina material again i'm not worried about the color at this moment very much i just want to make sure i laid out all the major materials and start to mixing them and see if i can get the look of the reference going now we have all the basic material ready we're gonna start to create material masks and it can be pretty overwhelming looking at all these flat surfaces and try to start to create the breakups so for me i definitely want to take advantage of substance painter so i have already baked a high resolution onto my low resolution mesh in substance painter and got all the surface detail going and i throw one of my older metal material on it just to check if the bake is good enough the material actually looks pretty cool maybe i can just keep it like this and just finish the video right here and call it a day no we're not gonna do that we're gonna still try to mimic the reference what i'm going to do is to just create two simple fill layers i'm gonna use one as black and one as white and just start to test out some smart masks that i can use to break up the material essentially i only need black and white masks out of this so that's why i'm just using simple fill layers and once i'm happy with everything i will just export the diffuse map out of this the first mask i want to create is between the gold paint and the bronze metal underneath it so for this one i want to make sure all the edges area are kind of getting scratched off i do not expect this mask to give me the look that matches the reference i just need a starting point and a general big breakup is gonna be something i will have to paint instead of mari using stencils once i feel like this is good enough as a starting point i'm just gonna export it and import it into mari since we are going to create quite a few different type of material masks i like to create a backdrop just for those masks i also like to create the radio transmitter note for each mask so later i can use them wherever i need them inside of any channel now the mask node is set up i'm going to import the map i got from substance painter and i'm going to start painting the main breakup for this material for the main breakup i have collected some black and white stencil that i think it can be used as scratched paint inside of my gold paint mask i'm adding a merge note and i'm going to connect a paint note to that merge node and gonna paint my main break up on that paint note so i brought in my stencil and i'm going to use the white area of the stencil so i'm going to set it to luminance and i'm going to set the color that i'm actually painting to black so i'm reducing the paint i'm going to use this stencil to quickly block out the general big areas that the paint is getting scratched off i will have to refine this a lot more later but right now just the general idea i'm sure a lot of people are going to wonder could i have done this just inside of substance painter and using procedural maps i'm sure it's possible my goal here is to create something very customized paint and i want the damage to be in very specific areas you can also do that with procedural methods and halables and you have to try out probably a lot of different kind of combination to get something that looks not procedural it just in the end i'm not sure which one is faster to me to make procedure into something very customized also takes a lot of time as well it's a lot of trying it's a lot of trying different maps it's a lot of combination of different maps and in the end to make something that it starts to look very customized so for me to achieve this kind of very specific look using procedural is definitely possible but i wouldn't say it's definitely faster at the end of the day if you really want to be a good texture artist you need to be familiar with the procedural part of the work and also customize paint part of the work it's two skill you have to have so for me for this tutorial showing you the projection the customized paint is the goal of this tutorial and that's one of the reason why i'm doing it this way as well once i started projection sometimes i realized that the stencil i have on hand is not good enough and here i will quickly show you how i turn an image into another stencil that i can use the process quite simple actually just turn this thing black and white and use a level or maybe a curve to try to get a more contrasting image so you can clearly use either the white area of the map or the black area of the map the only thing i will say is don't crush it too much leave some gray in between sometimes having some shades of gray can help with the projection as well i think the gold looks okay so far the next thing i would do is to start creating a rough layout of the patina as well and i'm going to use substance painter as a starting point again i like to try out some of the smart masks that come with the software a lot of times they work really well the patina is kind of like all over the place so i'm just gonna get some rough general coverage after that i will use stencil to do some hand painting to give it some sort of order here the green you see is the smart mask i got out of substance painter and i'm going to use some other stencil that i think can mimic the shape of the patina and start to put the patina in some very specific area that i need them to be now i have a general mix of all three material but they all look pretty flat and boring currently i want to emphasize the surface detail that i already have on this object so i'm going to go back to substance painter i'm going to generate some masks for the cavity area or the convex area which is the area that's more extrude out and try to give the flat texture some shape that matches the surface detail of the object for example here for the gold paint i want the bumpier area to be a little bit brighter than the rest so i basically add adjustment note to the paint itself and make it a little bit brighter and this layer is being controlled by a convex map that i exported from substance painter i repeated the same process for the bronze material and the patina material as you can see the color map itself is starting to look a lot more complex now i mostly need to work on mixing them better right now it's looking a little bit more cartoony i feel like the color itself needs a lot more complexity a little trick i like to do is to find a texture that has a lot of different color on it and it is the same sort of material that my material is and just do some general projection onto my material and it instantly give my material a lot more color variation that wasn't there before another trick i like to do is to give the material that's on top some kind of fake depth we want to feel like the gold paint is sitting on top of the browns so by painting some sort of fake shadow it kind of enhances that look don't go too crazy with this trick and make the fake shadow look too obvious just little bit here and there to enhance the difference between materials at this point i also started to testing my material inside of my render engine because i know that i will probably have to do most of the fixes once i start rendering this is when i really gonna see what's lacking i have skipped the part where i make all my supporting maps i have done that in some past videos and i will link them with this one also i am using arnold layer shader to put all the different material into its own shader and combine them i have shown how to do that in a different video and i will link that video as well in general after rendering i realized that i have scratched off my gold paint a little way too much and there's some very ambiguous areas that i'm not capturing at the moment so i have to go back to add maybe a little bit more gold paint and a little bit more color variation another thing i always do mostly towards the end is to add the general dust layer again i exported the basic mask outside the painter and adjust it inside of mari a general dust layer always break up the speck nicely for your material and make things look a little bit more realistic that is pretty much the last thing i did for this asset in general i wasn't too happy with how it turns out i thought it was only okay but the point of it is mostly just to show you a different way of working compared to what we did last time sometimes you get most of the look of your asset from modeling sometimes you get most of it from painting i hope this is a helpful video for you and if you enjoy the video please like the video and subscribe to my channel that is everything i have for you today and i will see you in the next one

Channel: Artruism Digital

Views: 17,004

Keywords: mari texturing, mari texturing tutorial, mari texturing xyz, mari texturing tutorial basic, mari texturing showreel, mari texturing face, mari texturing skin, mari skin texturing tutorial, mari character texturing, mari speed texturing, mari hard surface texturing, arnold render, aunold render maya, zbrush, arnold render settings, 3d, photorealistic blender, textured skin, texture artist, substance painter, substance painter tutorial, substance painter skin, zbrush tutorial

Id: NyEp3Mv0KdI

Length: 13min 57sec (837 seconds)

Published: Tue Oct 20 2020