Full 3D Game Asset Workflow Explained - FULL TUTORIAL

[Music] hi my name is Patricia Dobbins I'm an environment artist that specializes in stylized art I'm doing a breakdown video of my project for stylize station what I hope for you guys to learn from this is how to approach a stylized prop in five steps I would love to give a shout out to stylize station for this opportunity so in this breakdown video I'm going to explain how I went from this concept art to my final look of my project I did this in five steps step one being prep work and block out step to being high-res model which was done in ZBrush step three being my game res model and you being step four was texturing which was done substance painter and step five is my presentation and publishing it on social media this was done in sketchfab photoshop and art station so the first step in prep work is to find concept art that you gravitate to since you are going to be working on this for days or even weeks I was really gravitated towards this after my friend sent me this through stylizations Instagram page I were showcasing this wonderful concept artist his art station is gonna be shown right now as well as linked below I don't want to butcher his name but please check them out you might even find your next you know inspiration there the next thing you want to do is picking a style and the reason why you want to pick the style is because it influences everything in your projects and knowing what style you plan on doing will save you tons of times it will help you with your reference search it will help you with your modeling your high-res modeling your texturing as well as your presentation shot so in here I show you reference from overwatch and Darksiders they are both stylized but they are not at all the same so in this case the reason why I do this is because I see this so many times and I've had this problem as well is I don't think of a style that I want to do so I start modeling start doing my high res start texturing halfway through my texture and I say hmmm I really wanted to do it in this style and I have to restart my entire project or you're gonna have to restart your entire project so this is something you just want to do before you even start modeling and you want to do before you start collecting your references so you can start collecting your references for it in this case I ended up just doing the style and the way that I saw in the concept I didn't want to do it based off of any game or game studio so I didn't have to do any research on style besides the references of this part so in this part the references I ended up picking was wooden bookcases and closets that were very very old and worn down I also ended up picking up reference for helmets and swords that were in the same color range as my sword and helmet on the concept art this was just to give me a clearer idea of how you know metal looks as well as getting the correct type of fence to the metal and the wood texturing was a great help having these on hand the reason why is I could see that the edges were worn down as well as seeing that there was a variation between the roughness on old wood cases or put bookcase and closets so after this I also looked up some YouTube tutorials on stylized wood and metal just so I could see how other people approach projects that were similar to mine as well as learning and getting to learn a lot more on stylized work every person does stylize a little bit different there is no wrong or right way of approaching a stylized look but it is good to learn from other people you may find something that's quicker for you and you know does a lot more to your project unless steps in this case looking up YouTube tutorials from these people work great I got a lot of influences from them and they will be links down below as well the next step is completely optional and that is splitting my project into groups it keeps myself organized as well as helps me know what I need to work on and what it's done in this case I split it up in three groups my metal group I would and my prop group after that I ended up creating a folder which had my project name which was positive a young warrior and in this I created subfolders for my Maya files my ZBrush files my OBJ's from ZBrush my FBX is from Maya my substance painter files my texture Inc from substance painter my render files and my reference files after setting up my folders the next thing I do is my block out so my block out is mainly focusing on proportion spacing and overall getting everything blocked out in my scene in this case I had a fabulous concept artist who ended up actually making alternatives designs to his closet before he finally decided on this one and here he has a incredible front view that helped me have the basic shapes of everything for my closet I wasn't really focus on you know the flag or you know the sword or even what was in the middle I was just trying to get the basic shapes of my closet down another tip that I would recommend for you guys who are modeling or a little bit you know hesitant on trying new things from modeling because I was think of everything in this scene as shapes like basic shapes rectangles cylinders squares planes I literally made a plain of this and then I just extruded it out so in this case I can show you an example you know some people feel oh I need to model this all in one piece you know you don't have to model your helmet all in one piece you can actually just take a sphere cut it in a half you know get a cylinder or in this case I ended up taking a pipe extrude one of the faces out there you go there you have a helmet after you smash those pieces together you know modeling doesn't have to be something where you know you only have to model from one square you can build off of your off of your shapes so in this case everything is modeled in two pieces and it helps you at a project in pieces then looking at it as an overall look the reason why I would recommend doing this for people who are trying out a new modelling the reason why I would recommend doing this is because it can actually end up helping you in the long run when you have a more you know daunting piece and you don't know how to go about it look at it in shapes look at it in simple shapes and build off of that first and once you get everything together I'll start to slowly look like it and you can then you know think oh maybe I should extrude a face there move the you know the verts a little bit and I'll help you out the next thing I would recommend you guys to do after doing your block out and even before you know you even touch the bevel tool is to get a critique from other artists this can be done in facebook groups discord groups you know any social media you can even get it from your friends and family who hasn't even touched you know a piece of paper in their life to draw anything the reason why is because sometimes you know you don't see something in a project because you know you're so occupied and you know you're thinking a billion steps ahead and you don't want to get to the texturing phase and see oh you know that's not how that's supposed to look it looks completely off now I'm looking at it now I got to go back and fix it you know fix my UVs fix whatever high-res I did and then now fix my texturing phase to avoid doing that and avoid you know wasting so much time it's good to get critiques from other artists on the project that you're doing at each iteration of your project so in this case I always do a block out high-res midway point of my texturing to make sure that I'm going in the right direction and before I present so I usually do that with my lab instructors who are constantly on discord I either do that on the discord groups some great links down below I will be posting other places our Facebook groups you know they have great communities there and there's always gonna be someone online who is prepared to look at your work and help you well so after finishing up my final block out which is right here the next thing I do is my beveling here you can see quite a difference between my block out and my beveled model I actually did nothing but bevel some parts of this I do not feel like I needed to bevel everything I had in my scene like my sword isn't beveled the ink pot isn't beveled and the belt isn't beveled at all so in some cases yes beveling is needed like in these areas but in some cases bevel ling is not needed so you just have to figure out for your project how it is in my case I knew what needed be bevel and also beveling does help me scope since it does give me an area where I can create a worn look to the bookcase so after beveling i also softened and hardened the edges you can look up tutorials of why it is very very necessary for you to soften and harden your edges I would recommend you guys to look into that but I can just quickly explain quite the huge difference between it so here I'm just gonna grab this and then I'm gonna harden my edges when you bevel something your you know your edges or your bevels are gonna look like this softening your bevels or your edges will have this effect on it after that I look over my model one more time save the scene in this case I named it game res because I ended up actually using this as my game res changing a little bit of things but I will explain that in part 3 which is the game resident low res part as well as you being so after checking to see everything is done and after checking my checklist and you know crossing out everything that I finished I moved on to essentially preparing my project to go into ZBrush so the only thing that I really added to the scene that wasn't there before hand was the flag and the reason why it's super dense is because I ended up using the softened tool to push this into the bookcase Delaine almost naturally so after adding in the flag the next step I do is square off my project specifically the wood and metal group the reason why I do this is because I feel like it's a lot easier for me to work with the project if it's squared especially in C rush since I don't like really subdividing or dynamesh my projects also this is essentially how ZBrush works it does try to square your project as much as it can so this is what I do I was taught this in school and it makes me feel a lot more comfortable working in ZBrush like this so what I did next was essentially export my wood group my metal group and my prop group if you see here I do have my my project group and then I have it separated so the bookcase I later on ended up separating this in ZBrush but right now it's just included and I also included the flag and pull to this bookcase wooden part the reason why I did this even though I usually have this separate is because of the fact that the shape of this flag is very much influenced by the bookcase and it has to lay naturally on this so what I'm creating the wrinkles to it like is shown in the concept I want to make sure that it also works with the model that it's laying on and then after that I exported the props out and I put it into a folder specifically named where I put my bookcase this group as a bookcase prepared ZBrush and the prop prop prepared ZBrush and now I am ready to go into ZBrush and start sculpting so this is step 2 of my project and this is creating my high res which is going to be done in ZBrush so the first thing I'm going to explain in this project is the information that I learned and how I approach this so my fur concern was focusing the most on my bookcase and trying to get those engravings as close as I could to the concept so here you can see that I have a lot of these indents or engravings in the wood it's mostly swirls they have a organic feel to it so it's not just a straight line it actually feels as though it's part of the feel of the project so I spent most of my time looking at that and trying to figure it figure out how to achieve that look without having to model it into a high-res model or just you know straight up creating this in substance painter but I was able to achieve it in ZBrush after like two failed attempts and the two failed attempts were modeling in in in the high-res model of Maya and then I brought it in just looked awful - didn't even touch my project for a week after that happened I took a breath went back to my project and tried a new method which was masking the area out so if you see I ended up masking so I'm gonna turn off these so we can just focus on my bookcase so here I thought it would be a brilliant idea to mask this out change it go to the move and push it inwards and as you can see it created a lot of problems I worked on that for around a week and after seeing no progress done I decided to take a break and work on my other portfolio projects that was due for school and actually working on that project gave me a ton of insight of how to work on this project because I ended up working with a wooden beam that was stylized and one of my lab instructors actually sent me a tutorial on how to achieve that wooden beam look to it and it was more of a traditional wooden texture it was just stylized but seeing the brushes that they used and seeing techniques that they using on that project helped me realize what I needed to do so in this case I would be explaining it to you so what I did to achieve this look was I first went to the stroke went to lazy Mouse and turned it on so right now the radius is at 1 but it was at 20 when I started working on this and I alternated between two brushes I use the orb cracks and this is from the orb brush pack it is free and it is online and I would recommend anyone no matter what type of art style you lean towards or work with to download these these are amazing and they have a variety of brushes and effects that it can do on your project so I will link that down below so you'll be able to find it give a huge thanks to the person who created them I will also be linking that person down below so I use the damn standard brush as well as the orbs crack brush to achieve the engravings on the wood for the smaller details that would focus a lot more on having a more spiral look to it I use the orbs brush and to achieve the more deeper engraved look to it I actually use the damn standard brush where I changed it from dots that which is the default to the freehand and changed the Alfre from alpha zero one I believe it is 2 alpha 28 this is a square that's what I needed to achieve that look right here that look right here and that look right here as well as this area so something that I would recommend anyone to do while working on a ZBrush sculpt is to become more comfortable in changing your alpha and changing the stroke changing the intensity the jaw size as frequently as possible to try to achieve different types of looks for your projects I am one of those people were I did not do that and I would always wonder why my project looks slightly off from whatever I was trying to work on and I just needed to get more comfortable with changing my my settings the great thing about ZBrush is if you want to go back to your original default settings all you have to do is reset all brushes and they'll just set it back to how it was originally so there is absolutely no reason for you to be afraid of you losing the original way that your brushes looked there is always gonna be a button that works no matter what unless you were somehow able to somehow mess up ZBrush where it just the never goes back to their default brush but that would be a sight to see but in this case and what I did was I looked at my reference and I worked on a tablet so currently I'm working on a mouse so when I show you some of the details that I added if you see any weird looks to it it's because I am using a mouse but with my tablet pen what I did was I went over the concept art here and I just drew with my pen on top the shape of it so or the stroke of it and what I did was I snapped it to a face that I would be able to see and I just took my pen and did a stroke so for this I would recommend creating layers and saving as frequently as possible when you're creating details because you know maybe I get this stroke to look perfect but this one looks a little bit wonky if you don't have layers or you don't have previous saves you would then have to delete this bring in a new one that looks like this and start working on that and it's just too much time it's better to just stop recording delete the layer and then restart again then having to go through the process of appending a sub tool to your project so what again I just practiced the strokes and had it flickered out so here I'll just show you again I changed the intensity so usually a ten-city is a little bit higher but in this case I wanted to be able to get that look so again it's just the mouse I'm using my trackpad but I just practiced the strokes I made sure to be recording while working on the projects to get the look that I wanted and I just kept practicing it and then after I was happy with how it looked moved on to the next part which was the door and I took an orbs brush because it's easier to get that tapered look at the end and I just practice and I changed the orbs cracked look so this one is the one that I use I changed the intensity I change the focal shift that I changed the draw side constantly trying to find a sweet spot that I really liked and then once I found it I used that brush and I just used my memory of the stroke to achieve the look that I was trying to get constantly mess around with your lazy Mouse settings because you might be able to find something that works for you in this case since the tutorial that I watched helped me a lot with the wood texturing I kept it at 20 and that is honestly how I was able to achieve these wood texture look so like I mentioned beforehand the more squared look of the engravings was done in damn standard with the Alpha that was squared with a soft and looked and then more of the tighter tapered out edges where it was more going inwards like a V was done with the orbs brush and I just alternated between those brushes and worked with layers on and off to make sure that I was gay getting that look that I was trying to achieve and it worked very well a thing that I would recommend for you guys to do is if you see I have my project in pieces which really did help a lot when working on one piece at a time so what I just did was I went into polygroups since I did export this in combined all you really have to do is just go to poly groups and Auto group and it will auto group it automatically for you into the pieces almost as though it was in the outliner of like Maya if it was just in a group and if I wanted to just focus on this piece right here all I would do is command shift F this is on the Mac by the way and then I would be able to just focus on this piece and get the look that I was going for so that is how I did my look of the wood and now I will be explaining how I did my edges before beginning on that I would like to mention how I was able to get this look right here so if you look here specifically this line right here you see that it stops right before it hits this area right here towards the sword so it wouldn't take away from this area the way that I was able to do that was I just marked off where this piece starts so like the corner piece that would go right here I just marked it very faintly here you can even see it if you look close enough but I just marked it faintly so when I was working with this brush I just stopped at that area I went a little bit forward since I knew that the metal piece would be covering it and just smooth out the edges and that worked out that's honestly all I did I marked out areas I can I think you can just do is create a layer call it mark up and mark those areas that you have and then once you're done creating the outlines of the engravings you delete that marked up layer and it's all clean again the next stuff or the next tool that I ended up working on was the flag the flag was pretty simple in this case I didn't want to waste geometry on getting this piece right here which you can see right there in Maya since I knew that I could be able to bake that down so what I just did is I ended up taking my masking tool and I just masked out this area as well as this area went down to the deformation went to inflate I inflated it and that was about it nothing too fancy the next thing I did was do the wrinkles in this case I went to brushes I went to brushes and did the inflate tool changed from the dots to freehand lowered this and then just out of that so I'll fix that later don't worry I'm not gonna be using this anyways so you see how intense it is I ended up just lowering the intensity try it again see okay that's a little bit too thick let me change the draw size okay that is what I want to get for so after I add that you're like is that all you do on that so the next thing I did was I smooth out this area right over here where the inflated part meets the actual model so I wanted to add a smooth transition between that so I just smooth it out this in this case you can actually in this case I actually did up up my intensity for my smooth brush a lot so I could be able to get that transition to look right so I just did it with the edge look at the rest of my project smooth any other details out saw that and also add a little bit more to this area right here and so okay that looks good yeah that's how I want it to look so I am now ready to show you how I did the edge Wow how I did my edge damage again I am doing this in a mouse so if some of the way that my tools look while I'm trying to show you looks off it's because I'm using a mouse so here I'm just going to hide my engravings so you could focus on just the edges and here you have a great tool if you want to in the layers to just turn off the eye which is gonna turn off the visibility of that so you can see quite the difference it made but here you can see how much of the model is affected by the damaged wood a big thing I would tell you that I had to do a lot was to make these edge damages a lot more noticeable from a distance I have a tendency to add like I mentioned before have I have a tendency to go a lot small than larger so in this case I had to make the damages on the edges a little bit bigger so you would be able to see it from a distance and to give it more of a stylized look another thing I also had to do while working on this project is constantly look at the reference to see where the chips are so you see a chip here a chip here a bigger damage here somewhat of damage here since this is kind of blurred for me I just assumed there was a bit of a damage there damage right over here damage here damage here a bit of damage over here and some worn-out edges here so in here all I did was alternate between three brushes the three brushes was trim dynamic trim adaptive and trim or nut trim but orbs flatten brush that / there we go you think it would be OS but it's not so here I started off first with my what I started off with was my trim dynamic brush and what I did was up up the size and I'll turn this layer on so I can show you how I did it and I just went in probably changed the size a little bit more and this is where you just need to experiment don't don't forget you have the ability to command seam so use that as often as you can just come in here add a little bit of edge damage and there we go although when I'm looking at my wood preferences what doesn't react like this it doesn't just have these jagged edges towards it so the next thing I did was go to my orbs flatten brush and that was team and went in here for more or less kind of smooth that area out a bit to get that smooth worn look that would it's known for because when you look at it would doesn't necessarily like crack and then like chip off like rocks do they get worn worn out over time especially around the edges so when you look at a worn out table the edges are rounded then staying sharp and having like a chip so for me my goal was to get that worn out look towards it another thing you can also do to clean up those areas is just smooth it out I have a tendency to have my smooth brush like down to like 12 and work with that so you just have to rotate and make sure that you're getting areas and make sure when you're sculpting that you're looking at it from any type of angle that you're working in so sometimes you might have to look here and be like that looks nothing like it does right over here so sometimes you just have to just rotate around and if you see something fix it or smooth it out or work with that area so that is what I did to get those bigger chunks of pieces of the wood or indents what I used was the trim adaptive this one was a bit more tricky to do with the mouse so I would recommend using a tablet and pen but for me all I really did was just go in here and go back and forth and then go up and down a little bit I changed the intensity of it so it wasn't so harsh and I just try to get a natural look to it I smooth it out a lot and you can see then having like almost a squared chip it does round out and you just keep building off of it so I went all around the model and I went behind the model as well and added those edge damage so if I turn this on you'll see the edge damage that will pop up on the back so you can see right over here I added that edge damage to the back because I knew that this was going to be viewed all angles so I wanted to cover my bases so that is officially how I did the edge damage I use three brushes I changed the intensity I changed the draw size and I just build off of that so if you want what you can do is what I usually do is I take my trim dynamic so I'll take my trim dynamic do all the basic edging worn-out edge and then after that after I make sure to see yeah I like how those edges look I go back with the orbs flatten brush and I just smooth those areas out any places that still have those kind of damaged look to it or more of like a rocky look to it what I do is I just smooth out with a very low intensity so twelve to six usually works for me and then after that for the bigger chunks that I see around here and here I just take a trim adaptive brush change the intensity and I build with that little pieces smooth it out see how I look see how it looks and then do it again and again and again until I'm satisfied with it I would recommend keeping those layers on separate so maybe you look back and you're like maybe I shouldn't have made that trim dynamic brush as intense as it was so you can just come into the layers and change the intensity of it so my tip while working on building a worn-out look to your project is to create layers for each of the brushes that you use and that's why I say usually try to work with one brush during the whole session on the project and then another and another is because let's say that you think that you or let's just say for example that I thought that I did my trim dynamic brush effect a little bit too harsh I can go in here and change the intensity of how it looks so in this case I was very happy with how my edged look I got Kurt eeks on it I got critiques on my wood engravings and now it was on to the metal look which was super easy I'm not gonna lie I honestly just did the edge damage to it so for the metal look I did not use the orbs flattened edge or the orbs or the trim adaptive brush I only use the trim dynamic brush because I wanted to be able to achieve that rough like that more rough sharp worn-out look to the project so that is what I did I just went across the entire metal edging and just added some bigger chips in some areas but just literally took my brush cranked up the Lazy radius for the stroke and just went straight across it up and then that's it that was all I had to really do the last part that I did was the props in this case there wasn't a lot that I really needed to do to this my main focus was the sword the helmet the armor piece and the wood block holding up the sword so for the sword at least let's start with that I honestly didn't do anything with it since it needed to be sharp I didn't soften or hardened any edges over there I just added the two holes that were here and as you noticed beforehand it is here here and here so I'll just quickly explain what I did what I just did is took a standard brush I changed it to freehand clicked option I'll go on Mac by the way I clicked option and then I just well I need to make it smaller so I'm gonna make it like that took option just drew and it just inverts the brush so then going like this I'll go like this and after that I kind of just take a smooth brush soften it a little bit and now it has the look of the holes in it I did that so I want to need to draw that in in sketchfab eye or not sketchfab substance painter I just want to be able to use the curvature map and AO for that part so after that my main focus was getting these scribes in the and all I really did was looked at how this looked made straight lines and then took my move brush made it very very soft and just pushed some of these edges away and that's all I really did for this part right here for the wrap I was fairly easy I just took a damn standard brush and swiped over it around the curve and it worked out fine nothing too fancy for that I wasn't trying to spend too much time on that part the next part that I needed to work on was the bookcase I added this um deep end towards it it looks better in substance painter right now it's just doing that weird thing but I never had that problem in substance painter but it always gave me that look and ZBrush after that I kind of just rounded out some of the edges to the belt most of the details of the belt will be coming from substance painter the next part that I mainly focused on was the helmet in this case since I saw in the helmet if you see over here there is a dent there is scratch a hole and a scratch orbs brush has great scratches that you can use they're called slashes and here I just want and dragged the detail out so let me right there so all I did was take it dragged it out and you'll have it there sometimes I won't come out on the first time you'll just have to change the brush and find an angle where I'll pop out like there I'll come out but it won't hit that edge so sometimes you have to go out like an angle for it but you'll just have to try out the different brushes that they have there that's what I did to get this one the skinnier one and the more deeper cut one I added I just took my trim adaptive brush to create that little dense there and then I took the mallet brush to create that there I just ended up taking my smooth my smoothing brush and going around the edges to create that transition so there's not a harsh line similar to how I did my cloth so after this after I am completely done sculpting after I baked down my layers which you're supposed to do once you're done with layers once you know that that is how you want your project to look baked down your layers before you do anything else and the next thing you want to do is go into Z plugin pre-process your current model and once that is complete and it will show you that it's complete right here you will go here and doesn't make current the reason why I do this is because I need to bring this into Maya to check and compare it to my game res model and change anything if there's a huge drastic change between my game resume and my sculpt thankfully I did not really have that much problems with my game res I actually virtually had to change nothing to it so in this case I ended up using my decimated version for substance painter for my high res so I just made current it went from a 30 million active points to I think 1.6 million so the way I did that was decimated it once I was done I went to export and it will export just the one sub tool and it's gonna take a while so here it is then I went to my SP a or SP high which I knew that it was going to be used for substance painter and here you can see I had bookcase high so I just name it that and it will become an obj keep it as an obj that is what you're going to be using for your high res model and when you're baking down your textures and substance painter I always do mesh by name so when I bake it will acknowledge the naming convention over the actual position of the model this I feel is a lot better when you're baking props and your baking down the high res onto your low res it just helps you keep things organized as well as knowing where everything is so just kept it in the same groups I ended up separating my metal rod of my flag from each other and that is all I am done with the high res and now I'm ready to continue on to my next step which is step three and that is game res and you've een process so this is now step three of my project which is creating my game rez low res model and using the model so this is gonna be a fairly short video since I'm not doing a tutorial I am doing a breakdown of it so I'm just going to quickly go through the steps of what I did and the tips I would recommend for you guys to do so here I brought in my decimated model from ZBrush into my scene here which is my UV clean this is gonna be my final scene that I did so in the modeling phase I actually was able to get away with just using my beveled project before I started working in C brush because I didn't do any major silhouette changes so what I did was I made sure to check that everything was aligned with my high res and my game res and so I am just gonna bring in my flag high res just to show you what I mean by checking to see any major silhouette changes so in this case I did add this clasps these two claps and these wrinkles so in this case you can kind of look at it and be like well mmm Trisha this kind of looks like there is a major change you don't really see this on your low res or your game res and in this case I would say baking has gone pretty far especially in substance painter and from past experience wrinkles especially more like organic shapes you can get away with a lot of stuff you don't have to have it exactly on top of each other and you know have everything look fine I knew that with this much of a difference between these models I could be able to bake it without changing anything from the actual original game rez piece so I brought it in made sure to look at every angle of my project to see if there was anything that was sticking out or any major silhouette changes I did not see any of that so I was able to give the okay and check off my game rest for my bookcase the next thing I did was check the metal so I ended up deleting the high-res from the scene brought in my metal group from ZBrush made sure that everything was aligned correctly made sure that anything that there wasn't any weird silhouette changes that was fine so I gave it the OK checked it off the next step is preparing for you ving for this all I do is I delete any unused edges that I don't need and the next thing I did was delete any unseen faces in my project so here an example of this is this metal piece you see you aren't gonna see the inside of this metal piece so I deleted it because it saves on UV space as well as saving on poly count the next step is you Bing and here you can see that I filled up my 0 to 1 space more than 85% I would recommend you guys to do this since this is me trying to make sure that I do a quote game optimize prop and in games you try to use up as much space as you can on your 0 to 1 because you know textures are very expensive while working on a game so here I made sure that I checked the Texel density as frequently as possible for each group and made sure that they were exactly the same the only ones that I upped up was the props since I wanted to make sure that there wasn't any pixelation happening happening in my project so what I did I'm just gonna give you a step of how I did it was I grabbed my bookcase I do grab the project or the piece and then I went to automatic and it laid it out for me another thing I would tell you to do beforehand which I forgot to this pension was make sure that you softened and hardened your edges before you even start you being that will very much determine how you will cut in so your UV shells so after hardening and softening my edges I took a piece of my group did an automatic layout for it and then I just grabbed this piece and moved it over the next thing I did was focus on the props the props were the most time-consuming part of this whole entire project for you ving mostly because of the fact that I had so many tiny details here I had to make sure that I had all of this looking correct I had to actually manually go in and sew and cut the pieces and actually do a camera base I had to make sure that this part right here for the books were laid out correctly I had to make sure that I unitized this piece right here to make sure that there wasn't any distortion so the tools that I mostly used in this project for you vieng was the modify tab which was the unitized to be able to get that clean look on the UVs so it wasn't distorted or having any funky look to it the next one I did for tools was the smooth tool this is similar to the unfold I just feel like I have a little bit more control on how much I can unfold or smooth out my UVs the next thing that I used in the UV tool kit was the Texel density settings where I would be able to just get a Texel density of one of these shells so in this case I just got this one and I used this one this base the Texel density as the base for the rest of my project before I laid it out to make sure that I had everything in the same resolution after doing that I usually use the create for the automatic camera Bay and plainer I feel like those are the easiest ones to use it's nothing too crazy after that I use the unfold tab for optimize and unfold this just helped mostly with the more rectangular shape so it helped with the bookcase it helped with the flag it helped with the scrolls so after showing you the tools that I used for this project I separated each section so these are my bookcase my metal and my prop group and all I did was grab everything went to the layout layout UV and you can see here it did a pretty good job of laying out my UVs it used as much space as possible it did more than 85 percent of the area so I would count that as a win the only complaint that I would give is that I really don't know where a lot of the pieces are and this is just personally for me I like to keep my UV shells with my groups in certain areas so as you see in the original I have my bookcase area here and I know exactly where the pieces are I have my prop groups in between the areas that I could squeeze it in and for my metal group they are all sectioned off in areas so they're not like wildly everywhere there here and here so this part is not required I think that the layout is pretty well for what I did for the one that I use as an example but for me personally like I mentioned a billion times beforehand I love to keep myself organized so in this case I wanted to make sure that everything was grouped together and this also did help me well texturing the next step I would recommend you to do and something I mentioned beforehand is remembering what you mirrored over so in this case i remember that i mirrored this piece i remember that i married one of these legs i remember i mirrored this and i remember that i mirrored the metal parts right here when you Ving and you know that you mirrored something over and you know you have one piece correctly done and now you gotta go with the second one and you forgot how you do your steps all you have to do is click on this or let me show it on this one click on this click on this go to mesh and transfer attributes this will literally save you so much time if you have pieces that are duplicates or mirrored over on the other side honestly all you have to do is just transfer the UV attributes over and you don't have to worry about that anymore but for pieces where you would want to stack them on top of each other what you can do in this case is just for this piece right here you can see that I have it in the zero to one space but this piece right here I actually moved over to the other side ignore that part right there but I did move it over on the other side so all I have to do is grab this I know that those shows right there are here so all I have to do is grab this go all the way to the move make sure it's at one and just click this button over and it will be in the exact same position as you see here it's just in this area right now so I would recommend you to do this actually I wouldn't recommend you to do this this is something you're going to have to do because in substance painter I haven't found a workaround of this but if you try to stack you these and substance painter you will not be able to paint on it it just doesn't recognize which shell it is so to make it easier on you just move the one of the shells over if you plan on having one side or just one side texture and having the exact same thing married over after you do that after you finish your texturing you can go back to your game rez model that you did and all you have to do is just grab the loose pieces move it over again to the zero to one space use whatever renderer you're using and it will recognize both sides it won't do the weird substance painter thing where it just won't paint on anything it will recognize it and it will apply the textures on both it's after I'm done you being hi make sure I grab it one more time I look through everything to make sure that nothing is overlapping I don't see anything overlapping and make sure that if there's any space available I move it over um but I see that there is no real overlapping on this project another thing that I'm well did that you are more than welcome to do is since I knew that with this flag and then you can see it here I knew what this flag the main focus was gonna be the front part I went behind grab this UV shell and just sized it down and this is to create more space within my 0 to 1 space you're more than welcome to do this I did not want to delete this face right here because if you rotate it enough you are going to need to see that face right there so that is all I did nothing too crazy you can do this with the rest of the pieces I think I also did it with the back piece over here and then some of the pieces over here I knew that I was going to keep them here and they are very noticeable so I just made sure to keep that there so after I was done you being I went back to my Maya standard and I started naming everything so if you remember the naming convention that I did in ZBrush it is the exact same way that I did it here the only difference is than having a underscore hi I have an underscore lo the reason why I did this is because in substance painter I knew I was going to bake by mesh named tips that I would recommend you to do if you are struggling with you being is look up tons of tutorials there are in-depth tutorials on you vieng there's in-depth tutorials on layouts the way the tools work as well as doing and figuring out your Texel density another thing i would recommend you to do is something that my teachers did for us was give us a model that we didn't have the texture we didn't have to model they just gave us a model and they told us UV it and we would UV it and we would get graded on the UVs I think that's a great way to learn how to UV so those are some tips I would recommend for you to do if you are not confident in you being so after that after naming my groups the next thing I did was export it all I did was just grab this went to file export found the file or folder that I have in my hard drive and my closet of a young warrior folder made sure that I named it bookcase low or closet low and then I was prepared to go into substance painter so now I am ready to start step four of my project which is texturing I did my texturing and substance painter as you can tell here and some points that I would like to make before I start texturing is more or less my mindset before I started working on this and the way that I went on texturing so I have my concept art right here and the first thing I noticed while I was working on this project is that my textures are the material and the color of my concept is influenced a lot by the lighting so here you can see that there's a gradient occurring from here to here there's a gradient occurring here to here here to here as well as from here to here this one mostly because of the shadow but you can clearly see it from this area right here where I can pull that up a little bit more you can see how it goes from this brown tan color to this yellow brown color so my goal and this is to replicate the gradient that would be affected by the light because it's being caused by by the light and essentially just putting that down onto my textures the reason why is because I knew that I would be working in sketchfab and sketchfab has a pretty limited set up for their lights it's not like marmoset or unreal or Maya where you'll be able to go into the nitty gritties of the lights that you set up and to have it have an effect in certain area sketchfab is overall user friendly so they try to make it as simple as possible for you to set up your lighting there so in this case I knew that I wanted to be able to have this gradient look coming from here to here here to here and here to here as well as these different tones and hues of the materials on my textures and not rely so much on my lighting so for my lighting my main focus was getting the warm tone here the blue light here and the warmer color light that's coming here and hitting this area and this area here I explained that a lot more in step 5 which is my presentation shot and my final publishing but for now I'm gonna be mentioning it just so you guys know why I decided to approach my project the way I did again this is not really a tutorial it is a breakdown so I won't be going too much in details of each layer that I do about I will explain the setup for each one another thing I would like to mention is I got a lot of influence from a lot of stylized artists out there for my textures so I looked up a ton of YouTube videos on texturing for metal and wood specifically for stylized and one great artists that I found is the person who runs 3dx I followed his stylized material tutorial for some parts of it some parts just did not go well with the project that I was going for but the I got a lot of influence from him and I also learned a lot from watching his tutorials so I was able to apply that knowledge unto my project as well as the knowledge that I did experimenting with some of the layers that I created and experimenting with some of the tools that my teachers and lab instructors had shown me over the course of me being in school so I took all of that knowledge and kind of Frankensteined it together and um was able to get my final look but before I even begin with that the first thing I gotta do is bake out my maps so here what I did was I begin with baking if you've ever used substance painter it's pretty easy to import your project in so I imported my lo Reds model and then after that I went to my texture set settings I usually work in 4k but since I am recording and my textures this is my final substance painter file I wanted to work in 2k I will be showing you my work in 4k after I'm done with this but for now I will be working in this resolution so I go to my baked mesh maps and you will see here that I have all my high res they are underscored with high so it's underscore high I usually do when I'm testing my baked my high res maps so here is the baking texture settings and here is where I test out my high res thanks to my low res and the way that I usually do that is by turning off all of these all of these mesh maps and just having my normal I put it at 2k and here I just really don't change this I have a desktop that allows me to be able to do this anti-aliasing subsampling 8 by 8 so to me that works for me but I usually have this at 2:00 when I'm beginning a test I also make sure that my by mesh name match is clicked on and I make sure that my low and my high are named correctly so I usually bake my textures I'm not going to do that now but if that doesn't end up working I look at what the mistakes is so okay there we go what I usually do is I have my normal Maps baked out and then I just look through every part of my project I tend to notice if I have problems it's usually at the edges so that is my main concern is looking at the edges and seeing if there's any big problems I also make sure that the look of this detail that I put into the project is being shown uh being shown and I make sure that it's looking the way that I wanted to without having it skewed or completely off I don't see any major problems within the project well checking to see if there are any mistakes or any problems I also check here and I also look at the fabric the high-res bakes down pretty well in that area as well as the wrinkles coming out pretty well they're not having any problem so after checking to see that everything is good I then go back to my baked mesh maps I check to see if the settings are great great awesome so after that end up working with my for came up and I click on everything except my ID since I didn't do it any idea on this and then I up this up to eight by eight and then that's about it it's really all I do - baking I've never really had problems with baking before besides like having to test it a few times or you know reminding myself to name it correctly which is my biggest fault is sometimes I forget to do the underscore high with the lowercase so that's pretty much honestly the biggest problems I usually have with baking but if you do want to learn more about baking there are great tutorials done by substance painter that goes really in depth of how they do these these mesh maps so after doing after looking at my concept and after baking down my map the first thing I want to do is create my base layer so I will be doing that now so we are now going to begin B so after baking down my maps and making sure that everything looked correct my first step was to create my base layer for my project so I began with the side piece that is here the reason why is because I was going to use this as a base for the rest of my wood texture as I mentioned beforehand since I wanted to get this gradient look some of these are going to have different colors as the base which is fine I just wanted to have you guys know that that not every I didn't just create one whole layer for everything and then applied it to the entire model that was wood as you can see here this part of the door is extremely dark and it's not anything close to how the rest of the project looks this handle right here is extremely light right here is a lighter color than here and here these are a lot more warmer colors so for that I had to make sure that I know exactly how it's gonna go about this so for the leg stance I made them a little bit darker and I wrote that down let the leg stands on the door are darker then the base of the project so I'm gonna call this the base since that is usually what I do first and base my project around that so this is my base and then for the two top pieces I just duplicated I just worked on one layer and then duplicated this one over to this one and I just brightened it up slightly more than this one just so I could get this look here but I knew that the light would be influencing this a lot so I didn't worry too much of making these two different colors this was the exact same layer I just duplicated the layer that I used for this one for this one and this shelf I worked on this shelf right here duplicated over here brightened it up but a bit more and then just duplicated that one over here and the same things for the metals so these metals right here are exactly the same as the metals that are down here and the metal that is right here I just ended up having that by itself and right here the sword with is its own certain where I didn't really duplicate this over to anything else because as you can tell this has a lot more I would say I would have to add a little bit more AO to this to create that gradient that is here so in that case it's just honestly planning ahead of how you're planning on texturing and making sure that you look at your concept a lot that is what I did and it did help me figure out how to do the coloring for my project so in this again I'm not going to give a really in-depth tutorial of how I did this I'm just gonna explain I'm just gonna mention the layers and kind of the filters that I added to them so obviously for my base I just added a base color I just have my roughness and color that's really influencing it the metals just there but here I made sure that my roughness was a little bit lower so it wasn't too shiny because wood isn't extremely shiny especially old worn-out wood so after that this is something that I learned from 3d X from one of their tutorials is to create kind of this because they called it edges and at first I wasn't very confused by what they mean but now I understand what it means is it emphasizes the area that is around the edges so it kind of creates a lighter color in the center and the base color that you have so if I was to turn this off is just around the edges here and you know right over here as well and it's just creating kind of a a bright Center that your eye is gonna be drawn out to the edges that's just practically what it's doing for this it was it was a mask editor and I just change some of the settings to make it work for my project a little bit more since this is gonna be affected by the blue lighting my main focus was if I was to shift the the lighting around it would fit with the overall projects but I still wanted to be sure that if you remove the lighting from this it wasn't just gonna be one solid color and call it quits because the lights gonna you know change it I wanted to make sure that if you saw this without the light it would still look you know like part of the closet so for this I just did the mask editor change some of the balances to it the global balance the next thing I did was add a sharpen to it you can see that it mostly affects this area right here around the edges just brings more emphasis in those areas again sorry for having it in 2k but I really don't want my computer to poop out on me the next thing is adding a cavity to it this kind of just adds an overall kind of darker color on top of it just to add variety to it you can change the opacity you're more than welcome to do this I just kept it like that because I thought it looked fine again this is just the mask editor this is something I was a bit hesitant on using since I am NOT like super confident with using lights and baked lighting and substance painter um it's just something that's foreign to me but 3d e^x videos helped me get a little bit more comfortable with using it at least experiment wise and in this case it did help out I put it very very low as you can tell here because if I was to even have it super bright up it would just completely wash out the UM the colors that I had beforehand it would just make it straight orange but in this case since I wanted the color to complement this I knew that in this project there are a lot of Browns and yellows but I wanted to just add a little bit of red to it and orange to just bring a little bit more emphasize emphasis on the wood texture so after that just added it AO this was done and it's saving but this was done just to bring an emphasis on the the cavity that is right here of the wood carving as well as bringing some emphasis on the edge around the tacking marks and it also brings her eye up to the edge so that is practically what my AO is I put this on a generator that used with a generator that uses your AO a lot so if you look here and this is something that my teacher showed us how to get these darken edges to kind of create a semi gradient it's very subtle but it does just bring emphasis to this area right here which could bring your attention here so that is just how it is it also does kind of give the illusion of dirt building since dirt would build in areas like this since it is an older piece of furniture so having this is here this I can explain to you I took a brown color that was darker than my base removed the roughness went over here out of the black mask added the generator went over here added a dirt generator and here you can change the contrast of how it looks you can you know sometimes even if you want it there and you want it to have a sharp contrast you can do it like that but I like to have a softer look so that is what I added to my project and you know you can see quite the difference here it's just kind of like a solid ish color I mean there is a bit of a gradient and you can see a lighter Center here but just adding this just gives it a little bit more of death to the project and you can notice that it affects the areas that are there so it just creates a shadow in that area that complements the work so after that I added another baked lighting this is just a subtle one this wasn't really necessary of my project to be honest I wanted to try baked lighting from the tutorials that I saw on 3d X videos but I kind of want to try it out I don't really think that it influences a lot on the project but I just kept it there because I wanted to say that I least used it the next thing I did was add a edge highlight this is something that you should definitely have no matter what your pieces even if it's a subtle one but in this case it is a worn look and I wanted to show possibly a passage of time on this and what is better than showing off a worn look to the edge so in this case I added a edge highlight I made it lighter than my base color I added the black mask and then I went over here added a generator and added a metal edge where so here I added the edge highlight made it lighter color than my base in this case on my actual project I have different versions or different colors of edge highlights that you can see so I have this one right here that I actually based the color off of so I just color pick that Oh another tip I would really recommend for you guys to do it is 100% okay for you guys to color pick straight from the concept I do that and am able to replicate a lot closer to the concept I know some people don't do that and I don't know how they get away with it because I've actually seen tutorials with people being able to just click the button and be like that's the exact color and I'm like you guys got an eye that I do not have so in this case I color picked a lot so for the base base color of this face of my project I actually ended up color picking in this area I think I went with something that was like right here and then for the darker areas that I saw I ended up color picking from that little corner if you can see it just this little brown area right here since that's kind of what I wanted and then for the gradients I ended up color picking from this I think I went for a lighter color because I didn't want such a harsh one and I'll be showing you that as well but I did color pick most of my colors from this exact concept if not all so here I have my metal edge where and here you can change the wear level I would say don't have anything like this it just looks dirty to me and not like the purpose so here I added the edge highlight and then I just changed the where level here I went for a mid type of one where it was just having a very strong highlight but the thing with this is if you look at it it's a little bit too uniformed well not back here but in the front it's a little bit too uniformed there are some areas here that are just covered by the edge highlight so in that case I just come in with a paint a paint brush and erase some of that so I just used an alpha and I went for dirt and I think I ended up picking dirt cloudy this is great because it has um so this is great because it has those edges that are broken up and also has the grey and white and black values but just go through here don't pick something that's straight up a line it's gonna look up a little bit too noticeable in this case I just went with dirt stained the dirt cloud I went down there's a brushes for the Kyle brushes are pretty good too I like using those if I'm going a little bit more in detail for this but since I knew that I just wanted to break it up a little bit that's all I did to this the next thing I did was add a bit more of a dark value to these edges right here I think it worked well because if you look at the concept it is pretty dark here and I wanted to showcase that but the shadows pointing down if you see here the color is very dark as well as here and here so I just went in with a paintbrush and I can show you how messy I went I literally just swiped and then I changed the opacity of it to lower it I didn't remove it completely but make sure that you are lowering the opacity to it and that I would say does a pretty good job of putting in an AO in there without actually having to change the AO that's like up here so after that this is a layer that I accidentally misplace this is the layer that affects here I just wanted to make sure you know that because if I was to click on this and then go to mask you'll see it affects that area right there so it just affects that one so the next step that I did was adding a texture detail to this it didn't really change it too much so I'm just going to brighten this up a little bit more I honestly should have made this a little bit brighter or a little bit lighter than the actual color of my base color as you can see here is just what it looks like what I ended up doing was going in here going to grunge map adding a grunge to it and then changing the levels this is something that I was taught in school to add somewhat of texture to it without disrupting the scene this is just to add a subtle change to it don't make it super super dramatic but in this case I wanted to just add a little bit to it so it would just affect the edges here so if you see and the actual thing if I was to click on it you can see it like right in these areas I did show that a little bit more on the shelves since the shows I would say are gonna get dirty they're gonna have a lot more stains on them so I did add them to the shelves a lot more but in this area I guess I I didn't want to emphasize that too much but that is something that I would say I should have done I also change the opacity from 100 to 50 one was the number so let me change that and this is just something to keep your project from just having a flat color is or not a flat color but just a unbusy texture towards it you don't have to do that I just did it because wood textures are never just a color of like gradients it does have some stains to it so I made sure to add that on there next thing so for this one I added was again another darker color so for me what I was trying to achieve in this is because I noticed this in the project I should have emphasized it a little bit more but there is a dark color here and then a lighter color that goes out I guess I was trying to go for that but the thing is it's really not that noticeable unless you're like right on top of it so that's just an extra layer I have to create a deeper line here for the AO that's again just the dirt generator change the dirt level and created a higher contrast for the dirt the next thing I did is my gradient so in this case I would say please please remember what I mentioned beforehand where I wanted to add gradients because I know that my lighting wasn't gonna be able to achieve this look that I wanted so in this case I used this as a base for how this was going to look so I went from this to I went from darker to lighter here so I will show you how I did that so I picked a color that was a red Brown I would say that's a pretty deep brown so that's a little bit a darker well not a little bit it's actually a lot darker than my base and I go up here and I click on it and you can see the change in the overall look and it just adds a gradient from here to here and I ended up leaving the look that I wanted with that also I know the blue lighting is gonna affect here but I did add it to every other individual piece that is in the project I also added a bit of roughness to it so if I was to go to the roughness Channel you can see that there is a bit of a roughness change there that's just so it's not just one flat color but at the end I added a roughness player I misspelled that I was kind of in a rush writing these things down but here I just added a roughness so roughness layer I removed everything else pumped this up to be higher and then I went in here went into the masks and went to the mask editor and messed around with the settings I am actually kind of thankful for 3d xfer showing me a lot about the mask editor I didn't really use it a lot since it seemed very daunting to me but having him explain each setting and also being able to show us how it works in his tutorial videos honestly helped a lot for me to do this by myself this was a great thing that my lab instructor mentioned to me it's because I always felt like my project was always too flat every time I did a portfolio piece and one day my lab instructor was just like oh just add a roughness channel and this definitely helps a lot more with metals but it also helps out with just overall textures in general just helps a lot more with metals and she told me add a roughness map to it you can add a generator she usually tells me to either add a dirt you can switch between these heck you can even sometimes use the smart masks or the grunge's but in this case I wanted to test it out with the mask editor and I actually really liked how it came out so if I was to pop it out I did that and here I just added the different textures that you can see here I think I only used it for that one a big thing I would recommend you to do if you plan on using this somewhat as a tutorial is to know that Saussure sketchfab has a tendency to not show off the roughness so much on stuff that isn't metal so if you are using sketchfab as or presentation program make sure to up up your roughness just slightly more than what you think you would need just so I'll show up on sketch pad so after doing that I just showed you the basic or the base of almost all my layers that are here the the metal being a little bit different and the flag but I can explain that to you and those are the layers I did and after that I just went through each piece of my project so here this stands like I said beforehand I knew that my legs were gonna be darker so my base color for that is darker I went to the wood small this is just a replica just a duplicate of this I ended up making this a little bit darker just so I ended up making this a little bit darker just so you look at this it is a bit darker in these areas I'm compared to like this so I did just duplicate this over and made it darker the next thing is the metal top here you can see that there is a grading coming from here to here the reason why I didn't make this super super warm to tone like this almost say yellow orange is because I was going to use a light from sketchfab that was going to just focus on directly this I was gonna have my environment light that focused on the middle my blue light that comes here and my light that comes down here that was going to give off a yellow orange tint that would give the effect that I want from this like I mentioned beforehand I went through all of my edges and broke them up some pieces so that's just something I also did this one is the gradient as well so I have it going from dark to light it's the same exact what should we call it uh generator the only thing that I would change is my position of the XY and Z and sometimes I would change the radius the offset and the contrast and sometimes you would even need to invert it it's just usually messing around with the scene try starting off with everything on default and then just move the settings corresponding with the direction that you want it to go so next one I did was the bottom and here I had a lot of my a go having this darkened look to it and I think it we did a really good job of kind of showing a old war and look to it you can even sometimes see them roughness here yeah that doesn't really show up too much in sketchfab so like I said beforehand just Boop it up a little bit more if you think you have it you probably need a little bit more so after doing my bottom the next thing I did was my shelf so here you can see a lot more of the dirt or the texture look that I was going for as well as roughness and that gradient since in the back of the picture you can see that there is that dark gradient that is there as well as here and here so I actually did a harsher gradient in these areas just to show the depth within the bookcase as well as when the light is hitting there no matter how the environment is set up this is always gonna be dark so after doing that I just duplicated it over and use that as you can tell I've changed the colors for slate slightly on some of them just so they don't all look the same and then if you look at the roughness I did add the dirt so I made them all different that is something I would recommend you to not do I tried it out and I thought it looked a little bit too off so I would recommend you to try to keep at least a minimum of like two different maps for your roughness and just changing the opacity or the overall balance of it if you want to like remove some some of the roughness from it and this I worked on my handle I made my handle lighter because in the concept you can see that is lighter you can also see in the concept that it goes very dark here and then just brightens up very quickly to the top so I was able to do that so I just again added the gradient from here to here I just pulled it back a lot more so just be focused here and next thing I did was the metal base here you can see a very very strong gradient and again the reason for this is so I would be able to set up my lights however I want and not have to worry about oh this is gonna look super bright it's gonna look you know like it's the inside I didn't have to worry about that after doing that I added my wooden door again these are this is something that I actually ended up creating some different layers for so let me open that up so here I changed a lot of my baked lighting I ended up removing some of the stuff on there and here so after I finished my handle I started working on my door and you can see a quite quite a difference between my main piece which are very similar in color just slight ships of use within it to just having a straight-up almost brown door like it shows and the concept it is quite a difference I just wanted to make sure that I had my highlight be a little bit yellow so when you look at this the highlight is a lot more yellow compared to this and that's just because I wanted to have that defined a little bit more I added a gradient coming from down here to here I just ended up making my gradient a lot harsher and changing the colors a little bit more here so for the edge the second layer that I created and my overall materials for each one I just made sure that I emphasized it a little bit more just so you can see there is a color shift right there so after that my wooden back I I added a little bit more of the texture difference so I just made it a little bit lighter kind of made it look a little bit beaten up and rough because this is an older piece so some discoloration is there and I made that a lot darker than the rest of my project because I wanted to make sure that it does look like it is in the back my prop bottom is over here nothing too crazy in the concept there is a difference between two of the two of them so this one is just a brown and yellow and then this one is just like a golden brown so that is pretty much what I just did to these two and then after that any more wood texturing nope that is all the wood that I did the rest was the prop the metal and the black so I'm gonna explain Oh actually forgot this part right here so in the concept you see that there is some old chipped wood so I guess naturally the wood looks like this or they just really wanted to look cool so for this all I did was pick a color that was fairly close to the actual concept I didn't color pick it exactly because there was a bit of a hue color coming off of it and I didn't want to add that to it so what I just did is I added kind of a pale yellow to it and then after that I just went into the paint got a dirty you know I actually ended up getting a chalk brush from this so I ended up getting one of these charcoal ones and just putting it in there nothing too crazy I did change the opacity of it so it wasn't straight up like that I wanted to make it look like it was actually worn into the into the into the wood not that it would look like it sits there naturally so I just wanted to make it feel natural the next part I'm going to explain is my cloth so for my cloth I kept everything pretty much the same I actually dialed down a lot on some of these so I created my base and then in my concept you can see that there is a red fabric that lays below it so here what I just did is I added another layer I painted that on to my UVs and having them laid out like this was very simple for me to just straight on just color it in there and then I made it that made the roughness a little bit different just so you can see there is a distinct look to it and then the class I did the exact same thing just added a little bit of a darker color to it I think I just duplicated that over the edges I ended up actually pulling that back a lot because I didn't want it to start adding color and the areas editing need to since this is curved I was using a technique that is what I use usually for hard surface the cavities I made sure it was a little bit darker and then after that I just did an AO but I just added it's a lot darker than the base color just so it would look like shadows that naturally lay on the fabric and then I didn't add texture details obviously but in this case I added silver bolts just made it metallic it's just a metallic layer and then after that I added somewhat of a roughness layer to it and then the metal rod is something I just slapped on from the same materials that I used from this so I just duplicated that over my silver coins were pretty basic wasn't anything too crazy I just made sure that um there was some roughness variation on it so when you look through it it doesn't just straight up look like metal coins are dirty and they lose its shininess and they sometimes get tarnished so I wanted to add that by in the concept I saw that they looked I wouldn't say fair yeah fairly new so I still wanted to add that detail to it so after doing that my next step was my medals so I'm gonna work and explain to you how I did that so it's honestly the exact same thing that I did for my wood except it's just a metal material so here I added my color I add my roughness and I added my metal so my metal was all the way to one and my roughness was a little bit shinier than it usually is but the reason why is because I was adding all these other materials to it and these I made all metallic as well so they would all work together but in this case I went around giving this dirty look to the project just to add to it so these were to brighten up the projects because in sketchfab is looking very dark so I just added those color variations that I learned to add some lights to it the AO is just again the same darkening up the area bakelite the same just darkening it up to make it looked a little bit more worn out and then after that I added my edge highlight I made sure that was almost like straight-up white and the reason why is because I wanted the edge highlight to actually highlight so I did that as well as upping up the roughness because I usually kept the other channels a little bit lower on the roughness to add that variation to it and then I added my texture details to it and that just helped give it a dirty warrant look and that's honestly what I did with my metal maps and it's the exact same thing I did here the only differences in the concept and the concept you see here there's just a lighter metal that seems to be on the rim of the sword I didn't do anything crazy with that the same thing that happened here I applied to the handle and the same thing that was done on here it's done on the actual helmet so I will click those on so you guys can see that so here you see on my my sword there is a bit of a green tint to it that is just me adding a little bit more opacity to my green light that I had on my other this one right here so I just added a little bit more light to it just so I could have kind of that green gray look that I was trying to achieve for for this I just added yellow light lines to it because that is what is shown here and then for this I made sure for the sword as well I made sure that this part was a lot lighter than this and this since in the concept you can see that this part lights up slightly more this one has a stronger AO so that's what I just applied to the edges and then after that I was prepared to do some paper the paper that I used here was the same that I used on top up here it wasn't anything crazy I think I just removed one of the channels so that is the paper I kind of kept everything the same since I didn't really sculpt this and it was pretty simplistic and shape all I really did was add a base color that was a little bit brighter and then I just added darker colors on top of the projects to give a old worn medieval look to it so you have my edges right there and then my cavity so that just went all throughout so that worked felt for me and then my AO to add kind of a very variation to the color because that usually happens with old paper and then I added my baked lighting to it which just gave it a overall more yellow Brown look to it i edged highlights for some of the areas that are a little bit more worn down and then my texture which honestly gave a great paper look to it that is worn and old something that looks like someone would make and then after that I added the writing in the concept you can't really see the writing so I kind of just finessed it by writing numbers and symbols and hoping that nobody reads that part so that is honestly what I did for the paper I did the exact same thing for the books so after doing that the next thing I did was this armor this one was a bit difficult to work with since I never really worked with leather and in this I would say yeah that's leather I also wasn't very happy with how this came out and I will probably be coming back and changing this and applying what I learned at the end of this project to this because this was something that I honestly struggled with and I was trying to find ways to fix by here I wanted to make sure that I got the darker color here and the lighter colors here as well as the silver buttons so I was able to get those colors how I wanted them this was honestly the material that I used for the belt which I will be showing you how I did so after working on that piece really quickly which was honestly just copying the belt applying the layer right here and then copying the belt again and then applying a lighter layer here the next thing I worked on was this piece right here which was the metal this one I wanted to give it a much more worn look compared to the other so I added a more aggressive AO to it to just add that dirtiness to it and then that was pretty much it I kept the metals pretty simple since they weren't the main focus of the project the next thing that I worked on was the book this one this one was causing me problems because again I've never really worked with leather and I'm guessing that is what the material is if you look here it looks leathered obviously and here's leather and then this one's leather right now so for this one it was just a lot of trial and error I created my base color which was this which was a brown I actually color picked this from an actual leather piece and then the edges was something that was a little bit more warmer tone something that looks like it would be in a piece of leather that's new the next was I having a cavity that kind of went over everything to create a dark brown next is AO just to create somewhat of a changing colors almost as though you know it is skin bakelite that just went over everything edge highlight on the edges just to show a kind of worn look to it and then the texture details I think actually helped a lot because this is how it was starting to look and I was getting frustrated and then I remembered this area right here and I said maybe just adding yep adding a texture detail will give it more of a leathered or at least give it up texture so it's not just straight up flat so what I did was the same thing with the felt except the belt was a lot lighter and I ended up using a layer to have a height and color channel push this back and that was about it and then the pot was here so this one was honestly super simple to do it's just gold and black nothing too fancy the black is a lot more reflective made sure that I didn't do pitch-black nothing too crazy the feather was the only part that I had to look up and actually take the time to look through and Google but I show you how I set that up in sketchfab since I really didn't necessarily need to do that in substance painter so after adding the pot I added my books and here I added the details that you see in the book here this isn't 2k it looks a lot better in 4k so after I'm done I will be sure sure to show you how I did that but for the book it was a blue color and this was a purple so I just color picked from here add somewhat of a gradient just so it's just not a flat color so it's like a purple here and a lighter purple here a darker purple or blue here and a lighter blue here so that is what I did here as well and then the book leather has just the straps that are wrapped around heat projects and then the metal weird is this part right here I still don't know what this is still trying to guess you know if you know what it is please put it under the comments comments it will actually be kind of interesting to see what you think this is but that was just something that I I'm just using this texture onto here I just ended up changing a few of the colors so it was a lot more washed out than this so the next thing I did was add the picture that you see here so what I actually did was I brought this into Photoshop to the outline of this area right here made sure I fixed any of the angles I flipped it so it was straight and then I went into substance painter and actually let me see if I can find the actual PNG right here so it's huh it's right here and you can see the very crude rough drawing I did but if you look at it here I just built the colors up again I can show this on the 4k so I'll show that one I'm ready to show this in 4k and explain how I did that so I added my chalk layer and this is the numbers that you see on the side surprisingly this actually took some time because I wanted to make sure that it looks like it was broken up and it wasn't just a straight you know Mouse I wanted to actually make it look like someone was writing on the actual objects so here I just did a quite a swipe and then I added this chalk type filter onto it so it can make it look broken up so essentially this is so this is how my final project look but not really so I'm gonna move this over to 4k and I'm gonna show you the last step that I did to this project so here are my 4k textures and here you can see it's not as pixelated as it wasn't 2k so for this specific layer what I did was I built up the design so if you see here you can see that there is a light almost opaque pink a black outline and then a pink shield and then these pink lines right here that are the same color as this so what I did is just built it up I added a pink opaque background added the black line and then added the shield and the two bars and then here this one this one's my artistic masterpiece but here what I did was I brought this in pasted it on through here so we're right there so I just rotated it found the perfect spot for it that would hit this area right here and then I just built up the colors in these areas I wanted to give it a kind of crude look to it since it is something that isn't like printed on and it is gonna be probably written by someone so I just added that there and then after I was done with that I changed the opacity to I think like 75 and 60 to make it look like it is written on it and kind of a worn fading look to it I also added these lines I don't know what it says over here but I didn't want to forget to do that so I added that to the project so after this you see my projects and it looks pretty decent so after adding the wood textures after adding all the metal and prop textures and seeing how it looks I am going to add a top layer that one of my teacher was very kind to let me and a other student have this is what essentially just adds a gradient for the entire project he taught us what each of the layers do and how it influences or how it affects the so now that I am done the next step I was gonna do ended was add the top layer that my teacher his name is chops did his art station is down below and if you have any questions about these top layers and the the details and the effects that it has on the layer you are more than welcome to message him on art station he will definitely respond to you since he did such a great job on this as well as allowing me and another student use it but in this case I will show it to you this is just gonna add a gradient to the entire project and give it eight stylized look so it's gonna take a while so I'll show you how it looks when it's up so this is what it does to the project it creates a gradient all throughout it and I think it does a really good job of emphasizing the the leather looks at the metal it adds a little bit more to the AO as well as creating those darkened looks of the metal that I wanted so he gave us an in-depth tutorial of what all these do and how affects the asset as well as understanding how each of these layers and what they do and the filters that are in them do so definitely check them out his work is phenomenal and he's honestly a great person to get critiques from as well first stylized work since that is what he specializes in so I also changed the opacity if I was to have it at 100 it would look like this so having it how it's supposed to be works for me you can see quite the difference in it so now that I am done texturing the next thing I am going to do is again get a critique on this so I ended up getting a critique on this from a couple of my lab instructors as well as some acquaintances and friends from school and people on the discord Channel I ended up asking for critiques on the club and hand painters guild and I got some really great feedback so after that I am ready to export these textures out so I'm just gonna show you really quickly how I did it so in here I just went to bookcase went to my I Drive went to bookcase and then here I went to textures so you will see it here so I selected the folder and I knew I was gonna use sketchfab so to make my life a lot easier I just click sketchfab as my config made sure that it was all in 4k and then textured it out and that's honestly how I went through my entire step for if any of you guys have any more questions about how I went around picking out the colors and how I looked at the concept you're more than welcome to message me about that but if you're also interested in the more into the layers and how I end up texturing them you are again also more than welcome to hit me up on art station or my email about this as well since this is just a block out I just wanted to explain quickly how I went through each of my uh each of my groups so now we are ready to set up our presentation shots so in this step I'm going to show you how I set up my sketchfab link my art station page as well as how I set up my photoshop file to do my presentation shot in this case I use sketchfab as my presentation area where you can go see my project and here is essentially where I kind of just did the lighting for my my prop and my main concern was trying to get the look of my project to be as close to the concept especially for the lighting so in the concept art there is two lights that are in the scene I added three and total there is the blue cooler tone lights that is hitting the side of the bookcase that affects this area and this area right here and there is the light that comes from here affecting this whole area right here I ended up adding another light up here to be able to add more of that gradient that I did in the textures because I knew that I was gonna be using sketchfab and I was gonna use the environment and the lighting that wasn't sketchfab so even after knowing that and adding in it my gradient I also wanted to add a light here that would be able to highlight a warmer color up here to you know bring attention to that area as well as bring attention to here and bring attention to this area right here so this is why it's kind of important to look at your concept for a while and see if there is lighting in your concept and plan your project around that lighting as well so this is you having to think of like you know five steps ahead of you and in this case I knew that I would be using sketchfab so I knew that my lighting would be a little bit more limited compared to like marmoset unreal and even sometimes Maya so knowing that in sketchfab I could essentially have you know a total of probably five lights I wanted to make sure that I at least had three lights in my scene that would be able to hit this area hit this area and hit the side knowing that sketchfab is very limited and some of the options where I couldn't be able to change my model directly like an unreal and sometimes even a marmoset I made sure to add a gradient within my texture so that is something that I planned ahead of and added it as well as being able to move my lights around the in sketchfab to do it so knowing where my lights are in the scene I move on to this and wrote down exactly what type of lights that I would need and worked with that but before I even touch my lights the first thing I want to do is add my materials to this project so I essentially use the model that I used in substance painter for sketchfab it's easier that way because I know that the textures are going to work no matter what so I imported it into sketchfab fairly easy to do that step so I go to the materials tab and I go to base color metal map roughness my AO and my normal map I plug in the maps that ia booted out of substance painter I use the sketch fab export setting because I knew that this was gonna be used in sketchfab and it's easier to work with that so that is what I did I did that to this it's fairly simple I didn't have anything crazy the only thing that probably would have been considered in quotes crazy is adding the feather which had a opacity channel to it so I just grabbed the PNG from Google put it into the base color and then put it again in opacity and that's all I really to do that it's fairly easy the next thing I did was set up a little bit more of my scene I changed the field of view from sketchfab from 90 which i think is the default setting to 45 and the reason why I do that is if you want to see that is how it would look in I I believe the default setting for sketchfab so I didn't want to get this fish I look to it you can see that you know it kind of gives that fisheye look and that's not what I wanted since I think it doesn't fit my scene at all or my project so I would recommend going between 35 to 50 for your field of view this thing you can do is change the wireframe I ended up using black because if I switched it to red this would be a little bit you know lost in the scene white could probably work pretty well too but in this case I just used black didn't really change that and then the background I ended up picking a color that was similar to the concept background because I think it complements it pretty well it doesn't you know distract from the main focus but at the same time it isn't such a huge contrast like super white or super black for you to be like hmm you know you're losing some of the details and shadows so I picked that color just because I think it does complement it so what I'm gonna do is I'm going to turn off my post-processing filter so we can focus on the lighting and in this step I mainly just focused on my lighting and the reason why I would recommend you to add your materials before you touch your lighting is to see how your overall model including the textures will be affected by the lights so in this step the lighting portion i actually am gonna also turn off these so we can focus on the environment so for me at least what i tend to do is i tend to go through each and every environment that i see and write down the ones that I think complement my project and in this case I look through all of them and I ended up really liking how the glazed patio by restaurant looks I think that it captured the look of the concept from this portion right here so something I did know I was gonna do is I know I was gonna have essentially three lights my environment lighting the lighting that comes from up top to get this look and the lighting that comes over here which is very distinct since it has a certain color and look to it so in this case my main focus was getting this area right here lit in a way that I think complements the model as well as replicating the concept lighting very closely so I wasn't too focused on how the top was gonna look and how this was gonna look because I knew that I was gonna have lights that would affect that area so in this case I wanted to make sure I get you know the darker values here and the lighter values here on my model as well as get these shadows across the project I wanted to make sure that this is you know bright in this area but you know having a darker gradient here so that's why I also added gradients and my textures because I knew that in sketchfab I was gonna give me that option to do it so in this in mine I just mainly focused on getting this area but in this case I liked how this looked although you know my project is a little bit washed out I can always go into my post processing filters and add a little bit of a red or hue to it so that is what I ended up doing so in this case my main focus was just this air I got the look that I wanted with the sharp shadows here which you can see in the concept I also got a little bit of a highlight there I ended up getting the shadows that I wanted here as well as here where you can see a darker shadow here and the gradient is moving to a lighter value here and I quite liked how this looked maybe it was a little bit too bright so if you saw my original settings for this was - and I got what I wanted here here I could see you know there was gonna be a bit of a problem but I knew I was gonna add a light that was gonna be a little bit lighter than this so after setting up this and looking at the different environments there was I ended up moving over to adding actual lights so here you have a bunch of different options here I would never recommend most of these the 3-point lighting is pretty good by itself that is what my teacher told me and it's been working pretty well so here I use the 3-point light ended up turning off one of the lights because I didn't need it and it's fine to do that sometimes you might not need all three lights and environment sometimes you might just need an environment of lights so you just have to fit a lot around with the settings and feel confident that you just need to feel what is right for you another thing like I've mentioned a billion times beforehand always get critiques on your lighting that is what I did and I ended up actually pushing myself a little bit more to doing more to my project that less so I have a tendency to do less to my project because I'm afraid of pushing the project a little bit and going back to it and thankfully I had a great lab instructor who gave me a great tip which was you know add more light to it so in this case what I usually do is I turn off this so everything is black on my model add my lights or turn on my lights so in this case I want to show you how I ended up getting the lighting on the left side I switched my lights so I switched my light from a directional or direction light to a spotlight I think this ended up working a lot better then the other option I mean you can still have it but I think it was just a little bit too bright for this and I wanted to get a softer look to it and this settings allow me to achieve that look so you can go through these and just try out whichever light ends up working for you in this case it was spot so I ended up pushing the intensity to the max added a very blue color to it since that is what we are shown in the concept and I just messed around with the settings until I found something that I liked but what I usually do first is I end up positioning my light and then I end up moving the settings around because I think that works a lot better another thing I did was to cast shadows because if I didn't then the entire scene or these areas right here would be lit which I did not want that to happen I just wanted to mainly focus on this area so after setting up this light which is kind of the same movements that you would do in Maya you just have to make sure that you are kind of doing a rotation on it while you are setting up your lights because you might accidentally end up you know pushing this down and be like that looks right but when you look over here it's all the way over here so just make sure you are rotating around to see where your lights are hitting so after that I turned this off added my spotlight and started on getting the top portion of the lights done in this case it was very easy since I thankfully had some practice with the spotlight so I kind of knew what settings I needed to do I'm and did a warm orange colors to affect this area and again add somewhat of a gradient from here to here which I ended up achieving so here I just mainly focus on getting this top portion of the project lit wasn't focused on the bottom just this area and I just moved around the camera or the light and I also changed the setting to this I obviously turned huff casts shadows or turned on cast shadow so I don't affect the areas down below I just want to affect those areas so after doing that I turned on both lights saw how it looks looked back on my concept and I usually have this you know open no matter what on the side but I saw here that I got these two looks achieved and then after that I added my environment light to it and saw around it and thought hmm that looks pretty good I approve so the final step that I did here and sketchfab was essentially add some post-processing filters so a great thing that sketchfab has is that sometimes you see here like oh my project looks completely different from what it does in substance painter the reason why for that is substance painter has different environment setups as well as lighting so most the time the settings that you have in substance painter will not look the same a sketchfab so you're gonna have to work with your projects and work with the tools that sketchfab gives you and one of the tools that it gives you is this area right here so in this case I added some more AO to my project which is what this tab does right here the SS AO here essentially and if you ever have a question about anything just you know hover over the question mark and it will tell you what it does so here it adds ambient occlusion and something great is that you know say I looked at this project and thought hmm it really doesn't have a strong you know AO map to it now I got to go back to the substance painter fix it and then boot out the textures again replace it here you don't have to do that sketchfab has great tools that allow you to change the project from here so if you look here especially in the hinges you can see the change you can even see it around the edges especially and you can see there is a addition of the a oh they're so sketchfab having this helped a lot since you know I added on and saw mmm that actually does look a lot better I'm gonna do that so sometimes you might just need to turn on some of these settings and be like hmm all right I liked how that looks like see I thought this was a little bit too reflective for my taste I turned it off and you can see the roughness values to it that I was trying to achieve so after adding this I added a sharpness to it just a slight one I may not be too noticeable in the video but in sketchfab it is noticeable as well as in my photos so here my main focus was just a little bit of a sharpness not too much the next part is a vignette which brings focus to my project it draws your eye from here to here very quickly so I wanted to add a little bit more to this as well as you know add a little bit more of a gradient around the edges than just having a pitch gray color not pitch gray it's not pitch black just a gray darker color so a vignette just adds to it and brings the focus to your project the next thing I added was a bloom I just wanted to give it a little bit more of that fantasy vibe that I felt from the project over so I didn't add such a huge bloom effect to it it's honestly just 0.1 but I think it just complements my project enough to make it affect the metals so I think that worked and like I said beforehand sketchfab has great tools for you to use so you don't have to go into substance painter so another thing is I ended up adding a color balance for the mid-tones especially for the Reds like I mentioned beforehand sketchfab has great tools for you to use if you don't want to go back to substance painter and change your whole maps you can just do it here and add a bit of a color hue to it which ended up actually helping me not have my project looks so washed out so these are the post-processing filters that I did to my project you can come here and turn off and on change the settings to anything that you feel like your project could benefit from in this case I went through all of them ended up taking out the grain that the field the chromatic aberration the toning map because I knew that it wouldn't really affect or help enhance my project don't think of these as fixing your mistakes think of it as enhancing your project so after working on this I posed my project in a way that I'd like so I'm going to show you how I did that since I am trying to get as close to the concept art that I can I had this open on another screen and tried to angle it where you could see this portion as well as the side and get the flag and the sword in view so the sword doesn't be covered up but the flag is still noticeable I'm making sure that you see this engraving this engraving and this engraving because of the time that I spent on it as well as making sure that you see the best parts of my project and getting this area shown as well without covering anything else or covering this part up so what I mostly did was I just move stuff around until I got the position that I wanted like I said beforehand my project was or my concept was set at an angle so I wanted to make sure that you could see this from anyway and it wouldn't be proportionally wrong and sometimes you're not able to get it perfectly but I set it up where you could see it and that is how I post my project you want to make sure that you're posing your project in a way that isn't just a front view a side view or a back view you want to add somewhat of an angle to it to you know make sure that you're showing the parts of the project that you spent a lot of time on and that was my main focus is showing off this wood engraving that I did in ZBrush as well as the metal the sword the flag and the area right over here I made sure to angle my project as well as make sure that everything is in view so after this I went into the sketch fab lab experiments which allowed me to create a gif as well as high-resolution screenshots of my project and I'm going to show you how I did that so here is the labs sketchfab experiments it's right here at sketchfab lab experiments i apologize by here you can see that they give you a ton of tools and to show off your project in this case I use the gift export as well as the screenshots tool so I'm going to show you this part I use this mostly for Twitter because I think it shows off every angle of your project and I think this works best for specifically showcasing on your phone so in here all I did was take the URL of my sketchfab link load scene went here pasted it I went to load and your project will load up and the next thing I did was just changed it to HD 720 in this case this worked pretty well for Twitter the HD 1080 doesn't allow you to use it on Twitter because of how high it is so after that I changed the duration of the turntable which is what it's gonna do for 5 seconds if you have a project that has a lot of details on the back as well you can probably change that to 10 seconds so the viewer has enough time to look through it in this case since I knew my back is pretty bland compared to my front I made sure that I was just in 5 seconds made it a gif and rendered it out so here is the export of my gift in my Mac it's not gonna show me the actual gift I have to go quickly through it but this is how it will turn out and here I just air-dropped it over to my iPhone and I had it in place it's the name of the project that you have on sketchfab and it just calls it a gift so that is what I did for the first part this is totally optional you are not required to do this or you aren't even you know needed to do this I just think it's helpful for me to showcase it on Twitter or my facebook for a quick look at if they don't have the ability to open up sketchfab on whatever device that they're using after I do that the next thing I do is I go to screenshots and I load up my scene again and here it gives you a ton of options to affect your project especially for the transparent Brown so what I usually do is I turn this on so it creates a PNG that allows you to import it into any type of program that you're using to create your screenshot or your presentation shot so in this case I am using Photoshop for it the next thing I did was turn off the vignette because I'm gonna add my own vignette to my portfolio shot but I want to keep on the post-processing filter so this is what it's essentially adding on to it so after this I'm just I usually do this and 4k resolution but since I am just doing a quick one I'm just gonna show you how I did it so I exported the screenshot of how my project looks default wise and after that I usually move it around for different angles I get different shots of the angles that I did so maybe I just inched it a little bit more I turned it a little bit more this way and then after that after I take around five different screenshots of how the project looks compared to the concept my next step is usually just picking different angles overall so maybe I want to get more of an angle like this maybe I want to get an angle that's closer to this so you can see the details of the wood or maybe I got a detail of more of this so I take around 15 screenshots in total of this project in different angles and different looks and even sometimes in different Lighting's so here maybe I want to add a more you know dramatic lighting mysterious look to it I will screenshot this so I can look at it in Photoshop and see if I like it or not but this is the presentation shot I actually got this file from my teacher while I was going through one of my portfolio classes this was fairly easy to use you just changed the settings in the background to either add new colors change the texture background and add different types of vignette as well as setting up your name contact information so you can have it up here I don't tend to like having my name up here I like to either have it on either bottom corner the reason why for this is because I feel like it grabs your attention too much if it's up here mostly because I read topped it down or top to bottom then bottom to top so the first thing I'm going to notice is here and then move down to here to get my name but I want to make sure my name is clearly there so after this I picked the vignette I want and that is how I make my presentation shot it's pretty easy to be honest the way that you guys can set this up is by creating a background colors you can add a folder of the colors that you think you would be using in this case I usually go with mid mid to dark Gray's sometimes I even do it in a color lighter colors tend to work pretty well so I tend or cooler colors tend to work well so I go with more blues this is just you know if you want a quick selections of backgrounds the other thing my teacher did for us was create a background textures this one has different ones they have pavement plank wood brick wall speakers clean me so these are just different ones that he allowed us to pick from in this case I just kept it with the volcanic rock I think it looked pretty decent I didn't think that I took too much from the project it just keeps the background from being bland to me at least and here I set up my main presentation shot after this I bring in two other angles of my project and I would add the first one here I would make it fill up the screen as much as possible and then the second one I would add right around here above this and make it smaller this one would be an angle of this that is completely different from what you see here and I'm about to show you that when I do show you how I did my art station page but in this case I wanted to mainly focus on this piece right here since this is my final presentation shot that I want to show and be the first thing you see when you open up my art station page another thing I would recommend you guys to do this is something I do a lot is create a thumbnail shot this case I literally just removed my contact information just head this right here so when I go into art station I can pick this file or this JPEG and bring it into art station and set this up specifically to only be my thumbnail so you can see this after creating roughly around like three photos or presentation shots of my project I move on to art station so for art station you can see here that I did create a thumbnail that doesn't have my name or contact information on it so I click on it and it pops up and the first thing you see is my first final presentation shot important thing to do before you upload anything make sure you double check to see that your name your first and last name is spelled correctly as well as your email pick an email that is user friendly or at least kind of friendly for anyone who wants to use it you know your first name last name it's pretty good and if that's already taken just add a zero one to the end of it that works pretty well the second shot that I like to post on art station is the different angled of it and the different side of the project again making sure that my first name last name and my email is correct and then I add a link to my sketchfab and it's embedded here and said the art station link so you can click on this and manually we're not manually but you can see it from here so after that I make sure to add a picture of the concept art as well as give credit right away to the concept artist right here this is a direct link to the page of the concept artist as well as the direct page to the concept and I also make sure to give credit right away to the concept artist down here in the summary page after that I go into the settings it's giving me a little weird thing I hate when it does that but if you go into edit the project thumbnails right here this is where you can upload your thumbnail and then crop it to the sides that you want it to and then after that I make sure to tag my project so this is just so it has a bigger outreach to people an artist on art station I make sure to add the software experience that I did here or the software used on this project which was Photoshop my a substance painter zebras in sketchfab I just add the jewel 3d fantasy and game art is the main focus of this project and then after that I add a little bio to it and this is officially I thought I was enough bring me back to the page but this is officially just explaining my process of my project so here I explained that it wasn't on and off project that I did while I was juggling school I began the process in December and I ended around early May so this was roughly around 5 months there was some things that I explained that I was very proud of learning like texturing and then I explained again harping on the critiques any critiques are welcomed and I gave credit again to the concept artists so after finishing up my presentation shot and setting up my art station link and publishing my art station link as well as any of my gifts on Twitter Facebook and any of my discord servicers that I was part of I finished the project so that is the end of my breakdown video I know that I said a lot throughout these videos and I harped on a lot of things like critiques writing stuff down and making sure that you are following through all your your pieces in your project but these are things that were able to allow me to grow as an artist learn a lot about doing stylized in ZBrush and substance painter and being able to learn from my mistakes that I did throughout this project because I did do mistakes throughout these projects and I think it's important for you guys to know that because you know not everything goes exactly the way that you want it to and that's okay you just learn from it and you apply those experiences to other projects that you have I would love to give a huge thank you and shout out to stylize station they ended up helping me out a lot through this project without them even knowing them being able to show off artists helped me find the concept art that I want and it helped me find tutorials for this project to learn and base my textures off of so thank you to them for giving me this opportunity to do a breakdown video for their channel as well as thanking the concept artists for creating such amazing work for me to base my project off of I was very passionate about it and I want to thank them for giving me such beautiful artwork and the last are all the artist lab instructors and teachers who took the time to critique my work again the word critique but it did help me grow as an artist and I'm very grateful for the help that they gave me so I hope you guys have a wonderful day and I hope these breakdown videos gave you a better insight on how do you approach a stylized problem [Music]

Channel: Stylized Station

Views: 23,575

Keywords: 3d full asset workflow, game art asset, full workflow, 3d art, game art tips, game art design, 3d modeling workflow, unreal engine, environment design, how to, game art, substance painter, environment art, low poly, 3d modeling, game art tutorial, speed modeling, concept art, step by step, game art portfolio, game art institute, speed modeling blender 2.8, game art timelapse, zbrush 2019, game art styles, game development, unreal engine 4

Id: oiuHSAwiz1c

Length: 141min 14sec (8474 seconds)

Published: Mon May 25 2020