Yolanda Patino FIEA Art Blog
Friday, October 18, 2019
Thursday, October 17, 2019
Cannon Edited
Even though I didn't pick my Cannon for industry review, I made a few edits to the metal spec in substance.
Monday, October 14, 2019
Cannon Project - Painting with Substance and Importing into UE4
To finish up the cannon we've been working on, we imported the low res mesh into Substance Painter and baked a high res map onto it for details.
I made several black mask layers to add details and materials to each part of the cannon.
And placed it into UE4, hooking up the maps into the material editor:
I made several black mask layers to add details and materials to each part of the cannon.
And placed it into UE4, hooking up the maps into the material editor:
Sunday, October 13, 2019
Thursday, October 10, 2019
Lighting Study - 3 Point Light
For this assignment, we picked an object to light in a 3-point light setting, take a photo, and then re paint digitally. I took this photo of an amiibo from my desk:
Rough initial sketch:
Flat colors:
I played around between the flat color layers and various other layers to add shadows and highlights for more depth, resulting in the final piece:
Rough initial sketch:
Soft brush color blocking:
Flat colors:
I played around between the flat color layers and various other layers to add shadows and highlights for more depth, resulting in the final piece:
Monday, October 7, 2019
Cannon Retopology for Substance Preparation
For this assignment, we took the high-res cannon that we sculpted in Zbrush and made new topology for any parts that had silhouette changes. I exported a High-Res and Low-Res (Decimated) version of my cannon from Zbrush and put them into a Maya file with my old cannon that I had made and upped the resolution on, but had not yet smoothed, to compare the shapes.
Decimated Zbrush import(left), original Low-Res Maya mesh(center), and High-Res sculpted cannon(right), with and without the wireframes.
These were the meshes I retopologized from the previous, decimated cannon, before placing them on the original for UVing.
Once everything was in its place and had some UVs straightened out, I went through the mesh to delete some faces that arent seen by the viewer, as well as deleting some extra edge loops that didn't make major silhouette changes when removed, to keep the tri-count under 10,000.
Decimated Zbrush import(left), original Low-Res Maya mesh(center), and High-Res sculpted cannon(right), with and without the wireframes.
These were the meshes I retopologized from the previous, decimated cannon, before placing them on the original for UVing.
Once everything was in its place and had some UVs straightened out, I went through the mesh to delete some faces that arent seen by the viewer, as well as deleting some extra edge loops that didn't make major silhouette changes when removed, to keep the tri-count under 10,000.
This was the final UV set I had to work with once everything was in its place and had been cleaned up:
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