In Substance Painter, I can paint all these maps at the same time, with real-time visual feedback, no guesswork. So I would end up using a procedural map, add some SSS and call it a day. Spending three days trying to get that specular right is not. Personal projects are about learning new stuff but also having fun. But making it actually work requires a lot of back and forth between Mudbox and Maya, with a bit a of Photoshop in-between. I know what it was supposed to look like, dark is glossy, white is matte. Before I would just paint a diffuse map (in Mudbox generally) and that was about it. I may sound biased, but it really took my shading skills to a whole new level. What’s your overall feeling about the software? What does it bring compared to your previous workflow? You recently jumped onto the Substance Painter wagon. And since I’m more into cartoon than super realistic paintings to begin with, so I tend to go the stylized way. On the contrary, if it’s the shapes and how simplistic it looks, then I’ll have a more stylish approach. If it’s the anatomy and the level of detail, then I will give it a more realistic treatment.
It also brings us back to the previous point: “What is it I like about this concept?”. It’s about finding that balance between “believable in its own universe” and “realistic”.
#Ambient occlusion maya 2017 skin
I always try to put a bit of texture in the skin or cloth even if it’s super cartoony to give it some substance (pun intended), but I’m not going to add skin pores, wrinkles and moles if the face does not even have nostrils or ears modeled it would look awkward. It really depends on how stylized the model is.
How do you decide which look you are going to achieve in your personal work, and are what the challenges for each of them? You manage to jump from a handpainting texturing style to realistic rendering work. It won’t always look perfect as-is and may very well break some stuff, but it will also highlight the areas where I have been too shy and could have pushed a little more.īut overall, the key is to not lose focus on what makes a character interesting. It will exaggerate the modifications I made. When I’m done and feel satisfied with the result, I set this layer’s influence to 150%. For instance, when I make a correction in a sculpting program, whether it’s fixing some proportions, emphasizing an expression, or just modifying the shape of a nose, I make that modification on a layer. Then there are other tricks, like “taking it to 11”. When I pick one I really like, I ask myself, “Ok, what makes this one so special, what is it that I like so much about it?” Once I have spotted that shape, that particular face, or a dynamic pose, I really try to focus on it and make sure I don’t lose it during the many iterations of the modeling process. There are tons of great concepts I’d love to make in 3D but there are only 24 hours in a day, so I have to be very selective. Most of my personal work is based on other artists’ concepts. Do you follow any rules or guidelines to bring this emotional level to your art? When we look at your characters, we can almost feel their personalities through their look and their pose. Since then, I have been working in several studios in France and Belgium, doing all sorts of modeling and lately I have been taking shading more seriously.And that’s how I got into Substance Painter. I kept doing some freelance work and in 2010, I was hired by nWave Digital in Brussels to work as a character modeler on animated features. That’s when I realized I could actually make a living from something I enjoyed more than my current job at the time. In 2007 I was approached by Blur Studio to do some freelance work.
#Ambient occlusion maya 2017 software
I studied computer science and worked as a software developer for four years while I kept doing 3D stuff for fun, still in 3ds Max. I had no idea of what I was doing: there were no tutorials back then. I was introduced to 3D modeling back in high school, in the late 90s, with 3ds Max 2.0. I’m 34 years old, from France but have been living in Belgium for the past six or so years. First things first: can you introduce yourself to the Allegorithmic community? Hi Olivier, thanks for taking the time to answer our questions.