I will introduce the flow from drawing a sketch to the material setting of Unreal Engine 4.
I will write it for those who produce characters for the first time.
The character to be produced this time is the image here.
table of contents
1.Draw a sketch
Since I am an original character this time I drew it myself. You do not have to be a good drawing on the drawing.I think that it is good enough to summarize the atmosphere and direction of the character to be produced to some extent.
But first things are crucial in everything. I think that it is good to draw (think) thoroughly until you see clear goals in you.
I draw the underlying picture with Photoshop CC. I think whether you can use any kind of software, but Photoshop is software to use in various situations, so I think that it is good to use Photoshop with practice which you master well.
When I started using Photoshop CC, I had a hard time drawing lines as I expected. It was lazynezumi that solved such a problem with a single shot. I've never seen anyone used in Japan, but it is also used in Blizzard, Disney, Gameloft etc. "Line correction software". I wonder if you can see what kind of software you can watch the following movie.
I myself use lazynezumi only in Photoshop, but it certainly should compensate for different software. Since lazynezumi has a considerably high update frequency, I am glad that Photoshop CC's support for repeated updates is also available.
I drew a brush from here (http://digitalbrushes.tumblr.com/).
In recent years, artists around the world have provided brushes that are used by themselves for free. It seems to be a site that summarizes it. (I do not know the details)
DL the brush of the atmosphere that I want to write and use it well, I will go well with it. However, in the end, I think that it would be better to produce a brush by yourself.
I like to produce custom brushes from photographs. Nothing in the brush will be a reference to this video.
I often use Pinterest (https://www.pinterest.com/) for reference collection. Collect references such as live-action photographs at Pinterest, and motivate watching the world's great work at Artstation (https://www.artstation.com/).
Although it has become easy to gather reference materials with the popularization of the net, we recommend that you actually take hands and touch or see it directly rather than on the screen. Look for necessary references in the neighborhood, and go to museums and art museums, too.
I will draw a sketch like this.
2. Modeling with ZBrush, retorting with Maya, UV expansion
For each part, ZBrush is the easiest piece to produce with ZBrush, and those that are easy to produce in Maya will be produced in Maya.
There are various 3D production software, but I think that it is good to use properly because there are strengths and weakness for each software.
I did not like the head made with ZBrush, so I rebuilt my head from the base mesh in Maya. Add lip detail on Substance Painter.
I will post a few movies to help people in shaping.
This is the end of modeling.
Recommended plug-ins, brushes, textures etc. when molding
After completing modeling with ZBrush, I will start working on reto. This time we will use "Quad Draw" of Maya's Modeling Toolkit. I think that it is probably a function installed from the Maya 2014 version. I think that it became a function which can be used considerably in the latest Maya 2017. I think that weird behavior has also decreased considerably.
People who are unsatisfactory at Maya's reto, Zbrush also has a function for reto and 3D COAT etc are also recommended.
Although reto is a modest work, it is surprisingly fun. The following image is the one on which the retort is finished. There is still room for improvement but I will go with it once.
Upon completion of retort, UV expansion. This work also continues, but since the quality of texture production is greatly influenced by UV deployment, I think that it is better to finish it beautifully even if it takes time.
Unfold3D has been added to Maya for UV expansion, so use here. If you use it successfully, you can greatly reduce the time it takes for UV deployment.
By the way, since you can use simplygon for free within UE 4, we will leave the production of LOD to simplygon.
3. Texture production with Substance Painter
After finishing the modeling it is finally texture production. This time we will continue working with Substance Painter main.
Until Substance Painter appeared, I was making textures in Photoshop, but it was hell. After ZBrush appeared, I made a base with Zbrush and finished it with Photoshop, but now I am doing almost all of the texture production with Substance Painter.
I will post some reference videos. Substance Painter thinks it is better to use a mask for the basic fill layer.
There are smart masks, and a variety of functions including a lot of alpha, brush, etc. are gathered from the beginning.
A part of the finished texture. Since Substance Painter has many export templates, it is possible to export textures to not only UE4 but also various software such as Vray and Unity. The image below is an image that I tried to export for Vray and rendered.
It is nice to be able to export easily to other software. Once the texture is complete the next step is to work on UE 4!
4. Import, material production, adjustment to Unreal Engine 4
Import it to UE 4 and produce the main material of the body. I usually make more complex materials so that they can be adjusted, but this time with a simple material.
After making the main material, we made as many material instances as we needed.
Next, I made the main material of the face. The texture of the skin can be directly connected directly as it is, but not a good result.
We made it easy to change base color, internal color, transparency, roughness, normal strength etc. Although it is not a complicated material at all, it can be certain to some extent.
The problem here is the shading model. I think that three of Subsurface, PreintegratedSkin, Subsurface Profile are good for giving the texture of the skin, but I tried to create three material instances from the above main material. Using the material property override, I reproduced the subsurface profile, Subsurface, PreintegratedSkin as shown below.
Personally I think that overwriting and setting the subsurface profile with the subsurface profile will be the most natural finish (close to the skin). Since I think that the texture will change greatly depending on the way of writing and material making etc. I think that it is good to try various fun so that you can put out the texture you want to put out.
I officially use the material editor - human skin setting method is released so I think that it is good to refer to this. I am introducing skin, eyes and hair with official videos. I think that I will be helpful if I also see it.
The eyes and hair material is used as it is in the material of ContentExamples which is provided for free in the market place of UE4. Regarding expression of hair, it is still in the process of making, so I will add it as soon as production is completed.
It is here that it was completed like this. It may be a hard thing to make a character, but it is surprisingly nice to finish making it. While saying that my character has not yet been completed, I will do my best to complete it.
I appreciate the last one who read it. I think that we will update this article as character production progresses. If you want this kind of information, please feel free to tell me if you want to know this place.
We also make games that the characters mentioned above are active. Why do not you try it.
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