Update - 19 Sep 2020
Just a quick update today. I approached these initial paint layers with the intention of keeping a clean look, as if Eddie had just been given his first coat of paint. The minor height detail comes from blending dirt maps, with a low height opacity.
Next up, I would like to work on the normal map, and add hard surface details to the model. I feel this will help expand Eddie's character, and help me decide how to approach the metal wear, dust and oil levels.
Update - 11 Sep 2020
Today, I decided to jump into Substance Painter, and begin laying down the base metal materials.
I started by creating an ID mask for Eddie in Maya, and headed over to Painter to begin setting up the project and baking the maps. Once in Painter, I have a few changes that I like to make, which are all personal preferences. First, I like to change the default camera field of view - something like 33 degrees usually works for me. Second, I prefer to set the environment map to Tomocco Studio, as it provides great highlights. Also, as I would like opacity on this project, I changed the shader to PBR metal rough with alpha blending. Lastly, I added an emissive and opacity channel.
I first baked out an ID map at 1k. Next, ambient occlusion at 4k, 256 secondary rays, and attenuation set to smooth. Curvature, thickness, position, normal and world space normal are all baked out at 4k. For fun, I went crazy with the anti-aliasing, and set the subsampling to 8x8!
The focus for today was determining the base metals for Eddie, as if he was fresh out of the factory. The idea was to visualize how he would look before being given that first coat of paint. I find this helps build up the story of the materials and the character as a whole. The whole model (excluding the eyes) is given a base metallic fill layer. Next, I wanted each metal to have a different roughness to help subtly define their variances. I did this by blending different procedurals, tweaking the scale, rotation, balance and blending modes. Often the result was way to strong, so each blending layer's opacity had to be significantly lowered.
Overall, I am happy with the results. The next step is to approach the painted materials that will go over the base metals.
Update - 9 Sep 2020
Hi everyone! My name is Liam - I am a recent 3D animation grad from Vancouver, Canada and I'm excited to be taking part in this Substance Texturing Challenge!
This project is a great way to keep my Substance skills up, challenge myself, and have fun. Good luck to everyone!
Thanks to Paul Braddock, Christina Ryan, and everyone at The Rookies.
I started gathering reference of droids and robots. I will look for any and all kinds of inspiration when starting the texturing process, but usually end up filtering my selection down before moving on with a concept. I also revisited Paul H. Paulino's advice on texture workflow development, making sure to keep those wise words handy.
After gathering what I felt was enough reference, I focused on finding a concept for Eddie. At this point, I rendered out a few ambient occlusion passes in Iray, and jumped into Photoshop to block out some colors. I approached this step by trying to follow a basic design guideline - 60% dominant material, 30% secondary material, and a 10% accent material. After a few iterations, I felt I had found a nice balance.
Moving forward, I will begin deciding on materials by gathering reference of metals, plastics, glass, etc. and by expanding on the concept.