Fernando Correa's Nightcrawler

Texturing was done primarily in Substance Painter, with Blender used to create fake anisotropy for the radial scratches on the brake discs and rear wheel - which I kept for the final render as, although not technically correct, it solved a problem with Substance's radial gradient exporting with a noticeable seam. Custom alphas and textures for the stickers and artwork were created in Affinity Designer. The model was originally intended for real time render in Eevee, but was shifted to Cycles and rendered with traditional raytraced light and Blender's Principled BSDF shader when it became clear an NPR approach would not fit into the timeline of the class.

My goal coming into the course was to push myself to take on a bigger project than I previously had, and then make sure I left the class with something that was finished enough to go into a portfolio, even if I intended to return to it later. As far as I was concerned, leaving the course with a model that wasn't textured, lit, and rendered to a reasonable level of completion was unacceptable.

I also wanted to push myself to try new things, and practically apply information that outside of the structure of a course might just be lost to the copycat syndrome that's easy to fall into with tutorials. For this I explored multi-render, multi-scene compositing for pseudo-NPR shaders (compositing in indirect light from a separate Cycles render, basically); toon shading and hand painting techniques, including painting in projected shadows in Blender; and the aforementioned fake anisotropy in addition to pushing myself from a modeling perspective to fit something into a time window. This model was also my first time using Substance Painter for texturing, and my first use of procedural elements created with blender Shader Nodes on a project.