BootCraft: A Step in the Right Direction

During the three-week production training, my focus was on the creation of a 3D model representing Dr. Martens boots, employing Autodesk Maya, ZBrush, and Substance Painter in a systematic approach.

The initiation of the project involved careful planning, where i gathered reference images to ensure a faithful representation of Dr. Martens boots. This first step set the groundwork for following stages, providing a clear direction for the modeling, detailing, and texturing processes.

To ensure a personal touch, I took the liberty of using my own shoes as reference alongside other images capturing the essence of iconic Dr. Martens boots. This allowed me to infuse a bit of my own style into the project.

In Autodesk Maya, I worked establishing the foundational structure of the boots, where I placed a significant emphasis on maintaining accurate proportions and incorporating key features such as stitching and shoe laces. For these details, I opted to use curves, allowing for maximum flexibility, especially when it came to crafting the intricate shape of the laces and stitches along the sole of the shoe. This approach not only facilitated a more organic and realistic representation but also set a solid foundation for the subsequent detailing phase in ZBrush.

The UV mapping phase was crucial for effective texture application in Substance Painter as well as displacement baking from ZBrush. I used 13 UDIMs to ensure precise UVs for displacement baking. After sculpting intricate details in ZBrush, I needed to adjust the UVs to prevent potential distortion and maintain optimal texture resolution on the low-poly mesh. This methodical approach was essential for seamlessly integrating detailed textures and preserving the accuracy of the underlying UV maps, ultimately enhancing the overall quality of the final product.

Following the UV mapping phase, I proceeded to bake the displacement map onto the low-poly model in ZBrush. This involved transferring the intricate details from the high-poly sculpt to the optimized low-poly mesh. After completing the displacement map, I imported it into Maya to assess how it translated onto the model. This step was crucial in checking the fidelity of the details and ensuring that the texture applied seamlessly to the low-poly version.

In Substance Painter, I worked on adding realistic materials and wear-and-tear details. Admittedly, I wish I could have spent more time refining the textures for better overall quality.

When it came to rendering in Autodesk Maya, I went for a bit of an unusual lighting setup. I used purple and yellow accent lights to give it a cyberpunk vibe, trying to make it look visually interesting. The idea was to highlight the details I'm proud of in a unique way.

Though I had to manage time constraints in some areas, the breakdown shows a practical and iterative approach. Gathering feedback from peers and mentors kept things improving, resulting in a presentation that highlights the details I'm most proud of.

This breakdown is a record of the 3-week production training, showing the dedication and creativity involved in bringing the Dr. Martens boots to life in the world of 3D modeling and texturing.