Zbrush can export all of your cameras in one. To match the Camera settings, you will have to switch the Camera Focal Length computation from Horizontal to Vertical in Zbrush. I took advantage of Zbrush’s brand new Universal Camera feature and framed my model in Zbrush while sculpting, then exported this camera as an. I scattered some peach fuzz all over the face, and I think the character looks relatable and kind of funny without thick shaved facial hair. The Fibermesh in this scene was around 3 million triangles. When adjusting FiberMesh geometry in Zbrush, things can get a little messy, so I turned Backface Culling off in Toolbag. Toolbag can handle a large amount of geometry, so I had no performance issues with this part. Since the goal of this project was to create an image, and not necessarily a real-time character, I skipped creating hair cards and imported FiberMesh geometry directly into Toolbag. I read Vadim Sorici’s How To Create Realistic Hair, Peach Fuzz and Eyes article and decided to apply his techniques to my character. This section covers how I tackled hair creation for this character. Making minor color tweaks to match the lighting conditions and overall look (i.e in this case, eyes and metal) makes a huge difference, and it’s easy to fine-tune in Toolbag. Maps 5 and 6 can be used interchangeably, so I switched them around, played with the settings, and ended up with this setup. I increased the saturation of my base Diffuse map, plugged it into the Translucency Map slot and increased the Translucency Depth value. I exported my default maps as well as AO, Subsurface Scatter, and Cavity maps. You can learn about how to create a convincing eye setup in a previous breakdown written by Saurabh Jethani. For the eyes, I created two spheres one with the textures applied, and another slightly enlarged sphere encasing it with a glass material applied. The skin material that comes with Painter usually works great as a starting point, and I like to turn on SSS preview here as well.
Neutral environment maps were used to avoid color influences from the environment on my texturing. I used Substance Painter for baking and texturing.
Afterwards, I did some UV clean-up and layout work in Maya. I created my high resolution meshes in Zbrush and unwrapped them using UV Master. This character is based on a concept by Vyacheslav Safronov, you can check out more of his amazing work on Artstation. In this article, I will discuss my material setup, lighting, and presentation for my Old Knight character in Toolbag. Currently, I am doing freelance work for Shapefarm, a Tokyo based company. Hi, my name is Radek Kowalczyk, and I’m a Character Artist working in games.
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