![]() In the same way you can easily separate the others materials! With your ID map you can select only one material (for example the metal) and apply all the metal of your model on one layer. I think the texturing is the coolest part (only if you have made a good model with good baked maps) because I find the sensation of working in Substance Painter very “smooth” and fun! With that done I can then do the most fun part for me: the texturing ! □ In Substance Painter, using the high poly mesh and the low mesh, I bake all the important maps (AO, Normal, WorldSpace Normal, Material ID and Curvature). ![]() I decimate my model to import it in Blender to allow me to do the retopology and the UV on it. When all the sculpting is finished, I paint some color information on it for making a material ID map. I take all the parts one by one and I start making all the small details. By “clean subtool” I mean a subtool with good topology allowing for clean division in Zbrush.Īnd finally (this is the longest part I think.): the details! When all of my mesh is blocked out,I start to make one clean subtool for all the different elements. (It’s really a good software for making fabric!) And finally for the gun I make a basemesh in Blender. First I place a nude male body in Zbrush and I start to place block out the elements (with the help of Dynamesh).įor the fabric I use Marvelous Designer. Making this piece in Zbrush took 70% of the time that I spent on the model. I chose this one because I rarely make clothing in 3D. For this one I had to choose a character concept from among several and I chose this one who comes from the game Killzone: Shadow Fall. My professor was Cedric Seaut and I learned many things with him during this course. Why I made this characterįirst of all, this work was an exercise that I had to complete for my studies. It’s only this year that I decided to become a character artist after my studies, because it’s the only field in which I really enjoy creating things. When I became aware of all the different jobs in this industry I was quite impressed and was quickly attracted to 3D modeling with the help of 3D modeling softwares like Blender (I love Blender D). That was why I decided to focus my studies on this field. After high school I was quite curious about the world of video games, however I didn’t know anything about it (in terms of technical aspects, I mean). Before that I was passionate about all kinds of creative and artistic things like drawing, playing music, etc. ![]() He has professional experience with traditional and digital sculpting, modeling, rigging, and facial pipeline, animation, rendering, as well as art direction for characters, environments, effects, and animation.My name is Pierrick Le Texier, I’m a French student at New3dge Art School and I would like to become a Character Artist. Rafael has worked on more than 70 projects and over 15 companies doing cinematic production, game art, TV projects, printed advertisement, statue collection design, and toy design. After that, he was hired at Santa Monica Studio to work as a principal artist on the God of War series. He moved to California in 2013 to work at SONY (VASG) as a character art supervisor, where he contributed to 6 titles, including, Killzone: Shadow Fall, Infamous 3 and The order:1886. In 2011, he relocated to Canada to work at Bioware (EA) as a senior character artist on the Mass Effect and Dragon Age franchises. He began his career in 2004, working character artist for cinematic, advertising productions and the toy industries, producing work for a great number of companies that include Hasbro, Marvel and Ubisoft. Rafael is currently living in Santa Monica, California, working as an Art Director at Santa Monica Studio on the God of War franchise. RAFAEL GRASSETTI ART DIRECTOR AT SANTA MONICA STUDIOS ![]()
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