Nif marmoset toolbag 3
As in all the materials that we find in this program we can play with some parameters.
NIF MARMOSET TOOLBAG 3 SKIN
Substance Painter has some advanced skin materials (Smart materials), in this case I apply the skin face material. In the Bake window I activate Normal, Ambient Occlusion, Curvature, and Thickness. The first thing I do in Substance Painter is to bake my model. I have made the UVs of my character's body with the UDIM system, so when I’m creating the Substance Painter file I have to make sure to activate “Create a texture set per UDIM tile.” The texturing process is carried out in Substance Painter.
![nif marmoset toolbag 3 nif marmoset toolbag 3](https://cdna.artstation.com/p/assets/covers/images/006/677/684/large/simon-loyer-marmosetcustomwatermarkthumbnail.jpg)
![nif marmoset toolbag 3 nif marmoset toolbag 3](https://media.springernature.com/lw685/springer-static/image/art%3A10.1186%2Fs12868-018-0452-x/MediaObjects/12868_2018_452_Fig45_HTML.png)
Once I have finished my work with Marvelous I simply export it as OBJ in quads and rearrange the UVS. When I started learning Marvelous Designer, it was very helpful to find examples of pattern making.
![nif marmoset toolbag 3 nif marmoset toolbag 3](https://marmoset.co/wp-content/uploads/2017/09/brx-myers-beauty-fighter-02-cell.jpg)
With this program it is possible to work with a default avatar but I like to create the garment directly on my model to adjust the volume of the garment to the character's body perfectly. For this reason I decided to create the sweater in Marvelous Designer. When I do this kind of render, I like to combine the simplicity of the cartoon style with aspects that give it realism in some parts such as clothing and hair. With the eyes finished I prepare to make the last piece of modeling, the sweater. I draw the eye texture in procreate for Ipad. When I’m making the eyes, I prefer to separate it into two parts, one where I will apply my texture with the iris texture and the other with an outer covering of the eye that will act as a cornea and sclera. With the base of my character I prepare to do the rest of the elements. The projection is done fairly well and I only have to correct small details. In this case I used the mesh of a realistic model that I made months ago. Thanks to this new system I can reproject my own mesh with a correct topology on my new high poly model. Thanks to a plugin called Zwrap I don’t have to carry out the retopology of each new character. It’s very important to create a good topology in our characters to make the next steps easier, both for rigging and animation. Until a few months ago, I performed the model retopology in 3ds Max manually.
![nif marmoset toolbag 3 nif marmoset toolbag 3](https://cdn.cloudflare.steamstatic.com/steamcommunity/public/images/clans/26953337/f18454f4fb7fcafd51b3239061a8afc5b39ebfba.jpg)
Once I am satisfied with the result of the high resolution model, I move on to the creation phase of the low resolution model. In the detailing phase of the model, I keep in mind that I will later bake it in Substance Painter, so I try not to create areas that later could generate conflict in the projection, especially the mouth and fingers, so I give them a reasonable separation. Once I am happy with the volumes in this blocking phase I make a dynamesh and I begin to detail and polish the mesh. I find it easier to create a humanoid by separating it into parts, it also means I can reuse it and adapt it to other characters. For me the most important thing is to create a character with appeal, that premise goes above any design that I have taken as a reference, so sometimes I take licenses to gain appeal and I move away in some cases from the original.įor blocking I basically use spheres and ZBrush cylinders, always working symmetrically. I start in the blocking phase, where I make sure that the proportions fit the 2D design. Currently, after years of modeling, I have several anatomical bases of my own that I use in my work, but I still like to carry out anatomical studies from time to time as a practice.