![]() ![]() Note: Toolbag’s subsurface shading models consider mesh thickness, so applying a thickness map is no longer necessary. (Specular workflow only)ĭetermines whether the thickness input map is used as the base content for the scatter project map. Sets the range at which reflectivity values are converted to insulators and metals. ![]() Sets the sensitivity of the conversion from specular reflectivity to metalness. Sets the strength of the bump map effect. ![]() In Marmoset Toolbag 2, click on File -> Viewer Export to start the process. This determines whether the bump map is combined with the normal map for additional height map detail. 3 years ago Updated ArtStation supports the Marmoset Viewer (.mview) format natively. Here is a list of unique settings for certain Project Map types. Please refer to the Input Maps page for a complete list of definitions of each map type. The list of Project Maps is identical to the Input Map list. Note: changing the Pixel Format can destructively alter Paint layer data. Most map settings include a Pixel Format setting, which determines the bit-depth and color space of the map and can be configured for all map types. This setting specifies the albedo style, which material specular maps are linked to, and determines how to reference materials authored in the opposite workflow will be converted.ĭisplays the settings of a Project map. Settingĭetermines how albedo and reflectivity maps define material properties for metals and insulators. Map Nameīelow is a list of the general settings of Project Maps. Let’s briefly examine how specific Input Maps blend with a Project Map in a texture project. Input Maps blend in various ways when a matching Project Map is configured. The map selection determines how the controls for blending and opacity are applied. The dropdown in the Layers window allows you to select the current map. The visibility, opacity, and blending can be controlled per map for each layer. When a new Project Map is added, it will appear in the Layers window. You can also create custom maps, which is useful if your project needs a unique map to drive a proprietary shading effect. For example, specialized maps can be authored for refraction, subsurface scattering, and emissive effects. Common maps like albedo, roughness, metalness, and normal are enabled by default, making it easy to replicate many surface types.įor more complex materials, additional project maps can be added. If you have any questions, feel free to reach me on my social media accounts.Project Maps are textures that define the shading properties of your linked material. Remember to save the Toolbag file to easily reuse this scene for all your future characters! On my ArtStation page, you can find additional pictures and videos. I really hope this guide can help you with your projects. I wanted a character that could function well from different viewpoints, not just the front, and that would allow me to export a nice turnaround. It's quite easy to misjudge poses and proportions when solely relying on the 2D representation. I think the most challenging aspect of creating a character from a 2D concept in three-quarters view is consistently thinking in three dimensions. But I believe it's perfect for training with new tools and personal projects. However, it's much more limited compared to a complete character in the entire production workflow. Of course, in this case, skipping various steps like topology, UV mapping, and textures makes this type of character quick to create (it took around 20 hours in total). I typically create a low-poly version with active Dynamic Subdivision for each piece and only collapse it when it's necessary for micro details.īelow are some of the steps that led me from blockout to the final sculpt: Always remember to maintain a low-poly model with good topology, as it will make it easier to modify the main shapes. I often switch to a fully black flat color to make sure I'm heading in the right direction. The silhouette is a very important detail for enhancing the overall character. During this step, it was easy to get lost in the details, that's why you should focus only on the volumes and leave the cleaning for later. I started with a rough blockout of the main character elements (head, body, arms, etc.) and since there were bulky props, I also sketched those out to obtain the main shape. ![]() The sculpting process is always an enjoyable step, especially with this kind of character. I think this step is crucial because it establishes the correct guidelines necessary to achieve the final result. ![]()
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