V4 Wet Skin Shader Downloads

Character Artist shared his approach to skin material creation and setup for his Mass Effect Pathfinder bust. Greetings, everyone! This article will show you how I approach creating faces for real-time characters and present them using.

Jul 9, 2018 - In this tutorial you will learn to add wet maps super easy to all your objects, it even works with particles. You can also download some custom.

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I hope this article helps those who are looking to learn how to create skin materials inside Toolbag. Sculpt The focus of the article is aimed towards texturing and setting up shaders, but there are a few things I want to cover beforehand which I think help a lot in the final result. I start sculpting using a custom made base mesh which has correct topology and UV’s that can be used for the low poly mesh. This cuts down a lot of time. The sculpting process is straightforward; find good reference, have a strong foundation in anatomy and go crazy until it looks good.

Lately, I’ve been using for my pore details. Sculpting pores by hand (dragging alpha) is easier and it doesn’t make much of a difference for games/ real-time character creation unless you zoom in real close. The choice is yours. Tip: Adding subtle noise in skin helps to breakup the “perfect” feeling and makes it look more organic. Textures The texture maps I used were: Normal, Detail Normal, Detail Weight, Roughness (inverted Gloss), Albedo, Translucency, AO, Cavity, Noise, Specular (Optional) and Scatter (Optional). Albedo: Albedo is color information. For this project, I projected albedo data from texturing.xyz. Platinum erwin erx 35 download youtube.

Below is my process for how I projected my albedo map. Another option to achieve a similar result would be hand painting your textures (Magdalena Dadela’s demonstrates this really well).

While hand painting is fun, it’s more time consuming compared to working with scan data. One useful tip to help enhance the feeling of subsurface scattering in your albedo map is to paint veins and redness around high blood flow areas like the nose, ears and cheeks. Make sure to keep the color shifts subtle. Multiplying your cavity map down as a red color helps fake the subsurface effect and helps align the pores in both the normal and albedo maps. Cavity: Cavity maps can be used in multiple maps, such as Albedo, Specular and Roughness. It’s simply a black and white map where the pores are completely black. Marmoset have added Cavity maps to which works really well.

The method I personally like to use is extracting cavity detail from ZBrush since it’s faster than baking. However, for this you’ll need to have the same UV’s for both low and high poly meshes. In ZBrush, fill your mesh with a pure white color then go to Tools > Masking > Mask by Cavity. The default values should work just fine. If not, play with the curve profile to get better results. Lower the blur values a bit, since ZBrush’s default values are too intense.

You can change this under Preference > Transpose > Mask blur strength. Invert the mask and fill it with black, create a texture and export. Normal: Bake down your high poly mesh onto the low poly mesh. Translucency: This defines how much light scatters through the surface. Brighter values on the map define thinner areas such as the ears, tip of the nose, nostrils, eyelids and lips. The map can be derived by inverting the thickness map baked from the high poly.

I tweak the nose area on the map to make it more intense and give it a more fleshy look. Roughness: Personally, I feel this is the most artistic map in terms of how they’re constructed. Every artist has their own methods, but the basic principles remain the same.

• Have a base grey value that defines how rough/glossy the face is in general. • Paint different values in specific areas of the face that are rougher or smoother. • Pore details should be rougher, they shouldn’t appear shiny in engine.

• Have big breakups in value which are really subtle. This isn’t realistic, but it looks good when the light moves. • Paint different roughness values for scars, wounds, dirt, sweat, etc.

1 and 2 are the major points. I’ve seen people only use 1 for stylized faces.

1, 2 and 3 work really well and 4 is an experimental one I’ve seen people do, but it looks good when lights move. 5 is subjective to the project you’re working on. And this is what I meant by the Roughness being the most artistic map, you use your own creative judgements and make it look good. Below is an example of how I usually construct my roughness maps. This map used all the methods above and the new face was created with A and B. The construction of Roughness maps vary from project to project. In Toolbag, a value of 0.45 Roughness value works well as a starting point.