Hand-Painted Texturing Stylized TMNT's Donatello With Substance 3D

Introduction

Greetings, dear friends! Allow me to introduce myself, I am Franco Diego, an Argentine citizen residing in the charming city of Buenos Aires, Argentina.

I studied 3D animation and special effects at the National University of San Martín (UNSAM). Currently, I work for Collider Craftworks, a studio that collaborates on AAA games development. I am responsible for modeling and texturing characters for Mortal Kombat, and in my free time, I enjoy creating ceramic sculptures as a hobby. I've shared a bit more about myself and how I ventured into 3D art in my previous interview.

TMNT Mutant Mayhem – Donatello Project

I am deeply passionate about what we often call stylized art, whether it's in the character's anatomy, shapes, or textures, where these characters truly stand out, blending 3D with 2D. How did I start this project? After going to the cinema to see the latest TMNT movie, I felt a strong motivation to model something similar. The movie inspired me to explore how they achieved that unique aesthetic and to apply those principles to the textures of the character I was going to create.

What always drives me to improve is the challenge of emulating a style that seems complex and professional. I love observing different processes that I am not yet familiar with and learning new things. This curiosity and constant desire to surpass myself are what allow me to advance and grow as an artist. Working with references and studying every detail helps me perfect my technique and create characters that truly come to life.

Inspiration & References

For this project, aside from the references of the TMNT characters, I also sought out many environment and object references used in the movie. Other references that serve as a strong foundation for me are the concepts from Arcane, Spider-Verse saga, The Witness, and El Jíbaro.

All these elements feature a hand-drawn 2D texturing aesthetic. It's crucial to take the necessary time to look for references, as they will form the basis of our final result. If we have an unstable foundation, we'll depend too much on our eyes to get things right. Therefore, it's always good to have a reference at hand.

One piece of advice: before having 100 reference images, it's much better to have 3 or 4 and focus on those references as a strong guide for your modeling or textures. This focused approach ensures that your work remains cohesive and aligned with the intended aesthetic.

A widely used resource in both Arcane and Spider-Verse is the use of shaders to manipulate lighting, creating distinctive strokes in both shadows and illuminated areas. In TMNT, an extensive amount of hand painting is employed.

Upon closely examining the models, numerous hand-painted strokes can be appreciated, setting them apart from conventional models. In addition to the textures, the shape changes and tremendous asymmetry in the characters stand out, reinforcing the authenticity and detail in the design.

Modeling

To model the character, I opted to use ZBrush. I searched for many references, not only of Donnie but also of Leonardo, Raphael, and Michelangelo.

First, I started with the blocking of the character and tried various poses before moving on to the details. It's crucial that the silhouette of the character is appealing and that the different pieces, even in low resolution, have good readability from a medium distance.

Once I had the final pose, I began adding secondary details. When I was satisfied, I started to stylize the character much more, giving the edges larger bevels, which greatly helped with the lighting later on.

Precisely handcrafted bevels are essential for optimizing lighting and maximizing the impact of curvature in textures afterward.

Texturing

For the next stage, which is texturing, it becomes crucial in stylized art, without diminishing the importance of modeling. Both are fundamental elements. However, textures can be a double-edged sword: they can significantly enhance the modeling or completely ruin its appearance. Having discernment is crucial because textures represent the final image of the work; they are the cover of the book. Therefore, dedicating sufficient time to this phase is essential.

For this character, I chose not to use complex shaders but focused exclusively on hand-painting. This stage is divided into two distinct sections. The first phase is more procedural. The main goal here is to achieve a clear read with a flat base color and uniform roughness. This initial setup serves as a starting point before adjusting details like curvature and color variations.

Although this process is procedural, it remains a crucial stage for two main reasons:

1. It is quick to execute
2. It establishes a solid foundation from which impressive final results can be achieved

The principle of "less is more" guides this stage, focusing on initial simplicity before effectively adding complexity.

Primarily, we utilize the curvature map generated from the bake, and we can also enhance the ambient occlusion to create more effective breakup patterns.

When using hand painting, we aim to create shading or variations in our textures. Instead of relying solely on value, we also add a hint of hue. This significantly enriches our textures and provides them with greater visual depth.

When tackling this process in Substance 3D or any other texturing program, it's important to follow some key steps. First, start with an initial stage that applies a base color and uses curvature procedurally. Once this phase is complete, you can unleash your creativity to begin the hand-painting adventure.

My big recommendation is to work with three tones and start from dark to light. Use the mid-tone as a base, then create contrasts with the other two tones, generating shadows and highlights. At the end of this process, use some brushes with a much darker color to draw lines that simulate pencil strokes, adding detail and depth to your model.

Conclusion

The advice I would like to share with those who are starting on this path, and even with those who have years of experience in the industry, is this: don't despair if things don't turn out as expected.

The true reward lies in the effort and perseverance you dedicate day by day, not necessarily in the final result. Take the time you need to grow and learn. Never stop exploring, experimenting, and discovering. Art is a journey of self-discovery and continuous growth. Keep your mind open to new techniques, styles, and perspectives. Don't be afraid to make mistakes, as they are learning opportunities. Find your own artistic voice and stay true to yourself. Cultivate passion and perseverance, and never give up in your pursuit of creative expression. Remember, art is a process, not a destination; enjoy the journey and the creative process.

Additionally, I would like to share another piece of advice: remember the importance of collaboration and the exchange of ideas within the artistic community. Don't hesitate to share your work with other artists and receive constructive feedback. Critique and collaboration can open new perspectives and help you grow as an artist. Furthermore, participating in artistic communities offers the opportunity to establish meaningful connections and find support in times of need.

One of the most beautiful aspects of this journey is the opportunity to meet other people in the art world, who help you improve and understand yourself better. I appreciate the 80 Level team for giving me the opportunity to share the knowledge of my latest project. Thank you!

Franco Diego, 3D Artist

Interview conducted by Gloria Levine