Learn How To Craft Viking-Inspired Knife With ZBrush & Substance 3D

Introduction

My name is Sujay Mali. I am a 24-year-old 3D Environment and Hard Surface/Props Artist with 3 years of experience in the video game industry. My passion for video games and drawing led me to pursue a Bachelor of Design in Animation and VFX. I started learning 3D about 4 years ago during my college years, then my focus shifted to creating art for video games, and I eventually embarked on a journey into the realm of game art!

During college, I explored various creative mediums, including traditional drawing and painting, traditional and digital 2D animation, concept art, clay modeling, digital sculpting (characters/creatures and natural forms), modeling (weapons/vehicles), texturing, and hand-painted texturing. It was a blast to learn new skills and fully explore my artistic potential. Afterward, I discovered my passion for crafting immersive game environments and detailed weapons/props.

Currently, I am working at Technicolor Games as a 3D Environment & Hard Surface/Props Artist. Recently, I contributed to EA Sports FC 24. In addition, I've participated in several internal projects at Technicolor, applying my skills in high-detail sculpting, high/low poly modeling, UV mapping, and PBR texturing. One of the things I love most is designing unique weapons that tell stories through their textures.

The Raven Knife

I wanted to create something unique for a new project. While browsing Pinterest, I discovered a raven handle knife that I loved. The shape, textures, and especially the raven handle carved from horn and Odin face ornament were captivating, and I was also drawn to the leather sheath's texture.

For the leather sheath, I aimed to create a photorealistic leather texture because I rarely touched leather texturing before, so it was challenging for me. The raven handle itself is quite distinctive. Initially, I struggled to determine whether it was made from wood or horn. Even after consulting with friends and artists, I received mixed opinions. However, through further research on Viking knife handles and tools, I concluded that the handle is indeed carved from a horn.

Toward the end of the project, my goal shifted to presenting the assets in an Unreal Engine scene with a compelling narrative. Since I had been learning Unreal Engine for some time, this project served as a valuable starting point. Additionally, my interest in environment art has grown recently, and I plan to create an environment scene soon.

References

The majority of my reference images were downloaded from Pinterest and auction websites. Auction sites are an excellent source for high-resolution images. It is crucial to maintain an organized system by categorizing these reference images into groups. When gathering reference images, it's important to avoid relying solely on a single image or your main reference. Look for similar-looking references to gain more texture information. Additionally, imagine how certain shapes would appear in real life and ensure they logically fit into your asset.

Modeling

For modeling, I primarily used Maya. I began by creating a blockout of both knife blades and then refined it further. The leather sheath was also modeled in Maya. Once the blockout was established, I quickly generated UVs based on the hard edges. I then exported it to ZBrush and separated it into playgroups according to the UVs. After subdividing the mesh to achieve a smooth and clean result, I deleted the lower subdivisions and ZRemeshed it while maintaining the playgroups. This approach allowed me to create a well-distributed topology.

I could have done it in Maya as well, but it is more time-consuming, and for low-poly, I am going to repo it, so I proceeded with the current method. To preserve the edges, I applied a crease with an angle of 45 degrees. I then subdivided the model for a smoother appearance and polished the hard edges to create soft edges. Finally, I began sculpting the sheath. For the lower attachment of the leather sheath, I used the EP curve tool to model the leather strap in Maya and then took it to ZBrush for high-poly sculpting. I majorly used Standard, Dam Standard, Clay Buildup, Move, and Trim Dynamic brushes.

For the knife high-poly, I was having some issues while dynamizing it. The sharpness of the blade was not coming properly, so I decided to go with the subdivision method for the knife. For a small Odin face, I modeled a simple cone shape in Maya, then Dyna Meshed it and sculpted it in ZBrush. I used the same workflow for the knife handle, a simple blockout in Maya, then I sculpted and adjusted it in ZBrush.

For the knife handle and Odin's face details, I mainly used Dam Standard for drawing out the shapes, clay build-up for refining and adding volume to shapes, and Trim Dynamic for chipping and edge damages. I didn't use any custom brushes for these details because I wanted full control while sculpting.

For the coins, I had to be quick. I downloaded high-resolution images of Saxon and Viking coins from auction websites, which are excellent resources for antique and old items. To prepare the coin images for sculpting, I edited them in Photoshop. I converted them to black and white, adjusted the white and black points, and applied a slight blur to create a smooth transition between the black and white values. My goal was to obtain a grayscale image as a sculpting base, which would provide a solid foundation for the sculpting process.

I imported the alpha mask into ZBrush and applied it to the mesh, creating a rough impression of the coin details. From there, I sculpted and refined the details further to achieve the desired result. To refine the rough impression, I used a Clay brush. Then, Trim Dynamic for edge damages and overall damages, and Dam Standard to sculpt some extra details. Here, I used some metal custom brushes to add fine details. For some coins, I also used a plain alpha mask to get more accurate designs and sculpt them further.

High-poly result:

UVs & Baking

For both knife blades, it's straightforward. I just deleted the supporting loops and added some more loops in curved parts to avoid jagged edges. When it comes to the raven handle, I used the Quad Draw tool in Maya for retopo. Same for leather sheath, attachment leather strap, and Odin face ornament.

For coins, if I make them completely low-poly, they won't look good, so I simply decimated them to maintain the damaged edges. Since it's a personal project I was a little free about polycount and UVs. For UVs, I made 2 UDIMs for the knife, 3 UDIMs for the leather sheath, 1 UDIM for the leather sheath attachment, and a single UDIM for the small knife and coins. For the parts that are not visible, I reduced the UV shell so it won't take much space and got more texel density for visible parts.

I used Substance 3D Painter for baking. The new 3D Painter update has excellent control over baking. I ensured the correct suffix, arranged the mesh accordingly in Maya, and then exported it to 3D Painter for baking. I baked all necessary maps (normals, ambient occlusion, curvature, normals object, position). No matter how carefully you bake a texture, there will always be minor artifacts. To address this, I clean up those areas in Photoshop for the final, accurate result.

Texturing

First, I matched the color space of Substance 3D Painter to Unreal Engine by using the ACES color LUT. William Faucher explains this process in the simplest way. Check out the link below for more details:

There is one more setting worth changing. In shader parameters, set Quality to Ultra (256spp). This will make your textures look more accurate.

Since I was interested in Damascus steel, I watched several online videos to understand the process of creating it and the types of metals commonly used. From my research, I learned that Damascus steel knives are made by layering different steels, heating them, hammering them together, and then folding and shaping them. This process reveals beautiful patterns and creates a strong, durable blade renowned for its distinctive layered pattern and exceptional hardness. With this knowledge, I began texturing the knife by first assigning it base metal for a good start.

Once the base metal was established, I added color changes and roughness variations. To achieve the distinctive layered patterns, I created a mask to limit the pattern to the desired area. Initially, I was unsure where to start, so I broke down the texture into smaller sections and proceeded with the texturing process.

For the layered pattern, I used Grunge Damas. I adjusted the Grunge Damas parameters to achieve the desired wavy lines effect. Once satisfied with the result, I created three variations and stacked them. Using anchor points, I alternated these variations to create the layered patterns. To further blend the layered patterns, I added anisotropic noise on top and tweaked its parameters for a smooth transition.

Once I was happy with the output, I proceeded with the weathering effects on the knife blade, adding overall scratches and dirt and slight damage near the handle part. This step includes major color and roughness variations.

The next step was to add engravings and blend all the dirt, damage, and weathering effects to achieve the final output. For the engravings, I created an alpha in Photoshop and applied it to the knife using a stencil in Substance 3D Painter. I then added height to the fill layer and blended it using anchor points. For most areas, I manually painted the damage around the engravings to ensure a proper blend with the metal surface. I proceeded to add more dirt and grunge build-ups in the engraved parts.

To blend these elements, I added color and roughness variations to avoid a dark patch appearance in the engraved area. On the knife blade, I manually added major scratches for better control and blended them with the metal surface. For the final touches, I added a slight shine around the knife blade edges, which had some damage.

Engraving alpha:

For the knife handle parts, I collected additional references for texturing. After researching knife handles used by Vikings, it was clear that Vikings likely mixed copper and gold for knife handles. They had access to both metals and the skills to combine them through alloying, inlay, or layering. Archaeological evidence supports this.

Following the same method used for the knife, I established a base layer as a foundation. I then added overall color and roughness variations, edge wear, metal weathering, dirt, and general damage. For the bids, I masked the area and simply changed the hue to achieve the steel texture for that specific part.

Initially, the reference image for the raven handle was unclear, making it difficult to determine if it was made of wood or horn. After further research, I concluded that it was likely horn. I collected additional references for horn textures, including ornaments and Viking blow horns, to gather more texture information.

The hardest part was trying to get it to not look like wood. While texturing the raven handle, I initially made it appear too wooden, which deviated significantly from the reference image. To get a fresh perspective, I took a break and shared my work with the Discord community. I also gathered feedback from colleagues and non-artist friends. Here are some iterations:

After facing setbacks, I restarted the project with a fresh perspective. Thanks to the feedback and iterations, I learned a few key points, such as how the horn differs from wood in many ways. It has fewer and smaller veins, a natural shine, a more consistent color, a smoother texture, and is denser and harder. Horn often has a natural gloss or shine, while wood can have a more matte finish depending on the type and treatment. Horn can vary in color from translucent to deep brown, but it generally has a more consistent color compared to wood, which can have distinct grain patterns and color variations. Horn also has a smoother and more uniform texture than wood, which can have a rougher surface with a visible grain pattern.

Although the main reference wasn't entirely clear, I focused on the texture information provided for the horn part. To simplify the texturing process, I divided the raven handle into three sections based on texture details: the front, lower, and upper masks.

Each section had unique details, but the base layers for the lower and upper parts were similar. I began with the base color, then added a curvature pass to create glossy edges. Next, I applied directional scratches, adjusted the parameters, and subtracted the Grunge Paper Ripped map. Further, I added manual details to ensure the texture didn't appear overly computer-generated. Then, I added minor surface variations in height to create a more irregular surface appearance. For the upper mask part, I applied manual dark brown color patches to introduce more color variations. Later, I broke up these patches with additional colors by changing the base color blending mode to overlay and multiply. Then, for major surface damage, I painted it manually for unevenness, added a Warp filter to break it, and, with anchor points, added more variations to it. Lastly, added minor scratches and overall dirt pass.

For the front mask, I followed a similar approach, adjusting the generators and adding manual surface damage.

As per the sheath's structure, I divided the texture part into two sections:

Outer part: The exposed surface, often with wear, scratches, and dirt.

Inner part: The inner lining, potentially softer or a different material.

For the inner part, I used fluid grayscale to create a pattern that looks similar to the reference. To add a little unevenness, I added one warp followed by a blur filter. Then, to add more variation and enhance blending, I used curvature and anchor points.

For the outer part, I used a leather grayscale texture to build the foundation. With that set, I created height based on leather grayscale texture, with the help of levels, I blended it according to my needs. Further, I added a reference to the anchor point in curvature and ambient occlusion generator, so that I could add color and roughness variations according to the leather's grayscale texture. Next, I proceeded with overall color and roughness variations, scratches, and dirt.

For the final pass, I blended the outer and inner parts, incorporating edge damage, wear, and tear. I also added concentrated dirt build-up near the interior.

Noise and roughness: to add more depth and realism, consider incorporating noise textures to simulate imperfections or variations in the leather. Additionally, adjust the roughness properties to reflect the sheen of the leather.

Wear and tear: even the inner part of the sheath might experience wear and tear. Use masks to selectively apply textures or filters to simulate scuffs, scratches, or dirt. For damage, edge wear, and dirt, add it manually. It helps a lot initially. It will take some time, but once set, it will improve the final look and feel.

Color variation: if the inner leather has a slightly different color or tone than the exterior, adjust the color parameters accordingly. Experiment with blending modes to achieve different effects. For example, using Multiply can darken the texture and create a more worn-out look.

Detail layer: Consider creating a separate layer for fine details like wrinkles or creases. Use a noise texture or a pen tool to draw these details.

The Odin face ornament was also carved from a horn, so I followed a similar texturing approach as I did for the raven handle. For the leather strap, I used a similar texturing method as I used for the leather sheath, with minor adjustments to the material.

Later, I decided to model this small knife to populate the scene. I also really like its shape. I followed the same modeling and high-poly process that I used for the main knife.

For the copper part, I followed the same texturing method but adjusted the material dirt and grunge buildup slightly. For the small knife blade, I kept the blade metal the same as the main knife but did a few tweaks to give it a different look. The texture of the knife blade gives it a rustic, handcrafted appearance. This type of finish is often associated with traditional knifemaking techniques and can add to the blade's functionality and aesthetic value. The most prominent feature is a series of overlapping hammer marks, which create a distinct pattern, adding depth and character to the blade. Also, that line appearance is a result of the forging process.

The knife handle is made of antler, a natural material known for its unique texture. The antler's surface exhibits a rough, organic pattern with varying shades of brown and beige. This natural texture provides a comfortable grip and adds a rustic, handcrafted aesthetic to the knife. I used a texturing method similar to the one I used for the horn previously.

Vikings primarily used silver coins. I followed the same texture references I used for modeling these coins. However, I want to avoid a heavily weathered or aged appearance. I was aiming for a somewhat newer look with less wear and tear.

I quickly modeled the map for Maya and made adjustments to give it a thick paper appearance.

Then, I imported it into Substance 3D Painter, baked texture maps, and began texturing.

Lighting & Rendering

Previously, I relied on Marmoset Toolbag to render. It's a fantastic tool, but this time, I decided to try Unreal for the presentation and final renders. Since I was also learning Unreal, so I thought this would be a good start to build a small scene for the presentation with decent lighting to showcase my work. I created a small scene in Unreal, utilizing some Megascans assets (table, candle stand, books, mace, and small basket) to populate the scene. I would like to express my gratitude to Rajesh Rajan for suggesting this presentation idea.

Initially, I was unsure, so I went through many iterations for the final presentation and finally found the right direction for populating the scene and creating a compelling narrative.

I quickly set up a basic environment lighting using an Env Light Mixer. The lighting concept was based on moonlight from a window above the room, combined with the warm glow of a wall-mounted fire torch and candlelight. To simulate the moonlight, I used Directional Light and Rect Light. For the fire torch and candle, I used a point light with adjustments to the light temperature, color, and intensity.

As I am not a lighting artist, there might be some flaws in this setup. However, I was satisfied with the results so far and decided to proceed with it. With the lighting and final composition set, I added some more cameras for beauty shots. I decided to create a small cinematic shot. For that, I quickly set up the camera, did basic camera pan animation with the help of a Level Sequencer, and then added a little camera shake to make it feel more natural. Lastly, I added some pre-made dust particle effects to add more character to the scene. Also, the specific steps and tools may vary slightly depending on your project's requirements and preferences. Experiment with different settings and techniques to achieve the desired cinematic effect. For post-processing, I utilized DaVinci Resolve, a powerful editing tool. I added basic film grain and vignetting and performed color corrections. For still-render beauty shots, I made further adjustments in Photoshop to add post-process effects.

I would like to thank William Faucher for creating excellent Unreal Engine 5 content. Whenever I felt stuck, I would go to his channel, which is a great resource for anyone learning Unreal.

Conclusion

Finally, I want to emphasize the importance of perseverance. Don't give up in the middle of a project. If you start something, see it through to the end. Even if you feel bored with repetitive tasks, try introducing new assets or learning new skills to keep yourself engaged and prevent burnout.

Originally, I planned to create a single knife with a leather sheath and finish the project with final renders in Marmoset Toolbag. However, I decided to invest additional time and create a small scene in Unreal for the final presentation. This decision led me to expand the project and create another small knife, coins, and a map.

Share your work with the Discord community. Join any good Discord community. Seek feedback and critiques from other artists, which can significantly contribute to your progress. Regularly showcase your work and WIP passes to your colleagues at your workplace to get their feedback. This can help maintain your motivation. Collaborating with like-minded individuals at your workplace can also be beneficial. Don't hesitate to seek feedback from non-artist friends as well. They may offer insights or perspectives that you hadn't considered.

Additionally, I feel that having an art background and some traditional drawing and painting knowledge can be beneficial. While digital texturing tools are powerful, you can't always rely solely on procedural textures, Substance 3D materials, or generators to achieve the exact effect you desire. In certain areas, you may need to manually add dirt, edge wear, scratches, wear and tear, or even major surface details. This manual approach can enhance the final output and create a more natural look.

This project was incredibly enjoyable. I learned new texturing techniques and delved deeper into the realm of Unreal Engine. Thank you so much for reading! I hope you found this information helpful. Please feel free to ask me any questions or share your suggestions on ArtStation and LinkedIn.

I would like to thank Gloria Levine and 80 Level for giving me this amazing opportunity!

Sujay Mali, 3D Environment & Hard Surface/Props Artist

Interview conducted by Gloria Levine