Good work bro!
i focus on the composition and framing of my images and the silhouettes of my objects more than on the quality or complexity of the models or materials. http://geometrydashfree.com/
hello Alexander, I really loved your these draw works. I loved cathedrals too.I started 3ds Max new. And I really really want to meet you, if you wanna to do. By the way, my name is Duacan, from Turkey. also Im working for learning and speaking German. Cause Deutschland is the my first country for living. Whatever, take care yourself, Tschüss. insta: 06optimusprime06
Vadim Sorici has shared a new guide to working with transitional meshes with the help of ZBrush, Substance Painter and Toolbag. The guide is great for artists working with eyes and teeth.
Transitional meshes are quite important to glue together/blend two separate objects. For example — eyeballs to eyelids, teeth to gums. In this tutorial, I’ll show the workflow that will be applicable to the eyes and teeth.
1.Combine face/eye mesh, place geometry that connects the eye and eyelids. Make sure the mesh is floating above a little bit, and there are no overlaps with eyes and eyelids. This would be our low-poly mesh that we’ll use later for baking and rendering in Marmoset. Make sure to UV it.
2.Let’s analyze the eyes – aside of the blur and occlusion between the eyes and eyelids, there’s also a thin strip of tear fluid – upper and lower tear menisci, these fluids create subtle highlights, that really sell the eyes and add to the realism.
4.You can model a tube in Maya, or any other software. In my case, I like to combine all the geometry and dynamesh it in ZBrush, which might be an overkill, since just having a tube should be enough for a good result. The goal is basically to model/sculpt the fluid. You’re free to experiment and see what works best for you! Export it, this will be the high-poly that will be baked on the transitional mesh.
7.Once all the maps are baked – let’s jump in Substance Painter. In Substance Painter, we’ll be able to paint the mask, and blur the textures manually and in an iterative manner. The mask is essentially dictating what area is going to be blurred and dithered.
8.Once in substance, begin with mask painting in the opacity channel. Then play around with the blur amount and a desired amount of AO between the eye and eyelids. Export the textures. Jump into Marmoset.
9.Add meshes to Marmoset, apply NM, go to Transparency tab, choose Refraction/Dither, use setting as shown on the screenshot. Latest Marmoset has dithering added to the Refraction, this way we can blur an area, but also mask the dithering. Be mindful that Gloss slider controls the blurriness. Previous versions of Marmoset don’t have Dithering for Refraction. In this case, using Texture Blur+Dither is better and cheaper.
Make sure to check out the artist’s portfolio here.