![]() ![]() Start with a small task, such as designing a prop. I often recommend starting by 'finding the crack'. Whether it's a blank piece of paper, a blank Photoshop document, or an empty Maya scene, it can be a struggle to get started. Let's face it: starting a large project from scratch is always difficult. Here is just a very small amount of the reference I gathered to prepare for this scene. Recently, the role of reference was defined so clearly to me: it should be used to answer questions and inform decisions. My references range from pictures of objects, equipment, and props, to screen captures of movies and games. It is also there to inspire you when you aren't totally sure what to do next. Reference is there for you when you don't totally know what something looks like (which is probably 99% of the time). I can't emphasize enough how important reference is when creating your artwork. I didn't feel I had the time to fully detail out the scene and really achieve what I wanted from it, so I decided to spend more time and create a new scene with the same art style, using what I learned from the first one. ![]() I spent about 3-4 weeks in total on this piece. I originally created this image of a retro sci-fi living quarters for a workshop I was giving on environment design and I was pretty pressed for time. I will give a higher level overview of the steps taken on this image, as well as show you some of the tools and techniques used. Creating believable and interesting artwork with CG can be a challenge! I believe having access to other people's processes, and seeing how they each tackle the challenge, is a great way to stay motivated and continue pushing ourselves. This article will give you some insight into my creative process when creating sci-fi interior concepts, such as the Retro Space Common featured here. Is that possible or would I have to do all of my painting from there out in the microvertex mode?Īnswer: Of course you can do this, just use the texture baking tool and bake out a displacement map.Infinity Ward Environment Artist, Devon Fay, breaks down the techniques and workflow he used to create his retro-inspired spaceship common area. So say I wanted to add some real displacement in the microvertex method, but paint in per pixel paint. Question: I noticed you can't do displacement in the per pixel painting method. It's a lot easier to repaint a map then it is to do a whole voxel sculpt or tweak a voxel sculpt. Also it allows for different maps on the same mesh, just in case your client or boss wants something that looks a little different. It allows for more control over the details, because you can stack layers upon layers with the normal/displacement painting methods so achieve a greater look. I prefer to do the finer details with a normal map after doing the basic form and medium details with voxels. I'm assuming whatever fine details you sculpt in the paint tab are then added to your voxel normal map when you export to an external 3d app? My question is, do you guys normally just scuplt the rough/med detailed object in voxels, retopo, then create a normal map from the sculpt.then paint and do fine details in the paint mode? I noticed you still have a depth channel in the painting tab where you can create finer details. Question: I've been playing around with the trial version and watching some tutorial videos, but I had a question about workflow from voxel sculpt to final textured model. ![]()
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