Each one started by placing a fill layer of a saturated color that allowed me to identify it with a Black Mask with a Grunge to add variety. For the way the fabric absorbs the oil I used a fill layer and another one for the oil's behavior with metallic pieces. I also subdivided the latter according to its adherence to the material. I started from the individual type to the general type each metal has its own way of rusting, or the fabric has stains of absorbed sweat and blood, which is different from the dust that covers the entire piece, the mud that gets into the cavities or the oil stains on the moving parts of the mechanism. I divided the dirt and damage variations into two types: ones suffered by each part individually and those suffered by the model in general.

For example, the piece of metal where the strings are threaded had tiny welding details and scratches with a Grunge Scratches Fine, unlike some of the most exposed metal pieces that withstood deeper hits. I used a combination of Steel Dark Aged with Steel Ruined and I played with the saturation and hue of their base color tones, I modified layers and added small unique details to each one. Once I have my final base maps, I import them into Substance 3D Painter and divide my piece into various folders so I don't get lost with so many textures, especially when I'm about to finish and I feel that a piece isn't integrated correctly.Īs for metallic parts, I had a wide variety of colors in references, so I decided that there would be only 3 metals with different tones. For example, I take out several variants of Ambient Occlusion where I filter what contact data I want for each element, and then in Substance 3D Painter I edit them to create a single final AO map. For this prop, I chose Hunt: Showdown, I studied the different levels of attrition that were taken into consideration as well as the information about their processes that they've shared with the public, so I could set an achievable goal.įor texturing, I settled in by doing the first bakes in Marmoset Toolbag 4.

To finish the references stage, I always choose a quality bar based on props from other video games that inspire me and are at least more challenging compared to my previous work. The difference in details definitely lies in the tools used for its manufacture, among other factors. Metal objects nowadays are not the same as the ones smithed by a Japanese blacksmith from the Sengoku era. Then I look for references of the behavior of each material: how they break, how they get stained, and how they rust or get scratched, adding videos and images about how they're made while taking into account the era of its manufacture.

This was to get more of an idea about the details that are not easily observable. I love that game and I'm always looking to add meaningful pieces to my portfolio.įirst, I researched for references I have a huge PureRef, filled primarily with gameplay captures and cinematics mixed along with fans' ideas and cosplayers who have recreated the arm. When opting to make Sekiro's prosthetic arm, my mind was set to challenge myself to mix the organic with the inorganic, something that would use a wide variety of materials working together for the same purpose as a whole.

Zbrush sculpting bandages