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About the Artist:
My Name is Lucile Thyrard, I am 23 years old and freshly graduated.
I started my study in Paris in 2014 and then moved to Montreal for my last year.
I realized very soon that my preferred category is stylized texture painting.
This is mainly because I really enjoy recreating different stylized materials. They are all unique, they have their own characteristic and it requires some knowledge to make them look real.
I am practicing these skills while creating tile table textures, props or Diorama and other graphics presented in this article.
And also because I am inspired by World of Warcraft!
You can find my work in Artstation:
https://www.artstation.com/kinvaras and in Instagram under @lt.Kinvaras
Now that you know some basics about me, let’s talk about my last project:
Concept Art and Moodboard
In general, I start with some concept art and a moodboard of all the elements that can inspire me.
This step can be very long; implying a lot of research, or very short when I have a very precise idea of the output I want to achieve.
After a little Walk in Boralus, a city in World of Warcraft, and some research online, I had enough references to start the modeling part.
Modelling and UVs
I start this part with a blockout made with primitives mesh (cube, sphere etc.), mostly to have a good idea of the scale and the compostion of the scene.
Then when I was satisfied, I made the definitive mesh.
I have analyzed and interpreted during many hours how this made in World of Warcraft and I tried to work in the same way.
Stacking the UV is an important part. First of all, it saves a lot of space on the Uv map and it also saves a lot of time. If you stack your UVs, then there is no need to paint the same thing twice.
I use the planar Uv as much as can, a well unwrapped UV makes it much easier to texture paint.
1. I Took the Green part as an example : when you use the planar on the face here, it will look like the UV number 1, you have to move the vertex to be able to see the yellow part of the blade on the UVs
For the maximum optimization the symmetry is really important . It depends on the texture you are going to work on.
For the Blade I like to use the create polygon tool (Shift + RMB on maya
- I designed the shape of the blade I want with the create poygon tool
- I make an extrude of it
- I create a edge with the Multicut tool in the middle of my shape
- As you can see when I extruded my mesh, there is no edge crossing my face on the top, with the multicut as well I made a quick retopology of this face, I then unwrap the Uvs and make is symmetrical.
- I reshape the mesh moving the edge in the middle to make the sharp part of the blade.
For the Texture I use 3Dcoat and Photoshop. Here are the steps I used for texture painting the boxes in the above image.
1-Mesh imported in 3Dcoat
(file>import>Model for Per pixel painting)
2-Calculate the occlusion of the mesh
(texture > calculate occlusion)
3-Flat color overall
4-Blockout color to design the object and first light source
5-Add the first details
6-Shade of color,and contrast, refine the shape
7-Accentuate the light,and shadows
8-Add some color variant in this case desaturate green/blue spot and more shade on the material
I took a different approach when creating the glow of the candle. I used a plane with a gradient for the candle bloom.
I set my scene in marmoset and after a lot of testing, I came up with the final scene. Take a look at my lighting setup below.