Content and task:
This week, I imported the model into sp to bake the high mold and paint the material.
Bake the model:
Materials of the boss:
Since recording the screen while painting the textures causes lag and the model has a high polycount, I will take screenshots to showcase the final result and the overall texture workflow.
The image above shows the texture I painted for the first time, which has a matte finish but looks rather monotonous. Therefore, I decided to incorporate a mix of organic and inorganic elements. I made some adjustments:
Balancing the added elements during painting is crucial because certain textures and bumps can alter the original sculpted structure. However, I had to make some compromises in this process to ensure the details enhance the model without overwhelming or distorting the sculpted form.
When painting the head’s texture, I need to consider various factors. According to the boss’s backstory, as a deity that has been sitting still for centuries, its body will have dust accumulated in the crevices, and the entire body has a rough texture. Considering the humid environment of the cave, moss would grow on it, and the surface of its body would have a layer of damp moisture. Therefore, I added these effects to reflect those conditions.
Since no natural creature is perfectly symmetrical, I’ve kept symmetry off both in the design and texture painting. This irregularity adds to the realism.
For the chest, I want to create a layered structure on the right side, with elements like veins or organic features attaching to it. On the left side, I plan to paint textures resembling rock and glowing jade.
For the abdomen and arms, I want to maintain a texture that combines hardness like rock or wood, with patterns resembling tree bark and subtle bumps to emphasize its organic, yet rugged, nature.