![]() ![]() Thanks for the reply, I’ve got most of it down now! If you wouldn’t mind answering a question of mine, I’m a bit lost when it comes to re-sculpting the base mesh (as you can guess I’m kind of new to the art side of things :p). You’ll only need to re-skin if you make huge changes to the mesh, and in that case you would retopo - skin - unwrap again. Then if you want to change the sculpted mesh you can just redo the texture baking step. If you have any questions, feel free to message me on Artstation and I’ll do my best to help.Yes, you would bring in a base from Maya in the shape of the rig you’re going to use (in your case the ART default I guess), in Zbrush sculpt everything, bring the sculpted version back to Maya, retopo so the low poly fits the sculpted model better (or just retopo the sculpt to a new low poly mesh), skin the new low poly, add UV seams and unwrap, then bake the high poly information to the low poly mesh using XNormal or Substance or whatever you’re using. Not my longest piece but hopefully you’ve picked something useful up. I was comfortable making the sword, blade, and basic shapes, but the engraving and grip wrap were things I had absolutely no idea how to make and it was just enough discomfort to help me learn and grow.Īs always, this is the end. ![]() ![]() The Rapier was a great example of this for me. It’s also really important to step out of your comfort zone, but not entirely. Studying photorealistic assets and re-creating them in high detail, it’s helped me pick out the tertiary details I might have overlooked in other references. ![]() Although my day-to-day job is as an Environment Artist, I’ve found that working on individual high-quality assets has been incredibly useful to develop skills with specific tools and push my eye for details. ![]()
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