Texturing

I was really unsure about how I’d go through the texturing process. The method I used was a result of necessity, as I really wanted to pose the character at the highest res, but still have textures in the final image. Marmoset Toolbag 3 can handle a lot of geometry in a scene, so I ended up grouping all the meshes together that used the same material, and importing them one by one with ‘preserve polypaint’ checker during the decimation phase. I’m not familiar with setting up shaders for offline rendering, and I like the instant feedback of realtime shaders, so I was glad to be able to utilise the skin and hair shaders in Marmoset, especially the use of anisotropic specular for the hair. This was very simple and quick to set up, and I think it helps a lot in making that material read very quickly as hair, compared to the other shiny surfaces on the character. I was also able to use the additive alpha shader on her eye lens, and I created extra geometry in ZBrush for the corneas to get a nicely positioned highlight in her eyes. The overall process was just a matter of individually tuning the materials by eye, and the polypaint itself was mostly flat colours with some gradients, with albedo set to vertex colour in Marmoset. I tried to make sure there was enough contrast between glossy and matte materials, and I love incorporating metals as well as matte cloth on a character design to achieve this contrast.