Texturing

Texturing is where an asset gets its history. Scratches, dust, faded paint, weathering and the subtle variations of a real surface tell the viewer how an object has been used, and they are often what makes a CG element sit naturally in a plate. I texture mainly in Substance 3D Painter, with Mari when a production pipeline calls for it and Photoshop for the maps and adjustments that need a painter's hand. I start from references and from the story of the object, then build the materials in layers so they can be adjusted without starting again. I also keep the texture work connected to the rest of the pipeline. On modular assets, I have modeled interchangeable pieces that the texture artists then combined with their own texture passes into many variations. On lighter meshes, I rely on displacement and normal maps extracted from the sculpt to carry the fine detail. As an Asset Artist, I usually take care of modeling, texturing and look development together, which helps me decide early whether a detail belongs in the geometry, in the texture or in the shader. That decision saves time for everyone, from the CG Generalist lighting the shot to the 3D Artist who reuses the asset later

Texturing: 24 professional productions at 11 studios, including “Guardians of the Galaxy Vol. 3”, “On Running”, “Bob Marley - One Love” and “Mayday”