Substance Baking and Texturing Crate 3

Using the techniques learned in the first crate, I created a texture for my second crate in Substance painter.

Again, I started with appropriately named high and low poly objects.

Named high and low poly models.

Imported and baked.

Testing materials.

Settled on a colour scheme. Using alpha masks to give different areas different materials. Rubber corners and weld line details were added.

Custom alpha stamp for the logo.

Substance Baking and Texturing Crate 2

Using the techniques learned in the first crate, I created a texture for my second crate in Substance painter.

Again, I started with appropriately named high and low poly objects.

There seemed to be some strange issues with the bake.

I exported the Normal map and manually edited it in Photoshop.

This fixed the issue.

Testing out materials and using polygon selection to create alpha masks.

Emissive and Metallic materials on show.

Metal frames for the dispenser cover using an alpha brush to paint in the material.

Colour scheme decided with text and logo alpha brushes to add detail.

Substance Baking and Texturing Crate 1

Learning how to use substance was the biggest challenge of this project.

Preparation was key. I created a high poly version of my crate and used the Substance naming conventions to allow for baking in the editor.

High and low poly models in Maya.

Low poly model in Substance.

Substance High to Low poly bake window, note the _low _high naming convention, which allows it to bake from your exported files.

Crate after baking. Details from high poly have come through.

Testing out a smart material for the first time. Looks okay but not worn enough.

Getting to grips with Normal stamps.

And Heightmap alphas.

Importing custom Alpha brush.

And testing it out.

Testing out colours and materials.

Using an alpha brush to bring out the shiny material for the handles.

Decided on a theme. Military ammo/weapon crate. Using alphas to add text and logos.

Added extra wear to the corners.

Closer look.

Text Alpha detail.

Added Emissive glow.

Custom Substance Alphas

The way substance works is a lot of the detailing is done using 'alpha' brushes, which are used to either mask or show parts of the material being used.

For my crates I wanted to integrate the game logo seen in the supplied concepts, to bring the game branding into play.

As I don't have access to the development resources, I needed to create one from scratch.

As you can see from the layers panel in this screenshot, I have taken part of the crate logo, then traced each element of the logo in high resolution.

To make a circular version like the crates, I inverted the main logo and added a white circle to the background.

With these two alphas, I have the choice of which logo version to use.

And here's the alphas being used in Substance Painter.

Creating custom alphas is something that would be expected in industry.

UVing Crate 3

I created the UVs for this crate in Maya. I used Split UV and Move and Sew tools as well as manually manipulating the UV shells.

Using these tools I ensured there was an even detail spread with minimal distortion using a check pattern.

Efficiently layed out UV.

Modelling Crate 3

To create this crate I used Maya tools (Cut, bevel, Extrude, etc.)

Below is a progress blog of the creation.

I started concepting the frame, this one I felt was too alien for the setting.

I created a simple frame from a cube with edge loops, deleted the middle, then re-created the internal polygons.

I used the bevel tool on the outer edges to give the frame a more interesting and industrial look.

I was originally only going to have one large gas tank, but I feel the double tank design make it more interesting.

I added the centre section, and used the Extrude tool to create the rubberised corners.

Here is the final look of the object showing the sliding cover covering the status displays.

UVing Crate 2

I created the UVs for this crate in Maya. I used Split UV and Move and Sew tools as well as manually manipulating the UV shells.

Using these tools I ensured there was an even detail spread with minimal distortion using a check pattern.

And I layed out the UV as efficiently as possible.