Breakdown: Precision Milling & Drilling Machine Made With ZBrush & Substance 3D

Introduction

Hello, dear friends! My name is Luba I, and I've been doing 3D modeling for two years now. For the last year, I worked as a junior weapons artist at a large outsourcing studio. During the year, I created weapons for one of the popular computer games. My experience in this field has helped me develop skills and gain valuable experience in creating realistic and detailed weapon models. A month ago, I was promoted to Middle Weapon Artist and moved on to a new project that requires an even higher level of skill and responsibility. I also have experience working with small props (objects in the background) and large equipment, which allows me to create complex and detailed scenes.

My real passion, however, is texturing images. I think this is the most interesting and creative aspect of working in 3D modeling. Texturing allows you to give models a realistic look and add depth and volume to them. I pay special attention to this process and constantly improve my communication skills. I have been working in the visual arts for most of my life, and this field has always aroused my genuine interest. My goal is to continuously improve my skills, explore new horizons, and take part in large-scale international projects with the world's leading studios.

Although my experience is not yet comparable to that of the outstanding professionals who have created their own works, I firmly believe that with each new project, I will become more skilled and experienced. Here are some of my works created over the past year and a half that are not subject to the NDA, which I can submit for public viewing:

I am often asked how the girl came to the art of weapons. The answer is obvious and banal – I accidentally met amazing people who taught me a lot. Then, as a capable student, I continued this business and got my first job as a junior weapons artist in an outsourcing studio. Now, I am actively developing in this area.

However, my plan is to start studying environmental art. I am currently working on a major weapons project, some of the stages of which I will soon publish on my blog. After completing this project, I'm going to delve deeper into creating the environment. I see great prospects in this area and believe that there are many creative and unusual solutions to be found there. My goal is to share my knowledge and experience with aspiring artists, who often turn to me for advice and help. I am grateful to everyone who appreciated my work and offered their ideas. Your comments and suggestions are very valuable to me.

I also want to talk about the importance of finding inspiration in the world around you. Every day, I observe nature, architecture, and people, and all this helps me create unique and interesting works. I am sure that every artist can find their own source of inspiration if they are open to new experiences and ideas. In addition, I want to emphasize the importance of continuous learning and self-development. In the world of art and technology, everything changes very quickly, so it is important to be ready for new challenges and constantly improve your communication skills. Finally, I would like to wish all aspiring artists not to be afraid to experiment and look for their own unique style. Art is an endless process of learning and self-expression, and each of us can find our place in this amazing world. 

Inspiration & A New Non-Weapon Project

It is important to say that my path in 3D graphics is still very short. My entire professional experience has been focused on creating hardcore and realistic online action/RPG/simulation games with MMO elements and story-driven walkthroughs. When I came to work in my company, I joined a team of experienced specialists with many years of experience in this field. They treated me with great attention and patience, taught me a lot, and supported me.

From the very beginning of my work at the company, I was immersed in the atmosphere of creativity and professionalism. I was entrusted with complex tasks, and I gradually learned new tools and techniques. Under the guidance of my senior colleagues, I learned how to create detailed textures and improved my technical skills. In addition, I had the opportunity to work on several parallel projects, which allowed me to gain diverse experience and expand my professional horizons. Each new project has brought me new knowledge and inspiration, and I look forward to continuing my development in this exciting field. I often get questions about why my portfolio looks like an assembly of old and dusty, dirty assets.

The answer is simple – at work, I had enough calm and basic assets. And for this reason, in my free time, I want to do more interesting textures. For example, I did rust for the second time in my life, because on my work projects I had only one experience to do it. And I really love drawing, so I just get bored making simple, clean materials. But maybe I should try this out just to enrich my portfolio. At some point, I was given a very unusual task, which was quite complex and unusual, as it consisted of very complex and unusual materials: it was painted metal with rust and a lot of dirt. My supervisor didn't think I would enjoy working with this, as I was already considered the most boring employee who liked to draw the most boring black surfaces (ha-ha). Here is an example of such boring surfaces:

But when I started working on this project, I realized that it could be very interesting and useful for my professional growth. I learned a lot of techniques and materials that I hadn't used before. For example, I learned how to create realistic rust textures using layered overlays and color mixing. I also learned how to work with dirt and painted metal textures, which required a special approach and attention to detail. This project was a real challenge for me, but I coped with it thanks to my experience and love of drawing. As a result, I created several assets that, in the opinion of my colleagues, turned out to be very high-quality and realistic. These assets not only enriched my portfolio but also helped me develop new skills and improve my professional qualities.

After completing this project, I realized that I didn't want to limit myself to just basic assets. I want to continue experimenting with new materials and techniques to create more interesting and complex projects. After all, such projects help us grow and develop as professionals. It was after working on this working project that I realized that it was incredibly interesting for me to remember my artistic past and fully immerse myself in creating new materials. So I decided to try for the first time to work with wood, rust and painted surfaces, as well as with severe damage to the surface. The main goal of my new personal project was to improve my skills in sculpting welds, damage to parts, and texturing materials. During all the processes, I mostly studied and practiced modeling in ZBrush since I didn't know this program well enough. The question of what to create for my project was not long in coming. I am very inspired by old, damaged, retro things, namely their textures, execution, and uniqueness. Therefore, the next goal was to choose an unusual and interesting project for me, looking at which I would think: "Oh, damn, I probably can't do this for sure!"

As soon as I found such a complex product, I knew that the choice was made. This is what my Pinterest board looked like at that time:

Pinterest, with its exceptional search algorithm, plays an important role in finding visually appealing images. I started looking for inspiration and ideas for my project by studying various images of old, damaged objects. I noticed their unique textures and details that made them so special. I was particularly attracted to images of old cars, motorcycles, and other vehicles that were heavily damaged or restored. These images inspired me to create something similar but with their own unique elements.

I started experimenting with different techniques and materials to find my own style and approach to creating such projects. One of the most difficult stages of working on the project was creating textures for damaged surfaces. I used various techniques, such as bump mapping and normal mapping, to create realistic textures of rust, scratches, and other damage. I also experimented with different materials, such as metal, wood, and paint, to find the ones that best capture the character and atmosphere of my project. When I finished creating the 3D model, I started working on the visualization. I used several programs to create textures and lighting to make my project as realistic as possible. When the project was completed, I was very happy with the result. I realized that working on this project helped me significantly improve my sculpting and texturing skills and also gave me the opportunity to show my creativity and personality. I was sure that this project would be a great addition to my portfolio and help me further my professional development.

The NORA Project

It seems to me that every artist has on their computer a large folder of images of interesting products that they dream of bringing to life. In this "Inspiration" folder I have a huge number of such ideas that I someday want to make a reality. Recently, I came across a cool model of NORA Precision Milling & Drilling Machine. This machine attracted my attention for its capabilities and precision. I decided to implement my idea, which was to change one of the handles. I changed the design of the handle, making it more ergonomic and convenient to use. In addition, I added a wooden element to give the machine a more aesthetic appearance. This solution allowed me not only to improve the functionality of the machine but also to make it more visually appealing.

Working on this project has become a real creative process for me. I enjoyed every little detail, whether it was choosing materials or designing a product. As a result, I created a unique product that combines functionality and aesthetics. This experience has taught me that even the simplest things can be turned into something special if you approach them with a creative approach and put your soul into them. Now I am confident that I will be able to bring to life many more interesting ideas that are stored in my "Inspiration" folder.

I allowed myself to use limited reference images for several reasons. First, there were very few images, and they were limited to photos of just one machine. This did not allow me to see what the device would look like under different operating conditions. Second, the images provided were often incomplete or distorted, making it difficult to use them to create realistic models. However, I adhere to the main principle in my work: to collect images from all possible angles. This allows me to create more accurate and detailed models.

For example, my PureRef files for guns can weigh up to 3GB, as they contain many images and data collected from different angles and under different lighting conditions. This approach requires considerable time and effort, but it ensures that my work is high quality and realistic. I strive to ensure that my models are as accurate as possible and correspond to real objects, which is especially important in areas such as creating weapons.

TIP: To be honest, I use reference images mainly for product modeling. For texturing, I usually create a separate huge ref board on which I collect a lot of photos with similar materials. Never limit yourself to photos of your product only when texturing your image. Always find similar coatings and be able to analyze the physical properties of products. This will help you avoid the problem of insufficient photos to create microfactures.

When you are modeling a product, reference images can be useful for accurately reproducing its shape, proportions, and details. However, to create textures, especially microfactures, it is important to use a wider range of photos. For example, if you work with metal, you will need photos of various types of metal surfaces: polished, matte, rough, etc. This will help you better understand how light bounces off different surfaces and how to create realistic textures. For texturing, I build a huge ref board that can include dozens of photos. This allows me to have access to a wide range of textures and materials. I also try to include photos with different lighting angles to better understand how light affects the texture of the image. You should also pay attention to microfractures. They can be very difficult to create using photos, especially if they are very small or have complex shapes. In such cases, you can use special tools and techniques, such as 3D scanning or manually creating textures. Finally, it's important to remember that texturing is a process that takes time and patience. Don't be afraid to experiment and try different approaches to find the best result.

This project took me a considerable amount of time. I worked on it all summer after the end of the working day in the office. During this period, I tried to make the most of every spare moment to achieve my goals. The most pleasant moment was the application of the knowledge and skills that I received at work in my personal practice. This allowed me not only to consolidate the material I learned but also to see how it can be useful in real life. I was glad that I was able to apply new techniques and technical skills that previously seemed difficult and unattainable.

I would especially like to mention the role of my Lead Artist, Dmitry Goncharov, in this process. He not only supported me throughout the project but also helped me learn new techniques and technical skills in just one evening. This gave me more confidence and motivation, as I realized that with the right support and mentoring, you can achieve great results. In addition, working on the project has allowed me to expand my horizons and discover new opportunities. I realized that my skills and knowledge can be useful not only in my professional life but also in my personal life. This has become an additional source of inspiration for me and an incentive for further development of the project.

Getting Started

I'm a newbie who works in Blender. Many people consider this software not too serious, but I sincerely recommend it, especially for beginners. Although now I have started studying another software, Plasticity, Blender is a powerful and multifunctional tool for creating 3D graphics, animations, and visualizations.

In any case, I am sure that both tools can be useful for developing skills in 3D graphics and animation. Blender offers a wider range of features and can be an excellent choice for those who are ready to delve into the study of the software. Plasticity can also be a good start for those who want to quickly start creating simple but interesting animated scenes.

I start by placing the reference image plane on the desktop. The reference image serves as the basis for creating models and helps to maintain the correct proportions of the image. Then I create large forms that will define the general appearance of the prop. It is important to keep track of the proportions at this stage to avoid mistakes later on. After the main forms are ready, I start adding the details. This can include creating small elements such as buttons, knobs, locks, and other small details that make the props look more realistic and functional. At this point, I try to take my time and carefully check every detail to make sure it matches the reference image. When the main forms and details are added, I still have the mid-poly version of the props. I will use this version to create both a high-poly and low-poly model. At this stage, it is important to take your time and carefully monitor the reference list. If you notice that something doesn't match the reference image, it's best to go back and fix it early to avoid additional problems in the future. Also, it is at the very beginning of the work that you may come up with ideas on how to add history and unusual details to your product. For example, I added duct tape to the NORA engine bay and the wooden handle I mentioned above. These details help to make the props more unique and memorable.

TIP: Since this project is made for a portfolio, I paid special attention to small details. I already have an idea of what will be visible on the renders and what won't. Nowadays, it makes no sense to save on polygons – always make sure that the silhouette of your model is not too angular and is not legible. I just give the model a general color fill and move some distance away from it, then look at the silhouette and details where I will make close-ups. It is important to make sure that the silhouette of your model is not too obvious. This can be achieved by smooth transitions and avoiding sharp corners. The larger the shape and circumference of an object, the more cross-sections it has. This is important to keep in mind when creating models to avoid the appearance of unwanted faces. Before I start detailing the model, I give it a general fill with the color. This helps me better see the silhouette and basic shapes of the object. After filling in the color, I move away from the model for some distance and look at it from afar. This allows me to better evaluate the overall composition and identify potential problems. Then I look at the silhouette of the model and look for places where I need to make close-ups. Close-ups are small details that hide or smooth out the edges of the model, making it look more realistic.

When designing parts for mechanical products, it is important to consider several key aspects to ensure their functionality and aesthetic appeal. Here is a more detailed explanation of each of these points. The parts must not interfere with the mechanical operation of the product. Each part must be designed so as not to interfere with the normal operation of the mechanism. This includes aspects such as mobility, precision, and strength of joints. All moving parts must be carefully designed and coordinated with each other. This will help you avoid friction, wear, and other problems that may occur due to improper interaction of parts. Don't overdo it with accents: It's important to find a balance between functionality and aesthetics. Too much emphasis can distract attention from the main function of the product and complicate its perception. Complex decorative elements can complicate production and increase the cost of the product. It is important to assess whether these accents are justified in terms of their functionality and aesthetic impact. Moderate use of accents will help to emphasize the key elements of the product without overloading its functionality. This can be achieved with simple but expressive details, such as shapes, lines, or materials. In general, when designing parts for mechanical products, it is important to consider both their functionality and aesthetic appeal. This requires careful planning, testing, and an iterative approach to achieve optimal results.

High-Poly

After installing the blockout, I quickly created a UV scan based on the sharp edges of the model. This allowed me to determine exactly how the elements would be positioned on the surface. Then, I exported the UV scan to ZBrush, where I divided the model into game groups according to the scans. This made it easier to work with different parts of the model and allowed me to focus on each of them separately. Next, I added the necessary damage and dents to the model. It was important not to overdo the number of details so that the model looked realistic, but at the same time, retained sufficient detail so that the damage was noticeable from all sides. I used several brushes to create the details: Standard (standard brush), Dam Standard (standard brush with damage), Clay Buildup (brush for creating clay), Move (brush for moving,) and Trim Dynamic (dynamic brush for cropping). Each of these brushes has its own characteristics and is designed for specific tasks. The damage brushes I recommend from Andrey F are called Cut Metal and Welding Brushes for ZBrush, which help you create incredibly realistic welds.

Some parts were much easier and faster to create under the subdivider. Subdivide is a mode of working with the model that allows you to operate with great detail and accuracy. However, keep in mind that when using a subdiv, it's important to use double support loops to avoid performance and accuracy issues.

TIP: One of the most important tips I received from my Lead Artist is to analyze the width of the chamfers. I paid little attention to the fact that different materials have different thicknesses. And we, artists, should be able to properly exaggerate this for the sake of artistic effect. Why is it important to analyze the chamfer width? A chamfer is a beveled edge of a part that can be made at different angles and with different widths. Depending on the material, the chamfer can give the part a different look and feel. For example, metal parts often have a sharp chamfer, which emphasizes their hardness and strength. What is painted with a thick layer of paint or more crudely made should contrast with other elements and have a thicker chamfer to draw attention to this area. In games, the chamfers are sometimes enlarged to make them more visible from afar. This helps players navigate the battlefield more easily and make decisions faster.

When creating general plans for a model, you should exaggerate some small details so that they look better against the background of the image. This can be useful, for example, when creating architectural projects or sculptures. How to analyze chamfer widths correctly? Learn materials: Different materials have different thicknesses and textures. For example, metal, wood, plastic, and glass have different properties that need to be considered when working with chamfers. Think about what effect you want to achieve with the chamfers. For example, whether you want to emphasize the strength of the metal or contrast it with other elements of the wall. Don't be afraid to experiment with different chamfer angles and widths. Sometimes the most unexpected decisions can lead to better results. The contrast between different elements of the model can make it more expressive and interesting. For example, if you are working on a car model, metal parts may have a sharp chamfer, while plastic parts may have a smoother shape.

Always imagine how the product could be manufactured at the factory. This will help you understand how different components, such as drills, machine tools, milling machines, and other parts, interact in the manufacturing process. It is important to remember that many minor details can be added at the texturing stage, which will be even more convenient. This is because you will be able to better control and manage the details at this stage of development. Visualization of the production process allows you to better understand how each detail affects the final result. This is especially important when working with tools such as drills and milling cutters, which play a key role in shaping the product. By understanding how they interact with the material, you can avoid mistakes and improve product quality.

I reworked the tape, giving it the necessary shape and texture to make it look worn and deformed due to everyday friction and aging. To do this, I used various modeling techniques, such as stretching, bending, and adding small details to make the tape look realistic. After that, I sculpted the edges of the tape to enhance the effect of aging and wear. I used sculpting tools to give the edges of the ribbon an uneven, rough texture that is characteristic of old and worn materials. The wire with split wires inside was created using the program Blender. I used modeling and texturing tools to create a wire with realistic splits and damages. This allowed me to achieve a more natural and realistic look for the wire, which looks like it has been used for a long time. As a result of the work done, I got a tape that looks worn and deformed, which gives it an authentic and realistic look. Split wire also adds verisimilitude to the entire composition, creating a sense of time and usage.

Low-Poly

My modeling process is not very different from how game dev artists work in studios. It looks like this: Mid-Poly – High-Poly – Low-Poly/UV. At the mid-poly stage, I display all the forms in their detailed versions. I didn't think much about topology, leaving it mid-poly. It was important for me to spend as little time as possible on all the stages except for textures and rendering. In the future, I plan to focus on improving my technical skills to work faster and more efficiently. I will focus more on topology optimization and the use of specialized tools and modeling techniques. This helps me speed up the process of creating models and improve their quality.

I start modeling with a blockout, which is a rough draft of the model with basic shapes and proportions. The blockout allows me to get as close as possible to the actual dimensions of the product, which is an important step in creating an accurate model of the product. A low-poly grid is built based on my grid, but in some cases, I create it from scratch. This happens when the grid doesn't provide me with a useful starting point for modeling. For example, if I need to model an adhesive tape that I exported from Marvelous Designer, I create a model of it from scratch. After I have created the basic form of the model, I start adding details. To do this, I use the retopology method in Blender. I apply retopology to those parts of the model that require additional detail or improve the shape of the image.

During the modeling process, I constantly compare my model with real objects or photos to make sure that it corresponds to the specified proportions and dimensions of the object. This helps me avoid errors and make the model as accurate as possible. When I finish modeling, I check the model for errors and shortcomings. To do this, I use various tools in Blender, such as the edit mode and tools for checking the topology. After I make sure that the model is ready, I export it to the desired format for further work.

In the context of designing and modeling in 3D graphics, the term chipping usually refers to the process of creating or editing geometry to simulate welds on the surface of a model. This can be done for various reasons, including aesthetic, functional, or to create the illusion of welded joints. Key aspects of chipping joints: In work projects where precision and compliance with standards are important, decorative elements such as welds can be omitted. However, in a portfolio where it is important to demonstrate skills and creativity, such details can add realism and professionalism. For a portfolio, it is important to include the most detailed projects. This allows you to show not only the main forms and functions of the model but also small details that may be important for evaluating the quality of the user's work.

When working on a model, it is important to pay attention to chamfers and small details, especially if they are located in the central part of the model. I added extra geometry to these elements, assuming that they would be the center of attention. However, I regretted that I did not hit the holes on the low-poly, realizing this only after viewing the finished renders. So in the future, I will definitely take this point into account and pay attention to the holes. When I zoom in on small details, such as bolts, thin shells, and places with text, I try to make them as detailed as possible. This helps to maintain the quality of the model and make it more realistic. To reduce the load on the render, I reduce the shells that will be turned away from me when rendering. This includes the lower surfaces and shells in the holes that will be darkened using the AO method. Another useful life hack that I discovered for myself is hand-packing. I set locations for the largest shells and those that have a complex shape, as they may not pack well. In RizomUV, you can group shells at your own discretion, which simplifies the packaging process. These techniques help me create high-quality models that look realistic and professional.

To create close-up renderers, I chose a fairly high texel density to make the model look detailed. Usually, the texel density is about 100 pixels, which allows you to get clear and detailed images. It is also important to adjust the scale of the model (scale). This affects the size of texels and may affect the performance of the render engine. If the model is scaled incorrectly, the camera and other elements of the scene will perceive distorted dimensions, which can lead to errors and interference in the rendering process. Errors with the scale and modifiers in Blender can occur for novice artists. For example, if the model has incorrect proportions or dimensions, this can lead to strange effects on the render. Therefore, it is important to carefully monitor the zoom settings and use the correct modifiers. Personally, I made these mistakes in my first works and could not understand the scales and the correct operation of some modifiers in Blender, so always keep this under your control! I didn't use overlaps in this model, although they usually help a lot to optimize the SE space.

However, for my product portfolio, I wanted to be more unique and show off my skills in working with materials. More correct straightening of shells also affects the optimization and improvement of the texture quality. To do this, I use RizomUV, a tool that helps you accurately and accurately straighten shells, which is especially important when creating complex models of hair. In addition, I always try to hide the seams in inaccessible places and place them one after the other in adjacent parts. This not only improves the appearance of the model but is also an important rule of good taste. advice: To improve the texture quality, you can reduce padding and margin. However, this should only be done when you are sure that the texture will not be reduced. In a portfolio, I usually set the minimum padding and margin values, for example, to a couple of pixels. This allows you to maintain the sharpness and detail of the textures. Still, this approach is not allowed in work tasks. If you reduce the padding and margin too much, your SE shells (units of the visual layer) may overlap, which will lead to errors and malfunctions. It is important to find a balance between the quality of textures and their compatibility with other design elements. Experiment with different padding and margin values to find the best option for each specific task.

To create realistic textures and lighting in 3D graphics, you need to follow a few steps. One key step is baking the textures. Baking allows you to transfer texture details from a high-poly model to a low-poly model, which significantly speeds up the rendering process and improves image quality.

For baking, I used Marmoset Toolbag. I baked a Normal map there with these settings. I always bake AO and Curvature maps in the joint venture, as the results there suit me best. These three maps are enough for me to work with generators. To bake the light, I also need a BCH and Poshn map, which is baked in the joint venture already during operation, when my height map is ready. At this point, I make a BCH bake and start working with more advanced generators that help me work with more beautiful light and earth reflection generators.

Texturing

My goal was to create an ultra-realistic object that accurately reproduces all the damage that could occur in real life. However, I also tried to make the object attractive and consistent with the laws of composition, avoiding congestion or empty spaces, as is often the case in reality. I admit (for which I can get a lot of criticism from senior artists) that I don't always strictly follow references. This gave me the freedom to design parts as I saw them in my imagination rather than as they would have been on a real product. This approach allowed me to create an object that not only meets all the damage rules but also looks aesthetically pleasing. I am sure that this may be a controversial decision in some cases, but I believe that art is primarily an expression of personal vision and creativity.

TIP: Study classical art, because it is very important for texturing hair. This way, you will be able to better understand color combinations and composition, and you will be able to complement real details with something well-founded and invented.

Many artists and professionals in the field of art recommend avoiding using other people's works. However, I believe that studying other people's work can be very useful and inspiring. I admire the work of many talented and successful artists and believe that their work can be a source of inspiration and new ideas. Of course, when using other people's works, it is important to respect copyright and not violate the law. But this doesn't mean that you can't learn from other people's experiences and adopt the best practices.

Studying other people's works can help you get new ideas and approaches. You can find unique techniques and techniques that can be applied in your own work and expand your horizons. Getting to know the works of different artists will help you see the world from different points of view and find your own style of art. Studying other people's work will help you avoid common mistakes and find the best solutions for your projects. Other people's work can be a source of inspiration and motivation for creating your own projects. Studying the work of successful artists will also help you understand what themes and styles are popular and adapt them to your goals.

When studying other people's works, several points should be considered. Do not copy other people's works: using other people's works without referencing the author may be a violation of copyright. Combine it with your own ideas: use other people's work as a source of inspiration, but don't forget to add your own ideas and design elements to it. 
Each item has its own unique history, and at the stage of small details, it is important to show or complete this history. This is especially true if the object is shown in close-up at the rendering stage, where you can see small scratches, traces of dirt, streaks, and dust. When adding details such as dust, scratches, scuffs, and others, it is important to consider the context of the problem.

For example, if an object was stored in a specific location, you need to understand how this might have affected its state. It is also important to take into account how the object was used and what actions could have caused scratches, taking into account the purpose of the props and the properties of the material. In addition, you need to understand what details will not be visible. I spent a lot of time working out the details that are hidden by shadows and other objects in the renderers. Next time, I'll try to take this into account to make my work more realistic and detailed.

Many artists prefer to use the ACES filter for their projects. However, I personally dislike it for several reasons. ACES can give the image excessive contrast and artificiality, which does not always correspond to my aesthetic preferences. Working with ACES requires certain skills and time to set up parameters, which can be inconvenient for me.

Studio Tomoco HDRI is another tool that I use in my work. It has neutral lighting and creates soft but not too blurry shadows. This allows me to achieve a natural and realistic texture. However, it is important to remember that using the same HDRI throughout a project can limit your perception and understanding of how your work will look in different light sources. So I recommend switching between different HDRIs while running. Don't forget to separate the details of your projects to get into hard-to-reach areas with textures.

It is very important to start texturing with a clear plan. First, you need to determine for yourself the structure of your surface. I carefully study references and try to convey the surface of the material as accurately as possible. One of the most important and difficult stages is the creation of the basic material. On tile materials for the base material, you need to learn how to create beautiful basic fill layers. These should be complex materials that meet the correct physical properties of the reference value. In order for you to do this, you only need to use the selection method and make a lot of attempts. Creating a beautiful and detailed albedo and roughness map is a big success rate for this business.

I always have to work for quite a long time to find the right selection of procedural effects with the right set of noises and patterns. My main rule of thumb is to use fewer resources with physical correctness matching. Unfortunately, most of the materials I found on the Internet on working with a joint venture show how to make a complete build of the material – base, damage, dirt, etc., but quite a bit of attention is paid to the full development of the basic material, it seemed to me. There is little information on the Internet about how to assemble complex basic textures procedurally, and more attention is paid to additional effects and bright details.

Often, there is little information on large planes, and they can look boring and monotonous. Chips and dust are clogged in the corners, and on the plane,s there are large empty spaces that evenly glare. To make such surfaces more interesting, you can use various details. They may look matte or shiny, but they must have transitional shapes. It's bad when the spots are clear everywhere or, conversely, blurry and indistinct. You need to create interesting shapes by combining clear and blurry areas with different saturation and color gradients. After that, you can add variety to the color. I always look carefully at references and try to take into account color details, such as scuffs on flat surfaces, gradients, darkening in recesses, and scuffs on the edges of the image. Any color spots that might ruin a boring monochromatic color map can help you.

What should I consider when working with planes?

• Details: Use different parts to break up large planes. They can be matte or shiny, but they must have transitional shapes.
• Spot shapes: Experiment with the shape of the spots. They can be sharp or blurry, with different saturation and color gradients.
• Color: Add variety to the color. Take into account scuffs on flat surfaces, gradients, darkening in recesses, and scuffs on the edges of the surface.
• References: Look carefully at the references and try to take into account all the color details. Let's say you have a large, flat surface that looks boring and monotonous. You can add a few details to it, such as matte spots with clear shapes and blurry edges. You can also use gradients and dimming in the recesses to create interesting color transitions. Working with large planes requires attention to detail and creativity. Use different details, experiment with shapes and colors, and you can make even the most boring surfaces interesting and attractive.

TIP: Tile fills and grunges have the Hardness setting, which is responsible for the rigidity of the texture. Be sure to scroll the slider of this setting to avoid noticeable distortions and stretches in the texture. However, be careful: at the maximum Hardness value, you can get a sharp seam between the texture fragments. This can be useful for fixing breakdowns in tile textures, but it can also lead to undesirable results. The Hardness setting works on the same principle as setting Hardness in other image editors. The higher the Hardness value, the harder the texture is and the less it is subject to distortion when zooming or resizing. However, this can also lead to sharp edges and seams between the texture fragments, which may look unnatural.

Rusty Bolt

The bolt is an interesting addition to my NORA machine. The bolt is made according to the spec gloss pipeline, while the main scene itself is made in metal rafe. It was a small experimental plan. Pipeline Spec/Gloss is a texturing technique that uses specific parameters to create metallic effects. Basic parameters:

• Dif: Defines the main color of the material. For metallic materials, the diffuse color should be black so that the metal looks as realistic as possible.
• Spec: Responsible for the reflection of light from the surface. For metallic materials, this must be a high value to create a metallic luster.
• Gloss: Determines the degree of smoothness of the surface. For metallic materials, the gloss should also be high to create a polished metal effect. 

Metal Rough is a texturing technique that creates the effect of a rough or rough metal surface. Basic parameters:

• Albedo: The diffuse color can be anything, but usually, a light or medium shade of gray is used to make the surface look natural.
• Rou: The gloss is usually low or medium to create a roughness effect.
• Met: The mirror color can also be anything, but a light shade is often used to avoid too bright highlights.

The bolt was created as a small experiment to test how different texturing techniques can interact with each other. I decided to use pipeline Spec/Gloss for the bolt and Metal Rough for the main stage to create a contrast between the smooth metal surface of the bolt and the rough surface of the stage. It was an unusual and challenging experience for me. Creating a bolt in the spec gloss pipeline required a precise selection of parameters to achieve the desired metallic luster. Working with Metal Rough was also challenging due to the need to balance between the roughness and the naturalness of the surface. As a result, the bolt turned out to be an interesting element of the scene, which adds depth and contrast to the main composition. This experiment helped me to better understand the possibilities of different texturing methods and their interaction with each other.

Before you start working with textures, it is important to present a visual representation of what you are texturing. This will help you better understand what details and effects you need to add to achieve the desired result. Study photos or images of objects that you plan to texture. Pay attention to details such as the degree and amount of rust and damage. Determine how hard the rust will work. This can range from a light patina to deep and extensive skin damage. Decide what kind of damage you want to add. These may include scratches, chips, cracks, and other defects. Texturing should look realistic but also aesthetically pleasing. This means that damage and rust should be plausible but not too gross or repulsive. Use different textures and details to give the object depth and volume. It can be roughness, spots, traces of corrosion, etc. Proper lighting and shadows will help to emphasize details and make the texture more realistic. Use different light sources and their angles to create the desired lighting effect. Choose a color palette that matches the character of the object and its surroundings. This will help the texture look harmonious and natural.

Creating high-quality design materials requires a careful approach and attention to detail. Here is a more detailed explanation of the process of dividing materials into large, medium, and small parts.

In the first stage, it is important to focus on creating large, basic materials. These materials should be bright and look good even without additional details. Main tasks at this stage:

1. Defining the shape: Large details help define the basic shapes and structure of your design. They set the general tone and mood of the game.
2. Physical properties: It is important to pay attention to the physical properties of materials, such as texture, color, and light reflection. These properties should be clearly visible and not distorted under different lighting conditions.
3. Error correction: At this stage, you can correct the main errors and shortcomings so that your basic materials look as good as possible.

Once the basic materials are ready, you can move on to creating medium-sized parts. These details should complement and refine large forms but not distract too much attention. Main tasks at this stage:

1. Harmony with basic materials: The middle details should blend harmoniously with the base materials without creating visual dissonance.
2. Shape Refinement: Medium details help refine and detail large shapes, making them more realistic and vivid.
3. Adding details: At this stage, you can add details that do not affect the overall perception of the material but make it more interesting and attractive.

The last step is to create small parts and fragments of the image. These details can include small patterns, textures, shadows, and other elements that add depth and realism to the material. Main tasks at this stage:

1. Detail: Small details help to complete the overall image of the material, adding detail and realism to it.
2. Accent elements: Small details can be used to create accent elements that attract attention and make the material more expressive. 

When creating the bolt, I paid attention to the distribution of rust and damage on the surface of the thread. Please note that there will not be too many spots on the thread, and they will be concentrated in the recesses because the protruding parts of the teeth will be rubbed to bare metal, where we will focus on the damaged mask due to frequent use. You can set circular thread damage using the Metal Edge Wear generator to save time and avoid wasting it on long circular drawings, but be sure to add manual patterns so that you can see various interesting-shaped chips.

Damages

Damage is an important component of an item's appearance, which can significantly affect its perception and functionality. The correct placement and execution of dam elements play a key role in creating a realistic and convincing image of the house.

Damage should be located in the places where it is most likely and logical. For example, on protruding parts of the object, such as corners, edges, or handles. This will help you create a sense of reality and emphasize the functionality of the item. On items that frequently interact with the environment, such as tools or sports equipment, damage should be placed in the areas where it is most likely to occur. For example, on the blades of knives, the edges of shovels, or the handles of hammers.

If a part of the item is rubbed against clothing or gloves, then the damage should look smoothly rubbed. This is achieved through a gradient area where the color or texture smoothly transitions from the undamaged state to the damaged. The gradient area can be achieved in various ways, such as changing the color, texture, or even the depth of the scratch. It is important that the transition is smooth and natural so as not to create a sense of unreality.

If a part of the object has been hit, the paint or coating should break off, forming a clear and ragged chip. This will help to convey the feeling of impact force and damage to the material. Clear chipping can be achieved by using tools with sharp edges, such as knives or incisors. The ragged edges of the chip should be realistic and not too smooth. If a part of the object has been used in the same way all the time, for example, if the tool handle has always been held in the hand, then a sharp contrast should be visible at the border between the material and the damaged material. Sharp contrast can be achieved by changing the color, texture, or even thickness of the material. It is important that the contrast is noticeable but not too sharp so as not to disturb the overall balance of the subject's appearance.

It is also important to mention a very popular approach in texturing, where you start with a factory-clean material and gradually cover it with the information above. This is good for not badly damaged items. But when your object has as strong and visible details as my project, the damage outline should be considered first in your work. Damage to the surface of the model was my personal decision, aimed at adding interest to its appearance. In real life, it is extremely difficult to damage the machine since it has a strong surface. However, in the virtual environment, I was able to experiment with different levels of damage to create more expressive textures and shapes. Working with these masks, I tried to approach the analysis of the shape and location of damage logically. Contamination is usually located along the planes and junctions of objects. It is important to remove them from the edges (edge) to preserve the clarity and accuracy of the model. To optimize the manual work process, I recommend using the Curvature generator in the Subtraction overlay mode. This tool allows you to quickly and effectively remove excess dirt from the edges where, logically, there should be a high concentration of damage. This significantly reduces the time required for manual revision and improves the overall appearance of the model.

I like to add textured details to my work. They can be made in the form of blurring and polishing, which have opposite properties. Rubs create the effect of wear and tear, and polishing gives the surface shine and smoothness. Many people do not think about the fact that damage and damage are not always located on the most prominent parts of the object. On old and frequently used items, paint chips, minor scratches, and other damage can be distributed over the entire shape, even in places where stationary parts come into contact. This makes each work unique and highlights its history and character.

I want to raise an issue that my industry friends and I discuss quite often. It's about whether a metal can only be represented by the values 0 and 1. In fact, the metal can be absolutely any color. The main thing is to avoid extreme values and work in the range from 0.2 to 0.8. Such strict requirements for the values of 0 and 1 apply only to specific work projects, which depend on the game engine and platforms used. However, when it comes to a portfolio, we strive for maximum realism. This means that we use many different mixtures of materials, and none of them is pure 0 or 1. Our goal is to create an appearance that we like in the render engine. Although now someone may disagree with me, the main thing is not to show this article to my boss.

Creating cool form transitions in graphic design is an art that requires skill and creativity. In this process, I often use two tools: anchors and hypass. Anchors are elements that help create the effect of peeling paint, color gradients, and other interesting details. They can be used to mimic various textures and surfaces of the image. For example, you can use anchors to create a peeling paint effect, where the top layer of paint peels off, exposing the bottom layer of paint. You can do this by drawing anchors in circles or other shapes, which will then be overlaid with a different color or texture. Hypass is a tool that allows you to create the effect of volume and depth of the image. They are used to create gradients and smooth transitions between colors. Hypasses can be added to anchors to create more complex and realistic textures. For example, you can use hypasses to create the effect of dirt that gets clogged under peeling paint or to simulate an old coating with different shades and textures of paint.

The texture of plastic and metal can vary significantly. Plastics typically have softer and lower-contrast patterns compared to metals and their chemical coatings. This is due to the fact that plastic is a flexible material that can deform under the influence of external factors, such as temperature and air pressure. Metals, on the contrary, are more rigid and resistant to deformation. In addition, the plastic may have a minus-height texture, which means that its surface may be lower than the level of the base surface of the product. This can be achieved through various techniques, such as applying textures with brushes or using special tools. At the same time, the metal can have a plus-height texture, which means that its surface can be higher than the level of the base surface. This can also be achieved through various techniques, such as sputtering or using chemical reactions. This is just an interesting fact that shows how diverse the materials can be.

Pay attention to what interesting patterns you can collect your damage in. Here, you can move a little away from the exact match of the reference and beautifully organize your scratches into groups. Chaotic scattering without composition will not look very attractive. For example, my favorite rule when highlighting faces with color and polishing is to break up the uniformity of the chamfer with interesting forms of blurring. This adds depth and texture to the surface, making it more lively and realistic.

Here are some tips to help you improve your skills in creating patterns on damaged surfaces. Don't be afraid to try out different scratch shapes and sizes. This will help you find a unique and interesting pattern that will fit your vision of the future. Different colors can help highlight different types of damage. For example, deeper scratches can be highlighted in a darker color, while smaller ones can be highlighted in a lighter color. Don't just throw scratches on the surface of your phone. Try to create a composition in which all the elements will be harmoniously combined with each other. This will help to make your drawing more complete and attractive. Polishing can help add depth and texture to your scratches. Use different polishing techniques to achieve the desired effect.

Making Stencils From Photos

First, I choose photos that are already of good quality. These can be high-resolution photos with the correct exposure. If I have photos with low quality or noise, I can use artificial intelligence to improve them. For example, I can use programs like DeepArt or Prisma, which can apply various filters and effects to photos, making them brighter and sharper.

I open the photo in an image editing program such as Adobe Photoshop. In the Image menu, select Mode – Black/White. This puts the image in black-and-white mode. I then adjust brightness and contrast using Levels and Curves.

In black-and-white mode, I use the Levels and Curves tools to adjust the brightness and contrast of the image. The Levels tool allows me to adjust the brightness and darkness in the image. I move the sliders to highlight the light and dark areas of the image. The Curves tool allows me to change the contrast and saturation of colors. I move control points on the curve to change the brightness and darkness of light and shadow in the image. I'm experimenting with the settings to achieve the desired effect. For example, I can increase the contrast to make the image more dramatic or decrease the contrast to make it softer and more muted. Then, I save the image in the desired format (for example, JPEG or PNG) and use it for my needs.

Wood

When texturing, it is important to pay attention to all channels, as each of them contributes to the creation of a realistic image. The Albedo and Roughness channels are particularly rich in detail. On the metal channel, you should carefully beat off the main transitions between materials to avoid blurring and unnatural transitions. However, the first two channels (Albedo and Roughness) must show any change in texture, even if it seems insignificant. This will allow you to achieve a richer and more diverse image from different viewing angles and lighting. The more color and hue variations are used, the more realistic and lively the material will look. In addition, you should pay attention to the fact that different materials can react differently to light and shadow. For example, smooth surfaces will reflect light more evenly, while rough surfaces will create more glare and shadows. This should also be taken into account when texturing to achieve maximum realism. 

I always use height information to add a sense of tactility to an item. The height affects the overall picture of the material, creating contrasts and textures. The secret is again in the contrast of heights and roughness. The varnish coating has a rise and greater glossiness, while bare wood with damage is uneven in its structure, more matte, and uneven.

The first thing I do is label the varnish values. I start with the main layer, which is shinier than the raw wood underneath. Then I add a few layers on top, this time rougher, to create the damaged corners. Once the varnish is ready, I further enhance the overall weathering and damage by adding larger scratches, color variations, and all sorts of surface defects. I start by adding wear, both minor on surfaces and sharper around sharp edges.

• Base coat: I start by applying a base coat of varnish that will be shinier than the untreated wood underneath. This layer forms the basis for subsequent layers.
• Additional layers: After applying the main layer, I add several layers on top, this time rougher. This creates the effect of damaged corners and rough edges.
• Weathering: I add weathering, which makes the varnish more matte and uneven. This may include using texture brushes or special tools to create an old-fashioned effect.
• Scratches and Defects: I enhance general weathering and damage by adding larger scratches, color variations, and all sorts of surface defects. This makes the varnish look more realistic and adds a sense of time and usage.
• Minor wear: I start by adding some minor wear on the surfaces to create the feeling of using the product. This may include minor scratches and scuffs.
• Sharp wear: Increase the wear around sharp edges to create a sharper contrast between damaged and undamaged areas of the body. This adds depth and realism to the subject.

To create a contrast between the recesses and the protruding parts of the handle, the grooves are darkened much more than the other areas of the handle. This is achieved by using darker shades of paint or varnish that are applied to the grooves. At the same time, the most exposed and protruding parts of the handle are lightened to emphasize them and create a contrast. A small change is also made to the masks since the surface degradation is uneven. This can be done by using darker shades, which are applied in those areas where there is the greatest deterioration of the skin. The idea is that debris and dirt will collect in the recesses, while frequent handling will erase the surface layer and expose the untreated wood underneath. This multi-layered approach allows you to create an antique and worn-out effect that can be attractive and aesthetically pleasing. 

On my fictional wooden handle, you can see several types of damage. I'll try to tell you more about them. The first thing that catches your eye is a large nail polish chip. When the varnish is damaged, the rough surface of the wood is exposed. This damage is immediately noticeable, as it differs in color and texture from the rest of the handle surface. The shape and silhouette of the nail polish chip spot play an important role in its perception by the user. The shape of the spot can be different: round, oval, or irregular. The silhouette of the spot also matters: it can be clear or blurry. These characteristics help us determine how badly the varnish is damaged and how this affects the overall appearance of the handle.

However, despite the fact that the shape and silhouette of the spot are important elements, do not forget about the filling material. In this case, it is a tree. The filling material can be of different colors and textures, which also affects the perception of damage to the product. It is important to note that in art, the form often tells us more than what is inside. Our brain first reads the contours, and only then looks inside what it has identified by the silhouette of the object. This phenomenon is called gestalt perception and is widely used in design and art. Large and small shapes also play an important role in shaping our perception of textures. When we see a pen with damaged varnish, we first notice the large shape of the chip and its silhouette. Then, we start paying attention to small details, such as the wood texture and the color of the fill. All these elements together create an overall impression of the handle and its condition. Thus, the damage on the wooden handle can be considered as elements that add depth and interest to its appearance. They help us better understand how form and material interact with each other and how this affects our perception of reality.

It is also important to use color contrasts. I always add large color contrasts and then break up the fill planes with shades, they should be quite noticeable. I often use filters like Galvanic. Don't forget to add the Roughness along with the color change. Without large patterns from afar, the material will look very boring in full-height shots, and your eyes will have nothing to catch on to, but at the same time, without small and medium-sized shapes, your material will simply become a single-filling flat base. Pay attention to what the tree looks like with different coatings. Wood damage also has different shades, where it is lighter and where it is darker.

Dirt & Dust

To create textures that will be perceived as "delicious" and realistic, it is not enough just to cause damage to the image. It is important to take into account many factors, such as stains, dirt, gloss, and dullness, which can accumulate on real objects. These elements add depth and complexity to the texture, making it more interesting and expressive. One of the key parameters for evaluating a texture is Roughness. This parameter should be filled with a variety of details, such as contrast and smooth transitions. Contrasting transitions create a sense of depth and volume, while smooth transitions add softness and naturalness to the model. It is also important to consider the detail of the texture. The more small details and nuances, the more realistic and interesting the model will look. These can be microscopic scratches, pores, finger marks, or other small elements that add texture and make it look more alive. Shiny and matte areas also play an important role in creating the texture of the skin. They add variety and depth, making the model more realistic. Gloss can be a reflection of light, and dullness can be its absorption, which creates interesting visual effects. In addition, the texture should be harmonious and balanced. Too much detail or contrast can make the model overloaded and unnatural. Therefore, it is important to find a balance between variety and simplicity so that the texture looks realistic and attractive.

I could imagine how long the machine could stand without using the battery. How could it get dusted with coarse and fine dust, how could fibers and particles that fly in a dirty room stick to it? How large drops of oil or chunks of solid materials can fall. For some types of dust, the basic Dirt and AO generators are suitable for you, and you can draw with your hands. For me, this is one of my favorite stages of development. At work, I joked with my colleagues that I wanted to be called a dust artist. In this work, I have more than 7 layers of dust, which I added to the finished surface. But there were also distortions that interfered with the material at intermediate stages of work. These are layers such as dusting, hairs, particles, dots, particles, and so on. But please note that this should only be done on such old items. This should not be found on weapons or items that are actively used by users. There should be traces of constant use, such as grease spots, more fresh dirt, and so on. Be able to distinguish when and what is appropriate to use. Keep in mind mixing borders between objects – dirt tends to accumulate at the intersection of different parts of the object, and dust lingers in certain places. This means that smooth transitions between details contribute to a more realistic appearance.

When adding dust, scratches, scuffs, and other details to an item, several important factors must be considered. First, it is important to understand where the item was stored, how it was used, and what operating conditions it may have experienced. This will help you determine what damage may have occurred and how natural it is for the item. You should also take into account the purpose of the props and the properties of the material from which they are made. For example, wooden objects may have natural cracks and knots that should not be masked or redone. Instead, you can emphasize these details to make them look natural and authentic. Of course, you should not overdo it with small details. Excess dust and scratches can make the item look overloaded and unnatural. In some cases, it is better to leave the item in its natural state or add only those details that are really necessary to create the desired effect. It is also important to take into account the selected lighting angle and its intensity. In certain lighting conditions and viewing angles, some details may be barely noticeable, while others may disappear completely. Therefore, we recommend that you take several test shots with different lighting angles and levels before finalizing the lights to make sure that all the details look harmonious and natural. Thus, adding details to an item requires careful analysis and consideration of many factors. This will help you create a realistic and authentic image that matches the purpose of the props and the terms of their use.

TIP: A life hack for guys who have a weak computer, like me. I'm already a little ashamed of my computer, I'm sitting on an assembly that is already more than 4 years old. I texture in several different SP files. I periodically collect my uploaded textures into a single file and render engine to keep track of the loading process. I also hope that each of you knows that you need to clean up the removed resources/files. Before doing this, be sure to collapse the Paint layers in Fill, which will make your file much easier if you draw a lot with your hands.

When creating albedo maps, it is important to keep in mind that dust should not be evenly distributed over the surface of the map. In some places, it may accumulate more, in others – less. This creates a realistic effect and adds depth to the image. To achieve this effect, you need to focus on real-world examples or use previously textured images. Dust should be drawn based on the surface texture of the object. It should fill in depressions and bumps, which makes the albedo map more interesting and beautiful. Working with generators helps you create realistic dust patterns. You can use multiple smart masks and blend modes, such as subtraction and addition. The resulting masks can be modified using brushes or custom stencils. It is important to strive for an overall realistic background, but do not forget about the importance of unique details in masks. This creates a balance between the overall picture and detail, making the image more vivid and convincing.

TIP: Remember that dust is always less noticeable on the albedo map than on the roughness map. It is important to monitor the scale of hairs and dots. The layer should be clearly visible in the distance but do not make the hairs too long or the dust motes bright. It seems to me that it would be a big omission not to use as many types of dust as possible.

I'll start with the general dusting, which is usually created through Dust and Dirt generators, and then use soft brushes to create an even more interesting shape of the mask. In this layer, roughness is incredibly important, which will create interesting highlights and blurs in the light and shadow. Then, there is a large layer of old dirt, which is clogged into the recesses and crevices of the wall. It can have many shades, be different in saturation, and have interesting differences in height. I like to mix shades of green and brown into it: this is done with sharper brushes and applied locally as an accent. Now, we move on to the most interesting and noticeable dirt, and real creativity begins in its creation. These are hairs, grains of sand, dots, particles, and large pieces of dirt. Be sure to mark each layer on all channels so that your details play and don't get lost during all light transitions. Always make sure that your dust is not metallic and does not shine in the roughness. You need to keep yourself in control and not get too carried away, remember the rule of 20/80.

Rendering

In rendering, two important components are setting the light and setting the camera to match the parameters of how you want to see the finished image. The first thing I adjust is the camera's viewing angle. I chose lower viewing angles because I don't like the distortion effect that high viewing angles give. I usually keep the field of view value between 5-15 mm and 200-250 mm. For me, this looks the most realistic. To adjust the light, I use reference images. For studio shots, use less contrasting and quiet HDRI images. For outdoor renderings, you can choose rich, bright light sources that can be positioned at different angles. I advise you to check out the Poly Haven website, which provides you with a lot of features. I like to add extra light to highlight the bright contours and details of the image. For the sake of a more realistic rendering, I make sure that there is enough contrast between the darker and richer areas of the render to have a wide range of values, from light areas to dark shadows, because this way, your product will look colorful and attractive against the general background and the picture will become pleasant. Rendering disproportionately long or tall objects in an interesting way can often be challenging. When creating a frame, you will have to choose what to keep and what to throw away. Excessive negative space can also create problems. Things can get even more complicated if the scale of the main object is not properly passed.

Be sure to think through the history of your renders. I wanted to use the atmosphere of an old factory or factory with dirty concrete walls and dirty countertops. This fits well with my concept of a run-down atmosphere. The visibility of some effects and coating defects depends on the direction of light. For example, raffness can only be visible under directional light while glaring and creating a reflection effect. At the same time, in the absence of directional light, the roughness becomes less noticeable, but we can see more shades on the albedo. When using HDRI lighting, the raffness may look different depending on the direction of the light source. For example, in direct light, the roughness will be more noticeable, as the light will accentuate the roughness of the road surface. At the same time, inside lighting, the roughness may become less noticeable, but the surface texture will be more pronounced. In addition, HDRI lighting allows you to create more realistic shadows, which also affects the perception of roughness. Shadows can hide some defects in the coating, making them less noticeable but, at the same time, emphasizing other features.

My friends have often encountered a problem when they don't have an idea for rendering. In this case, I always tell them to start with simple renders on a white background. This always helps you get involved in the development process. My rule is to always have a few of the simplest shots of your project on a neutral background where there are no distractions. After that, you can start looking for inspiration from various photographers and talented artists on ArtStation.

I'm constantly looking for inspiration from other guys, and I think it's the right thing to do. I also received several thanks for some of my ideas that other people used for their renderings. It is also generally important to communicate with your colleagues. After you have made a variety of renderings and shown your model from all sides, you can move on to post-processing. It is important to remember that each project is unique, and there is no universal recipe for creating a perfect render. However, by following these guidelines, you can create better and more interesting renderings that will attract attention and inspire admiration.

When submitting a job, several key aspects should be considered that will help make it more attractive and professional:

• Include several large frames to show the product in full growth. Add close-ups (close-ups) for details and textures.
• Experiment with different backgrounds for your renderers. Include frames on a black-and-white background for a minimalistic style. Add shots in the interior or in nature for a realistic look. Prefer horizontal wide renderers, as they look photogenic and cinematic.
• Don't be afraid to experiment and apply bold ideas. Try new techniques and approaches to achieve unique results.
• Use additional sources, such as the Megascans resource, to create realistic backgrounds and textures. Scan or photograph details to add realism to your assets. 

Back to Photoshop. I love the sharpness and noise filters. I think you've noticed this (ha-ha). I usually add contrast and sharpness to my shots, and I like to add color noise and filters in the style of old film photos to improve the cinematic aspect of the shots and help focus on certain parts of the rendering. It creates an interesting atmosphere for me. In Photoshop, I often use sharpness filters to make my images sharper and more detailed. Sharpness helps to highlight important elements in the photo, such as people's faces or small details, which makes the image more expressive and professional. I also add contrast to create deeper and richer colors, which helps make the image look more vibrant and dynamic.

Color noise is another important element in my work. I added it to create the feeling of an old film photo, which gives the shot a vintage and cinematic look. Color noise can be of different types, such as graininess or color spots, and I choose the one that best suits a particular image. Filters in the style of old film photos also play an important role in my work. They help create a unique atmosphere and style, which is especially important when creating advertising materials or portfolios. I use filters such as sepia, black and white images, and others to give my images the right shade and mood. In addition, I often use filters to focus on certain parts of the image. For example, I can use the Background Blur filter to highlight the object in the foreground or the Focus filter to make the object clearer and more detailed. This helps to make the image more professional and attractive to the viewer. For me, working with filters in Photoshop is not just a technical process but a real creativity. I try to experiment with different filters and effects to find the one that best conveys the idea and mood of the image. This helps me create unique and memorable photos that attract the audience's attention and evoke their emotions.

Conclusion

I want to raise a few psychological questions that may be useful for those who are engaged in creative work and projects. Sometimes it can be very difficult to complete a project, especially if it has already caused a lot of stress and you don't like it as much as you did at the beginning of the project. This may be due to the fact that you have invested a lot of energy and emotions throughout the process, and when the project does not meet your expectations, it can cause frustration and fatigue. It is important to remember that not all projects need to be large-scale and complex. Start with bright but small items. These can be objects with simple shapes, such as screwdrivers, hammers, knives, etc. Working on such subjects will allow you to show your creativity and enjoy the process of drawing. The main task of an artist is to find a lot of beauty in completely ordinary things. This requires time and attention to detail. Only with more time spent analyzing references will you be able to truly understand the material and create something outstanding. When you show your work to other people, it causes them positive emotions. This can be your reward for all the effort you put into the project.

There are big crises in the industry right now. This may be due to economic factors, changing consumer tastes, and other factors. It is important to remember that crises are not the end of the world. They can be an opportunity for the growth and development of the company. I myself run a small blog where I share my experiences and successes. At first, I had a complex that I was not good enough, and I compared myself with other specialists. This led to the fact that I did not consider myself worthy of rest. As a result, I came to burnout. To avoid burnout, it is important to be mindful of your needs and not forget to rest. This will help you save energy and inspiration for new projects. The creative process can be complex and unpredictable, but it can also be extremely satisfying. It is important to keep your goals in mind and not be afraid to experiment. This is the only way to create something truly unique and beautiful. I will honestly say that without a cool community around you, you will not be able to achieve anything. I am 99% grateful and indebted to my comrades, with whom we have developed together and helped each other.

I'll also give you some advice on developing your soft skills. Don't get into conflict with people, speak out harshly on the Internet, or give feedback if you haven't been asked to. This is a basic Internet courtesy.

Always support other young artists and help them, and you will find a large circle of acquaintances. After all, sometimes you can become colleagues, for example. I remember how wonderful people helped me at the beginning of my journey, and therefore, I myself am very happy to help beginners now. Be grateful for the help that you have received, communicate more, and help create a good community because, in fact, there are very, very few of us.

Survivor error is a cognitive bias in which people tend to pay attention only to successful examples and ignore failures. This phenomenon can manifest itself in various areas of life, including professional activities. When people share their positive experiences, they often do so with great enthusiasm and detail. However, they may not talk about their mistakes and difficulties, which gives the impression that everything happens easily and quickly for everyone. In fact, behind every successful project, there are many trials and failures that have remained behind the scenes.

If you are looking for a job, it is important to remember that a potential employer wants to see in your portfolio not only successful examples but also information about your technical skills. Employers want to make sure that you have the necessary knowledge and skills to perform your duties. Therefore, when creating a portfolio, it is important to include not only renderings but also other data that will show your knowledge from different angles. For example, you can add information about topology, mapping, and other technical aspects of your work. This will help the employer gain a better understanding of your abilities and experience. In addition, it is important to show the variety of your projects and tasks. This may include works of different scale and complexity, as well as projects made in different styles and techniques. This will show your flexibility and ability to adapt to different environments. You should also pay attention to the quality and detail of your work. The more thoroughly and professionally your projects are executed, the more trust they inspire in the employer. Don't forget about the importance of comments and descriptions to your work. They will help the employer better understand the context and goals of your projects.

Ultimately, the goal of your portfolio is to demonstrate your competence and professionalism. By showing your knowledge and skills from different angles, you can create a more complete and convincing impression of yourself as a specialist. I wish you every success in your creative career! It is important to believe in yourself and your abilities. Discipline and hard work will help you become a true professional.

I would like to express my gratitude to 80 Level and Amber for this opportunity. I hope that my participation in the project was useful and brought joy. If you have any further questions, do not hesitate to contact me via ArtStation, LinkedIn and Discord (rose_madder). I am always ready to help and discuss any topics that interest you. Remember that each of us is unique and has our own path. It is important to continue to learn and improve, despite the difficulties of the future. In this article, I have shared my thoughts and experiences, hoping that they will be useful to you. With best wishes and inspiration!

Lyubov Vasileva, Weapon Artist

Interview conducted by Amber Rutherford