Prop modeling and texturing in Maya ZBrush Substance Painter

Name: Prop modeling and texturing in Maya ZBrush Substance Painter
Rating: 4.3 (38 reviews)

Learn the complete process creating props for games and animation with Maya, ZBrush and Substance Painter 2019

Created byRey3D .com

Last updated 4/2022

English

English [Auto],

What you'll learn

At the end of the course, you will be able to create your own assets or props with great quality and excellent detail.
Autodesk Maya for inorganic modeling.
ZBrush for assets detailing.
Substance Painter for PBR texturing.
Substance Painter from zero.
Workflow between these 3 powerfull programas.
Import normal maps from ZBrush to Maya.
Import textures from Substance Painter to Maya.
Set materials, textures and illumination setting in Maya to get the final render.

Course content

4 sections • 18 lectures • 3h 32m total length

Introduction1:21
Explore the modeling and texturing workflow in Maya, ZBrush, and Substance Painter by building a shield, applying weathering and scratches, then preparing a realistic PBR render.
Creating the shield base13:34
Create the shield base from a cylinder, refine the outline and thickness, apply bevels for smooth edges, and add inner tabs and gaps for realistic shading.
Adding details11:10
Finish the shield by adding curvature before details, using Maya 2018 nonlinear bend, combine pieces, adjust subdivisions, and center symmetrical details for a polished result.
Finalizing the shield8:01
Finish the shield by modeling the leather handle, adding screws, and duplicating parts with careful local and global transforms for realism; organize the scene and generate UBS.
Organizing scene3:11
Organize the shield model by separating and combining parts into woods, framework, nails, and handles, removing history and transforms, centering pivots, and optimizing the scene for UV map preparation.

Creating the UV maps13:22
Create and optimize a UV map for the shield in Maya by selecting faces, defining borders, and separating pieces inside and outside, then distribute and adjust for efficient texture layout.
Finalizing UV maps and preparing the model12:47
Finalize UV maps and prepare the shield model in Maya by organizing pieces, applying borders and wrap, and assigning wood, leather, and metal Lambert materials for Substance Painter.

Exporting to ZBrush6:55
Prep a Maya prop for export to ZBrush by softening and hardening edges, deleting history, and exporting the selection as OBJ; import, manage subtools, and verify polygons.
Detailing our shield in ZBrush18:43
Detail a shield in ZBrush by adding edge wear and damage with dynamic and clay brushes, using lazy mouse, symmetry, and controlled subdivisions to preserve the shield’s form.
Adding more detail10:14
Add detail to the shield by refining cracks and hits from multiple perspectives, using the standard brush and drag rectangle, then apply noise for a metallic look in substance painter.
Detailing the wood9:43
Detail the shield’s wood by adding subdivisions, applying alpha textures to sculpt wood grain, and generating a normal map that combines with Substance Painter for seamless double-sided detail.
Finalizing the shield detail13:58
Finalize shield detailing by applying depth masks, leather wear, edge wear, porosity, and sewing using clay tubes, lazy mouse, and noise, then prepare for normal map export.
Exporting detail to Maya12:30
Export the detail from ZBrush to Maya by baking a tangent space normal map at subdivision level two, then import and apply it to the low-poly model.

Taking our shield to Substance Painter11:06
Learn to export a shield model from Maya 2016 to Substance Painter, bake normal maps and other textures at 4K, manage object materials, and refine normals for clean, detailed renders.
Texturing our shield18:25
Texture a shield in Substance Painter by importing normal maps and applying wood textures with smart materials. Adjust fibers, wear, and edge details for a realistic finish.
Adding detail to the texture17:58
Finish texturing the shield in Substance Painter, fix normal map issues with OpenGL reconfiguration, and refine leather with smart materials, masks, and seam highlights.
Finalizing the texturing process and exporting textures10:29
Finish texturizing the handles and nails with separate materials and rust or dirt masks, then export textures and choose separate or combined normal maps for six maps at 4k.
Final render19:27
Root textures from Substance Painter in Maya, assign PBR maps (roughness, metallic, normal, base color), render previews in viewport and real or Unreal Engine, and refine metals with color correction.

Requirements

Autodesk Maya 2016 or later installed
ZBrush 2019 installed
Substance Painter 2019 installed

Description

Learn the complete process to create assets or props for videogames using Maya, ZBrush and Substance Painter 2019.

First in Maya we are going to create the base model with simple geometry, also we are going to create a correct UV map with an excelent automatic method, from there we'll take our base model to ZBrush for detailing, we're going to teach you some brushes to get detail very easy in ZBrush, afterwards we'll take the model to Substance Painter 2019 for PBR textuting and get a realistic look for the shield.

Finally we'll return all the detail from ZBrush and texture from Substance Painter to Maya, set the materials, textures and illumination settings to get the final render in Maya.

All in this complete course.

Who this course is for:

Any enthusiast, student or professional who wants to learn the complete process for assets and props creation with great quality using Maya, ZBrush and Substance Painter 2019.

Prop modeling and texturing in Maya ZBrush Substance Painter

What you'll learn

Explore related topics

Course content

Introduction and base modeling5 lectures • 37min

UV maps creation2 lectures • 26min

ZBrush detailing6 lectures • 1hr 12min

Substance Painter texturing5 lectures • 1hr 17min

Requirements

Description

Who this course is for: