Invert the mask and fill it with black, create a texture and export.
You can change this under Preference > Transpose > Mask blur strength. Lower the blur values a bit, since ZBrush’s default values are too intense. If not, play with the curve profile to get better results. The default values should work just fine. In ZBrush, fill your mesh with a pure white color then go to Tools > Masking > Mask by Cavity. However, for this you’ll need to have the same UV’s for both low and high poly meshes. The method I personally like to use is extracting cavity detail from ZBrush since it’s faster than baking. Marmoset have added Cavity maps to Toolbag 3’s baker which works really well. It’s simply a black and white map where the pores are completely black. Multiplying your cavity map down as a red color helps fake the subsurface effect and helps align the pores in both the normal and albedo maps.Ĭavity: Cavity maps can be used in multiple maps, such as Albedo, Specular and Roughness. Make sure to keep the color shifts subtle. One useful tip to help enhance the feeling of subsurface scattering in your albedo map is to paint veins and redness around high blood flow areas like the nose, ears and cheeks. While hand painting is fun, it’s more time consuming compared to working with scan data.
Another option to achieve a similar result would be hand painting your textures (Magdalena Dadela’s GDC tutorial demonstrates this really well). Below is my process for how I projected my albedo map. For this project, I projected albedo data from texturing.xyz. Normal, Detail Normal, Detail Weight, Roughness (inverted Gloss), Albedo, Translucency, AO, Cavity, Noise, Specular (Optional) and Scatter (Optional).Īlbedo: Albedo is color information. Tip: Adding subtle noise in skin helps to breakup the “perfect” feeling and makes it look more organic. Sculpting pores by hand (dragging alpha) is easier and it doesn’t make much of a difference for games/ real-time character creation unless you zoom in real close. Lately, I’ve been using texturing.xyz for my pore details. The sculpting process is straightforward find good reference, have a strong foundation in anatomy and go crazy until it looks good. I start sculpting using a custom made base mesh which has correct topology and UV’s that can be used for the low poly mesh. The focus of the article is aimed towards texturing and setting up shaders, but there are a few things I want to cover beforehand which I think help a lot in the final result. I hope this article helps those who are looking to learn how to create skin materials inside Toolbag. Greetings, everyone! This article will show you how I approach creating faces for real-time characters and present them using Marmoset Toolbag 3. Character Artist Saurabh Jethani shared his approach to skin material creation and setup for his Mass Effect Pathfinder bust.
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