Matthew Dizon - Sketchbook

Imported into Substance Painter and baked the maps

Shoved quick textures

Shoved in more quick textures


… it is a light show…

Next, I’ll go back to Blender, re-organise everything then fix the colours to work together.

I need to work on perfectionism, I shouldn’t waste anytime on colours, kept going back and forth on choosing colours, but I can’t see the full layout yet. The level hasn’t been created and I’m just trying to figure out if 2 objects will go well together with a colour palette plan. But definitely should just quickly place the colours and not care until everything is all laid out.

Afterwards I’ll get onto texturing Futaba.
Which I fixed the baking issue from last time, turns out it was because I left the body and clothes non-selectable which excluded it from the high poly export.

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Finished the Environment layout, next will need to change the materials and colours until I feel like it blends well together.


Started texturing Futaba in her Base Materials.

I’ll be taking a break from the texturing phase for now and I’m just going to work on learning how to Rig and Animate in Blender. I’ll use Futaba as the starting point for the Blender Rigging.

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Learning how to Rig

Will continue with hair bones, facial etc and get onto weight painting.

Then will get back to the texturing

Been using this holy grail of a tutorial to help me

Already knew rigging and animation from Maya but Blender is new to me

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Thinking of getting into 3D Printing and just decided to make a Chinchila like figure.

Issues I’ve had is the topology working with Boolean and my worries for the 3D print. I mucked around with the Quadriflow retopo in blender but it would decrease the quality of the pedestal edges. The issue is I’m focused on creating a low and high poly in this work flow, to improve the texturing process. My plan was to use the height map from substance painter and apply to a displacement modifier and apply. Next time I’ll show focus purely on the sculpt and work with simpler designs.

Textured more of Futaba Fanart, currently in the base pass (1/4).

Textured the head. The hair is hard to texture.

Learnt how to implement Anisotrophy in Substance Painter, using this tutorial:

Added Anisotrophy to the hair, looks better now. The hair is glossier.

Things to improve would be to avoid seams in the hair. In the outside, I have seams all over, I thought I could have them all covered up with the tiled anisotrophy texturing. It’s very easy to see when zoomed in, will have to add hair strands in the future to cover them up.

Will continue with more Futaba Texturing and will get into ‘Chincha’ texturing.

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More Texturing for Futaba Fanart.

Been changing lighting environments for each iteration to find issues with roughness values. I still need to refine the face in that end.

I need to refine the pants a bit more with the linings and structure. Folds need more improving (need to be a tad bit deeper and groin area doesn’t feel right). Then the face which I’ll be adding pores, oil, skin blush, red tints, subtle make up, very subtle wrinkles and eye lid folds. Then there’s the hair (subtle improvements) and Goggles (plain material just makes it look boring so I’ll need to add some more materials or something)

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Taking a Hiatus from the Futaba Fan Art project.

Current progress


Next is to refine Goggles and Face.
Then see what I could do with the hair perhaps?
and then finally with the Wear and Tear Pass

In the smaller Chincha Project


I’ve been so confused with Texture style, but I figure Pokemon style (block colours) and the use of the Curvature Generator would make things easier.
I reckon if I keep the pedestal, I can make it a little more stylised with some overlay water painting.
The colour scheme of Chincha, might need a little tweaking, maybe white fur instead and different curvature line colour.

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Trying to figure out Colouring:

Iteration 1:

Iteration 2:

Iteration 3:

I find iteration 3 to be daring with its fluorescent coat and the contrasting warmer skin coat… That’s my favourite for now

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Decided to go back to this colour. Almost done with making this 3D Printable.

I’ve just learnt how to use my Balco 3D Printer Touch/ Wanhao Duplicator i3 Plus.

After learning how to create stuff, I’ve accepted a request from a friend to make a microphone attachment, that will create a reverb effect. Prototype, was almost successful, however it didn’t create the desired reverb effect because the shape needs to be a little differencet so will have to go back to drawing board on design.

Through this experience I’ve learnt how to work with Measurement sensitive modelling and learnt how to use the Blender 3D Print Addon.

I’ve also heavily used the ‘Measure It’ Addon in Blender for all the meaasurings. Then learnt how to use Cura for slicing.

Resources used to help me:



For future research on Character 3D Printing, Thomas Roussel’s videos really answers a lot of confusion I had with character prints.


Been working Staff Asset for Esper

Will continue to texture more in detail this week and also aiming to make Chincha 3D Printable.

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Finished the Garthosian Staff for Esper

I found it difficult to bring out the Staff during the render, definitely rendering this can be done better.

Now, back to Chincha, I’ve sliced it in Cura and gon prototype a 3D print.
A terrible mistake I’ve found in this new workflow is the Substance Painter Auto UV Map, I thought it would improve my speed, but I forgot to re-import back to blender, and did all the 3D Print Addon stuff to make it good for 3D print only to find out I worked on the wrong mesh.
The biggest flaw was the triangulated export from Substance Painter, I lost the ability to smoothen nicely.

Now why would I want to texture this in Substance Painter…a 3D Print? Because I want to upload to Shapeways with the Sandstone Material, https://www.shapeways.com/materials/sandstone

I used the PBR texturing in Substance Painter, the trick was to combine all the maps into a single colour map. Which I’ve done by fusing the R-Channel of the Normal map (which is grey map) into the Albedo. I used the Hard Light blend mode to bring out the normal details. Then I used the AO (multiply blend), Roughness (overlay), Metallic (overlay). I didn’t add the height map, but next time I can overlay and decrease the transparency a lot, then do some lighting tweak because all the maps would have lightened the texture too much. This was the result after all that combining.

Screenshot from Blender, with Combined Textures

Substance Painter Render

It is very close, although the texture for the creature was pretty much flat, but the High to Low Poly normal map bake shows very well.

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3D Printed Chincha (Balco 3D Printer Touch / Wanhao i3 Duplicator Plus)

For the next couple of weeks, I’ll meditatively sand and smooth him to a gloss white finish within a more loose time frame.

3D Print Project - Headset Stand


Finally got started, almost done too. Just need to create the intrudes for where the connection goes, my concern is the wall thickness will follow below 0.1mm limit when I intrude the walls. I may need to thicken the model if that’s the case.

Futaba Texturing

Worked more on her pants logic details and the goggles. Decided to make it matte black and not a steel reflective look.


Just need to work on the face and then add a subtle wear and tear pass.
Then I should improve her hair + uvs and stuff back in blender

Done with the 3D Print Model for the Headphone stand. I just scoped down and went with this. I wanted to add cylindrical connectors that would make it a little bit futuristic with a curvy extrusion but I was worried about overhead issues. Then I got a bit impatient and was just happy to just go with this design.

I ended up scrapping the clip, to connect the top and legs, because of wall thickness issues and the difficulty of getting it right. So I just decided to make these simple extrusions, hopefully it will fit perfectly and I just apply glue.

I’ll be printing at 1.5mm Layer Height, with 30% infill.
Duration of the whole thing is going to be 19 hours, but 2 seperate prints.
Top is 9 hours and the sides are 10 hours.

I’m now done with Futaba in Substance Painter, added some very subtle makeup and blush to the face & lips.

Then I improved the hair colour just a bit, I still need to do more work on it in Blender with the messy UVs and all.

Took away some of the outward foldings in the pants and decreased foldings to be more subtle (I was afraid I was creating a bulging ‘trap’ effect on the pants with the way it folded).

Decided to scope down and not add a wear and tear, this is a stylised project, in addition I want to make this a fast workflow, in the future these types of projects won’t take a year and will eventually just take me 3 months with the limited free time I spend.

Got her into Blender, eevee using the Principled BSDF material. Very close and similar to Substance Painter, I’m so glad!

The hair however isn’t showing the anisotrophy and is too shiny, I may work on that and decrease roughness, then hope sketchfab will handle the anisotrophy like I did in Substance Painter. I’m doing something wrong with the hair with the anisotrophy setup so I’ll need to research more. Perhaps it is because I don’t have any lighting at all, I’m just using the skybox lighting.

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Finished Esper’s (long term side project) textures in Substance Painter

Imported to Blender ready for rigging. Also connected BSDF shaders for previewing

Because I jump and cycle between a short term, mid term and long term style projects, this made me see things that I could have definitely done better if I were to start again, which is a good thing, I definitely feel good about how much better next projects will be.

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quick wip doodle, using a Daz3D model

Want to use this learn how to create VFX hair (particles?) in Blender and Rendering, learning something other than realtime rendering

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More WIP sculpting, about to start using Blender Hair with Eevee for the first time


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Sculpting Done

Decimated to Low Poly

Unwrapped

A lot of cheating going on because I know this to be just a render, so I just quickly seam unwrapped the body but ‘Project from View’ unwrapped the clothing lol… First time doing that and after some thought I realise this might be a bad move for patterned textures in Substance Painter, the flow of the textures will not work properly…
Alright Plan B might be to give Substance Painter auto unwrap a shot, just for the clothing. I’m really just in this stage trying to learn how to get through these stages as quick as possible for something that is just to be a render and not an animated real time asset of any sort.

Furthermore just the texturing phase, hair and rendering left

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Opal (Small Project WIP)

Auto UV Mapped the Clothing in Substance Painter, some warping on the skirt bit, but it’s the next best thing for a supposedly ‘small’ quick project.

Then I imported into Blender, then exported the body together. After that I worked on getting in base substance materials.

More tweaking the base material values

Tweaking again. Next thing to do is the blush the skin and do some manual brush polishing on the base materials.

Getting used to this speedy quick workflow, next project should be able to go much smoother.

Futaba Sakura (Medium Project WIP)

Trying to tweak environment textures and add lighting

More Lighting Tweaking

I feel my next move from this evaluation is to darken the environment textures a lot, increase the PBR lighting to make Futaba the most detailed and important part of the scene and then I also need to retouch the Hair UVs just to tidy up the seams. Then some small texture touch ups with the eye brows, eye lids and bald part of her head. I might also tweak the knee & elbow metal, leg leather and Goggle metal just very slightly increase those roughness values.

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Tweaked the textures… I’m feeling I went a bit too far with decreasing the roughness of the hair.

I’ll just quickly finish it and not mess around anymore with lighting, I need to combine pieces in preparation for rigging. Then I need to fix dimensions because I forgot that part, she’s like 18m tall…

After which it will be rigging and blendshapes before bringing over to Sketchfab.

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Learning how to Weight Paint in Blender

New things I learnt from the experience of Weight Painting:

Blurring, Averaging and/or Subtracting a vertice that has a weight value of 1.00 in a specific bone will cause Blender to make mistakes and may normalize and allocate weight values to undesirable bones.

Simply just keep to the Additive process (using 0.2 add brush), then later smooth (blur, avg or subtract) only when the vertices is normalized by 2 or more bones

Just the hands, hips and middle spine left to weight paint.

Then onto the separate pieces like the goggles, eyes, glasses and hair

After that I’m suppose to combine the meshes together, blender should retain weight values.

Then name the mesh ‘Body’ which will then allow me to move onto the Blend Shape phase…

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