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Substance Designer 3 is the tool of choice for all your texturing work, whether you are working on Games or Animation/VFX. It has been already chosen by numerous, prestigious and overall great studios over the world as a hub in their pipeline, and for good reasons: Substance Designer includes dedicated and empowering features and tools such as an amazing batching system, letting you batch process numerous meshes and textures at the same time, a live link with Adobe Photoshop letting artists use the tool they want for the job, powerful preset filters and more to speed up texture creation time, all this in a unique non linear environment. In this MARI tutorial, we will learn about the process of texturing low poly models in MARI.

We’ll get started with this tutorial by setting up our project including some selection groups that will make things easier going forward. From here we’ll dive right in and project some skin textures on our model using some reference photos. Next we will shift our attention to her armor, create diffuse, bump and specular information to match a piece of concept art.

Moving on, we will learn about the process of painting in details that don’t exist in our mesh but add visual appeal to the final textures. Finally, we will wrap things up by consolidating the channels moving through our shader, bake them, and then export our maps out of MARI. After completing this tutorial, you’ll be familiar with tools and techniques that can be used in a production pipeline to texture a low poly game character in MARI. Intermediate 3h 44m 3.24 GB Project Files 1.28 GB Software used: MARI v2.0 When it comes to creating textures for a project, sometimes UV maps just aren’t available for an asset.

Ptex provides a wonderful solution to this problem by allowing us to paint textures on each face without the use of UVs. In addition, MARI 2.0’s true layer-based painting workflow makes creating these textures an absolute joy. To get started with this project we will learn how to create our Ptex project in MARI using an existing.obj file.

From here we will begin the process of creating selection groups to help us target areas for paint. Next we will gradually work though both base textures and eventually some wonderful details for our robot.