This is followed by a damage/grime pass to give some character and make the texture appear more unique. Clouds procedurals set to multiply can be used to add areas of color variation. I do this by layering procedurals in the mask of a fill layer, where I can then adjust the scale, base color, height, and roughness values to match the reference, and then adjusting the opacity to blend them. I then create the detail using texture and noise, focusing on the larger forms first. In Substance Painter, I start texturing by adding a fill base color that I eyedrop from the reference and adjust the roughness and metallic values to get a close match. I also made generalized searches on Pinterest for the time period and made a mood board of my favorite images. There are often lots of different angles, dimensions, and close-up shots that document damages and wear and that you can refer to when texturing. I gathered references from the film and images of interesting real-world furniture and trinkets from the time period.Īuction websites can be excellent sources for reference, particularly for furniture assets. There were also lots of variations on this room from different productions of the show I could refer to. I’m a huge fan of musicals and at the time I remember rewatching the film version of The Phantom of the Opera! I loved the design of Christine’s dressing room and thought it would be a fun project to work on. I knew that I wanted my scene to be centered around a table that I could populate with items belonging to a character. At the start when I’m generating an idea for a portfolio piece I like to have a good browse on ArtStation and get inspired by what other artists are working on.
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