Project Name: Naturmort

Published: August 2020

Duration: 2 Weeks

Project Type: Personal

Applications:

Modelling/UV Mapping: Maya

Texturing: Substance Painter

Rendering/Lighting: Sketchfab and Marmoset Toolbag

Description: For this project, I wanted to go out of my comfort zone and work on a 2D painting looking project, instead of a realistic looking one. I decided to go for a still-life oil painting concept.

First, I modeled the vase, the plate, the lemons, the table and some other fruits. But I did’t like that composition because of the solid/void balance and color balance. I wanted to use more of the lemons’ yellow and I wanted to fill more of the “canvas” vertically so I took out the other fruits and added sunflowers instead. I was generous with the polygon count as at the end, this image will be projected to one single polygon.

After Adobe bought Substance products, it became possible to import Photoshop brushes to Substance Painter. I started the texturing process by importing my favorite Photoshop brushes to Substance Painter, as well as making a few new ones dedicated to this project. I tried working with height map and roughness map as well to reflect the thickness of the paint, but it gave the render more of a realistic look. At the end, I only used a base color map.

The challenge was to estimate the light for the scene and paint the light and the shadows by hand. I didn’t use any lighting during my rendering using Sketchfab except for a dim ambient light. I turned of the shadow casting completely so that I could get away from realistic lighting. I aimed for a little bit darker look then I need so that when I use this render as a texture to my next scene and light that scene, the image wouldn’t go too light.

After finishing the painting part of the project, I modeled a simple frame to put it in. I wanted to play with the idea of a simple extruded plane with beveled edges can tell much more when the texture maps are turned on.

While texturing the final scene, I followed the PBR workflow. I used the render of the painting as the base color map and I used a fabric material for the roughness and the height map so that I can imitate the “canvas” look a bit. I also added a signature.

After finalizing the texturing process of the wall, the frame and the painting, I rendered it in Marmoset Toolbag. To get away from the realistic look even more, I used 21mm lens instead of a 45-55mm to exaggerate the forms a little bit. Finally, I played with the contrast and colors to get away from a uniform value distribution.

Final Renders:

The Topology:

The Progress:

The Reference Images:

The Details:

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