3D

Creating Realistic Skin in Toolbag with Saurabh Jethani

Character Artist Saurabh Jethani shared his approach to skin material creation and setup for his Mass Effect Pathfinder bust.

Greetings, everyone! This article will show you how I approach creating faces for real-time characters and present them using Marmoset Toolbag 3. I hope this article helps those who are looking to learn how to create skin materials inside Toolbag.

Sculpt

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 start sculpting using a custom made base mesh which has correct topology and UV’s that can be used for the low poly mesh. This cuts down a lot of time. The sculpting process is straightforward; find good reference, have a strong foundation in anatomy and go crazy until it looks good.

Lately, I’ve been using texturing.xyz for my pore details. Sculpting pores by hand (dragging alpha) and it doesn’t make much of a difference for games/ real-time character creation unless you zoom in real close. The choice is yours.

Tip: Adding subtle noise in skin helps to breakup the “perfect” feeling and makes it look more organic.

Textures

The texture maps I used were:

Normal, Detail Normal, Detail Weight, Roughness (inverted Gloss), Albedo, Translucency, AO, Cavity, Noise, Specular (Optional) and Scatter (Optional).

Albedo: Albedo is color information. For this project, I projected albedo data from texturing.xyz. Below is my process for how I projected my albedo map. Another option to achieve a similar result would be hand painting your textures (Magdalena Dadela’s GDC tutorial demonstrates this really well). While hand painting is fun, it’s more time consuming compared to working with scan data.

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. Make sure to keep the color shifts subtle. 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.

Cavity: Cavity maps can be used in multiple maps, such as Albedo, Specular and Roughness. It’s simply a black and white map where the pores are completely black. Marmoset have added Cavity maps to Toolbag 3’s baker which works really well. The method I personally like to use is extracting cavity detail from ZBrush since it’s faster than baking. However, for this you’ll need to have the same UV’s for both low and high poly meshes.

In ZBrush, fill your mesh with a pure white color then go to Tools > Masking > Mask by Cavity. The default values should work just fine. If not, play with the curve profile to get better results. Lower the blur values a bit, since ZBrush’s default values are too intense. You can change this under Preference > Transpose > Mask blur strength. Invert the mask and fill it with black, create a texture and export.

Normal: Bake down your high poly mesh onto the low poly mesh.

Translucency: This defines how much light scatters through the surface. Brighter values on the map define thinner areas such as the ears, tip of the nose, nostrils, eyelids and lips. The map can be derived by inverting the thickness map baked from the high poly. I tweak the nose area on the map to make it more intense and give it a more fleshy look.

Roughness: Personally, I feel this is the most artistic map in terms of how they’re constructed. Every artist has their own methods, but the basic principles remain the same.

  1. Have a base grey value that defines how rough/glossy the face is in general.
  2. Paint different values in specific areas of the face that are rougher or smoother.
  3. Pore details should be rougher, they shouldn’t appear shiny in engine.
  4. Have big breakups in value which are really subtle. This isn’t realistic, but it looks good when the light moves.
  5. Paint different roughness values for scars, wounds, dirt, sweat, etc.

1 and 2 are the major points. I’ve seen people only use 1 for stylized faces. 1, 2 and 3 work really well and 4 is an experimental one I’ve seen people do, but it looks good when lights move. 5 is subjective to the project you’re working on. And this is what I meant by the Roughness being the most artistic map, you use your own creative judgements and make it look good.

Below is an example of how I usually construct my roughness maps. This map used all the methods above and the new face was created with A and B. The construction of Roughness maps vary from project to project. In Toolbag, a value of 0.45 Roughness value works well as a starting point.

Scatter: Scatter maps describe the color which bleeds at the transition point from light to shadow. A flat peach color works pretty well for realistic skin, and it can be obtained by fully saturating the albedo map. The texturing.xyz data I used is extracted from the subsurface value of skin, so saturating that gave me realistic values.

Detail Normal: This tiny, tileable normal map helps make your textures look more detailed than they actually are. Substance Painter includes a few detail maps in their library that can be imported into Toolbag. For this project, I used Skin_bumpy. If you don’t own Substance Painter, you can find a good detail map by Yuri Alexander available for download from Marmoset’s Character Setup page.

Detail Weight: This is a black and white map which determines where the detail normal map will be applied. Black being the place where there is no effect. The lips have specific pore information, so you don’t want tiled pores there. You can have some of this applied to the tip of the nose and the bottom of the eyelids.

Noise: This map is used to help the fuzz look better.

Skin Material

Toolbag 3 handles skin shading like a champ. The material is easy to construct and looks amazing. There are no exact values for skin that make it look realistic as it varies from project to project. With that said, there are a few values that work really well as a starting point.

  1. Specular: 0.027
  2. Roughness: 0.45

Before starting anything in Toolbag, make sure the scene scale is properly set. Use Show Scale Reference to ask a gentleman for help and match the scene scale. Below is a demo of how I set my up skin material inside Toolbag.

There are three important aspects to keep in mind for skin shading:

  • Specular
  • Subsurface Scattering
  • Global Illumination

All of these components are key to setting up a good skin shader. A common problem for skin in CG is the lack of light bounceback from different parts of the skin. GI helps to achieve that effect and gets rid of the AO created by the engine around the corners of the nose, lips and fat above the eyelids. It also helps with translucency.

AO helps ground the eyeball on the face. A high strength setting and small size generally works. For GI, start with a low brightness and adjust upwards. You want to get rid of the extra AO and darkness around the eyes, corners of the nose and where lips meet. Make sure not to make the GI too intense, as it makes the skin look emissive.

SSS in Marmoset is composed of Scatter Depth and Translucency. Scatter Depth describes how fleshy or waxy the surface is. A flat peach color works fine for realistic skin. You should look for a subtle transition from your shadow areas to skin. Translucency defines how much light scatters through the surface. Place a light behind the ears and the side of the nose and tweak the values that work for your scene. The effect should be subtle with light passing through the skin.

A specular value of 0.027 is a good start for skin. Skin has two specular layers instead of one, which makes for better rendering. The Secondary Reflection helps achieve extra spec and gloss around the highlights to mimic the oily surface of the skin (Image 01).

Adding a cavity map helps remove specular reflections inside pores non-destructively. It can be baked into the specular map, but having a slider is much more flexible. It also helps salvage any pore details that are blurred by the SSS (Image 02).

Skin is all about subtleties. Find good references and try your best to match them while making sure it looks good under every lighting condition.

Eyes

The window to the soul.

One thing I care a lot about and try to constantly improve is eyes and how the eyelids interact with the eyeball. Make sure they are thick and hugging the eyeballs in both the high and low poly meshes. This helps make the eyeball feel more integrated.

Marmoset have recently added Refraction to Toolbag, but it does break on occasion and is not as complex as Unreal’s (Unreal has the prettiest CG eyes I’ve seen yet). But don’t sweat it, I have you covered. There’s a simple yet effective way to make realistic eyes in Toolbag. The method was originally developed by Peter Zoppi in his tutorial for eye creation, which I would highly recommend getting if you want more detailed instructions.

Geometry and Baking

The best way to fake refraction is to bake the geometry of the eyeball. To do so, make sure your low poly has a cornea bulge that’s duplicated and convexed inwards to form the pupil. Smooth the high poly mesh and bake it down to the low poly. The cornea and eyeball are part of the same low poly mesh and share the same UVs, but they will have different maps.

Maps

After baking, the process becomes straightforward and you can texture the eye however you want. One thing that will help make your refraction better is adding a parallax map. It’s a flat white map and a black colored pupil with gradient borders.

  1. Eyeball Normal
  2. Eyeball Gloss
  3. Parallax
  4. Eyeball Albedo
  5. Eyeball Spec
  6. Cornea Normal

The normal map for the eyeball should have the iris details and the albedo should include the color of the iris, eyeballs and the veins. The normal information of the veins should come from the cornea’s normal map with noise applied to give it a more wet look. However, make sure not to include any noise in the in the cornea bulge. Specular and gloss maps vary from project to project.

Eye Material

Tip: I’ve seen people use Photoshop to enhance the contrast in the eyes on the opposite side of where the light is hitting the eyes. The same effect can be achieve using secondary reflection. It can make eyes more attractive, but it can look overly stylized. Use your own judgement and apply it if it works for your project.

Lashes and Wet Line

The lashes are hair cards that are placed by hand and the wet line is a mesh blending the eyelid and the eyeball together with additive transparency applied. Setting the reflection to Anisotropic instead of GGX helps sell the effect. Change the direction so the highlight follows the direction of the geometry when the light moves. The wet line is something I’m still experimenting with and I haven’t found a good medium which works in every situation.

Lashes Occluding the Spec

While writing this article, I realized something was missing from my eye setup. It’s a minor change that makes a major difference; lashes and lids occluding the spec in the eyes. This is a common problem for real-time rendering, as the lashes are composed of cards and neither GI nor AO help to achieve this effect. Again, don’t sweat it, I have you covered. It does feel like something might break when the eyes are animated, but for still images, this works fine.

Lighting and Presentation

Lighting

A skill I’ve neglected, and now I regret it. You can create an awesome sculpt, perfect texture maps, but if you’re not able to showcase your model properly, none of those things are going to matter. Although I’m training myself in this area, lighting is still my weakest link. If you’re like me and blank during the lighting process, I have a lighting setup for you which works great for portrait presentation.

Presentation

Nothing is perfect in real life. Adding imperfections helps sell the believability of your character. For this project, I wanted a vignette effect and to rotate my camera in the Z axis by 2-3 degrees to make it look straight after by manually moving it.

Adding Bloom and Depth of Field can also add realism to your scene, while Chromatic Aberration can mimic the effect of a camera shot. Fog can be added to give the viewport space a sense of depth. Whatever you do, make sure it’s done with taste and compliments your piece rather than take away from it.

Tip: Renders will look different across multiple screens. My monitors have different colors and my renders generally look different on each screen. Changing the Tone Mapping setting to Filmic and tweaking the Exposure to a value of 2.2 is generally a good point for my renders to look decent on a wide variety of monitors .

Thanks to the people at Marmoset for giving me the opportunity to write this article. Thanks to the people who read it and made it this far since the article is much longer than what I wanted it to be. I hope it helps 🙂


You can check out more of Saurabh’s work on Artstation and learn more about Toolbag 3’s skin shader in Episode 6 of Getting to Know Toolbag 3.

May Day Sale | All Marmoset Software On Sale!

For a limited time only, save up to 50% on Marmoset products. Spring is a time of new beginnings, so freshen up your portfolio with Toolbag, experiment with new art styles in Hexels, and view your work in a new light with Pano Packs.

You can grab licenses of Marmoset Toolbag 3 for 25% OFF, Marmoset Hexels 3 for 50% OFF, and Pano Packs at 50% OFF from Tuesday, May 1st through Friday, May 4th.

Happy May Day!

– The Marmoset Team

Buy Now: marmoset.co/shop


Promotional FAQ

  • Gifting a license? Check out the “Licensing” tab of the product page for more instructions.
  • Upgrading a license? Absolutely, though only through marmoset.co (not available on Steam). Select the upgrade license type, and proceed through the checkout process.
  • When does this promo expire? This promotion is valid from May 1st, 2018 through May 4th, 2018; the discount on Toolbag licenses does not apply to “Studio” licenses.

 

Free Update: Toolbag 3.04

We’re thrilled to announce the release of Marmoset Toolbag 3.04, a free update for all Toolbag 3 users. 3.04 brings a number of exciting new features and enhancements to both Toolbag and Viewer. New baker outputs and workflow improvements, animation support for Viewer, and improved shadows headline the release.

Download the installer from the Toolbag 3 product page, or by launching Toolbag 3 and clicking on the auto-update prompt. See the full change log on the Toolbag History section.

Baker Updates

Interface and Workflow Improvements

The baker UI has been updated with a focus on functionality. We’ve added a map configurator to customize which maps types are active. You can define the default maps (and their settings), as well as save and load presets for different projects. We’ve also added a master tangent space setting, a custom pixel padding size option and user definable map suffixes.

New Map Outputs



Toolbag 3.04 bakes all the maps, so you can do all the things! Here’s a list of the new map types:

  • Thickness
  • Concavity
  • Convexity
  • Bent Normals
  • Bent Normals (Object)
  • Complete Lighting
  • Diffuse Lighting
  • Specular Lighting
  • Albedo (Metalness)
  • Metalness
  • Roughness
  • UV ID
  • Group ID
  • Object ID
  • Wireframe
  • Alpha
  • Emissive
  • Transparency

Texture Set Support

Texture Set Support

Featured art by Charles Metze III.

Multiple texture/material sets are now supported. You can easily bake assets with more than one UV layout in a single Baker object. For instance, a character with a texture set for the body and clothes or a gun with additional sets for the attachments.

Texture sets work by reading the materials assigned to the low poly mesh(es). For each unique material, a new set of images will be baked. Resolution can be controlled per set as well.

Image Quality Improvements

A dithering option has been added for the Ambient Occlusion output, which reduces banding by a considerable amount. AO bakes look better with fewer rays now, which means faster bakes with similar or better quality in most cases when dithering is enabled.


Curvature maps have been updated with a new Normalize setting (which is enabled by default). The Normalize setting maximizes the value range, which makes curvature maps work better with applications such as Substance Painter.

Bake Normal Mapped Material from High to Low
Normal map detail from the high poly material now transfers to the baked normal map output. This can be useful if you’ve added additional high frequency detail to your high poly material or if you’re baking from one low poly mesh to another.


Shiny New Viewer Features


Viewer has received a facelift, sporting a host of new features. Headlining the additions is animation support. Now you can bring your artwork to life with the magic of motion. We’ve also added support for refractive materials, shadowed fog, and the shadow catcher object. Rounding out the update are reduced file sizes, high DPI support, and a high-resolution thumbnail option.

Stand Alone Viewer Application

Viewer Stand Alone Application

Featured art by Baj Singh.

In addition to the new features, we’ve developed an application for viewing .mview files. Now reviewing local content is much easier for you and your client. Simply double click an .mview file to launch the stand alone viewer. The new Viewer app is included with the Toolbag 3.04 installer, and can be downloaded independently as well and works on Mac and Windows.


Improved Shadows

Volumetric Fog

Add atmosphere to your scene with our updated fog effect. Direct lights now cast shadows through fog, creating a volumetric effect that adds depth and realism to your renders.

Cascaded Shadow Maps


Directional lights now have the option to use Cascaded Shadow Maps, which prioritize shadow detail for areas near to the camera. CSM is especially useful for environments and larger scenes.

Ludicrous Shadow Resolution

Ludicrous Shadow Resolution

If you’re looking for less pixelation, a new extra-high resolution shadow option can be found in the render settings. This setting can reduce performance significantly, so it’s best used in relatively simple scenes or by those who have high-end GPUs.

Better Shadow Quality

Reduced Shadow Acne

Shadow acne artifacts have been significantly reduced, and shadow coverage is improved as well.


Optimized Animations

Featured art by Peter Vechkasov.

Along with animation support in Viewer, we’ve improved and optimized the animation system. Animated meshes are now stored directly in the .tbscene file and animation performance is significantly improved in some cases. We’ve added support for the 2018 version of the FBX format as well, which means better compatibility with the latest 3D apps.


Speedy Viewport Mode

Featured art by Juan Manuel Cervilla and Natalia P. Gutiérrez.

We’ve added a new mode to the viewport which temporarily disables advanced rendering features to make navigating in Toolbag easier. Say goodbye to juggling render settings while you work, simply click the rocket ship icon to blast your frame rate to the moon! Speedy mode doesn’t affect the render settings for captured images, which means you can enable it for maximum responsiveness while rendering out high quality images with GPU hungry effects like Global Illumination, Local Reflections and Depth Of Field.


Image Quality Improvements

Smooth Depth of Field Transitions


We’ve updated the DOF effect. Now the transition from in to out of focus is smooth. The DOF shown in the viewport matches the rendered DOF much more accurately now as well, which means no more trial and error to get your DOF looking right. The new DOF can look slightly different in existing scenes, so you may need to adjust your settings.

Beautiful Bloom

Featured art by Jose Lázaro.

The bloom effect has gotten some love as well. We’ve improved the quality greatly when using size values over 0.05.


Try Today

Artwork by Blair Armitage

Featured art by Blair Armitage.

Give the latest and greatest version of Toolbag a spin by downloading the free 30-day trial. If you’ve previously had a trial but it ran out, good news! We’ve reset all trials, so download the installer and give it a go.

Artist Feature | Satoshi Arakawa

Interview conducted by Mira Karouta

We sat down (virtually speaking!) with industry veteran Satoshi Arakawa to discuss his career as a Character Artist in the games industry and experience using Marmoset Toolbag throughout the years.

Could you give us a brief look into how you came to be a character artist?

I actually started my career as an environment artist. I worked for about 2 years in this role on a hand-painted MMO. While I enjoyed it, I really wanted to do something different. I hit a harsh industry reality when the art style was reset and all the environment art I had built over a year was pretty much thrown out. It was at this time that one of the character artists asked me if I wanted to try characters. The timing was perfect and the transition was pretty smooth. I haven’t looked back since!

What’s your favorite and least favorite parts of creating characters?

There really isn’t a part of character creation that I don’t like. The retopology and UV creation is probably the least creative step in the process and therefore not quite as enjoyable. Still, I take pride in applying what I’ve learned to do these steps more efficiently with every character I make. The most enjoyable parts would have to be the high resolution sculpting and the texturing/materials phase. From simple shapes to fine detail, sculpting is incredibly fun and it’s hard to break away from and move on. Texturing and materials is where you get to really see your character start coming to life! This is also where I start using Toolbag heavily in my pipeline.

When did you start using Toolbag?

I started using Toolbag almost immediately when it first released. The first few normal mapped characters I ever did in my career were rendered in Marmoset Toolbag 1. I think this was back in 2009-2010.

 

How has your work and your use of Toolbag evolved over the years?

I think early on, I would use it mainly to render characters once they were completed at work or in my personal time but it wasn’t really in my pipeline. It felt like a tool to use at the very end to make my characters look better with lighting, etc. And I never used it at work. Now, with the upgrades to PBR and the integration to Substance and how easy both can be used together, it is pretty much a staple in my process both at home and at work. I use it to test my assets in multiple lighting scenarios, different material setups, etc. Now that I can bake all my base textures in TB3, it has also replaced the baking software I used for almost a decade.

How do you use Toolbag in the studio versus using it in your personal work?

My process for using TB3 is mostly the same at work and at home. Once I get to baking, I do all of that in TB3. Texturing is a mix of Substance Painter and TB3 to view my assets. I suppose the main difference is the rendering. At work, once I finish texturing, I have to put my asset into my game engine and tweak textures to adjust for a different lighting model. At home, i just stick with TB3 and set up all my lights and do all my rendering right there. With all the extra features like AO, subsurface scatter, refraction, anisotropic, high resolution shadows, and GI, you can make your characters look so much more high fidelity then in the past.

What’s your favorite feature in Toolbag 3?

I think my favorite feature has to be the subsurface scatter shader. I use it on pretty much every non metal/non hard-surface material. It has the perfect blend of features to make my materials feel more realistic. The way it has evolved has only made it stronger with every Toolbag update. I really enjoy using it in various ways and testing its limits and capabilities and seeing how it can be used to give me further variation in my materials.

What are you looking forward to seeing from future versions of Toolbag?

I honestly can’t ask for a lot more out of Marmoset for the type of work I use it for. I would love to see features like refraction, subsurface scatter, and shadows continue to improve. I use Marmoset in conjunction with Substance Painter so integrating the two further would be fantastic. The baker is now a key step in my pipeline so any future additions to that will also be greatly appreciated.

What is one piece of advice you would give for up and coming character artists?

I would say focus on making great art one piece at a time and start small. I think a lot of young artists feel the pressure of wanting to have amazing art in their portfolios right away and they strive for too much, too fast. The key is to build towards the next project and to get better/faster each time. Start with something manageable for your current skill base but make it look amazing. If it’s just a barrel, make it the best damn barrel out there!

Check out more of Satoshi’s work on Artstation and learn more about how you can create stellar renders using Toolbag 3.

Toolbag Artist Highlight | Ep. 181

Enjoy a new set of real-time artwork rendered in Toolbag.

  1. Georgian Avasilcutei crafted a sublime render of his character, Vi.
  2. Jaco Herbst forged a fantastic football girl.
  3. Vlad Costin created a creepy post apocalyptic style rat for Warhammer Total War.
  4. Victor-Emmanuel Pancrazi developed a stylized character based on a concept by Max Kostenko.

Thanks for checking out the latest featured artwork rendered in Toolbag. Stay tuned for more next week.

Environment Design with Toolbag

Anthony Trujillo was kind to give a breakdown of his award-winning stylized environment. Great look at the sculpting, texturing and the beautiful lighting setup.

Introduction

Hello! My name is Anthony Trujillo and I am a 3D environment artist from Los Angeles, CA. I graduated from the Art Institute in Santa Monica in 2009. My passion for 3D art began in college and I have loved creating props and worlds ever since. One of my first jobs was at WayForward Technologies and I helped work on DuckTales: Remastered, which was awesome, as the original was very special to me. I’m currently at WhiteMoon Dreams where we just released StarBlood Arena on PSVR.

Pre-production


My main goal with the ArtStation Civilizations: Lost and Found challenge was to actually finish. I didn’t want be overly ambitious and not finish on time, so I focused on finding a relatively small scene that I knew I could finish with the polish that it needed. I decided on this awesome concept by Lena Doronina.

Overwatch and Heroes of the Storm were my main inspirations going into this challenge. I would always be referencing the Blizzard style throughout the process.

Blockout


For my blockouts, I like to get my models in engine as soon as possible so I can start setting up basic lighting and find some nice camera angles. This helps me visualize the scene better and I can start adjusting scale and proportions. As you can see, my initial scale of my scene was off. The shrine prop was too small on the platform.

Modeling and Sculpting


My main goal with modeling was to keep everything chunky and to try to avoid any straight lines. This meant tapering everything I could. I do a lot of the modeling in 3ds Max. Once the models are ready to Zbrush, I use the “double turbosmooth” method or Sub-D it to get a really clean, smooth model to sculpt on. Once in ZBrush, I apply an inflate 1 to the whole model, then a polish from the Deformation tab. I learned this from Michael “Orb” Vicente’s talk at a ZBrush summit–it helps smooth any sharp edges and keeps things chunky. From there, I use Trim Dynamic, Orb_Cracks, a slash brush, and clay tubes to add detail.

For the floor and the front plate, where it has an intricate flower pattern, I use another one of Orb’s techniques found here. I created the 2D design in Photoshop and convert it into an alpha to use in ZBrush. This method usually works really well.

The biggest challenge for me was trying to keep everything chunky and to really push the silhouettes.

Grass


The grass is fairly simple. I am not using any normal map for it. I start by painting two grass clumps in black and white, then add a gradient map adjustment layer to get my colors. In the alpha, I have the grass fade to transparent as it meets the floor to make the transition not so harsh.

Texturing


My texturing method for stylized work is very heavily influenced by Fanny Vergne‘s technique, which I first saw a couple of years ago in Vertex Magazine. I rely on my bake maps to get a really good base that I can then take into 3d coat and polish off. I use Knald or Marmoset 3 as my choice in Baker, and bake a Object space normal, Curvature, and AO. Sometimes I use a Heightmap depending on how much depth my sculpt has. Here is an example of my workflow. A lot of it comes down to playing with blending modes and opacity per asset.

Marmoset Toolbag

I have been a really big fan of Toolbag since it first came out; I love how user-friendly it is. When I saw Toolbag 3 had added Fog and Global Illumination, I wanted to use this challenge to test them out. One of my favorite features of Toolbag is being able to load in PSDs that auto update when I make changes. This makes for really quick experimenting and iterations.

For the lighting, I picked a random sky and set it to a really low brightness, just so everything wasn’t pitch black. I started adding spot and fill lights. I knew I wanted to have the god rays coming through the ceiling, but when I started the project I wasn’t sure how I would achieve them in Toolbag. My first thought was to have planes with alpha to fake the god rays. But after adding fog to the scene, I found it kind of just turned my spot lights into god rays, as well as adding some great atmosphere. This worked great for the camera angles I was using. The only problem I had with this method was when all the lights started overlapping in certain views. The result was an extremely blown-out light source. Another problem I had was that you could see the rays were cone-shaped. I solved this by duplicating the spotlights and staggering them further upward from the beam to force it to stay thicker.

Overall, I am really happy with this project. I wanted to create a beautiful scene with great shapes while keeping it simple. I tried to remember to always be checking my silhouettes, not overdoing the textures, and keep everything chunky.

Thanks!

Anthony Trujillo, 3d Environment Artist at WhiteMoon Dreams.

Interview conducted by Kirill Tokarev for 80.lv.