Selecting one of the lights the parameters are now available for us to tweak. You can see we now have two lights under the sky group, these are the lights we added in the previous step. I added two lights to the brighter parts of the texture, these lights would form the sun light and the ambient light.Īdd a sky texture that best suits our environment Under the skylight parameters you can click on parts of the texture to add directional lighting to the scene. The sky texture not only provides a background but adds ambient lighting to the scene so the type of texture you use is very important. Importing the ground asset from chapter 2įor the sky I used the pre-set 'Hedge Row' as I felt this gave me the best lighting to suit the type of environment I was creating. Now I will import the rest of the scenes meshes from 3ds Max and set up their materials. Note the puddles and how well they stand out having a high reflectivity - they add a lot of detail to the final image. This is good so we know we are getting the intended look of all the assets. As you can see both the car and the ground look exactly the same as they did in Substance Painter. I followed the same process as the previous step to import the ground mesh and textures into Marmoset. Setting up of materials and importing textures onto the car asset The car should now look the same as it did in substance painter. The roughness map is dragged onto the micro surface slot and Inverted.
Add the albedo and normal maps for the metallic map change the reflectivity to metalness and drag the metallic texture into this slot. To import the textures you simply drag and drop them onto the map slots. Having the material as an U4 template, we know the textures will behave as intended. When we exported our textures from Substance Painter we exported as Unreal 4 format. Click the material pre-set icon to create a new material template and choose Unreal 4 as the template. Once in Marmoset, the mesh has a default material applied to it. OBJ files as they were exported from 3ds Max in the correct position we don't need to move the assets once in Marmoset. Scene Layout & Asset Modeling an Apocalyptic Diorama in 3ds Max Texturing assets for an apocalyptic diorama in Substance Painter The tutorial will be split into three parts, I will use 3ds Max for modeling, Substance Painter 2 for texturing, and Marmoset Toolbag for creating the interactive scene and exporting to a web browser. This shader over here is the default shader, and I won't be using it.This tutorial will guide you through the process of creating a diorama that you will be able to interact with in your web browser. Once you click on the template, it creates a new shader. I'm going to use the Dota 2 Template, which is the default template for Toolbag.
If you're new to Toolbag, I would use one of these two depending on the engine that you plan on exporting your model to. Most of these apply to Quixel materials, but there are a few here that I use quite often, including the Dota 2 Template and the Unreal 4 Template. With that in mind, let's go over here to our shader menu and look at the Presets that Toolbag gives us so that we can set up our materials properly. Toolbag doesn't apply UV mapping to your models, so for your materials to take effect correctly in Toolbag, you'll have to have all your UV mapping and coordinates applied in a 3D program before importing into Toolbag.
#MARMOSET TOOLBAG MATERIALS HOW TO#
Next, we'll look at how to apply materials to a model that you've imported into Toolbag.
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