I then baked normal and curvature maps in Marmoset toolbag 5 to restore details on hat sculls and banjo, the rest of the maps I generated in Substance 3D Painter.
Texturing
When it came to texturing, I spent a lot of time looking for clothes patterns that would look cool with displacement and match the atmosphere and story of the character. I ended up using textures from a lot of different sources, such as Blender Kit and CC0 Textures.
In Substance 3D Painter, I did not load eyes and strings because I used the Auto eye add-on in Blender. It’s a really powerful tool that allows you to create any eyes you can imagine.
For the strings, first, I just filled them with color and called it a day, but when I wanted to create a close-up of Mariarchi’s hand holding the banjo, I quickly understood that it felt really simple and boring, so I added some grunge to the roughness channel. I found this grunge in the Realistic Touch add-on, which is essentially a library of tons of different grunges, scratches, and other maps.
