I found a lot of reference pictures online. When looking for reference images, I have to be very prepared.
The software I mainly use is:
Maya, ZBrush, Marvelous Designer Personal, Substance 3D Painter, Unreal Engine.
At the beginning of production, I will import a basic human head as a model and create a large version of the flying hat using Maya
I will adjust the wiring according to the basic plane cutting of the flight hat and use the UV display to determine the pattern and process it into Marvelous Designer Personal.
Using this method, I make parts such as glasses and gas masks in Marvelous Designer Personal.
Doing this allows me to quickly get the effect I want without having to learn the lesson of actual fabric cutting.
I created the model in Maya before moving into ZBrush to sculpt the high poly details.
It is more convenient to make mechanical models such as glasses and respirators in Maya, including the binding on the flight cap and some sewing thread snags.
During the high poly stage, I used some basic brush sculpting to add details.
I will make some uneven details on the model to reflect the texture of the leather. Don’t make the model too regular.
This is my final adjusted high poly effect and topology routing.
I didn’t make a simple model for the wiring.
I used 4 8k UVs for the texture. I consider doing personal project work after all, and not using it as a project asset.
So I try to maintain a high level of precision in texture production and wiring.
My textures were created in Substance 3D Painter. These are all routine operations.
Of course, I will add some small details in Substance 3D Painter that are difficult to express on the model.
I chose to create the material properties and lighting in Unreal Engine. The material performance of Unreal Engine 5.3 can achieve very realistic effects. And you can quickly get the preview effect during the material testing stage.
I used two environmental levels, both using spotlights and surface lights for lighting.
I simulated the effects of different environments by adjusting the position and intensity of the lights. (Of course, the HDR environment map is also very important)
The hair on the fabric straps is an important part of the performance. I use Maya’s XGEN production.
I was able to get the effect I wanted by adjusting some very simple thickness values.
The linking method of the shader is the standard PBR process. I just layered a layer of small detailed normals.
Finally, I simulated the effect of natural lighting.
Thank you; the above is a rough sharing of my production ideas and processes. It’s an enjoyable process.
I enjoy creating assets with realistic material effects. I will create more similar works in the future.