Now, choose DoubleShade1 material in the Standard Materials palette. With your BasicMaterial selected, go to the Material menu, and click on CopySH under the Modifiers sub-menu, to copy the shader. These are the settings I have in the NoiseMaker window: Put it to a negative value to add more depth to your cloth’s look. The important part here could be underestimating the power of ColorBlend slider. Then play with the sliders to get your desired Strength and Scale. Then, zero out the Mix Basic Noise slider to get rid of the unwanted noise. Open the NoiseMaker, the plug the disp image on the bottom left, where it says Alpha On/Off. You need proper UV layout, and a good tileable displacement texture map for this step. It’s only needed for the cloth details, so don’t worry if you only need to use the material I’m gonna talk about.įirst, let’s add cloth texture on top of what we have, using the Noise maker under the Surface menu.
Make sure that you have a nice UV layout for your cloth piece. OK, so you have your cloth sculpt/simulation imported in ZBrush. While ZBrush is not a real rendering engine, it has its own tools to help us create what we want. It’s really simple: pop out the cloth details, and make a fresnel look in your material. Hope it comes handy for you guys as well. Here, I’m gonna go step by step, over how I create cloth material for my concept presentations. However, while it’s totally acceptable to even share a ZBrush screenshot, or a quick BPR render, it’s more appealing to present the art in style. In bigger production pipelines, it’s a crucial task to check the concepts regularly. It’s much easier to change stuff at this stage anyways. This way, the directors in charge, can have a clearer idea of how it’s gonna look in the end, and change some stuff if they need to. It’s really a good idea to present our characters before going further in the pipeline.