Some of the biggest errors I had from my bakes were skewing, or bolts completely disappearing. I had a few tiny errors come up in the normal map, but I wasn’t too worried because I knew I could fix it with NDO. I made sure my material ID was the top priority, as Suite relies on them for material selections. Marmoset Toolbag was a quick way to bake out all the maps I needed, before getting started with Quixel Suite. I deleted edge loops and mirroring, and then applied a few lamberts for my material IDs, and was ready to take it into Marmoset Toolbag to bake. Before applying any smoothening, I saved a low poly variation which began as my base for the low poly. I started out with box modeling the high poly and taking any intricate pieces into ZBrush to boolean panels and bolts. Concepts by Billy MachinĪutodesk Maya is my modeling package of choice. I’ve always been a fan of hard surfaces, and I knew Quixel Suite would be the perfect tool to get the high-quality results I wanted. I had never entered an art competition before, but I was instantly compelled to enter as soon as I saw Billy Machin’s underwater bibbers. Throughout my career, I’ve worked at studios such as Infinity Ward, Kojima Production, Sony Online, and Redemption Games, to name a few. My name is Javier Perez, and I’m a senior environment artist working at Intrepid Studios. Quixel Suite 2 was Javier’s tool of choice in this contest. He recently won first place in the rendered prop art category of ArtStation’s global ‘Beneath the Waves’ showcase (Contest #38). Javier Perez, a 26-year-old environment artist, did just that. And we’re even happier when Quixel helps make that possible. It’s always a joy to see an artist unleash their talent on a project - and for that project to receive acclaim from a global community of art lovers.
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