The BRAWL² Tournament Challenge has been announced!
It starts May 12, and ends Oct 17. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
It starts May 12, and ends Oct 17. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
Best Of
Re: [UV unwraping]Why do we always put car wheels on a separate UV map when unwrapping
I used variation of exploding method - fifth wheel that is away from the car, just far enough to not get affected by chassis. Other wheels have their UVs moved 1 tile away so they won't affect baking, but use same texture area.
Imho only good reason to have a wheel on its own texture is to allow more details/pixels.
Imho only good reason to have a wheel on its own texture is to allow more details/pixels.
dimwalker
2 ·
Re: Star Wars Outlaws: Character design was the least of this games problems.
Game testers (QA) are not asked for their opinions on visuals. If anything that would be somewhat disrespectful of the work of the art team, and IMHO a good AD should be proactive at shielding the art team from such unsollicited feedback, even if it comes "from above".
Also, while creative decisions are definitely influenced by the background noise of pop culture (and as said american movie and game studios are reaping what they sow here), believing that any of this is done to please "sHaReHolders" is a massive stretch.
The only thing to blame here is the willingness of studios to paint themselves in a corner because of increasingly heavy tech that prevents iterations - ultimately slowing down development to a crawl.
Also, while creative decisions are definitely influenced by the background noise of pop culture (and as said american movie and game studios are reaping what they sow here), believing that any of this is done to please "sHaReHolders" is a massive stretch.
The only thing to blame here is the willingness of studios to paint themselves in a corner because of increasingly heavy tech that prevents iterations - ultimately slowing down development to a crawl.
pior
1 ·
Re: [WIP] - Arthur (Character Model)
Forgot to update in a while but I've been working on the high-poly. Still got a lot to do.
jtag04
2 ·
Re: [W.I.P] [UE4] BtL - game project
Very cool and promising, hope you'll get it done one day. Your workflow and the results you've got seems great and thoughtful, good luck man! 
erebus9
1 ·
Re: What Are You Working On? (3D) 2024
Got so busy with stuff had to put this down for a bit and forgot to update my sketchbook thread when I got back to it.
Weekend Progress
Weekend Progress
MrHobo
1 ·
Re: Are more 4K textures being used in games now?
Heya,
Just because "4K" (meaning 4096*4096 really) is a thing doesn't mean that using "4K textures" is necessarily enough to carry something like a full character on screen. If anything, conservative/old school techniques consisting of splitting sheets logically and tightly is very much current and will not become irrelevant anytime soon.
PR videos or "breakdowns" from youtube tech commentators claiming that this or that new engine feature allows to not worry about this or that aspect of asset authoring anymore are either just misleading marketing ... or claims from people who have never worked on a game asset, ever.
For instance here is the texture breakdown of a hero character that someone extracted from Marvel Rivals. The incredible visual quality of the characters in the game comes more from the strict and clean approach taken than from textures being "4k". As a matter of fact the individual textures are 2048 max ; but of course *as a whole*, the character is very high res both model- and texture-wise. The results are really quite stunningly beautiful IMHO, both at native res in character select as well as scaled down during third person gameplay.
Doing things that way is also very beneficial in production. For instance the way the flesh parts of the upper body have their own dedicated 2048 sheet undoubtedly makes it very easy to edit/update/replace them if needed without having to deal with other irrelevant parts of the character.
So in many ways things haven't changed much over the last 10 years of game art evolution : breaking things down cleanly and logically remains the way to make well optimized high-end assets looking great on screen and up close.
(And for assets that do fit within a single 4096 or 2048 layout, it is always a good idea to divide the UVs/texture sheets into even quadrants regardless as this allows for splitting or re-atlasing things later if needed).
Just because "4K" (meaning 4096*4096 really) is a thing doesn't mean that using "4K textures" is necessarily enough to carry something like a full character on screen. If anything, conservative/old school techniques consisting of splitting sheets logically and tightly is very much current and will not become irrelevant anytime soon.
PR videos or "breakdowns" from youtube tech commentators claiming that this or that new engine feature allows to not worry about this or that aspect of asset authoring anymore are either just misleading marketing ... or claims from people who have never worked on a game asset, ever.
For instance here is the texture breakdown of a hero character that someone extracted from Marvel Rivals. The incredible visual quality of the characters in the game comes more from the strict and clean approach taken than from textures being "4k". As a matter of fact the individual textures are 2048 max ; but of course *as a whole*, the character is very high res both model- and texture-wise. The results are really quite stunningly beautiful IMHO, both at native res in character select as well as scaled down during third person gameplay.
Doing things that way is also very beneficial in production. For instance the way the flesh parts of the upper body have their own dedicated 2048 sheet undoubtedly makes it very easy to edit/update/replace them if needed without having to deal with other irrelevant parts of the character.
So in many ways things haven't changed much over the last 10 years of game art evolution : breaking things down cleanly and logically remains the way to make well optimized high-end assets looking great on screen and up close.
(And for assets that do fit within a single 4096 or 2048 layout, it is always a good idea to divide the UVs/texture sheets into even quadrants regardless as this allows for splitting or re-atlasing things later if needed).
pior
1 ·
Gambler Game Character
This is a character I've been working on for a while. Mostly inspired and tried to aim GTA characters as inspiration. Used Blender for only Hair tool plugin which is really helpful for creating exactly what I want in a versatile way.
Polycounts
-36k for all hair, facial hair, eyebrows and eyelashes(I didn't removed inside hair for portfolio showcase reasons)
-5.3 k for weapon
-56k for the rest of the character including items
-Total 98k polygons and 193k tris
Hope you like it.Thanks.
Here is Artstation link
https://www.artstation.com/artwork/eRx25Z
Polycounts
-36k for all hair, facial hair, eyebrows and eyelashes(I didn't removed inside hair for portfolio showcase reasons)
-5.3 k for weapon
-56k for the rest of the character including items
-Total 98k polygons and 193k tris
Hope you like it.Thanks.
Here is Artstation link
https://www.artstation.com/artwork/eRx25Z
Ibrahim Aysan
1 ·
Re: [W.I.P] [UE4] BtL - game project
Get a first glimpse of the Port Village, one of the locations featured in the opening level of the game. Modular kit overview. Decipher - main gadget breakdown.
https://youtu.be/b8rmt1g-h04
https://youtu.be/b8rmt1g-h04
Khadyko
1 ·
Re: Sketchbook: Frank Polygon
Subdivision modeling: working through complex shape intersections.
A fair number of questions about mesh topology [on curved surfaces] are focused on finding an answer that completely explains a very specific type of complex shape intersection. While this approach to trying to solve all of the topology problems at once can sometimes yield results, if someone else has solved the exact same problem, it may not be the best way to frame the question.
Instead try to break down each part in the reference images into a series of simple shapes. This will make it easier to search for solutions that solve the problems with similar shape intersections. Which can then be applied to each individual shape that was identified earlier. Each of these simple solutions can then be layered on top of each other to build up the shape without having to spend hours trying to find or wait for someone to post a perfect solution to the whole problem.
The example below shows how a series of simple shapes can be combined with basic subdivision modeling principles, like placing intersecting shapes between existing geometry, matching the number of edge segments in intersecting curves and blocking out the shapes to resolve topology flow issues before adding support loops, to create a very simple but effective base mesh.
Once the basic shapes are blocked out and the segments are matched the shapes can be joined with boolean operations and cleaned up with limited dissolve. From there it's a simple process of cutting in additional support loops that snap to the existing vertices and adding support loops around the edges that define the shapes. Solving the majority of the topology flow issues at the lowest possible level helps keep the mesh relatively simple and can reduce the amount of work required to get a clean result.
Once the basic topology problems are solved the same process can be used to iterate on the existing model by adding more complex shapes. The example below shows how changing the shape and position of the block out primitives will produce a more complex variation of the first model that more closely matches the reference images.
Again. It's very important to solve most of the topology flow on the simple block out mesh. Doing this will help ensure that the intersecting shapes define the path of the supporting topology. Which makes it much easier to add support loops without generating smoothing artifacts. Starting with an appropriate number of segments for the size of the object and matching the segments of the intersecting shapes to the underlying geometry will also help prevent smoothing artifacts.
Recap:
When trying to solve topology issues around complex shape intersections: start the block out process by breaking the object down into simple shapes. Look for existing topology solutions for each individual shape. Solve the topology problems with each individual shape and layer each solution onto the previous one to create the complex shape intersection out of simple shapes.
Use fundamental subdivision modeling techniques like placing intersecting shapes between existing edge segments on curves, matching the segments in intersecting shapes whenever possible and resolving topology flow problems before adding a lot of support loops.
Here's a link to another write up that covers how break down complex shapes into simple ones and blocking everything out before adding more complex support geometry. https://polycount.com/discussion/comment/2745166/#Comment_2745166
FrankPolygon
1 ·