Best Of
Re: My car thread - low to mid poly cars
@sacboi so its a bit tricky at times, but in involved using weighted normals modifier in blender. Also you can use face normal strength, so where there is a bevel, get rid of the hard edges and set the bevel face strength to weak, the bigger faces to strong. I will dig out the tutorial on you tube, but its a pretty cool tecnnique
At the end there are still a few areas where there the low poly facets are visible , so I add an edit normals modifer, but only assign it to the dodgy bits or maybe assign it overall at low strength. not perfect but pretty close
At the end there are still a few areas where there the low poly facets are visible , so I add an edit normals modifer, but only assign it to the dodgy bits or maybe assign it overall at low strength. not perfect but pretty close
To do panel detailing, I use a an edge split modifier, then solidify , then bevel. II use vertex groups to keep the poly count down
again there are a few tutorials on this technique on you tube, will dig them out too
This is done a similar way, by some guy on Blender artists forum. he used mainly booleans
This is done a similar way, by some guy on Blender artists forum. he used mainly booleans
Ruz
1 ·
Re: My car thread - low to mid poly cars
@iam717 They actualy look quite cool., thanks - not too over the top. was going to add some decals at some point, not just leave it boring green 
( actually I was )
I thnk the carbon fibre distracted me a little, so i could mess around making the uv's spot on
( actually I was )I thnk the carbon fibre distracted me a little, so i could mess around making the uv's spot on
Ruz
1 ·
Re: I'm looking for help to Replicate leather weaving in Zbrush...
You could also have created an 'X' shaped tiling Nano Insert mesh brush and saved some manual labour, but your result turned out well.
As for doing this with alphas, as you've discovered, I certainly don't recommend that method. Insert brushes are so much better in every way for several non-destructive reasons: ability to use move topo and mask by polygroup, utilise polygroups, separate subtools, not reliant on underlying topo, etc.
As for doing this with alphas, as you've discovered, I certainly don't recommend that method. Insert brushes are so much better in every way for several non-destructive reasons: ability to use move topo and mask by polygroup, utilise polygroups, separate subtools, not reliant on underlying topo, etc.
musashidan
1 ·
Re: The Bi-Monthly Environment Art Challenge | January - February (88)
Hey, amazing artists!
My progress during the last week. Started to texture big modular pieces, which is 70% of the whole scene. I sculpted the high poly in ZBrush and it was super chill since it's almost all wood and I like to sculpt wood. I will bring the whole scene to the same stage and then work on textures properly, so now it's the 1st iteration, just to have an idea.
Meanwhile, if anyone could share a link to some tutorials about stylized glass material in Unreal, would appreciate it a lot!
Fabi_G Thanks Fabi. I go with a standard approach: lowpoly - highpoly - then adjust the lowpoly to highpoly if necessary. I try to reuse as many parts as I can to save the texture space and time.
No cats!
I really like how you managed the prop texturing, it's simple and efficient, yet gets the work done. Good job!
Have a great day, artists!
My progress during the last week. Started to texture big modular pieces, which is 70% of the whole scene. I sculpted the high poly in ZBrush and it was super chill since it's almost all wood and I like to sculpt wood. I will bring the whole scene to the same stage and then work on textures properly, so now it's the 1st iteration, just to have an idea.
Meanwhile, if anyone could share a link to some tutorials about stylized glass material in Unreal, would appreciate it a lot!
Fabi_G Thanks Fabi. I go with a standard approach: lowpoly - highpoly - then adjust the lowpoly to highpoly if necessary. I try to reuse as many parts as I can to save the texture space and time.
No cats!
I really like how you managed the prop texturing, it's simple and efficient, yet gets the work done. Good job!
Have a great day, artists!
MikeKhine
8 ·
Re: Sketchbook: Aline Hui
Finally finished this project: ArtStation - Mordred - The Legend of King Arthur (Game Ready), Aline Hui
Really proud of it. Still a long way to go. Can't wait for more challenges.
Really proud of it. Still a long way to go. Can't wait for more challenges.
Aline
1 ·
Re: Seeking feedback for my WIP stylized UE5 environment.
Heyo, props for chipping away at the project!
Some thoughts on the current state:
I think the highlight on the building ThisisVictoriaZ mentioned is still prominent and it makes the lighting/scene look a bit artificial.
It looks like you interpreted the green streaks as paint. I would have interpreted it as weathering from rain running down the facade and giving grounds for some mossy growth. If its paint I would question why the inhabitants would use such a different color? Generally, some foliage could be used to connect the structure with the environment. E.g. some climbers growing up, moss on walls and between roof tiles.
The building looks a bit barren/simplistic. You can add variation to surfaces using masks (vertex painted, world projected, second UV channel). Modulate Color, roughness, normal strength, ... This is also a way to highlight certain areas.
With the camera getting close to the building, it can look flat and empty. A way to add fidelity would be to use some detail modules alongside the tiling materials. E.g. some individual rocks, or roof tiles that break up the silhouette. Such modules could potentially textured by mapping their UVs to the tiling textures. I believe going beyond the concept here is necessary to make it work in 3d with this camera.
But I understand that you worked for some time on this now and might also want to move on.
Keep it up!
Some thoughts on the current state:
I think the highlight on the building ThisisVictoriaZ mentioned is still prominent and it makes the lighting/scene look a bit artificial.
It looks like you interpreted the green streaks as paint. I would have interpreted it as weathering from rain running down the facade and giving grounds for some mossy growth. If its paint I would question why the inhabitants would use such a different color? Generally, some foliage could be used to connect the structure with the environment. E.g. some climbers growing up, moss on walls and between roof tiles.
The building looks a bit barren/simplistic. You can add variation to surfaces using masks (vertex painted, world projected, second UV channel). Modulate Color, roughness, normal strength, ... This is also a way to highlight certain areas.
With the camera getting close to the building, it can look flat and empty. A way to add fidelity would be to use some detail modules alongside the tiling materials. E.g. some individual rocks, or roof tiles that break up the silhouette. Such modules could potentially textured by mapping their UVs to the tiling textures. I believe going beyond the concept here is necessary to make it work in 3d with this camera.
But I understand that you worked for some time on this now and might also want to move on.
Keep it up!
Fabi_G
1 ·
Re: The Bi-Monthly Environment Art Challenge | January - February (88)
Happy new Bi-Monthly! Nice concepts and work in progresses.
@MikeKhine I think the blockout captures the concept nicely. Good job transferring the lighting/atmosphere! How are you planning to texture? Will you make use of trims? Will you add cats? Looking forward to updates.
@J_East96 I think so far the blockout looks good. I would test in engine with a player controller/game camera and make the space look good/natural from that point of view. In my opinion using fspy is a good starting point, but to make a concept work in 3d might just require going beyond and doing adjustments checking in 3d.
@Alahyla I think that's a good start with the blockout. I think the big shapes could be more accurate, for example the shape/corners of the pedestals. Currently the corners look rounded (intended?). What's your plan going forward? Will you turn this blockout into a highpoly to be baked down or are you still experimenting?
I chose the chest trap too and had some fun modeling. Then I made a small atlas for the textures. Refrained from baking/ using normal maps. I think doing the same assets with a high to low poly approach for comparison would be interesting, but I'm not sure I got the time/patience.
model
Albedo texture atlas 512x256, also used metallic, roughness and emissive maps
@MikeKhine I think the blockout captures the concept nicely. Good job transferring the lighting/atmosphere! How are you planning to texture? Will you make use of trims? Will you add cats? Looking forward to updates.
@J_East96 I think so far the blockout looks good. I would test in engine with a player controller/game camera and make the space look good/natural from that point of view. In my opinion using fspy is a good starting point, but to make a concept work in 3d might just require going beyond and doing adjustments checking in 3d.
@Alahyla I think that's a good start with the blockout. I think the big shapes could be more accurate, for example the shape/corners of the pedestals. Currently the corners look rounded (intended?). What's your plan going forward? Will you turn this blockout into a highpoly to be baked down or are you still experimenting?
I chose the chest trap too and had some fun modeling. Then I made a small atlas for the textures. Refrained from baking/ using normal maps. I think doing the same assets with a high to low poly approach for comparison would be interesting, but I'm not sure I got the time/patience.
model
Albedo texture atlas 512x256, also used metallic, roughness and emissive maps
Fabi_G
6 ·
Re: UV seams in Arnlod
DC74 said:
So ideally the pipeline for checking a model would be something like this?
- Maya (high and low poly)
- Substance Painter
- Unreal/Marmoset
I prefer Evee in Blender. Quick and few troubles . Best color management . But if you work for Unreal nothing beats Unreal.
You can also try iray in SPainter but it's half ray tracer so this:
it reveals hard edges and Evee doesn't. I actually not sure about Mamoset . Haven't used it for couple years. Also iray as well as other ray tracing renders shows totally different intensity of specular reflections with same roughness texture . As well as Cycles, Arnold , Octane, red shift etc . While all of them consider it physically based.
gnoop
1 ·
Re: Unreal Engine, StaticMesh and InstancedStaticMesh, doubt realistic use
Like rexo12 was saying, 4.22 added auto instancing and it can be enabled/disabled with r.MeshDrawCommands.DynamicInstancing 1/0
That and Nanite does make any conversation around instancing from the artist perspective a lot muddier, it allows artists to get away with a lot more before draw calls start to be an issue without them even noticing. HLODs seems generally more important for fixing environment art related performance issues.
Properly profiling and knowing what is happening behind the scenes is a giant rabbit hole, I'd normally say it's a bad idea for artists to make assumptions and optimize too early only based off assumptions and second hand info, gotta profile to really know what's causing impact.
That and Nanite does make any conversation around instancing from the artist perspective a lot muddier, it allows artists to get away with a lot more before draw calls start to be an issue without them even noticing. HLODs seems generally more important for fixing environment art related performance issues.
Properly profiling and knowing what is happening behind the scenes is a giant rabbit hole, I'd normally say it's a bad idea for artists to make assumptions and optimize too early only based off assumptions and second hand info, gotta profile to really know what's causing impact.
ZacD
1 ·
Re: The Bi-Monthly Environment Art Challenge | January - February (88)
Hi everyone I decided to participate in the challenge I will go with the stylized prop. Here is what I have so far.
Alahyla
5 ·