Hello!
I started to tweak some luminosity and contrast and also started the work on the foliage; still a lotttt to go but I really like that first pass altough mayeb a bit too cartoony! I think some more grass variation with details and flowers, plus little rock will help to unitize a bit everything.
For anyone that might be interested, the account and videos of Victoria Zavorodhnia is a real gold mine! ( https://www.artstation.com/akbutea )
the fuzz was something we experimented quite a bit with. while i am not perfectly happy with what we have in the end, i am pretty happy overall.
we thought about doing it similar to how we did fur on crash bandicoot. with planes placed by hand, transferring normals and UVs. but with that you usually have these weird spots where you can look flat on the plane, which i didnt wanna have here. you can do the best job in the world placing these, but you will always have these moments where the illusion breaks, no matter how much time has been spent
like here on the chest of crash:
So i thought it would be nicer to have this done with particles. It was a bit tricky to set up the shaders but @katzeimsack found the solution for it.
So what we do is spawn 3 different particles on the mesh, based on a RGB mask that tells the particle system "spawn particle A here, B here and C there"
I used to paint these masks but turned out, some randomized camo patterns work just as well.
then we grab the normals, roughness, metalness etc from the mesh it spawns on and apply this to the particle
blend them into the mesh using dithered pixel depth offset (like the moss above)
after that we apply one of the 3 different alphas to the particle UVs, randomize rotation and scale within some boundaries and
the result is this:
the downside is, the particles are spawned at random locations. An alternative would be placing them by hand in your dcc like the fur but orienting them to the camera like the particles in unreal. so we have perfect control over placement. but yeah, lot of manual work for that :)
for the future i would limit the random rotation as well so we do not have occasions like above where a shape floats on top. but it was good enough and we are never thaaaat close.
A collection of the latest and greatest pieces from Sketchfab users
Hi everyone,
I love to handpaint normal maps using just photoshop without doing any highpoly at all. I only do this when the polycount is kept quite low and the texture size is as small as possible.
When I work like this 90% of the work is done with the pencil tool in one pixel size (not the brush tool). The rest 10% of the work is done using any tool that photoshop can provide. I also have the "NVidia normal map" filter, but I barely use it. I only use it when I handpaint an organic "height map" and I whant its normal map, or when the UVs contains alot of diagonals. But when I use this filter I never use the resulting image, because with the texture sizes I'm working on are very small, the resulting image that the filter produces usually is quite blurry and messy. So, whenever I use the filter, I only use the resulting image as a reference to then paint my own normal map.
The images I'm going to show you are my own projects, they are not done for any actual game or anything. I just do them because I enjoy it so much. The first images I'm going to show are basicaly simple objects, and then I will show more complex objects at the end. The shaders I use for this are very simple, they only use difuse map, normal map and specular map. The screenshots are taken directly from 3dsMax, not using any game engine.
I hope you like it!
Bathroom:
Tools 1:
Tools 2:
Food 1:
Food 2:
Livingroom:
Scorpion Evo3 :
H&K MP5:
More guns:
I like guns, so I made a few. Polycounts and texture sizes are consistent with the rest of the objects.
Vehicles:
There is something I whant to say for the last object. I did this object and the normal map back in 2011. Since then I have improved alot, so today I would have done things quite diferent. I'm not particularly pround of the underneath part of it, but at that moment I was already too bored with the object, so I kept it as it is. Also, I never did the difuse texture, so I've created a very simple one just to show you how it could look (No specular map here). Still I think is good looking enough to show you.
I've been reworking this piece a bit based on some other feedbacks I've received!
Been working on the rendering in unreal and tweaked my roughness and metallic values a bit to have less harsh variations in the metal. I also lighten the metal albedo up a bit and homogenized the values between the different metal parts so it doesn't seem so different. I also cleaned up my topology a bit.
I feel like this is in a good enough place to let it off for a bit now! Here's my final artstation post for the showcase video, mesh and high rez screenshots: https://www.artstation.com/artwork/xYnWG2
Hey Everyone!
Some time ago I created a series of mini trains for 3D printing in my free time and it was a ton of fun!
You can read a bit of backstory about that here:
Or check a few more photos here:
Few weeks ago during the 2022 Game Industry Conference I had the chance to look around at the Poznań Game Arena too, and I’ve just fallen in love with all those great indie games. Some of the developers were giving away free stickers and after grabbing the first few I had the urge to collect as much as I could. :D I guess childhood memories kicked in, does anyone else remember those albums with the collectible stickers?
So these little stickers got me thinking, how cool would it be to have my train series as colorful stickers!
But unfortunately the models were for 3D printing, STL files from CAD program, messy topology, no UVs, never been painted.
Anyway, fast forward to the boiling point when I could not resist anymore and I sat down to remodel one with UVs and textures.
This was inspired by the hungarian M62 Szergej. (These are my childhood favorites. I remember standing next to the train tracks close to my grandma’s house and watching these massive iron horses pulling 50+ fully loaded cars behind them.)
It's using this texture:
(I know, I know, so much wasted space, could be more compact. :) )
If you are a train fan, you can spot right away that the M62 locomotive has 6 axles and this one only 4.
The reason behind it is that when I came up with the first designs I made an art decision to fit all of the models to a 1x1 base plate. This limitation made designing quite challenging. I could fit all 6 axles under the train, but then the body/wheel ratio would be something that I don’t like. So… I did my best to make it look okay even if it’s wrong, focusing more on the recognizable silhouettes and main forms. And this example is not even close to what I had to sacrifice with my very long steam locomotive designs. :)
I am also not making a difference between the american and european couplers and every model is using the same, kinda cartoonish buffers. I made this decision to make the 3D printed models “compatible” with each other regardless of what locomotives and cars you put together.
I still have not ordered sticker papers to print the first test versions :) But what I did is that I exported it to Unreal Engine 5, out of curiosity, and quickly made a few more models around it.
At this point I was like, what the hekk, why not… And made one more locomotive.
It’s pretty easy to model and texture them with this art style. This one took me like 7-8 hours to finish. And this is a brand new one, there is no 3D print ready base model to work with, which means some of the time was spent on checking references, proportions, forms etc.
As you can see I was fine tuning the proportions and details until the very last step, and still made a few adjustments after recording these steps.
And this is where I am now:
Still not sure where this is going...
...but 2 things I know:
- I will remodel more of my previous models to in-game models.
- I will dig deeper in Unreal Engine (spent almost the whole last decade working with RED engine, kinda forgot what is what in UE :) ) and make them move, maybe even I will try to make a mock up video about how a game would look like what I have somewhere in my head.
I’ve figured I will make posts like this to keep record of the progress. Whenever I have something to show, there will be a bigger post about it. As for now I go back and try to figure out how to make DoF in UE5. :) This is Photoshop DoF on the last shot, somehow I can not make it work on the simple CameraActor, no matter how I change the parameters…
Hey all. I have some images to show of the project im working on since quite some time now. Its Witcher fan art, specifically Skelige islands. Still early WIP but its enough to show to people :D
Aim here is to achieve very high quality visuals and trying not to kill engine completly :D UE5 is brialiant for that, a lot of annoying procceses were cut out of production.
Hope you enjoy and have some feedback.
High Res sculpts for most of this stuff is on Artstation here : https://www.artstation.com/damian94
Super excited that I can finally post in this thread! I recently got hired as Environment Artist at Turn 10 to work on Forza! This is my first AAA job!
Here is my small background: After I graduated from the university, I have been working at Miliarty Simulation for the USA Airforce for a couple of years. And then, I worked on the unannounced tv show at BRON for almost a year.
Thank you, everyone on Polycount, for all of the advice, feedback, and support!
https://www.artstation.com/tythomas
These examples show how segment matching can be used to join truncated cones to curved surfaces.
When the support loop around an intersecting shape disrupts the segment spacing of an existing shape, it tends to cause unintended deformation that can generate visible smoothing artifacts. Simplifying the support loop routing, by using the geometry of the existing shape to support the shape intersection, maintains consistent segment spacing and helps reduce the visibility of smoothing artifacts caused by abrupt changes in the topology.
Truncated cone joined to cylinder: This will generally behave like a simple cylinder to cylinder intersection. Align the segments in both shapes and simplify the support loops around the shape intersection whenever possible.
Truncated cone with adjacent cylinder joined to cylinder: Adjust the number of segments in each shape to maintain a relatively consistent geometry density while also aligning the edges around the shape intersection.
Truncated cone with radially clocked cylinder joined to cylinder: Start by aligning the segments in the shapes then add perpendicular support loops, as required, to match the support loops around the base of the shape intersection.
Truncated cone with adjacent cylinder joined to truncated cone: Get the alignment as close as possible then constrain any differences in the shapes to the area between the inner and outer support loops around the shape intersections.
Truncated cone joined to chamfered cylinder: Rotate the intersecting geometry as required and adjust the number of segments in each shape to align the edges around the base of the intersection. Perfect alignment isn't always possible but close enough is usually good enough. Perpendicular edge loops can be routed across the intersecting shape or reduced with a triangular quad.
Angled cylinder joined to truncated cone: Steeper tapers and proportionally larger intersecting shapes tend to amplify the difference between the segment spacing around the extreme ends of the shape intersection. Using the minimum amount of geometry required for each shape can help reduce the overall complexity and make it a lot easier to join the two shapes, without generating unintended shape deformations.
Recap: Adjust the number of segments to align the edges around intersections while also preserving the accuracy of the underlying shapes. Simplify topology routing and use the existing geometry to maintain the segment spacing of curved surfaces. Rotate intersecting geometry to align the edges without adding unnecessary mesh complexity.