The BRAWL² Tournament Challenge has been announced!
It starts May 12, and ends Sept 12. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
It starts May 12, and ends Sept 12. Let's see what you got!
https://polycount.com/discussion/237047/the-brawl²-tournament
The Polycount Newsfeed
Re: UE4 Environment - Warhammer Gothic Cathedral - Feedback and crits needed
Just changed the brick texture and textured the hanging encensor! I also added some first VFX for the atmosphere; next step: the trimsheet!
Olingova
2 ·
Re: 'Good Company' - 3D work
A hotair ballon asset for our game 'Good Company'. There's no light involved except the sunlight/directional light. The flame and the lit ballon are just two seperarte shaders with the same timescale. Hope you like it 
Controller51
2 ·
Re: Sketchbook: Tits
@sacboi Thank you! I did take a look at your 2d showcase post and I did really enjoy your glorious emu, Looking forward to see more stuff .
I heard about the second wave in Melbourne! My cousin lives around there and now you guys are back to curfew if I heard correctly, crazy! Hope it ease up soon!
Here's Painting no18.
I always loved that piece from @rohMizuno since I first saw it on polycount a couple of years ago. And with his permission of course I wanted to try myself at painting it. Overall it was a really fun but challenging scene. I find it a bit hard to make sure everything remains readable and clear when working on such complexe scene. Sometimes the illusion of depth can easily get lost.
I actually went back and lifted a bit of the color from the background at the end because I felt the background was fighting a little bit with the front for attention.
.I heard about the second wave in Melbourne! My cousin lives around there and now you guys are back to curfew if I heard correctly, crazy! Hope it ease up soon!
Here's Painting no18.
I always loved that piece from @rohMizuno since I first saw it on polycount a couple of years ago. And with his permission of course I wanted to try myself at painting it. Overall it was a really fun but challenging scene. I find it a bit hard to make sure everything remains readable and clear when working on such complexe scene. Sometimes the illusion of depth can easily get lost.
I actually went back and lifted a bit of the color from the background at the end because I felt the background was fighting a little bit with the front for attention.
Tits
9 ·
Re: 3D environment Portfolio piece
Development First Piece Mesoamerican Scene
Planning:
- Miro
Starting my planning with the Miro software. Using the Mood board approach of dotting my ideas, organizing myself with what needs to be done is a good strategy and stopped me in getting carried away and doing things on the fly e.g. creating without reference etc.
This allowed all my reference ideas and my planning to be in one spot and I could add to it constantly.
I had 2 concepts to start with I wanted to take inspiration from, so I began to breakdown what I liked about them. It was mainly the composition and lighting of both concepts.
I took a lot of inspiration from the bottom piece e.g. the positioning of assets and the overall open composition. However I brought my own flare turned it into an Mesoamerican Scene.
As soon as I got the basics down in research, starting the hybrid approach was key. Getting the hybrid meshes done and experimenting with positions and overall composition cameras.
This was the very first progression shot on the scene.
Progressively adding in the hybrid meshes and furthering the composition.
I believe this was to be the final of the hybrid shots before I started working on foliage and other assets. After each shot I was given feedback which I worked on. to get an idea of where the foliage would be I ended up using green spheres as a substitute, this helped with getting ahead with the lighting direction.
Next I was cracking on with the production of the Trim sheet assets.
Production:
- Trim Sheet Development
So for the Trim sheet production I tried to follow the polycount tutorial on YouTube for some advice. I had a rough idea of what kind of trims i wanted. I was mainly using them for the walls and the back crypt structure. I created a 2k by 2k meter plane and divided it up into sections for what I needed. I wanted some ledge beams and some sort of stone brick sections with some symbols.
Bringing this into Zbrush to sculpt some detail into the stone etc. I brought it back and forth into 3DS max and Zbrush to test the tiling etc. I ended up with a good result that eventually got a Moss variant textured over to break up the errors that were brought to my attention.
I sculpted some alphas maps into the design. However i realized i could just paint them on using a stamp later on, the result was mch nicer and visible when producing the normal map
I ended up taking the baked normal map into 3D Coat and stamping on the Alphas so i could get a curvature map with the added normal. Then bringing them into substance painter and using some tiling textures I created using alchemist to get the texture.
Having gotten the trim sheet to a usable standard, I began to make some geometry out of it. I had an idea of walls and stairs however I got the crypt done first, unwrapping a blocked out version and manipulating the edge loops to make use of the trim sheet and add depth to the model.
It was a split between tiling textures and Trims for this piece.
As you can see I got the ledges and the overall look for the crypt done.
I was able to use the Trim sheet a lot throughout the scene which saved so much time later on. As i stated before, creating a moss variant to cover up tiling issues and other aspects of the trim sheet was very useful. Using a Trim sheet got my scene looking very well blended with nothing looking 'Out of Place'. The Rest of the scene was done with mainly Tiling textures and then unique assets.
In the engine I added a moss variant to the Trim sheet assets, I could vertex paint the meshes and add this wherever I needed.
- Low/High Poly structure
I have been following the usual practice of producing a low to high to low mesh build. Using a hybrid approach to the scene enabled me to get an idea of the shapes and types of assets I needed to make. Following reference I found, I produced an asset list consisting of textures, meshes and shaders I would need to complete the scene.
From this i began working on getting all modelled assets to a high polygon stage where needed. For example the archway, I had it ready to take into Zbrush and sculpted some edgewear for the worn down rock. This was basically shaving edges and making it look rough.
I took the high poly build and retopped the model in 3DS max. In baking this down into a normal map, i then took the model into 3D coat to stamp some added wear and tear using alpha materials.
Here is the Normal bake on top of a low poly build in substance. This is before the added Normals
Here you can see the stamped normal from 3D coat taken in effect.
Here you can see the added normal maps and Tiling materials working together in substance.
This process was used for most of the unique assets. Only meshes such as the rubble were not sculpted and were only covered in a tiling texture, as it felt unnecessary to waste time on something that is a literally a pile of rubble and not really in the spotlight.
Using Alchemist to setup some nice basic tiling materials was really easy. I didn't use it for Landscape materials as the tiling was really an issue over a big scale however for smaller assets it is really great. Much nicer to use if you aren't that familiar with substance designer, in which I'm not.
Using basic untiled textures from the free website I was able to create some for myself to use in my scene all over. Also in substance painter for when in came to making smart material blends.
The texturing process for most of the assets was quite simple in using the trim sheet material to cover them. With the texture done for everything.
Tiling assets were made to cover a lot of the models aswell including the rocks, floor platforms etc. All were varied in textures using vertex paint in engine aswell to stop repetition e.g. with a Moss overlay.
All tiling textures were made using basic textures found on 'Textures.com' https://www.textures.com/, I then broke them down and made them tile myself using Substance Alchemist which i found very useful in making quick and good looking textures.
I was able to make some textures with the software, I then took these to use in the engine, substance painter and speedtree for the trees.
- Unreal Shader Work
Upon finishing the textures, i made some simple Master Shaders in unreal to help with organization and take some stress off of the engine when building.
First of all I made a Tiling Master material which used tessellation if needed. and with a vertex paint
This just makes it easier on myself and the engine in terms of time and efficiency. All of my tiling textures became an instance of this material
Other Material shaders were slightly more complex to make, using tutorials I was able to make a material function to overlay a moss texture onto the rocks.
Following a tutorial by Lukas Ramblings on YouTube.
https://www.youtube.com/watch?time_continue=1862&v=HDluA1f5gzw&feature=emb_logo
I was able to use this with tessellation to get my rocks looking quite nice with my base Rock textures and my own Moss material.
Here the Function being blended over the top of the rock texture.
Another shader I made following a tutorial from 'Game Dev Academy', I took this shader as it looked good for pond water, I added to it by overlaying a grimy dirt texture I made using Alchemist. using vertex paint aswell, I could add this effect wherever.
That's pretty much the shader setups I was using all around the scene.
- Presentation (Lighting, post process)
The final Aspects of the scene result in a lot lighting changes from night to day. The concept piece gave me inspiration for most of the lighting.
I wanted the fog effects and the central focus to the piece. However I also wanted there to be another direction to give a viewer some exploration of the scene, thus the side cave which is contrasted blue.
I ended up bringing everything closer together rather than being open to limit the viewers path throughout the scene. I did this by brining in a much more overgrown feel to the scene and contrasting the central with warmer lights to influence the eye.
By adding in bloom effects and volumetric fog it came out pretty good.
Reflection
Aspects I thought that went well consist of the overall process and quality of the work I produced compared to my previous projects of similar nature. I believe that i put more though into the planning and composition considerations when making this project thus benefitting me in the long run.
In one of my previous projects I was unfamiliar with using vital assets such as speedtree and trim sheets, having learnt new skills and getting better at prioritizing tasks I was able to produce most of the work within the first couple of weeks leaving more time for finesse. the project lasted over a a couple months.
In comparison to my work above, i have come on leaps and bounds, adding more colour variation and being able to produce more assets in the same time period thus creating a more detailed piece.
Comparing my work to an industry standard piece, the work on Naughty Dogs, Uncharted series can be found on Art station by a variety of high quality artists.
Using Pieces like this to compare against my own work.
From first comparisons, I am pretty proud off my work, the same feel for the overgrowth and quality of assets can be found in both pieces. However I feel my own is lacking the smaller details such as the higher grade sculpts and wall work. Everything is visible in the professional piece, mine however is slightly darker and you can struggle to see the architecture to its full potential. obviously I am comparing an vastly open scene with lots of daylight however I could made the scene slightly lighter so to capture more detail in the textures.
I could've added some more edges highlights on the trim Sheet to bring out the stone work. Especially on the walls below
Its a small issue but I feel it would added more visible detail to the scene. Especially in the smaller compact shots
In future I could add some more details to the scene post-deadline, for example some atmosphere effects using particles. Possibly to create a firefly scene.
https://www.artstation.com/artwork/qAx06R Work by artist Julia Brasil did a nice piece with the same effects to add nice touch the final scene.
Another add on would be the water source. I wanted to add a running water effect through the mouth of the statue head. It would makes sense to add a source to the water as it just looks flat.
Reflecting on the NLC, I feel like I have coped well with the requirements and followed the way I initially planned. Especially for this part of my portfolio piece. Taking in feedback well from lecturers aswell as external criticism, for example this polycount thread has received a number of replies to help guide me.
Planning:
- Miro
Starting my planning with the Miro software. Using the Mood board approach of dotting my ideas, organizing myself with what needs to be done is a good strategy and stopped me in getting carried away and doing things on the fly e.g. creating without reference etc.
This allowed all my reference ideas and my planning to be in one spot and I could add to it constantly.
I had 2 concepts to start with I wanted to take inspiration from, so I began to breakdown what I liked about them. It was mainly the composition and lighting of both concepts.
I took a lot of inspiration from the bottom piece e.g. the positioning of assets and the overall open composition. However I brought my own flare turned it into an Mesoamerican Scene.
As soon as I got the basics down in research, starting the hybrid approach was key. Getting the hybrid meshes done and experimenting with positions and overall composition cameras.
This was the very first progression shot on the scene.
Progressively adding in the hybrid meshes and furthering the composition.
I believe this was to be the final of the hybrid shots before I started working on foliage and other assets. After each shot I was given feedback which I worked on. to get an idea of where the foliage would be I ended up using green spheres as a substitute, this helped with getting ahead with the lighting direction.
Next I was cracking on with the production of the Trim sheet assets.
Production:
- Trim Sheet Development
So for the Trim sheet production I tried to follow the polycount tutorial on YouTube for some advice. I had a rough idea of what kind of trims i wanted. I was mainly using them for the walls and the back crypt structure. I created a 2k by 2k meter plane and divided it up into sections for what I needed. I wanted some ledge beams and some sort of stone brick sections with some symbols.
Bringing this into Zbrush to sculpt some detail into the stone etc. I brought it back and forth into 3DS max and Zbrush to test the tiling etc. I ended up with a good result that eventually got a Moss variant textured over to break up the errors that were brought to my attention.
I sculpted some alphas maps into the design. However i realized i could just paint them on using a stamp later on, the result was mch nicer and visible when producing the normal map
I ended up taking the baked normal map into 3D Coat and stamping on the Alphas so i could get a curvature map with the added normal. Then bringing them into substance painter and using some tiling textures I created using alchemist to get the texture.
Having gotten the trim sheet to a usable standard, I began to make some geometry out of it. I had an idea of walls and stairs however I got the crypt done first, unwrapping a blocked out version and manipulating the edge loops to make use of the trim sheet and add depth to the model.
It was a split between tiling textures and Trims for this piece.
As you can see I got the ledges and the overall look for the crypt done.
I was able to use the Trim sheet a lot throughout the scene which saved so much time later on. As i stated before, creating a moss variant to cover up tiling issues and other aspects of the trim sheet was very useful. Using a Trim sheet got my scene looking very well blended with nothing looking 'Out of Place'. The Rest of the scene was done with mainly Tiling textures and then unique assets.
In the engine I added a moss variant to the Trim sheet assets, I could vertex paint the meshes and add this wherever I needed.
- Low/High Poly structure
I have been following the usual practice of producing a low to high to low mesh build. Using a hybrid approach to the scene enabled me to get an idea of the shapes and types of assets I needed to make. Following reference I found, I produced an asset list consisting of textures, meshes and shaders I would need to complete the scene.
From this i began working on getting all modelled assets to a high polygon stage where needed. For example the archway, I had it ready to take into Zbrush and sculpted some edgewear for the worn down rock. This was basically shaving edges and making it look rough.
I took the high poly build and retopped the model in 3DS max. In baking this down into a normal map, i then took the model into 3D coat to stamp some added wear and tear using alpha materials.
Here is the Normal bake on top of a low poly build in substance. This is before the added Normals
Here you can see the stamped normal from 3D coat taken in effect.
Here you can see the added normal maps and Tiling materials working together in substance.
This process was used for most of the unique assets. Only meshes such as the rubble were not sculpted and were only covered in a tiling texture, as it felt unnecessary to waste time on something that is a literally a pile of rubble and not really in the spotlight.
Using Alchemist to setup some nice basic tiling materials was really easy. I didn't use it for Landscape materials as the tiling was really an issue over a big scale however for smaller assets it is really great. Much nicer to use if you aren't that familiar with substance designer, in which I'm not.
Using basic untiled textures from the free website I was able to create some for myself to use in my scene all over. Also in substance painter for when in came to making smart material blends.
The texturing process for most of the assets was quite simple in using the trim sheet material to cover them. With the texture done for everything.
Tiling assets were made to cover a lot of the models aswell including the rocks, floor platforms etc. All were varied in textures using vertex paint in engine aswell to stop repetition e.g. with a Moss overlay.
All tiling textures were made using basic textures found on 'Textures.com' https://www.textures.com/, I then broke them down and made them tile myself using Substance Alchemist which i found very useful in making quick and good looking textures.
I was able to make some textures with the software, I then took these to use in the engine, substance painter and speedtree for the trees.
- Unreal Shader Work
Upon finishing the textures, i made some simple Master Shaders in unreal to help with organization and take some stress off of the engine when building.
First of all I made a Tiling Master material which used tessellation if needed. and with a vertex paint
This just makes it easier on myself and the engine in terms of time and efficiency. All of my tiling textures became an instance of this material
Other Material shaders were slightly more complex to make, using tutorials I was able to make a material function to overlay a moss texture onto the rocks.
Following a tutorial by Lukas Ramblings on YouTube.
https://www.youtube.com/watch?time_continue=1862&v=HDluA1f5gzw&feature=emb_logo
I was able to use this with tessellation to get my rocks looking quite nice with my base Rock textures and my own Moss material.
Here the Function being blended over the top of the rock texture.
Another shader I made following a tutorial from 'Game Dev Academy', I took this shader as it looked good for pond water, I added to it by overlaying a grimy dirt texture I made using Alchemist. using vertex paint aswell, I could add this effect wherever.
That's pretty much the shader setups I was using all around the scene.
- Presentation (Lighting, post process)
The final Aspects of the scene result in a lot lighting changes from night to day. The concept piece gave me inspiration for most of the lighting.
I wanted the fog effects and the central focus to the piece. However I also wanted there to be another direction to give a viewer some exploration of the scene, thus the side cave which is contrasted blue.
I ended up bringing everything closer together rather than being open to limit the viewers path throughout the scene. I did this by brining in a much more overgrown feel to the scene and contrasting the central with warmer lights to influence the eye.
By adding in bloom effects and volumetric fog it came out pretty good.
Reflection
Aspects I thought that went well consist of the overall process and quality of the work I produced compared to my previous projects of similar nature. I believe that i put more though into the planning and composition considerations when making this project thus benefitting me in the long run.
In one of my previous projects I was unfamiliar with using vital assets such as speedtree and trim sheets, having learnt new skills and getting better at prioritizing tasks I was able to produce most of the work within the first couple of weeks leaving more time for finesse. the project lasted over a a couple months.
In comparison to my work above, i have come on leaps and bounds, adding more colour variation and being able to produce more assets in the same time period thus creating a more detailed piece.
Comparing my work to an industry standard piece, the work on Naughty Dogs, Uncharted series can be found on Art station by a variety of high quality artists.
Using Pieces like this to compare against my own work.
From first comparisons, I am pretty proud off my work, the same feel for the overgrowth and quality of assets can be found in both pieces. However I feel my own is lacking the smaller details such as the higher grade sculpts and wall work. Everything is visible in the professional piece, mine however is slightly darker and you can struggle to see the architecture to its full potential. obviously I am comparing an vastly open scene with lots of daylight however I could made the scene slightly lighter so to capture more detail in the textures.
I could've added some more edges highlights on the trim Sheet to bring out the stone work. Especially on the walls below
Its a small issue but I feel it would added more visible detail to the scene. Especially in the smaller compact shots
In future I could add some more details to the scene post-deadline, for example some atmosphere effects using particles. Possibly to create a firefly scene.
https://www.artstation.com/artwork/qAx06R Work by artist Julia Brasil did a nice piece with the same effects to add nice touch the final scene.
Another add on would be the water source. I wanted to add a running water effect through the mouth of the statue head. It would makes sense to add a source to the water as it just looks flat.
Reflecting on the NLC, I feel like I have coped well with the requirements and followed the way I initially planned. Especially for this part of my portfolio piece. Taking in feedback well from lecturers aswell as external criticism, for example this polycount thread has received a number of replies to help guide me.
Mattrobe
1 ·
Antlion Shredder
Inspired from Half Life, I used one of the original concepts created by Valve as the starting point.
I took some pictures during the process of creating it:
The concept that I initially used (by Valve):
tar
7 ·
Re: [Finished] Scifi Military Radio
It's finally finished!
Far past my original deadline, and I made a lot of mistakes, but I'm still happy with this. I learned a lot, and by the end I decided that to really fix these mistakes means I need to keep upping my skills while tackling other projects. First up next is to do a few smaller, faster props with a similar style to reinforce what I've learned and test whether I can produce these at production speeds, focusing on making them game ready.
https://www.artstation.com/artwork/lVmDk5
Far past my original deadline, and I made a lot of mistakes, but I'm still happy with this. I learned a lot, and by the end I decided that to really fix these mistakes means I need to keep upping my skills while tackling other projects. First up next is to do a few smaller, faster props with a similar style to reinforce what I've learned and test whether I can produce these at production speeds, focusing on making them game ready.
https://www.artstation.com/artwork/lVmDk5
Vertrucio
3 ·
Star Wars - Skywalkers Jedi Academy
This is a alternative version of Luke Skywalkers Jedi Academy from Star Wars The Force Awakens.
I hope you like it !
If you have any questions, feel free to message me
Make sure you watch also the video !
https://www.youtube.com/watch?v=kiDElO21Fj0&t=4s
I hope you like it !
If you have any questions, feel free to message me
Make sure you watch also the video !
---> <a href="https://www.artstation.com/jariah" title="Link: https://www.artstation.com/jariah">Artstation</a>https://www.youtube.com/watch?v=kiDElO21Fj0&t=4s
jariah
7 ·
Re: TCHI
HI!
Here is my new work - Coral village
artstation for support - https://www.artstation.com/artwork/D5Y189
Thanks for watching)
TCHI
10 ·
Re: subscribed threads
*shakes fists in the air*
Raise up from the dead, thread!
So, I found myself in the same situation others here, and being a big nerd I wrote a rudimentary userscript to auto fav threads upon replying. It adds a small checkbox under the reply textarea that can be on or off by default:
I thought it might be useful for whoever stumbles on this thread in the future. To use it you'll need an userscript extension. I use Tampermonkey on both my desktop browser (it's based on Chromium) and my mobile browser (Firefox).
Raise up from the dead, thread!
So, I found myself in the same situation others here, and being a big nerd I wrote a rudimentary userscript to auto fav threads upon replying. It adds a small checkbox under the reply textarea that can be on or off by default:
I thought it might be useful for whoever stumbles on this thread in the future. To use it you'll need an userscript extension. I use Tampermonkey on both my desktop browser (it's based on Chromium) and my mobile browser (Firefox).
// ==UserScript== // @name Polycount Thread Auto Fav // @namespace polycount
// @description Automatically favorite threads when replying
// @version 1.0 // @author birb // @match https://polycount.com/* // @require http://code.jquery.com/jquery-3.4.1.min.js // @run-at document-end // ==/UserScript== this.$ = window.jQuery.noConflict(); ;(function ( $, undefined ) { // Set to "false" to disable autofav by default var default_fav = true // Cosmetic Changes var bookmark_form_opt = '<div class="CUSTOM_autofav_form" style="padding-top: .75em;"><label style="color: inherit;"><div id="CUSTOM_autofav" class="icheckbox icheck-item icheck[rmcrd]" style="vertical-align: baseline; width: 1.3em; height: 1.3em;"></div> Auto Favorite thread upon replying</label></div>'; $('#Form_Comment div div.TextBoxWrapper').append(bookmark_form_opt); if(default_fav) { $('#CUSTOM_autofav').addClass('checked'); } // AutoFav checkbox support $('#CUSTOM_autofav').click(function(e) { e.preventDefault(); $(this).toggleClass('checked'); }); // AutoFav function $('#Form_PostComment').click(function(e) { // only bookmark when fav is enabled and it's not already faved if ($('#CUSTOM_autofav').hasClass('checked') && !$('.PageControls.Top a.Bookmark').hasClass('Bookmarked')) { $('.PageControls.Top a.Bookmark')[0].click(); } }); })(window.jQuery.noConflict());
birb
9 ·
Re: The Bi-Monthly ENVIRONMENT ART Challenge | July - August (67)
Hey all!
Sorry for jumping into this challenge so late, I'm a new user to Poly Count and wanted to give it a go!
I mostly specialize in modeling, so for this challenge, I chose to create the potion bottle. I normally don't create stylized work, so this is going to be a challenge for me indeed!
I started out in Maya to do my low poly modeling and then moved to Zbrush for the high poly details. All the texturing so far has been done inside of Substance Painter, and I plan to keep on cleaning it up the maps! I haven't decided yet if I want to use cards to make the smoke or to use particles inside of Unreal 4. But either way, I'll keep you good people updated on any changes to the project. Also, I would love to get to know you all a bit better so feel free to reach out to me with any feedback or questions!
Front View
Wireframe View:
I look forward to keeping on pushing my work with these challenges, so thank you for the opportunity!
Here's a link to my ArtStation if anyone wants to view it there, as well as the Sketchfab Link:
https://www.artstation.com/ryandonias
https://sketchfab.com/3d-models/stylized-snake-potion-bottle-db3598f60e504231b3a4be8fecfb3a7a
Sorry for jumping into this challenge so late, I'm a new user to Poly Count and wanted to give it a go!
I mostly specialize in modeling, so for this challenge, I chose to create the potion bottle. I normally don't create stylized work, so this is going to be a challenge for me indeed!
I started out in Maya to do my low poly modeling and then moved to Zbrush for the high poly details. All the texturing so far has been done inside of Substance Painter, and I plan to keep on cleaning it up the maps! I haven't decided yet if I want to use cards to make the smoke or to use particles inside of Unreal 4. But either way, I'll keep you good people updated on any changes to the project. Also, I would love to get to know you all a bit better so feel free to reach out to me with any feedback or questions!
Front View
Wireframe View:
I look forward to keeping on pushing my work with these challenges, so thank you for the opportunity!
Here's a link to my ArtStation if anyone wants to view it there, as well as the Sketchfab Link:
https://www.artstation.com/ryandonias
https://sketchfab.com/3d-models/stylized-snake-potion-bottle-db3598f60e504231b3a4be8fecfb3a7a
RyanDonias61
11 ·