Sketchbook: BloodDrunkHunter
Game Design student, looking to learn anything I can
https://www.artstation.com/zayyanaslam6
https://www.instagram.com/zmart.ccs/
https://www.artstation.com/zayyanaslam6
https://www.instagram.com/zmart.ccs/
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I've custom modeled everything in this scene. The rifle and sword are my favorites, I think. The textures are all of the free-use shaders and megascans provided in Unreal Engine 5, which is also where I assembled the scene, compiled the materials, and rendered out these images. Enjoy, and if you have any good tutorials on texture creation in UE5, let me know!
I found a beautiful concept sheet from the talented Timur Mutsaev on Artstation (https://www.artstation.com/timur - Artwork: https://www.artstation.com/artwork/rALAm2) and sculpted it in Zbrush, as my introduction to Zbrush. Really didn't do myself any favors with this being my first sculpt. Ran into some issues with bluescreens and file recovery so there are some small missing details, but otherwise it was really fun to learn Zbrush, as my only other 3D modeling experience was with Sculptris and Maya. The work itself was a real fun challenge to figure out, especially with the sphere skull. I had to be very creative to create the mask I needed to cut out the net, and I was proud to see myself figure it out. I'll be sure to stay with Zbrush for a while and learn the program even better.
I watched the Gareth Edwards film The Creator and found myself enamored with the production design every second of the movie. All of the work that went into concepting the ships, vehicles, weapons, armor, and miscellaneous tech and gadgets really drew me in and I hoped to find in depth breakdowns as soon as they were posted. Low and behold, as I surfed Artstation.com I found a post by the endlessly talented people at Weta Workshop who had actually worked on the film. To my delight they also had detailed breakdowns of the design phase of some of the unique firearms in the movie, and the first weapon, the tri-armed rifle, caught my eye just as it did in the movie.
I set to remaking in such a way that it could be brought into unreal engine at a reasonable polycount so as to create a usable asset for a game project.
I modeled both the low-poly and high-poly, as well as unwrapped my UVs in Maya, Baked and painted the textures in Adobe substance painter, and rendered out my model in Unreal Engine. The final compositions came out of photoshop. I enjoyed watching my modeling skill increase just over the course of this project, and I was glad to practice with such a variety of programs to get a satisfactory result. I have much to improve on, but It's nice to see an idea all the way through the pipeline.
Any and all feedback is welcome
I recently found a gorgeous set of environment concepts by Quentin Mabille and found that the first entry really sparked my interest and I decided to use my newfound knowledge in Maya, Zbrush, and Substance baking to try my hand at recreating the concept in Unreal Engine 5, which I where I created my renders, before compiling them in Photoshop.
I began the process by breaking down the piece into chunks and repeated shapes, as I intended to create a bit of a Lego set, and ensure some modularity, as well as make it easy to rescale individual pieces when attempting to recreate the inspiration shot. I Blocked out and made Midpolys of those identified shapes in Maya, brought them into Zbrush to sculpt them and give them some real nice texture and chips and gaps. After that I brought them back into Maya to create some lowpoly models and UV unwrap them. After that I baked them in Adobe Substance Painter and slapped on some custom textures I made trying to emulate dusty/muddy stone.
As for the foliage and Tiling textures, I had actually never made either of these before, So I really found a challenge there, but it was a simliar process for both, with the help of just needing a plane to bake onto. I made blockouts and midpolys in Maya, sculpted in Zbrush, and baked and textured them all in Substance Painter. The Tiling texture turned out quite well pretty quickly, but the foliage really took some tooling and technical tutorials in unreal and maya to get working right. After getting some crucial advice, I brought my finished foliage sheet into Maya, cut and placed them, and made large round cages to transfer new normals onto my nice vines!
All in all I am quite happy I was able to manipulate the lights and shadows in Unreal to get quite close to the reference photo. I also used the basics that I'd learned about the sequencer and Niagara particle systems to loosely emulate the falling petals which I really enjoyed! The environment itself I am also quite proud of. I put a lot of work into this one and really delved into process I was unfamiliar with, but It turned out a success in that I feel that I learned a lot that I can apply to future 3D work.
Any feedback greatly appreciated!
Over the past month I was given the assignment of doing a little IP creation, using my slightly rusty 2D skill to create a Visual Bible including at least one full character and environment render, as well as their design processes and any narrative and world development I felt was needed to communicate a cohesive visual style. After that month (and almost a half more), I found myself with the world of HEIR (or succession, still workshopping), a post-post-apocalyptic science fiction world set after the eradication of humanity by their own hand, under the influence of a machine capable of forging worlds. I really am proud of all the work that I put into this, and found comfort in returning to 2D work. Let me know if there's anything you'd want to see added!