Sep 3, 2015

Croc Mans Bust - Sketchfab and Highpoly

Hey everyone, here's my latest work, based on a concept by Nordeus Games.  I made this first as a highpoly, then retopologized it as a low, using a combination of Blender and Zbrush as per usual.

Weirdly enough, I used Blender for most of the high poly stuff and Zbrush for the low, using dynamic topology in Blender to sculpt the main forms without having to think about mesh density, and then later I used displacement maps and a simple tiling heightmap to create the majority of the scales.  Meanwhile, the hardsurface aspects like the right arm or the lock were created mainly using subdivided surfaces, which made retopologizing those areas fairly simple since I usually only had to turn off some modifiers to get a good base to build my retopologized model from.  I also started using Blender 'Un-Subdivide' feature in it's Decimation modifier, which was handy in retaining the intented form while still returning to the lowpoly (useful when I used a smoothing modifier to change the form).  I used Zbrush's ZRemesher to create quick quaded meshes from both the crocodile's forms, as well as his plates of armour, which I then brought back into Blender to unwrap and create the retopo'd mesh.

Baking was handled inside Substance Designer, and much like with the hovercar, I used 'By Mesh Name' while baking which kept me from having to create any additional exploded meshes.  This feature uses the object names in your scenes and only bakes if they're matching, which definitely helped keep things more organized.

After creating some base materials in Substance Designer, I brought everything over into Substance Painter where I got into the nitty-gritty of material creation, using edge-wear generators, hand painted masks and such to create the final texture.  I then exported the textures out using the Sketchfab settings, uploaded the fbx to Sketchfab and tweaked a few of the post processing sliders.  I also tried exporting the textures out of Painter to other engines like UE4 and Unity, which is cool because it converts them over to PBR Spec or PBR Metallic automatically.

Jul 28, 2015

Sci Fi Race Cars

Here's my latest project, original design by me. These were created to practice hard surface modeling and texturing workflows. All images are real-time screenshots inside of UE4. Working with the Substance suite let me quickly generate unique texture variations on the car.
Tri count is 30k per car, textured with 4k maps (albedo, roughness, metallic, normal, emissive).

Jul 14, 2015

Futuristic race car concept model

Still some cleanup to do before I retopo this, but still, not bad for only a few hours today and no reference. Just Blender viewport grabs, currently flat colour materials only, textures coming soon.  Ruth said to make it purple, so it's purple. 

Jul 1, 2015

Scifi Gun Turnaround

A scifi gun that I modeled for Polycount's Noob challenge this month.  This is only the HP so far, I'll be posting the textured LP in a couple days.

May 9, 2015

River Scene Process Art

I wanted to do a follow up on my last post to share some of the art that I created in the process of making the final river scene.  After the images I go into a description of some of the techniques that I used.  Cheers!

So since it's such a lengthy process to model and texture everything, I planned out the scene first with rough thumbnails, and then a quick concept to establish the general mood of the scene.

For modelling the trees branches, I modeled some simple branches using spline objects, called 'Curves' in Blender.  I then used a simple particle system to place leaves onto the branches, using weight painting to establish where the leaves would spawn.  I then had to rotate many of the leaves by hand so they wouldn't intersect as much. Once my branch and vine textures were made, I used another particle system that would spawn all of the tree 'parts' along the main branches of the trees, which are basically just modified cylinders.  For the trunk, I modeled a cylinder, subdivided it a few times, and used a displacement map generated from my high poly tiling sculpt to push out the forms and make it look more tree like.  I then collapsed and decimated the trunks since the displacement itself doesn't have to happen in real-time.

For the dock and the house, I first created a basic blockout volume of the shapes that I wanted.  I then created a set of different kinds of wood pieces that I would use over and over again, which helped me cut back on the amount of texturing that I'd have to do, and also save on texture memory.  I sculpted the pieces within Blender, and then using a combination of decimation and by-hand modeling, created the final low poly models.  The texture baking was also handled within Blender using Cycles, and a 'synced normal map' workflow (watch this video for more info on that:  Synced normal maps basically ensure that your maps will look identical across apps, which is super important since nothing's worse than spending hours on making the perfect looking model, only to have it look completely different in-game.  After texture baking was complete, I then ran the maps and the model through DDO, where I created a mossy wood material, which would place moss inside the cavities of the wood.  I then used my final low poly wood pieces to construct the final dock and house models, keeping them all as separate objects so they'd be easy to maneuver when I had to edit things.  The pieces were then duplicated and collapsed into a single object before I exported them into UE4.

That's the gist of everything, I also did a lot of experimenting with UE4's material system, which is one of the coolest tools I've ever seen.  The trees, ferns and water all move on their own, controlled through their materials and vertex colors (I'll have to render off a fly-through of the scene once I figure out how to do that).

As always, if you have any questions feel free to ask in the comments below. Thanks!