Polypaint stands for painting all the polygons for smooth coloring of surface. For doing paint on the surface of your desired model you can apply color to its surface after making some parametrical settings and this is called Polypaint in Zbrush. As for some of the unique assets, I decided they should have a separate sheet to add unique details. So let me tell you how you can do this in Zbrush. Three wood categories, two metallic categories, and four woodcuts. Therefore, I chose to make six variations of each. From looking at the reference, there were a lot of repeated patterns of wood and metal parts. The trim is then combined with other materials inside the Unreal Engine to create certain effects, like gradients. UV overlapping was not an issue, in this case, it was rather encouraged. Each UV is cut and laid out on the proper trim. The unwrapping process was entirely different. Some UVs can also be mirrored to save texture space, but UVPackmaster helps you with all of that.Īs for the trim sheet. The issue is that you want to make sure the UV scale is right for each chunk of UV. I was lucky to find the add-on UVPackmaster which rearranges UVs using all the space it can. I know a lot of artists struggle with UV unwrapping, so I want to point out that I used some shortcuts. Since I was a kid, I have been interested in video games like Crash Bandicoot and Spyro The Dragon and I used to play the Zelda series, Minecraft, and Splunkey at my friend's house during my last year of college.
I am also a gamer, who connects with people through video games. What inspires me to create 3D art is the passion of the art community in collaborating to help each other. My strongest point has always been learning new workflows and tools. My job is to create real-time 3D visuals of an imaginary world to tell a story that leaves an emotional impact on people. When someone asks me if I am a Game Designer, I answer that I am a 3D Game Artist studying environment art. Such secrets separate hobbyists from professionals. I understood what is important and what is not in game design. The MISK/Vertex School program taught me why I struggled to get a job in the industry. Both programs are run by Vertex School and really started getting me into video game art. So, I started investing time in my old hobby, drawing, and 3D design for about a year before I found programs at Saudi Digital Academy and then, later, the Game Arts Program at MISK. After graduation, jobs were hard to find. I had lost interest after college as 3D art schools were not an available option.
This can be tricky, especially when everything is mirrored.I started my artistic journey with flash animations and since seeing the movie Toy Story, have been inspired to work with 3D modeling. Once I'm happy with this, I paint in the shadows using a black filler layer at around 50% opacity and try to eyeball something that makes sense. I try to leave the paint strokes a bit messy to give it that hand-painted feel.
This works with the colours underneath and means if those colours change, the layers on top will still match.
I set up big gradient colours showing the lighter or darker areas across the large surfaces, then I use a pure white or black fill layer, set this to overlay, and start masking it in on top of the base colour. I assign base colours to all areas, then begin layering up details. I then switch over to viewing the model in the albedo channel and start texturing from there. To make things easier for myself, I use the baked lighting filter in Substance and tweak the settings to give me basic top-down lighting with very light shadows. I wanted the whole model to be hand-painted, including the light sources and shadows. I export this back into max, and separate ZBrush imported geo onto a new layer to keep things organized. Using the trim dynamic and orb slash brushes, I bash in the edges of each block and add some cuts and cracks to make it look weathered. I find this a good way to keep larger scenes organized whilst still having the flexibility to isolate small areas. I take this geo into ZBrush and assign random polygroup ID's to it so that it is still contained in one SubTool, but I can now isolate individual blocks to work on within that SubTool. I separate equal-sized poly groups out from this and cap them off, effectively getting a curved row of blocks, then add in some supporting edges for a TurboSmooth.
I create a spline that follows the rough shape of the wall and roof, sweep a box along it, then subdivide the geometry into equally spaced segments. I'll use the inner portal frame area as an example of how I approached each high poly area. For the building, I break each area down into a manageable section and use symmetry on almost everything to save on time and texture sizes later.