Sculptember is one of those things ive been wanting to do for the last few years. Truth is, i already do too much at work. And am trying to have better healthy habits out of work. But.. im gonna try to jump in the bandwagon and do a recap each week.
I had the pleasure to teach my first class for the past 11 weeks at the Gnomon school. The class covered a lot of the basic techniques of blocking out a level and taking it to completion. I am very pleased with the work my students were able to accomplish. So much, that i wanted to share them below and give them a bit of spot light!
Each student was completely responsible for their environment. They picked or created a concept, and creating everything from scratch. Using maya, zbrush, marmoset, substance designer and painter, and finally put it all together in Unreal. It was an overwhelmingly amount of work for 11 weeks. I am so damn of proud of them!
Please note that these might not be the final product.
There are many ways to go about making a low poly. The only way that is the right way, is defiantly what works best for you! However in some case, is definitely worth exploring new ways of making things. Specially if you are short on time and have a lot of low polies to build. This video focuses on creating the low poly for an organic architectural modular piece.
The goal here is to make sure that the low poly retains all the silhouette from the high poly. And that it looks just as good, if not better than the high poly. For that purpose i am starting using a decimated version of the sculpt, using the decimation master in zbrush. And then manually cleaning the model.
This is bit of a tedious process. For which is handy to do a few things to speed things up. By using hotkeys, i go into full autopilot mode and clean through the model very quickly. In this video i am using a lot of my custom scripts. For this sort of thing is important to understand that we only are interested on keeping the edges of the decimated version, anything else that is not helping the silhouette on the model, such as flat surfaces are going to be cleaned up, reduced and treated properly. I do a lot of this with vertex painting in mind. One thing i did not do a lot of are "test bakes". The only way you will know if you are reducing the model properly is by trying out test bakes. You bake your normal map, and you keep reducing. Rinse and repeat. It is also a good practice to have some version of the high poly decimated in the scene to help you see what needs to be constructed and kept intact.
I also want to mention that i am not a fan of jumping between programs too much. Which is why ive developed such a strict way to build these low poly models all within maya.
Hello, sharing part three of my series covering blocking out evironment assets. This video covers a very quick glimpse at my sculpting techniques. Because of how I work, I usually tailor my assets main shapes in Maya by adjusting them for what I see in the game. Rather than going to zbrush first and commiting blindly to random shapes. Sometimes what might look "cool" in zbrush might not work well ingame for your level. Because of this a lot of times I would sculpt and play with shapes briefly in zbrush. Decimate that model, and throw it in the game to see how the shapes play with the lighting and the overall feel of the level. This process is very handy when making organic models such as rocks. This part of the process is very repetitive. A lot of the times I would tweak the decimated model in Maya using lattices. I will have to make a post about this later.
I only commit to my detailed sculpts when I know the model works well in game.
Other tips as seen in the video:
1. Make sure to use a material that highlights the detail in your mesh. Similar to how people flip the canvas while drawing in Photoshop. I constantly toggle between my main sculpting material and the a gray shiny material.
2. Brushes and alphas are very useful. However, force yourself to learn how to sculpt surfaces by hand first. So that you understand what needs to be done.
3. Pay attention to your reference!
4. People will argue that you don't have to put detail on your mesh because you could do overlay materials. Which is valid. That is no excuse for your sculpt to look soft and cartoony. All the detail of your sculpt will eventually transfer to your normal map. And more likely other maps that you will use to create the texture. A lot of the times you might find yourself going back to the sculpt to tweak things. To make the texture part work better for the kind of mesh for what your doing. So wether you are doing something stylized or realistic make all the resolution, and details count towards your goal.
5. Workout the main shapes first. Then add the detail.
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Understanding that working on the grid goes beyond simply making models snap together, is very important. Using the grid we can establish solid texture ratio rules. Sometimes build whole workflows around this concept. This is the second part to "blocking out shapes" a video series i made for my students. In this video i focus on figuring out how im going to treat the uvs for the models i've blocked using 512 pixels per meter. Ensuring that at the end of the day , everything is high rez and consistent!
Sharing another video i made for my class at the gnomon school of visual effects, where i talk about quickly blocking architecture using curves. The goal here is to blockout modular pieces that will later on be baked out from a custom sculpt. Of course, you can follow the same method and simply use extra bevels and tiling textures.
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It is very important to establish a format to present your 3d work online. Breaking down your work is crucial , so that it answers any questions people have when showing it off online. In this post, i would like to focus on rendering your high poly. A well lit high poly not only adds more value to your portfolio. But it also helps you sell the shapes in your model so that others can study your work better.
There are many ways to go about rendering your high poly, it is a bit of technical workflow. Which is why i decided many years ago to keep it simple and do the minimum to get the most out of it. Using a little bit of our favorite renderer in combination of photoshop you can go a long way.
The techniques shown in this video are by no means new, or even ground breaking. But they have proven handy for myself over the years when the time comes to rendering my work to show off to friends, clients, bosses and prospect employers.
This is a video i made for my students, for the Environment Creating class at the gnomon school of visual effects and animation.
Wanted to share a little quick project i've bee working on to test out a few things to speed up the process. After God of War i was full of little ideas for workflows so i figured i would start something at home. This test is centered around the idea of using an overlay layer in an unreal material. Most of the detail high resolution detail comes from the underlying layer ( in this case a simple rock detail material ). The overlay layer has the macro normal and a diffuse i created using substance designer and painter. The material also supports additional layers, and has support for wetness. Very simple stuff, yet it was kinda of a very steep learning curve to get it all set up. All this took me a few months working here and there. Not really done, as ive barely started scratching the surface.
The sculpt was hand sculpted using a combination of zbrush and maya. It was a pretty fun test!