![]() ![]() But I sometimes find myself struggling with some of the more traditional aspects of game art. This is great, and I definitely feel my background in architecture benefits me. As an architect, I feel I have taken a really different route to most into the industry. Secondly, I have decided to spend some of my evenings and weekends learning a new branch of game art – concept painting. Since the last blog post I have been working less on the 3D side of game art, and exploring some new stuff.įirstly, as of the 16th of July I am so exited to say that I am now a Senior Environment Artist at Rare!! I kind of can’t believe it. It has been ages since I have updated this blog, due to a lack of time, not a lack of work… Well, maybe a bit of both! this will not be what the finished asset looks like, but more a proof of concept. I also tested the roof with the rock walls I created previously. I may go back and add vertex painted variation at a later stage, but I do not think it is crucial at this stage. As these assets are modular and repeating it would be impossible to bake logical AO in the existing UVS, so a second UV channel was necessary to get that embedding Ambient Occlusion. So I decided to add a second UV channel and bake ambient occlusion and add it into the shader. This worked really well, but I felt the individual sheets didn’t look obvious and individual enough, and the screen based Ambient Occlusion was not doing a good enough job at separating the individual sheets. I then brought these into Unreal to test them in the scene. I used a similar technique to the previous post, where I painted an alpha channel to erode the steel and break up the sharp edges a bit. I then took this into Substance Painter to create a rough corrugated roof material. I started by assembling the corrugated sheets in Maya, reusing the original modules created previously. ![]() The geometry is really gnarly at the top, which might bake strangely, but worth a shot!Īfter creating the individual corrugated panels in ZBrush, it was time to bake, texture and assemble them to create the roof of the shack. The result is a really cool broken wood effect. ![]() ![]() I made sure to keep the splinters as their own polygroup. I then imported a mask into zbrush, and used it to extract the splintered end of each plank from the main shape, and dynameshed the main shape to give it usable geometry. This will be useful if I want to have broken or snapped planks. I then went back to Substance and inverted each heightmap to get the opposite side. Then, in ZBrush I created a series of planes, and used the heightmaps as displacement. I then exported all these heightmaps at 16bit to carry over as much information as possible. I started by creating the height information in Substance Designer using Blinov’s tool. It’s a really cool process but difficult to optimise for a game engine. I decided to try an approach by Denis Blinov ( ), creating height maps for broken planks in Substance Designer and importing these into ZBrush as displacement. The shack is an important part of the entire scene, so I wanted to put some time into testing different approaches for wood – one of the most prominent parts of the shack. ![]()
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