![]() ![]() ![]() When sculpting that modular piece, you can also sculpt each side of the thing differently. There are also tricks on hiding repetitive assets by using decals, vertex painting, or adding other modular pieces on top, like moss or plants. You figure out the recipes on how to create things like rock, wood, etc. As you sculpt more, the faster you become. How well do the workflows you used translate into production, or how would you change up your approach if time were of the essence?Īhhh see this is why we use that modular workflow I talked about above! Being able to understand what assets can be reused is key because that way you can make that modular piece look awesome, put a lot of detail into it and use it more throughout the environment. Your assets give the scene a level of high frequency detail and the impression of complete uniqueness. The pillars are relatively farther away from us, but you read the larger details in the bricks rather than the small. Since we wouldn't be seeing it up close, you don't want to waste your time on the super fine details of something. ![]() When dealing with an asset that you know is going to be farther away from the camera or player, it's more about the shape/silhouette than the detail/noise. Speaking of fine details, how do you personally find a balance between noise and detail, especially when viewing from a distance? I will decimate everything down as much as I can (make sure it doesn’t lose the detail! You will notice as you adjust the decimation % up or down) and not sculpt those anymore since they are marked as “done” to me. I could decimate my sculpt that is 5 mil polycount down to 1 mil polycount and still maintain the fine details of the sculpt. You would be surprised as to how awesome the decimation tool in ZBrush is. I will decimate that model as low as I can, watching how it affects the sculpts. When I know I am finished sculpting something (say one part pillar is finished and its 5 million polygons). Yes, the polycounts can certainly get outrageous as you continue sculpting a large scene or detailed assets. Nearing the end of the process, how do you deal with overwhelming polycounts yet retain a good amount of micro-detail in your sculpts? This tutorial in collaboration with Experience Points can be found here:Įnvironment Sculpting for Games | Ivanna Liittschwager - Experience points There's quite a lot of elements to talk about when sculpting organic things. ![]() I would also like to add that I have a video tutorial that goes over more of the sculpting process that I have. Before we even get into ZBrush, these things are important to note before you start sculpting your scene. I use Maya for everything unless I am sculpting, which is always in ZBrush. I do a block out of the scene with a human scale model to make sure everything feels like the correct size. My starting workflow is pretty basic honestly. How do you prepare your meshes for sculpting and what is your starting workflow once you get into ZBrush? I’m glad you guys liked it enough for me to write an article about it! As soon as I finished that game I immediately went to my computer and started creating the fan art scene. Recently, Bluepoint Games' release of the Demon’s Souls remake blew my mind with the amount of detail and gorgeous artwork that they did. The Soulsborne series is what inspired me to pursue my career in game development, especially Dark Souls 3 and Bloodborne. Hence, we will be going through today with my Demon Souls Fan art scene I did a while back. Video games have always been a big part of my entire life, especially the games created by FromSoftware. Before this, I was a student studying environment art for games at Gnomon and developing my skills. I’ve been working here for 2 years and that’s how long I have been in the industry. Excited to be here! I’m Ivanna Liittschwager and I’m a 3D Environment Artist at Santa Monica Studio. Hey Ivanna, welcome to Beyond Extent and thank you for agreeing to this article! Could you introduce yourself and let us know a little bit more about you and your work? ![]()
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