Portfolio

Portfolio

"FRAMANDI"
Alien Technology modeling, texturing and animation

This portfolio will showcase all the steps taken to produce game ready assets. It will include the first drafts, experimentation, problem-solving and final importing into the Unity game engine. Each modeled game asset will be described within two supplementary production roles taken to contribute to the game.

As I am responsible for the alien tech creation, the main goal is to create convincing alien designs, which would represent the invader's race and technological advantage over Icelandic town. It is necessary not to create an obscure appearance which would represent preterhuman technology, but still, maintain a clear idea of the alien type visual aesthetics. The primary reference source is Half-Life 2 game, the setting of which has some obvious parallels with our game.


However, many other inspiration sources have been used to create the final output, although I have tried to minimize other artist influence in personal designs to leave more room for the representation of the alien technology.  So, introducing first in line, the most successful model - Alien Patrol Drone.

Flying Drone

The main objective of this alien tech is to patrol the environment and warn other drones if some suspicious movement is noticed. The drone has a distinct engine movement which also represents the current state of the "mood." If the player is spotted, the drone lights go red, describing that the drone is currently warning other drones and the player is about to lose the game. Final model - 19k polys

The concept - 

In the very beginning, I drown out some silhouettes for a better understanding of the alien tech visual language. I presented these sketches to my group, and by voting, the number five was chosen as a basis. However, I felt like that shape had collected most of the typical drone type technology appearance and was overused. Instead of having sharp details sticking out from the body I wanted to have a more fluid shape, but still having the hard surface over the organic appearance, thus I tried to offer a more improved version of the concept.

These references I have tried not to use in terms of form appearance, because of the points stated above. The visual language and the complex part arrangement feel too familiar, already seen before. I wanted to create something different, more fluid and organically looking. However, these images gave me the inspiration for the shapes and the potential curve lines I could use in my designs.

The initial stage started from the block out. Instead of using primitives, I decided to use a spline drawing approach.  This technique would give me a possibility to outline the initial shape of the model using spline draw and change it quickly if needed. It can be comparable to the sketching when the artist is searching for the desired shape before the actual working process.

When the shape is defined, the additional block out takes place (More accurate way of blocking out the model would be primitive object use instead of polygonal modeling technique). At this stage, I'm adding secondary details, which are taking less visual space and represent the possible engine position, their size, and rotation.  It is crucial to follow some of the fundamental rules when making a concept — for example the shape arrangement and level of detail in them. Some of the areas should rest the viewer's eyes when smaller areas can drag the observer's attention.

To maintain a fluid transition between individual shapes, I'm using C4D's "edge to spline" tool. Therefore any spline on the model can be detached via duplicate and manipulated with "Extrude" modifier afterward to leave no gaps between polygons. I'm using this technique very often in the block out phase.


The process can take a while when new shapes are being added on top of the existing model. It can break the current aesthetics, or find a better design.  Knowing that my role doesn't cover the concept art, most of the times the progression happens in the modeling stage when the shape can be changed without significant waste of time.



The image on the right was the initial design which has more acute forms in the front of the drone. Later in the process, it was turned to a more round form, to maintain the visual language between alien models, as the wall scanner (described later in the portfolio) repeats the form of the Flying Drone front.

To maintain a precise rotation axis and the model components alignment, the "snipping tool" was used occasionally to ensure that the position of moving parts corresponds to the idea. Wings attached on the cylinder sides at this point are an "array" modifier copy (as they are not individual elements. Thus, I will be able to drive their opening and closing animation through a master copy. The snipping tool was used to align the array at the center of each engine (cylinder).

An earlier version of the drone is merged with the current to explore various possibilities to improve the overall composition. It was a usual practice to add and remove specific parts of the model to find the most appealing visual style. When the model starts to define its shape, I already imagine its potential engine movement and techniques to use.

Simple materials are added to define the material differences and color arrangement. I'm planning to keep no more than 4 colors on this particular model to keep colours balanced. When  The model is reaching its final look, I'm looking for a way how to incorporate the "Microchip" extrusion, a game mechanic stipulated during group meetings. The plan is to have a crashed drone model with an interactivity option when a player can extract a quest item from it. I consider the back of the drone as the most suitable option

Spline guides are still visible, which helps me to follow the initial concept. Smaller shapes are getting more additional detail. Keeping the low polygon count and clean topology is helping me to make changes on the surface, with "soft selection brush" without destroying the established appearance and keeps the mesh clean.

Unconsciously, I realized that the design repeats Half-Life 2 Combine Advisor. As I stated above, the primary reference for the alien tech was Half-Life; however, such a similarity led me away from the original idea of having a unique, self-created concept. That's why I decided to change some visual features of the model. In addition to this decision, the fact of having two engines on each side seemed to disbalance the overall shape arrangement. Thus, I decided to simplify the main shape of the drone going towards minimalistic shape approach.

I shifted the rear engine position towards the back and increased the size of the hole of the front engine to balance the detail appearance. At that moment I realized that the design I was looking for doesn't appear appealing and reviewing the model, I concluded that I don't enjoy the overall appearance of the drone. It looks too bulky and serves more like a small bomb carrier or some heavily armored floating tank. Instead of wasting time trying to come up with something while running out of ideas, I started a fresh model.

Updated engines I kept from the old model. More detail was added to the wing connection areas to give a feel of the working mechanical movement. Green, red, pink and purple objects are going to be animated. I'm usually applying materials for each component in the modeling stage to differ them and their related parts faster. 

I had to change the whole model, except the engine concept which already cooperated with the desired animation. The front of the drone was made smaller, and the body represented a shell of the insect: large front and narrowed tail (A dragonfly). It gives a feeling of the speed this machine could achieve and the maneuverable capabilities. As it can be noticed, the top opening (triangle shape at the top of the model) was taken over from the previous model although its form was changed. Initially, I was planning to keep that part a fuel tank, where the fuel used to drive these drones is exposed behind the glass. When the fuel level is low, the drone heads towards harvesters to refuel (that would add a nice visual storytelling touch).

I imagined the rotated body of the dragonfly to find an interesting shape.

To keep the balance of forms additional detail, such as bottom plate and pipes were added to represent some hydraulics setup. At this point, I'm happy with the overall look of the model, so it is the time to start the UV mapping process. 

Individual elements are arranged to keep the animation process tidy. It is crucial to follow naming conventions correct, so no extra time is wasted on searching particular model elements. 

As previously described, I'm applying materials to define individual parts of the model; however, I'm also giving them colours which could represent the final palette. Most of the attention has to be drawn to the front of the model (the eye), so I made it quite distinct, but not too frightening, despite the fact it's an enemy NPC.  It is with a purpose because these alien conquerors do not consider themselves aggressive and they don't perceive the player as the enemy equal to them.

The first substance painter test. The model has only 1 UV set, so the quality of the textures are quite low. At this stage, I was not familiar with UDIMS workflow. Therefore I did the unwrapping using  1x1 UV space. 

These renders are representing the possible look of the drone within the game. I chose the appropriate HDRI to create similar surroundings to what we have in the game. After the group presentation, I received critical feedback regarding the dark fuel tank appearance and the second pair of wings on the rear engines. Thus it was decided to remove them.

 Portal 2 is quite a famous game so it was not difficult to spot similarities within the colour scheme and common features like the eye and exterior details. Therefore I had to work on it to change the appearance of the drone.

The new design had minor changes on the piping detail and the front of the drone. I have changed the bulb position and the overall design of the head part covered with a glass shield.  The wing attachment on the engines was also improved slightly. 

The UV mapping was done in Maya; its "quad draw" tool makes unwrapping much easier than native C4D  UV tools.  All components were layered and assigned to different colors, to maintain a clear workflow. That way I was able to hide unwanted components in "layers" of the model to reach complex areas for seam creation. 

Shell padding 4mm

The colour ID map helps to define the materials' specific area on the UV map and assign it automatically without manual painting. However, I had to use various materials as I had the animation; thus parts like wings and cylinders should stay as a separate mesh with an assigned material which separates components in SP layers.

I am keeping uniform texel density among UV shells to keep the same texture quality on the visible elements. Hidden parts can be scaled down as the texture quality is not necessary although smaller pieces can be scaled to present more detail on the texture. I'm also trying to hide seams from the main visible areas of the model.

I am creating a high poly model for the normal map baking. Some of the parts with low polycount cannot be subdivided as it is going to cause detail baking issues later on. I'm focusing mostly on the drone body detail to achieve a smooth surface with some "paneling effect" on the tail. I noticed, that the areas where engines connect to the body aren't following the round shape at the bottom of the model.  Somehow I deformed the topology without noticing.  However, at this stage, I thought that is not a problem.

These baking issues are happening when the low and high poly shape differs too much. Normal map is curving on the areas where the angle of the low poly model is sharp. It can be fixed if the high-poly has a supporting geometry to replicate the low-poly shape.

Each component which needs to be textured separately without using masks needs to have a material assigned to it before exporting as FBX. It will create separate texturing palets within substance painter to organize the workflow. 

Textured game ready model. I was not sure of what kind of the material drones would be made of, so I assumed that iron is one the most widespread element in the solar system so the physical properties of this material would behave familiar. Worn out effect and specular reflections give a feeling of heavy machinery. I have also added dirt in certain parts of the model, primarily on the bottom, at the drones are in constantly patrolling the environment and most likely particles dust, and other dirt would collect in these places.

https://www.youtube.com/watch?v=3We8skpjCHI     Emmisive map tutorial

https://www.youtube.com/watch?v=6jo5W2tWseM&t=593s   Substance to Unity

As promised from various sources, textures created in SP might appear differently in-game and rendering engines o. The reflectance level is noticeably lower than the I-ray example. However, I did not have any strict brief to follow; therefore I was satisfied with the result, yet it was my first model imported into the game engine. Headlights emission colour were supposed to change depending on the state of the drone - when the player is in the range of the drone vision, lights changes from yellow to red indicating the danger the player is currently experiencing. Also, knowing that the game environment has an afternoon/night setting, the textures are not visible in detail, plus,  Y-axis position range of the drone will be higher than players top-down camera, excluding the possibility to explore the model in full. 

I have decided to use a forward kinematics approach for the animation. As the model is not complicated and the moving parts would have a relatively simple movement. Thus no rigging is needed, only the precise gizmo location in the center of part connection points. Each component is grouped accordingly and parented with a "Null" object (which then has its gizmo set in the right position). I wanted to give some movement to each engine parts, which would randomly pull in and out its nozzles and rotate independently from the main cylinder. The limited amount of variations in terms of movement gave me an idea to use it as an advantage and indicate different states of the drone by animating wings.

A quick overview of the progression made so far.

Idle movement is designed to keep the drone in "patrol mode" or the normal state of the behavior followed by calm and imposing movement. The idea of moving nozzles came from the insect's rear body specific movement.

Aggressive movement behavior indicates the final stage of the drone distraction: fast blade rotation and opening.

A distracted drone is searching for the player. I wanted to give some puzzling behavior. 

These animations are having two main issues - the engine rotation axis are slightly off as well as the wing movement when the opening has a sliding and sinking effect. All these issues in aggregate with the shape deformation underneath the engines made me remodel the drone, which means that I would have to go through each stage (modeling, texturing, animating) over again. 

The updated drone has fixed geometry and improved piping setup. I have added more subdivisions on pipes to give them a more organic look. This time UDIM workflow is used to keep better texture quality among all meshes.

UV unwrapping each single element

To enable multiple UVs in Maya layout settings must be adjusted in U and V tabs. In this case, I set U5 and V5, to fit related UV shells in one UV space which is then will represent an individual layer in SP. I had to arrange each UV shell position manually as the Automatic layout option in Maya could not perform the needed task as it uses its specific algorithm.

When multiple UVs are used, Colour ID for every single object of the mesh must be baked. It makes sense if certain parts of the model have a clear outline that cannot be reproduced with a regular brush in SP. In my case, no complex micro-detailing was needed, so I used masks to paint a new material with the emissive setting on top of the existing material to give the impression of luminescence lights (The pipe details and body lights).

Working progress on the drone body texturing. The front glass has a mask applied with an opacity channel enabled, to enable the channel. "PBR-metal-rough-with-alpha-blending" in SP shader settings needs to be enabled. On the top-right corner, all UV maps can be seen; originally they appear in order starting from 1001 (The first UV space) If the setting "Tileset per UDIM" is enabled.

Texturing progress. Material seems to be too reflective, some adjustments needed in the roughness channel.

Improved material appearance. The color scheme of the drone has dark tones for camouflage purposes.

I'm adding scuffs and dirt for more realism. I use different brushes (dirt and dust brush preset) to achieve a believable effect. The red detail seen on the back f the drone represents the drone microchip location. The player will be able to extract the chip through that drone part. For an easier player orientation, crucial areas are highlighted.

Exporting textures in 2K resolution using PBR MetalRough preset. This preset produces height and roughness maps which can be handy if I would like to use the model for other needs.

These maps were exported using Unity 5 standard material export preset. MetallicSmoothness map will drive the reflections on metallic surfaces.

Reflections are barely visible if the studio light HDRI preset is used.

This time I wanted to animate each wing separately to avoid uniform movement. I used the Dope sheet to smooth out rotation changes. 

Adding texture maps to materials in Unity. 

Importing the drone into the game level. Lights placed around the model help to observe the reflection behavior of the material. Additional information can be found in videos, which are showcasing drone movement and other model progression stages.

The Harvester

The harvester is an Alien technology which is made to harvest the organic data from the planet surfaces. Its primary mission is to fill up the storage tanks and inspect its usefulness. The data is then сhanged to meet the needs of Alien Invaders. Recycled liquid as an output of the inspection process can be used to fuel up drones and the harvester itself.

The modeling started from a  simple block out to understand its overall proportions - height and width. Thinking about the animation which could be made later, I wanted Harvesters to land and take off when their storage tanks would be full. Therefore some engines would be needed. When the Harvester is landing, engines separate themselves from the main casing and lands on both sides of the Harvester.

Harvester needs to be massive to give the impression of mobile platforms made to gather certain materials. The main inspiration came from water towers specific construction, which performs a similar concept of task - accumulatio

This basic block-out of the possible shape is made to explore dimensions next to the scalar object - (1.80m). Unfortunately, the appearance of the Harvester model differs from the previously created designs of the Alien technology, so I had to return to the starting point -block-out. 

Here I'm keeping the main concept - body and separated engines on the sides, which are serving as harvesting mechanisms at the same time. Feet/Engines are embedding the surface of the earth and release its tools for mineral collection. 

The Wall-mounted scanner was initially made to act as a camera and prevent the player from exploring unwanted areas. Furthermore, I thought that this little model could be used as a central computer which drives Alien tech if "plugged in" so I placed it in the front of the Harvester model. This decision is not only creating a more detailed model but also complements the visual language among alien designs.

This diagram was used to showcase the current concept of the Harvester to my group. The idea was accepted positively. We discussed leg position and the overall look of the model. All this time modeling I completely forgot, that the primary reference of the game itself was the work of one of my favorite artists - Simon Stalenhag. His paintings of the machinery are very close to what I would expect to have our game. I scrapped the concept and started a new block out for the game presentation. Every time doing that, I trained myself to get the shape first, before going into detail as not having a final composition causes time loss. I knew that this sort of practice was not right in terms of time management, as I was doing too many steps backward instead of progressing further. However, it was the option at that moment to deliver exciting and thoughtful designs. 

Simon Stalenhag painting from "Tales of the Loop"

The new block out was imported into the game environment without UV unwrapping to act as a place holder. I did some screenshots and composited a human to get the feeling of the overall mood when the player would face this alien technology.  I have also shown some work related to this game to Stuart Godfrey (Recruitment Manager at Climax), and he was quite interested in these designs. Even this little composition got its attention. 

Later on, I found an article about a game called "Generation Zero" where Simon S. is talking about the similarities in designs, although he was not involved in this game production. It was beneficial information, as distinct similarities among his artwork and our game setting would theoretically cause the same issues. Thus, I kept the initial influence and added my design solutions. 

To match the main style dictated by the drone model made previously, soft and fluid forms were the primary criterion for creating the final harvester model. The idea of the theoretical possibility of taking off and landing these machines was still a part of the concept. Thus the visual appearance has mechanical parts responsible for that. The organic data container is embedded into the main shell which has distinct aerodynamic properties.

The Wall Scanner model was scaled up and slightly modified and placed in the front of the harvester. Upperpart wings are giving the impression that this machine can fly and the engines located at the back repeats the Drone nozzles shape. Instead of having feet to act as the harvesting mechanism I have decided to use a pipe setup, which is not only creating an interesting design solution but also repeats the pipe mechanism of the drone. 

The only detail of this design, which did not fit the concept was the feet setup. Visually, it did not meet two criteria - weight balance and the fact it has to serve as landing engines, which means it has to look more powerful. 

The new feet setup is fitting the overall design and balances the visual weight. Small jars at the end of pipes represent some filtering installations, which then would send the organic data to the container. Details that have a similar structure and the colour scheme are combined into a single object. As a result, five different sets were made to be unwrapped and sent to SP.

For the high poly model creation, I have used a free kitbash library and placed some mechanical details around the model. I did not spend too much time on rearranging different bits in certain places as I was planning to use SP ability to paint normal and height maps for additional detail.

The distribution of certain parts of the model in Maya through five UV spaces makes texturing easier and keeps more details (each UV set exported as 2K). In cases when the same texture is needed across different UV sets, paint layer instancing across sets option is available. 

In some cases, when the smart mask effect appeared to be pixelated, the global blur option in mask settings fixes the issue.

Sometimes, for some reason, I don't understand the painting across UV shells caused issues when the brush would affect neighbor UV island and paint on its surface. The only way hot to avoid such a bug was zooming in closely to the needed UV shell. 

Adding dirt to the glass material and drips on the paneling. 

Same texture export settings were used to generate texture maps for the Drone

Painted UV sets. The UV island arrangement is not that great in some areas, and I probably would get away with having four UV sets instead of 5. But I concluded that mixing different regions of the model in one UV set would increase the texturing time as each of those areas would need a mask to apply different texture which, of course, might affect the Unity engine performance as various materials are used on the model. 

 Native Substance Painter I-ray renders to see material behavior across different HDRI's

Since the Harvester is operating in the fields within the game setting, realistically it would have dirt collecting on its body. Therefore I painted dust and dirt spots on the feet shells and bottom of the body. I wanted to withstand the color scheme in medium tones, emphasizing the fact that it is a machine for heavy field work and can be compared with tractors, permanent inhabitants of the fields.

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 Tractor from the reference image Harvester

Colour scheme reference

Setting up metallic/roughness maps to achieve the desired result in Unity. The model is then packaged and imported to the actual game environment. 

Ingame screenshot, at this stage the Harvester has no colliders. Tubes and feet should have separate colliders as they are individual meshes. The body of the harvester can stay without any as the player won't be able to interact with it. Final model - 9k polys/LOD1 3k polys.

Adding colliders to each mesh prefab

LOD issues

For some reason, SP had issues with showing UV map correctly. So I had to UV map the model using Automatic unwrapping option in Maya. 

Only one UV set (low texel density) with 512px texture maps was enough to create LOD1 as none of the details could be seen from a distance.

Unfortunately,  it was too late to implement LODs into the game as all components were already added to the LOD0. To maintain the workflow properly, I had to have a uniform scale for all LOD levels in one LOD group in the first place. Importing the lover resolution model after the initial setup caused many issues, one of them - wrong scaling (the LOD1 was way bigger than LOD0. That was my mistake not thinking in advance about scaling and importing different level of detail. We also had many problems with the GitHub during last days of game assembly, so changing everything related to harvesters could cause serious issues. However, the LOD1 model was ready, and the polygon count was reduced to 3k. 

UPD:

A simple technique was discovered while trying to implement LOD 1. Firstly, we are creating an empty object in the scene hierarchy and parenting LOD0 to it, after that LOD1 gets parented to LOD0 to take over the same position and rotation (Scale if off as stated before). Next, unparent LOD1 from LOD0 and place to the empty object created previously. Scale down LOD1, and the last step is to add LOD group component to the Empty Object. The HavrevesterLOD1 has 3k polys and 512px texture without any detailing. I suppose even a pure dark coloured material use would be acceptable. 

This chart is handy when it comes to a realistic material appearance in Unity.

Wall mounted Scanner

A Beauty render made in Octane Render. Side nozzles are serving to connect pipes from other Alien tech models as the Scanner could also serve as the central processor. Final model - 3k polys

Wall mounted scanners were designed to prevent humans from entering certain areas of the environment. They are comparable to regular cameras seen in everyday life. If the player gets into the vision of the Scanner, drones are getting distracted and start searching the trigger.



The Scanner was the very first model made for this game, so it is relatively simple due to my first steps in making the game ready asset. Further, in the developing stage, the concept was getting more exciting design solutions and potential game mechanics.

The scanner is changing the colour depending on its state. The light turns RED when the player is in the range of vision.

In the beginning, I wanted to give the Scanner multiple tasks it could perform as the part of Alien tech environment - Scanning the streets and locking down the windows of the houses. Thus, the sides of the Scanner were to be moving and expanding, but this idea was abandoned later on in the production stage. 

Very first SP texturing tests. I explored several colour schemes used on the body of the model, one of them has a "riot" type text written by the citizens which can be translated as - Go away, meaning that the people are not happy being occupied. 

The final design in low poly and high poly ready for the normal map bake. 

Testing different materials. The darken scheme fits the setting more than a lighter metallic shade. 

The final asset in Unity.

Drone Chip

The block out of the microchip. I wanted to give it more or less clear appearance in terms of its purpose. It should not look like regular microchips we used to now, but at the same time, it has to deliver an objective and look like a part of some technology piece. 

The Drone microchip is the object which can be extracted from the crashed drone (won't appear in the game due to time constraints as it requires a brand new destructed model). The concept covers the ability for the player to use this microchip to interact with different alien mechanisms to open, run or shut them down.

The low poly version of the chip.

Creating a high poly model for the normal map bake. When this model was created I did not know about the possibility to paint height and normal maps in substance. So all the details were created directly in C4D using shapes placed perpendicularly to the low poly model.  When SP is baking normal map, its "rays" are pointing perpendicularly and the high poly"form" bakes on the surface of low poly. 

Materials on the model were chosen to match the drone colour scheme. Green lights on the sides are representing the fuel which is made by harvesters. I thought that keeping the organic influence into the metal machines would be an interesting idea. So instead of using electricity or other power sources, alien technology could be based on different concepts.

Environment textures

For the environment texture reference, I researched Icelandic field photography, particularly grassy meadows, rock formations, and ground which can be seen through the badness of the grass. Knowing the location of the town in the game setting (Being a small village in the middle of fields) it can be assumed that such natural features would surround that area. For the texture creation Substance Designer was used. To get more or less comfortable with this software I downloaded some of the materials with .sbs extension to find out how other artists layout their nodes graph.

This gravel texture was created for small country roads. The colour is very uniform and relatively simple noise, and height blend setup was used to get this output. However, later in the game, this texture was abandoned. 

This is a more complicated version of the gravel texture with individual bits of rocks and pebbles with the ability to control their PSR, colour and amount alongside with height and normal intensity. Due to the procedural workflow, many variations can be created by driving just a couple of nodes. It becomes convenient when many variations of the same texture are needed to paint across the landscape seamlessly. 

Ground and asphalt textures created using the same principles. 

Different variations of the grass used to texture the town area and near fields.  All textures have their normal maps for a better detail representation. Landscape paint brush within unity can be used to paint across different grass variations to get a unique texture in different areas of the town.





Texture example in Unity

Since the time of the year was to correspond to the autumn period, I wanted to create a texture for the forest path, where the players go to the tree house according to the plot. For that exact reason, I wanted to have fallen leaves everywhere who already lost their bright colour. I had to create a procedural leaf generator and implement it into the existing ground texture project to have the ability to change the texture at any stage.

The grass texture variations in the Town.

Group contribution

At the very beginning, my role was to plan out the environment and start the environment building. I was highly drowned into the map and player routes planning as well as creating reference banks for the house modeling stage. I researched small Icelandic towns and their less populated areas to reference approximate town layout for the game. To understand building aspects I have used google maps and did digital walk-throughs to gather more information about the typical colour schemes, materials, and overall town structure to start then blocking out the environment to present them in front of the group. Later on, in the production stage, I had to transfer my role to another group member as her primary specialist role was overlapping with mine. Therefore my main focus was changed towards alien technology modeling and some environment texture creation. However, I include my first contribution into this portfolio as, In my opinion, it created the basis for the game environment creation and further idea generation based on the first ideas presented in the first weeks of the project. 

The very first game environment concept.

The very house positioning based on the map layouts presented in the first weeks of the project. 

Game ready house model (Very first SP work)

The House reference bank.

Creating modular assets.

Planning the game town layout and routes for the players to get from point A to point B.

Google map walkthrough for the house reference collection.

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Gathering different examples of inhabited areas of Iceland towns

Conclusion

In overall I got uncomparable experience in terms of creating game ready assets for the games. The very first model imported into the game went through different pipeline areas, starting from the low-poly model creation and finishing with SP texture export which I had never done before. However, there were a lot of little errors caused mostly because of my inattention which weren't recorded for the portfolio. Although,  I think that there is a significant quality growth comparing the first model (The Wall Mounted Scanner) and the last one made for the game (The Harvester) as the level of the expertise was growing each day. The only thing which is missing in these models I have made is the LOD aspect. I know what exactly needs to be done to have multiple LODs, but for several reasons, my hands did not reach that stage.  I'm happy with the work produced for this game, even if in the end it's not what I was expecting to see due to mine and our ambitious group concept. As for the further studies I will keep looking into the professional modeling,  material creation and texturing pipelines to deliver better results for my future portfolio.

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