Artifact 1
“Dwarf Axe” – Assigned asset
Timeframe: September 2019 – December 2019
Brief:
In my first year of university, I had to take a module titled ‘Modelling for Games’. In this, we were tasked with creating a single asset from a list of given props, vehicles, creatures, and environments to an industry standard. We were to research said asset fully, create concepts and reference sheets, before implementing industry practices (which we also had to research) to get a high-quality output.
Software Used:
- Autodesk Maya 2019
- Algorithmic Substance Painter
What are you most proud of, in the creation of this piece?
I am proud of the fact that I was able to not only complete a piece of work to a set deadline with time to spare, but also that I learned how to do the most basic of high-to-low poly baking techniques with a high-quality output for my skillset at the time. Also, even though my texturing skills weren’t very developed, I was able to start understanding different materials available and how they can be utilised to create a good product.
What important skill did you learn?
I learned a lot of skills during this project, most of which I still use to this day (albeit in a cleaner, more experienced way).
I learned the importance of high-to-low poly baking, learned how positioning and materials in Maya make an impact on baking within Substance Painter, and how Hard / Soft edges also have an impact on the cleanliness of the final product.
I learned to use the Draw Polygon function in Maya, and how to optimise a low-poly mesh for use in-game.
Most importantly, I learned how to persevere and to not give in when stressed or under pressure.
What would you do different?
If I were to redo this project, I'd most definitely take more care in the optimisation process; quadding things correctly, and also making sure to iron out any 'frilly' edges that are indicative of problems with hard and soft edge baking. I think it's a case of hindsight being a beautiful thing, meaning that if I were to make this model with my current skillset I know it would be cleaner, simply due to having more experience and knowledge of 3D Modeling Software. I'd also take more care with textures, ensuring that all baked normals were showing through the way they should be (the grip is supposed to have a diamond / lattice pattern). Again, though, it's a case of me knowing better now, three years on from this project.
Tri Count: 52k
Vertex Count: 29.2k
Asset 2
Timeframe: September 2020 – December 2020
Brief:
Due to personal issues I had to restudy, and as such the brief we were given remained the same for ‘Modelling for Games’ – to create a high-quality asset that was fully researched and fleshed out, then baked in Substance Painter. I made it my personal goal to create a more complex asset than the one I’d made previously.
Software Used:
- Autodesk Maya 2020
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- Algorithmic Substance Painter
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- Adobe Photoshop
What are you most proud of, in the creation of this piece?
What I am proud of with this model, is the fact that it was made at all. It was the first time I attempted to make a weapon that was completely un-guided by tutors and lecturers (we were using remote learning during the Covid-19 outbreak). I’d also had personal issues earlier in the year that had impacted the time I was able to practice or develop skills over the summer months. The first week or two were difficult due to this, as I had to essentially re-learn Maya in a short timeframe.
In terms of modularity, I’m proud of how clean the model is in regard to topology. I’m also proud of how my texturing skills developed over the course of the week or two using software.
What important skill did you learn?
The main skill I learned is how to break down an object into smaller, more manageable segments that can be created using polygonal pre-sets (cube, cylinder, etc.). I also learned how to Boolean a large-scale object (the grid), and even though it was a struggle initially I think the outcome has been successful.
Ultimately, though, this project can be summed up by ‘if at first you don’t succeed’. I must have restarted some of the sections four or five times just to get a single working bake. Which, funnily enough, is a technique I learned from my lecturer – to test bake every segment as I make it, get it perfect, and then move on.
What would you do different?
If I were to change anything about this project it would be how i optimised my work to get it as low poly as possible in-keeping with industry standard (18k~ at the time of writing for a FPS game).
Tri Count: 27.6k
Vertex Count: 16k
Artefact 3
Timeframe: September 2021 – January 2022
Brief:
In second year of University, we were assigned a module titled ‘Organic Forms’. For this module, we were asked to create a Character, Creature, Foliage Asset, or Prop inspired by a fantasy series such as Lord of the Rings (Tolkien)
Software Used:
- Autodesk Maya 2022
- Zbrush
- Algorithmic Substance Painter
- Adobe Photoshop
What are you most proud of, in the creation of this piece?
Quite simply, I am not a sculptor. So the thing I am most proud of with this project is that I used the software to make an asset that I am actually very happy with in general.
Another thing I am proud of with this piece, though, was my ability to adapt – the initial idea being to have the subject be a fully-poseable character. However, due to inexperience I merged the characters arms down by his sides instead of in an A-Pose, meaning it would be impossible to animate him without undoing weeks of work. So, in turn, I adapted my initial plan and came up with the idea of a statue that was rubbed for good luck.
His name is also cool.
What important skill did you learn?
The main skill I learned, and the most important one, is that I am capable of sculpting in a 3D software using a pad tablet. Having studied the module ‘Introduction to Digital Sculpting’ in First Year of University (the results being less than optimal quality for portfolio presentation) I was dead set on sculpting not being ‘my thing’. And while I don’t class it as my specialism, I learned to use the bare-bones tools in Zbrush, how to then export a re-meshed sculpt into Maya, and then how to retopologize said model for unwrapping and baking.
Lots of skills were learned in a 3-month period, and because of that, I class Brian as one of the pieces of work I am most proud of.
What would you do different?
If I were to redo this module, as previously stated the thing I would change is how I messed up the sculpting of his arms. I'd make him a fully-animatable character that I would rig and pose for final renders and beauty shots. I'd also give myself time to breathe -- as I'm known to be a workaholic and get caught up in the stress of it all.
Tri Count: 26.2k
Vertex Count: 13.2k
Artefact 4
'Motion Tracker' from Alien Isolation
Timeframe: January 2022
Brief:
This asset was not an assignment, I simply wanted to make it for personal development and to practice texturing and modelling from a reference. The asset was created over the course of many, many months when I was able to find time or motivation to work on something other than university modules. It was finally published in January 2022 while on Winter Break at University.
Software Used:
- Autodesk Maya 2022
- Algorithmic Substance Painter
- Adobe Photoshop
What are you most proud of, in the creation of this piece?
I am most proud of the connector wire on the side – Modularity-wise, anyway. This is because I created this particular piece of the model before Sweep Mesh was introduced as a built-in function of Maya 2022, meaning I had to use a less than optimal or time-friendly workflow that utilises extrusions along a curve.
I’m also proud that I was able to see the project to completion. It would have been easy for me to abandon the project, considering how long it was in progress. However, I adapted, I changed things as my skillset grew, and I feel I got a good product.
What important skill did you learn?
I learned how to create and use Alphas to a good standard. I also learned how to use Emissive channels to give the illusion of a lit screen. This is important simply because I will need to make meshes glow while working in industry. I also learned how to layer various textures to get the effect I wanted. The stitching is overlaid onto a texture that has a normal map that gives an indent to the object.
Tri Count: 12.6k
Vertex Count: 6.6k
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