Winning the Artstation Challenge & Moving Forward

General / 30 March 2021

Hello!


It's that time again for another update, so what has happened in my life lately? Well!


We got ourselves a puppy a while ago, her name is Ginza. It was slap in the middle of the Artstation Challenge which severely hampered my motivation in the middle of the whole thing but I did spend the last week pushing more time into by forcing myself to do it even though I was exhausted by taking care of the puppy.

and I ended up winning.. somehow.

(alternative banner shot)

Generally if you didn't check my art-station challenge post, I've uploaded the final work here:
(https://www.artstation.com/artwork/nYBz4o)

The main purpose of this piece was to explore my ability to create soulful and striking art whilst limiting my color-range, and as usual with these challenges I tend to focus on very specific things I want to learn or explore for it. I also decided to go with my own concept design, the reason is because personally I feel like there is definitely value to learning how to create your own designs and not always rely on copying someone elses concept. At some point in ones artistic journey you'd want to make things that are solely your own and I hit this point for sure maybe 3-4 years ago where I started focusing way more on just...becoming better at doing this. 


Progression Shot:


So what is happening next? Well, as soon as my life calms down a little bit more I can start making art again, generally I'd want to put more of an effort back into game-development so I guess that is the stuff you'll see in the future.

I guess I'll give a shoutout again to my Twitch & Patreon. I guess if you're interested in my thought-process when I make art or learn some of the tricks that I use when working then maybe it might be a good choice for you to check out.

(Or if you wanna see the puppy on stream which is the reason most people come to it) 


and if you're wondering what we're creating on stream, here is a quick work-in-progress screenshot of that:


It's a bit different from other things I've been doing , we're making something STALKER like and we're focusing on composition & mood. We also talk about how to set things up from scratch as we go. The thought of it is to create several areas of interest which can be moved through with a camera that ends up inside of this abandoned military base, and we create composition and ideas on the fly by talking through things.

I usually stream on Tuesdays at 8pm CET and if you end up missing the stream I always update the videos to my Patreon page, I also update the Patreon page with secret sauce knowledge articles written by myself.

 So be sure to check it out!
Twitch & Patreon


Until next time!
Warping out

//Chris Radsby

Art Streaming & Mentoring for the Masses

General / 17 February 2021

Hello There!

Some people have been wondering about what I'm doing on my art-streams so I thought I'd do a quick gathering of the topics I've been covering and some screenies from the stream. Essentially what I'm teaching in my streams is what I teached my mentees the last 2 years but I do for the masses instead.

If you like this idea, please consider joining my Patreon to help me in my quest of world domination & glory.

In reality it's a way for me to be able to fund me keeping on doing this in my spare time, buying UE4 marketplace stuff and reviewing them and if in the future it goes well, then maybe it could potentially fund me spending more time teaching/mentoring and maybe even some game-development. But hey...starting small, for now I'm just teaching people what I've taught my mentees whilst having a good time making art.

 You will also find articles I've written about this stuff as well the streaming sessions that are directly uploaded to the patreon after each session.

Here is my twitch, for the ones interesting in joining my sessions live. They are currently happening every tuesday at 8PM CET. 

(http://www.twitch.tv/chrisradsby)


Session 01 - Getting Started

1h Fundamentals

1h Starting Scene from scratch

In the first session we spent an hour going through some art fundamentals before we even started doing some art. Then we actually started working on the scene without any reference, just an idea of what could potentially be the Setting/Atmosphere and we did compositional work & talking through the thought-process as we went along.

We covered these topics:

  • Going through the basics
  • Choosing the Right Scene
  • Gathering Reference
  • Composition
  • Infusing Narrative
    • Using Composition to your advantage for your Narrative


We basically had something nice going in 2 hours :)

Streaming Session 02 - Continuing with Fundamentals

1h Fundamentals

1h Art in the Scene
 

In the second session we went through:

  • What to think about when making Blockouts
  • Blockout Techniques
  • Lighting Fundamentals and Why we do a first pass early
  • Planning / Organizing your work

And then we continued doing some art on our scene, found some weird Raytracing-specific issues, figured it out. Started talking about what the scene could turn into and trying a new compositional angle.


So yeah if you're interested in following the progress and learn together with the others then I suggest you hop onto the streams and the patreon!

Until Next Time!
Warping out

//Chris Radsby

2021 - New Avenues

General / 30 January 2021

Hey there!

The times have gone fast and 2020 has really been a great and fun year for me to learn new things and explore new aveneus as a game-developer. So for 2021 I have some big news to share with you guys.

I have decided to leave the Mentor Coalition. 

My two years together with the Mentor Coalition has been great, I love the opportunities Josh and his team has given me but now I'm readying myself for trying out a new format. This new format will rely on me regurarly streaming me creating art, having educational art & game-development streams and sharing some more exclusive access to some of my stuff on Patreon. In general, I'd like to spend some more time building my social medias and gaining followers that would be interested in getting mentored by me during streams but also later on 1-on-1 opportunities as well.

So, to start small. I will start up weekly Art & Game-development streams.

http://twitch.tv/chrisradsby

Every Tuesday at 8pm CET starting on February 9th I will stream when I work on my art or game-development.  It'll start with a once-a-week stream and eventually grow to something more.


I will also launch my Patreon. It'll be a slow start, but my followers on Patreon would get more access to some of the stuff I'm doing and open up more learning opportunities and maybe potentially help me fund some of the time that I want to put into doing art, mentoring and game-development on the side. If you've been following me for a while then you know that my interest in game-development as a whole have grown and I would love to one day be able to truly call myself a one-man solo dev, and hopefully you guys can be there to grow and learn with me.

 So if you're like me that enjoys environment art but possible also technical things like tech art or game-development in UE4? Well then maybe my patreon would be a good entrance-point for you to partake in all of that.

http://www.patreon.com/chrisradsby

So what is happening with my mentoring now?

 Well right now not much, I need to focus on getting these new things in order first. If you're still interested in me mentoring you then please contact me here on Artstation and we can talk about it. I would also like to thank all of my mentees that have stuck by me during the years of me mentoring, you guys have been awesome and it's been a lot of fun so I thought I would highlight some of you guys in my portfolio as well.


https://www.artstation.com/artwork/KrdZgG


That's it! Be sure to stay tuned as I'm going to update things here & on my patreon to reflect some of the new changes that are happening.


  Warping out!

//Chris Radsby

The World of Cyberpunk 2077 - Through the Lens

General / 22 December 2020


 

Hello there!

So I've spent the last 100 hours of my spare time playing Cyberpunk 2077. During this time I've really tried to enjoy myself playing the game and I found myself spending hours inside of the photo-mode. I've been trying to capture the world away from what you see in your regular cutscenes and frame them in a way that makes it look like high-quality main-content using the in-game photomode with no third party editing afterwards. These are shots that you might potentially just see for a moment during your play but never really consider twice. I'm here to give you that second look though.

There are no obvious spoilers inside here but I'll give a warning anyways!

If you look closely, if you spend some time immersing yourself in the game, spend some time in your car, listening to the rain falling onto your car roof you'll find that there is a lot of personality in Night City, lots of mystery and plenty of alluring areas to explore. 

It's a beautifully crafted game, despite its' flaws,  so tip of the hat to the craftsmen over at CD Project Red. 

My 100 hours have been well-spent in your game and thank you <3

 

 



Cyberpunk Challenge - Part 04 - [UE4] Detailing Animations / VFX / Drone / Rain / Char

General / 01 April 2020

Hey there!


I've been slowly working my way through this , I was already in quite a good position time-wise during this contest so now I'm just adding more stuff that I find fun and I try to teach myself more stuff in the mean-time. Since the last post I've done a bunch some of which I'll show you just below here, but first :)


Answering some more questions:

How do you have time for all the things? 

  • I tend to preach this all the time but people tend to overscope, a lot. The "secret" with mine is that I went with a really tiny scene art-production wise and an even less heavy art-production pipeline. The only real texture I have in this scene is the concrete texture. Which is just a tiling simply concrete-texture, there aren't even any normal maps.

  • The point is that to make art you don't have to really rely on really time-consuming workflows and for me, that's perfect since I don't actually want to spend a lot of time making lots and lots of unique props or textures.

  • Top down approach, work on bigger things first, things that take up most of the screen-space. (Screen real-estate) those are the most important things (except for hero props). Once most of those things are sorted out start with smaller things, it makes things easier when it comes prioritizing your work.

  • I guess the last point I want to make is that: I make time for it. By sacrificing other things in my life
    but that said as well, I also do the above stuff, I make sure that I don't do something too detailed or something that has too many unique things going on.

Keying Lightning Strike


Drone:

I decided to quickly model a drone, I also taught myself how to Rig and Skin it in Blender AND getting it imported into Unreal. Sad thing is that I later realized you can't seem to access the bones in the sequence editor? (correct me if I'm wrong anybody). So that I would have to do most of the animations in a 3rd party software like Blender and import animation data. I was kinda hoping I could just do it all from sequencer so if anybody 

knows how to do that let me know ! ^__^


Testing the rig in Blender


Imported rig in UE4.


Shading and look inside of UE4.


Character VFX:
So for the character I kinda wanted a pulse as well, maybe even a small pocket computer that would have a display on it. What I quickly realized though is that it's kinda hard to make something all cool and sci fi and have it be visible without too much noise or ehm... focus in the scene. So right now this is what I have until I figure something better out.


Lighting Strikes:
The Lightning strikes are polygon modelled. ie , you take a picture of a lightning strike and you start to edge-model it from the side. Then you make sure it has depth by going into different directions) Then you make sure that it has a gradient, from the starting point to the end point which you can "Fill up" during it's life-time as a particle.

You can probably also do this type of stuff with a texture-card , as long it has a gradient, but if you want really clean looking things without compression issues this is probably the better way to go. If you want to be really optimized you can do a channel packed texture or even more optimized 1 channel with several strikes with different gray-scale values and a gradient made in the shader.


Electrical Arc:
It's a beam-particle with a stylized electrical material. The beam itself has several subdivision with added noise to it to make it jump around during it's life-time.


Rain:
I think my biggest concerns with most of my scenes is that I always want them to feel somewhat alive, somewhat realized and with things happening. The rain I wanted there but most people tend to do really obvious rain-effects, like if it's raining you notice but most of the time looking out the window you don't really spot all the rain so I tried to make sure it was pretty subtle from a distance.


Cyberpunk Challenge - Part 02 - Figuring stuff out

General / 29 February 2020

Heya!

So I thought it was time to write another blogpost regarding what I've been doing lately. So generally I haven't spent too much time on the Cyberpunk scene, I've just been doing small stuff here and there that I've found fun/interesting since I've been somewhat swamped in work and other things BUT I have made some things but first up:


More information about my scene

  • It's completely rendered in real-time in Unreal Engine 4.
  • It's real time dynamic lighting, no RTX-features.
  • I'm going for a stylized look. (influenced by animé) I don't want to make it realistic.
    • Character is cel-shaded with no baked textures, only colored polygons.
  • I'm currently not doing any heavy production workflows, ie no high-poly/low-poly baking etc etc.


Flying Cars VFX 

- Mesh Emitter + Lens Flare

What it does is take any mesh you feed it and emits them as mesh particles. These have an attached lensflare to them as well and they just push them in a certain direction. It's probably the easiest way to go about this type stuff.

I also have lightning strikes going on around the scene with a big light to add more to the mood of the scene.


Cable Physics

Physical cables that have a start-point and an end-point. They conform after the COL-geometry around them.
Makes it easier to get natural looking cables hanging and lying around. For more elaborate setup a mesh-spline is probably the better choice.


World Location Pulse Emissive

I've used this before, this world location pulse is a material-function that I can plug into post processing, materials or lights. It allows me to set a point in the world and have a pulse-be generated from that location . That pulse I can use as a mask to do different cool things. It's sometimes handier to use if you need a pulse originating from a location spreading in all directions.


Progression shot

So I decided to show progress from even earlier stages of my blockout, my first post showed a couple of shots in since I felt like there wasn't really much to show at the moment but I also thought that some people thought appreciate to see the whole thing. So with every blogpost moving forwad I'll show the full progression.


Latest Shot

Below is the absolutely latest video-shot of my scene . I still have lots to do but I'm trying to take it easy and not kill myself.


"


A "short" list of stuff I still have to do.

  • Fix the scale issues I'm currently having, need to re-adjust things now that I've decided to show more in my scene.
  • Add more opportunities for story-telling in the foreground and don't be afraid to change things up to make it look more interesting.
  • Probably add rain or something else to increase atmosphere and mood. My only worry is that it might end up too noisy.
  • Figure out a better design for Character Helmet
  • Figure out a better design for the power-generator he's jacking into
  • Add more detail to the foreground sewer opening
  • Add more detail to the circular opening in the background
  • Actually do a pass on the buildings
  • Add huge power-lines from the green area below leading to the circular red shape.
  • Figure out VFX for the power-lines.
  • Add more car variations to the Flying Car Mesh Emitter.
  • Make small detail props to place around the foreground



So there you go :)
If you have any questions let me know!

Warping out!

/Chris Radsby
  

The Value of Mentorships

General / 17 January 2020

Hey Guys!

Lately there has been a lot of interest in me and the Mentorship I'm running over at The Mentor Coalition.

EDIT: I'm currently not running a mentorship at The Mentor Coalition. If you're interested in me mentoring you and teaching maybe consider my patreon? https://www.patreon.com/chrisradsby but also you can contact me here on Artstation and we can talk about things and potentially set something up!


It all started with the most humble and awesome Stijn Van Gaal and the Article that he wrote for his fantastic Italian Alley piece.

Coupled together with Kieran Goodsons lovely blogpost it's been a lot of great impressions of my Mentorship out there which is great!

The thing I would like to really highlight though is that even though guidance is really valuable, speed you up and can really help you get to the next level, it's really important to remember that these guys have invested a lot of hours into their craft and in my opinion,  Deserve All the Praise generated from this type of attention.

Now I don't mean to undersell myself in anyway but it's important to remember that:

Progress = Time Invested

None of their successes would've come if they didn't work spend the time on improving and that's the stuff you don't see everyday when you browse artstation, or browse social media and see updates about other peoples successes. The blood sweat and tears. Which again is why I want to make sure to highlight this:


I can only show you the path then it's up to you to walk it.


And this is true for all forms of Mentorships or Coaching. It's never easy but you have to be very critical of your own work, be willing to listen and take instructions to make the most out of Mentorships. It can be very rough for people sometimes to learn their weaknesses and be told to deal with them. But generally speaking with your Mentor about these thing is exactly what will help in understanding how to improve.

Ultimately the difference between the people who succeeds and don't is the amount of honest time spent put into their craft. The seriousness they bring every day to their workstation.

Becoming professionally skilled in your craft needs you to bring a professional attitude towards your craft.

It basically means that, by having a professional attitude towards your craft you take it seriously and thus schedule your art-time. You make sure you leave room in your day to improve your art and you tackle it with a professional attitude.


The Bar for Quality

Alright so let's talk a little bit about the bar of quality, in Kierans excellent blogpost you can see some of the bar that is needed to get hired in this industry but It's also important to realize that the skill-level even between these projects are vastly different and I think that applies to all of us: We're all better/worse at different things however you need to reach a certain bar to start being considered on a professional level.


Let's use this quick mockup that I made of a Radar-Chart Diagram

A mentor can help you guide you improving your strengths and deal with your weaknesses, it's generally not something you get taught in class or even easy to learn from community-based learning. The main problem is gauging where you are currently at, and what areas you need to focus for the biggest impact in your art.

Looking at all the juniors getting hired they are all good at different things but they all have achieved professional level in most if not all categories.

There are some exceptions to this, an overabundance of one thing might actually make up for the fact that you're lacking somewhere else and if I were to spend some more serious time into this then you could make charts for different companies values. All companies have different requirements or things they value.

Me as a Mentor/Person I value:
Hard Work, Creativity and Artistic Skill more than I do World Building, Technical Skill or Asset Execution Skill.
Because some things are easier to learn than others.

The Importance of Community

I've always though that some of the best ways to learn is to engage with a community trying to climb the same game-art mountain as everybody else. I think this is the most valuable type of learning you could do for yourself, is to join a community with like-minded people , all trying to improve together.

The major pluses being that they help you learn, let you know your weaknesses and you become friends with amateur artists and professional artists all over the world.

Both the Dinusty Empire and The Mentor Coalition have fantastic discord communities where you can share your art and learn from other like-minded people.

Mental Health

Coupled together with Hard Work , seemingly impossible high quality bars for Art it's important to remember that your own mental health is really important. Which is why I'd like to also highlight it as an issue in this industry as a whole. When decide to engage in projects with the intention that the project is supposed to get you hired it's important to actually choose the right type of project to do and learn better ways to be more efficient.

This is something you can learn but it's also something that a community or a mentor can help you with.

Not all aspects of your Art has to be perfectly executed. 

There are shortcuts that are valuable time-savers and sanity checking your production times is a good way to realize if you will be able to make it or not. Ie if you have a 100 assets to make for your scene and you spend at least 3-4 days on each well then you still have 300-400 days worth of work ahead of you and it's enough to make anyone go insane.

Take care of yourselves, the industry can sometimes be harsh enough even without you putting all that pressure on yourself because the scope was too big :)


Alright, I think that's enough for now :) Don't want to badger you guys even longer.

Left in Space - SolRemix Entry

General / 01 October 2019

Hello! 


Quick update , I decided to join the Nvidias #SolRemix contest last week. However I realized I would only have 3 Evenings worth of work time on it since I was going to spend Friday to Sunday Midnight in Stockholm , so I decided to do the best I could make in the time-span.


The final result is this image & video:


I've had a couple of questions regarding the work as well. It's massively inspired by Halo and Mass Effect, both worlds have had a massive impact on my art and my life in general so it felt right to do a space setting for the entry. I also chose the space setting because of the time-constraint, I needed something that was very quick to make without getting bogged down in Asset Production.

  • The planet itself is not made by me; it's by this wonderful person:
    https://www.unrealengine.com/marketplace/en-US/slug/physically-based-earth 

  • The scene is dynamically lit in UE4, no RTX-features enabled.
  • I'm making heavy use out of the volumetric and I'm actually using black fog in this particular scene with colored lights
  • The character was provided by nvidia and their SolRemix Competition
  • All of the video & audio editing was done in UE4 sequencer.
  • All of the meshes are low-poly and using a Black Material with no Specular (Silhouette Material)
  • The music is made by C21FX - AFTER THE FALL

I guess that's it, if you have any questions please ask away :)



Taking the leap - The Future of 3D

General / 05 September 2019

Hey There!

Again! It's been a while since I wrote here. I've gotta be honest not much has happened on the legacy project front. Lately I've felt that I've needed to spend more time doing other things but now that summer vacation is over I'm slowly moving back towards getting some art done during my evenings.

I guess it's also worth mentioning that My Mentorships have started again and I've got 2 lovely people that I'm working with for September. 

It'll be really fun and I'm looking forward to their progress!


The Future of 3D-modeling packages

Professionally I've been working with 3ds Max , Maya and Modo, lately however I've only felt disappointment regarding the features implemented every year. It's easy to say that I'm probably not the only professional 3D artist that have been considering moving away from the industry-standard packages out there.  Max and Maya are packages that have been around for a really long time and have a lot of history but they have this looming feeling of "Set in its ways" and even "it feels old and legacy" in the way they do things. 

I'm the type of artist that tend to move packages when something new and exciting was introduced or if I had a specific need to learn something. My move from Maya to Modo was basically a way for me to start using a tool that was more intuitive and had less barriers when it came to modeling. I was really excited over the tools and what could be done with the rounded edge shader.

However, since I started using Modo very few features have been implemented that I've felt are relevant to the type of art that I'm currently creating.

Now looking forward, I think it's easy to say that all of us have been baffled by the amount of features and cool shit that has been coming to Blender.  

So at the end of the day I end up asking: 
Is it actually worth paying a monthly subscription fee for a 3d software that isn't really all that better than what Blender provides?

Well, I don't know yet, but I'm finding out. 

So I'm learning blender.

Now, it's not the first time I've moved on and tried mastering a new software. So I'm not completely new to this experience but at least I can tell you about my experiences in doing so. Looking at all the software the I've used I can quickly summarize what I like about each one:
(there are obviously a million things but I'll try to be quick about it) 

Max: 

  • Modifier Stack
    • Non-Destructive Workflows
  • Splines

Maya 

  • UV-Editor
    • Very neat UV-features
  • Outliner
    • Good way to organize things IMO.
  • Splines
  • Preserve UVs

Modo: 

  • Modeling Tools
    • Boolean Operations
    • Layouts
    • Easily Cut/Paste Meshes into the Mesh Layers
    • Workplane / Locator
    • Painting Selection, Pattern Selection and Lazzo
  • Rounded Edge Shader (Render)
    • Great for look dev and baking it down to textures
  • Intuitive
    •  Modo has a lot of functionality that basically knows what you want to do depending on the context. Basically making something in other software that would take several actions and bringing it down to 1 Action.


At face value I feel like almost all of the previous things I like exist inside of Blender or Blender does them even better.

Blender 

So what does Blender have that I'm interested in? 

  • Modifier Stack
    • Non-Destructive Workflows

  • Modeling Tools
  • Sculpting Tools
    • Generally feels more modern and better than what Modo currently provides.

  • Eevee Viewport + Cycles Rendered & Cross-compatibility.
    • Amazing viewport, lots of real-time functionality, volumetric lighting etc

  • Shader Editor & Grease Pencil

    • Procedural Materials (Real Time)
    • Rounded Edge Shader (Real Time)

    • Vertex AO Baking (I've been missing this from Modo for a long time)


  • Big Community, Lots of Tutorials and Videos
    • In comparison to Modo, Blender has a much bigger community. One was evident now that I was looking for Modo Sculpting videos and there plainly wrote "Modo Sculpting" into youtube and it showed videos from 5 years ago. Blender however has a sprawling community that provides not only tools and addons but also tutorials.

I'm not saying that the previous software don't have most or all of these features as well, I'm just saying they're very neatly packed into Blender but also completely Free and I believe it's worth having a look into =).

So what is actually Autodesk or The Foundry giving us that is exclusive or better than the rest ?
I'm not sure, but the more I'll use blender, the more I'll find out I guess but I'll be sure to let you guys know what I think.

Oh well, until next time!

Warping out!

/Chris Radsby

Creating a Series Pt 14 - Artist Feature & Desert Region Buildings update

General / 22 July 2019

Hello!

It's been a while since I last posted , I thought I'd give some updates on what's currently happening!
So I haven't really done a lot of work while I've been on "Hiatus" trying to relax, though I'm not sure I can call it that since I have still done a bunch of different art and tech related things.

Oh well onto this!
 This awesome artist over here Justin bought my artwork!!

Artist: Justin Myles Emerson

and he also landed a job working on Spellbreak which is super sick :) Well done Justin!

So what's happening with Project Legacy?

Well I've been doing some smallwork in the Desert Region, figuring out building-designs materials and colors that I like. I've settled on a mute grasscolor that I like that would allow plant and other things to stand out more with brighter more saturated colors. I still want the world to feel kind of primitive in a sense and then later on contrast it with some other hi-tech things but we'll see when we get to that :)


I also decided to surround the farming areas with walls, I realized however that modular walls wouldn't do so I decided to go all in and make sure I make use of mesh-spline instead. Wiggle wiggle!

Here is some of the composition work I'm trying out for the desert-region city buildings, so far it's early days but I like the look of it so far.

Procedural Foliage

So a while ago I decided to make sure I use the procedural foliage tools that unreal has and I gotta say they're very powerful. Though still have some quirks however, like, I would love if they could detect static objects and not place them inside of them. I thought that a solution would be to blueprint all my objects into groups and then have a foliage blocker volume inside the blueprint as well but nope.

It doesn't really work, so that one kinda went to the top of my priority list. Right now I've figured the best way to deal with that fact is to use bigger volumes to cover certain areas, then have other volumes with higher priority to do different types of vegetation + different blocking volumes in areas I want to do manual set-dressing.


 Here is a view from above in the grassland area so far, I've currently got trees growing the water areas since there are no fast and good way to add blocking volumes where I want them. I'm going to have to figure out some solution for that instead but for now it would just mean I would make sure the water bodies have their own volumes. The volumes being boxes however makes my life way hard. 

It's 2019 , polygonal convex volumes please!

More Gradient Mapping O_O

So in another test, I learned from my good friend Kunal (Tech-Artist) about Gradient Mapping that doesn't only take the U-axis into account but they V-axis of the texture as well. I used a 64x64 ramp texture (seen as a tiny pic below next to the text) to completely to create all the color variation of these textures here.

I tried it as a test to see if the workflow would be better. So what I concluded is that it's more efficient in terms of performance, however, much less versatile when you want to try out colors quick. The way it works is that it looks at two grayscale images (heightmap + modulation mask), one grayscale image basically reads what color it should be in the U-axis, the other grayscale image (modulation mask) reads from the Y-axis on the same ramp.

These grayscale images could potentially just be packed into one texture and then you could use different gradient ramps for all of your different assets.

Right next thing, character modeling & shading.

So I've also started thinking about what kind character I'd like to run around in the world with so I decided to start modeling a character to use. Right now the only thing that pops into my mind is this:

  • Androgenous look 
  • Masks that could have different types of decals carved into them.
  • Probably need something more interesting than a hood, probably need more of a headdress of some sort
  • Medieval Simple Clothing + Accessories to make it look more interesting
  • Simple Cel-shading without edge-lines


So I also did some lunch-time zbrush sculpting and quickly baked out a 256x256 texture in substance painter for this mask below. Since it's just a test I'm surprised how nicely and quickly this is to make these days. Since Procedural Texturing is a thing these days it also surprise me how efficient you can be going back and changing your HP and LP and the UVs and still bake it out and have everything textured immediately.

In the olden days if you changed the UVs you'd have to spend so much time fixing everything every time, these days it doesn't really matter if you've planned your procedural texturing properly and don't do too much custom masking early.


So what's next?

Well right now I'm just figuring and trying things out. I just started my summer vacation so you'll probably see some more blog-posts from me.

Oh well, until next time!

Warping out!

/Chris Radsby