Difference between pages "3D Asset Workflow: Alternative Textures" and "3D Asset Workflow"

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<onlyinclude>
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⬑  [[3D Asset Workflow]]</div>
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::: '''◇ Main Steps'''
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{{#lst:3D Asset Workflow}} <!-- Link list transcluded from main 3D Asset Workflow page -->
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</div>
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* [[3D Asset Workflow: Concepting]]
 +
* [[3D Asset Workflow: Sculpting]]
 +
* [[3D Asset Workflow: Retopology]]
 +
* [[3D Asset Workflow: UV Mapping]]
 +
* [[3D Asset Workflow: Baking]]
 +
* [[3D Asset Workflow: Texturing]]
 +
* [[3D Asset Workflow: Asset Assembling]]
 +
* [[3D Asset Workflow: Naming the Asset]]
 +
* [[3D Asset Workflow: LODs]]
 +
* [[3D Asset Workflow: Exporting to Editor]]
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* [[3D Asset Workflow: Completed asset checklist]]
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::: '''◇ Main Steps'''
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</div>
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* [[3D Asset Workflow: Alternative Textures]]
 +
* [[3D Asset Workflow: Billboards]]
 +
* [[3D Asset Workflow: Blocksets]]
 +
* [[3D Asset Workflow: Sikailu]]
 +
* [[3D Asset Workflow: Sway]]
 +
* [[3D Asset Workflow: Tile Textures and Trimsheets]]
 +
* [[3D Asset Workflow: Tintmask]]
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* [[3D Asset Workflow: Vegetation]]
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<div style="border-bottom:2px solid #bc82c8; background:#bc82c8; padding-top:5px; color:white;">
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::: '''◇ Main Steps'''
 +
</div>
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* [[3D Asset Workflow: General Tips]]
 +
* [[3D Asset Workflow: Troubleshooting]]
 
</div>
 
</div>
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</onlyinclude>
  
 
= Summary =
 
= Summary =
−
* Alternative Textures (AltTextures) are used when there's a '''need for a different looking material/color for the same asset'''
+
* This is a series of wiki pages related to the '''3D asset creating process in the Trine Art Team at Frozenbyte'''
−
* Some times it's better to make a [[3D_Asset_Workflow:_Tintmask|tintmask]] instead, depending on the case
+
** With these guidelines, you should be able to create a '''game asset from an idea to a textured game model''' or, at the very least, get the needed information on what you should research and practice in order to achieve that
−
* '''One model can have several Alternative Textures of all the maps'''
+
** The information on these sites is created and collected by our AD and the 3D artists, and these methods are used daily here in the Trine Art Team at Frozenbyte
−
** Usually there's only need to make an Alternative Texture for albedo only - this depends on the case, but '''don't make unnecessary 1:1 copies of the default textures'''
 
−
*** The Editor creates a separate meshmaterial for the Alternative Textures, and it will use the default textures for all maps that don't have separate Alternative Textures
 
−
* Using Alternative Textures '''eliminates the need to make a separate fbxmodel''', as only the texture is changed
 
−
* Alternative Textures can be swapped in the Editor's ModelComponent properties
 
  
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[[File:Trine4 playable characters color variations preview.jpg|600px|thumb|center]]
+
== Trine Art Team Terminology ==
 +
* Here in the Trine Art Team, we have some non-industry standard terminology we use to describe certain workflow stages
 +
** They are listed here for future reference (in Finnish, with rough translations):
 +
<br>
 +
# '''Vessanpönttöily / lisätä vessanpönttöä''' = "toilet(-ing)" / "adding some toilet". Used to describe the stage in which the 3D artist adds some wonkiness and uneven-ness to the lowpoly model after it's otherwise completed. Especially completely symmetric assets usually need some vessanpönttöily done to them, to fit the Trine style better
 +
# '''Juhlamokka / lisätä juhlamokkaa''' = "finetune (with passion and talent)". Juhla Mokka is a Finnish coffee brand, which had very specific marketing videos in the past, where they showcased professionals from different professions talking about their crafts, very intricately. Thus, when a 3D artist needs to finetune their model a bit (with passion and talent), it's called juhlamokka. A bit similar to vessanpönttöily, tho, in all reality
 +
# '''[[3D Asset Workflow: Sikailu|Sikailu / sikailla]]''' = "to behave like a pig", a noun and a verb. Sometimes a 3D artist/level artist needs to take an already existing 3D model, and make something completely new out of it, using the parts of the old one. This happens when the old models do not 100% fit the desired design. Rather than making a new model out of scratch, sikailing it is way faster
 +
# '''[[3D_Asset_Workflow:_Retopo_and_UVs#.22Triangelihuttu.22:_A_decimated_triangle_mesh_made_in_Zbrush_.26_cleaned_up_in_Modo|Triangelihuttu]]''' = "triangle porridge". A model that has generated triangle retopo instead of e.g. being retopoed by hand
  
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== Alternative Texture Worklow Steps ==
+
= 3D Asset Workflow =
−
# '''Create the Alternative Textures'''
+
* In the Trine Art Team, the '''3D artists will take care of all of these steps when creating 3D assets'''
−
#* [[3D_Asset_Workflow:_Alternative_Textures#Naming_the_Alternative_Texture|Name them correctly]]
+
** [[3D Asset Workflow: Completed asset checklist]]
−
#* Add them to the same folder where the original textures are in the binary SVN
+
* The 3D artist gets to design the asset from the concept to the final asset
−
# '''Open the Editor''' (the Editor can also be open when you add the textures to the binary)
+
** The 3D artist is also responsible for '''making sure their asset works as it should in the Editor'''
−
#* The Editor should now notice the new textures, and open a pop-up about adding new resources and a new meshmaterial
+
[[File:3D Asset Workflow flowchart 30.5.2023.jpg|1500px|thumb|center]]
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#* '''If it doesn't do so automatically''', find the model's FBX from the '''Resources Window''', right-click it and select "Open FBX Dialog" or "Process resources"
 
−
#** Reprocessing the FBX should force the Editor to notice that a new meshmaterial is needed, and create it
 
−
# Find the model you added the Alternative Texture to from the Type Tree, add it to the scene to test it
 
−
# Open the model's ModelComponents
 
−
# Find '''AlternativeTexture''' setting, and try changing the number (e.g. from 0 to 1, 0 being the default)
 
−
# The new texture should appear on the model
 
−
#* If it doesn't, try [[3D_Asset_Workflow:_Alternative_Textures#Troubleshooting|troubleshooting]]
 
  
−
[[File:3d asset workflow alternative alt texture guide.jpg|600px|center]]
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== 3D Workflow Steps ==
−
[[File:Alt texture.png|center]]
+
# '''Receiving a task'''
 +
#* The 3D artist is responsible for making sure the task they received will be '''completed in a timely manner''', with the '''required specs in mind'''
 +
#** Likewise, they're responsible for '''keeping the AD informed of their progress'''
 +
#* In most cases, the 3D artist will have a couple of tasks at any given time
 +
#** This is to ensure that they have things to do even if they need to e.g. wait for feedback for the other task
 +
# '''The Idea '''
 +
#* The 3D artist needs to make sure they understand the actual idea behind the asset; how it related to the story and it's surroundings, and what kind of reference images to use or search for
 +
#* This part might require communicating with different team members, e.g. the AD, the designers, the script writer, and/or other artists
 +
# [[3D_Asset_Workflow:_Concepting|'''The Concept''']]
 +
#* Once the idea is clear, some kind of concept is made
 +
#** It can be e.g. '''rough drawing, a 3D blockout, or a photo bash''' - the point isn't to make anything polished, but to '''visualize the basic idea'''
 +
# [[3D_Asset_Workflow:_Sculpting|'''Highpoly Mesh, a Sculpt''']]
 +
#* The detailed and performance heavy version of the mesh
 +
#* Like in all the work phases, it's good to first sculpt a rough version of each piece, and get a confirmation from the AD that everything seems to be going as desired
 +
# '''"Trash Version" of the lowpoly mesh, if the mesh is going to be animated'''
 +
#* When making characters, it's good to give the animators a very crude lowpoly version of the mesh - this way the animators can point out possible problems early on, and fixes are easy to make
 +
#** This can be done when all the proportions of the mesh are somewhat finished, but there is not detailing yet
 +
# [[3D_Asset_Workflow:_Retopo_and_UVs|'''Lowpoly mesh''']]
 +
#* A less dense and engine-friendly approximation of the highpoly model
 +
#* It's important to have the optimal amount of geometry (polygons) - not too little so that the mesh is too angular, but not too much so that the mesh is needlessly performance heavy
 +
# [[3D_Asset_Workflow:_Retopo_and_UVs#UV_mapping|'''UV mapping''']]
 +
#* Creating the texture coordinates for the lowpoly mesh
 +
# [[3D_Asset_Workflow:_Baking|'''Baking''']]
 +
#* Transferring details from the highpoly model to create a surface material for the lowpoly model
 +
# [[3D_Asset_Workflow:_Texturing|'''Texturing''']]
 +
#* Adding all the materials and colors on the model
 +
# [[3D Asset Workflow: Asset Assembling|'''Asset Assembling''']]
 +
#* Assembling the assets to a coherent set, making use of duplicated and mirrored mesh parts
 +
# [[3D_Asset_Workflow:_Naming_the_Asset|'''Naming the Asset''']]
 +
#* Please follow the project's naming instructions to the T!
 +
# [[3D Asset Workflow: LODs|'''LODs''']]
 +
#* Using a ready-made script to create even lower polycount versions of the lowpoly models, which can be switched on in the Editor when the model is further away
 +
# [[3D_Asset_Workflow:_Exporting_to_Editor|'''Export & Import to Editor''']]
 +
#* Importing the textured lowpoly model and it's textures them to Editor with correct naming
 +
# '''Adjusting in Editor'''
 +
#* Further configuration in the Editor, e.g. backlight, self illumination
 +
# '''Adding Work Files to the Workspace SVN '''
 +
#* Once everything is done, add the work files (.fbx, .lxo, .spp, final texture maps .tga) to the workspace SVN so that anyone can find them, if someone else will need to edit your asset
 +
# '''Adding a Screenshot of Your Model to the Wiki'''
 +
#* Make a screenshot which showcases the model or the models made for the set. Add it to the correct project's 3D asset wiki page, with the name with which it can be found
  
−
= Naming the Alternative Texture =
+
= Having trouble? =
−
* The Alternative Textures need to have a correct suffix, or '''else the Editor will not create the needed meshmaterial for them'''
+
* If you have odd issues, try [[3D Asset Workflow: Troubleshooting]]
−
** The Editor will use the albedo material to make the meshmaterial, so you can only make the Alternative Texture for that, if nothing else is needed - the asset will use the default textures for the rest or the materials automatically
+
* If you didn't find what you were looking for anywhere else, try [[3D Asset Workflow: General Tips]]
−
** The suffix should be the very last thing in the texture's name - it goes after all other suffixes
 
−
** In the ModelComponent properties:
 
−
*** AlternativeTexture 0 = default textures (no suffix)
 
−
*** AlternativeTexture 1 = the first Alternative Texture (suffix _alt_0)
 
−
*** AlternativeTexture 2 = the first Alternative Texture (suffix _alt_1)
 
−
*** Etc
 
−
<br>
 
−
[[File:3D Asset Workflow alttextures 16.5.2023.jpg|1000px|center]]
 
  
−
= Troubleshooting =
+
= External Art Fundamental Tips =
−
* '''If the Editor doesn't create the meshmaterial for the Alternative Texture'''
+
<div class="toccolours mw-collapsible mw-collapsed" style="background-color: #f3e9f5; border-width:2px; border-radius:10px; margin: 5px;">
−
# Are the textures named correctly?
+
Some general art fundamentals tips that are useful for any game artist:
−
#* The Editor will make the meshmaterial based on the albedo texture's name
+
<div class="mw-collapsible-content">
−
# Have you tried processing the resources of the FBX file?
+
* [http://www.neilblevins.com/art_lessons/art_lessons.htm Neil Blevis: Various art tips, check especially 9. Composition]
−
# If that doesn't work, try restarting the Editor
+
** [http://www.neilblevins.com/art_lessons/areas_of_visual_rest/areas_of_visual_rest.htm Areas Of Visual Detail, Areas Of Visual Rest]
−
 
+
** [http://www.neilblevins.com/art_lessons/clumping/clumping.htm Clumping and Grouping]
−
* '''Are you trying to add an Alternative Texture to a model which uses textures from multiple places in the binary?'''
+
** [http://www.neilblevins.com/art_lessons/compositional_weight/compositional_weight.htm Compositional Weight]
−
# In this case, try adding the Alternative Texture to the folder where the FBX is, instead of the original textures
+
** [http://www.neilblevins.com/art_lessons/composition_contrasts/composition_contrasts.htm Contrasts In Composition]
 +
** [http://www.neilblevins.com/art_lessons/foreground_midground_background/foreground_midground_background.htm Foreground, Midground, Background]
 +
** [http://www.neilblevins.com/art_lessons/layers_of_light_and_dark/layers_of_light_and_dark.htm Layers Of Light And Dark]
 +
** [http://www.neilblevins.com/art_lessons/primary_secondary_and_tertiary_shapes/primary_secondary_and_tertiary_shapes.htm Primary, Secondary and Tertiary Shapes]
 +
** [http://www.neilblevins.com/art_lessons/details_make_big/details_make_big.htm Using Details To Make Something Look Big]
 +
** [http://www.neilblevins.com/art_lessons/tangents/tangents.htm What is a Tangent? And How To Solve Them]
 +
* [http://emptyeasel.com/2008/11/18/avoiding-tangents-9-visual-blunders-every-artist-should-watch-out-for/  Avoiding Tangents: 9 Visual Blunders Every Artist Should Watch Out For]
 +
* [http://www.itchy-animation.co.uk/tutorials/light01.htm Lighting Fundamentals for Artists]
 +
* [http://drawabox.com/ Draw a Box: An exercise based approach to learning the fundamentals of drawing]
 +
* [https://www.youtube.com/channel/UCbdyjrrJAjDIACjCsjAGFAA Feng Zhu design school videos. All kinds of stuff about painting/design/color etc.]
 +
* [https://www.youtube.com/user/McBacon1337/videos Game Maker's Toolkit. Interesting and well-made videos about game mechanics in different games by Mike Brown.]
 +
* [https://www.youtube.com/watch?v=iemcI0t096I Sam Nielson's lecture about environment design]
 +
* [https://www.youtube.com/watch?v=griCsvvRTQM  Sam Nielson's lecture about atmosphere]
 +
* [https://youtu.be/FeUL-5wfj0U?t=3m29s The Art of Environment Storytelling for Video Games GNOMON]
 +
</div>
 +
</div>

Revision as of 10:13, 1 August 2023

◇ Main Steps
◇ Main Steps
◇ Main Steps


Summary

  • This is a series of wiki pages related to the 3D asset creating process in the Trine Art Team at Frozenbyte
    • With these guidelines, you should be able to create a game asset from an idea to a textured game model or, at the very least, get the needed information on what you should research and practice in order to achieve that
    • The information on these sites is created and collected by our AD and the 3D artists, and these methods are used daily here in the Trine Art Team at Frozenbyte

Trine Art Team Terminology

  • Here in the Trine Art Team, we have some non-industry standard terminology we use to describe certain workflow stages
    • They are listed here for future reference (in Finnish, with rough translations):


  1. Vessanpönttöily / lisätä vessanpönttöä = "toilet(-ing)" / "adding some toilet". Used to describe the stage in which the 3D artist adds some wonkiness and uneven-ness to the lowpoly model after it's otherwise completed. Especially completely symmetric assets usually need some vessanpönttöily done to them, to fit the Trine style better
  2. Juhlamokka / lisätä juhlamokkaa = "finetune (with passion and talent)". Juhla Mokka is a Finnish coffee brand, which had very specific marketing videos in the past, where they showcased professionals from different professions talking about their crafts, very intricately. Thus, when a 3D artist needs to finetune their model a bit (with passion and talent), it's called juhlamokka. A bit similar to vessanpönttöily, tho, in all reality
  3. Sikailu / sikailla = "to behave like a pig", a noun and a verb. Sometimes a 3D artist/level artist needs to take an already existing 3D model, and make something completely new out of it, using the parts of the old one. This happens when the old models do not 100% fit the desired design. Rather than making a new model out of scratch, sikailing it is way faster
  4. Triangelihuttu = "triangle porridge". A model that has generated triangle retopo instead of e.g. being retopoed by hand

3D Asset Workflow

  • In the Trine Art Team, the 3D artists will take care of all of these steps when creating 3D assets
  • The 3D artist gets to design the asset from the concept to the final asset
    • The 3D artist is also responsible for making sure their asset works as it should in the Editor
3D Asset Workflow flowchart 30.5.2023.jpg

3D Workflow Steps

  1. Receiving a task
    • The 3D artist is responsible for making sure the task they received will be completed in a timely manner, with the required specs in mind
      • Likewise, they're responsible for keeping the AD informed of their progress
    • In most cases, the 3D artist will have a couple of tasks at any given time
      • This is to ensure that they have things to do even if they need to e.g. wait for feedback for the other task
  2. The Idea
    • The 3D artist needs to make sure they understand the actual idea behind the asset; how it related to the story and it's surroundings, and what kind of reference images to use or search for
    • This part might require communicating with different team members, e.g. the AD, the designers, the script writer, and/or other artists
  3. The Concept
    • Once the idea is clear, some kind of concept is made
      • It can be e.g. rough drawing, a 3D blockout, or a photo bash - the point isn't to make anything polished, but to visualize the basic idea
  4. Highpoly Mesh, a Sculpt
    • The detailed and performance heavy version of the mesh
    • Like in all the work phases, it's good to first sculpt a rough version of each piece, and get a confirmation from the AD that everything seems to be going as desired
  5. "Trash Version" of the lowpoly mesh, if the mesh is going to be animated
    • When making characters, it's good to give the animators a very crude lowpoly version of the mesh - this way the animators can point out possible problems early on, and fixes are easy to make
      • This can be done when all the proportions of the mesh are somewhat finished, but there is not detailing yet
  6. Lowpoly mesh
    • A less dense and engine-friendly approximation of the highpoly model
    • It's important to have the optimal amount of geometry (polygons) - not too little so that the mesh is too angular, but not too much so that the mesh is needlessly performance heavy
  7. UV mapping
    • Creating the texture coordinates for the lowpoly mesh
  8. Baking
    • Transferring details from the highpoly model to create a surface material for the lowpoly model
  9. Texturing
    • Adding all the materials and colors on the model
  10. Asset Assembling
    • Assembling the assets to a coherent set, making use of duplicated and mirrored mesh parts
  11. Naming the Asset
    • Please follow the project's naming instructions to the T!
  12. LODs
    • Using a ready-made script to create even lower polycount versions of the lowpoly models, which can be switched on in the Editor when the model is further away
  13. Export & Import to Editor
    • Importing the textured lowpoly model and it's textures them to Editor with correct naming
  14. Adjusting in Editor
    • Further configuration in the Editor, e.g. backlight, self illumination
  15. Adding Work Files to the Workspace SVN
    • Once everything is done, add the work files (.fbx, .lxo, .spp, final texture maps .tga) to the workspace SVN so that anyone can find them, if someone else will need to edit your asset
  16. Adding a Screenshot of Your Model to the Wiki
    • Make a screenshot which showcases the model or the models made for the set. Add it to the correct project's 3D asset wiki page, with the name with which it can be found

Having trouble?

External Art Fundamental Tips

Some general art fundamentals tips that are useful for any game artist:

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