Lysander Foster - Borderlands art study
Original poster I submitted as part of the grading procedure. Fitting that amount of information on it was tough!
Total overview of the scene.
The final asset I added was this car door, it was a nice little space filler.
Small details on items really bring life into a scene i've found.
Rear angle, the fuel pumps actually have a slightly light "path" beside them to indicate traffic flow.
Decals such as this were super useful for building little bits of character in a scene. In this case, these are two 512x512 decals applied to the road.
A good example of how the cellshader and the outline shader work together.
Quick viewport capture of a large chunk of the building.
In engine capture, pre-build.
The first piece of concept art drawn for this project in no more than 40 minutes, just to get a feel for the composition for the scene. This may be an idea I come back to later
Concept art for the sign that was going to be instrumental later on.
A sample of my textures, note all the hard drawn diffuse detail, however the remnants of the Substance Painter material can be seen in the far right, a left over from the colour blockout meant to speed up the texturing process.
Outline shader setup, for more detail, consult Epic's excellent walk-through of their setup : https://www.youtube.com/watch?v=cQw1CL0xYBE&t=3447s
Modifying the outliner shader as well as building a customisable cell-shader wasn't too tricky with the help of this super useful tutorial: ps://www.youtube.com/watch?v=0UBNXneL1oo&t=892s
Acting upon my plan to explore stylised workflows, this recent project has finally been marked as part of my 3rd year of my UOG education.
I'm super happy with the the grade and the quality of the work I have produced, as emulating an existing, complex, art direction has been something I've always wanted to do. All assets in this scene are game ready and rendered in UE4 using a custom outline and cell shader applied as a post fx (links to how to do this supplied at the bottom).
While the modelling was fairly straight forward due to the unaffected proportions of each mesh, the texture-work would be doing most of the heavy lifting, specifically the diffuse of each material. The diffuse maps in this scene were by far the most time consuming part of the production process. Details, like lighting, colour and any noise details needed to be manually painted in Photoshop and could not be mip-mapped due to the steep loss in quality and sharpness in the final material.
