Hologram table development


For the bridge area, I planned to create a hologram table which would display various research data of the planets nearby. To start I compiled hologram table images onto Pinterest, helping me gain a better understanding of the different styles that are used for these devices. I then looked on art station to find this type of asset in games and media. I found a very good one by an artist named Chase Long, who created a detailed hologram with a very detailed holographic image of terrain.chase-long-long-holotable-3.jpgThe holographic image has more than just detailed terrain however, with + points above for map references, along with a heads-up display displaying various information. There is also a cup on the side making is feel more used and believable. The floor is also an extension of the table, with pipes visibly connecting giving it more of a utilitarian feel. The steps are also a none slip material which also help break up the floor texture colours.


I also found a concept hologram made by Edon Gurazui, which has a very detailed holographic image.edon-guraziu-rev3.jpgThe image is intricately detailed, with graphics and point reference along with multiple rings surrounding the planet. Edon has multiple versions of different holographic images making it easily interchangeable if needed to provide variety. You could easily imagine the holographic display animated and moving in real time, with graphics displaying real time data, the rings moving possibly updating orbital trajectories and more. As for the table itself, it is difficult to see since its not the centre piece of the concept but consists of square shape that looks to be symmetrical on each side. Simple panels and centre supports along with what looks to be small lights make up the sides.

These both gave me something to consider in terms of the designs and images. Chase’s had made me more aware of the flooring and how it is not just the table that needs to be considered. The extension of the floor can also give more details such as cooling, pipes, wires and such which I may have overlooked. The holographic images are very detailed to, with Edon’s full to the brim with detail and information that is possibly animated. Whilst I do not know how it was made, a mix of particle systems and mesh with a holographic material was most likely used.

Chase Long – https://www.artstation.com/artwork/nRBAK

Edon Guraziu – https://www.artstation.com/artwork/V8kog

After this I sketched some designs before grey blocking some shapes within max.Hologram for bridge.PNGI used the room it was going in for scale.holograpghic table.PNGI then started to cut out the shapes as the front for the panels.platform base.PNGNext, I made a base which I wanted to use for part of the cooling of the system.adding depths for vents.PNGPanels would go here which would be alpha mapped.modelling pipes.PNGI planned for the pipes to be prevalent in my design, fitting in with the utilitarian look. As I was making the table, I split it into four sections and used symmetry to make the process more efficient.progress.PNGI wanted to make the pipes interesting, so I made sure that each would go to different sections of the table. So, if the viewer was to follow the pipe, they would see another section.adding details to foundation.PNGI planned to bake down the high poly, so I made extrusions in certain areas for extra detail.progress 2.PNGA screen, buttons and panels were added to the middle section of the table.progress 3.PNGClay shader.high and low.PNGThe low version did not take to much time to optimise since I used the crease method for opensubdiv. This meant that there were not any support loops, so I did not have to remove any. I removed some details such as the high poly panels at the front, along with some screw details which would be baked in.table unwrapped.PNGTable unwrapped.texturing tabe.PNGTexturing within Painter.holograms.PNGHologram in Unreal. I am still experimenting with different hologram images since I am not a 100% happy with the ones I am using now. To create the terrain hologram image, I used 3d software called Houdini which creates autogenerated terrains which are highpoly. Then, I went into max to use an optimise modifier to make it low poly. I then applied a hologram material I made in Unreal to create that effect.


Renders –

max render.jpgmax render 2.jpg

render 1render 3






Colour theory

Colour theory is essentially how different colours compliment and go with each other. The fundamentals have dated back as far as ancient Greece, with Aristotle a philosopher who discussed primary colours.

Isaac Newton also discovered through a series of experiments that using a prism, allowed for white light to refract many colours off from the prison. To conceptualise this on paper, Newton made the colour wheel which is now used for modern day colour theory.

This video explains the basics of colour theory and breaks it down into different sections. Primary colours which consist of yellow, blue and red. Then secondary which are made from mixing two primary colours. Once mixed it then becomes a tertiary colour. The video also goes through different variables of colour, such as values which is light and dark and all the shades in between. Or shade which is hue and black, or the opposite tint which is hue and white. By using grey values, it also you to determine the tone values of the colour.  Rgb is created with light, whereas cmyk uses ink.

From here the video goes onto how one could use colours and their values in different ways. Such as complimentary with one colour going with a colour on the opposite side of the colour wheel. Monochromatic uses a hue and then by using the shades, tints and tones. Analogues consist of only colours that are next to each other on the wheel. Triadic, similar to complimentary uses three colours that go with each all

These are just some of the basic fundamentals that go with colour theory, but there is a lot more to explore which I will look into with further research.


References –






Fmp development 9


Updates –

I have started to increase me develop on the bridge, specifically on the command section part. This is where the controls of the station will be, alongside holographic tables and other equipment.grey blocking lighting foundations.PNGHere I started to grey block lights for the ceiling, in order to gain a better understanding of the size and shape which could fit in that area.  high poly light base.PNGOne habit I have started to get into more is high poly modelling more assets. Since assets like this do not take much more time to make a high poly, it seems worth doing for a better bake and extra details that could be included.glass issue resolved.PNGAn issue I had for a while was using substance painter glass in Unreal. The opacity values did not seem to transfer over properly resulting in glass not appearing or appearing incorrectly. This was remedied changing the lighting mode to ‘surfaceforwardshading’ and using a separate map for glass.shutters implemented.PNGNext, I created high poly shutters which I baked to low. They are not dynamic put an implementation down the line could potentially make them interactive with a button.  working out how to connect window to ceiling.PNGI spent some time working out how to connect the front glass section to the rest of the room layout. Since the front was higher poly to get the shape I wanted, and the rest of the room was lower, it did not seam to make sense to attach both of these assets since it would not be optimal. I decided to match the roof front roof height to the other ceiling height and then hide the seam with a support beam.command deck support progress.PNGBasic grey block shape of support beam.

practicing using creases.PNGA technique I was aware of but had not incorporated yet was using creases. Creases allow you to give support to the edges of your polys, in the same was that using loops did when you use opensubdiv. The creases technique is far superior however, since it allows you to keep your topology cleaner since you do not have to add extra loops. This also allows you to keep polys more evenly distributed meaning that sculpting will be better, along with less issue with topology. I watched YouTube video by Arrimus 3d who made a great tutorial on the technique, along with a plug in for opensubdiv that gives you greater control. My high poly models will incorporate this technique from now on, due to it’s superiority over the previous technique.no extra loops using opensubdiv.PNGUsing crease for support beam.High & low.PNGHigh and low.symmetry issue.PNGI used symmetry on my support beam and decided to overlap my uvs for greater texture density. One issue I did not consider however is that text is mirrored on the other side. This meant I had to go back to the uv map making sure they was not overlapping, in turn giving me less texture density.adding wear to text.PNGAdding wear to text.seam issue.PNGSeam issue on the command decks ceiling.resolved.PNGResolved by improving the uv map.Command deck progress.PNGProgress of the bridge. Up to not I am at a planning stage of figuring out what assets to put where, along with consider some layout changes to make the area seem more interesting. I like the idea of having an area below which can be access via stairs in the middle. This would lead to an area that has a 180-degree glass section, along with some monitoring equipment and apparatus. I do not however, want to make an additional area which will stretch time and deadlines even more. I am still developing concepts and ideas for this to see which design would be best. I could have the stairs be a fold down design but have them retracted in the centre, inaccessible for the player.  If then given the time, I then could implement the bottom section if necessary.


My next steps are to continue modelling assets for this area. Including high poly computers, holographic tables, chairs and other details. A design flaw I have noticed also is that there is only one door in and out of the bridge section, which does not seem great during an emergency. So, I believe the command section would make sense to have a door there as another way out, or even emergencys exit somewhere.


Subway development 5

The next step I wanted to make in my development was to model a car. Since I wanted the style to be noir like, I thought it would be best to use an older car from the 50’s to 70’s. Then base it of one of those cars styles, so I could possibly add my own details to it to make it fit into the world.

After compiling a list of cars and researching some different types, I decided I liked the look of the Marathon taxi, made by the Checkers Motor Company which was founded by Morris Markin . It has an iconic look, mainly due to it being used in New York for many years which also subsequently has put the car into many films. Since my environment is set in a dystopian Chicago, I felt like the car would very well into the scene.


Since I had not modelled a car before, I new this might be a difficult task to complete as I had to learn some new techniques. I knew it would be an issue also of deciding which areas to connect and what areas to keep modular.simple car grey block.PNGI started of with a simple grey block of the car, to simply get the scale and size right.Implementing blueprint.PNGLooking at some car tutorials online, it seemed good practice get a blueprint of the car which then could be used as a guide to get the correct shapes and curves.getting basic side layout.PNGI used a plane which allowed me to get a 2d shape of the side of the car. As I made the curves around the wheels, this added quite a few edges loops which caused issues with topology later.bonnet progress.PNGFor the bonnet I made sure to disconnect this from the sides, as the loops from the wheels would have made adding detail to the bonnet harder to do.roof progess.PNGHere I got the shape of the roof from matching the curves on the blueprint. This part I also made modular, though it may have been better to connect to the sides to make it more seamless.making improved roof.PNGI then re-modelled the roof as I was unhappy with the curve going to the back.boot progress.PNGFor the boot, I started to model it of the side of the car, which meant the loops from the wheels came across leaving the topology messy and optimised.modular boot.PNGI started the boot again, though this time making it modular, so I have more control of the topology.front bonnet model again.PNGI started to model the front again, working towards better optimisation of the polys.modelling bumper.PNGI decided I would start to model some exterior details such as the bumper, as I would keep starting bits again subsequently getting nowhere.lights.PNGAfter adding a few more details the car did start to take shape, with the lights and grille added.back light.PNGBack lights added. I also used opensubdiv to get a smoother look on the car, but I did not know what the stand poly count was for a car. So, I got some research online from polycount. A thread said that on some racing games the polycount was around 60,000 on consoles, whilst on pc it had the potential of reaching 300,000. Of course, this is not a dedicated racing game, so I decided to go below the 60 and aim for 20,000 polys.interoir.PNGI then started to consider and model the inside, as this would be seen looking through the windows. I had planned the back windows to be tinted, whilst the front is normal. However, all the windows would be dirty going with the grimy run down dystopian scene.checking car in engine.PNGI then did a quick of the car in engine, making sure everything looked right. I did notice it was a little too large in the scene, which meant I had to scale it down a little within max.remodelling.PNGGoing back to the base of the car, I remodelled most of it with cleaner topology than before. This time I made less loops where the wheels would go, making it cleaner overall. I then attached the back to the side with no poly issues which was partly due to the cleaner topology, making it easier to attach.wireframe.PNGCar wireframe. The poly count overall fort the is 22,521. car clay shade.PNGClay shade.painting checker pattern.PNGTexturing car in substance painter.testing textured car in scene.PNGImplementing car within scene.issue with glass.PNGI have come across an issue with the glass in Ue4. Substance painter the glass is transparent using pbr alpha blending. However, in Unreal the glass does not appear how it should due to parts of the glass not showing. I have tried a few different material options with translucency and using the mask from the export of Painter. Still to no avail however has any solution worked. The next step that may work is detaching the glass and making them separate objects entirely, though this is more inefficient then what I have in place now. Still, if no solution works this may have to be the best solution for the time being.

Now that I have the car modelled, I can now block of one side of the street to restrict the player movement. I can also use the headlights for lighting in the street allowing me to provide different lighting tones and atmosphere from the lights. Such as the headlights beaming into steam from a manhole, or possibly using the lights to highlight graffiti on the wall. I could also be resourceful and repurpose the car by retexturing it and using it as another car, or just having car parts such as the tires lying down an alley. Next, I have to make the road more seamless into the scene, as it sticks outs out a little too much making it look unrealistic. Looking into master materials to vertex paint onto the surfaces will definitely be good to look at, so I can paint dirt from the surface of the road onto the square pavement.


Car renders –

car render t9.jpg

car render t15.jpg

car render t14.jpg

Subway project development 4

Over the past month, I have been adding incremental updates to the project whilst I have been working on my Final Major Project and other work. This has caused progress to slow down which means I haven’t been hitting the milestones I have set. The past few days I have been working on creating assets which needed to be implemented into the scene, along with improving the layout.

Another area I wanted to work on – especially with buildings was my modular workflow. The apartment building, I currently have in scene is modular but not to the extent it could be. Giving me less flexibility and adaptation if needed. To gain a greater understanding of modularity with buildings I got some research on polycount, reading on how to build them as modular as possible. I found that everything was broken down more than I expected, so window sections were separated. Along with wall pieces, supports, doors etc.Norris_Building0008.jpgHere is a good example by Jacob Norris, which as you can see has all the individual building pieces separated. This allows him to then piece together the building allowing him to make it any size he wants, whilst also giving him the freedom to mismatch sections together to form different buildings.making modular window.PNGI decided to use this method for my next building, making sure everything was to the grid, so it could be easily snapped and seamless.progress.PNGI then added a bottom wall which I planned to extend down an alley, so I could put decal graffiti on and assets such as ATMs. I also added mid supports for this building to separate each section.apartment build corner.PNGVery quickly I made the upper half of the building which was extremely efficient. Aside from that advantage it also allows me to keep the texture density in check, which was an issue with my other building due to its size.testinng new wall.PNGI then started to test this in engine, making sure they all snap together seamlessly.Building progress.PNGIt worked very effectively, though more detail may need to be added since it looks to lack some.Seamless supports.PNGNext, I wanted to make supports which would connected buildings across the streets. These would support wires and pipes which would overhang overhead, adding to the dystopian aesthetic.

My next asset on the list was a fire escape. I particularly liked this fire escape with its art nouveau like shapes and flowers surrounding the base. I also gathered a few more which can be found here, all with varying styles.

2821d6573c7e509d1fa19be785f75fd0.jpgfire escape progress.PNGtesting fire escape.PNGTesting fire escape in engine.lower section in Unreal.PNGBase fire escape render.

One issue I have with my environment is my floor. I have the same floor tiled across which looks monotonous and bland. I have been considering how to break up the flooring, whether to have different patterned floors for the square area, or the alley mud/dirt path leading to it.resolved.PNGI decided for the alley area to have a small road going down, ending just before the square. On this image I made a simple intersection area which is not fully complete. The plan is to make modular buildings which would fill out the viewable area which would most likely be straight ahead. I was then going to block the alley area of with a car parked diagonally across, blocking the exit.post in engine.PNGI then modelled a post which would block cars going off the road into the square.


My plan next is to conitune making modular buildings, along with increasing the detail on the current one. Research and model the car that blocks of the alley. Then, work some more on the floor textures. The scene size has also increased beyond what I orignally planed, so moving onward I need to be sure not to increase anymore than what I have already as risk of the scene looking empty.

scene size.PNGEnvironment size.

progress of scene.PNG

Progress screenshot 1.progress of scene 2.PNGProgress screenshot 2.



Fmp development 8

Since my last development update, I have made good progress on the room with making detailed panels, supports and floors.adding more panel detail.PNGI started with the corner panel, making it high poly so I could then bake down the detail.seam noticable.PNGI also split it up into sections, so the loops did not get to troublesome though I did have some seam issues which was overcome by adding some detail to cover this. This could have been remedies by attaching and welding, but I planned to have detail here regardless.panel in Unreal.PNGDue to most detail being baked, it did seam to lack depth in Unreal. The bottom light panels were 3d, along with the vents and cover, but the mid panels were not 3d, resulting in it lacking depth. I modelled these panels to add more detail.panel door.PNGNext, I modelled the middle section, which would be used twice on each side of the bridge. I was aware that this could look repetitive, so I did not attach the pipes to the wall. Instead, they are modular allowing me to move them into different positions. So, one could be hanging loose whilst another is on the floor.mid panel development.PNGDevelopment of panel.adding gaurds on support pillars.PNGI added guards onto the sides, breaking up the sections of the wall rather than it being one continuous pillar up.testing different textures.PNGThen I started to experiment with different textures using Quixel. It also allowed me to change the dirt and grime quickly to see what amount I deemed acceptable.testing both textures.PNGDue to the lighting in Unreal making textures look different, I checked a few different types along with variations of grime to see what looked right.testing ceilings.PNGI wanted to get the layout put together at this point, so I could get the general atmosphere and lighting of the room. At this point, the whole front was exposed to the skylight, making it difficult to see how the textures would truly look into the scene.breaking up floor for high poly.PNGI started to consider flooring next and how I could break it up into sections. I planned most of this out before but needed cleaning up with the loops.Floor progress.PNGThe started to make the high poly floors which I planned to bake down.tiled high poly.PNGfloor panels.PNGfloor progress2.PNGProgress of the floors in the environment.Support progress.PNGSupports where next on my list, which I wanted to go in between the modular sections.clay shader.PNGI just started using the clay shader in max, allowing me to see what areas are detailed and what areas need improving. I like the visualisation of this and plan to use it more on future models.lack of side detail.PNGHere I saw a lack of side detail, which was made clear by the shader.

HighresScreenshot00028.pngDetailed lighting.


My next task is to finish the floor which steps down into the command section of the bridge. Then start modelling the walls and window for that section. From there, I can then start modelling assets which can go in both these rooms, such as computers, hologram tables, chairs, tables and so on. By the end of next week, I plan to have the command section walls and window done. Since I have only started the bridge this month, I have felt quite a bit of pressure to get the rooms basics down, making sure that I have a clear layout for assets to go in. This has meant that it has undercut other projects I need to allocate more time too, such as my Subway Project. However, I am happy with the progress that has been made in this room so far, so I should be able to spend a greater amount of time on other projects.

Environment artists research


Today I decided to research some more artists, not only for inspiration but to gain a better understanding of the workflows of other artists. I came across a senior environment artist called Joakim Stigsson on Art Station. Joakim’s latest work named ‘Golden Gasoline’ is a gas station in the Arizona dessert, with a 70’s style.Overcast shot in the scene giving it a tonally darker look.lighting.PNGThe scene looks incredible and has a high amount of detail, along with great lighting, high quality textures and very good compositions. At the bottom of the Art Station page, he has a breakdown video showing a time-lapse of part of the process to complete the environment. It is worth noting that the terrain is already put in place and he is also using Unreal Engine. He starts by painting vegetation onto the scene in the distance, away from the gas station. One thing that strikes me is how large the scene appears thanks to the use of terrain. The mountains in the background along with a populated amount of vegetation makes it look very vast and believable. Joakim also paints rocks and puddles onto the floor breaking up the texture and stops it from looking too bland.


Something I do not take advantage enough of is this feature in Unreal. It is certainly an area that I need to become more adept at, as it allows for efficient use of time as you do not have to implement it within the texture process. It also allows you make changes on the fly, so you could get rid or add puddles as need be. He then goes onto using splines to add various assets for the road to the fences along the side. Again, I have not taken advantage of this enough either. I have used it for some vines in the space station, but not regular enough as I should. Adding pipes and such with this method would be a lot easier and faster if I used this method.using splines.PNGUsing splinesdecals.PNGDecals are added to certain areas such as the road to quickly add detail without remaking a texture. They also act to break up the road texture and add more realism to the scene. I have never used decals, so I am going to watch a tutorial to learn more about them as it is clearly something that would be very beneficial to use.decals 2.PNGAnother decal was added to look like it filled a pothole.modular.PNGModular systems are used here to allow the station to be changed on the fly. For example, in this part he expands on the wall and adds another one with a door hole in it. Then assets such as the pipes and lights are copied to accommodate the extra space. The vents are very modular also, so each segment can be copied over allowing him to make it as large or as small as he wanted. It did surprise me how modular the vents are, as I would have most likely made a long one going across, without considering a building size change. So, this is something for me to consider going forward, on how modular I should make objects.


Modular sections are something that I have been working towards quite heavily this year, so it is good to see some reassurance that working this way is a good practice to use. It seems clear I could take modularity further with certain objects, such as the vents for example.


Vertex painting is used on some assets such as the walls to add dirt and grime, adding more detail to the textures. Colour tweaking is also used to change texture colours on the fly. This can be done using Substance designer by adding a parameter to certain nodes such as uniform colour. The parameter could then be accessed in Unreal allowing you to change the colours.lighting.PNGLighting has a drastic effect on the tone of the scene. Here, Joakim changes the sky sphere to change the lighting to a darker overcast sky. Already this could be a set up for darker game or story if he wanted to use the lighting in that way. Though it does not have to be for a more sinister plot, it can just be this lighting for the purpose of that time of day. This is truer perhaps for games that have dynamic day and night cycles, such as Grand Theft Auto. Games and scenes and that are not dynamic in lighting have been consciously chosen for that particular lighting and mood, so some message has been put there to portray a certain mood.lighting 2.PNGHere is a mid-day lighting set up with blue skies and few clouds. The mood has instantly changed and can convey a different message or feeling to the viewer/player.lighting 3.PNGThis sunset shot allows the car to be highlighted better, due to the gas station lights having a more prevalent effect then the natural lighting. Joakim turns all the lights of aside from the one above the car to subtly draw viewers eyes to this spot, without it looking out of place. The puddle on the floor is also more noticeable, thanks to the low light and the reflection coming from the sign, adding a nice bit of detail to the corner of the shot.


One other cool touch is that the car can dynamically be changed, so the doors can open a certain amount, or the wheels can turn to a certain angle, which also moves the steering wheel too which is incredible attention to detail.


The website 80 level has interviewed him for a greater investigation into his scene.  He suggests multiple ways in which you can create terrain, from using Houdini which I have experimented with late last year, to world machine which I have not heard of. Height data can be obtained through opentopography and earthexplorer which I will need to look into further. By using these programs, he was able to create a heightmap with the help of a program called global mapper. After a few more steps he was able to use this data to create the terrain in Unreal, something that would be extremely beneficial for me to look into. Especially for future scenes that rely more on the open outdoors, than cities such as my subway project.


Joakim then talks about grey blocking, making sure assets, lighting and such was added and iterated over time. For assets he colours coded them using the materials in max, so blue for example he says was used for steel. So, every asset that had blue on certain polys, he knew was going to be steel. He also created a scene just dedicated to assets, allowing him to see how they look within engine, especially important for textures as he says, “Some features might get lost or will look to noisy when its placed in the scene. Also depending where and how the asset is used in the scene the materials and details might look different”Assets_01.jpgFor my portfolio I think it would be beneficial for me to lay it out like this. I have noticed many different environment artists on ArtStation lay assets out like this. So, when projects have been completed I’ll display them in this type of style.


The next segment he talks about using master materials which I have not looked into, nor understand to well. It seems to allow blending textures such as puddles and sand onto the terrain. This is one technical aspect I will need to research more into as I do not understand the node process to well. For the lighting he used an hdri image for the skysphere and made all lighting dynamic which gave him more freedom with different lighting, since he did not have to bake each time the lighting changed.


To conclude, this has been a great look into the workflow of Joakim, and has left me feeling inspired to continue working on my own scenes. I’m now going to check out using decals for extra detail, along with using splines for certain assets such as pipes. I also want to consider more modularity for assets, especially seeing how beneficial it was to resize certain areas within a few seconds. This would considerably save time as you would not have to go into max, change the size and possibly retexture the asset. Composition and lighting I will further look into within my scenes, as I feel I could be more experimental in these areas. Making my own skyphere is something I have not done either to this extent, as I normally rely on a basic texture or use Unreals own, so this is something I would like to develop.


80 level interview – https://80.lv/articles/desert-gas-station-environment-production-breakdown/

Joakim Stigssons ArtStation – https://www.artstation.com/joakimstigsson




Fmp development 7

Recently I started to model a grey block of the bridge, using my previous concepts of the bridge that I made at the start of the project to aid me. I also sketched out some floor plan layouts, iterating on the size and different areas of the bridge. I also considered implementing a floor below which would go to the escape pods, but as I found during the grey block development, it would be best to consider this after the bridge has been completed.experimenting with different types of wall.PNGTo start I created some simple walls to plan the size of the area. At this point I was not sure how large to make it, but I was aware not to make it too large due to time constraints.layout progress.PNGOriginally, I was going to have the bridge this size, with it being fairly wide and a glass window at the front. But after importing this early version into Unreal, I saw that it looked a little too open. This could have potentially added more time on due to the extra area having to be filled with assets and such, potentially leaving the area looking empty if I ran out of time. So, I decided to make it narrower which also adds to the claustrophobic feeling that the station has.testing bridge size.PNGHere I tested the size in Unreal.bridge progress.PNGI wanted the room to have some depth, so I added a step down which would then lead to the command area of the bridge. The change in depth allows me to break up the area whilst also making the floor a little more interesting. I have also been considering the floor textures, such as using maps for pipes below, along with different floors that may be seen – such as the one for the escape pods.front 1.PNGHere I was figuring out what type of shape I wanted at the front of the bridge. The glass on this one was a little too narrow and didn’t fit with what I had in mind. I want to go with glass that takes up most of the front, providing a large vista view of the system and its planets. This would also be the largest window in the station and would make sense for the bridge to have a large view, allowing people to view and observe station and surroundings. Due to its large size it would make it vulnerable to debris and junk, so shutters could be put in place when needed. If I had time this could be implemented and possibly interactive, or at least be scripted to move at a certain point during a video fly through. If the player found the button, they could press it which would then activate it to close or shut. This though, would make better sense if more things were interactive, such as picking objects up, or turning off drones, lights and such.


As of now, my assets are quite low outside of the stations walls, floors and such. My drone, a keypad and lights are the only things that could be interactable as of now. So, more assets or areas would need to be added for this to be expanded upon. The gravity wheels could also potentially be turned off, which the player would also be able to see visually through the windows. Not only that, but environmentally the area could go zero g giving the player a different experience in the environment. Navigating would also pose a challenge with the player having to bounce of the walls, possibly by a jump button. This would then tie into the ludic loop game theory due to the loss of control as the player would drift weightlessly to the next object. Other assets within the scene would also float and may obscure the view. Water from bottle could also float within the scene, adding to the effect and would also be interesting to work on within the particle emitter. These are all areas I would like to develop, providing I have the time.front 2.PNGI iterated the glass again with one that provided more views. I also considered having a second floor and a viewing platform that could use the top window.bridge progress 2.PNGProgress of the Bridge.bridge size test  2.PNGI tested the size again but still thought it was a little too wide.different floor depth.PNGI also experimented with more floor depth, making the floor more visually interesting.floor to escape pods.PNGThis is when I started to implement the escape pod corridor. The issue with this is that the room must be wider to accommodate the stairs down. The second is that it is another section on top of an already large section, so I have left this idea for now.layout 3.PNGMy third idea involved stairs going down which would lead to the main bridge area. Whereas the top floor would act as a viewing platform. On the floor below, I could then have a door leading to the escape pods.changing layout.PNGI decided against this to, as it still felt a little too big. So I narrowed it down some more and removed the stairs. bridge progress 3.PNGAs of now, I have a shape like this. It is narrow, whilst having space in the middle for a table, holograms, computers etc. Without it being too Big. This should hopefully mean I can fill the space without it having an empty feeling. I also modelled the ceiling to accommodate glass on the front and back areas, alleviating it from feeling too claustrophobic. It will also allow me to get more interesting lighting in the scene, by using the sunlight outside. You can also see the front glass taking up most of the front, giving the player a large view of the system.


I have now started to sketch out some and model one of the corner panels in the room. I also went back to the starting corridor and refined the floor, along with other refinements which I’ll cover in another blog post. My next plan is research more sci fi panels, along with making more sketches so I can then move onto modelling the next set.

Bridge Plan

I am up to a point now with my environment where I am happy to progress to the bridge. I textured as I went along, so it saves me going back and spending a large amount of time backtracking, or leaving parts unfinished. There are some parts that need refining, in particular the one room with the ladders I am unhappy with. The textures on the ladders could be improved to stand out more, as a further matter I think the detail could be increased on there too.ceiling and ladder screenshot.PNGOn this screenshot you can see the ceiling has little detail and a bland texture. I’m considering refining this when I get the chance, either adding pipes, vents, panels or such. I could also change the texture too whilst applying the other changes. The ladders and the support cylinders could also have extra detail added as what I have now is a little basic. Again, panels, better textures, wires and such would vastly improve this. As it stands now however, I am going over some bridge plans I have along with creating new ones,


I’m sketching some floor plans to gain an idea of the layout I would like for the room. Alongside this is the size. Each one of my bridge plans before having been relatively big compared to the individual sections of the station so far. With this in mind, I think I’ll make the bridge rather small. I’m thinking two chairs that directly point to the glass at the front, looking out to space. These chairs would be very detailed, so already it would take a few days to complete these. They would also most likely be on a raised platform, giving them a position of control over the rest of the room. I ideally would like three levels to the room also, giving a nice bit of depth to the area adding visual interest. Computers to the sides of the room, along with panel on each side of the chairs. Wires hanging over head, which would have been dislodged from the previous positions. Cups will have fallen onto the floor, books, papers and miscellaneous stationary items will be scattered throughout. On one of the computers I also want a hologram of the planet nearby rotating. Another could be a warning symbol saying what is wrong with the station, giving some backstory to the viewer/player on what happened.


My next step is to carry on creating bridge layout plans until I finalise it. I then need to make an asset/prop list of the items that can be found in there. I can then move onto grey blocking the scene, getting the general layout out it. From here I can start adding more detail to the wall, ceilings and floors which would lead onto the detailed assets of the room. I will also refine other parts of the station as I go along such as the room I mentioned earlier, but I need to make sure not to slow myself down too much until I get the bridge complete.

I also have been updating my Pinterest for more inspiration – https://www.pinterest.co.uk/sam137069/bridge-research/



Fmp Development 6

Since the last development, I have been largely refining the environment I have.  I have also been working on the walkway which leads to the bridge, as last time I was just figuring out the shape and size it should be. Now, I have fully developed it into an almost compete section, barring a few extra details that need adding.  Testing texture.PNGFor the walls I made a texture on substance designer, following this tutorial here – https://www.youtube.com/watch?v=N8TwnHNo6pk. Whilst it did not fit with this section, it has allowed me to continue learning substance designer as an extra skill that will come in useful. The texture is now used on some boxes within the environment.testing floor texture.PNGI then started to implement the walkway which is elevated from the floor, allowing for pipes and such to go below. I also started to experiment with textures from GameTextures, giving me access to high quality textures allowing me to improve the look of my scene. The license I have, allows you to use the textures non-commercially but can be upgraded to a commercial license if need be. Whilst I am working on texturing as a skill through industry software such as Sub Designer, my main focus is modelling as an environment artist. So, I am prioritising this over texturing.repeating sections.PNGI then put the texture into photoshop and manipulated it to fit the uvs. Here I noticed some patterns repeating that could look noticeable in the scene.texture issue.PNGI noticed an issue with the texture, which was due to a map overlapping with another. So, I had to go back and refine the maps in photoshop.too white.PNGI then started iterating on the borders of the walkway, using Substance Painter. I tried white here, but it did not go with the metal section of the walkway. It also looked a bit bland, so I decided to go back and improve the texture.painted hazard decal on.PNGI added hazard decals around the border and also changed the metal paint to black.floor with maps combined.PNGI was a lot happier with this, as it looked like it fit in more.Creating pipes.PNGFor the wall I wanted to add pipes for details and depth. I wanted the bottom and mid sections to have quite a few pipes to add interest to the walls.cutting wholes for pipes.PNGI then used proboolean to cut into the wall, providing a cut out for the pipes to go in – adding extra depth.pipes in place.PNGI then added some vertical pipes into place.testing pipe and railing in engine.PNGI made sure to add the pipes into engine as I went along, checking to see if the scale looks good whilst also seeing whether it fits into the scene.walkway progress.PNGI made sure to add some variation to the pipes too. Such as the one on the upper half section bending around the supports, making it look a little more dynamic then just horizontal and vertical.progress 3.PNGI added a few more variations with some more bending around the supports, along with another going down joining onto another pipe. Below I also added larger pipes which go from the floor to the wall.testing grey block in engine.PNGI then implemented the whole grey blocked version in for testing. Most pipes were sixteen sides since you can get quite close to them, but this leaves the poly count quite high for this section. To remedy this, I deleted the back faces of some pipes which could not see behind, creating more silhouetted pipes.backfaces deleted.PNGDeleting backfaces.implementing lights.PNGLooking at the ceiling in engine I thought had quite a boring look. I thought of the possibility of adding vents, more pipes or some other detail that could add interest. In the end however, I decided to extrude the top and add a glass ceiling making the area look a bit less claustrophobic.Glass support beams.PNGChanging design of ceiling.testing ceiling.PNGI then tested the ceiling in engine. It had quite a basic look at this point as I had not impended the support beams. I felt like the room needed something like this to make it more interesting. I also put a rotator actor on the sky sphere to make it look like the station is moving.testing supports.PNGSupports in place.improving wall and top glass.PNGImproved wall and added extra beams for the ends.map cleaned up.PNGI also wanted to use a different texture for the walkway walls, but came across and issue with the uv map, so I went back and refined it.  editing texture.PNGI then textured on subpainter. I also made sure that the seams lined up and that the panels ended on the edges of the seams.better control over seams.PNGLining up seams to edge.testing walkway texture.PNGTesting the texture in Unreal.experimenting with different pipe colours.PNGI also thought I’d experiment with different pipe colours, rather than just using black like I normally would. I thought the orange looked quite good and make the scene a little less dull.floor gap issue.PNGI also made some refinements to the modularity, since I had some gaps in the floor. I also may go back and add steps into different rooms to add depth. To overcome the gap issue I could attach them in 3ds max, which is something I will have to go back to and improve.I also went back into the multiway room, adding a different texture to the walls. For this I also had to go back to the map and make it totally seamless.maps for panels.PNGRemapping in max.

My next steps are to model a new door which will lead to the bridge, along with starting to model the bridge room itself. I also need to model part of the exterior station, which I have been putting off for a while. I am also going to continue to refine certain sections and try new textures on parts to try and get a better look.


Unreal Screenshots – HighresScreenshot00009.pngHighresScreenshot00008.pngHighresScreenshot00010.png







Some textures used are from GameTextures – https://www.gametextures.com/shop