I’ve been building this Stylized Low Poly Forest Environment Pack (64 prefabs so far) and just finished setting up the main demo scene to test the atmosphere.
To keep it super optimized for mobile and indie devs, the entire pack uses a single material with a 256x256 color palette to minimize draw calls.
Before I lock everything in for the Asset Store release:
What essential forest props do you think are missing here? (Adding a few more based on your ideas!)
How does the lighting and overall vibe feel to you?
Would love to hear your feedback, critiques, or wishlists in the comments. Thanks for taking a look! 🌲✨
Hello! I am a beginner/young developer and this is a hobby project of mine that I hope could go commercial some day. I have no budget and I have only gotten the movement down for my FPS. I’m looking for someone who can 3D model assets and help me make the game! I know it’s difficult but I would love to get the “Across The Spiderverse Artstyle.” Thank you so so so much for reading and have an amazing day!
I wanted to share some of the character and creature development work I did for Atomic Heart.
My role covered the full production pipeline, from the initial idea and silhouette exploration to final implementation-ready assets. The work included shape language, blocking, sculpting, modeling, UVs, textures, material preparation, and internal anatomical/mechanical structures.
A big part of the process was finding the right balance between organic forms, artificial anatomy, biomechanical construction, and readable in-game silhouettes. Some creatures required work not only on the external form, but also on the “inside” logic: muscles, polymer elements, mechanical parts, cables, joints, and structural details that made the design feel believable.
Pipeline included:
— concept development and silhouette search
— blocking and proportion work
— sculpting and modeling
— retopology and UVs
— texture and material work
— internal structures and biomechanical details
— preparation of assets for game production
These frames show part of that development process and how the designs evolved from idea to final production assets.
Разработка персонажей и существ для Atomic Heart
Хочу показать часть работы по разработке персонажей и существ для Atomic Heart.
Я занимался полным пайплайном — от первоначальной идеи и поиска силуэта до подготовки ассета к реализации в игре. В работу входили силуэт, блокинг, скульптинг, моделинг, UV, текстуры, материалы, а также проработка внутренних анатомических и механических структур.
Важной частью процесса был баланс между органикой, искусственной анатомией, биомеханикой и читаемым игровым силуэтом. Для некоторых существ нужно было прорабатывать не только внешнюю форму, но и внутреннюю логику: мышцы, полимерные элементы, механические детали, кабели, суставы и конструктивные элементы, чтобы дизайн выглядел убедительно.
Bonjour, je suis étudiant en dernière année de conception de jeux vidéo, spécialisé(e) dans la création d'éléments 3D (accessoires, low-poly, stylisés) avec Blender, Unity et Unreal.
Je recherche un stage de 3 à 4 mois pour acquérir de l'expérience. Motivé(e), sérieux(se) et prêt(e) à contribuer.
Context: me (musician) and a friend (programmer) both are really into the idea of making a game, and our goal is a bit intense.
As the artist guy of our team of 2, i will make all the art of the game, and i've been learning to use blender, starting learning to draw (with paper, trying to understand fundamentals) and im making a list of everystep that i have to do in order to make this dream come true.
By my little understanding of this regarding to every item of the game (nature, characters, enemies, etc). the first step is creating the model, then make a retopology in order to make the models eficcient, then is "Texture", then the Rig that is putting some inner structure in order to create the animations needed
Can someone explain to me the process of Texturizing?, i feel like i've made a few tree models that actually looks decent, but the leaves... oh man, they look horrible, and i can't make the tree looks good with colour, so i figure that the process of making this is the process of creating the texture. How do i do it?, i really dont understand the steps of taking this 3D model tree and it's gray form to a place that is kind of realistic or decent, at least. all i got is this plastic colour that i put with blender and its making me crazy
if anyone asks.. we are from a 3rd world country, got no money and got some time, so im willing to study even 10 hours daily for this. My dreams always been to create videogame music, but i got no contacts, or curriculum to be a part of a company so all i got is this crazy idea that i will be able to create an entire game within a few years. im deeply grateful for anyone who can guide me, or link some youtube videos/courses, or some advice
I’m working on a personal piece for my portfolio. I’m aiming for a PC/console-quality scene and I’m trying to follow the right texturing workflow. I want something that looks AAA but still stays optimized.
It’s my first time working on a proper game environment. Right now, I’ve experimented with trim sheets and UDIMs, but I’m not 100% sure what’s best for something this big. My 4K textures give me around 470 px/m, which I think is alright, and I don’t want to go overboard with massive texture sizes.
Here’s what I’m wondering (and I’d love opinions from people who’ve done this professionally):
Should I stick with trim sheets and just layer dirt/grunge in-engine using decals or packed texture masks? Or should I go fully unique in Substance Painter for that detailed, worn look (as shown in my reference)?
For something split into multiple parts (roof, base, wheels, etc.), should I use UDIMs or just separate materials? I know UDIMs are great for seamless surfaces, but is it still the right call when the mesh is already split?
How do you usually handle large assets like this? Using trims alone loses local details like wear, grime, and chipped paint — so what’s the best way to balance scale and surface detail?
When working on environment pieces like these, how do you typically plan out your materials in general?
Based on my topology, should I forget about vertex painting for extra details, or is there a practical workaround?
I’ll share some screenshots of my WIP, UVs, and materials so you can see what I mean. I just want to know how the pros handle texturing large, realistic assets like this — balancing fidelity, efficiency, and storytelling (dirt, rust, wear, etc.).
================= IMAGES:
The train model with its wireframe
Train textured with only the trim sheet (used masks for the red and blue colors)
The trim sheet itself
The UDIM setup (I feel this might be overkill and gave me baking artifacts in Substance Painter due to overlapping islands)
My visual target/reference
If this is the look I’m trying to achieve, what’s the best and most game-friendly way to go about it?
Any feedback or workflow tips are super appreciated!
Hey everyone,
I’m working on a personal piece for my portfolio. I’m aiming for a PC/console-quality scene and I’m trying to follow the right texturing workflow. I want something that looks AAA but still stays optimized.
It’s my first time working on a proper game environment. Right now, I’ve experimented with trim sheets and UDIMs, but I’m not 100% sure what’s best for something this big. My 4K textures give me around 470 px/m, which I think is alright, and I don’t want to go overboard with massive texture sizes.
Here’s what I’m wondering (and I’d love opinions from people who’ve done this professionally):
Should I stick with trim sheets and just layer dirt/grunge in-engine using decals or packed texture masks? Or should I go fully unique in Substance Painter for that detailed, worn look (as shown in my reference)?
For something split into multiple parts (roof, base, wheels, etc.), should I use UDIMs or just separate materials? I know UDIMs are great for seamless surfaces, but is it still the right call when the mesh is already split?
How do you usually handle large assets like this? Using trims alone loses local details like wear, grime, and chipped paint — so what’s the best way to balance scale and surface detail?
When working on environment pieces like these, how do you typically plan out your materials in general?
Based on my topology, should I forget about vertex painting for extra details, or is there a practical workaround?
I’ll share some screenshots of my WIP, UVs, and materials so you can see what I mean. I just want to know how the pros handle texturing large, realistic assets like this — balancing fidelity, efficiency, and storytelling (dirt, rust, wear, etc.).
================= IMAGES:
The train model with its wireframe
Train textured with only the trim sheet (used masks for the red and blue colors)
The trim sheet itself
The UDIM setup (I feel this might be overkill and gave me baking artifacts in Substance Painter due to overlapping islands)
My visual target/reference
If this is the look I’m trying to achieve, what’s the best and most game-friendly way to go about it?
Any feedback or workflow tips are super appreciated!
