Creating Sci-Fi Weapons for Games
Events
Subscribe:  iCal  |  Google Calendar
Helsinki FI   17, Oct — 25, Oct
Minsk BY   17, Oct — 19, Oct
London GB   22, Oct — 23, Oct
Singapore SG   23, Oct — 25, Oct
Paris FR   24, Oct — 27, Oct
Latest comments
by Nils Arenz
2 hours ago

@Tristan: I studied computergrafics for 5 years. I'm making 3D art now since about half a year fulltime, but I had some experience before that. Its hard to focus on one thing, it took me half a year to understand most of the vegetation creation pipelines. For speeding up your workflow maybe spend a bit time with the megascans library. Making 3D vegetation starts from going outside for photoscanns to profiling your assets. Start with one thing and master this. @Maxime: The difference between my technique and Z-passing on distant objects is quiet the same. (- the higher vertex count) I would start using this at about 10-15m+. In this inner radius you are using (mostly high) cascaded shadows, the less the shader complexety in this areas, the less the shader instructions. When I started this project, the polycount was a bit to high. Now I found the best balance between a "lowpoly" mesh and the less possible overdraw. The conclusion of this technique is easily using a slightly higher vertex count on the mesh for reducing the quad overdraw and shader complexity. In matters visual quality a "high poly" plant will allways look better than a blade of grass on a plane.

by Anthony Thomas Gaines
6 hours ago

Is this not like gear VR or anything else

by Starkemis
7 hours ago

Thank you!

Creating Sci-Fi Weapons for Games
23 May, 2017
News

Concept artist Daniel Solovev shared an incredibly detailed breakdown of his sci-fi assault rifle ‘Omnitech AR-5A’ on ArtStation. Daniel did it as a demo for his online course “Weapon Concept Art for Games“. This is one of the most complex and sophisticated weapons you’ll find, so take some time to study this step-by-step guide. 

Let’s start!

Initial sketches. Iteration #1

Initial sketches. Iteration #2

Initial sketches. Iteration #3

Shapes and lines analysis

Zbrush mockup. Keyshot test renders. Overpaint. Iteration #1

Zbrush mockup. Keyshot test renders. Overpaint. Iteration #2

Refining design in SpaceClaim. #1

Refining design in SpaceClaim. #2

Refining design in SpaceClaim. #3

Refining design in SpaceClaim. #4

Refining design in SpaceClaim. #5

Refining design in SpaceClaim. Keyshot test renders. Overpaint.

Refining design in SpaceClaim. #6 Appearance design is complete.

Refining design in SpaceClaim. Keyshot test renders. #1

Refining design in SpaceClaim. Keyshot test renders. #2

Refining design in SpaceClaim. Keyshot test renders. #3

Refining design in SpaceClaim. Keyshot test renders. #4

Refining design in SpaceClaim. Keyshot test renders. #5

Internal parts design in SpaceClaim. #1

Internal parts design in SpaceClaim. #2

Internal parts design in SpaceClaim. #3

Internal parts design in SpaceClaim. #4

Internal parts design in SpaceClaim. #5

Internal parts design in SpaceClaim. #5

Internal parts design in SpaceClaim. #7

Internal parts design in SpaceClaim. Keyshot test renders. #1

Internal parts design in SpaceClaim. Keyshot test renders. #2

Internal parts design in SpaceClaim. Keyshot test renders. #3

Internal parts design in SpaceClaim. Keyshot test renders. #4

Internal parts design in SpaceClaim. #8

Internal parts design in SpaceClaim. #9

Internal parts design in SpaceClaim. #7

Version with standard 420mm barrel.

Final CAD model in SpaceClaim #1

Final CAD model in SpaceClaim #2

Final CAD model in SpaceClaim #3

Final CAD model in SpaceClaim #4

Final CAD model in SpaceClaim #5

Imported in 3ds max as IGES. Whoopsie!

Correctly imported in 3ds max as OBJ.

UI design in Illustraitor.

Reticle test #1

Reticle test #2

Rigging and animation test in 3ds max #1

Rigging and animation test in 3ds max #2

Rigging and animation test in 3ds max #3

Rigging and animation test in 3ds max #4

Rigging and animation test in 3ds max #5

Rigging and animation test in 3ds max #6

Rigging and animation testin 3ds max #7

Materials layot in 3ds max. #1

Materials layot in 3ds max. #2

Materials layot in 3ds max. #3

Imported cutaway.

Animation. #1

Animation. #2

Color sheme research. Iteration #1

Color sheme research. Iteration #2

Color sheme research. Stencil.

Logo and stencil design in Illustrator.

Basic materials in Keyshot. #1

Basic materials in Keyshot. #2

Advanced materials in Keyshot. #1

Advanced materials in Keyshot. #2

Advanced materials in Keyshot. #3

Candy!

Render.

Compositing and postprocessing. #1

Compositing and postprocessing. #2 Done!

Here is the final amazing gun:

The breakdown is a small glimpse at the artist’s “Weapon Concept Art for Games” online course. You can enroll in this course here. Please notice that this online course is only in Russian. And here is a little promo to help you decide.

Source: ArtStation
Comments

Leave a Reply

4 Comments on "Creating Sci-Fi Weapons for Games"

avatar
A B
Guest
A B

I feel like you can shoot this after printing it out…

glennrenner
Guest
glennrenner

holy..
so much details, this is amazing

blendercross
Guest
blendercross

Impressive work !

nuclearmapper@mail.ru
Member
nuclearmapper@mail.ru

boomb! gorgeous work

wpDiscuz