Great job and very inspiring! Thanks for sharing.
Frankly I do not understand why we talk about the past of this CEO. As a player I do not care about what he did or not until his games are good. As an Environmental Artist instead I see a game with a shaky graphics. It is completely without personality, emotion and involvement. It can hardly be considered acceptable especially for the 2019 platforms (which I understand will be the target of this game). Well, this is probably an indie group, with no experience facing a first game in the real market. And that's fine. Do the best you can that even if you fail, you will learn and do better. From a technical point of view the method you are using is very old. It can work but not as you are doing it. I bet you're using Unity, it's easy to see that since I see assets from their asset store. Break your landscapes more, they are too monotonous and contact real 3D artists and level designers. One last thing, the last screenshot is worse than all the previous ones. The lights are wrong and everything screams disaster. Avoid similar disasters in the future.
But are they real or is it a mockery? or a scam? Truly horrible flat graphics and lacking a real sense of aesthetics. Ui devoid of consistency and usability. Do they really have a graphic art department? Imho in 2018 using such tricks so massively denotes profound technical incompetence.
Iván Batalla, a young 3D Artist from northern Spain, is the latest guest of Sketchfab Art Spotlight. The artist discovered Blender around a year ago, and since then he has already created amazing artworks. He discussed his latest model — the Gateway Galaxy from Nintendo’s game “Super Mario Galaxy”.
One of the latest topics of the WeeklyCGChallenge, which was “Tiny Worlds”, inspired the artist to create this work. Mario Galaxy came to his mind, and after looking for some references, he opened Blender and started working on it.
The most useful tool while modeling the planets was the LoopTools addon. For example, the holes of the hollow planet were made deleting random faces and using that addon to smooth the edges. The green ovals of the Egg Planet and the stones from the Initial world were made in the same way, smoothing the original geometry with LoopTools to make circular shapes directly on the surface. I also beveled some of the edges between grass and stone and scaled them a little bit to the inside to add some depth.
The main planet had more details on it than the others, so it was the longest one. The bridge was made with just one unit repeated with an array modifier and rounded with a curve modifier and a bezier curve. I used metaballs and a remesh modifier to make the tree, and they were new tools that I had never used before.
The artist also discussed the texturing part. He states it was the easiest part. He created multiple materials for each planet, and added them to the proper faces. Then he did a temporary UV unwrap, added one texture per material, and fixed the UV lands to match texture’s size with the object’s scale without worrying about overlapping them and other issues.
Iván continued making a new and proper UV unwrap for each object, and baked Diffuse and AO maps for every planet with Blender Internal. All the assets are said to be baked into a single texture using the TextureAtlas addon.
Most of the textures were downloaded from textures.com and overlaid with procedural textures using GIMP to recreate a bit better the game’s look.
The flowers and box’s textures had their own way of creation. I created 3D models for them on Blender and rendered the viewport in GLSL texture mode (it’s faster than Cycles or the Internal, and also allows me to change lightning, specularity…) with an Orthographic Camera at the top. Last, I modified the textures using the node editor.
You can find the full article here