Asset Production Progress 5

After finishing diffuse texturing i have decided to add an ambient Occlusion and Specular map. Downloading the free program Xnormal (“XNormal web page,” n.d.), i have created an ambient occlusion map. The process can be achieved  with a normal map however in this case i have used my diffuse texture twice, plugging it into the low and high poly plug in spots in the program. The maps that are needed are selected within baking options.

The ambient map produced from the complex physics generator in Xnormal is taken into Photoshop (Alvarez, 2016) . Most of the map had the desired effect however a strange warping occurred on the bottom panel of the pistol. I have learnt that this can be fixed with the smudge tool, as this evens out the smudged ares into a solid shade.

I have also learnt that the ambient occlusion map is combined with the Specular map as shadows are controlled by light and so can be integrated into the shine and gloss aspects of Specular.

The levels of Specularity and gloss is partially trial and error and after adjusting to the levels i wished i have set up lighting.

The lighting I have used is a combination of Omni lights and target. The intensity of the lights can easily be changed in the modify tab.

Animation of the pistol was particularly tricky and required more adjustment than i expected. I now feel more comfortable with the adjustments of key spacing and and animating various parts separately in the time frame.

After this step the asset is ready to render as an mp4.



asset scene with lighting
figure 1. scene setup. (Wyld, 2016).




blog spec and ao map
figure 2. Ambient occlusion and Specularity.(Wyld, 2016).





pistol asset production .png
figure 3. still render. (Wyld, 2016).




















figure 1. scene setup. (Wyld, 2016).
figure 2. Ambient occlusion and Specularity.(Wyld, 2016).
figure 3. still render. (Wyld, 2016).
XNormal web page. Retrieved May 13, 2016, from
Álvarez, R. (2016, March 22). Create anything you can imagine. Anywhere you are. Retrieved April 7, 2016, from





Asset Production Progress 4

This week I have moved on to texturing, the first decision has been to decide colour palette. After a few variations on colour schemes that have a contrast of light and dark I have settled on a dark blue-grey base with white and orange highlights. This will align with the bold look I am aiming for.

I have also decided to create a camouflage pattern for the barrel of the pistol. After investigation I was surprised to find a method to create the pattern by “rendering clouds”in Photoshop (Alvarez, 2016). The process relies on manipulating the levels of the cloud render, which is repeated 3 times. Each of the three renders are given separate colours and a base colour is also added.

Another effect which I have used creates a deteriorated and worn look, commonly referred to as “grunge effect”. While  reference photo with a worn texture can be used as the base of this effect I have used a simple approach with a mottled brush shape and have erased away part of the colour to create the intended effect.

I have also added to the worn look with  greying of the edges of the pistol, and the addition of subtly worn areas.

During the process of using Photoshop I have become more familiar with filters which I have enjoyed exploring. Also on a small note, simple things such as using the eyedropper to locate a colour you would like to change very slightly have  Photoshop a more comfortable experience during the texturing phase.





Screenshot (74).png
figure 1. texture. (Wyld,2016).




Screenshot (75)
figure 2. Camouflage pattern for texture. (Wyld,2016)





figure 1. texture. (Wyld,2016).

figure 2. Camouflage pattern for texture. (Wyld,2016)

Álvarez, R. (2016, March 22). Create anything you can imagine. Anywhere you are. Retrieved April 7, 2016, from











Álvarez, R. (2016, March 22). Create anything you can imagine. Anywhere you are. Retrieved April 7, 2016, from

Asset Production Progress 3

This week I have been finishing the basic form of my model and have started to flesh out the extra components which make up the design. The modelling has been closely following my reference image but i am now making tweaks to the design. A notable change is the alteration to make the pistol model a-symmetrical. This choice has been made with congruence of style in mind. The comic/graffiti  aesthetic I am aiming for will match the  difference of detail on both sides. I also wish to include a fictional model label on one side which I have decided would not benefit from being repeated symmetrically on the pistol texture.

The modelling I have been using to complete my model has stayed mostly the same throughout the process.

I have been inserting swift loops (Auto Desk Inc, 2016) and using the accompanying vertices to alter the shape of components, which has allowed me to create the shapes that comprise a pistol quite well. Since the last project i have also been using the snap tool often which i had not yet become familiar with. While it is useful there are times that i find it unpredictable. Mostly i have figured in those instances why it does not snap in a predictable way. Swapping to wireframe has also helped to identify vertices and edges to snap to.

The chamfer tool has been used along the way to create a more appropriate edge to the pistol. This is necessary for many objects when modelling as the sharpness of un-chamfered edges can look odd when compared to real life examples. This step alone has noticeably improved the look of the pistol.

While finishing the details of my model i have used the Boolean tool to create a shaft in the pistol barrel. Later I have discovered that this has caused strange problems with the front of the barrel. As instructed i have remodeled the barrel and inserted it in the place of the old one. I have learnt it is not necessary to use boolean and for the replacement barrel I have  used inset and extruded (extrusion is used to a minute amount, the move tool is then used to ensure the extrusion is the correct angle into the barrel).

From here, I can now move onto texturing.



Screenshot (68)
figure 1. Problem with Front of Barrel. (Wyld, 2016).




Screenshot (69)
figure 2. Replacement Barrel. (Wyld, 2016).




Screenshot (73)
figure 3. Finished Model. (Wyld,2016).





figure 1. Problem with Front of Barrel. (Wyld, 2016).

figure 2. Replacement Barrel. (Wyld, 2016).

figure 3. Finished Model. (Wyld,2016).

Inc, A. (2016). 3d Modelling & rendering software. Retrieved April 7, 2016, from













Asset Production Progress 2

This week we have covered various techniques which we can utilize in the production of our Video Game asset. It has become obvious that there are a multitude of ways to achieve desired results in both modelling and texturing of assets.  An example is the detail that can be created in the modelling stage of an asset, or can be added to a certain extent alternatively with bump mapping. In this case light can be used in a low poly model to add detail without modelling extra polygons.

I have also learnt that low and high poly models are useful for differing reasons and that it is best to try and create as much detail with as low poly count as possible. This is something I wish to get better at, as I still feel new to these concepts and how to to implement them into my work. As I understand it, low poly modelling is particularly important for efficiency within Video Games.

At this point I have finished the design of my Sci-fi Pistol and have set up my drawing as a reference image within 3DSMax (Auto Desk Inc, 2016), this allows me to have a guideline when modelling.

To set up my reference image I have used the short video supplied as part of our video resources. This involved creating a plane, then dragging the image onto the plane in 3DSMax. The next step is to use the UV modifier and select bitmap fit, after this it’s just a matter of resizing and positioning. It is important to note that the appropriate format to use is TARGA.

I have started to block out the components of the pistol design by ensuring that the view is set completely parallel to one direction within the view-port. I can either do this by selecting the view from the view-port drop-down list or by using the View-cube.

When the view is adjusted in such a way I can create a box and convert to editable poly. From here I can select the vertices of both sides of the box simultaneously and drag them to fit the shape needed in my design. From here I will continue to create the basic shapes of my design.



Screenshot (64)

figure 1. Sci-fi Pistol reference image. (Wyld, 2016). Asset Production.




Screenshot (66).png

figure 2. Modelling using reference. (Wyld, 2016). Asset Production.









figure 1. Sci-fi Pistol reference image. (Wyld, 2016). Asset Production.

figure 2. Modelling using reference. (Wyld, 2016). Asset Production.

Inc, A. (2016). 3d Modelling & rendering software. Retrieved April 7, 2016, from

Asset Production Progress 1

After completion of our Pirate Treasure Chest project, our next undertaking is an introduction to asset production. Specifically our brief requires the design and production of a game asset, the object may be one from the list provided or we may seek approval for something else we wish to create. I have chosen to design a Sci-fi pistol.

During this first week i have gathered sources of inspiration and have started to think about the design of my object. i have looked at both real- life gun models as well as fictional designs as inspiration.

I’m currently leaning towards a comic stylised aesthetic for my Sci-fi pistol and have been influenced by weapon design from such Video Games as Destiny (Bungie, 2016) and Borderlands (2K Games, 2016).

I am keeping mind at this early stage in the Asset production my limitations in producing an asset production. With this in mind I will attempt to create something as close to the in game weapons I admire.




figure 1. Hand gun. (“Types of Handguns – Revolvers and Semi- Automatics”, 2016)




pistols borderlands1
figure 2. Range of Borderlands 2 Pistols. (2K Games, 2016)




borderlands gun3
figure 3. Borderlands pistol. (2k Games, 2016)




figure 4. Destiny Pistol. (Bungie, 2016)





Types of handguns – Revolvers and Semi-Automatics. (2016). Retrieved May 8, 2016, from

Software, G. (2016). Borderlands.Com – home page. Retrieved May 8, 2016, from

Previous, & }, default. (2016). Destiny | official site of destiny the game. Retrieved May 8, 2016, from




Pirate Treasure Chest Progress 1

Our first creation in 3D will be an animation asset, a pirate themed treasure chest. We will be exercising creative control in the aesthetic style of the asset and modelling the asset in 3DsMax (AutoDesk Inc, 2016) .

I begin the research stage and start to think about design decisions. We may choose to follow an example of a pirate chest we find that exists in real life or sketch our own. We can also choose a mix of the two for our own desired effect.

I have chosen to start with a real life example, making small changes and tweaks as I model till I am satisfied.

After this design stage we began to construct the beginnings of our model from a simple primitive, a box, which we can then alter to fit the dimensions we need. The axis also comes into play from the beginning of any modelling and it is a concept which by itself was easy to understand. It is later when navigating the 3DsMax space and manipulating the model that the grid and axis was a little tricky to understand. It was explained in further detail however and became a bit easier to grasp.

The snap tool, as well as basic concepts such as using move and scale were also covered. At this point they are easy to understand within 3DsMax but it is still a little unnerving to see objects scale and move in an infinite virtual space with its high sensitivities and strange conventions.

There was also use of the snap tool which helps to connect and move objects, it has become obvious very quickly that this could not be done by eye and so the tool is important, I have confusion still on its application which I will try to resolve quickly.

Now in the modelling stage, I have started with a basic box and from there changed the dimensions to create the appropriate size. I am modelling only the base of the treasure chest at this point in time and will model the lid after the base is completed.

Before altering the basic box I have made I convert to editable poly which has been stressed by both my lecturer and in the tutorial videos. I have also learnt that while modelling I should aim to make models as contiguous (hollow) as possible.

At this point in time I feel I am partially comfortable with basic navigation such as w for move, e for rotate, and r for scale. We have been instructed to learn these short cuts early and they have already started to help.


figure 1. Treasure Chest Box. (2016)


Screenshot (45)
figure 2. Basic Box for model. Wyld, A. (2016)


Screenshot (47)
figure 3. Basic Box for model step two. Wyld, A. (2016)





figure 1. Toy Treasure Box. Retrieved April 7, 2016, from

figure 2. Wyld, A. Basic Box for Model. Production Pipeline. (2016)

 figure 3. Wyld, A. Basic Box for Model step two. Production Pipeline. (2016)

AutoDesk Inc, A. (2016). 3d Modelling & rendering software. Retrieved April 7, 2016, from







Pirate Treasure Chest Progress 3

This week I have found that I can see how some of the concepts covered until this point can come together in the production process.

After the pre-production and modelling phases of the pipeline, UV mapping is necessary to allow an object to correctly position or map a texture to the 3D model that has been created (Auto Desk Inc, 2016).

While these concepts have been more firmly planted in my mind over the few weeks, in practice I am still constructing my treasure chest model which is almost ready for UV mapping. I have understood and I am now comfortable with most of the techniques I have used to  model my asset to this point. I have repeatedly used inset, extrude and connect to model however the snap tool is a tool I find to be unpredictable and difficult to use.

While snapping primitives in the first test model we made in class I can see how it works in principle. However when the model was no longer just a simple primitive snapping to another primitive, for example edge to edge its harder to predict how the snap tool will affect the model. navigation is becoming a bit more comfortable in 3Ds max, however everything still seems very foreign.

The symmetrical method for modelling has continued in class and I find that I can grasp why it is used and also the benefits but I am continuing with the method shown in the tutorial videos still as I am finding it easier to grasp what I am modelling as a 3D object. I plan to do this for this treasure chest to first become familiar with how the specific tools and methods of creating forms in 3Ds work.

The snap tool continues to be a struggle for me. It is use with the grid and use with symmetrical modelling that I find hard and I will try to improve my practical understanding of the snap tool.

My model is at the stage that I have begun to create the lid of my treasure chest, again I repeat the process with the base and start with a basic box. As I understand it, it is important to create the lid with dimensions that almost exactly match the base. There is a small amount of leeway because of alterations that will be made to the lid as well as the fact the lid will sit on top of the chest and therefore can be slightly larger as it may be in real life. After creating the box I have added extrusions at the side which will become the metal straps on the top of my lid. I have intentionally made this quite large so it will become a prominent feature of the model.

The model is at a point that still requires changes to the base. The panels are not quite right and I would like to alter how they look. I have been trying to keep in mind suitability of style and will alter the treasure chest to have a cartoon feel, I aim to achieve this by exaggerating some of the treasure chests dimensions.

Screenshot (19)
figure 1. Treasure chest model with lid. (Wyld, 2016).


Screenshot (22)
figure 2. Treasure chest model with lid step two. (Wyld, 2016).



figure 1. Treasure chest model with lid. (Wyld,2016). Production Pipeline.


Inc, A. (2016). 3d Modelling & rendering software. Retrieved April 7, 2016, from