Shrine Modeling

I spent a lot of time splitting the UVs of the entire shrine because I needed to manually cut and unfold the UVs, and

I needed to think about which side I should cut on so that the model didn’t have as many UV seams as possible,

but the entire model was unfolded correctly. After completely splitting the UVs I would choose to manually place

the UVs as flat as possible and maximise UV utilisation. Since the shrine is the visual centre of the environment

and the largest building, I’ll use the UDIM mapping method to spread the main body of the shrine across several

different UV sets, and I’ll add different colours to the models in the UV sets to make it clearer which parts are in

the same UV set. I wouldn’t have thought about these things before my junior year of college, and while they

probably won’t affect the end result too much, they are things I need to work out as I become a 3D artist, and

these small aspects of the process are a little bit of what I think I’ve progressed in this year, I guess.

Before I make the material part, I will spend more time to analyse these material references I found, what is the colour of the old wood, what kind of wood grain do I need to make to add more details, because the shrine is always on the mountain, its wood material will be affected by some environment, these are all things I need to consider, before I start the FMP, I have a very one-sided understanding of the material, and I won’t go to analyse I spent a lot of time during the making of FMP analysing the composition of the materials, the variations in colours, the composition of textures and other factors. So after analysing these factors, I plan to create some of the materials in the shrine first, I will combine them with the base material sphere that comes with the Substance Painter, and then overlay them. I will determine the base colour first, the base colour of the wood that I found for reference is not only a single colour, but it is also made up of a number of other shades of colours, which is one thing to take into account when creating a realistic style game environment. for example, I made sure the wood is brown, it also includes red and yellow hues, combining these to finalise the base colour of the wood, then I used textures to overlay the materials to make them more detailed, the most important point is to make dirty and worn out, the procedural smart masks can’t achieve the effect I want, so I will consider using my own brushes to draw in the worn out and dirty parts. So when working on the abrasions and dirt I will consider painting them myself with a brush, for example the edges and the parts near the floor will have more abrasions and so on, at the end I will paint some darker parts, the colours are usually darker near the floor. Once I have made all the textures for a section, it is convenient to make a smart material sphere for this section, I can apply this sphere to other sections and change the colours and wood grain to create the overall texture effect more efficiently. Through this project, I have a deeper understanding of materials, and analysing the underlying logic of materials is very important to me, because I can use the underlying logic of this set of materials to create other different styles of materials when I go into the 3D art industry later on.