The first floor of the chapel is coming together. I have decided to complete as much of this floor as possible, and test some lighting to experiment with mood. This will likely change before the finished enviornment but I think it’s worth testing out.
Because the floor is quite large, I decided to build a few modules of tiles that I thought could make up the entire floor while keeping the texture resolution high. It involved a lot of deforming and squishing, so texel density isnt 100% perfect, but I think I get away with it in most areas.
Assembly and first lighting pass:
This is a really early lighting pass in an attempt to get some mood into the environment. This will likely change a lot, but I thought it was worth getting some basic lighting in now. I decided to replace the transparent window material with emissive to give a smokey ambient light around the windows. Again, very early stages and it may change, but emissive allowed me to get the atmosphere I wanted, and saved me having to model an exterior!
With this scene I really want every single asset to feel sculpted, and for every single piece of the scene to get the love and attention it deserves. The obvious approach for achieving this would be to model and sculpt every single asset individually. This looks great, but is obviously quite time consuming, and needlessly expensive in engine. Thus, as a result, I decided to create a series of tiling corner decals, which can be placed on top of meshes to give the illusion of sculpting. This is not only more efficient, but it also gives a very convincing result.
I first saw this technique implemented by Leonardo Iezzi on Artstation: https://www.artstation.com/artwork/l3wwa
I started by sculpting a few corner decals in ZBrush. I wanted these details to be relatively subtle, as the chapelle is not very damaged, but I still wanted to get the hand sculpted feel.
I then baked these high poly meshes onto flat corners with a soft edge in Substance Painter and textured them.
I then brought these details into Unreal to test them. Originally, I created the alpha chanel as a soft gradient, hoping the textures would blend nicely. While the results werent horrific, it was very obvious they were not the same mesh. So I decided to go for a much harder alpha, with masks the transition until the damage occurs.
The result works pretty well so far. I will definitely need to refine it a little, but I think the effect works pretty convincingly, as you can see from the below before and after image
When modelling the column, I adjusted theproportions of some parts of the mesh so that it can be baked down as low as possible. For example, the curved floral design on the capital of the colum have been flattened so they can bake down cheaply.
I have yet to sculpt the mesh, but plan to use the same approach as the trim sheets below. I want to sculpt large and mid level damage, and apply most of the surface damage in Substance Painter.