Alexander Tully
22550461
MA Games Art
Independent Project (1J7V0003_2223_4F)
Reflective Journal

Link to Spare Bibliography and References sheet: https://docs.google.com/document/d/15oq7f9dhrr9IOHKAJ3alyOjBi5gFf4afHdOt3PSDblY/edit?usp=sharing

Link to Portfolio:

**Exploring the importance of immersion within games.**

**Theme: A WW1 Trench concept developed through the use of Historical content backed up with practical research methodologies and credible source material**

**Brief**

For this project I wanted to explore the thematics of immersion within games through the use of practical based research methodologies such as historical contexts and credited primary source material. The main objective with this project was to develop a series of experimental 3D assets designed and rendered within a small 3D scene that was depicted off a WW1 trench scene where the audience will witness my own interpretation to that specific time period.

Throughout this series of work I have demonstrated a series of vast test sequences and asset creations. Including 3D sandbox developments produced within Maya, camera renderings within Unreal Engine 5, 3D texture experimentation and detail refinement within ZBrush and Substance Painter.

The purpose behind this decision was to try and convey the importance of immersive visual and contextual elements within a game. In order for me to produce a product for a targeted gaming audience, I had to explore a variety of techniques, tutorials, practical research and collaborations within the other SODA art disciplines such as sound design and even possibly photography.

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**Project Objectives**

* Develop and Render a collection of assets transcripted and developed through the use of practical research methodology.
* Experiment with the use of Trim Sheets as a form of texturing and rendering assets
* Promote credible evidence regarding the Project's brief, either through primary/ secondary sourced content,
* Explore new design techniques within the chosen art style, i.e New Softwares, Experiments through the use of online access (Tutorials)
* Demonstrate a keen intuition to investigating the importance of Immersion and Immersive Elements within Games.
* Produce a game ready enviroment, that symbolises themematic elements and immersive visual dynamics

**2D Early Environment Idea Generation**

At the earliest stage of this project my first choice of protocol was to map out initial idea generations of the proposed product development. The next images show a gradual build up of thumbnail sketches that I developed through the use of photoshop.
The sketches embelished what I wanted to try and depict within this series of work. Long harrowing trench walkways, barricaded walls and light sources. These initial sketches were paramount to the overall success of my project. This allowed me to flesh out ideas quicker and more efficiently.
I was able to quickly sketch out possible outcomes for the final project outcome, a flythrough video. These designs showed indications if where and how I could use the camera renderer settings inside of UE5. These included panning shots and directional changes with each tracking shot. This stage made it clear to me that the more than likely final product for this project would be a flythrough video encompassing a snippet of possible life living in these trenches.

**Thumbnail Sketches with Camera angles and demonstrations**

The images were developed in Photoshop on 05/07/23.
Each of these images represent a stage or key area of the trench concept. This includes panning shot directions, simple asset creations and also possible ideas that I could take further into my testing of using fly through cameras. I really liked the concept around using a portal mechanism behind this concept. The whole purpose behind this portal idea was to create a sense of dread when emerging within this setting. Having the viewer teleported to this setting would be unnerving. I wanted to play upon the thematics of fear and panic. Similar to how soldiers back in this period would of reacted to this setting. This was where the practical research and historically accurate context interacted with each other perfectly to create the immersion within the design.
I realised that throughout the tenure of this project, my ideas would begin to become more simple and straightforward.

After the initial sketches were completed, the next steps involved a series of practical research methodologies. This included artist research, historcial content in the form of both primary and secondary sources, articles investiagting the subject of immersion within games and why it is important and also through the use of games and films that have unique immersive elements throughout the product/s.

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**Research**

**Why is Immersion important in games?- Articles/ Interviews**

Image screenshotted from an online article explaining immersion within games. (Accessed Online) (10/07/23) https://www.gamedesigning.org/learn/game-immersion/#:~:text=Video%20game%20immersion%20brings%20you,brain%20into%20a%20different%20reality.

Image screenshotted from an online article explaining immersion within games. (Accessed Online) (10/07/23)

The article explianed how immersion is developed through the use of psychological attributes. These attributes were categorised into a list of possibilities in which the gamer/ audience could be become immersed within the gameplay.
The article explained that flow is the basic function of the game, the structure, the layout, motives and also reward schemes. This means that game designers want the gamer to be rewarded for their playthrough of the level or the story. This could include a new character outift or a piece of weaponry, or a new unlockable to help make the game more enjoyable. By incorporating flow within games it enables the player to have a better gaming experience overall.

This article proved informative and instructive. I was able to manifest an idea as to how I could achieve my own concept/s by following along with these attributes that seem to be proven fruitful within the gaming industry.

'HAI', "The Research, Discovery and Experience Company"
Image taken from Article (Accessed Online), explaining 'How Historians can leverage history in video Games', (10/07/2023)

**Article 02:**
https://www.historyassociates.com/how-historians-can-leverage-history-in-video-games/#:~:text=Explicitly%20using%20historical%20content%20can,when%20they%20have%20prior%20experience.

During the earlier stages of this project, I wanted to expand on as much research material as possible when it came to the subject of immersion within games. More importantly, historical immersion.
From my understanding, modern video game companies have more oppurtunity now than ever to produce high quality historically accalimed gaming content than ever before throgh the use of high quality platforms and technology. I realised that historcal content and video games can work harmoniously together. As stated within this article, "Video Games can spark a gamer's interest in history, and historians can use that interest to share related historical facts and knowledge". This quote proves that gamers need that sense of immersion within their gameplay. The game simply can not rely on a storyline or narrative alone with beautiful clips of scenary. There has to be substance, a purpose behind the narrative. The player needs to be immersed in the character's past and future prospects. What happened to make this character this way. In what shape is this world in and when is the time period set or inspired by and why. These are the questions that developers have to answer to in order to develop a cohesive game.

**Game Influences**

'AC UNITY, Released (11/11/14)' Screenshotted from Google, accessed, (01/08/23)
https://www.wallpaperflare.com/assassin-s-creed-unity-assassin-s-creed-wallpaper-games-one-person-wallpaper-taygg

'Call of Duty, WW2, Released (03/11/2017)' Screenshotted from Google, accessed, (01/08/23)
https://www.peakpx.com/en/hd-wallpaper-desktop-ntmjc

![Uploading file..._iw0lxe6r7]()

'Red Dead Redemption 2, Released (26/10/18)' Screenshotted from Google, accessed, (01/08/23)
https://www.gtabase.com/red-dead-redemption-2/artworks/

Titles such as Assassins Creed, Call of Duty and Red Dead Redemption play on this element of historically accurate immersion within their gameplay. Red Dead Redemption uses a wides ource of historic material (even if edited to fit the games storyline) to help create this American wild west atmosphere that we all know through the use of filmography and books. They have injected the gamer with a story that is already taking place before the gamer has started the first chapter or level. The character has a past that we need to unravel to exceed through the game. The world has a story it has an adapted history that is transcribed through real life historical events during he late 1800's of America. The game portrays to the audience the harshness of that time period and what life was like. The importance of including real life or real events to me presents the player with a sense of authenticity. Assassins creed is a fantasy third person open world game, but the content and context that is produced is one of the primary aspects to the game's succession.
In correlation to this statement, I also had to understand that the creators of these titles didnt just focus on the narrative or even the content itself, they also had to rely on visually pleasing effects such as sound, lighting, filters, graphicss and animations. Each of these visual elements are just as important as each other when developing a game.

By relfecting on these titles inparticular made me begin to ultimately question my intentions and direction for this project. How can I develop an immersive scene through using historically accurate content and VFX as my main sources of media. This was a hurdle that I needed to ovrcome.

**Artist Inspiration**

The first step in regards to the research of this project, I decided to focus on gathering a collection of contextual ideas through the use of artists who already experimented with this specific style of enviornment art. I designed two artist research mind maps in PureRef this included a modular/ asset inspiration map and also a VFX modular map. These artists, all caught my eye with their own interpretations as to how a WW1 trench scene would look and feel like. I believed that using these artists as a form of inspiration and reference for my own designs allowed me to explore possible styles, layouts and possible final outcomes for this series of work.

(Each of these artists were discovered through the use of Artstation.)
(Links to Artist's portfolios is linked in the bibliography at the bottom of this document)


Pure Ref Sheet research based round Asset/ Modular kits


Pure Ref Sheet based round Environments, atmospherics and Layouts

**Book source material**

*'Trench'*- A History of Trench Warfare on the Western Front. By Stephen Bull, published 2014.

I decided that in order to keep refferring back to practical research methods as a key thematic element throughout this project, I needed to ensure that my body of work encompassed sufficient primary source materail. I ordered this book *'Trench*' online and to no suprise this book contained several rich pieces of conetnt within it's pages such as articles, photographs, sketches, news reports, military schematics and salvaged items that were present during the time period. I enjoyed reading about the life and morale of the soldiers, how the weaponry was made and used within trench warfare. Raiding and sniping techniques and also how the trenches were created and cultivated to act as both living space and shelter from incoming fire. This book explained in chronological order the events of the first world war on the Western Front.

These next images were photographed by myself from 'Trench' to show just a glimpse into the rich content that this book entailed.

Image photographed by myself, showing an example of German soldiers prepping gas canisters for release.

Image photographed by myself showing grenade diagrams and schematics of British, French and German military.

Image photographed by myself showing Wurttembergers of the 123rd Grenadier Regiment, *'Konig Karl'* conduct a *louse hunt* through their clothing, behind the front line in a concrete bunker in Flander's Fields.

Image photographed by myself showing a group of French troops manning a fire trench, 1915.

Image photographed by myself, showing examples of anti-aircraft weapons, British observation balloons and the process of firing anti-aircraft down out of the sky.

Image photographed by myself showing a variety of revised trench illustrations for Infantry Officers, December 1916, shows entanglements, front line diagrams, methods of defence and communication through the neighbouring trenches.

**Film Research- Investigation into Immersion**
*'Saving Private Ryan'*- 1998, Steven Spielberg
Image screenshotted from Youtube, (Accessed Online), (10/07/23), Omaha Beach Landing scene, 'Saving Private Ryan' Time Stamp, **(0:26-2:00)**

This scene to me represented a perfect blend between cinematography and immersion through the use of lighting, sound, background visuals and of course the protaginists first initial movements throughought the scene.
The way the captain struggled to open his canteen, due to the early signs of PTSD 'Shellshock'; the constant swaying movements of the camera going side to side gave the viewer the feeling of unease and possibly even nausea. It gave a great indictaion into a soldier struggling to balance themselves on the steel rigs with the harsh waves bouncing underneath the hull of the vessels, it presented the viewer with a sense of reality. This is where immersion played a huge role in the first sections of this film. The director wanted to convey a sense of reality to the audience. To make the audience think and feel as if they are part of this scene themselves. More importantly, throughout this scene the narrative behind this scene was to try and defeat the enemy at all costs, to inevitably turn the war into their favour. It also shows the toll that these men faced during the war. The mental and physical battle scars. That is the whole purpose behind immersion. The director encompassed the sounds, feelings, movements and visuals that would of been accurately present throughout this stage of the second world war. This scene was a great starting point for myself to think as to how I would want my scene to look like and the type of mood and scenario that I wanted the possible audience to be engulfed in.

https://www.youtube.com/watch?v=XijMMhs55oc

*'1917'*- 2019, Sam Mendes
Image screenshotted from Youtube, (Accessed Online), (11/07/23), Crossing *'No Man's Land'*

This scene exposed a variety of visual dynamics through it's use of sound and lighting. The continous panning shot that was extensively used within this film helps to convey the mood and struggle that these soldiers faced whilst crossing this desolate and dangerous location. I loved how the scene depicts the after affects of a war ravaged land. The large cesspits of bodies stacked upon each other, the mud/ blood soaked earth beneath their feet. The sound of their boots fighting through the mud to remain poised throughout the scene just plays perfectly into the immersion of this period. I loved the use of props in the background and foreground of this scene. The director purposely kept the two soldiers in the centre of the shot at all times to give the viewer a sense of perspective and dimension. This is something that I tried to capture within my own work. Having that balance of composition and layout was crucial to the succession of my project. By reffering back to images and scenes like this one in particluar, it gave me a good inclination as to how to style my trench scene to a historically accuracte persepctive.

**Videography/ Lighting Research 01: Dirk Lalleman**
https://www.artstation.com/artwork/YeoZ3P

Image screenshotted by myself, from Artstation, (Accessed Online), (09/07/23)

I decided to document one of my artist inspirations into more detail. Dirk Lalleman's work stood out as an impressive display of dynamic visual elements such as using light and shadow as a source for depth and dimension. His use of dust particles (programmed through the use of UE). The use of camera angles and panning shots was something that I wanted to try and adapt within my own series of work, to help show my own interpretation to immersion through the use of visual elements and special effects.

**Videography/ Lighting Research 02: Martijn Petersen**
https://www.artstation.com/artwork/9eXOVq

Through observing Martijen's WW1 Trench scene, I began to see the similarities between his style of work and also Dirk Lalleman's. The use of atmospherics and camera angles play a huge part in the immersion and beleivability of this being a dangerous environemnt. I personally love how he sways the camera around during the filming sequences. It gives the impression of a soldier trying to regain his balance and run through this intense scene of animations and special effects. A further thing regarding this concept that I can relate to is his work ethic through developing these uniqyue animations and sounds throughout the video. This is something that I have strived for throughout the development of this project and more importantly, this design helped me extensively with trying to harness the thematic elements of sound and lighting within my own scene. I constantly reffered back to this project as a guide line throughout my own development process. The expectations, the presentation and also the drive for detail and historical accurracy through his modular asset kits.


**Museum Visits**

Museum visit 01: Imperial War Museum North, (Manchester)
Day visited, 07/07/23

Photographs taken by myself during my visit to the Manchester Imperial War Museum (North.) Rendered in Pureref.

Image was photographed by myself showing the welcome guidebook given to you upon arrival at the welcome desk at the museum, 07/07/23

Image 1 photographed by myself at IWM North, of a German grenade

Image 2 photographed by myself at IWM North, WW1 Conscription posters

Image 3 photographed by myself at IWM North, Compulsory fit for active service medical appointmnet, sanctioned under the National Service Act

Image 4 photographed by myself at IWM North, Cap worn by Commander Henry King at Gallipoli

Image 5 photographed by myself at IWM North, a collection of ww1 weaponry

These images above show just a handful of the content that was on display throughout the Manchester Imperial War Museum. My main focus during that visit was to capture a seletion of items and keepsakes that a soldier would of carried during their lives of the First World War, but also to capture some of the paperwork that was present during those periods and also the attire that the soldiers would of addorned during the periods of battle. In addition to this primary goal for the day, I also wanted to try and take a variety of angled snapshots of the weapons and miscellaneous that was on display. I needed to make sure that the photographs taken showed a certain degree of detail in order for me to then attempt to model these items into a 3D building software such as Maya. I found that taking these photographs in vast quantities showing different angles and dimensions of the items was a helpful exercise for me to undertake. It enabled me to then plan on how to develop these assets in Maya and even Zbrush.

Museum Visit 02: Royal Armouries (Leeds)
Day visited, (13/07/23)

Photographs taken by myself during my visit to the Royal Armouries in Leeds. Rendered in Pureref.

Free Pamphlet taken from the Royal Armouries trip. Photograph taken by myself.

The images above show a wide array of exhibits and artefacts that were on display at the Royal Armouries Musueum in Leeds. I found this trip to be extremely helpful in regards to gathering primary source material that I used as refernce within my own concepts. I loved the armour and small miscellanous items that were on display. By having the oppurtunity to capture various angles of specific pieces such as the small tinned items and weaponry such as the Bowei Jnife and the knuckle duster knife were great assets for my own practical rsearch methodology. The stage for these images included showing a step by step process of how designed a selection of these items through the use of Maya, Zbrush, Substance Painter and Unreal Engine.

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**Experimentation**

https://www.youtube.com/watch?v=jRaPV41HncU
Youtube video accessed, (09/07/23) Online Access

Alpha Map designed by myself in Photoshop

Throughout the early experiment stages of this project I decided to experiment in Maya with a greybox concept that would inevitably be the building blocks to how I would present my concept throughout the development stages of this project and more importantly, as a final outcome. I decided to start of this experiment with developing a simple customised alpha map in Photoshop. The process of developing this map included adding in a black gradient fill layer to start off with and then top of that previous layer, add two to three brush stroke layers with a brush opacities mixed into the design to help build contrast, texture and also volume.
After this stage was completed, my next step was to export this alpha as a PNG through the use of the 'Quick Export' option in Photohsop and then import that map into the scultping section of Maya. I then selected the alpha through the stamp drop down bar option in the tool settings of the scultping section. I enlarged the brush size and strength to the highest level possible. This enabled me to quickly trace over the flat plane that I imported into the scene. This porcess was rather enjoyable at the time because I was able to practically create a quick mountainous scene within a few minutes.

This image shows the options that I was given when pressing Shift, right mouse click in Maya. The options underlined were the main preferences that I went for when modelling these quick trench inspired walls.

This image shows the tool settings in Maya. It shows the stamp import section and also the brush sizes. These were the two main resources that I used during this process of greybox build up.

Greybox Image 1 Developed in Maya

Greybox Image 2 Developed in Maya

Greybox Image 3 Developed in Maya

Greybox Image 4 Developed in Maya
This image shows the entire scene from above. It shows the various routes that the camera (1st person avatar) can venture down.

The next stages of this early development process involved me fixing certain regions of the previous early concept. I wanyed to fix the layout of the scene. Primarily the outsieds of the trench scene. My plan was to sculpt back in some geoemtry and flatten the mesh once it was back above to a relatively flat design.

Rendered Grey box concept snapshot 01

Rendered Grey box concept snapshot 02

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**Re-learning basics of Unreal Engine 5 UI setup**

In order to develop flythrough video of a 3D scene I needed to revisit UE5.This was a challenge for me to gradually overcome because prior to this unit of work, I was previously more accustomed to UE4. This was an obstacle that at the time was extremely nerve racking for me to undertake.
Luckily through the constant revisiting of this online tutorial video I was able to begin to get re-aqquainted with the software. The video explained in in-depth detail the new UI systems, hotkeys, icons and tools taht were on offer for the user.

One video in particular I looked at for my first re-introduction into this software was the Youtuber and Content Creator 'Unreal Sensei.' His video contained an algorithm of lectures which included, UI introductions, how to apply and render PBR textures, Blueprints, how to use the presets, lighting, foliage and adding in megascans from the Quixel Bridge. I found this new found knowledge to be extremely useful during the final stages of my project, as to where I put these teachings to good use in developing my own scene within UE5.
Link to video: https://www.youtube.com/watch?v=k-zMkzmduqI&t=17306s

Image screenshotted in Youtube, (13/07/23)

By following along to this quick tutorial video, it explained the basics of Mater Sequences, rendering video formats transform sequence keys and animating the camera angles, I was able to begin to develop my own small test shoot.
The tutorial video link: https://www.youtube.com/watch?v=6fRc6PXw2Zs

Image Screenshotted in Youtube, (15/07/23)

The first stages of using UE5 for me involved importing my FBX file into the empty new level, through the use of quickly adding in a new object into the scene.
By clicking onto this image, I was able to quickly import my fbx file into the scene.
I then decided to quickly add in a cine actor camera from the 'Import' 'Cinematic' section of the drop down option. This then enabled me to manipulate the camera angles and settings within the details outliner option. I tried to revert back to the 2d sketches that I developed earlier on within the planning stages of the project.



The next images and annotations depict some of the pivotal stages within the revisit sessions of the UE engine and tools. Moreover, I also documeted a variety of useful techniques and key tabs that I learned.


Creating hills through the use of the Landscape tool.

By using the Camera as the supposed avatar I could achieve a sense of depth and perspective.

Assets shown in the outliner with the Landscape Material. I decided to just use a preset grass texture for this experiment. UE5 has upgraded their starter content and this is one of the textures that I used.

Adding in Fade in tracks to each shot. The method of doing this involved adding in key shots within the movie render. I clicked onto the movie renderer icon and then clicked the fade in/ out track option. By adding in keys within the cut off and beginning sections of each shot, I was able to add in a fading affect. For the beginning and cuts, I would add in a fade in value of 1.0, then close of that section with another key and then revert the strenght of the fade in/out back to 0.0. For the final cut, all I had to was the do the opposite to the beginning.

Extracting the Video through UE5 Movie queue plugins. (AVI)


Test Experiment Cut, Link below:
https://drive.google.com/file/d/1XQHRQhZ6h5pO5CbL5EcBe4FTR8URhRi1/view?usp=sharing

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**Understanding Trim Sheets** (Maya)

**The Basics**

Scale and layout

Screenshot taken in Maya, showing the example of height measurements between an organic bipedal avatar and the intended trim sheet.

This image represents the scale and basic design layout of the trim sheet experiment that I did during the development process of this portion of the project. I achieved this method by using the World Tool in Maya tool kit. Hotkey, (Ctrl+ T) it enabled me to scale the assets to a reasonable height and width.
Finished basic trim sheet asset made in Maya before being developed in Zbrush. The next steps involved developing a small series of detailed textures and surfaces that I would then inevitably texture the desired assets for my project. Through the research and practical stage of this experiment, I began to understand as to why Trim sheets were so favoured by environment artists. By incorporating trim sheets into the concepts instead of single UV maps including albedo, normal, roughness and metallic and also AO, I can just drag and drop into the UV map and align the uv's with the large trim sheet texture. This would result in less demanding ram storage and also it allowed me to focus more on the important assets.

Trim sheet attempt 01: Creasing the edges together in orer to elimate the possiblity after smoothing the object. The higher poly count wouldn't affect the overall shape.

This image showed the result of creasing the shapes at the bottom. I also decided to add in some extra edge loops into the basic meshes to allow for some extra texel information to work upon in ZBrush once exported from Maya.


Trim 01 attempt: Trim sheet prepared for modelling and adding in some detail within ZBrush.

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**Understanding Trim Sheets** (ZBrush)

Colour coding each wooden plank by using the polygroups option in Zbrush. Each colour represents a separate polygrouop
Refinded surfaces made in Zbrush. My main brush choices were Trim smooth Bridges, Clay buildup, dam standard and smooth.
Final high poly experiment for the trim sheets developed in ZBrush

Unfotunatley, this stage of the experiment came to an abrupt end. The trim sheet was just not compatible with the low poly sheet that I developed earlier on during the development. The issue that I eventually began to realise that the low poly plane (MAYA) was not being recognised as a parent or similar plane to the high poly detailed surface. Which as a result of, lead to the inability to bake the high poly information onto the lower plane. More importantly, I realised that in order to ensure a successful bake onto a lower poly plane, I had to make sure that each plane was the same height width and exported as one whole object. I did not need to separate the objects into singular polygons but instead, I could detatch them and colour coordinate them to pinpoint which sections of the trim sheet would have a specific texture.

I felt like this mistake was worse that it really was at that moment during the development stage of the project. However, it wasn't. I decided to rectify these mistakes by remaking a simpler series of trim sheets that matched the height and width parametres of the low polys. I decided to slow down and carefully focus on making sure that each aspect was catered towards and that the trim sheets could become tilleable textures for my assets.

Experiencing these learning curves throughout the project enabled me to better my 3d skills and also challenge my insecurity when it came to making mistakes through experiencing with new methods/ medium choices and styles. By having the time and chance to re-access my actions within this project.

**Trim Sheet Corrections**

These next images represented the remaking of my trim sheets for this environment concept. I wanted to really try and understand the importance of scale and shape for these sheets. I decided to follow a series of tutorial videos that were available. This video imparticular(Youtube) showed me a more broad direction as to how to develop a simple and functional trim sheet. My main purpsoe for making trim sheets was to save on tim during the texturing stage of this series of work; more importantly save Ram space. Furthermore, through my research, I began to realise that trim sheets had become the more popular route for prop and enviornment artists within the industry to go down in regards to making large scale levels within a more compressed time scale.
The images below show my step by step approach to this new style of texturing and modular development.

Image screenshotted online acccess (Youtube), Accessed (12/08/23)
https://www.youtube.com/watch?v=IlyKPcKKKxI&t=331s

Colour code trim sheet into sections for easier layout choices and styles. Screenshotted in Maya

This image shows stage 2 of making the trim sheets. This stage involved using the colour sections as guides for placing my plygons into the correct area for my trim designs.
Image shows the stages of bevelling the flat planes in order to achieve some form of detail and dimension. This stage was quite simple and I gave myself free range to design a series of simple planes that had some similar resemblance to wooden planks.
This image shows my four primary trim sheets that are in order from low poly with edge loops, to a colour coded guide sheet for my future trim shapes to be placed in. The low poly first attempt and then the finsihed low poly render, ready for ZBrush.

My trim plane inside of Zbruhs. Here I was separating my assets into their own singular polyroups. By using the tool 'Polygroups- Group'. This tool then enabled me to work on each singular asset at a time without the worry of working over the top of a previous design. To me this was a great choice in order to kep my worflow thorough and precise, but more importantly clean and tidy.

This is the final product of my first trim sheet attempt in ZBrush. By having the trims sectioned off in Maya and then repeated in ZBrush, there is a clear depiction of each trim and its own unique identity. From top to bottom they included: Scratched Metal (used for metal miscellaneous), Rocky terrain (used for any small envionmnetal pieces such as rocks or even the trench path) Thick worn woooden texture (Miscellaneous assets), small thin wooden trims (Planks and small items), Large wooden fence planks (for wooden moular kits such as fences, trench signs, assets)

During the final steps with this trim sheet development, I decided to revisit a series of videos that I watched during the initial experimentation stage of the project. One of the videos suggested that once the main trim sheet has been developed in ZBrush, reimport the mesh back into Maya as a high poly and then duplicat the mesh twice in order to make the trim more tileable in Substance Painter.

This image shows the three trim sheets stacked next to each other in Maya, I achieved this by simply snapping one corner of each trim to the other via vertexes. Afer this, I slightly moved the two outside trims inwards a bit to enable a clan transition btween the sheets. By doing this it then would result in a smoother and continuous trim sheet. My next stage involved exporting the low poly mesh first into Substance Painter and then then exporting the newer high poly for baking the mesh maps.

Low Poly Trim sheet being imported into Substance Painter. As shown in the image, the low poly plane was baked on top of with the high poly mesh. The maps included, albedo, normal, roughness, metalness and ambient occlusion.

Experimentation with grunge maps. By making a fill layer, then add in a filter layer. Assign the base colour as a grunge map. Then add in another filter layer and turn it into a gradient layer. I adjusted the black, grey and white tones to my liking. Finally, I added in a HSL Perspctive to then manipulate the lighting, saturation and hue of the newly customised grunge map. I ensured that the tile size of the map fitted accordingly to the selected region of the poly.

I decided to use Quixel Bridge Megascans as a primary tool for surface textures. I wanted to explore a variety of textures that I could experiment with in order to make unique surfaces that would suit the speciic time period in which my scene would be based within.

Rock texture downloaded from Quixel Bridge. The texture was then experimented and manipulated through the use fill layers, filters and colour manipulation.

This image shows a collection of fill layers, gradients and grunge maps and also smart materials.
For most of these trim sheets, I first added in a smart material as the base colour for each of the trims. The next stage then involved adding in a fill layer to the layers palette. By adding in this fill layer I then added in another fill layer on top of that to make a simple albedo texture with addition of a grunge map. For the majoirty of these wooden designs, I mainly used two to three different variations of grunge maps such as wood stains, dust and dirt maps. After the initial details were completed for each fill layer, I then incorporated a gradient filter layer. The gradient allowed me to harness the colour palette of the monochrome grunge maps. It allowed me to change the colours to my own specifications. I tried to capture similar hues to that of the smart materila used prior. I was able to manipulate the colour variation and even add in extra colour palettes to the grunge maps. I kept my colour usage quite strict and by restraining myself from using anymore than three colour variations for each grunge map gradient. The final stage involved adding in a HSL perspective filter layer. This layer would add in contrasts and hue manipulation of the colour palette. The filter though useful, was not always necessary for me to use in order to get the desired look for my trim sheets.

First finished trim sheet with each section textured. Metal, Rock, Wooden texture and Wooden plank textures.

Albedo map (Colour)

Normal map (Bump map)

Roughness, Metalness and Ambient Occluion Map

This trim sheet was an overall success. It was a tough learning curve to overcome. At the end of this concept I decided to do some more in dpeth research into how a trim sheet can work for my assets and modular kits. I found out that for each trim sheet, it would be best that each design had separate texture properties. In lamence terms, I should of designed one trim sheet for wood, one for metal and one for rock, vice versa. The purpose that i found of for this was simple to help make UV maps and UV shells fit better within the 1 to 1 UV map ratio. It would also allow me to make more variations of the texture through the use of extra space for futher trim sheet designs.
This was a lesson that I would inevitably take into my next series of trim sheet designs

---
**Trim Sheet 2**

I attempted another secondary wood trim sheet for this project. I wanted to experiment with a variety fo shapes and trims that I thought would be good to make unique series of textures. This secondary trim focused on smaller trim concepts. These included smaller cubic shapes, floor panels and a metallic surface with rough edges. I wanted to add the metallic trim into this project because to me it showed an estute level of imagination an practicality wth fast texture maps for the modular kits and miscellaneous assets.

These images represent a step by step process of making the intial low poly plane into a series of basic polygon shapes. A brief overview of this includes importing a low poly plane, adding in soe edge loops dimensions, assign a distinct colour for each trim design and then model the trim into my own liking. Finally, a simple crease modificarion of the edges and then subdivide the entire mesh.

A high poly render of the trim sheet done in Zbrush.
Brushes used: Clay Buildup, Trim Smooth Border, DamStandard with a scratch like alpha.


Basic Wood Trim added onto the newly baked poly plane in Substance Painter
Additional textures added into the scene. By using a series of blackmask layers into the layers, I was able to then select the appropriate sections for a specific texture map.

I added in a metal layer to the trim sheet as planned.
A finished textured trim sheet.
Albedo Map

Normal Map
Ambient/ Roughness/ Metallness Maps

**Asset practice with Trim Sheets**


This image shows a quick experiment involving my barrel asset and the texture UV sheet that was exported from Substance Painter. Within this scene, I decided to assign the newly designed texture sheet to this asset in order to get used to applying the uv shells to the trims. One aspect of this motion that I had to constantly consider was Texel Density. I needed to ensure that each of my trim sheets were the same TD (2048 Pixel) and the assets I decided to keep at (512.) The reason for this was to ensure that the uv shells were not strecthed and scaled to all different sizes and densities. It was imperative for me to ensure that each asset in Maya was being unwrapped correctly and scaled to same texel density. This was the result of two assets with two different textures using the same trim sheet.

**Textures imported from Quixel Bridge**
'Wooden Planks'
https://quixel.com/megascans/purchased?assetId=vlznbajfw

'Old Plywood'
https://quixel.com/megascans/purchased?assetId=vigjfivg

'Wooden Planks'
https://quixel.com/megascans/purchased?assetId=wckqdbvs
The purchased textures that I used for this second trim sheet with the use of Quixel Bridge megascans

By purchasing these textures from Quixel, I then had to assign each of these designs as texture maps into my current session in Substance Painter. I then needed to match up each of the maps that came with the compressed file. I wanted to keep the colour palette quite restrictive. Meaning for this project in particular, I needed worn, damaged wood like patterns and designs that would fit the mood and style of the scene. I then edited these textures with the help of generator layers and filter layers. These extra layers added in a little more control for me to manipulate the downloaded textures into my own stylised rendition of each pattern. I added in copious amounts of grunge and dirt maps onto the textures by adding in paint layers and also imputing a series of HSL perspective filter layers.

---
**Trim Sheet 03**

Trim Sheet 03 incorporated a series of metallic like trim textures. For the final scene, I designed a collection of small low poly assets that depicted metalware and simply kitchen cutlery to help convey the period immersion. This trim sheet includes a set of steel, iron, rustic metal textures, Brass and also painted metals.

Step by step development of basic trim sheet, made in Maya

I adapted the trim design slightly and adjusted some of the bevelled edges with the bottom set of trims. I didn't like the look of an over-detailed metallic trimsheet. From my research into how the trenches looked and what metal like objects and materials were available to them, they were rusted, dirty and simplistic in shape.


Low Poly UV map in Maya

Step by step display of the Metal Trim sheet being assembled inside of Maya.

This image shows the intial unsuccessful bake of this trim. I rectified this situation by messing about with Max Frontal and Max Rear distances. (Image below shows the inputs and)

These distances measure the size of the trim sheet high ply and low poly plane within substance painter. The best way for this issue to be avoided was to make sure that in Maya both planes before exporting, were placed on the centre grid vertex to ensure that both planes were in the centre of the 3D world axis. This would enable the geometry to gather enough information from each other to bake enough of the details more accurately.

Setailed Metal Trim before texture

Textured Metal Trim

Albedo Map

Normal Map

AO, Roughness, Metalness

'Rusty Painted Metal Sheet' (Variation 01)
https://quixel.com/megascans/purchased?assetId=xhtnbhlg

'Rusty Painted Metal Sheet' (Variation 03)
https://quixel.com/megascans/purchased?assetId=vckieff

'Rusty Painted Metal Sheet' (Variation 03)
https://quixel.com/megascans/purchased?assetId=tj2xahsbw

These are the three purchased textures that I used during the development of the metal trim sheet piece.

---
**Trim Sheet 04**

Trim 04 was a last minute decision on my part to add in a final wooden trim variation. The primary reason for this decision was down to the fact that the initial trim the design 'Trim Design 01,' just did not flow well enough with my asset UV maps. There wasn't enough information on that first trim to develop a series of unique trim textures. I wanted to keep these trims as straight forward as possible when being applied to my assets so for this trim, hence why this trim was all completely designed in wooden textures and patterns.

Step by step procedural Trim Sheet Design

Detailed Wooden Trim

Textured Wooden Trim Sheet

Albedo Map

Normal Map

AO/ Roughness and Metalness

Smart Materials used within Substance Painter

---

**Asset Development** (Maya)

**Miscellaneous Assets**

Screenshot taken in Maya, showing experimentation with barbed wire. This look was processed through the use of the Extrude tool in maya and also increasing the divisions and also adding in twist invertions to the geometry through the twist tool.

Video explaining how to make quick modular builds in Maya. This one was based around barbed wire. The workflow involved using curve tools, extruding faces and edgeloops, using MASH geometry to add in desired final touches and styles to the product.

Trench Ladder

Wooden Table

Barrel



**Learning how to make a transparent glass texture: Substance Painter**

I attempted to learn how to make a glass see through texture in Substance Painter. The tutorial





**Modular Assets**



Scene Floor Asset

I wanted to keep the modular kits simple in regards to details and . I didn't see the point in spending copious amounts of time detailing sections of the designs that would inevtabily be covered over by other pieces of my modular kit collection.













**Hero**

These next images show a gradual build up of idea generations and asset development for my hero pieces. The main pirpose for these hero pieces were for me to experiment with more intricate and detail objects that would of befitted the specific time period of the early 1910's. These images represent initial building stages, and then further advancement into other softwares at my disposal. The final outcome for these pieces were to be then implemented into my trench scene in UE5.

Inspiration/ Influence/ Reference:
https://www.artstation.com/jack_felice_gaad
'WW1 Trench Lantern'

Image screenshotted in Maya, 23/08/23. The early stages of the lantern concept using a refernce image as my my source for style and construction. My idea was to have a rather simplistic shape with this concept.
A quickmexperiment with a low poly and high poly variant. Here I was experimenting with the hypershader tools in Maya. Learning how to apply normal maps within maya by using a slightly higher resolution version (through the use of sub division) to achieve an outcome that was something similar to that of a substance painter or Zbrush Normal map bake.

**Learning how to make a transparent glass texture: Substance Painter**








Inspiration/ Influence/ Reference:


Photohraphed in the Leeds Royal Armouries, (15/07/23)
'WW1 German Trench Knife'

For this blade design, I wanted to try and use the variable perspective viewpoints hat Maya provides. For this composition, I decided to use the top down viewpoint and my main focus of interest within the developemnt of this piece. By making simple geometric polyons, I was able to place the shapes within the areas of visible material. I found this method extremely helpful in the speed building stage of my assets. I was able to be more accurate with my shape dynamics and also this more precise workflow allowed me to stay focus on the overall shape parametres without making too many minor errors along the way.

This was the final Maya build for this simple blade design. The next stage involved baking and texturing.

Photohraphed by myself at the Imperial War Museum (North, Manchester) (07/07/23)
'WW1 German Grenade'







Inspiration/ Influence/ Reference:
https://collections.royalarmouries.org/first-world-war/type/rac-narrative-154.html
'Martini- Enfield VTC Carbine'

The next series of iamges incorporate the step by step attempts at developing this Martini Enfield VTC Carbine rifle. Each stage shows a procedural effort to shape the polygons into a cohesive form. I have to admit, during this stage of the development, time was becoming shorter and shorter towards the submission date and I found the longevity of this design rather tedious, primarily because this was my very first attempt at this style of development. I had no prior experience to developing hard surface weapons in Maya. I had to revert back to my initial reference on more than one occassion. I did this by implementing a image plane into the viewport.

First initial stages of adding in a cube polygon into the scene.

Adding in some extra edgeloops to enhance the curvature and profile of the weapon.

Adding in another series of polygons into the scene. Repeating the previous method.


Adding in a elongated cylinder polygon to match the barrel's length and height.

At this stage, I added in an extruded face to two sides of the rifle. I then followed the curvature of the trigger and hammer to capture a similar resemblance. I repeated this process a number of times to achieve the look that I wanted. Extrude the front faces outwards and scale the width of the shape inwards.

I started to add in the smaller accessories to the weapon. The iron sight scopes, the frame for a bayonet attatchment, metal components and a strap lock.
This was the final base mesh finished of the rifle. The next stages included smoothing out some of the vertexes and adding in some curvature to the base of the stock and barrel. At this stage, the weapon still had too much of a blocked out shape.
I added in some extra edgeloops to broaden out the shape of the stock.
Following up with experimenting with the sculpt tools in Maya. This method allowed me to smooth out the blocked out appearance even further. This tool began to help me depict a more realistic gun shape.
I did two methods of baking detail into the lower poly rifle. The first method was importing the gun into ZBrush to add in a higher poly count to the weapon and then export that piece into Substance Painter to bake out a series of texture maps.
The second method involved staying inside of Maya. I duplicated the weapon again and added in an even higher poly count to the design. This also included creasing the edges dpwn around the entire object in order to keep the subdivisions to a appropriate scale and not resulting in deforming the weapons overall shape. I then went to the rendering section of the UI in Maya and the selected the transfer maps drop down menu to experiment with baking the higher poly skin on top of the low poly asset.

Image Screenshotted (25/08/23) Accessed Online, (25/08/23) Youtube
https://www.youtube.com/watch?v=I9IVtq3wrbs

I attempted to follow along with this tutorial video whilst making my first initial attempts at baking normals inside of Maya. The video explained as to how I should direct my chosen assets to bake.
I realised that I needed to make sure that the output maps matched the scale of the UV Maps in the editor menu. This was paramount in order to capture the correct amount of normal map detail.

The Maya baking attempt was unsuccessful. The details were too distorted and not balanced. This was caused by a faulty envelope masking technique. The key element to this texhnique involved me making sure that the low poly would recive enough information from the high poly which would be wrapped around the mesh. I'm content with the fact that I tried to expand my knowledge on the growing versatility of Maya's tools and capabilities. However, due to the limited time restraints that I had at this stage within the project, I felt that using what I was already versed in would be the better route to take in order to get this work done to a sufficent standard.

Separating each part of the asst into its own unique polygroup. (Ctrl+W)

Adding in wood like patterns and trims around the stock to emphasise a typical varnish wood grain like texture.

A low poly vrsion of the gun being baked with the high poly information in Substance Painter.

Texturing the weapon.


Textured and preeped for Unreal Engine.

I really enjoyed developing this asset. This was the first time that I had ever made a gun asset. It was a struggle in making sure that the design fitted the silohuette reference photo and more importantly, sticking to the correct colour palette. Throughout the development of this weapon I constantly went back to the Maya low poly design to tinker with the material attributes and also to adjust the profile and proportion of the weapon. I wanted this deisgn to be one of the main focal points to help summarise and portray my intentions with this project. I would admit that this series of work was a huge success in regards to keeping close to a primary sourced reference but also because I was also able to challenege myself with my hard surfacing skills within Maya and Zbrush. This style of work is definetly something that I would like to take further into future projects. Eventhough the process of crafting the small intricate componenets of the weapon tedious, it definetly paid off in the longevity of the project.

---

**UV Mapping and New skills**

Straightening UV's in May UV Editor

Throughout my tenure of using Maya and unwrapping assets with the planar UV Editor settings, I never knew how to suxxessfully unwrap and straighten the UV's to a solid straight UV Shell. I was always taught to unwrap and then unfold the uv shell; place it next to the rest of the shells in the uv map. However, through some in depth research of trying to understand how to scale uv shells to a correct texel desnity and also fit a specific trim shape, I made the discovery that you could straighten the uv edge and shell and also 'optimise' and 'unitise' the shells to make the uv map more cohesive and spacious for futher shells to share the same texture map. These next images will show a simple step by step of my new unwrapping texhniques in Maya.
Then by selecting the appropriate axis, I began to cut seams and add edge loops to areas that I wanted to unfold. Next Unfold that shell, and then select one of the edge loops.

Image taken in Youtube, Accessed (18/08/23)
https://www.youtube.com/watch?v=zDeBeYxn8Jg&t=142s

First, selcet the object that you want to unwrap within Maya and assign a simple planar UV projection.

This object was projected within the Y axis, meaning that the projection of this asset is being focused from top facing downwards.

Cut seams within the Uv shell, allows for easier unfolds and unwrapping.

In the uv map get and set the texel density to a ideal scale and size to the UV map and also set the overall map size for this instance, the object in this scenario was a small miscellaneous item so I made the map size no larger than 1048. Small inanimate objects that were not hero or focal points within the project, they has smaller map sizes.

After the initial unfolding of the asset, select a seam with edge mode and then scroll own towards rhe 'unfold' option. There select 'Straighten shell' then follow up with an 'optimise' to relax the shell further in order to get a more laxed shape before another attempt at straightening the shell. I repeated this process numerous times before my desired shape was achieved.

This was the result of straightening the UV's. The first attempts with this specific method were usually rather messy and the next stages involved me manipulating the vertexes into a more cohesive and straight format. This as the most time consuming scetion of this technique.

Repeat this method until the UV shell is relatively lax and spread out. Once I repeated these functions on the UV Shell, this wa she final outcome of straightening the shells.

This image showed the UV Map of the frying pan UV map. I admit that there were some areas of this concept that were unable to be fuly unwrapped and starightened due to the constraint of a few vertex faces within the asset. I attempted to unfold these shells properly at least 5 times, however to no complete avail, I was able to do what I could in regards to achieving a smooth and cohesive uv map.

Th final unwrapped product. Texel density is the same around the entire object.

The next two images show how the trim can work for multiple assets in one scene. This trim design was meant to depict a metallic like surface and as documented the oil drum and frying pan share the same uv map but completely different variations of pattern/ texture.

This was the main reason as to why I decided to invest in trim sheets. They really did benefit me in the long especially during the texturing stage of the project.

**Scene Preparation UE5**

These images include some pivotal moments within developing my final scene inside of UE5

Placing the initial ground assets within the new scene.

Experiemhting with the Directional and skylight renderers in the UE5 UI outliner. I was able to develop a series of different colour palettes through the use of the lighting renderer palette.



Particles downloaded for free off of the Epic Game Launcher Library. These particles came in handy in regarding adding in a unique flame animation within my work.

---
**Achieved Project Outcomes**
* Succssfully developed a series of assets and concepts based upon a credible historical source/ reference.
* Successfully, understood the importance of immersion within video games. The purpose of a rewarding system, physcological attributes, relatability to character narratives. Using historical content to help demonstrate a narrative or situation within the game for the gamer to uncover and learn.
* Learning the basics of video rendering within Unreal Engine 5.
* Understanding the practicality of Trim Sheets.
* Successfully developed a game ready environment scene/ diorama, that displays a good understanding of immersive qualities through the use of asset design, visual effects.

**Unachieved Project Outcomes**
* Collabortaion within other SODA Creative disciplines due to the strict time restraints.
* Experiment within Substance Designer. Unable to practice with software due to poor time handling during the texturing stage of the project.
* Develop a cohesive set of trim sheet designs.
* Understanding the importance of Texel Desnity and UV Map sizes.
* To produce a flythrough video showing the final deliverable.

**Project Summary**

**Unreal Engine**

Throughout this Independent project I have been able to learn and develop an assortment of skills within this style of work. I have been able to exercise my love for prop and environment art. The project enabled me to step out of my proverbial comfort zone when it came to working within UE5 (Unreal Engine.) This programme in particular, prior to this series of work always scared me with its extensive use of content and tools that game engines use in order to cater towards the development of a game ready product. I realised early into this work that I had to branch out and face my fears and insecurities. This inevtiably led me to approach this situation headfirst and I think that overall, I was able to overcome those first initial steps into this software. Understandably, there were still grey areas within this programme that I realised would be a good oppurtunity for me to would like perhaps return to within the near future. By revisiing Unreal Engine again, it could sharpen my skillsets even further, which has always been the endgame for me as an aspiring 3D Artist. The will to always improve is paramount for me to succeed.

**Practical Research Methodology**

The main focus of this project was based around ensuring that my source material was credible. In this instance, I have to admit that I was successful in this venture. I intergrated myself into this time period. I wanted to make sure that design was credible and not stylised. I believed that having this strict code of authenticity throughout this body of work ensured that the project was always focused around historical immersion and the importance of good quality practical research. I felt satisfied with my research within the project. I explored a variety of content that was relevant to the project's theme and question.

**Asset Development**

I believed that my asset designs were modelled and rendered to a professional degree. By using a variey of primary and secodnary sourced reference photos, and source material that I presented throughout the project's tenure. I was able to produce a vast amount of hero/ modular and miscellaneous assets within a strict time frame. By developing a continous flow of asset developments with the additions of their unique UV/ texture maps, I feel like I reached my goal of developing a series of period appropriate assets.

**Texture and Trim Sheets**
Throughout the project, I made it paramount to myself that I would try to learn how to make a collection of trim sheets for the miscellaneous and modular kits. However, the challenge itself wasn't necessarily texturing them it was more focused around the initial development stages. The most tedious part of the development involved making the trim shapes into one cohesive design. I had to make sure that each shape matched up with the edge loops and more importantly, that each of the shapes snapped perfectly to the neighnouring vertices. This was a time consuming period within the project, because eventhough I gave myself free roam to explore and develop a series of trim sheet concepts, I never made either of the three 100% correctly. I struggled with layout rules and proportions that were explained through various tutorial videos and guides. Inevtibaly, the trims overall were not to the standard that I wanted. I think partly this was also down to my own misunderstanding of the importance of texel density and UV map sizes. Texel density is something that I intend to explore further for future prospects. I feel that it is important for me to reflect on the mistakes that I made throughout this project. There are always areas for imporvements and this is definetly one method that is in need of some refinement.

**Time Management**

Unfortunately, time management has always been a struggle for me to acknowledge during the tenure of a project. I always mismanaged key pivotal moments within the developemnt. Due to repeating the same mistakes within this series of work, I was unable to complete certain roles within the project that I initially wanted to undertake. These included colaborating with a Sound Design student. My initial goal was to collaborate and develop a collection of unique sounds and noises that would of helped manifest an additional sense of immersion within my final piece. This also lead to the incompletion of my final deliverable. In this case being a flythrough video showing the immersive dynamic elements of the asset creations that I had developed throughout the course of this project. This was an unfortunate turn of events and it is an issue that I must attend to in order to be a more efficent and well rounded artist.

**Conclusion**

Overall, I am more than satisfied with this project. I have thoroughly enjoyed being able to successfully create, texture and display a series of asset designs through the use of historically accurate content and research material.
I have been able to refine my texturing skills to a large degree.
I have been able to overcome my fear of using UE5.

---
**References**

1) (Plumer, 2022)
*Plumer, D. (2022, July 5). "How history is used in video games. History Associates Incorporated."* https://www.historyassociates.com/how-historians-can-leverage-history-in-video-games/

2) 'HAI', "The Research, Discovery and Experience Company" (N.D)
*"Video Games can spark a gamer's interest in history, and historians can use that interest to share related historical facts and knowledge".* (10/07/2023)
https://www.historyassociates.com/how-historians-can-leverage-history-in-video-games/#:~:text=Explicitly%20using%20historical%20content%20can,when%20they%20have%20prior%20experience

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