###### tags: `Uni work` `Games art` `Group Project` `Traveler's Tome`
### <21395246>_1J6Z1015_2324_9F_journal
https://hackmd.io/@Moosa3545/Syr1qJb_p
## Independent Game Art Studio Practice
### Games Art BA(HONS) L5
### Moosa Malik
# <mark><ins>Traveler's Tome 📋

---

#### ***Project Brief*** :

Within the context of this unit, we will be able to put into practice the technical, theoretical, and contextual information and abilities that we have acquired throughout the course.
A collection of game art that has been personally negotiated will be developed by us. This collection will include the steps of concepts, presentation, evaluation, planning, and delivery. Your professional development will be facilitated, and our investigation and contact with the wider creative digital sectors will be advanced as a result of this collaboration.

#### ***Summary*** :

- This unit will demand us to synthesise our continuous contextual learning with our independent game art practice, as well as to broaden and deepen our application of technical procedures and creative strategies.

- We will perform visual and contextual research, synthesising our findings to produce concepts that push the boundaries of our knowledge and force us to maintain honing game art on our own through independent study.

- Under the direction of instructors, we will generate creative work that exhibits a knowledge of complicated creative and technical processes. This work will be included to a series of innovation workshops run by peers and instructors that centre on the development of unique abilities and game art applications.

---

## <mark><ins>Traveler's Tome 🧙‍

#### <ins>***What is the Traveler's Tome :***

During this unit, our group decided to work together to construct a collaborative project that would display our diverse talents, and as a consequence, a collective enthusiasm was poured into this project. In an attempt to maximise our different strengths, we envisioned establishing a magical setting in which our distinct abilities could come together. Our mutual aim was to build a fascinating fantasy world full of linked areas bursting with unique intricacies. The attraction of this project was the way our various skills blended so beautifully, creating a universe that would be enhanced by the varied variety of places and characters we each contributed. This cooperative effort not only highlighted each of our individual creative skills but also increased our group's sense of cohesiveness and purpose. Our love for invention and discovery was ignited by the thought of building a coherent fantasy tapestry in which every aspect played a part in creating an exciting whole.

Traveller's Tome is the concept we developed for this project based on this. The single-player narrative adventure game Traveller Tome is set in the realm of the fallen. After a fallen empire leaves behind ruins and decay, a group of hero's emerge to restore prosperity to the formerly prosperous lands. As ever-changing explorers who travelled great distances to confront the forces of chaos, you must assemble people and supplies to help you in your mission to put an end to the terror that the Crow King and his army of undead have brought to the lands.


#### <ins>***What were our inspirations :***

We explored the evocative and alluring realms of Dark Souls and Elden Ring for creative inspiration, using their gloomy and gritty environments to give our project a feeling of mystery and horror. Rich fantasy mythology and fierce combat are expertly combined in these FromSoftware titles, which offer a complex framework for our project. We also looked to Baldur's Gate for inspiration to expand the variety of our fantasy world. We wanted to provide players with as many possibilities as possible for customising their avatars, drawing inspiration from the variety of races and detailed character designs present in Baldur's Gate universe. Our project intends to create a unique and immersive dark fantasy gaming experience by combining the atmospheric allure of Dark Souls, the expansive fantasy features of Elden Ring, and the character diversity of Baldur's Gate.

#### <ins>***What is my role within the group :***

With our group project, we are all split into two distinct groups. The first side is those who will be creating and designing the environment for our project. This might be from constructing the planet in the game engine and developing diverse environmental elements for the world. The second side is for folks who will be designing and designing characters for the planet.

For this project, I will be designing and concepting ideas for a fantasy-inspired character that travelled from far away to defeat the crow king and his undead army. I will be designing various concepts to be chosen and developed in 3D using ZBrush. I will also be texturing it and going through the game art pipeline ensuring it is a game ready for the project.

#### <ins>***Team Planning :***



**Character Moodboard** - (reused from previous project though it would fit our project to help generate visual ideas)


>The mood board is a compilation of visual cues that effectively encapsulate the essence of our characters in the dark fantasy Souls-inspired game. Each image we have selected vividly portrays the profound depths of our concepts, effectively conveying the unfiltered emotions, textures, and visual qualities that we aim to imbue in every character.

>It functions as a visual compass that will direct our creative process and ensures that every design choice we make aligns with the creepy and atmospheric world we aim to establish. The mood board serves as a guiding force for our creative endeavours, ensuring a cohesive and fascinating lineup of characters. It acts as a cornerstone for our collective vision, including everything from the foreboding landscapes to the intricate intricacies of the armour.

**Tavern Moodboard** -


>To create a visually appealing concept for our tavern design, I  created a mood board packed with fantasy and mediaeval motifs. Inspired by a range of sources, such as historical allusions and fanciful imagery, I expertly merged whimsical aspects with rustic components.

>A rich tapestry of dark, weathered wood, flickering candlelight, and exquisitely carved furniture was incorporated on the mood board, conjuring the atmosphere of a bygone era. Our team was able to truly immerse itself in the mood we were seeking to replicate thanks to these carefully chosen pictures, which also functioned as a visual guide. This helped everyone comprehend and get excited about our desired tavern design.

**Environment Moodboard** -


>To create a visually captivating envision of our intended environment, I  constructed a mood board that drew inspiration from the creepy visuals of Dark Souls and the fantasy world's fascination. I created a palette that embraced the foreboding gloom and ethereal beauty inherent in the fantasy genre, borrowing influence from the game's dramatic locations and exquisite artwork.

>An efficient instrument for explaining and exhibiting our group's concept for the setting, the mood board was created by combining dark tones, gothic architecture, and otherworldly structures. It guided the team towards a unified sense of the ambient richness and immersive features we sought to add to our project, acting as a visual key of direction.

<mark>**Link to Traveler's Tome GDD :** https://hackmd.io/@v3Yb5OcTQ5CIYWJ-IjUjNQ/ByDUdRFgp

[](https://hackmd.io/@v3Yb5OcTQ5CIYWJ-IjUjNQ/ByDUdRFgp)

<mark>**Team Gantt Chart :**</mark>


---

## <mark><ins>Fantasy Race Research 🧝‍♂️ 🔬

#### <mark><ins>****Fantasy Races Research****

With a wide range of mythological beings that exist outside of reality, fantasy races are vital to the rich tapestry of the fantasy genre. The foundation upon which fantasy worlds are created is comprised of these magnificent creatures, who vary from dwarves and elves to orcs and dragons.

Their value stems from their power to excite the curiosity of both producers and spectators, allowing a platform for delving into themes of moral complexity, cultural diversity, and the never-ending fight between good and evil. The unique qualities, traditions, and pasts that each race frequently embodies improve the complexity and authenticity of the imaginative realms they call home.

Moreover, fantasy races are allegorical mirrors of genuine problems, allowing writers a fascinating and allegorical means to handle societal difficulties, prejudices, and the human condition.

Essentially, these innovative races give fantasy literature life by giving readers with a fantastical mirror through which they can bask in the charm of magical places while reflecting on their own world.

#### <mark><ins>****Fantasy Races in Baldurs Gate****


Moodboard which was created for co-labs

#### <ins>***Baldurs Gate 3 Races breakdown :***

Larian Studios' Baldur's Gate 3 redefines the idea of character creation and offers a wide selection of fantasy races, providing players with a deep and interesting role-playing experience. The game places a major emphasis on player agency and narratively driven decisions, enabling the construction of original character backstories. Baldur's Gate 3 extends into character development and involves a range of fantasy races.

**Robust Character Creation:** Players can select from a wide number of classes, backgrounds, and skill sets thanks to the game's extensive character-building system. By modifying their characters' looks, talents, and even earlier choices, players can affect the story from the outset.

**Adaptive Storytelling:** The plot of the game is dynamically altered according to the specified race and background of the characters. The player's race impacts dialogues, interactions, and objectives, making the game feel more distinct and individualised for each character.

**Role-Playing Freedom:** To enhance immersion, Baldur's Gate 3 enables players to role-play their characters convincingly. Diverse role-playing options are made feasible by the participation of diverse races, ranging from settling racial tensions to forging particular friendships based on shared experiences.

**Comprehensive Lore Integration:** The world-building of the game effectively blends the rich mythology of Dungeons & Dragons, providing players with a detailed and engaging backstory for their characters. The lore of each race is interwoven throughout the game, allowing players to dig further into the mystical realm of Baldur's Gate.

In the category of conventional fantasy role-playing games, Baldur's Gate 3 is a notable example of a dedication to player choice, storyline, and a dynamic role-playing experience due to its comprehensive consideration of character development and the range of fantasy races.

#### <mark><ins>****Fantasy Races Exploration****


I decided to break down the fantasy races using a mind map since it offers a visually intuitive and well-structured framework for delving into the complexities of each race. I broke down and connected various characteristics, backgrounds, and cultural aspects of each fictional race using mind maps, which helped me comprehend the fictitious world I was constructing. My knowledge of hierarchies, and distinctive traits is increased by the visual representation, which encourages a more innovative and compelling design.

#### <ins>***Fantasy Race Breakdown :***


Here's a Miro mindmap to assist me in breaking down the three fantasy races I'm prepared to research and use for my project's chosen character. I've decided to unite my races into Dwarfs, Orcs, and Elfs. This is due to how distinct and entertaining I find them, as well as the development opportunities that I find intriguing.

#### <mark><ins>****Chosen Fantasy Race****


Out of the three fantasy races I will be researching, I have chosen to focus research on the elf character exploration. The reason for this choice is to have an interesting combination between the essence of the elves with the luxury and elegant components of Arab and Islamic culture. This decision gives a distinct possibility to merge the magical features of elves with the beautiful beauty found in Islamic and Arab creative expressions.

This idea will be especially demonstrated by the seamless blending of lavish, pricy clothing and the introduction of design components affected by the rich visual legacy of Arab and Islamic culture. I find the idea of exploring the complex connections between elven features and the nuanced beauty of other cultural influences interesting.

In addition, this theme study gives me a rough idea of research into the field of Arabic architectural pattern designs and textures. Through the blending of these details into the character's visual design, it helps create a compelling visual narrative. The character's design is improved by this integrative approach, which also helps the audience appreciate and value the different artistic and cultural nuances at work on a deeper level.

---

## <mark><ins>Arabic Elf Character Research 🐪 🔬

#### <mark><ins>****combining Arab / Islamic culture with Fantasy Elf's****


A royal prince character that combines the fictional race of elves with Arab and Islamic culture can be distinctive, complex, and full of nuance. Here are some ideas about how I could develop such a character:

**Name and Titles:** I can choose a name that reflects both Arab and elven influences. Also blending elements from Arabic names with elvish-sounding components.
Also awarding titles that appeal to both cultures, such as "Heir to the Crescent Throne."

**Appearance:** I can combine Middle Eastern qualities with conventional Elven traits. Maybe his eyes are almond-shaped, like those of an elf, yet they have the warmth and depth of Arab eyes.
I can use luxurious materials, elaborate designs, and eye-catching hues to incorporate classic Arab dress styles into the elf's wardrobe.

**Cultural Background:** I can create a backstory that incorporates features of elf and Arab cultures. I can envision the prince navigating the difficulties of having two different heritages and being born at the intersection of both cultures.
It could be fascinating to explore how the prince's cultural upbringing impacts his values, convictions, and interpersonal interactions.

**Skills and Abilities:** I can incorporate magical skills from Arab mythology or Islamic folklore. These might include jinni talents, mystical items, or the force of the desert.
I can also blend special magical abilities connected to the character's cultural heritage with conventional elven agility and archery capabilities.

**Values and Morals:** I can delve into the same concepts of honour, responsibility, and loyalty found in both Arab and Elven civilizations. Additionally, how the character resolves moral contradictions and what ideals influence his choices.

#### <mark><ins>****How does FFxiv incorperate Arabic Culture****


Numerous cultural elements have been included in and served as inspiration for Final Fantasy XIV (FFXIV). Despite not being a replica of any one real-world culture, they nevertheless draw subtle inspiration from other civilizations and incorporate it into their own to create something distinctive and original. Since Eorzea, the setting of the game is a fantasy world with a variety of regions and influences, several regions here are influenced by and inspired by actual locales in the work and draw inspiration from other cultures.

**Architecture:** Certain regions in Final Fantasy XIV have intricately patterned domes, arches, and other architectural features that might be reminiscent of Middle Eastern buildings.

**Clothing:** The game features a wide range of clothing and costumes that are influenced by other cultures, especially Arabian culture. This could feature turbans, flowing robes, and other traditional attire.

**City Design:** Some in-game locales might have a unique atmosphere by combining fiction and realism, these areas may include visual elements inspired by Arabian cities.

**Quests and Storylines:** Several missions and storylines that delve into other cultures and history are included in Final Fantasy XIV. Some quests have components based on mythology or tales from Arabian folklore. 

#### <mark><ins>****How does FF 16 incorperate Arabic Culture****

<img src="https://hackmd.io/_uploads/HJt0LPDOT.jpg" width="1920" height="250">

The fantasy role-playing game Final Fantasy 16 is inspired by a wide range of global cultures and moral systems. For the most part, the game is also greatly impacted by mediaeval Europe; nevertheless, some areas of the planet were greatly influenced by Arabic and Islamic culture. This is seen in the game's Dalmekia Republic, a territory found in the southern desert areas of Valisthea's Storm Continent.

Some of the place names in Dalmekia, like Nysa, Kostnice, and Boklad, have Arabic roots or words in them. The Dalmekian people's architecture and attire also incorporate elements of North African and Middle Eastern civilizations, such as the use of turbans, domes, and arches inspired by a lot of Islamic mosque architecture. The five pillars of Islam could possibly be referenced in the Dalmekian insignia, which depicts a warrior surrounded by the five elements of nature.

#### <mark><ins>****Breaking down Arab elf Character****


In crafting my Arabic elf prince character I began with the inception of a vivid concept. To organize and develop his multifaceted personality, I decided to employ a mind map which allowed me to break down and explore various aspects of his character. Starting with the core traits such as his background, motivations, and personality quirks, I expanded outward, branching into subcategories like appearance, characteristics, and backstory.

The mind map served as an invaluable tool, enabling me to interconnect ideas, identify potential conflicts, and ensure a well-rounded and dynamic character for my Arabic elf prince. This visual roadmap not only facilitated the brainstorming process but also laid the foundation for a compelling and immersive character within the broader narrative.

#### <mark><ins>****Character Reference Gathering****

#### <ins>***Arabic Elf Moodboard :***


To craft a captivating Arabic elf fantasy figure, I created a mood board that seamlessly combines elements of traditional Arab attire with alluring imagery of elves. The board showcases a combination of elaborate Arabian attire such as flowing robes and elaborate headpieces, blended with otherworldly elf features. Every image displayed on the board served as a source of inspiration for developing a distinct character, blending Arab traditional aesthetics with the captivating charm of mythical elves. This mix creates a visually stunning character with a deep cultural background and enchanting appeal.

#### <ins>***Elf Moodboard :***


>I created a little mood board that is included in the main design to simplify and capture the essence of complicated elf references. By using an interconnected approach, I can seamlessly include elf-inspired components into my larger creative idea, resulting in a mood board that harmoniously fuses fantasy aesthetics.

#### <ins>***Arabic Clothing Moodboard :***


>I created this mood board section to deconstruct and explore the intricate elements of Arabic and Islamic clothing, providing a rich visual reference for my imaginative journey in crafting an authentic and captivating Arabic elf fantasy character. By blending cultural nuances with fantastical elements, I aimed to ensure a harmonious fusion that brings my character to life with cultural depth and creative flair.

#### <ins>***Islamic - Arabic architecture and fabric :***


>I crafted this section of the mood board by curating a diverse collection of images that intricately break down Arabic and Islamic architecture, capturing the essence of ornate designs and geometric patterns. This visual resource serves as a rich reference for my Arabic elf fantasy character design, inspiring a fusion of cultural elements to bring authenticity and depth to the character's design.

#### <ins>***Islamic / Arabic headwear :***


> These images intricately deconstruct and showcase diverse Arabic and Islamic headwear, capturing the essence of cultural nuances. Each carefully selected image serves as a visual reference, inspiring the authentic representation of my character's attire and fostering a rich connection between fantasy and real-world cultural elements.

#### <ins>***Sword Reference :***


>To develop this mood board, I carefully dissected each element to encourage a combination of cultural richness and artistic flare. I did this by contrasting complex Arabic and Islamic sword patterns with fantasy weaponry. This unique collection acts as a visual sparkplug, generating creative ideas for my character's weapon while skillfully fusing the fantasy element with historical detail.

#### <ins>***Arabic Fantasy Character Artwork :***


>To fully immerse myself in the rich and varied visual components, I assembled a collection of character concept art pieces that were inspired by Arabic fantasy aesthetics to create this mood board. Every thoughtfully selected image is a source of inspiration that feeds my imagination and gives me a visual framework for creating distinctive and compelling characters in the world of Arabic fantasy.

## <mark><ins>****Arabic Elf Character Concept Art 🐪🖊️****

#### <ins>***Character Design page :***


#### <mark><ins>****Character Design Breakdown****

#### <ins>***Character Design 1 :***



When I began creating my first character design, I wanted to create a distinct and unique look. I took a lot of inspiration when creating this character from Arabic fantasy concept art, especially when it came to armour design. I also drew influence from the rich and lavish designs found in Arabic fabrics, which gave the clothing a range of vivid colours that reflected the character's Arabic prince identity. The concept for the horned helmet came from an artistic image of an armoured, horned beast. It also took cues from old Arabic swords and helmet designs that included Arabic-incorporated decorations and patterns.

#### <ins>***Character Design 2 :***



The intricate details seen in Arabic turban designs served as a major source of inspiration for me when creating the second design, as seen in the accompanying photo references. I aimed to develop a unique and captivating style for the design, which would allow me to incorporate an abundance of ornate design elements into its overall visual arrangement. I purposefully chose a colour scheme that was dominated by cold blue and navy blue tones to give the character a sense of coldness and uncompromising severity. When defining the design of the sword, I was inspired by the curved dagger appearances in the video game Elden Ring. My enthusiasm for their nonconformist, curved, and serrated design aspects had a big impact on how I conceptualised the character's weapon.

#### <ins>***Character Design 3 :***



#### <ins>***Character Design 4 :***



When the third design was conceived, I decided to use parts from the second design and try to create something new for the character's headwear simultaneously. The inspiration for the headgear came from the visual cue offered by the first picture below. The resulting headgear is a white royal turban with fantastical influences, admired for its uniqueness and departure from the headgear seen in the second design.

#### <ins>***Character Design 5 :***



> A lot of influence for the final character design came from the luxurious style of Arabic and Islamic clothing in black and gold. The striking contrast between the rich gold accents and the muted colour scheme was very alluring. In addition, the character's jewellery headpiece design was a source of inspiration. When these aesthetic factors came together, the idea for the two blades was born, and an artistic flourish was added when blue crystal balls were included in the blade construction. Furthermore, a buster sword from another design served as inspiration for the sword's tonal qualities.

#### <mark><ins>****My chosen character design****


I concluded that design 1 was the greatest design choice for my Arabic prince. I purposefully selected this design because of its lavish and colourful attire to represent his regal demeanour and high social standing. The vibrant and luxurious textiles serve as a visual cue to highlight the character's wealth and status in addition to reflecting the cultural richness connected to monarchy. I adore the beautiful golden ornamental pattern that is deftly woven into the Armour, emphasising his royal lineage and demonstrating a dedication to grandeur and heritage.

A standout feature of the design that I like, is the fantasy horned helmet which helps to  give the character's appearance a unique, regal touch. The helmet, which was created with a combination of creative imagination and historical inspiration, not only provides a fantastical touch but also emphasises the prince's position as a strong and dominant character in the story. The character's visual appeal is enhanced by this deliberate blending of traditional components with fanciful embellishments, which also adds to a narrative depth that cuts beyond cultural and historical borders.

#### <ins>***Character Design Page:***


#### <mark><ins>****Character Portrait Exploration****


#### <ins>***Breaking down my Portrait Designs :***

I set out on a creative journey to create the character face designs for my Arabic elf character, aiming to mix Arabic culture and facial features with cultural fantasy aesthetics in a seamless manner. I made an effort to convey the spirit of diversity through the designs, making sure that every portrayal was distinct from the others. I made an effort to let the character's individuality come through in a variety of artistic mediums. This method not only makes the Arabic elf persona more authentic, but it also gives each portrait a unique touch and depth that highlights the range of imagination that went into making it.

#### <ins>***Design 1 & 2 :***


#### <ins>***Design 3 :***


#### <ins>***Design 4 :***


#### <ins>***Design 5 :***


#### <ins>***Chosen Character Design:***



#### <ins>***Character Profile Page:***


## <mark><ins>****ZBrush Character Model🐪 🖥️****

#### <mark><ins>****Zbrush character Model****

#### <ins>***Character Base Mesh:***



>To initiate the development of my Zbrush model, I opted to commence by constructing the character's foundational mesh. During the early stage, I essentially replicated the character's anatomical structure by drawing extensively on my character design page and anatomy examples for ideas regarding shapes and forms. Given that most of the model is hidden, I believe I went excessively far in terms of complexity, making it a futile decision to model with such meticulousness.

#### <ins>***Character Face Model:***





> I experienced some issues modelling the character's face because I was modelling the face and body separately. I originally attempted to dynamesh combine the two meshes, however, this resulted in the mesh being destroyed, and thus I had to find another approach. This is when the difficulties started to surface. I was able to address this issue by constructing polygons that would join the two meshes using the Zmodler tool to bridge the two together. After that, all I had to do was Zremeshing the model to get a clean topology and uncombining the individual parts into a single selection.

#### <ins>***Character Armour:***



[[]](https://www.youtube.com/watch?v=koBr2RHuyKg&t=126s)
**Link to Youtube video : https://www.youtube.com/watch?v=koBr2RHuyKg&t=126s**

>I commenced the task of crafting the character's armour design for the subsequent phase of character modelling. In retrospect, I should have crafted them with greater intricacy, but my proficiency with Zbrush was lacking. Consequently, I opted to emulate a tutorial video that showcased the process of creating styled armour. Due to the simplistic design of the armour, I was able to enhance its appearance by adding texture to incorporate more intricate elements. Using my design sheet as a guide, I produced some Shodler armour components and wrist gauntlets for this design.

#### <ins>***Character Helmet Model:***


>When I originally modelled the helmet design for the character I had some support from a member of my team for modelling the shape and structure of the helmet. and also the cloth physics. The model was still extremely low poly and the cloth physics had some issues so I had to recreate it entirely due to the complications I would have when Zremeshing and modelling over it.





>For the third stage of my modelling process, I started with developing the full helmet design. I took a crack at first creating it but had some problems with the mesh so I had to rework it. As you can see I got a more clean and game-ready design prepared for the helmet. the design of it doesn't look like a helmet but its peculiarity can serve to play into the fantastical aesthetic of the character. For the fabric, I used the cloth physics tool within Zbrush to lay the cloth draping over the character's head and then to place the helmet over it to produce the illusion that the cloth is attached to the helmet coming down like curtains. I also went about modelling the diamond emerald for the helmet centre.

#### <ins>***Character Clothing Model :***

**Skirt Model :**








>For the clothing for my character model, I wanted to try out a new program for this project as it provided me with new abilities and comprehend new software. For the clothing process, I utilised the program Marvellous Designer, this software, allowed me the 2D show my clothes and bring it onto the archor points dotted around my character allowing me to connect each form to be replicated to produce clothing. It was a fun and interesting way of designing clothes.

>However, I had troubles with the exporting process like when I brought it into Zbrush and the model was broken into multiple bits and wasn't suitable for use. To fit this challenge I separated the separate components and then merged them to have a clean topology. Next, I used pinned together the edges of the model to put them all together. Once it was accomplished I had one last problem to fix which was the holes within the model. For this step, I had to zoom into my model and single-handedly one by one bridge each hole to get a clean mesh.

**Pants Model :**







> I also made the character pants in Marvellous Designer, which enabled me to format the design in two dimensions, stitch it together and simulate it to make harem pants. However, I experienced issues with the exporting process, the same as with the skirt. The model was unusable and extremely distorted and grainy when I exported it into ZBrush. This is when I realised that the solution to the issue was to use Marvellous Designer to UV map the clothes and then export it with quads. Due to how I Uv mapped it within Marvellous with low poly It made the process of fixing the mesh within Zbrush a whole lot easier.

#### <ins>***Extra Accessories :***

**Leg Wraps :**



>I wanted to give my model more accessories to help add more elements to the design while also giving it more personality. To make the model fit my Arabic prince concept, I wanted to give her some stylish leg wraps for this initial shot. I chose, masked, duplicated, and zremeshed the leg region to be fine for this process. Subsequently, I employed the slice curve to generate separate polygroups and wrap patterns using the model. I then stacked and created a wrapping effect using the slice tool. I then gave the wraps bevels and wrapped them in and out of the model using the move topology tool. Lastly, to help display a tight impression, I created noise and design using the normal brush.

[](https://www.youtube.com/watch?v=eGSav7Ktruk&t=2s)

**I used this video to help me : https://www.youtube.com/watch?v=eGSav7Ktruk&t=2s**

**Shoes Model :**


>I built the character's shoes for the finished model component. I selected, masked, and duplicated the character's feet to construct the shoes. I then added a bevel to the bottom of the shoes to give them a design, and I used the standard brush to add fabric effects.

**Finished Model :**


#### <mark><ins>****Zbrush character Retopology****

>For the following stage In the game art pipeline I had to retopologies all my models to be low poly so that it can be used to UV map and bake on the high poly counterparts during texturing. The reason I have to make a low poly version is because it has to be suitable to be utilised within a game engine and having high poly models can conflict with that. To start my procedure. For a majority of the components, I retopologiesd it using the automatic retopology tool called Zremesher. This allowed me to get clean and low poly topology. Within this process, I also utilised projection mapping to project the high poly textures onto my low poly version so that when I export the high poly version I have a high poly model with good topology.

>for this step, I should have manually retopologies my character but I struggled a lot with this process and I just found it quicker to use the Zremesh tool instead.

**Character Retopology :**


**Armour Retopology :**



**Clothing Retopology :**




**Helmet Retopology :**



**Accessories Retopology :**



## <mark><ins>****Maya UV Mapping / Ai Standard Material🐪👨🏽‍💻****

>For the Third stage in this creation process I brought all my low poly fbx models into maya and combined them into different texture sets. Next I used the automatic uv mapping tool to help me uv map my model. From their I went ahead and assigned a AI standard surface to each texture set and exported it to be textured within Substance Painter.



## <mark><ins>****Character Turnaround🐪****

[](https://www.youtube.com/watch?v=GqJ8TmerMsY)

**Link to Character Turn Table : https://www.youtube.com/watch?v=GqJ8TmerMsY**

## <mark><ins>****Character Rigging🐪💻****

A team member from my group had created a rig within maya and I set them my model so that it can be combined together, and the rig worked really well there were not articulation problems.


## <mark><ins>****Substance Painter Texturing🐪🖌️****

#### <mark><ins>****Character Baking****

>For the Final Stage Texturing my model was the next step in the character design process. To begin my procedure, I imported my low poly ai standard model from Maya into Sybstance Painter. The next step was to bake the high poly models onto the low poly model. I imported all of my high poly models and started the baking process for them.

>During this stage, I had some issues baking the characters' bodies, but when I performed my test version, the characters' bodies were baked properly, and you could see all of the details. However, my final version had several issues because it had baked the mesh but was still quite low poly.



#### <mark><ins>****Character Body Texturing****




>I began by texturing the characters' bodies to begin my texturing stage. I wanted my character's skin texture to have a semi-realistic appearance so that it would complement my character's design while also fitting into the environment around him. I, therefore, chose to use the skin face material for the texture and experimented with numerous preferences to find the ideal tone for my character. To give the character a gritty, grimy vibe, I also looked into adding dirt alpha texture. However, it didn't look great, so I decided to scrap it. In addition, I hand-painted shadows and other features onto the skin texture using a white mask and brush. This is evident in the lips and the muscular shadows.

#### <mark><ins>***Character Armour Texturing***






>The next stage in the exturing process was the armour for the character, to start this process I gave the armour a simple gold armour material and chnage around the prefernces to get the right tone for the armour. With the armour design I wanted it to appear as it had been worn down and had rust on it due to the enviroenemnt the charcater is in. for this I used a dirt smart material which allowed the armour to have a rusty look to it. I also used a smart aplha material which helped to autonamtical generate rust around corners. This approach to the textureing helped to create a unique and interesting effect which will aloow for the character to seem as though he has been in the environment for a while.

#### <mark><ins>***Character Helmet Texturing***









>I started by texturing the character's helmet for the next round of character development, repurposing the gold armour texture from this concept. Additionally, I use a smart material in Substance Painter to create a diamond and emerald texture pattern. I was able to match the scarf cloth texture to the hues of my characters' clothing by utilising a lengthy texture that I discovered on the substance painter marketplace and changing the colours using the texture's preferences. To generate a dirt effect within the clothes, I then applied a dirt-smart material on them.

#### <mark><ins>***Character Clothing Texturing***



>I utilised the lenga texture from the helmet for the clothes design and applied a dirt effect to my character model as the last step in the texturing process. I then gave the character's straps a leather texture. My character's design is made more simplified by using the same outfit textures twice.

#### <mark><ins>***Finished Character Model***




>Here are a few screenshots I made using Substance Painter's rendering tool. For the first one, I tried to capture the character's appearance just before he left on his journey. This is evident from the spotless armour and the serene surroundings.

>I attempted to make an image for the second screenshot that would show the character in our game's forested environment.

>From here it was time to export the textures and import it within the game engine to bring it into the environment.

#### <mark><ins>***Character In Game Engine***




## <mark><ins>****Conclusion🐪🖊️****

Finally, I would say that starting the project was a rewarding task that pushed my abilities and introduced me to the complex disciplines of texturing and modelling. Even with all of the challenges we faced, conquering them led to a sense of accomplishment and personal improvement. Being a part of a team brought me great satisfaction, especially when I saw how our different abilities came together to fully realise our vision. I found it especially fulfilling to create my 3D Arabic elf fantasy character and get it ready for the game. My appreciation for the craft was stoked by delving into the depths of my creativity while participating in a team effort. This experience left me feeling immensely accomplished and inspired to keep pushing the limits of my creative potential.

## <mark><ins>****Link to EXE.****

**https://drive.google.com/file/d/1cxeVqIRjMRyUAFfNjEn9v1xZSLoboaIa/view?usp=sharing**

**https://stummuac-my.sharepoint.com/:f:/g/personal/21395246_stu_mmu_ac_uk/EuqrD96Q57lCrPRyYVgfH0YBzqUBSGv_BnN_9lHBtiShpA?e=K9ucgw**