Art Spotlight: Stitchy in Tooki Trouble

Back to overview

Introduction

Hello my name is Pieter Geusens, I am a 22 year old guy from Genk (Belgium) and this is my first year of working as a 3D artist.

I studied Game Design at LUCA School of Arts in Genk.

Realistic art has always been the thing I wanted to do, but it never really worked out for me. So I got into hand painted textures and got addicted to it.

The models in this scene are created for a game called Stitchy in Tooki Trouble.

This is my first assignment as a freelance 3D artist, so I am excited about it.

Inspiration

The models in this scene are for the first ‘world’ in the game, for these we took a lot of inspiration from the Donkey Kong games.

The hardest part was making a jungle look varied with a small number of assets.

For the vegetation I mostly looked at the jungles in the movie Up. The way they shaped the leaves and the different kind of plants really appealed to me.

Software

Blender

All the models were made in Blender. It is a great tool, because, first of all, it is free and it works great in combination with Unity.

I do most of the UV’s in Blender, because it is simple yet effective and you can really squeeze and scale everything the way you prefer.

3D-Coat

All textures are made in 3D-Coat and later adjusted in Photoshop.

I prefer 3D-Coat over Photoshop for the obvious advantage of painting directly on a model. You can also just use a shortcut to open all the layers in Photoshop for a fast adjustment.

Some of the UVs were also made in 3D-Coat. This is mostly for saving time since it is my aim to make 2 to 3 models per day (depending on the model).

The auto UVs in 3D-Coat are better than those in Blender, in my opinion, but nevertheless I only use them for simple models and for when I am in a real hurry.

Modeling

I don’t use any concept art or sketches for most models. The big advantage is that you save a massive amount of time, but the shapes always stay very basic.

To maintain a coherent style I mostly make all my models in one scene so that I can look at the other models for certain shapes and such.

One extra challenge we had for this project was that we were making the shadows and lighting in Unity with vertex color.

For this reason I had to make loops everywhere so that we had enough verts to have smooth transitions.

Texturing

Textures are the most important part of the entire model; since we only use an albedo map it has to show a lot of things.

As with the modeling, I try to save time in a few different ways. When I started the project I made a library for myself with a lot of hand painted seamless textures of basic materials like stone, wood, metal, etc.

I used these in combination with smart materials in 3D-Coat to quickly get fast edge highlights and shadows, so I had a base to work with.

stitchy in tooki trouble texture

From this point I went and added extra highlights and details, like big scratches or missing planks, to make every prop feel unique.

tribal door design

When doing hand painted textures I usually don’t mind when you can still see the brush strokes as seen in the image above, and since most props will be seen from a big distance the player will never notice it.

Sketchfab

When starting this scene I was planning to keep it small to avoid using too many different materials.

This did not go the way I wanted so I ended up with almost 30 different materials. While setting up the scene I got scared that it would not run properly but to my surprise it works great.
I tried putting in some annotations but this proved hard cause of the sky sphere I made.

For post processing I added some SSAO because I find this always adds so much to a scene that makes use of hand painted textures; it gives everything a coherency it otherwise lacks.

Pieter’s Sketchfab Store

 

About the author

Pieter Geusens

3D Artist


Leave a Reply

Your email address will not be published. Required fields are marked *

Related articles