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  • replied
    Next update is finally done! My goodness it takes a long time to setup and animate so many objects! And a very large amount of code . At least the basic room for teleporting is done though, and it should make it easier to go around the level and see things as I’m working on them. There are also new game builds to try, but just to let anyone trying it know, having the portals in it is making the game crash sometimes because of having to render everything twice. I’ll add some options for it to make it better, but for now, you may have to play it at a lower quality setting.

    Here is a video I made of everything as well:

    I also added my first sound effect to the game!, which is the wind for the TeleRoom.

    And there are four more spontaneous piano sessions in the game now, as well on SoundCloud here:

    Here is the stuff I’ve been working on with the vegetation. I want to try to do as much experimenting as I can at this early stage, and figure out what will give the best results before I make the rest of the models.

    First thing is I’ve been working on trying to figure out how to approach the other smaller kinds of aspen trees. As I have been studying the trees more, I’m finding that the main difficulty is trying to get the verticality in the leaves and branches. It’s not really something I had thought about before, but when looking at trees you see that the branches all come out horizontally while the leaves all fall down vertically from them, and this way that the leaves come down vertically is what makes us able to see the sun’s direct light on the tree from the ground. The difficulty is you can’t really have that very well when you’re using large planes for the branches and leaves.

    From what I can tell, normally this is solved by having many different leaf planes going in random directions, but with the way you can see the branches in the winter, I don’t think that would work very well for this.

    I realized too that this is the main reason that the larger trees have such a small area where you can see the light on the leaves and can look a bit splotching sometimes, because I only have the horizontal part of the branch and need to add the vertical part of the leaves as well:

    So I’ve been trying to figure out some very low poly ways that I can get this leaf verticality that you can see the light hitting the leaf, especially for the trees that are down on the ground at eye level. And again, part of the difficulty is that the leaves have to be touching a branch, since you can see them growing from off the branch in Spring. Here are some leaf clusters that I have been working on with all of this in mind. The black lines are the shapes that the texture will be on when it goes on the tree. The top right clusters are made to go vertically on triangles for the large trees, while the other smaller clusters and branches are for the aspen saplings:

    So far I’ve been able to get something that I think should work quite well for the almost bush like saplings. It seems to have a pretty similar profile to some of the pictures I have seen. What seems to work best is to have a quad made into two triangles that would only have three or four leaves on it, then you make the edge splitting the quad in half, higher than the other two vertices, making a V. You can see this with the bottom right clusters. Then you just keep rotating them as you go along the branch. Here is how it looks: (the vertex count includes some other meshes in the view that aren't visible)

    Other thing is I was able to figure out a better way to have the leaves disappear for the fall. I had been doing it though a texture mask that had a random value for each leaf that looked like this:

    , but the problem was it was leaving bits of leaves floating in the air. So I manually assigned a color to each leaf, and now it looks like this:

    The main thing to notice is the darkest leaves are in the front and will disappear last, while the brightest are in the back and will disappear first. This way it should disappear back to front and not leave any bits of leaves around.

    Another thing with this fall transition is there are rings being left around the leaves as they disappear, and I finally figured out it was being caused by Unreal’s compression settings. You can see the large blocks it was creating here:

    I found out though that if it’s set to a normal map compression setting, it’s higher quality and doesn’t cause these:

    I haven’t tried it yet, but right now the plan is to store the mask in the Blue channel of one my Normal maps, and it should get rid of the ring around the leaves.

    So all in all, once everything is implemented, the trees, and next vegetation I work on, should look quite a bit better.

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  • replied
    Thanks a lot Grot13, that’s a great thing to hear! Yes, I’ll keep on working on it for as long as I’m able to. I really do believe in what the project is about, and it’s also been a tremendously fun project to work on.

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  • replied
    Your assets have a really nice look, for a nice render, I hope you will go on your project!

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  • replied
    First off I just wanted to say thanks again for your encouragement F3NR1S. It’s really great to hear the game has been heading in a good direction It really is starting to come together nicely like you were saying. Hopefully I'll be able to share more tidbits too. I’m not sure when I’ll be working on the water. I do have some meshes ready for it as part of sculpting the landscape, I just haven’t imported them and tried any shaders yet. I would also like to be able to do something like this:, but I’m not sure if it would work with a plain mesh or if I have to use splines. If I have to use splines for all the streams, it might take a while before it would be done

    Things have been pretty busy since the last update with other things coming up, and I had some health issues that prevented me from working on things as much as I would like to, but all things considered, there is still quite a bit that got done.

    I’m also happy to say that the teleporting works, but it’s not quite done yet, so I’ll wait until the next update to share new game builds. There have been some neat things to share with the vegetation as well, but this post is so long, I’ll wait until next time to share it.

    The main thing for this update is I have been working on designing and modeling that room for teleporting to various areas. Since I'm not very good at drawing, I have to do all my concept work with the 3D models. So it took a little while, and many variations, but I think I finally arrived at a design that will be pretty nice in the end. The original design that I came up was going to be a circular room a glass dome in two pieces for the ceiling. Since the entire game is meant to be an art piece as well, I had the idea that it would be really neat to have paintings on the walls that the player would then teleport through. Here is what that original design looks like in the engine:

    The idea being that you would be able to select a place to go to, then the two dome pieces would rotate around until they arrived at the painting. After this, the painting would change from being an impressionist painting of the game, into being a live look at the level. Then you would teleport to being next to a painting, hanging on the wall in one of the buildings. So it would feel like you were actually walking into the painting. As I got to thinking about it though, I realized the building would make a really great observatory for any star type puzzles, and I probably wouldn't be able to make a better one. So I decided to try to come up with a new idea for the teleport room.

    As I was trying to come up with a concept for it, I remembered another idea I had a few months ago, that I had forgotten to write down, that I thought it would be really neat to do like an art gallery up in the clouds for the main menu. Then when the player clicked on play game, it would allow them to walk around in the art gallery, walk up to a painting, and go inside of the painting, into the main game world. I realized both the teleport room idea and that main menu idea would work well together, so this was the starting point for the new building.

    It took quite a few iterations to start getting a look that I liked, and to be honest I don't normally design fantastical types of things , but I think it could be a very pretty room in the end. While I was designing it, I kept seeing all of these things hanging from the ceiling and rotating around, almost like a chandelier or prisms hanging from the ceiling. As I started trying to go this direction, things started to come together more and more, and here is what I have so far inside the engine. Blender’s booleans helped tremendously to cut the holes in the ceiling's glass grid:

    Here is the rest of it that's in Blender still with some very basic lighting:

    The idea for the building is to have a wall of some kind in the center of the building with a shaft going to the ceiling, driving the rotations for all the gears. Then as the gears are rotating, they rotate the pieces hanging from the ceiling, which have the paintings on them, and as the player gets near a painting, the hanging wall would face the player and stop rotating. Then the painting would become the live version of itself. On the wall in the middle would be the poem from the description, kind of symbolic of it being the heart of the paintings, and the thing driving the possible story piece for each building.

    Here are some shots of how the paintings look with a live version of the painting showing the game world:

    and here is one in the game world that would be hanging on a wall in a building:

    For right now, since the project is also an experiential art piece, I’m thinking that the best thing would be to have the live version flat, like a painting, instead of like an actual portal where it looks like you’re looking through a window. If anyone else has any thoughts about that, feel free to let me know. Here is what it looks like from the side:

    I also had an idea of doing these doors along the two long walls that could be rotating at random amounts, making it feel like the wind is blowing through the building as it's up in the clouds. The other idea was to have the doors in the middle start rotating first, and gradually rotate the other doors open, almost like an accordion effect. Then have them all close again starting at the far ends and going towards the middle, almost like the building is breathing, or love flowing in and out like it talks about in the poem. I'm not sure which one to go with yet though.

    Since it's going to be up in the clouds, the whole thing has been heavily inspired by clouds, with the way they move and change, and having something like rainbows in the clouds with all of the color wheels. Right now anyway, in that image up above, it's kind of neat too that the glass frames seem to mostly disappear when you're at the other end of the hall, as though you could walk off into the clouds. As part of all of that, I was thinking of having the glass color be a bit fuzzy around the edges, kind of like a rainbow effect:

    So all in all, I now have the concept work done for two buildings and I have the teleporting all working. Hopefully I’ll be able to do more with the environment soon after the teleport room is more finished.

    Thanks for looking!

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  • replied
    Thanks! I’m glad you’ve been enjoying seeing all of it. It’s been really interesting for me trying to figure out how to make things work, and trying to translate the real world into the game world. I feel like a bit of a scientist in that regard.
    I’m glad you like some of the ideas for it, too! If I’m able to get everything the way it is in my mind, it seems like it could turn into a pretty nice game in the end.
    No, I haven’t been able to play it in VR yet, although I would really like to eventually. My current computer wouldn’t be able to handle it very well though.

    That Location Toolkit you made is very cool, and that night time globe was a great idea. I can see all of it being a great addition to a game. I might buy it for mine once I have things more fleshed out and I know better how everything will fit together.

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  • replied
    Hi John,
    The last couple of updates are really bringing life to the project. I like your experimentation and when you share little tidbits about your development pipeline. I look forward to seeing some of the future updates. Especially water and vegetation. Your plans and ideas are quite exciting (chairs!!).
    Did you get the chance to experience the environment in VR? How did it feel?

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  • replied
    Next update is done! The main thing is that the new landscape is in the game now! There are new game builds that can be downloaded so anyone can see it. On the next update, I thought I would add a way to teleport to the different areas to make it easier to see them as I'm working on them.

    For this update, I've been working on getting the landscape more fleshed out, trying to concept out how the different rocky areas will look together and making sure all the streams go downhill.

    The dynamic topology mode has, so far, really been the perfect thing to use for what I'm doing. With it, I've been able to create natural rock bridges and overhangs, and basically just create whatever I wanted, while still having complete control as to how dense the vertices were. Another really great thing is that I'm able to cut up the landscape however I want instead of having a grid, so there are large sections of the landscape that won't even be rendered since they are behind other parts of the landscape. Even further, the streams and rivers are cut up into smaller sections, so I should be able to make it pretty detailed in the end since only a small part is visible at a time. None of this would have been possible if I had used the landscape abilities that are in the Unreal Engine. One caveat is that, after everything was cut up, I found out Unreal looks at the bounding box of the mesh to test if it should be rendered instead of if the actual polygons are visible, so hopefully in future landscape updates I’ll be able to cut it up in a way that keeps this in mind and make it even better.

    Also, since I could control how dense the vertices were anywhere in the landscape, I have been able to make the landscape more detailed while cutting the final triangle count by about half of what the original landscape was. From about 6.5 million to about 3.5 million. Interestingly, it also cut the size of the download for the game by about 200mb.

    Here is a screenshot of how I cut up the landscape, and the density of the landscape at Level of Detail 0:

    , and here are some screenshots of how some of the areas look so far inside the game:

    There is another new spontaneous piano session in the game under Session 4 and on SoundCloud here: I tried to do a lot of, what I like to call, note cascades, and it really turned out pretty. I also found out that the way I was reducing noise in the audio was really distorting some of the notes, but with this new way of doing it, everything is much more clear.

    I've also been working on getting a plan on how the weather system is going to work, but it's still in the concept stage, so there isn't much to show. Just graphs of how it all connects together.

    One last thing that was kind of neat that happened a few weeks ago is that, as you know, windows 10 always has a random image display at the log in screen, but the interesting thing was when I turned on my computer one morning, I was surprised to find this image of a waterfall that was very close to what I had already sculpted out for a waterfall in my landscape. This isn’t the image I had seen, but you can see the waterfall here: and here is what I had sculpted in my landscape: . It even has the archway that I had put over the outgoing stream. I thought that was a pretty cool thing to have happen, that I'll now have a pretty good reference image of this area that I had basically just concept sculpted from imagination.
    Last edited by ArtOfLight; 07-23-2017, 02:02 PM.

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  • replied
    Well, I can’t believe I’m saying this, but the seasons are in the game now and everything is working! There are new game builds available here:, so try it out if you’re interested and let me know what you think. There were quite a few times that I got stuck trying to figure out how to do things, especially with adding the ability to change latitude and go to the Southern Hemisphere where the seasons are opposite of the Northern, but eventually I had ideas and got everything working. It’s a bit of a miracle to me, to be honest, to have no previous coding experience and be able to figure all of this out, which is why I said a few posts back that I really give the glory to God if it does work out because my goodness, does it ever get complicated

    Here is the video that shows the seasons. I added subtitles to both videos to make it easier to understand what I’m showing.

    As I’m able to generate more detailed day to day temperatures, I should be able to get the season start dates more accurate, but amazingly, even with how it is right now, it’s pretty close to when the seasons start in the real world, just a few weeks off, at least in my latitude. That is one thing I could help with, if anyone is interested, is getting the seasons right for each latitude. You can find more info about it in the first post under the "Things I could use help with" Section.

    I also got the moon working, which was another thing I had to figure out some really crazy stuff to get looking right because of it basically needing to be transparent on the side with a shadow, so I couldn’t have it just be lit by the sunlight. It was made even more difficult because one of the material nodes I used says the coordinates it needs are in World Space when they actually seem to be in Local Space, which took a little while to figure out. Thank goodness it all works though!

    Here is the one that shows the moon:

    All in all, I think this update turned out to be a bit of a milestone because I know that the concept is going to work and the foundation elements have been laid. Now it's just to keep on refining it and adding to it.

    Also, if anyone is interested in knowing how any of it works, I can try to put together a summery about it, but it could get long, so I wouldn’t want to spend the time if no one needs it

    Another thing is that, over the many months I've been working on the project, the first post had become a bit piecemeal. So I rewrote pretty much everything to fit with where the project is at currently, and it's much more clear and concise now. I also added a philosophy behind the game section that’s really worth reading if you have the time.

    I also did another Improv piano track that I haven’t added to the game yet, but it can found on SoundCloud here: . I was experimenting with trying to use both hands at the same time in the music much more, so some parts got a little bit difficult for my brain to handle, but it turned out okay still. Around 12:00 minutes and on is a really nice area. Having never really had music lessons, it will take a little while to get used to using both hands with the rhythms and melodies. I don’t have a recording studio to record them, so you’ll also have to ignore the background noise in some areas.

    As I had said in the previous post, I have had some ideas for an interesting story in the game that I’ve updated the first post with. The main purpose of the game would still be just creating an experiential work of art that opens the heart to be in, but there would also be a story you could follow if you wanted to. The idea would be that you are inside of an older person’s memories, and going back through his life to events that happened that closed down his heart and working through those things that happened in some way. I had already planned on having several different houses in the game, but basically each house would be a place that this person lived in through his life, and you would go back in time to certain dates when the person lived in this house and solve puzzles that would be for that specific time period that would reveal a part of his life story, and work through opening his heart again in a certain area of his life. With having seasons, latitude, and a realistic sun position, I think it could also make for some really interesting puzzles having to do with time and where the sun or stars would be at certain latitudes and times of the year. Also, just a really interesting environment being able to change the entire look of the map with different seasons or even what direction the shadows are going in.

    That's all for now. Thanks for looking!

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  • replied
    Quite a few things have happened since the last update.

    First off, I just wanted to say that I have the aspen tree inside of the game now and there are new game builds available for download if anyone is interested in seeing it in the game. There are also some screenshots of how it looks in Summer below. All of the transitions are also working inside of the materials, but as I was thinking about it, I realized that, since the latitude can be changed, the timing for the transitions really needs to be determined by the temperature instead of a fixed date, which brings me to the next exciting thing that happened.

    There were some boxes of books that someone gave to my parents a couple weeks ago, and I just kind of randomly picked one up to see what some of them were about, and the one I picked up was an old Earth Science textbook that has all of the data and explanations for how temperature, weather, rain, wind and all of that kind of stuff works on the earth. I just thought that was pretty cool to find a book like that just as those were the next things I was going to be working on. It’s already had some very invaluable information as well that I haven’t been able to find anywhere else in my research online.

    So all that to say that I have quite a bit of the seasonal temperature changes figured out and should have the leaf transitions in the game on the next update! For now I just put some screenshots of the middle point of the transitions below.





    Fall-Winter (a few artifacts around the leaf edges that I'll have to get rid of)

    Something else that was very cool is that someone was getting rid of an old 100 year old upright grand piano and let me have it for free. Before I was only able to play the piano when I was at my grandparents house, which is why there is only the one spontaneous session in the game right now, but now that I have a piano here at my house, I’ll be able to play it all the time. So I was able to record another spontaneous session that consists of 5 songs altogether and is about 17 minutes long. I thought I would also start putting them up on SoundCloud so that if anyone does enjoy listening to them, they won’t have to play the game to hear them.

    It can be found on SoundCloud here: and the new track can be found in the game under the “All Piano” playlist, Song: “Session 2.”

    One last thing is that I had some ideas for maybe some puzzles that could be in the game. To give a bit of backstory, in the Old Testament of the Bible, there are these really incredible, almost letter puzzles, that when you skip the same amount of letters over and over again in the original Hebrew text, it actually spells out hidden words and sentences that are about the text you are reading.

    For example, when you read Isaiah 53:10 (which is a prophecy about the Messiah coming as a suffering servant and taking God’s anger against the evil we do to each other upon Himself so that we can be with Him) in English it says, “But He was pierced for our transgressions, He was crushed for our crookednesses. The chastisement of our peace was upon Him, and by His stripes we are healed.” But when you look at it in Hebrew, if you start at the beginning of the verse and count 12 letters over and over again, it spells out, “Yeshua (which is the original Hebrew name of Jesus) is my name.”

    In this particular area of Isaiah 52 and 53 that were about this prophecy of the Messiah, you can also find the phrases and names, “Let Him be crucified”, “His cross”, “Gushing from above, My mighty name arose upon Yeshua(Jesus), and the clouds rejoiced”, “In His name as He commanded, Jesus is the way”, “Herod”, “Caesar”, the names of the two high priests in Jesus’ time: “Caiaphas, High Priest”, “Annas, High Priest”, “Nazarene”, “His signature”, the names of the disciples, and many, many more things just by counting an equidistant, or same, number of letters over and over again. Quite a few of them even overlap in the same verses as well. And this would have all been written over 700 years before the Messiah, Jesus, is supposed to have come and anything in the New Testament transpired.

    I think what’s cool about it to me is that it’s not something that you can try to make into what you want it to be either because it’s just counting the same distance of letters over and over to make each word. As far as I know, it’s also the only manuscript in the world that you can find these things in, not even the New Testament or any other Hebrew text, only the original Old Testament in Hebrew, and it’s literally all over the entire Old Testament.

    Anyway, I thought a simplified version of something like that could make for a really cool puzzle in the game where the player has to find the amount of letters to count somewhere in the game so they can decode a message hidden inside of something found early on in the game, and the player would all of a sudden realize that there were all these hidden puzzles inside of something that seemed a bit unimportant before.

    That’s all for this update. Congratulations if you made it through everything It was difficult to try and pack so many things into a single post. There are actually some more ideas I have had but I thought I would wait until the next post to share them.

    Just as an addendum for anyone else as fascinated by the letter puzzles as I am, another interesting letter puzzle can be found in the first five books of the Bible, called the Torah in Hebrew, which means instructions or law. With this one, you start at the first T in Genesis, and count every 50th letter, and what you get is TORH, or Torah in Hebrew. You also get TORH when you count every 50th letter in the second book, Exodus, as well.

    Interestingly, you can basically do the same thing for the fourth book, but instead of starting with T, you start with the third H, and when you count every 50th letter it spells HROT, which is Torah backwards. The fifth book is the same only you start with the third H in verse five and count every 49th letter.

    Now to go back to the third book in the middle of the other four, when you start at the first Y and count every 8th letter it spells YHWH, which is the original Hebrew name of God. When you combine all of it together with the way Torah is spelled backwards and forwards around YHWH, it’s as though it’s saying that the Torah is like an arrow that points to YHWH. TORH, TORH, YHWH, HROT, HROT

    It’s just really a lot of fun finding out the kind of hidden puzzles there are that were put into the different texts.

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  • replied
    Just wanted to give the next update on the game. I have all the controls done for being able to change the time of year and time of day in the game. This will allow me to test the seasonal changes on the aspen tree and get that working. As far as coding goes, I'll be working on adding temperature changes next, so that I'll be able to add correct wind to the game because apparently, in the research I've done, the wind's strength is caused by how fast the temperature and air pressure changes.

    I also finished modeling the leaves and putting them on the aspen branch that I'm using to bake onto the final meshes used for the tree's branches, and then finished putting those baked meshes onto the tree as well. I don't have it in the engine yet, but you can see how that looks in Blender's viewport at the bottom.

    There is a certain look of some aspen branches that, when you look at them from the side, it almost looks painterly and similar to how it looks when you dab a large paintbrush onto the canvas with the bristles going perpendicular or straight into the canvas, giving it this interesting feel. I tried to recreate that with the branch and the final meshes that are on the tree, and I think in the end it worked out fairly well. They both seem to have a bit of that painterly feel in certain areas.

    The tree as it is now turned out to be about 8,000 triangles, and will be about 7,500 after I do a few more things, which is rather high, but I wanted to have a version of aspen that looked very full for the areas next to meadows and things where there is more sunlight, so this will be the highest poly version. The other trees will be either a lot shorter and full or as tall, but only have leaves at the top.

    I guess that's it. I'm going to wait and update the game build in the next update when the tree is inside the game, so right now it's still the same version as before.

    View from a lower angle:

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  • replied
    Next update is done! I’ve mostly been working on going over the landscape again and trying to finalize everything as much as I could before I would start adding vegetation to it. Also worked on taking a lot of the large noise out of the high poly sculpt and getting the larger forms more defined. You can see a before and after below. Next thing I’ll be doing with it is cutting it up into tiles and using the Dynamic Topology sculpting mode to polish it a bit more. I think it should work well as a way of creating the final landscape meshes because I can have more vertices in the areas that need more detail, like the cliff edges and streams, and less vertices in the rest of the landscape.

    I also thought I would try using SketchFab as a bit of a Game Design Document for the environment. That way everyone can see the bigger picture of what’s going to be in the environment and what goes where, and I’ll be able to update it as the game progresses. You can read more about it in the For You the Viewer section of the description, but I thought it would also be a good way for others to be able to give ideas for what could be in the different areas. I was able to get a little bit of a day/night cycle in there as well when the animation is turned on, but if it’s running to slowly with it there, let me know and I’ll take it off.

    (I wasn't able to embed it, so here is the link)

    I’ve also updated the first post with some other new things, as well as a list of things I’m planning to add to the game. So take a look and let me know what you think.

    Lastly, you can see the progress I’ve made so far on the aspen branch that I’ll bake to a plane below. I’ve finished creating the branch and right now I’m working on modeling and putting textures on the leaves. I thought I would model 6 unique leaves altogether, then arrange them into several different bunches for each direction that the end of the branches go in: up, down, sideways, then duplicate those bunches over the branch. I have three of the leaves done so far.

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  • replied
    Just wanted to do a small update on the game. There are new game builds that can be downloaded, so you can try things out for yourself, but the sun and a preliminary moon are in the game now with controls for the latitude, length of day, and the rotation of the game’s compass. I did a recording of the changes below, complete with the rather interesting polar circle sun rotation . Right now the game’s calendar is set to be in July, so the sun’s position will be a bit different from what can be seen outside right now. I’ll have it so the user can set the calendar in one of the next updates. You can also see the trunk of the Aspen tree in the game if you play it.

    One other exciting thing is that I was able to figure out the system for doing Winter to Spring seasonal transformations on the leaves using two mask textures that, combined, will make it look like the leaves are growing from the branch over a period of weeks. I’m not done modeling the leaves and branches that will be baked into the final texture, so I don’t know for sure how it will look in the final texture, but I have been testing it out on the models in Blender, and I’m pretty sure it will work all right. I really give the glory to God on this one if it does. I’m just not that smart to figure it out on my own.

    Lastly, here is the rest of the previous post that shows the material setup I used that made it easier to create the texture atlases in Blender.

    Here is how the overall material looks:

    and here is one section of the material that is duplicated to the other sections:

    and here is what is inside the node groups:

    The basic idea for it is that it creates a mask for each texture by using the Object’s ID number. So each time a different texture is added to the texture atlas and applied to one of the objects talked about in the previous post, you just assign a different ID number to those objects with that texture. Then in the material, the Object Info node is able to retrieve all of the ID numbers for all of the objects.

    One downside though is that, because the Object Indexes can only be integers, all of the objects will be white if you use the node directly since they are all over one. So, in order to use it, you have to isolate the objects that have the number you want to use by using the node group in the second image above. Basically it leaves any values greater than or less than the value you want black, then multiplies them together, leaving only the objects with the ID you want as white.

    It’s fairly self explanatory if you try it out, so I won’t go into the details, but one important thing to remember is that you’ll want to have the incoming value you want to isolate a little bit less than the value you want. So if you want the objects with an ID of 2, you’ll want to use a value like 1.9. This way the only numbers that are left white are the values between 1.9 and whatever value comes out of the add node in the node group, which would be 2.1.

    The great thing about it is, once you have all of it setup, all you have to do to pass a change from one of the textures to the final texture atlas is hook up the appropriate set of nodes for that texture atlas, like normals, diffuse, etc., and click on render.

    I guess that’s it. On to the next adventure!

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  • replied
    The last bark sculpt is done! For this last sculpt I’m using it as kind of a kit-bash texture where I can use the vertex groups and an image mask to add or take away those black areas that the aspen bark has. It’s funny after doing this one to look back on that first sculpt I did and to see how undetailed it was, when at the time I thought it was looking nice. I suppose that’s what happens when you’re learning new things. To show where it’s mixing, the circles on the image below go a little bit above where the mixing of textures is happening.

    I also had an idea for the way the texture is UV mapped that almost completely takes away any signs of tiling, just by switching where the seams start. You can see how that looks in the two images below. The line on the side shows where the texture ends and repeats again. The idea was that at the point the texture would have started tiling going up the tree, the cut for the UV seam switches to being on the other side of the tree. So it basically rotates the texture so you see the part of the texture that would have been on the other side of the tree. I had only thought of doing this after I had done the sculpts and painting, so there is a barely visible seam, but it’s fairly high up the tree and can only be seen really close up to it. I circled the seam in the image below. Although, for the next tree type, I’ll hopefully be able to create the texture with that in mind and take away that seam.

    There was one thing I found out that I thought I could share because it might be helpful to someone. I found out Blender works really well for creating Texture Atlases and being able to cut up textures automatically without having to go in an image editor every time something changes, cut it, then recombine it in the texture atlas. With the way I have it set up, it also automatically creates a 2, or however many pixels, padding or bleed edge around each texture so there aren’t any visible seams in the final model. It’s a bit of a strange workflow, but the results are really nice and makes having to change anything in one of the textures pretty simple.

    The way it works is that I set up some rectangular planes that you can see in the image below, with one centimeter equaling one pixel in the final image. This way you know exactly where each pixel of the texture is going to be in the final image and makes things a bit easier when doing the padding around each texture that I talk about below. Each separate plane will equal one texture or a part of a texture in the final texture atlas.

    Next you line up each of the model’s UVs with the texture you want assigned to that model. So with my bark textures that are 2048 x 8192, I want to split each one into two in order to recombine them and make a square texture of 4096x4096. To do that I set the UVs for the plane at the top left in the image above, to be the bottom half of my 2048 x 8192 texture, and the one right next to it on the right side to be the top half of that texture. Then I apply the texture onto the model using an emissive shader in the materials. To get the final texture, I just set up a camera set to Orthographic mode with the edges of the camera lined up with the edges of the large plane that represents the edges of the texture atlas. Then I just do a normal render of the models at whatever resolution I made the models to be, in this case 4096x4096, and turn off anti-aliasing so that the two pixel border around the edges talked about below won’t get blurred.

    To get the two pixel padding, you just inset a new line of vertices 2 cm from the outer edge, or however much of a pixel padding you want to have, on all sides, but leave the UVs on top of each other. Hopefully you can see what I mean in the images below.

    What this will do is stretch the texture when it’s applied on the model, but it will only stretch it on that outer edge, leaving a padding of 2 pixels that is almost the same color as the pixel right before the UVs start to stretch the texture, which takes away any seams on the final model. The close up result can be seen below.

    Hopefully all of that makes sense.  The really great thing about all of this is that it automatically cuts and pads any of the textures. So if you need to adjust something in one of the textures, all you have to do is make the adjustment, update the texture in the object’s material, then just do a quick render of all the texture atlas models together.  It's really been a nice system so far for making texture atlases. 

    I also figured out a way to use just one material for all of the objects and have the textures be applied to them using some object masking techniques, but this post is already rather long, so I thought I would share it in the next update. Normally you would have to use a different material for each texture in the atlas since each plane needs a different texture and then change the material on the plane for each type of map, but I found another way that makes things a little simpler.

    Next update I’ll be working on the leaves for the tree, and I’ll have an updated file with the sun and moon in the game!

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  • replied
    Thanks a bunch Alaa Ben Fatma! I really appreciate the encouragement. Yes, it’s definitely been a loooottt of sculpting work, but it has been quite a fun adventure as well It’s fun getting to create something that feels a bit more alive than just a still image.

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  • replied
    I can sense huge efforts !
    Wish you a good luck, it looks amazing.

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