Final Portfolio/Showreel Feedback & Chosen Disclipline

This afternoon I delivered my final portfolio to all members of staff present and was given my grade for it. Here are my thoughts on the whole submission.


A common mistake during the Christmas 2016 prep run for this was talking too long about your work and treading over ground the lecturers are well aware of. So I made the decision to edit everything into a reel, its a little long for a standard industry showreel but has to cover all aspects of the course and a years worth of best work from each module. So eight minutes isn’t bad. I themed it 1980s style and did all the title card work in After Effects for some extra spit and polish.

Feedback was immensely positive and the few bits of constructive feedback I received were as follows:

  1. Where I collaborated on a project, clearly state which aspects I was responsible for.
  2. For future reels, cross fade music track to music track without any pauses between audio. Gary compared this to an animation where it stops suddenly and is jarring to the viewer.
  3. When rendering animation cycles or anything with a ground plane in future make sure objects are actually touching the ground (my cycles were hovering and casting shadows making it really obvious).
  4. My font choice for the lower banner is a little bit unreadable (I was worried about this and seems I was correct). Thankfully an easy fix to make.

The fact those few points were the only things to be raised, I’m absolutely bloody thrilled! I was graded a Distinction for the portfolio. It has been a fantastic first year and has really woken up a side of me I’d considered long gone, as sentimental as this might be, a big thank you to all of the staff over the last year who made this possible. I’d buy you all a beer but rules don’t allow it, so catch me in another year!

Now after seeing some of the truly wondrous talent at Animex, I don’t personally feel like I’m anywhere near the level of talent I need to be despite the grades. So I have a long year ahead but more on that in a moment.

Chosen Disclipline

Being a mature student with some prior experience I already knew when I joined I wanted to focus on modelling and texturing. That isn’t to say I’ve not picked up new things I have an interest in over the year, I’ve really enjoyed my After Effects from the more motion graphic kind of work to compositing and matte painting. I don’t want to lose or ignore these new skills but will likely continue them as a sideline/hobby and continue to focus on modelling.

I’ve gotten to grips with Maya, had great success with Substance Painter and am looking to purchase ZBrush over the summer to include it into my workflow. I’ve also had some great texturing success using curvature maps and generators to weather and age models. Over the summer I plan to get much better use out of my paid for training materials (Pluralsight) and brush up further on all of these tools. Hopefully I should return for the synoptic project ready to produce something the industry would be proud of! My time left to succeed is limited so if I don’t kick it up a notch now, I’m only hurting myself.

Year One – Contents Summary


This is a post bringing together all of my submissions to allow teaching staff easy access for marking. I’ll categorise to each module.

3D Modelling

3D Room – Feedback Re-submission

Low Poly Project – Submission

High Poly Pirates – Wk 4&5(unfinished)

Concept Art

Robot Concept Brief -Developed Design

Dystopian Vehicle – Final


Animation Ident – Final

Break the Cycle – Animation Project Submission

(Optional Animation Post/VFX)

After Effects Rigging – Animation with Expressions (Pt.3)


VFX – Final Idea Pt.4

(Optional VFX Posts)

VFX – Skin Replace/Glow

VFX – Matte Painting

After Effects – All Star Credits (Pt.2)

Game Design

Analysis of Game Design Pt.1

Analysis of Game Design Pt.2

Analysis of Game Design Pt.3

The Maze Game

Xmas Game – Submission

Another Xmas Game – WIP

Programming (Yeah I know the grade isn’t based on posts but it keeps my mind organised)

Exam Prep – Individual Game (Pt.3)

Walking Sim – Unity Asset Creation

Walking Sim – Adding Scene Interactivity

Walking Sim – Polish & Peer Review


Global Game Jam 2017






Normal, Displacement & Bump Maps

We have been asked to research into normal, displacement and bump maps. Hopefully in this post I’ll point out the differences and what each are used for. All of these maps do something akin to adding detail on the surface of geometry without an increase in geometry.

Bump Maps

A bump map is now an older type of map, I remember using them when I was first learning 3D many moons ago. They create the illusion of depth on a surface using lighting tricks using a greyscale image. Differences in white and black values (8-bit 256 colour choices) tell the software package up or down faking depth.


White details are raised, black are lowered. They’re great for creating small surface details such as pores and relatively easy to make. I used to throw them together back in the pre-historic days of Photoshop 4. The weakness of bump maps is they break pretty easily if viewed from the wrong angle. Since all detail is fake, the silhouette of the geometry will never change.

Displacement Maps

Displacement maps don’t fake additional detail, as long as the source mesh has enough subdivisions a map will displace geometry. They can be created from a high poly model and baked or painted by hand like bump maps of old, better results can be found using 16-32bit greyscale maps rather than 8-bit.


However unlike the fake detail of other maps, displacement takes a lot of rendering power and therefore time consuming. Therefore most applications only calculate displacement maps at render time and not in the viewport. It’s hard to beat the results of displacement maps but the end quality should always be weighed against the extra rendering time to see if its required.

Normal Maps

Normal maps are the newer better replacement for bump maps, they work in the same fashion, faking surface detail by light tricks. The maps they use are RGB rather than 256 bit greyscale and this changes the way they work over traditional bumps. While bump maps can only represent an up and down value, the RGB corresponds to the X,Y,Z axis in 3D space. This allows the map to tell the software the direction each normal is facing, allowing for more complex light shading.


There are two types of normal map:

  • Tangent Space Maps – A mix of purples and blues, work great for meshes that have to deform during animation. Great for characters.
  • Object Space Maps – Rainbow assortment of colours, improved performance. Works best for meshes that won’t deform at all.

Normal maps are very difficult to create by hand and are usually generated by software packages. Most often baked out from a high poly mesh to use on a lower poly mesh. Which brings me onto today’s exercise.

Maya High to Low Baking

The exercise we were given was to create some form of crate, first modelling a low poly version, duplicating this and then going to town on it for the high poly version. This would then be baked down to the low poly to demonstrate the technique.

We had around an hour to create both models. Since this was a learning exercise I simply tried to copy the design of one of the crates in the demonstration slides.


I knew what ridges I wanted on the box and after some advice that these would still be required on the low poly, I made sure to sculpt as much as possible of the core shape without adding detail. The high poly was achieved through a combination of adding new meshes and boolean operators, it seems that when making a high poly for baking that mesh neatness isn’t too much of an issue as long as there aren’t any ngons. The low poly was auto unwrapped and the two were placed sharing the same co-ordinates. Time to bake!

Following Matt’s powerpoint slides I baked out the normal map. The process doesn’t appear too complicated however there is a lot that can go wrong. In Maya’s rendering menu, go to Lighting/Shading > Transfer Maps, assign your low poly to target mesh, your high poly to source mesh. Choose normal map, tangent space normals, image format and quality settings, hit bake and go make a cup of tea while it creates your normal map.



For a first attempt it succeeded quite well, especially considering all the warnings we were given of things that can go wrong.

Here is the model on sketchfab too: with wireframe and textures turned on so its easy to see the difference.

Brilliant stuff and although I already knew of their purpose, they’re as essential tool especially for making games. The illusion of extra detail rather than having to render extra polygons reduces the amount of draw calls needed and keeps a game engine running happily and efficiently. I look forward jumping into this more in future lessons, it’ll be a valuable skill.

3D Room – Feedback Re-submission

Using the feedback given for the 3D room back in November, I made a few updates and changes. I didn’t manage to act on all feedback just yet, but I feel like the changes I did make were the major ones ruining the overall look of the scene. I’ll quickly list some of the recommendations given to me rather than posting the entire feedback.

  • Work on lighting techniques, specifically bounced light. Edges of spotlights are clearly visible and need to be softened.
  • The purple backlight to the scene colour clashed with other objects and needed to be a more appropriate complimentary colour.
  • If similar objects are given variations of the same texture it would bring more life to the scene as currently everything is identical.
  • More scratches, dirt and imperfections on the floor.
  • Intricate details such as screws on objects (once normal mapping has been covered in class).
  • Crosses on crates are irregular and off putting, try to make this more regular.

The things I have managed to fix are both points for the lighting, some texture variation and more weathering (but currently not on the floor).

Tackling the lighting was approached as a fresh slate, this wasn’t deliberate, both of my backups loaded up an error and all lights were missing. After setting things up similar to what they were before, I started with two big changes. All lights were given quadratic decay rather than no decay and the drop off on spotlights was ramped up to around 4-5. I took some time to look at renders and see where the cones were still visible and then began to use very low intensity ambient lights to help paint out the harsh edges (usually around intensity 0.05 – 0.1). Finally I set the area backlight back up and this time changed it to red rather than purple to compliment the green crates.

Even I’ll admit this makes a big difference when compared to the old render.

The old render, spotlight edges can be clearly seen.
The new render. Spotlight edges are gone and the lighting is softer overall.

The other edit I made which is obvious between these two renders is that I fed the sky box texture to the incandescence channel rather than the diffuse. I had read that this was a quick and dirty method of having the texture be unaffected by lights in the scene, I believe there was also a surface shader which did a similar job.

Finally I decided to add some variation in the crates and more obvious weather from a distance. This was all courtesy of Substance.


Now there is an obvious difference between the weathered crates and the ‘new’ crates.

I do however need to learn what channels require which maps. I didn’t bring in the metallic map to Maya, so the crates lost some of their under sheen. I know Maya has a plug in to accept PBR shaders from Substance and need to get around to installing it, maybe that would help importing textures a little easier.

Sadly I didn’t get around to doing a similar thing for the railings or scuffing up the floor. As the room itself is comprised of 8 UV sets which still seem highly unstable, importing it into Substance would never work. The floor is also a repeated tile so any scuffing I did to the original texture would end up repeating a lot and might make the repetition seem more obvious. So that feedback was back benched until I can think of a better approach. It would have been so much easier if I’d broken up the room geometry into separate models, it would require a complete rebuild but from here may be the only way forward for improvements.

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I will admit to having removed the spaceship. It was such an early model and in terms of quality brought the rest of the room down. Ideally it needs replacing with something else. More than anything though I’m just pleased I had a second attempt at the lighting, it really has made the biggest improvement.



Concept Art – Texturing a Spiked Post

Today in concept art we were given a helping hand with our texturing skills. We used a combination of Photoshop & Mudbox’s ability to live paint to texture a blank spiked post. The model was provided and UV unwrapped by Tony for this exercise.



The aim of this exercise was that every object has a ‘story’, by this I mean how the environment or use has affected it. I usually refer to this as weathering. The example given is a rock is lodged loose and rolls down a hill, it falls into a pot of orange paint. The rock is then found by passers by, removed from the paint and further thrown down another hill where it comes to a stop. How different would the rock now look compared to the start of its journey, likely covered in paint, dirt, bits of grass, dust etc. How would you go about texturing this to tell that ‘story’.

We were provided with a blank UV set and let loose to texture the post however we wanted within Photoshop, while keeping in mind the idea of giving the object some history. I began this the way I begin most of my textures, filled in each area with a solid colour to represent the material I want to emulate and then headed to to find some resources I could use to start adding detail to the post.

While considering the posts function, time period, building material etc, I naturally fell upon some sort of medieval fortification, could be medieval fantasy too. Therefore I stuck with the obvious building materials of wood and iron, however for a raw look I opted to make it look like an unprocessed log with the iron work attached. I gathered textures as close to the idea I had and set out editing the texture together. Once I had all the base textures applied, I went in on a second pass adding some alphas of mossy grunge, dirt and rust and used the burn tool to darken some of the edges in an attempt to blend them a little better.


The end result looked okay, but had the same feel as most of my photoshop textures, owing to an over reliance on photo textures. Tony had shown examples of some gorgeous hand painted textures, eventually I’d love to replicate something similar. There is also Substance Painter which is slowly changing my workflow. I’d rather not get too stuck into one method of working.

Speaking of new ways of working, our textured models were then imported into workflow. At first I was a little confused, I knew about its sculpting but I had no idea it had live paint abilities similar to Substance. So after being shown a few of the basic painting tools and how the layers worked, I tried to blend some of my rust alpha into the rest of the texture, there were some areas it ended abruptly and looked out of sorts. I could have spent many more hours tinkering but sadly it’s a short class, from Mudbox it was brought back into Maya with the new changes to the texture.

To wrap up the lesson we rendered out the scene using the renderer Turtle. Brand new to me, never heard of it before but Tony assured us it exists in Maya. I need to check the plug-in manager of my student copy and see if it exists. For what I’ve seen of it so far it gives a very crisp render and has softer lighting by default. Maya software first, Turtle below it.



I spent part of Sunday downloading new materials into Substance from Substance Share and I thought I’d quickly test some of them on the arch/wall from this tutorial. Any excuse to try and learn more about the software! Rendered out using IRay since I seem to have lost the use of Arnold in SP after installing Mental Ray.


Robot Concept Brief -Developed Design

Finally time to start wrapping this project up before I get overwhelmed by the next project. During the group crit, my best picks were nailed down to three and I opted to develop my hornet into a more polished piece. For memory this was the sketch.


I thought about sitting with a pencil and paper and trying to draw a brand new version and then digitally paint it, eventually though digital won and I decided to model it as best I could and edit it onto a background. Since the model was only going to be used as a concept render I knew I could cut some corners, not all geometry had to connect, making it a quicker build than expected. Quick enough that I forgot to take progress shots along the way, so here is the model, coloured up with a few blinn shaders.


I forced the perspective on the camera a little to try and emulate the same effect I had in my sketch, worked pretty well! I threw on some basic shaders just to use as guides for painting in Substance Painter, while I’ve still not found the time to get to grips with it it doesn’t hurt playing about. So cue another couple of hours and we get to…..


I then threw this into photoshop, added a city street photo to the background with HEAVY motion blur to emulate speed and further forced perspective on the render with perspective warp. Finally I added a tiny touch of motion blur to the robot to get rid of the crisp render lines. Now it’s flying at speed, probably to find a target to assassinate!


Currently I don’t know if I’ll add anything else or re-work parts of it. It’s not exactly to the same sort of scale as the sketch, which bothers me a little. Rather than making edits I’ll bring it into the next concept art session for critique and take it from there!






3D Room/Environment – Submission

Powerpoint Submission of Renders


Here is the powerpoint file for submission which contains all renders for the project.

Finally the deadline is upon us! This post will be a comprehensive wrap up from start to finish. So rather than tread over old ground again, I’ll simply post links to old posts and discuss.


Inspiration Post

Concepting Post

Having chosen to do the spaceship interior for the brief rather than modelling a real room (from my home or elsewhere), research and prep work was a little bit different to picking up a camera and gathering research materials. I ran through a few old video games and movies for aesthetic inspiration, then put pencil to paper and sketched out an environment.

I deviated slightly between the original design and the finished product. Some of this was down to not planning ahead with the geometry, limitations on the type of modelling I was doing (need to be very careful using planar rooms in the future, they do have their limits) and being honest some of it down to time again. However none of that means I’m disappointed with the end result, far from it! Having kept the textures from the concepting stage I was able to re-use some of them on the model, keeping it spot on to the original artwork.

Modelling the Room

Okay here is where the waters get a little muddy, this project ended up being partially paired up with my Unity project which has been mentioned before. So for my first WIP modelling post, I’m going to link to a Unity post made during half term. This is where some of the assets came from.

Unity Asset Creation

After this there was a rather large time jump before I posted anything else. This was mostly me texturing some of the previous assets and the creation of a few new ones. These would all be the basic items used to populate the scene.

3D Room/Environment – WIP1

Not long after I finished the room itself and began populating it.

3D Room/Environment – WIP2

Now truthfully there should have been another post after that, instead I chose to do the mad dash to the finish line method. So overall this post will be a little longer than it should have been.

There is a lot I can take away from the whole modelling process and thats before I get into texturing. Sometimes a bit of previous experience can lead to bad habits, I see now I started the course guilty of this. For far too long I was oddly reliant on vertex mode and only vertex mode, which limits you immediately if your initial sub-division geometry isn’t perfect from the start. Thanks to classes and online content my eyes were opened to the wonders of edge loops, after that modelling was FAR easier. Not to say I didn’t pick up on other useful tools along the way, I find myself using extrude and offset for new face creation a lot too. In the wise words of one tiny green old Jedi “You must unlearn what you have learned”. Too true Yoda, too true!

Now texturing was my hurdle all the way through this entire project. Previous posts have talked about this. Single small objects, absolutely fine. Unwrap as normal, export to Photoshop, done! However given my environment was a single mesh large planar mesh, exactly like how I’d built my Unity environment, the problems never stopped. This was eventually solved by the discovery of UVsets, allowing me to UVmap individual sections of a mesh, apply its own texture and setup the UV relationship in the relationship UV Centric window.

I saw this as the solution to all my problems, I could even go back and texture my entire Unity game. It would look great! Until I tried to import the whole thing into Unity. Turns out Unity doesn’t like multiple UV sets, it’ll only read whats on the default map (UV0), so unfortunately the mystery continues as to how on earth I texture large environments.

Here is the really cool, fun bit. If you go take a look at the renders of my individual items I’m most proud of, you may think wow that is a huge quality jump from the other renders! You’d be right. Two days before this submission I invested a chunk of cash into the indie bundle for Substance Painter. I’ve had barely any time to learn it but it was used to render out the single props, my Maya refuses to use Arnold however Painter doesn’t have a problem. The computer console was fully textured in Painter, I think it looks okay for someone with zero training in the program. The Xmas holiday will involve a crash course I’m sure.

Sketchfab Links

Here are all the links for the three models I’m most proud of.

Sci-Fi Computer – Sketchfab

The computer model doesn’t show up in any of my previous posts purely because it was created in the last 48 hour mad dash to finish the project. As already mentioned it was quickly textured using zero knowledge in Substance Painter. For the speed I put it together I’m pretty happy with it and it really helped add something extra to the overall scene.

Crate – Sketchfab

Originally a model from my Unity game, now textured. I know the model itself isn’t anything fancy or complex but I spent a lot of time adding metal textures, tinting them and blending layers together to get something I was content with. For that reason alone it earns a top spot for me. If I’d had more time I would have created a bump map for the crate to try and highlight the scratches in the texture.

Railing – Sketchfab

My personal masterpiece! Again not a complex model but certainly the one I spent the most time texturing, before realising if I spent that amount of time on everything, I’d never complete the project. It has rust, it has grime and overall is the most real looking model because of it. They really pulled the scene together and made the crate storage area stand out as the best part of the scene.

Reflection from Start to Finish

I don’t wish to repeat some of the comments I’ve made in the past on other posts or even comments here so I’ll keep this as more of a summary.

I’ve learnt a lot from all of this, mostly from making mistakes. Maya is an unforgiving mistress sometimes and I’d say learning what not to do is a far bigger list than learning what to do. I’ve already mentioned this has all helped changed the way I model for the better, taking all these new skills forward I finally feel like I can progress onto bigger and better things. Especially since the speed of my modelling has also increased. Maybe one day I’ll dig out my college final major project from 14 years ago and compare the two.

The part I’m still most frustrated with is texturing large items. I found a workflow, it worked, the environment was completed and then I discover its a useless method for game engines. It was a low moment for me and I’ll be back to the drawing board for a new method, which may involve Substance Designer.

Overall though, time is my biggest hurdle. It’s been mentioned time after time in my posts but it really is the biggest obstacle in large creative projects such as this. Spend too much time modelling, your texturing quality is low and vice versa. I wish I could have added all the items that I had planned, and used a fully textured version of my glaive ship rather than the very basic first attempt ship that was used in the end. Thankfully, like anything in life, the more time I spend doing and learning the better time efficiency will get.

Bring on the next modelling project!




3DRoom/Environment Update

Just a quick post to show where I am regarding the room (I did promise I’d make another update soon). So Sunday was spent tackling the room itself, walls, floors etc. I opted to follow the same construction methods I used for the Unity game and kept the room planar, mostly because the base I started with WAS one of my unity rooms, which was cut up and turned into something new.

This was a bit of a pain as the room had far more detail than previous iterations and squeezing all of this onto a flipped planar box was….well I’ll keep that kind of colourful language away from a professional blog! Needless to say it tested my patience, removing sections, welding sections back together again and again ended up created a lot of hidden geometry, which took some cleaning and on occasion prevented me from adding new cuts. The important part is I got there in the end and in future I’ll use more objects to create internal room structures.

The absolute best thing I learnt during this and I’m still thanking the gods for, is UVsets. Applying multiple textures to one object, finally cracked it. I can now go back when there is time and texture the whole of my Unity environment!

The process works like this:

  1. Select the faces you want to texture.
  2. UV > Choose your mapping type, for me this was all planar.
  3. In the UV editor go to Polygons > Create New UV Set and name it.
  4. Select the shells you just created and go to Polygons > Move to UV Set > Select your new set.
  5. In the new set, unfold as normal.
  6. Setup your texture in Hypershader and apply it to your chosen faces.
  7. Your texture will look awful as its still taking mapping information from the default map1, to fix this go to Window > Relationship Editors > UV Linking > UV Centric.
  8. Associate your map with the file attached to your shader. Voila.

I’ll try and return to this post and add some pictures to explain the process but for now I am super busy with deadlines and rushing through this. For now I’ll leave you with some WIP renders.



3D Room/Environment – WIP

It has been a while since I last updated my blog on this, so here goes! My spaceship interior and my Unity project happily collided a little while back, I was given the all green to use assets I created for Unity in this project and then eventually use the whole thing as an addition to my Unity game. This was a great help!

I’ve been struggling a little bit with coming up with new ideas/concepts to model and due to this ended up leaving the project on the back burner while I worked on other projects. Honestly, bad move time management wise. Now I’m buckling down for the next ten days to get this achieved for the deadline, to a quality I’m happy with.

On top of this the few times I have worked on it Maya has been troublesome. I’ve spent a lot of time on the Autodesk forums fixing issues my personal home installation has been giving me. I’d had a lot of Mel Python script errors when starting Maya, which kept escalating to the point it stopped being able to load or use texture files. It seems this is actually quite common and is due to Maya randomly disabling its own plug-ins. If you go into Windows > Settings/Preferences > Plug-In Manager its a simple case of turning them back on when this happens. If only I’d known this before I tried multiple times to do re-installation repairs. Any workman worth his salt should know his tools, and figuring out fixes like this can be just as time saving as polishing your modelling skills. In IT terms I guess this would be whats known as a ‘Known Error Database’, yes I can fix that in a minute, it happens often! Then everyone gets back to work.

So in short I’m taking what I learned during half term from the digital tutors content and really trying to make headway as quick as possible. Although I wish I could find some reliable info about stacking identical UV shells in Maya, it would save me so much time but cannot get a definitive answer on how to do it. I know Blender has a button for it, so Maya must!

Here is my idea checklist I’ve had for a while. I started this after making my environment concept art, trying to think what else might be stored in a hangar bay, expanding on what I’d already drawn.


As you can see I’ve made some progress, even with finishing off assets that were started in the Unity game.



My crate which was always bare before has finally started getting textured. Not quite there yet but nearly finished. I initially started with a wild orange & white colour scheme however it seemed out of place and I opted for something a little more military/utilitarian. I’ve also added no detail pass yet, such as dirt, little bit of rust etc. However the lid does have a few scratches at least. The green panelling colour is actually two different metal textures, one tinted green and the other being used for an overlay blend mode. I fussed about a lot with this, going from clean plastic looking textures, to heavily worn and back again before I settled on this.



My pipework finally got a splash of galvanised steel. Again it hasn’t had a detail pass yet. Compared to some of the other objects I’ve had to UV unwrap so far, this was beautifully simple. I’ve changed the metal texture on this three times already and I just can’t get to a point where I’m happy with it, however for something so minor I eventually put it down and walked away from it to do other things.


Ahh oxygen in space, that lovely thing the whole crew needs. So why wouldn’t you want this wonderful ventilation fan in your scene to pump that delicious air around your huge spaceship. Still untextured however I need to figure out how to texture an object made out of multiple grouped objects. Each fan blade is its own bit of geometry, it was the only way I could think to create this. One blade was positioned, it’s pivot point brought to 0,0,0 (where the centre was) and then I used duplicate special to set each duplicate with a rotation value of 15 degrees. 360 / 15 = 24 copies and then hit apply, voila!



Okay I know it’s a simple model of a safety rail, but I’m quite proud of this. Completely finished with scratches, rust, grime the whole texturing nine yards. In future I’ll get a bump map on there for even further weathering. Finally I can fix that awful breach of health and safety in my Unity stairwell that my buddy decided to comically point out! If I could get everything to this standard by the deadline I’d be thrilled, if not then I just have to keep adding to it over Xmas until I’m happy with the end result.

Self Reflection

Something I’ve already taken criticism for and I fully agree with it, is I get hung up on small details and will throw away so much time fussing with them. When I don’t even have the actual room/environment I’m going to put these objects into yet I shouldn’t be overly focused on if something has the correct amount of weathering yet.

Primary concern going forward, better time management between all projects. I can’t say I had too many moments in my IT career where I was sitting going yeah this server isn’t pretty enough, maybe I should make a swan out of CAT5 while I’m cable managing this patch panel. New qualities needed for a new field.

Fingers crossed my next update will be pretty snappy!


UVs for Glaive (2nd Spaceship)

I said I’d do it when I had some time and I am thrilled to say I’ve finally figured out the UVs for my glaive. So quick update to post them and to give me somewhere I can put continued progress when I finally start texturing.

Can’t wait to start texturing this!


I’ve said before where I had difficulties with this model and the guns continued to give me trouble. Not 100% sure if its the way I modelled that area but I had multiple edges stacked on top of edges in certain areas which were causing the UVs to go crazy.

In the end I deleted half the model and sat for a few hours repairing one half, re-did the UVs for that half and then mirrored geometry and UVs before organising the layout. With the modelling an interior brief on the go I’m not sure when I’ll find time to complete this, fingers crossed I can make time somewhere.

Here is my model on Sketchfab (I’ll update this and reupload once I’ve textured).