![]() Usually, we did this by blocking out the vehicle in a gray box form and then messing with the scaling tool to make the proportions look good for the game. We took on a very Advanced War style where we would smash the vehicles to look almost cartoonish. Because the game is highly stylized, there was no need to match the exact proportions of the vehicles. Modeling the vehicles directly from the references was more than enough. ![]() How was your modeling workflow organized?įor the vehicles in Warpips, we used a ton of reference photos but didn’t use any concept art. For me, they also do a good job of blurring the lines between the very flat-looking games of the early 2000s and modern games without losing that retro edge. These post-processing effects give that old school look a really modern feel. While working on Warpips, we got a ton of mileage from just basic lighting and shadows, but also used modern post-processing effects like vignette, AO, and bloom. There’s no need for modern workflows that take advantage of PBR materials as most of the lighting on the object will be either unlit or, at best, use the old school Blinn Phong lighting model. When your entire texture is 32×32, you can cover a lot of ground by just hand-painting the object. ![]() Old-fashioned polygon modeling in 3ds Max or Blender, unwrapped to be hand-painted directly in Photoshop. We won’t use modern tools like ZBrush or Substance. But the transition from modern graphics to retro graphics lies in the workflow. The main principles are the same: form, shape, tone, color, silhouette. What is the key difference between creating a retro-style 3D model and a model for games with modern graphics?
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