![]() They shape the cascade and determine how styles are to be applied to elements on a page. That’s a nice balance for me and fits around my life and commitments, but there were periods when it would be almost zero because of these things.Selectors are one of, if not, the most important parts of CSS. I typically aim to put 6-8 hours a week into personal projects. I went through patches of low productivity due to being a little mentally drained at times, plus a few very busy months at work which took the steam out of me. The main challenge during the making of Sunset Glade was 2020 itself (and I’m sure I’m not the only one who was affected). It took a bit of time and experimentation to implement alternatives which made up for those lacking features. One of the downsides of using the Simi CelShade post-process material were the limitations it presents. I’ve dabbled a little bit with UDK/Unreal over the years, but had mainly used Unity and custom inhouse engines in a professional setting, so there was a bit of a learning curve getting used to the engine itself again. These complimented the surrounding warmer tones and created some nice contrast in values at the same time. A very subtle skylight (using an image downloaded from HDRI Haven) was also used to help add a little more ambient lighting to the shaded areas.Ī big teal coloured spotlight was used for the light emanating from the portal, supported by point lights near all the crystals to create some additional glow. To balance the lack of bounce light, I used a secondary directional light with a slight yellowy-green hue pointing in the opposite direction for the sun, to help knock-back some of the darker areas. ![]() This light casts the majority of the shadows in the environment. I was initially using a static lighting setup, baking in all the information at regular intervals, but it quickly became apparent it was very time-consuming with my current laptop (she needs putting out of her misery soon and replacing with a shiny desktop).Ī main orange directional light was used for the sun, angled in a way that illuminated the pathway leading to the portal. There is nothing fancy happening with the lighting in Sunset Glade, but it did go through some evolution during the time I was working on it, mainly down to the post-process material I added (more on that later). Again this was plugged into a Static Switch, only being enabled for the floating gem material instances. A Time node plugged into a Sine wave was multiplied with a Constant3Vector set to 0,0,5, which creates a slow up-and-down motion on the Z axis. Was a bobbing motion for the floating gems on top of the pillars. One final feature I added (and this could have been split out into a separate material potentially) The blue channel was reserved for masking out the moss. This helped to embed ivy into the walls, rocks and pillars better. Vertex painting functionality was added, allowing me to paint in some subtle green and reds. Parameters for controlling the scale and intensity of the normal map were also added, followed up by a Static Switch to toggle it on or off. This was used as the alpha for the world-aligned blend and had parameters for controlling the sharpness and bias of the green moss.Ī simple detail normal was sculpted and used to overlay some additional surface texture to the rocks. ![]() I wanted to add moss to the tops of the rocks and portal, so setup a world-aligned texture using a simple tiling mask texture I made in Photoshop, which would affect areas facing up on the Z axis. The master material used for the various stone assets and tree trunks has a few different
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |