#Final Master's Project

[jian-wei-24]

Final Masters Project: Forefront (Production Workflow)

Figure 1: Dmitry Rusakovich's Tavern on the road. (Rusakovich, 2025)

Dmitry’s journey began with simple tutorials and grew into structured learning through a course. This reflects the value of starting with small steps and then seeking guidance when ready. In my own work on a colonial Malaya environment I also combine self study with targeted learning resources. I watch free and purchased tutorials on specific tools such as Blender, Substance 3D Designer or Unreal Engine and then apply those lessons directly to assets like kopitiam furniture or period tiling.

Figure 2: Dmitry's Reference board. (Levine, G and Rusakovich, D., 2025)[Left] Figure 3: My Reference board. [Right]

The practice of gathering rich references before modeling is central to both Dmitry’s tavern project and my own scene. He collected images for building shape and detail then revised the blockout to match the concept. I similarly research historical architecture through real life images and google maps, and Peranakan design motifs. I assemble a reference board with photos of actual shophouse facades, furniture, tile patterns and interior fixtures. Documenting how each reference influences my blockout and early simple models helps demonstrate a thoughtful approach to authenticity and creative direction.

Figure 4: Dmitry's modular wood and wall piece. (Levine, G and Rusakovich, D., 2025) [Left] Figure 5: My Modular pieces. [Right]

Modularity and logical division of assets featured in Dmitry’s work. He separated building modules and treated unique elements with care. In my environment I adopt the same idea. I design core modules such as wall segments or roof beams that reflect colonial and Peranakan styles and then craft unique props such as period furniture or decorative elements.

Figure 4: Dmitry's roof creation.

The roof creation stands out as a brilliant solution because it uses Unreal Engine’s Nanite to turn a simple base mesh into richly detailed geometry through displacement mapping. First the basic roof mesh is remeshed with enough triangles to capture the height map detail. Then a Texture 2D Map is applied as displacement so the tiles gain real geometry rather than relying on simple normal maps. This method produces fine tile shapes and edge variation without the need to sculpt every detail by hand. The subsequent use of simplify tools to remove softness and manual cleanup in Blender ensures the mesh remains both accurate and efficient. Adding a skirt of tiles along the edges further improves realism and structural coherence. This workflow cleverly combines procedural steps with manual refinement to achieve impressive detail while keeping performance in check, showcasing forward thinking in environment art. I plan to utilise this tip when I reach the part where I create the roof of the kopitiam (Coffee shop) shophouse.

Composition and lighting are essential in guiding the viewer’s focus. Dmitry positions the tavern off center and uses leading lines and framing elements to draw the eye. In my scene I will simplify neighbouring buildings so they have fewer details and naturally direct attention to the central kopitiam entrance. I will frame that entrance with period street lamps and foliage if time allows. I plan to use dynamic lighting in Unreal Engine with global illumination to create an evening mood. Only the kopitiam will be illuminated while adjacent buildings remain dark with their lights off. This deliberate use of light helps steer the viewer’s gaze toward the heart of the scene.

Finally Dmitry reflects on the importance of feedback and persistence when outcomes were uncertain. I also seek critique from peers and professionals to refine my historical environment. In my blogs I share how I responded to feedback on architectural accuracy or texture realism. By iterating based on input led to clearer and direct storytelling in my scene. Hence with an open mindset and willingness to revise are key to professional growth and to producing work that resonates as a cultural artifact.

References

Levine, G and Rusakovich, D. (2025) Storytelling in a 3D Scene: Creating an Old Tavern with ZBrush & UE5. [online] 80.LV. Available at: https://80.lv/articles/storytelling-in-a-3d-scene-creating-an-old-tavern-with-zbrush-ue5. [Accessed: 22 June 2025]

Rusakovich, D. (2025) Tavern on the road. [Online] ArtStation. Available at: https://www.artstation.com/artwork/lGEQ5o. [Accessed: 22 June 2025]

[wyvernity]

wip posting just to get something out there, and it's def a mixed bag!! the only thing more inconsistent than my posting schedule is my art style RIP

[vocalaar]

did this thing on tiktok n im running out of ideas of what to post so here

[maryasmorevna]

Sasha Samokhina + Farit Kozennikov, Vita nostra & Assassin of Reality

[rvicta]

Vitamin Deficiency

[ribbittrobbit]

MOUNTAIN GOATS TODAY

[excali-bruh]

MAG 1 Angler Fish

[jian-wei-24]

Final Masters Project: Forefront (Design Workflow)

Figure 1: Jake Lipelt's Wizard Tower. (Lipelt, 2025)

Reading the breakdown of the Wizard Tower project by Mr. Jake Lipelta, fellow material artist, offered an inspiring perspective on combining personal research, artistic direction, and procedural workflows. Their decision to focus on historical sources such as the works of Frank Frazetta and Jim Henson rather than recent popular media reflects a deeper commitment to originality and authenticity. This mirrors my own approach in developing a 3D environment based on colonial Malaya, where I draw heavily from cultural history, archival references, and traditional design rather than modern reinterpretations.

Like the artist, I prioritise building a strong narrative foundation through research before modeling. While they built their composition around magical fantasy themes, my environment tells the story of a unique cultural blend between Peranakan Chinese heritage and colonial British influence. Their use of personal sculpting and modified assets from museum collections is similar to how I study and adapt traditional furniture design to reflect a historically accurate and emotionally grounded setting.

Video 1: Demonstration of procedural texturing. (80lv, 2025)

Their procedural texturing method using controlled masks and layered noise to simulate wear and environmental storytelling also resonates with my own techniques. I would apply similar principles when weathering exterior walls, slightly damage furniture, and ensuring the visual logic of material flow aligns with the real-world function and decay of the objects. Their workflow in Substance 3D Designer and focus on the height map before detailing other channels has encouraged me to rethink how I construct my surface variation and texture logic. This article also further my interest in utilising Substance 3D Designer for my texturing process later down the production line.

Another key takeaway was the importance of relying on meaningful references and choosing educational resources that prioritise understanding over shortcuts. As a developing artist, I deeply resonate with the idea of avoiding surface-level, result-driven tutorials and instead seeking material that explains the underlying principles of the tools. This approach has significantly shaped how I learn and apply techniques, particularly within Substance tools and Unreal Engine. One of the steps I have already taken to grow in this direction is by sharing my work publicly to invite feedback from experienced professionals. Their insights have been invaluable in helping me identify areas for growth and refine my workflow with clarity and purpose.

Reference

Lipelt. J. (2025) Wizard Tower. [online] ArtStation. Available at: https://www.artstation.com/artwork/Gvdyd4. [Accessed: 19 June 2025].

Rutherford, A. and Lipelt. J. (2025) How To Texture A Large-Scale Scene Using The Layer System In Unreal Engine. [online]. 80.LV. Available at: https://80.lv/articles/how-to-texture-a-large-scale-scene-using-the-layer-system-in-unreal-engine. [Accessed: 19 June 2025].

80lv. (2025). Noise. [online] YouTube. Available at: https://www.youtube.com/watch?v=i0lgT-aC2rs. [Accessed: 19 June 2025].

[theaterchemy2]

On one hand, I really enjoyed the irony of Shouma's fight with Rango - an executive of the Stomach company being demoted to a lower station, practically making him another part-timer in status, and therefore he's treated just like another MOTW threat. Granted, he's strong enough to necessitate Shouma using Master Gavv for the first time, but the two-episode structure of his appearance and defeat really hammer home how far he's fallen.

On the other hand, it doesn't feel as rewarding as a viewer. Rango was introduced as the head of a human trafficking business; you'd think he would have a few scenes sometime before his monster form debuted showcasing how evil he is, but we didn't really get that until he had been demoted. Sheeta had been eliminated, Jeep was off getting married, Glotta and Nylev were at least still prominent in the plot as Stomach Inc.'s enforcer and researcher respectively, and Bouche was dead.

Junko Komura villains tend to either not really get involved in the plot at large until they are prompted to do so, or they are introduced and then eliminated. For instance, LuPat's Zamigo was underutilized as an antagonist, and Zyuohger's Ginis was BARELY present until the end. In Gavv itself, the guy who became Bitter Gavv after Suga's death barely made an impact aside from removing Hanto's Frappe form. Heck, even Suga himself wasn't given much to do as a Rider since he was killed in the episode after Bake's debut.

I get that the actor might not have been as available as the rest of the cast, but still, it would have been more satisfying to see the bad guy do bad guy things.

[charmwasjess]

Looks like the Qui-Gon graphic novel got quietly pushed back to January 2025. It's probably a good thing since I haven't recovered yet from The Living Force with its handful of Sifo-Dyas mentions and still need to survive whatever the Acolyte is going to do to me. A full storyline set in Qui-Gon's Padawan era with Dooku might kill me, especially if they don't take the coward's route, and actually depict Dooku as beautiful as young Christopher Lee as they did in the Yoda comics. (Or, speaking of that run, let him have character development and sympathetic moments.)

[sad-leon]

Ya know that Spotify wrapped art game thing? I wanna do that!!

Send me a Rise (or Rise AU*) Character and a number 1-100!! I'll try to make a doodle with that character and that song!

* If I do not know the AU I will probably not do the prompt, please don't send me OCs unless you know that I know them (aka, moots can send me OCs if you'd like sndjsjsj)

With finals wrapping up this week and next, I'm probably gonna sit in burnout for a minute before I can work on more projects, so I wanna do something fun during that time!

They'll bad tagged under my art tag and #leonwrapped so I can keep then organized

[yesokayiknow]

WIP ASK GAME

Prompt: Make a new post with the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. Let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! And then tag as many people as you have WIPs.

Tagged by @appleciders (ty!!)

Using their rules and going by the things that have been relevant in the last six months or so and only including stuff I've actually written a little of, not notes docs or outlines.

decided to split them up by fandom/lack of to make them easier. i haven't worked on a lot of fic recently tbh bc i've been writing a lot of original stuff (and i was working on my degree!!!)

agatha all along

matks

more

gay witch band au

i cant call this death becomes her. gdi

time loop y thing

severance

(this one actually does not have a title. lol)

doctor whomst

eping angel 13

eldritch thinggg

donna noble's halfway house for wayward immortals

grey's

(another untitled one)

original stufff

riding the curve

the child eater

ghosts

it's midnight & im too tired to recall who writes around here but uhhh @ennn @picnokinesis @taardisblue if any of you would like to do it (np if not👍)

[vault81]

Jack Cooke's Travel Log - Master Post

A series of audio recordings made by my OC Jack Cooke as he traverses the Capital Wasteland and the Mojave! (just a fun lil oc project for me to work on!)

Fallout 3

Jack Cooke's Travel Log: Vault 101 - 17/08/2277 Jack Cooke's Travel Log: Springvale - 17/08/2277 Jack Cooke's Travel Log: Megaton - 17/08/2277 Jack Cooke's Travel Log: Super Duper Mart - 18/08/2277 Jack Cooke's Travel Log: Big Town - 19/08/2277 Jack Cooke's Travel Log: Germantown Police HQ - 19/08/2277 Jack Cooke's Travel Log: Minefield - 20/08/2277 Jack Cooke's Travel Log: Grayditch - 22/08/2277 Jack Cooke's Travel Log: ROBCO - 24/08/2277 Jack Cooke's Travel Log: Fort Independence & Fairfax - 25/08/2277

[jian-wei-24]

Final Masters Project: Modelling Progress (Cupboard).

Figure 1: Cupboard references.

Several references were studied to inform the design of the cupboard, drawing inspiration from Peranakan culture regardless of regional origin, alongside traditional Chinese-style cupboards. To enhance authenticity, elements from both were blended thoughtfully. However, certain traditional building techniques were deliberately set aside in favor of more Western-style features. For example, the classic wooden pivot pins used for cabinet doors were replaced with internal Western hinges, and excessive wood carvings were avoided. These design choices reflect the narrative context of the project, where the cupboard belongs to a moderately wealthy family, capturing a subtle cultural intersection and practical adaptation in colonial-era Malaya.

Figure 2: Base shape of the cabinet.

Using mirror modifier to speed up the modelling work, the base shape was create based on real world estimation and references. Several topology techniques was utilised to limit the edges from running along the model and creating unnecessary extra polygons.

Figure 3: Cabinet's main doors.

The main door was created using vertex modelling by extruding individual vertices to define the desired shape and flow. Once one edge flow of the design was complete, it was duplicated and bridged with its counterpart to form a full face. The modelling focused on crafting just one corner of the ornate inner frame first. Afterward, the object's origin was moved to the centre, and a mirror modifier was applied to replicate the design across all four corners, ensuring symmetry and efficiency. To give the inner outline a classic vintage touch, a picture frame–like bevel was applied. Finally, a large flat plane was positioned within the frame to represent the glass panel.

Figure 4: Connection into the door frame. [Left] Figure 5: Keyhole on one of the frame. [Middle] Figure 6: Pull rings for the cabinet doors. [Right]

The inner ornate design was connected into the main frame for better texturing appearance later.

As this cabinet would store goods to be sold, a key-lock mechanism is required so no one unauthorised were to open the cabinet to steal the goods or thinker around with the goods.

A bat shape pull ring was implement as a visual cue of telling the viewer how to open these cabinet doors. The bat shape was used as it is one of the lucky shape in Chinese culture context.

Figure 7: Final look of the cabinet.

Referring to figure 6, the cabinet is completed. All edges were bevelled slightly to prevent a sharp corner look.

Figure 8-9: Cabinet's texel density in orthographic view.

The UV layout of the main cupboard was layout over 4K resolution checkers as I was unable to fit all the UV parts into the 2K resolution checker grid.

Figure 10: Lower Cabinet door uses the same UV space.

While each upper cabinet has its own UVs and the three cabinet below shares the same UVs.

Figure 11: Final design rendered in Blender. [Left] Figure 12: Concept art of the cupboard. [Right]

Significant adjustments were necessary to maintain authenticity and historical accuracy. The original concept art depicted a cabinet that was overly long in length, which would be structurally impractical as it could potentially collapse under excessive weight without central support. Additionally, the inclusion of three layers of tall cabinet storage where the middle layer is big enough for multiple layers was found to be unrealistic after reviewing various reference materials (refer to Figure 1), as it would make the cabinet excessively tall and difficult to access efficiently in daily use. Lastly, the sliding glass door mechanism appears to be a more modern invention and was not commonly seen in the intended historical time period of the environment.

[realitybitesyouknowit]

Chapters: 6/6 Fandom: Harry Potter - J. K. Rowling Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Harry Potter/Tom Riddle Characters: Harry Potter, Tom Riddle, Alphard Black, Theodore Nott, Gaspar Avery, Abraxas Malfoy, Richard Lestrange, Hermione Granger, Ron Weasley, Sirius Black, Remus Lupin, Luna Lovegood, Minerva McGonagall, Severus Snape, Albus Dumbledore Additional Tags: Alternate Universe - Muggle, Alternate Universe - Theatre, Timeline Mashup, (as an example : sirius is alphard's uncle), set in the 90's, Same Age Tom & Harry, Academic rivals, Rivals to Friends to Lovers, or : people who don't like each other (one sided) to friends to lovers, Friendship, Falling In Love, Mutual Pining, please blame the characters i only work here, Slow Burn, Touch-Starved Harry Potter, Touch-Starved Tom Riddle, Fluff, minimal angst, Domestic Fluff, Drama, Hurt/Comfort, Eventual Smut, Explicit Sexual Content, Romance, Shakespeare, Playwriting, Mentions of alcoholism, Mentions of Substance Abuse, (both pertaining to a secondary character), Drinking, Smoking, Recreational Drug Use, POV Harry Potter, Beta Read, Updates bi-weekly, (every tuesday & friday), one scene in act 1 has a splash of bodyshaming so TW Summary:

When Harry arrives at the most prestigious theatrical school in the country, under very suspicious circumstances, he doesn't have many expectations. The most unexpected thing he encounters, however, is one Tom Riddle.

Amidst peers of great talent, his worry for his Godfather, unconventional Professors, and a vague sense of unworthiness, Harry falls in love with the only other person who deals with feelings as well as him.

But maybe, just maybe, he and Tom will find out that not all love stories have to end in tragedy.

[sannyo-appreciation-posts]