Olof Strand was the additional graphics artist for Frictional Games, Amnesia: The Dark Descent (2010). He also modeled the design of the Servant Grunt.

Molding the AbominationEdit

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The basic mesh created before importing into Zbrush.

When Olof first started working on the Servant Grunts, he quickly noted Jonas Berlin's concept design demanded it be completed unique in all of its body part, whereas usually it is possible to mirror parts like an arm, leg of piece of cloth to save on texture space and production time. The character was based on a human body type with various deformities and modifications done to it. This meant that Olof could easily use a regular human base mesh as a starting point and use already existing meshes when possible. Another thing that needed to be put into consideration was how the character would be rigged for animation later on. It this case the rig would be shared with another character from the game and therefore to be built under certain specifications.

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The different subdivision levels in z-brush.

When the base modeling was done, the mesh was taken into Zbrush for sculpting pass, to add details that can be projected on to the final in-game mesh to make it look more detailed that it really was. All the seperate parts of the base-mesh were imported into Zbrush as seperate sub-tools. Olof assigned different materials to the seperate parts as a visual aid. Once Olof subdivided the mesh several times into enough polygons, new details and shapes were added.

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The final version of the low polygon mesh.

When the sculpting was done, the in-game mesh then had to be modified to only have geometry where it was needed. By doing this, more details could be added where really needed without decreasing any performance of the final mesh.

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The uv-map layout

When the modeling was done, Olof then started creating the uv-map, to show where parts of the model belonged on the texture. It was important for Olof to put seams in paces where they are not very visible, since it is hard to match up colours next to one another on texture. Seams can also mess up shading, and on a humanoid character it is a good idea to place them inside the arms and legs. Once the placement seams in the uv-map were established, the chunks were laid out to maximie the use of the texture space.

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The final normal, diffuse, specular and gloss maps. Notice that all use the uv-map layout as base.

Olof generated colors for some of texture maps from information in the high poly mesh. The textures produced this way gives the mesh sme extra detail and makes it seem like it was made up from more polygons that is reall was. The map was blended into the colour texture to give a greater sense of detail and form. The diffuse map represent the base color of the character and was created in Photoshop by using a mix of various photos, custom Photoshop brushes. Some of the detail in the diffuse was also used to add extra details in the normal map, like wrinkles and scars.

Once the texture was completed, the model was ready to be used in-game.


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