Conclusion
I think the main secret is finding an appealing concept with a unique twist: in this case, the contrast between metal and organic matter. Texture the model in an HDRI map similar to the one the model will be placed in. Try to structure your masks when texturing. When retopologizing and UV mapping, you need to understand the most common viewpoint of the object and how it will be used, and conserve polygons accordingly.
Difficulties with polygons: I wanted to make as few polygons as possible, while keeping the model suitable for animation. A lot of time was spent on minimizing UV seams and texture-stretching removal. This project made me realize that it’s crucial to be selective when choosing concept art: it needs to be comprehensive and detailed, so the props will be interesting. Leave more polygons on the model’s silhouette.
Make multi-level textures. Otherwise, it’s all individual: you may have a solid foundation in painting, or you may be just starting out and not yet know what you like. In the first case, it’s worth focusing on the technical aspects of the process, while in the second case, while finding your path, don’t be afraid to experiment and explore different styles and themes. Don’t wait for inspiration. Discipline yourself, and then any goal will be achieved.
