Social Spaces is a three quarter view, 3D game in which players must spend one hour each day exploring the local market plaza. Within this hour players must spend their time talking to NPC’s positioned throughout the space in order to lower their Blue meter (loneliness). Players will be taught the importance of social distancing through the increasing of their risk meter (red) as they stand too close to NPC’s or spend too long talking to them.

In this project I was responsible for both character and  environment art. I worked hard in establishing a pipeline and style for the game and landed in this cute and soft look. 




Life Sim


The character creation process was easy to pin down but hard to execute, as I work much more on  environments . In order to make the character assets in a feasible time scope I used one mesh for all characters and made a variety of props for all of them. By the end of the project I found myself with a small kit containing: three shirts, one pair of trousers, one  skirt, three hairstyles, 1 mask, two pairs of shoes, three hats, three noses, two mouths, one pair of eyes, one pair of eyebrows and a body mesh. These assets were made with a pipeline very similar to the environment assets pipeline, with the exception of some hair examples which were made in Zbrush in order to achieve a more organic and stylized look.



 My first step in making the environment assets was to establish the base shapes I would be working on. 

Since I was going for a round and soft style I had to keep in mind that the shapes needed to have short and stout proportions. 

It's not observable in this tree example but I also put effort into making the more complex shapes (like stalls and vehicles) asymmetrical to give them more charm and a stronger silhouette.   


The next step was that of dividing my shapes further and getting closer to the final silhouette that would show in the engine. After that, I subdivide furter the mesh by using the bevel tool at 0.3/0.5 value. Following that the asset gets further subdivided by the smoothing tool, which aggressively decimates sharp angles and creates curves on any asset. Following this, the model is assigned different materials first in Maya and then in UE4. This particular workflow didn't allow for asset optimization but due to the time restraint and the lack of textures the team decided to continue with this workflow to maximise asset production.