Blockout

With suitable references gathered, I proceeded to model a blockout of the asset, colour-coding the duplicate geometry and any attachments. 

This blockout, although visually rudimentary, represented a visual overview of the entire model and allowed me to maintain suitable model scale throughout the project.

When creating the blockout, I used a known to scale model (an in-game character) as an additional reference for ensuring the blockout's scaling was accurate.  

Highpoly Model

Approximately 52,000,000 Tris

When creating the highpoly version of the model I chose to steer clear of boolean based workflows in favor of prioritising suitable edgeflow with quad-based topology.

Although more time consuming, this allowed me to later "un-subdivide" the model, removing edge loops and unnecessary geometry to create a 6 million tri model which the lowpoly varient would be based on.

Why did I opt for a tri count of 52 million? 

As the model could be easily subdivided between 6 million upwards, I tested various levels of subdivision. I found that tri counts above 52 million produced significantly diminished improvements in model quality, whilst also vastly increasing the need for VRAM during the baking process.

Lowpoly Model

29,784 Tris

The process of retopologising to create a suitable lowpoly model was relatively seamless. Removing any unnecessary edge loops, retaining the most topology in areas which would be closest to the camera.

I first focused on getting the overall shapes to a visually acceptable threshold, test baking normal maps to visually identify areas where more topology was needed.

Once complete I used the remaining topology budget to enhance the model with topology for the smaller extruding geometry, largely the bolts and screws.

UVs

UV seams were added to hard edges and hidden where possible by placing them on areas least seen by the camera. 

Duplicate geometry, including the bow limbs, share UV space to increase UV space efficiency and thus the effective texture resolution.

Generated UVs were then straightened (where possible) and grouped into their individual objects. Groups were also created based on elements which have similar texture colours.

By making use of these groups when packing, the textures were able to be packed tighter together, requiring less dilation to reduce their bleeding.

Textures

I decided to use the original concept art as my main reference for creating the textures, particularly its use of a vibrant car paint like orange on the bow's limbs.

Using the highpoly model I baked the Height, Normal, Ambient Occlusion, Curvature and ID maps using Substance Painter. I then used the texture ID map to assist me in painting the relevant base colours onto the different areas of the mesh.

Several alphas were used to create the warning stickers, serial numbers and text. These were created in Corel PaintShop Pro and took inspiration from the ingame reference.

Finally using a selection of brushes and smart masks I added some further detailing, including wear and the resulting maps were then exported for use in Unreal Engine.