Modeling Requirements for Costume
In OVERDARE, you must use polygons, materials, and textures appropriately when creating costumes to ensure a seamless experience for all game players.
The goal is to maintain the simplicity of the 3D model for the sake of effortless rendering within the game without a compromise in details.
This approach optimizes game performance and contributes to ensuring an enjoyable experience for all players.
Polygon Count
Considering it is intended for mobile platforms, minimizing the usage of polygons where possible is highly recommended.
Top (without outer)
1,500
Top (with outer)
3,000
Outer
3,000
Bottom
2,500
AccHand
2,000
Glove
2,000
Hat
1,500
AccFinger, AccWrist
500
AccEar, Necklace, Mask
500
Helmet
2,000
Bag
2,000
Hair_XS
3,500
Hair_S
4,500
Hair_M
5,500
Hair_L
6,500
Hair_XL
8,500
Texture Size
Textures are created for each part. (except for the clothing set, which is created as a complete outfit)
The final texture size should be submitted as shown below.
Costume (tops, bottoms, etc.)
2048
Hair
2048
Large accessories (shoes, gloves)
1024
Small accessories (earrings, necklaces)
512
In the application, the maximum texture size is 512. Therefore, when working with textures, ensure that reducing the texture size to 512 or 256 still maintains the intended appearance.
👚 Modeling Guide for Clothing
Below are some valuable tips and precautions to consider when creating clothing costumes:
Tips for Creating High-poly Models
High-polygon (high-poly) models are characterized by their relatively high polygon count. If your model contains intricate details or requires high-resolution modeling, it should be created as a high-poly model. Please note that each slot has its own polygon limit.
1. Whole silhouette
Preferably, a silhouette should be based on the form of the original artwork. A clean and clear silhouette is needed.
2. Wrinkle patterns on clothing that highlight the characteristics of the fabric
Fabric materials such as leather, cotton, denim, silk, and others should exhibit distinct wrinkle patterns that correspond to their specific properties and thickness.
3. Appearance and size of detailed parts
It is advisable to avoid overly subtle or excessive details, considering it is intended for mobile platforms.
For parts like zippers, which are very small clothing details, you might want to slightly exaggerate their size, making them a bit larger than they are in reality.
4. Reflect the distinct and characteristic details of each clothing type
For instance, a denim jacket has specific details like distinctive stitching and construction, pocket shapes, and buttonholes. These elements comprise the unique traits of the clothing.
5. Provide a clean finish to the ends of clothing.
Tips for Creating Low-poly Models
Please note that each slot has its own polygon limit.
1. For clothing that conforms closely to the body
The wireframe of the clothing should closely align with the wireframe of the base body.
It is also possible to set up a low-poly mesh from the base body.
Due to the animation and shape customization systems, clothing intended to fit snugly should mirror the wireframe of the base body.
2. The horizontal wireframes at the joints should align with the provided base body.
neck, shoulders, elbows, wrists, knees, ankles, and toes
3. For the skirt, make sure to incorporate three vertical wireframe lines at its center.
4. Depicting the thickness of clothing
Unless there are specific exceptions, avoid making it excessively thin. (It is recommended to maintain a thickness similar to that of the image.)
5. Ensure complete coverage to prevent the clothing from being see-through.
6. Assign different Smoothing Group numbers for the outer fabric, lining, and in-between.
7. If the outer fabric and lining are closely intertwined, the wireframe structure should align accordingly.
Vertices should be situated in similar positions.
Reduce the number of vertices as they converge inwards.
8. When applying textures for patterns or stripes, particularly on clothing like skirts or tops, ensure that the UVs are oriented horizontally.
9. UV cutting line
Make sure that the UV boundary is precisely cut along the seam line.
10. Create clothing tailored to a given base body type (male/female).
The differentiation in clothing between males and females primarily relies on chest size and waist width.
For tops only, it's necessary to include the gender specification in the name. For example:
SK_Top_ItemNameM_01
SK_Top_ItemNameF_01
Other wearable items do not require gender-specific markings. For example:
SK_Shoes_ItemName_01
SK_AccHead_ItemName_01
You should have a costume and a base body (with vertex colors applied).
11. For the following costumes, adjust the fit to match the body of a different gender after creating the clothing.
Top
Outer
Dress
Fullset
💇♀️ Modeling Guide for Tube Hair
This feature will be available in the future.
Tips for Creating High-poly Models
1. The size distribution of the tube hair bundles needs to be adjusted to achieve a non-uniform appearance.
Ensure that there is a balanced mix of large, medium, and small bundles.
Avoid bundles consisting of solely uniform or small sizes. Arrange the hair bundles with a diverse range of sizes for a more natural look.
2. Creating detail
There's no need to illustrate each individual grain.
Be sure to include suitable margins.
Tips for Creating Low-poly Models
1. Produce low-poly hair using the tube modeling technique.
This approach involves creating hair as tubes and subsequently merging them to compose a complete hairstyle.
You can create low-poly hair using this tube modeling technique.
2. Maintain a consistent alignment of the horizontal wireframe within each bundle to ensure the overall balance of the hair.
This approach enhances the consistency and natural look of your hair
3. When designing hairstyles longer than a short haircut, it's advisable to segment them into sections and create low-poly models for each.
Avoid using a single mesh for the entire hair.
For hairstyles with very short lengths, it may be acceptable to create a single mesh.
4. The underside view should not reveal the scalp at the back of the head.
To prevent the scalp from being visible at the back of the head, you should arrange the hair bundles into two or three layers and increase their thickness at the rear.
This approach provides control over whether the scalp becomes visible during animation movements.
5. To optimize the hair tube's polygons, depict the cross-section of the tube as a pentagon.
The outer surface with the highest visibility should be depicted using three rows of polygons, including the center row.
The inner side of the scalp, which is less visible, should be depicted using two rows of polygons, excluding the center row.
In this way, you can optimize the polygons to enhance your model's performance without compromising its natural appearance.
Considering it is intended for mobile platforms, minimizing the usage of polygons where possible is highly recommended. Efficiently utilize polygons while adhering to the maximum polygon count guidelines.
6. In the final low-poly model of the hair bundle, ensure that each vertex is welded.
Even if you utilize mesh separation to cut the UV lines on selected faces, it's crucial to weld all vertices during normal texture baking and in the final low-poly model.
7. Place the UVs for the hair in a vertical orientation.
Make sure that the hair roots are facing upward in relation to the UVs.
Position them as close to the top boundary of the UV as feasible.
The exception is the lower section of the ponytail hair, where the root part should be oriented downward in relation to the UVs (refer to the yellow UV reference image).
For ponytail hair, cut the UV to align with the grain of the hair.
8. UV Spacing
Make sure UVs are not closely spaced.
Place them with minimal unused space.
Tips for Textures
1. Substance Painter – Output Templates Setting
[Hair] Texture composition: _D / _M / _N
_D
Nomal X
Nomal Y
Diffuse (grey)
Opaque(grey)
_M
ID
Roughness
AO
Direction
_N
Nomal
Nomal
Nomal
.
The overall base tone of the diffuse textures = white hair (not light gray)
The engine applies the default color.
As a result, it should be depicted with a white hair color in the texture.
The diffuse texture should also portray the shading and shadows resulting from the hair overlapping.
💇 Modeling Guide for Card Hair
This feature will be available in the future.
Tips for Creating Low-poly Models
1. Be careful to avoid polygons with abrupt bends or sharp turns.
2. Ensure that there are no misaligned or overlapping meshes between polygons.
3. Finally, attach HairAcc to Hair to make them into a single mesh.
4. Place the UVs for the hair in a vertical orientation.
Make sure that the hair roots are facing upward in relation to the UVs.
The pattern has a vertical orientation, starting from the top of the UV (refer to the provided guide file).
Create a card mesh along the lines of the HairSkin.
If there are enough polygons, model the hair with a cross-section in the shape of ^ where possible.
Tips for Textures
Substance Painter – Output Templates Setting
[Hair] Texture composition : _D / _M / _N /_S
_D
Nomal X
Nomal Y
Diffuse (grey)
Opaque(grey)
_M
ID
Roughness
AO
Direction
_N
Nomal
Nomal
Nomal
.
_ S
Specular
Specular
Specular
.
1. If hair includes a hair accessory:
Different materials should be applied to the hair and accessories.
Each of them requires a unique Material ID.
The accessory shader uses the costume shader (_D/M/N).
2. For hair card mesh:
Place an alpha mask in the A channel of the diffuse map.
Remove A channel map if there’s no alpha.
3. ID: For two-tone hair, utilize the ID (R channel) to designate the second area as white.
4. Direction: Mark the root of the hair white.
5. Category name by hair length
XS = Very short lengths, such as short hair or lengths that do not require a hair bone
S = A short haircut extending below the ears
M = Semi-long, reaching collarbone to chest length
L = Mid-waist length
XL = Extending below the hips
💍 costume Skin Requirements
Accessory Creation Tips:
1. Necklace Chains / Earrings
For complex but flat designs, please create them using Opacity in a Plane form.
For simple yet voluminous designs, make them in a clustered form. (e.g., Necklace pendants, simple shaped earrings)
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