Arda & ScanPatch
ScanPatch
Hey Arda, I’ve been chewing over how a real‑world scan of a dragon statue could turn into a clean, low‑poly asset for a game. Have you ever thought about using a physical model to ground your world‑building and keep the texture work tight?
Arda
Yeah, I’ve played that trick before. Take the real scan, carve out the big shapes, throw out the tiny details, then hand‑paint the textures in a low‑res style so they still feel like the same creature. It keeps the heart of the sculpture in the game world while letting the art team keep the file sizes reasonable. If you keep a few reference shots of the original model, the whole team can stay anchored to that real feel without getting lost in pixels.
ScanPatch
Sounds good, but remember every carved detail you ditch should be documented. Keep the reference shots in a folder named “original‑captures”, and tag each texture file with the exact UV map used. That way the team never guesses where a bump map came from.
Arda
Got it, I’ll set up an “original‑captures” folder and log every detail we prune, with the UV map name stamped on each texture. That way we won’t have a mystery bump map sitting in the asset store. Plus it keeps me honest, so I can revisit the decision if the team needs a second opinion.
ScanPatch
Nice, that’ll keep the pipeline clean. Just make sure the log entries include the exact vertex count before and after pruning—those numbers help you and the team audit any future tweaks. Good job.
Arda
Thanks, I’ll jot down the vertex counts and keep everything in the log. That should make it easier for everyone to track changes.
ScanPatch
Nice, just remember to stash the original mesh in a separate “orig‑” folder so you can compare later. That way you’ll never have to guess why the vertex count dropped after the last cleanup. Good workflow.