Dev Log #10: The Art of Modulus, Part 3 | Technical Art Meets Creative Vision

[p]Welcome back to our Art of Modulus mini-series. Previously, we looked at the voxel building blocks that make Modulus tick. But voxels alone don’t make a factory game beautiful. This time, Antoine and Thomas talk about the collaboration between art and tech; how shaders, constraints, and even “happy accidents” shaped Modulus’ identity. We’ll also dive into how colour and lighting keep your sprawling factories both stylish and easy to read.[/p][p][/p][h2]TECHNICAL ART MEETS CREATIVE VISION[/h2][p]HOW DO THE TWO OF YOU COLLABORATE, ART AND TECH, TO MAKE IDEAS WORK IN-GAME?[/p][p]Thomas: So far, our collaborative approach to game development has been effective. We discuss all necessary effects and find the best solutions. For shader work, I aim to create robust solutions with public parameters, allowing for easy adjustments.[/p][p]However, there have been instances where initial settings required significant changes later. For example, elements like grass or water have undergone numerous revisions as the game's art style evolved. This iterative process often leads to deprecating old effects and creating new ones that better align with the current theme. Ultimately, it's a process of constant back-and-forth communication and adaptation.
[/p][p]Antoine:  I agree. I recall that at the project's outset, we experimented considerably before finding our rhythm. Now, our workflow feels natural and efficient, largely because our vision is clear.[/p][p]I'd also like to add that sometimes my own visions are limited by technical constraints. It's incredibly helpful to collaborate with tech artists, who are true magicians and can overcome any technical challenge. They are invaluable.[/p][p]Thomas: That's not true. We make the tools and then you have the vision. You know?[/p][p]Antoine:  Let’s say it’s a team effort! [/p][p]CAN YOU SHARE A MOMENT WHERE TECH CONSTRAINTS SHAPED THE ART (OR VICE VERSA)?[/p][p]Thomas: Beyond the module constraints on building design, which is the most substantial limitation imposed on the artistic elements, other crucial constraints influence level design, such as the size of operators and their shapes (e.g., a line or T-shape).[/p][p]Early prototypes involved numerous iterations to optimize the organization of these elements. Different models were created for various operator shapes because certain configurations proved more effective. The same applies to building sizes and even platform dimensions.
[/p][p]The environment's visual appeal is also constrained. Relying solely on tiles, for instance, reduces player engagement regarding operator placement. Ultimately, almost every aspect of design seems to be constrained, and these limitations are what define the art. This inherent challenge is also what makes the artistic process enjoyable. I’m always amazed by what Antoine manages to achieve. [/p][p]Antoine: The other way round too, art influenced design, particularly in balancing creative expression with practical constraints. For instance, our Game Designer prioritizes a maximum number of free tiles on islands for player flexibility. However, I advocate for incorporating environmental elements like ponds and mountains. An 80x80 grid of white tiles isn't visually engaging, so we sought a middle ground. These "blockers" also contribute to level design. This iterative process involves constant negotiation.[/p][p][/p][p]ANY "HAPPY ACCIDENTS" WHERE A LIMITATION TURNED INTO A STYLE-DEFINING FEATURE?[/p][p]Thomas: One “happy accident” was the decision to define floors for buildings quite late in development. That choice ended up shaping the visual identity of all buildings. Initially, the entire building was constructed with modules at once. [/p][p]This evolved, however, to a system where each floor represented an upgrade to the building. This change introduced a new design constraint; buildings now needed to feature duplicated floors. However, it also transformed the appearance of the structures. The introduction of floors gave them the distinct look of proper buildings.[/p][p][/p][p]Antoine: I would also add, the platforms. They were crucial for module delivery. Instead of leaving empty spaces, the platforms provided a dedicated space to connect and deliver modules, with the building then constructed above. The platforms also served a second purpose: separating the buildings from the rest of the factory floor.[/p][p]Our previous attempt to place buildings directly on the ground level alongside operators hindered readability, as everything was too cluttered. The platforms significantly improved clarity by providing this separation.[/p][p][/p][h2]COLOUR, LIGHTING & VISUAL CLARITY[/h2][p]HOW DO YOU USE COLOUR AND LIGHTING TO MAKE COMPLEX FACTORIES READABLE?[/p][p]Antoine: Readability is one of the main reasons we use white tiles for the ground. It makes everything on top of them much easier to read. Operators are designed with a dark base, either one or two voxels high, to create a clear contrast against a white tile background. This ensures instant visibility and separation.[/p][p]Additionally, a two-voxel margin is maintained on all sides of every operator. This prevents operators from appearing as a single module when placed side-by-side, maintaining clear distinctions between them and facilitating the visualization of production lines.[/p][p]For colors, I avoid using the main building colors to maintain clarity.  Regarding lighting for clarity, it's designed for full-day illumination, ensuring readability at all times. We minimize VFX, such as fog and clouds, by placing them below the level (under zero). This is why clouds appear between islands, preventing them from obscuring operators.[/p][p]The goal is to keep the space between the camera and models clear.[/p][p]Additionally, I avoid using LUTs (lookup tables) or post-process color tweaks for lighting. This ensures that the colors chosen during the design phase are accurately represented in the final game. [/p][p][/p][p][/p][p]Antoine: I may be spoiling a little here. A significant challenge with the upcoming day/night cycle will be managing lighting to maintain readability. When we initially concepted this, we opted for a bluish tint rather than complete darkness. This allows for clear readability while still conveying the feeling of night, enhanced by boosted emissive elements. The goal is to achieve a cool aesthetic without sacrificing legibility; it shouldn't be too dark.[/p][p][/p][p]A FAVOURITE COLOUR PALETTE OR VISUAL MOMENT IN THE GAME?[/p][p]Antoine: I have two main points to make. First, I really like how we used the colors of the environment, especially the grass and trees. Instead of basic green, the bright yellow and bright green make the game pop and give it a zen-like, reassuring vibe. I really like these colors.[/p][p]Second, in terms of assets, the yellow buildings are my favorite right now. They are made of white, black and yellow modules, a color combination that I’ve always liked.[/p][p][/p][p]That's all for this part Modulue Makers!
From floor systems to platform clarity, to a future day/night cycle, Modulus’ art direction is shaped by both technical challenges and artistic ambition. In our final part, we’ll look at the tools behind the style, how player creativity feeds back into development, and what exciting visual upgrades you can look forward to in Early Access.

If you want to see the art in action, you can play the free demo right now. And don't forget to wishlist Modulus on Steam.[/p][p]You can catch a more detailed video version of this interview below.[/p][p][/p][previewyoutube][/previewyoutube][p]Catch you soon with Part 4 where we take a look at the evolution of Modulus' style. [/p][p]Thanks, as always, for your support![/p][p][/p]

• [p]Team Happy Volcano
  [/p]