We started working on the 3D models for the ancient temple by gathering references. We looked for photos of real Aztec ruins and 3D works by other artists. This helped us avoid mistakes and define the style—we chose something between realism and slightly exaggerated proportions.

Then we identified the main categories of objects:

1. Temple structures – the main building, altars, ruined walls
2. Environment – plants, rocks, waterfalls
3. Decor – statues, ritual items, bas-reliefs
4. Time traces – erosion, moss, mold
5. Additional elements – small stones, debris, artifacts

We began modeling with blocking. This helped define the model’s size and show the large details.

The next stage was refining the primitives and adding medium-level details. We added a more interesting shape to the primitives: rounding, curves.

We follow this rule: if an object can be made as a separate mesh, it should be. It’s easier to work with, faster, and saves polygons. Only when a smooth transition is needed between two objects should they be made as one.

In the following stage, we refined the models’ shapes, adding all the necessary details, smoothing, bevels, and chips.

We don’t use normal maps, so it was crucial to achieve correct shading purely through geometry. We work in Blender and use the Weighted Normal modifier, which gives great smoothing results.

Once the model was ready, we moved on to texturing. In our pipeline, we use a texture palette. You can read more about this in our blog article about UV mapping.

For color selection, we followed this scheme: 60% neutral tones (gray, sand), 30% contrast color, and 10% bright accents like green, blue, or red.

This approach allowed us to create an atmospheric asset pack for the ancient temple location. Of course, we experimented a lot during the process and introduced our own ideas, which is what makes the final result unique.