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https://emaceart.itch.io/fences-palisades-and-world-boundaries

World-building is a state of mind. When you catch that rhythm, everything just flows. But I hit a massive wall with something incredibly mundane: manually placing hundreds of fence segments on uneven terrain. Instead of building atmosphere, I was just mindlessly clicking. I had to get my artistic flow back.

I have some coding background, but I didn't want to go back to staring at vector logic. So I did something better: I stepped into the role of Art Director and handed the engineering grunt work over to artificial intelligence. I explained my frustrations and what kind of fluidity an artist actually needs, and the AI turned that into hard spatial mathematics. No fighting with code, just pure creation.

Perfectly straight fences are just dead. A real environment breathes through imperfection. The system automatically generates gaps and bends on the fly, so the barrier line itself immediately sets a context—decay, haste, or the passage of time.

And this is the core of it all. Imagine you're building a fugitive camp. Instead of wasting an hour painstakingly snapping wooden stakes to a steep slope, you just paint a path. The algorithm projects it onto the terrain, bends it, breaks it. You have a complete, organic foundation in seconds. All that saved energy and time can be immediately poured into what gives the most satisfaction: sculpting micro-narratives.

This is where the real fun begins. You lean a chipped shield against the thickest post. You wedge an abandoned journal between rotting planks, and under the cover of the most ruined section of a wall, you drop a hastily rolled blanket and the ashes of a dead campfire. The fence is just the frame of the painting where you direct the quiet, second and third-plane history. Instead of wasting time on foundations, you immediately give the scene a soul.

I built this tool for myself, but I know how much solo devs and level designers need this kind of freedom. Right now, the pack gives you a powerful base to quickly build these environmental frames so you can populate them with your own details. But there's a massive update on the horizon. I'm working on a huge injection of RPG-style props designed specifically to fill the space around these barriers and complete that third-plane narrative right out of the box.

Before that ultimate update drops, take the current version for a spin. See how quickly you can drop the technical baggage and get back to the pure joy of world-building: https://emaceart.itch.io/fences-palisades-and-world-boundaries

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Enjoy and thank you for downloading!

Overall a very pleasant stylized desert environment with a nice atmosphere. It looks good even just as rendered scenes.

Hi!

So, coming back to the idea of a universal palette: in my packs I’m leaning more and more toward a single shared 2048 texture atlas, roughly divided into four working zones. One of them is a grid color used for picking materials: a full spectrum of base colors plus their shades, which I treat as the foundation. The remaining space I intentionally leave empty so I can keep adding new colors over time as different projects need them.

That free space is also a workspace for artists using my packs. They can paint in their own colors there or drop in textures for signs, billboards or labels. Obviously, if someone edits the original atlas that ships with the pack, there’s always a risk that a future update will overwrite it. In practice though, I assume studios hook up their own extra textures and keep things clean in their pipeline, instead of modifying the “factory” file. For me, mixing grid colors and utility textures like signage on a single atlas is completely fine.

About your point on having to tone colors down depending on the project: my solution is to prepare variants of the same texture. From one base set of colors and shades I create a brighter and a darker copy, because users asked for those options. They then build their own materials on top of that - for example, they plug in the “brighter” atlas and get new variants of their prefabs without touching the original.

The fact that there are colors on the atlas that you’re not using right now isn’t really an issue in my view. As the project evolves, you can gradually replace them with new hues, or just keep them in reserve until they’re needed. With a 2048 atlas where a single cell in my grid color is about 62 pixels, it’s very hard to actually run out of space - you can always add, shift or replace something.

That’s why I think your final decision on REBEL 101, to move toward a bigger atlas, is a solid one. A texture of that size not only makes your own work more comfortable, it also leaves plenty of room for future users who might want to add their own content. That’s exactly why I build large atlases myself, designed from the start with future expansion in mind.

I’ve just pushed the biggest update to this project so far. Winter Update 2026 is a real new chapter: the art direction is shifting toward a calmer, slightly darker woodland dark-fantasy mood. Less “cute”, more wild, with stronger tree silhouettes and a heavier atmosphere at scene level.
Everwood: Stylized Woodland Forest Pack by EmaceArt

The biggest readability change happens around eye height. Previously the pack essentially had no real bushes, now there’s a full set of them, which gives the whole project a much more vertical look. You can finally break up your stages colour-wise in the mid layer - between grass and tree crowns - instead of relying mostly on trunks and terrain. On top of that comes 168 new assets: trees, leaves, flowers, vines, plants, 22 new terrain tiles (grass, mud, sand), 16 cliffs and 11 rocks. The whole library has grown to 388 mid-poly models converted into around 400 Unity prefabs, with clean pivots, sane scale and frozen transforms.

Another layer that gained a lot of character is all fences and barrier pieces. Before, they were mostly pure gameplay markers; now some variants are overgrown with ivy. It’s a simple change, but in a scene it matters: level boundaries stop looking like “editor geometry” and feel more like something that has been standing there for years and got swallowed by nature. You can use that to lead the player’s eye along a path, or to deliberately break the rhythm by mixing clean fence segments with ivy-wrapped ones.

This is a breaking update, so a quick technical warning: if you’re on an older version (2.6 or earlier), please back up your project before upgrading. Some meshes were completely replaced, several tree prefabs were overwritten with new geometry and settings, and the scale of a few models was adjusted. All other pivots stayed the same, so migration should be predictable, but better to keep a copy than lose a forest that already works.

Thanks a lot for the message and for taking the time to go through my stuff on itch and elsewhere, I really appreciate it. About the palette: your timing is perfect, because I’ve just refreshed my texture pipeline with „future-proof universality” in mind. I used to work with very small atlases, a few dozen colours on a tiny texture, and that was fine for a long time, but as the packs grew it started to block me: no UV space left, no room for new materials or variants. Now I treat a 2048 texture as my base atlas, intentionally leave some empty areas for future extensions, and from that base I can comfortably generate 1k/512 versions if someone needs lighter assets. In that free space I can not only keep adding new colour/material samples, but also pack in bits of text - signs, labels, markings - without having to create separate dedicated text textures.

Instead of one palette that should cover everything, I prefer a few palettes that are universal within a given mood. One base for neutral/daylight sets, another for darker / dungeon / swamp stuff, and another for neon where contrast and saturation behave differently. Inside each mood I keep one main texture and slowly fill the empty areas as the pack grows, so new updates still feel like the same world, just richer.

When it comes to colour choices, I try to mix intuition with some classic schemes from the colour wheel. For more futuristic moods I lean into complementary, high-contrast pairs - opposite hues give that punch and energy. For natural daylight landscapes I prefer analogous harmonies: ground, rocks, soil stay in related tones, different forest layers (undergrowth, bushes, canopy) are still neighbouring colours, but pushed apart in value and temperature. Accents - flowers, small props, gameplay elements - often come from the opposite side of the wheel so they pop immediately in the frame. For nature I generally avoid very synthetic hues, so I usually end up with earthy mixes: greens nudged slightly towards browns and yellows, and so on. My personal “colour flow” gravitates towards a pastel-like feel - an almost idyllic, candy softness, but slightly roughed up so it doesn’t become sterile. It’s a lot of gentle, light tones with a hint of juiciness and a bit of “dirt” in the colour, which keeps the scene pleasant but not plastic. All of that comes straight from colour theory, it’s just that after years of practice it feels like intuition in day-to-day work.

While browsing your profile I found Praise the Storm and Pixel Renderer - really cool combo. The game nails that “storm cult” vibe, and the pixelator looks like a great custom idea/tool, congrats if that script is yours. I’ve been dreaming for a while about making a very raw, ascetic game with a heavily limited palette, focused on mood and exploration rather than detail density, so tools like that are extra tempting. I’m really curious how you define your own “universal” palette for projects like these - is it mostly a set of colours, or more of a full bundle of materials and shaders? If you ever share a breakdown, I’d be happy to compare approaches.

Really nice pack - I like how the food keeps strong, simple shapes without drowning in detail, so it reads clearly from a typical in-game camera. Having everything on a single atlas works great for instancing and quick colour variations. It’s exactly the kind of asset set you can drop into a kitchen, bar or shop scene and start building right away instead of fixing pivots and proportions. Thanks for releasing such a practical low-poly food base.

Nice little scene to walk around in. I really like the stylised look and colours, especially the columns and the temple entrance - good shapes and a pleasant detail rhythm. The stone blocks in the foreground are a bit dense and colourful, so they steal some attention from the centre of the shot, but overall the scene feels cohesive.

Technically there are a few things to polish: in some places the skybox is visible through gaps, especially in the floor, which breaks the immersion and is worth sealing up. The floor as a 3D tileset also has some noticeably stepped / misaligned tiles, so the seams between modules are quite visible. Some assets also look completely untextured, almost like chunks of chocolate bars, which gives away the prototype stage of the project. I also noticed some floating rocks above the jungle. It’s a bit of a shame that the final door doesn’t react - it really feels like it should open and lead one step further. I only managed to find two locations, so I’d love to see a few more corners to discover or maybe a small lighting change to give more of a journey feeling. As a jam prototype it’s a solid base, and it really begs for an expanded scene and some of those technical details cleaned up.

Hey Morosop — big update is live: https://emaceart.itch.io/free-low-poly-meadows

Hey ncollie — big update is live. Please re-download the latest version here: https://emaceart.itch.io/free-low-poly-meadows

Hey, Emace here. My free “Meadow & farm: Low Poly Nature Kit” just got a 2026 Winter Expansion with 74 new models, so the meadow finally feels like a small farm instead of just a flat green field. The update adds new wildflowers, dry shrubs, layered grass and flower clusters, mud and sand patches for roads and fields, full hay bale sets (round, square, neatly stacked and a bit messy) plus small props like pumpkins, a barrel, table and bench. It all stays in a stylized / low poly look, meant for building cozy RPG paths and farm corners without fighting realism. 

For the full changelog, a breakdown of all 74 new models (split into foliage, terrain details, hay and props), extra screenshots and direct file links, I put everything into the “Winter Expansion 2026 - 74 New Free Models for Your Meadows and farm” devlog. Feel free to check the details here: 

Winter Expansion 2026 - 74 New Free Models for Your Meadows and farm - FREE Meadow & farm: Low Poly Nature Kit by EmaceArt

To wrap it up: if you end up using this meadow or farm setup in your game and you’re able to share it, I’d love to see a few screenshots or a short write-up. Seeing the pack in real projects helps me plan future updates and decide which chunks or props should come next. Thanks for reading and good luck with your game.

Thanks for taking the time to check this out and for all the feedback you’ve already shared on earlier versions of the pack - that’s what keeps this meadow and farm evolving. If the pack helps your project, feel free to drop a comment. Good luck with building your own worlds, and see you in the next devlog.

Small meadow update: I’ve finished working on the trunks and basic tree silhouettes, so now I’ve moved on to the crowns. In Blender I model individual leaves, group them into small clusters and, with the Project Align Rotation to Target tool, snap those clusters onto the trunk. From these leaf clumps I build the whole canopy, trying to make it read nicely from all camera angles, not just as a random cloud of triangles.

Right now I have eight trees done in a “common meadow” version - something between a small field grove and roadside trees in the countryside. In parallel I’m sketching another eight, this time more on the fantasy side, with pushed shapes and slightly weird crowns. Those fantasy ones will go into a separate asset pack later, because they have a very different character from the everyday trees in Farm on the Meadow. I’m attaching a few fresh Blender screenshots in the post so you can see this little tree herd slowly growing.

🌾 [Devlog] Farm on the Meadow – the field grows up in 2026 🌾

I’m back on the meadow, slowly turning it into a small farm. This is my most downloaded asset on itch.io, so it’s getting a big free upgrade. I’ve been adding all the things that always felt missing: bushes with real volume, leafy clumps with a clear flow, fences that look patched and repaired over time. Rocks that actually sit in the ground, and flowers that don’t scream for attention, they just support the scene.

Meadow & Forest: Low Poly Nature Kit (Free Remake) by EmaceArt

Hay bales - finally. In stacks, in rows, and in a bit of a mess. On top of that a few slightly fantasy trees, a bench by the path, a sign that points nowhere, and a barrel someone forgot here years ago. Everything stays low poly, but never hollow.

Right now there are 74 new meshes - quiet upgrades to the free

“Free Low Poly Meadows” pack, which is slowly growing into “Farm on the Meadow”. The update is still in progress, so it’s a good moment to help shape the final form. Requests and suggestions can be bold: I’m even considering adding a farmer’s house. If there’s a specific piece you’d love to have in this meadow-farm setup - a house, a shed, a distinctive prop for your shots or level design - just shout in the comments.

It’s a big free update and I’m happy to polish the last bits around your needs. Screenshot below, feedback very welcome.

Licence:

You may use and modify the assets in your game/app/video (“End Product”). You may not resell, redistribute, repackage, or share the source files (FBX, PNG, PSD, BLEND, UnityPackage, etc.), whether original or modified, or as part of another asset pack. Distribution inside a compiled End Product is allowed.

Hope you like it!

This pack is completely free and I treat it as an intro to a much larger pack on the same topic - guiding the player using fences and walls. It contains 120+ modular fences and walls meant to be the silent hero of your background storytelling - and only then to take work off both designers and artists: they help draw clear paths, level boundaries and soft blockers while keeping pivots consistent and module lengths sensible.

FREE Low Poly Meadow Fences and Wall Bundle Pack 1-3 LODS by EmaceArt

Besides navigation, it has another job: helping you build story along roads and paths. A different fence type around a farm than around a ruined house, a broken segment hinting at a shortcut, a newly reinforced wall near an important gate - these pieces are meant to make environmental storytelling easier, using only the roadside props and how these fences look and end. It is a solid starting point for the bigger pack that will push player guidance and environmental storytelling even further.

Join the Discord if you want to shape how this pack looks – you share screenshots, tell me what you need, and I tweak the fences to fit your projects. https://discord.gg/meWGSGVs

Hey, Emace here. Wayline Toolkit is based on the idea that fences do much more than just “close off” an area. Fences, palisades, gates and small roadside props are both a level design tool and strong support for the art side: they guide the player, block awkward shortcuts, create scene rhythm, frame the camera and can make plain fields or forests feel more lived-in, grounded and quietly charming.

In this thread I’d like to collect your experiences and needs around guiding the player using fences. I’m mainly interested in real practice: where do fences work best in your levels, and where do they usually fail? What kinds of modules, heights, damage variants and roadside props do you miss in typical packs? Do you need more clean, readable lines for blockout, or rather broken, uneven segments that add mood and story?

Wayline Toolkit is still very much WIP, so this is a good moment to shape its direction around real-world needs. Feel free to share how you imagine an “ideal” fence pack from both a design and art perspective: examples from your projects, rough diagrams, even quick sketches are all welcome. I’d like this pack to grow together with your levels, not just sit next to them as another download.

Hej, tu EmaceArt Wasz nadworny nędzny artysta :D

(PL): Pracuję nad większym zestawem płotów, murów, murków, palisad, bram i drobnych elementów ogrodzeniowych w jednym stylu lowpoly. Całość projektuję z myślą o różnych epokach i kręgach kulturowych - na start skupiam się na średniowiecznych traktach i szlakach. Przydrożne płoty przy gospodach, słupki przy rozstajach, prowizoryczne bramy z doczepionymi wstążkami, porzucone tarcze, zgubione sakiewki, małe dary zostawione przy drodze - to propy, które mają opowiadać o ludziach w drodze: kupcach, wojownikach, pielgrzymach i całych procesjach, które przechodziły tędy i zostawiły po sobie ślad. Do tego dochodzą różne wysokości, stopnie zużycia oraz moduły proste, narożne, połamane, przejścia, końcówki i słupki, które składają się na czytelne linie graniczne w świecie gry. Całość oparta jest na modularnej siatce, więc można to po prostu układać w scenie, zamiast ratować pivoty i skalę. 

W praktyce to właśnie ogrodzenia najczęściej prowadzą gracza po mapie, blokują niechciane skróty, porządkują przestrzeń i domykają kadr, zanim pojawi się jakikolwiek interfejs. Różnica między lekkim płotem przy chacie, cięższą palisadą przy obozie a przegnitą bramą do zapomnianego miejsca potrafi załatwić pół narracji wizualnej: od razu czuć, co jest „oswojone”, co wygląda podejrzanie, a co dawno zostało odpuszczone. Ten zestaw powstaje właśnie z myślą o takich sytuacjach na etapie blockoutu i późniejszego level artu.

Przy okazji wychodzi na to, że zwykłe pola i lasy zyskują wizualnie znacznie więcej, niż sugeruje sama ilość geometrii. W kilku testowych scenach zmiana była prosta: ten sam teren, te same drzewa, ten sam skybox, ale dodane ogrodzenia porządkujące granice pól, linie drzew przy traktach i pojedyncze słupki z propami przy drodze sprawiały, że scena wyglądała, jakby dostała nagle „+50% do ogólnego wrażenia”. Nie dlatego, że pojawiło się więcej rzeczy, tylko dlatego, że przestrzeń zaczęła mieć czytelne kierunki, rytm i ślady ludzi, którzy czegoś tu pilnowali, coś ogrodzili, coś po drodze zgubili.

Na razie to etap WIP – testuję warianty w normalnych scenach, nie tylko w jednym ładnym kadrze. Jeśli macie swoje doświadczenia z ogrodzeniami w grach, chętnie poczytam: czego wam zwykle brakuje, gdy budujecie mapy? Bardziej przydaje się różnorodność stylów, mocniej zniszczone wersje, czy może sensowne „układanki” pod typowe miejscówki jak farmy, obozy, miasteczka?

(EN): I’ve been working for a while on a larger lowpoly set of fences, palisades, gates and small boundary props for game worlds (in my case, Unity). The idea is to handle fences in a game with a single coherent lowpoly style that can stretch across different periods and cultures, starting with medieval roads and routes. Roadside fences by inns, wayposts at crossroads, makeshift gates with ribbons tied to them, abandoned shields, lost pouches and small offerings by the road - these are props meant to tell stories about people on the move: merchants, soldiers, pilgrims and whole processions that passed through and left their mark. On top of that there are different heights, levels of wear, straight and corner modules, broken sections, transitions, end caps, posts and small details that tie everything into readable boundary lines. Everything sits on a modular grid so you can drop it into a scene without spending time fixing pivots and scale.

In many games it’s the fences that quietly guide the player through the map, stop awkward shortcuts, organise the space and hold the shot together long before any UI shows up. The contrast between a light fence near a hut, a heavier palisade around a camp and a weathered gate into a forgotten place can easily carry half of the visual narrative: you immediately feel what’s familiar, what looks risky and what has been abandoned. This set is growing out of exactly those moments in blockout and later level art.

One side effect that keeps showing up in tests is how much plain fields and forests benefit from having clear boundaries. In a few prototype scenes the change was minimal on paper: same terrain, same trees, same skybox, but with fence lines marking field edges, treelines pulled along the road and a handful of roadside posts with props, the whole area suddenly felt like it had gained "+50%" in perceived quality. Not because there was more stuff, but because the space finally had clear directions, a readable rhythm and traces of people who had fenced something off, guarded it for a while and left things behind as they travelled.

Right now it’s still WIP – I’m testing different variants in actual scenes, not just in one pretty render. If you have your own pain points with fences in games, I’d be glad to hear them: do you usually miss variety in styles, stronger damaged versions, or more “ready to rearrange” layouts for typical locations like farms, camps, small towns?

Hey!

I’ve just released LumaGrove: Wonky Woods on itch - a stylized low poly nature pack for building crooked, fairy-tale forests, meadows, and riverside paths. This is actually a remake of the very first pack I ever made 10 years ago - back then it was much simpler, now it returns in an updated form and gets its official premiere here on itch.io. I wanted to keep that slightly “wonky” forest vibe - bent trees, imperfect fences - but in a clean, minimalist style that stays readable from gameplay camera and doesn’t clutter the scene.

Inside you’ll find over 200 modular prefabs: trees, bushes, bridges, fences, rivers, rocks, signposts and more, all built to quickly block out paths, biomes, and small dioramas. There are two material / prefab variants: a solid-color version (consistent with my other packs) and a more painterly gradient variant - you can pick whichever look fits your project better or mix them in one scene. The pack is set up for Unity URP with a clean folder structure and LODs on all prefabs, so it should drop into your project without much friction.

LumaGrove: Unity Wonky Woods – Low Poly Nature Asset Pack by EmaceArt

I’d really love to hear if you’re interested in this pack being migrated to other engines. If yes, please let me know in the replies which ones you’d actually use: Unreal, Godot, something else? Also, tell me what you feel is missing in this pack: specific tree types, extra props, another material variant, or maybe ready-made “mini scenes” for menus and splash screens. I’ll treat this thread as a feedback hub - it will help me plan future updates and possible ports. Thanks a lot for any thoughts!

PS1 PSX Alone in the DUSK – environment asset kit by EmaceArt

Alone in the DUSK is a PSX-style environment asset kit inspired by the mood of Silent Hill, Alone in the Dark and Twin Peaks Movie. Below you’ll find a description of the location, the current technical state of the pack, and plans for its further development.

Introduction

The location represents the outskirts of a town - a slightly hilly, tourist spot with a small bridge, benches, trash bins, guardrails and warning signs for visitors. It sits on the edge between nature and infrastructure: part scenic viewpoint for tourists, part unsettling road to nowhere.

The current screenshots show the scene without final post-processing. You’re looking at raw Unity lighting, still without the target colour grading, PSX/CRT filters, final fog or a finished sky. This makes it easier to clearly see how the models, materials and composition work on their own.

What still needs improvement (technical)

At this stage there are two main pain points in the scene, both already broken down into concrete tasks:

Overexposed, overly bright props - the guardrails, posts and some signs have albedo values that are too high, so under the current lighting they start to glow like small lamps in the frame. This breaks the value balance and the readability hierarchy of the scene. To fix: lowering the albedo on these materials and doing another exposure pass.

Inconsistent texel density - different objects use different UV scales, so the “pixel size” jumps between meshes. The PSX style stops feeling unified and the scene looks like a collage of different sources. To fix: a UV / texture pass to unify texel density across assets and repair stretched UVs.

Shading artefacts on some meshes - the current normal and tangent setup creates overly smooth shading that clashes with the low-poly PSX look. A few props pick up weird light gradients and specular streaks. To fix: simplify the shading by hardening vertex normals, cleaning up tangents and reducing normal map influence so lighting reads flatter and more consistent across assets.

---------------------------

These issues are intentionally parked for a later focused pass, so that at this stage I can iterate quickly on layout and mood.

Roadmap for the pack

In the next iterations I plan to:

- UV / material pass: unify texel density and fix overbright materials on props - Shading pass: simplify shading by hardening vertex normals, cleaning up tangents and reducing normal map influence so lighting reads flatter and more PSX-like - Add post-processing: colour grading, PSX/CRT filter, and final fog and atmosphere for the location - Prepare ready-made scenes and prefabs so the asset kit can be dropped straight into a Unity project - Consider preparing a Godot version of the scenes if there is real interest in that

I’d really appreciate your feedback: how do you like the mood of this location and the overall direction of the pack so far? Let me know in the comments which elements work best for you, what you feel is missing, and what extra props or variants (for example different signs, more tourist-area details, support for a specific engine) would be most useful in your projects. Suggestions from the comments will help shape future updates of the asset kit.

Really solid modular set - the amount of parts for beards, hair, clothing and accessories is easily enough to build a full cast of NPCs or hero variants for one game. I really like the clean flat design combined with a comic-style cel shading; together with the simple palette and low triangle counts it makes for a very cool stylized base, also suitable for mobile.

Nice idea for an asset pack - framed wall art is the kind of micro-detail that very rarely shows up even in big environment bundles. I like that it’s a coherent set of small scenes that work as ready-made compositional “windows” in the background instead of just random textures. In 3D games these are great as controlled wall noise and for gently guiding the player’s eye through corridors and rooms. Packs like this are a perfect complement to larger environment sets. Big plus for including a Unity package and Blender files, makes it easier to tweak scale and pivots or create custom frame variants. The only thing I slightly miss is a few more frame shapes/aspect ratios (like long horizontal, more “map-like” pieces) to break up the wall rhythm in larger spaces.

Hi!

Sharing my freshly updated CosmoKit - Low Poly Planet Pack. It’s one of my most downloaded packs, so I gave it a proper refresh and I’m still putting it out there just out of pure love for spacey, low poly vibes. If you need a Sun, Moon and a bunch of colorful planets for a galaxy map, menu or a small space game, feel free to grab and use it.

👉 https://emaceart.itch.io/cosmokit-low-poly-planet-pack

I know quite a few people have already used this pack, so if these planets end up in your project, prototype or even just on a loading screen, I’d love to see a screenshot or a short clip.

Hi everyone,

I've been working on some stylized environment workflows lately and just finished a modular Low Poly Cemetery Kit. I decided to release it for free to help out other devs working on horror or stylized projects.

I'm particularly curious about your thoughts on the optimization side. I’ve included 3 levels of LODs for all 50 meshes to make them viable for mobile and VR/AR, which can be a bit of a balancing act with this aesthetic.

Low Poly Cemetery Grave Kit with LODs by EmaceArt

A few technical details:

• Optimization: Using a single texture atlas to keep draw calls low.
• Compatibility: Included FBX, glTF, and .blend files alongside the Unity package.
• Variety: 50 assets including broken graves, wooden crosses, and stone fences.

I'd love to hear how these perform in your engines or if there are specific props you feel are missing from typical graveyard sets.

If you're looking for some spooky assets for a jam or a prototype, you can grab them here: [Link do Twojego assetu]

Feedback is always welcome!

Wow, that has to be the highest level of compliment 😅 I’m really happy Harboria clicked with you, but I also hope you’ve got plenty of other good reasons to live. Thank you so much for the kind words and good luck with your project - may this harbor be just one of many cool places in your game.

Love the vibe here - it instantly brought back memories of Universe on the Amiga, that Core Design adventure from 1994. It has a similar “space opera road trip” feel where every location looks more like a sci-fi illustration than just a room to walk through. The pixel art is really strong: the palette feels cohesive, colors flow nicely across the different depth layers, and the silhouettes stay readable even when the screen gets busy. I really like how the backgrounds are a bit softer and more painterly, while the interactive elements are built from simpler shapes - that keeps the game playable and stops the visuals from overwhelming the player.

What sells it for me most is the scene composition: there’s usually one clear focal point, and the way architecture and props are laid out gently guides the eye towards it, so the screen feels rich but still very readable.

For a while I’ve had this idea in my head about things that used to move all the time and then simply got stuck in the desert. 

That turned into a small diorama-style “rest stop after the adventure” with a grounded raft and a bus cut in half. It’s all stylised, low poly and built in Blender + Unity, but I tried to give each asset a bit of its own story so the composition itself hints at what might have happened here.

The bus is sliced open and turned into something between a small home and a base camp. The raft feels like it once travelled down a big river that no longer exists - now it’s buried in sand, but there are still flags, paddles and scattered belongings around it, as if someone is about to come back. Nearby there’s a broken barrel with dried bones of some tiny creature. On the roof of the raft a lone seagull is sitting, probably the only living thing in sight. On the deck there’s a cooking pot over a long-dead campfire. The whole scene is basically a bunch of frozen moments arranged to guide the eye while staying light on the technical side.

If you want to actually step into the scene, I uploaded a Unity package with all the prefabs and the demo scene:

https://emaceart.itch.io/raft-on-the-desert

You can open it, fly around with the camera, hide stuff, move props and see how everything is put together. Lighting and atmosphere are already set up, so you can instantly build your own mini diorama on top of it - or completely tear it apart, change time of day, fog, contrast and mood, add your own props. I honestly didn’t spend a huge amount of time polishing this example scene, so I’m really curious to see what you can squeeze out of it.

And here’s a small, low-key challenge rather than a flashy contest: using this pack, create your own shot of this place. It can be a heavily reworked scene, a new camera angle, different lighting, whatever you like as long as it’s based on these assets. Post your screenshots (or a gif) as a reply to this devlog. From all entries I’ll pick one shot that surprises me the most in terms of composition or mood, and for that author I’ll rebuild this scene for their engine of choice and send them the project - for example for Godot or Roblox. So in short: you play with composition, light and layout, and as a prize I’ll take care of the engine-porting and technical work for you.

Hi everyone. I’m not new here, but I’m getting seriously active now and I want to be genuinely present in the community.

I’m EmacEArt. I create 3D assets, mostly environments and level art, modular kits, and props. I’ve been in gamedev for about 15 years. More info is in my bio. If you have quick questions, drop them in this thread and I’ll gladly answer.

I really appreciate what people build on itch. There’s a lot of creativity here, especially in 2D. I have a strong soft spot for pixel art because I grew up on 8-bit games. I’ve worked with pixel art before, and I’d love to go deeper into it in the future. For context, Blind Shot on Steam was a focused, a few-month sprint I shipped with a friend. I was responsible for the entire visual side of the game: all graphics and animations (excluding code), the full UI from concept to final implementation, and also the game theme plus the core gameplay mechanic concept.

I’m now running a 3 to 4 month marathon until March. All my packs will go through an update cycle: Tech, MidArt, MegaArt, and a final Tech pass to lock things in. I’ll also release 8 new packs during the sprint. The first stage, the technical update, is already done for all packs almost 100%. I’m devlogging progress regularly. I’m now moving into stage two, MidArt.

One important note: my profile also has a lot of free packs, and every single one of them has received the technical update as well. I don’t want the free stuff to be neglected. I want it to be a properly maintained part of the library.

The most important thing for me is speed and matching real user needs, so I need prioritization. What’s a must-have, what blocks you, what saves the most time. Join my Discord. There will be a timelining section where you can directly influence what gets done first and where updates go next. If you’ve bought any of my packs, during this sprint you’re guaranteed support. I’m available daily and I take solid feedback seriously.

And one more key point: I’m moving into Godot support. I want to build a Godot-focused library and demo scenes with lighting and post-processing, so the packs look good right after import. I haven’t done this workflow before, so if you’re experienced with Godot and have practical tips, especially about importing, materials, lighting, workflow, and best practices, I’d really appreciate the help. Ideally in the timelining section so we can set priorities right away.

See you in the next episode.
ArtStation - EmacEArt !

I’d keep it simple like this: one “hard” socket per bone for all variants, sharing the same pivot and a small box collider. The add-ons using that socket would be grouped into just 2-3 size classes (small/medium/large) instead of perfectly matching every single part - a bit of mesh intersection is fine as long as nothing pops at gameplay camera distance. For colors I’d keep all sockets and brackets on a single neutral material (steel / grey plastic) and only let armor, covers and the main module shapes change colors. On top of that you can have a few fixed palette presets as a base, plus maybe a subtle tint control for one accent color so users can nudge the look towards their project without breaking your original schemes.

The system already feels like a mech-flavoured class creator. I’d push that idea by adding a second layer of small sockets for role-defining bits: extra shoulder and knee armor, backpacks/boosters, antennas, plus dedicated weapon mounts on upper arms/forearms. On top of that, 2-3 chassis frames: a light, tall-legged scout frame, a standard all-rounder, and a heavy base that could even work without legs - more like a mobile turret. On that heavy base the torso could turn into a cockpit block with cannons instead of arms, for a pure frontline or artillery role. I’d also treat color schemes as their own module: a few preset palettes and some example builds like “fast”, “heavy”, “support” that players can tweak, a bit like picking a class in an RPG but translated into your cool robot lineup.

Really love how clearly you laid all of this out. There’s something oddly comforting about reading someone else wrestle with timing and scope instead of just smashing the publish button the second the last asset is “kinda done”. I end up in that “ok, basically finished... but also not really” state way too often, so the way you’re framing the delay feels a lot more intentional than just a stumble. In that light, pushing things by a few days really does read like strategy.

I also really like the idea of the forest / graveyard set being the first chunk of the path, with the other locations growing out of it over 2026 instead of everything shouting for attention on day one. With the kind of folder structure you described, it’s easy to picture people just diving in, grabbing what fits their scenes and getting to work without digging through a mess of directories. And the lower pricing during sales sounds like it nudges folks toward experimenting rather than overthinking if it will “pay off”. Hopefully the bundle timing lines up, the algorithm is in a decent mood, and we start seeing these spaces pop up in all sorts of strange little horror projects here and there, instead of only living forever as a “nice collection in the editor”.

Hey, I really like how honest you are about both the scope and the delays - that’s something a lot of us can relate to. That mix of locations (forest, graveyard, isolated cabin, later maybe hospital or space station) is basically several separate biomes inside a single product, so the hardest part is probably going to be keeping a consistent style across all of that.

I work on horror environments myself and from experience it helps a lot to treat the first release as a tight core: a polished forest/graveyard combo with a few strong hero assets, and then add the other locations later as clearly labeled themed updates. It makes it easier for devs to understand what they’re actually getting, and it lets you keep quality and pace under control.

Nice work on putting out a free modular mech, that’s exactly the kind of thing that can become a “base character” people build around. As someone who ships environment and prop packs: a few things that really help modular characters feel production-ready.

Appreciate you noticing that. It’s working now — you should see the purchase/download button.

Thanks!

Hey, welcome!

“3D art” can mean a lot of things, so it will be much easier to help you if you share a bit more detail about your project. For example:

- What game engine are you using (Unity, Unreal, Godot, something else)?

- What kind of 3D art do you need most: environments, props, characters, UI, VFX?

- What style are you aiming for (realistic, low poly, pixel-style 3D, stylized, etc.)?

- Is this a paid collaboration, revenue share, or just a hobby project?

From the screenshots of your profile you’re not doing anything “horribly wrong” - the models look solid, the PSX style reads clearly, and the PlayStation-style side bar on the covers gives you a nice, consistent identity. The main issue is how you present and communicate the packs. On the pump shotgun and double-barrel pages the description is already decent, but on the flamethrower and some single assets you only have one sentence like “After purchasing you will recieve a .glb file” and that’s it. For someone buying assets, the boring technical info is what sells: exactly how many models are in the pack, rough polycount, texture sizes and types, file formats (.glb, .blend, maybe .fbx), orientation/pivots. Add one clear line about the license: allowed in commercial games, jams, trailers, screenshots etc., not allowed to resell the raw files. And it’s worth fixing typos like “recieve” and “FlameThrover” - tiny thing, but it signals how much care went into the page.

Second thing is previews. You have nice renders on a grey background, but I’d add at least one “in-game” shot: first-person view with hands, or just the weapon placed in a simple lit environment, plus one close-up and maybe a wireframe view. That boosts trust a lot, because people see how it behaves in a real scene. On some pages the text takes half the vertical space and the image is quite small on the side - you could crop tighter so the weapon fills more of the frame. Since you’re doing PSX, consider showing one shot with a stronger retro / dithering look so the vibe is instantly obvious.

Last point: just uploading assets to itch usually isn’t enough to get attention. Every time you release something, post a short showcase on Twitter / Bluesky / Mastodon, drop it in relevant gamedev Discord channels, and write a tiny devlog on itch about how you made it. Use strong tags like “psx”, “retro 3d”, “low poly weapon”, “low poly gun”, “psx horror”. You can also bundle several of your weapons into a bigger “PSX Weapons Pack” and push that as the main product, with the single items as cheaper options. That usually catches the eye better than five separate pages with one item each. Long story short: your base work is good, you mainly need clearer information and a bit more context/screenshots, and your chances of getting attention should go up a lot.

Thank you! Glad you like them. I already have a big update planned for this pack, focused on guiding the player along the world's paths in a more cohesive way - with a comprehensive set of pieces and clear landmarks. This is the first of several key updates I’m planning for the near future. I’ll post an update on the page as soon as it’s ready.

Klimatyczny tytuł :)