There's nothing special about the modelling stage. I just try to be aware of the shape of what I am creating. If the shape is too complex, it will give away the perfect perspective that 3D creates.

In some cases I try to avoid using too much geometry, as it can sometimes glitch out the grease pencil. Sometimes I re-mesh or add extra geometry, I will explain this later when I dive deeper into how grease pencil works.

The shaders and texture work are very simple. I essentially rely on base colors and a simple two tone shader which has some noise applied to it. Perhaps I could have pushed this a little further, but I was afraid of over-complicating the process at the time

I use grease pencil to create outlines for the objects. Sometimes I use one grease pencil object, sometimes multiple, depending on the scenario. The outlines are then given some modifiers, such as noise 

The frequency of the noise increases the more geometry an object has. So for artistic control, I might take some objects and re-mesh them. Since these objects won't end up in a game, I close an eye on typical topology rules...

The 2D art pass is arguably the most important. Here, I do the following:

• Three passes of Ambient Occlusion with a soft brush. Each pass has a different brush size, one big, one medium, one small

• Three passes of bloom. Similar to Ambient Occlusion

• Volumetric shadows pass and particulate

• Fixing line-art bugs

• Textures

• Animated elements

All of these are small additions, but they make a big difference together. These 2D elements were drawn in Krita, but they could technically be done in 3D using cards

The impact frames and speed lines were also rendered in 3D for the most part. This was achieved by stretching noise patterns and some basic UV tricks