Giselle Valenzuela guided us through The Untold Story of Bernadette, a game created at Ringling College with a distinctive Laika Entertainment style.
Just felt in love with the concept by Jonathan Bertaud. So i had to made this environment in Unreal Engine 5. It was a great opportunity for practising Speedtree and Foliage creation in general. Also i wanted to create the scene with a minimal number of Assets. https://www.artstation.com/jonathanbtd
Hello! This is my final project for Think Tank Training Centre that I started in June. This last term was an absolute blast and I have learnt and grown so much as a 3D artist. I was challenged on all fronts as an environment artist and I am so grateful for this. This scene was inspired by concept art by Mariya Georgieva that was originally created for an upcoming game from Meta Studio. Check out Mariya's work here! https://www.artstation.com/artmilota https://www.artstation.com/artwork/4Xzb2L Thank you to everyone at Think Tank. All the staff.. all the students.. I made so many friends while being at the school and I will always remember our time we spent together. I hope you enjoy!
Finally found some time to start getting into UE4 and I have to say I’m extremely impressed. As a quick exercise I threw together this scene to get a little more familiar with the tools. I spent probably about 3-4 hour…
LAWBREAKERS for PC and PS4: http://lawbreakers.nexon.net/en/buynow As Environment Lead for Lawbreakers, I've had the good fortune of working with an immensely talented art team on this truly groundbreaking title. Grandview was Lawbreakers' debut map, and represents Bosskey's first foray into the public facing arena. For Grandview, I was responsible for a wide range of tasks within the team, including scoping, concept direction, modeling, texturing, material work, lighting, optimization and outsource management. Credit goes to my amazing team: Art Direction: Tramell Isaac Environments: Eric Klokstad, Ned Gasorntip, Jayson Miller, Neil Pascarella, Ivan Bonachea, Josh Pegram Level Design: Hunter Peyron FX: Nick Peterson, Brandon Bickford Lighting/TA: Jonathan Bishop TD: Jonathan Ferguson Outsourcing: Ryan Hawkins These are shots from our official site: www.lawbreakers.com. More shots will be added to this album soon, so stay tuned!
I was responsible for this level during my time at Crytek UK while working on Homefront, it was our first Yellow Zone level to go into production and what you see here is what the level looked like two years before the games release. Although I can't take credit for much of the asset production I can take credit for bringing it all together, I worked closely with design iterating on what a Yellow Zone was and how it should be structured and constructed. Much of my focus was on performance and production asking the question "How do we go about building something so big so quickly?". I started this level as a loan artist before ramping up to a team of ten, then over time we ramped down and I remained. Its difficult to sum up quickly everything I did on this, but I can say with confidence that I put this level together. and did the majority of the dressing and world building contained in these screenshots.
Fire Watch Tower - post apocalyptic environment- Inspired by Days Gone. Only Tower standing on the hill near the snow mountain. This place is not for refugee, but rather a place to check on zombie movements and signal survivors (if any) to go HOME- a place where humanity still exist. There have been some instances where zombies have tried to attack the tower, reason the Hero (people who stays on such Towers) constantly need to make the fence grounded using anything possible. Life is difficult, different and its developing to something we might never know! In this environment I used trim(2k), tileable(1K) to construct the tower and the repair area. Most of the other props are also made using common trims and tileable textures to keep the texture count low. Rest of the other smaller props are made using "Bevel shader" in blender which significantly decreases the modelling time, and later packed most assets together (keeping a TD of 5px at 2K). Foliage's are made using Speedtree and atlas were created using zbrush, maya, and painter. This project was developed during my free time after office where my main goal was to learn more about composition, lighting and develop the world building skills. Fog by William Faucher Ultra Dynamic Sky by Everett Gunther Large Rocks from Megascan Original Layout designer for days gone is done by, https://www.artstation.com/matthewseymour This project has many ups and down, but constant support from my friends, family and community helped me accomplished this project, so I would like to thank everyone who helped me throughout the journey: Somnath Das (Samonth) https://www.artstation.com/beyondextent https://www.artstation.com/timothydries https://www.artstation.com/cairog
These are from Sunset Overdrive (2014). This was the old district part of the game. I did all the level art assembly in the shots, with some models made by me. We primarily built our world out of modular building kits. We had a base set of tiling textures to use, but the majority of the time we needed to create custom materials for each section of the city an individual artist worked on. As with a lot of game dev cycles, sometimes multiple artists touch each other's work. So what I'm showing here are shots where I primarily did entirely myself from the blockout stage to polish, or areas that had a first art pass after blockout but needed more and that I took to final polish. Besides modeling, texturing and level arting, near the end of the project, I was also tasked with doing a color pass on the entire city so each zone was using a limited, but cohesive palette, as well as creating reflection cubes for neighborhoods for the whole city.
Found some time to integrate a little Houdini into my pipeline for this project! Throughout outskirts there are many destroyed brick buildings and I decided to use Houdini to construct rapid Booleans and auto placement of bricks along destroyed wall sections! This allowed for rapid iteration of complex destruction areas all in Maya's interface through a Houdini Plugin. We also integrated Houdini generated erosion masks as the baseline normal and blend for the materials in the mud trenches. ND games are a monumental team effort, Thanks to everyone that helped out in this level! And a big thanks to anyone who's uploaded one of the many excellent free Houdini tutorials out there!
My mandate on Far Cry 4 was modeling the vegetation assets for the next gen version of the game. I worked on the trees and the bushes. I also did the fallen trunks assets. I worked with Stephane Joncas on the modeling of the trees and the bushes and Minh Nhat Le worked on the grass. Paulette Richardson and Pascal De Sampaio did the textures of the vegetation.
Some shots for the work I did for Sunset Overdrive at Insomniac Games.
I finally finished my last environment :'D I made this one to test myself and to stop doing pure stylized/cartoon things. I ended up saturating the colors (not realistic, I know) and exagerating a bit some assets, but in the end I think I archieved the goal and found a balance. I also tried to optimize some things like make more modular pieces, learned about vertex painting and made some materials in substance with a more realistic approach. It took me about a month and a half to complete, It was very stressful but fun as always. <3
Started in 2020, I deemed this project to be too difficult with my skillz back then. Coming back to it 2 years later, well, wasn't any easier - but I pushed through. Hooray! The big ol' pillars are hand sculpted and textured. Pain in the ass. A love letter, if you will, to the gorgeous brush strokes of Gabriel Yeganyan: https://www.artstation.com/artwork/B4xLA
Part 2: https://www.artstation.com/artwork/AyZKV Brooklyn: https://www.artstation.com/artwork/ZRlBZ The Hub: https://www.artstation.com/artwork/50WRO Together with the other environment artists at Massive, I worked mainly on open world propping and set dressing. The majority of my work was focused in Brooklyn, The Hub, Chelsea, Hudson Yards and Hell's Kitchen areas, however I was also involved in many other areas. My duties were working closely together with level design to create interesting play spaces and missions; Managing the various teams involved in an area to ensure everything comes together correctly; And supporting the prop team in creating specific environmental assets. At massive, many artists work together on the same area, so these images represent a team effort across many disciplines. To avoid a huge list of images, I have split up my work into various sections. So be sure to check them out on my profile page if your interested in seeing more!
Ever since the early Quake days, I was always a big CTF fan, so for this one I wanted to try and push myself as an artist and solo the architecture of a map from early art blockout all the way to lighting polish. I had help from outsourcing like with the
Every environment in Sea of Thieves: A Pirate's Life is the result of a huge collaborative effort from the Rare team. I worked on A Pirate's Life for about 6 months across three of its levels, taking them from design whiteboxes to a visually finished state. The player visits the Tavern of the Damned at the end of Tale 3, where they meet Jack, the Cursed Captain and several other characters from the game. The tavern borrows some visual elements from the Ferry of the Damned, the ship where the players spend their respawn time, waiting to return to the land of the living. My main contributions to this area were mostly dressing and creation of a number of kitbash assets to enhance the mood of the space and make it feel more unique.
Exploring making more of a Ghibli style scene in blender, had a lot of fun, hope you like it, enjoy! ;)
