Lone Echo is a VR project I worked at Ready at Dawn. It was a amazing project, and I got the chance to work with one of the best art team in the game industry, Be sure to check out the game, I am sure you will appreciate it.
OD-1280-Candi Bangkal rear view (East)[PO2015100500592]-Mojokerto-1912
ArtStation - driftwood4
I'm incredibly proud to be able share my work on Demon's Souls PS5. Here are some screenshots of the Valley of Defilement environment. My primary responsibilities were to reinterpret the environments from the original game, modeling the basic structures in Maya and then fleshing them out with various materials, props, deco pieces, decals, and foliage from the vast library created by the amazing art team at Bluepoint Games. Special shout out to Arvin Villapando and Dave Nolan, who both provided all of the disgusting materials and props needed to make the Valley environments feel as gross as possible. I'd also like to specially thank Ben House for providing the awesome Houdini tools that allowed us to quickly replace the absurd amount of scaffolding in the Valley of Defilement! Special thanks to everyone on the Bluepoint Games team! Contributors: Dave Nolan - Env. Artist Arvin Villapando - Env. Artist Jarrod Hollar - Env. Artist Ben House - Tech. Artist Christian De Los Santos - Env. Lead MKR - Lighting Adam Rehmann and Phu Giang - Concept Mark Skelton - Art Direction
Key Art & Splash Art for Fortnite Chapter 2: Season 2. All captured in Unreal Engine using Ray Tracing Environment/Set Design, Env Materials, Lighting, Cameras - Jonathan Criner Marketing Art Director - Paul Oakley Studio Art Director - Peter Ellis Concept/Sketches/Posing - Zach Rabon Additional Posing - Gavin Moran, Katelyn Keuch . Character Art By Epic Games . Some Environment and Material work was kitbashed/modified or used verbatim from the incredible Fortnite asset library created by the talented team at Epic Games . Thanks to the Entire Art Department @ Epic for their continued feedback as the images developed <3
ArcCorp, Stanton III, is the most visually impressive of the worlds today. While the other planets, even polluted Hurston, retain some indication of their natural origins, ArcCorp is now nearly an entirely constructed world. I had the pleasure of making some of the skyscraper buildings for the major landing zones in ArcCorp, as well as the material set used to texture them. Art Direction: Ian Leyland Planet Team Env Art: Michel Kooper, Sebastian Schroeder, Pascal Muller LZ Env Art: Nic Etheridge, Joel Azzopardi, Daniel Harris, Jack Kirkham, Alec Cornet, Fredrik Maribo, Jake Dunlop, Tom Radford, Ben Boscher, Wai-Hung Wan Lighting: Arthor Yang, Maria Yue, Christopher Campbell, Fumio Katto Concept: Robin Bouwmeester, Sheng Lam. Shoutout to the VFX team for bringing the planet to life.
I'm incredibly proud to be able share my work on Demon's Souls PS5. Here are some screenshots of the Boletaria City environment. My primary responsibilities were to reinterpret the environments from the original game, modeling the basic structures in Maya and then fleshing them out with various materials, props, deco pieces, decals, and foliage from the vast library created by the amazing art team at Bluepoint Games. Special thanks goes to Willow Hermosa and Matt Via for providing me with tons of beautiful toys to spruce up this environment! Special thanks to everyone on the Bluepoint Games team! Contributors: Willow Hermosa - Env. Artist Matt Via - Env. Artist Christian De Los Santos - Env. Lead MKR - Lighting Adam Rehmann and Phu Giang - Concept Mark Skelton - Art Direction
Worldbuilding, local lighting (Unreal Engine). Skylight is the main hub/city for Wayfinder, and I'm very grateful for having had the opportunity to work on it! Taking this city from concept to reality was my responsability, using a few initial concept arts and building my way out of them, using the assets from our awesome Environment and 3D team, and guidance from our Art Director Jesse Carpenter. I built the buildings using modular assets from the team (for example beams, pillars, wall and roof parts, windows etc), the layout of the streets and the views following a back and forth with Jesse and Lead Level Designer Clint Bogue. A layer of props, polish and local lighting was the final part of this adventure. Understanding how to help with art the game progression flow and quest NPCs, was also very important for the design of the city from inception to final realization. Deciding of locations, and of navigation was also part of it. Art Director : https://www.artstation.com/jessecarpenter Lead Env/Worldbuilding : https://www.artstation.com/jstamos 3D Environment team : https://www.artstation.com/curlscurly https://www.artstation.com/rankoprozo https://www.artstation.com/romaindurand https://www.artstation.com/sbaldwin999 Outsource 3D Env team : https://www.artstation.com/mrpebbles A very special thanks to our Tech Art team (Nathan Watson, Isabel Grayce) for helping optimizing this beast! And thanks to all the people from Airship Syndicate, Gfactory, Dragonfly Studio, or elsewhere, who helped contribute in a way or another to this endeavour!
This was the second area on the zeppelin I had the chance to work on. I worked on this together with Michael Tran and we had a relatively short time-frame to finish this after taking the area from Pontus Wåhlin who made the initial blockout and a start on the architectural pass. I was mainly responsible for the central space of the casino as well as the interior ceilings and the floors. For these spaces, I did the modeling, texturing, asset creation, set dressing and world building as well as the decal pass. -- Big thanks to: Michael Tran Pär Tingström for the awesome lighting! Axel Torvenius for the art direction Myles Lambert env art lead Christoffer Loveus / Matthias Pettersson for the awesome concept art and graphic design the rest of the MG team! https://www.artstation.com/mila
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Loading Screens for Fortnite Chapter 2 Season 1 All in Engine using Ray Tracing <3 . . Environment/Set Design, Env Materials, Lighting, Cameras - Jonathan Criner Marketing Art Director - Paul Oakley Concept Sketch/Posing - Zach Rabon Special thanks to Colton George for the Cloth Sim over "Blue Slurp" and setting up the material for me to tweak. . Character Art By Epic Games . Some Environment and Material work was kitbashed/modified or used verbatim from the incredible Fortnite asset library created by the talented team at Epic Games . Thanks to the Art Team @ Epic for their continued feedback as the images developed <3
Terminal, command prompt, CLI, bash, with the command env and description on what it does for linux users, to remember and discover new commands, perfect gift for nerds, programmers, coders, software engineer, developers
Jun 21, 2012 - This Pin was discovered by Kerry Brown. Discover (and save!) your own Pins on Pinterest
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À la fois minimes et infiniment déroutants, les récipients en céramique de Matthieu Chambre sont des itérations à l’échelle précise de la même forme. Ses sculptures hypnotiques sont composées de pièces individuelles tournées de différentes tailles qui sont intégrées dans une forme plus grande. Chaque œuvre abstraite est unique en termes de couleur et de position, affichant parfois des anneaux monochromatiques simples à des angles incongrus ou des couleurs rayées alignées.
