Heavily damaged door done for a personal project I am working on.
This is a breakdown on creating 2 shaders that were used to make many different pieces. This efficiency allowed for creating epic scaled environments with extreme detail.
一些速途，大关系和体积的表达。
visual development sketches
Texture of mud. Wet dirt. Puddle. Mud background
Wallpaper series for i like architecture.net
I created a series of masks, costume elements, and props to be used by the The Presidio Trust, an environmental arts organization for their production of "The Ansel Adams Story", a play that kids act out on their own, taking the parts of a young Ansel Adams and a bunch of native animals, plants, and ecosystems. Unlike objects created for theater, these had to last for a long time, and are built to endure repeated use, rough play, and long storage! They're made of wire, cardboard, paper mache, wood and fabric.
Little Diorama project I created with the given prompt "Apocalypse" to strengthen my PBR skills. I also wanted to practise concepting a small space with some hero props! Modeled inside Blender, Sculpted High Poly in Zbrush, Textured with Substance Painter and rendered inside Marmoset. Ruins are nowadays the embodiment of past human lives. I especially like the aesthetic of broken church windows or arches with the typical gothic architecture. I wanted to set my diorama in a time where humanity has gone extinct due to an environmental crisis. The diorama captures what it looks like years after, with parts of an old library located in a gothic church experiences nature slowly taking over, therefore being in the starting stages of that process over overgrownness. Special thanks to my fellow artist friends for their feedback on this project!
Credits: IO Interactive Sumo Digital Elite 3D I was responsible for Level Design White Box/Gray Box Layout for large areas of this map, with final gameplay adjustments and feedback from Gameplay Designers. I also wrote Look & style briefs for other artists who then created the finishes environment assets and props. I was also responsible for large sections of set dressing & environmental story telling with props, foliage, decal detailing and vertex painting. Final assets, textures & lighting By IO Interactive, Sumo India and Elite 3D.
Credits: IO Interactive Sumo Digital Elite 3D I was responsible for Level Design White Box/Gray Box Layout for large areas of this map, with final gameplay adjustments and feedback from Gameplay Designers. I also wrote Look & style briefs for other artists who then created the finishes environment assets and props. I was also responsible for large sections of set dressing & environmental story telling with props, foliage, decal detailing and vertex painting. Final assets, textures & lighting By IO Interactive, Sumo India and Elite 3D.
I was responsible for creating the Environmental Shaders on the Deadspace Remake, along side an amazing Rendering, Tech Art, and Art Teams. Everything shown here is a collaboration of many individuals and our collective blood, sweat and tears to make the visuals as amazing as they turned out to be. - We wanted to build an in-engine non-destructive workflow whilst allowing for as much control over both macro and micro scaled detailing. We built a POM decal + Tile Texture + Contextual Detailing System for all of our architectural needs. So we created a layered shader containing all potential types of materials we would want to see in the ship, and used both baked masks and volume based signed distance field masking system to reveal different layers directly in the editor. A live update was important for fast iteration time. - The ability to define biomes to change the look in different sections of the ship on a macro scale was important. On top of that we created a World Masking system that allowed us to place localized volumes that would influence parameters and act as dynamic masks directly in the shader. For example adding in more dirt/damage, making it look frosty in zero-g, corruption spreading around the world, etc... - This allowed us to change the look of the biome on a macro scale, Or on a per room scale, and also on a micro-scale with a tiny portion of the room using these volumes. These volumes would also influence all of the props as well to make sure that if a room looks more dusty than others, all of the props within that room will also appear more dusty. - This workflow ended up becoming a huge hit internally and gave the artists the ability to change an otherwise generic room to look a lot more unique with environmental storytelling. The workflow was also non-destructive allowing for endless amounts of iteration on the ship's geometry without having to update anything else. - There is a lot more to this than what I've shown. And of course a huge shoutout to the entire rendering and art team for all of their parts in making this system and workflow a reality!
BFminis05
Our new range of wooden plinths that can be custom-painted.
Environmental Impact Assessment and Environmental Audit- Unit III - Download as a PDF or view online for free
Metro Green is an E-Waste Recycling Company in Washington DC also serving surrounding areas of Maryland, Pennsylvania & Virginia.
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Editorial illustration portfolio by illustrator Kotryna Zukauskaite aka Kata | Kotrynos Žukauskaitės iliustracijos darbų portfolio
Taxes play a crucial role in many environmental finance systems.
