Mine GorgeWorking on my latest project, the mining scene below, I wanted to focus on lighting and the overall composition. Prop and environment assets were placed in order to lead the player's focus towards the far back of the level. Torch light was meant to lead the player to alternative paths and add more visual narrative.
Past its narrative purpose, the scaffolding props were used to enhance the flow of the level by leading or obstructing the player focus.
Scene BreakdownBelow is a visual representation of how I imagined the flow of the scene. Green and red pulls the player's focus towards the end of the path. Yellow leads to the direction of alternative paths and blue "blocks" the player focus.
Following images show a summary of all the assets used in this project, and a few demonstrations on how I would use them while creating the scene.
Most assets, such as scaffolding and rocks, have materials which uses vertex painting and a directional mask. Masking and vertex painting allowed me to hide the repetitiveness of the materials and made assets more versatile.
Procedural textures were created in Substance Designer, and I gained a lot by studying the works of senior artists, such as Jonas Ronnegard, Nathan Mackenzie, and Pontus Carlsson.
The rock textures changed as the project progressed, and below are early versions created in Substance Designer. The image above shows the final version.
Wood and rope textures were also created in Designer. These were used in Substance Painter as smart materials. From each Substance material I also created various detail textures.
Material SetupThe rock master material ended up having the most extensive setup, since I wanted a certain flexability. The material breakdown starts with an overview and then goes into specific parts.
Packaged Textures containted baked information from the highpoly models created in Zbrush. From this Texture Sample I could recreate the normal map by using the DeriveNormalZ node and combine it with the X & Y values packed into the red and green channels (image 1). The blue and alpha channels contained the baked edge and ambient occlusion maps.
The TransformVector node converted the tangent space to world space, which I used to create a directional mask (Top Mask). Adding a Vertex Color and HeightLerp node gave me a mask that was used to blend various tileable textures (image 3). Similar method was used to blend in sand textures (images 4).
Detailed TexturesExample of the rock material with (left) and without (right) Detail Textures.
I wanted to create a scene with an Egyptian inspired theme, and add my own touch to the various architectures and materials. Other than my final vision of the project, I had a goal of improving my knowledge of creating architectural game assets, materials and textures in Substance Painter, and lighting in the Unreal Engine.
Props created for the project and texture examples. Also, an example of how I used vertex painting to add a sand texture to hide repetitiveness.
Starting from the left is a floor model with the "clean" version of its material. The middle and right models uses different variation of the floor material and I have painted in sand.
Setdressing, foliage and architecture assets.
The project began with the goal of learning how to setup a sceen in Unreal Engine. I wanted to gain experience working with modular assets, and textures.
All models were made from scratch inside Maya LT, and sculpted in Zbrush. Textures was created in Quixel Suite 2.0, based on the premade materials included in the software.
Demonstration of the modular interior assets (image 1) and an overview of all assets.
These images shows the highpoly, lowpoly and textures for the train seats and the teddy bear prop.
Machinery - Hardsurface & Texture StudyHero piece, part of a machinery from an old brewery, modeled in Maya and textured in Substance Painter. Texture bakes and final renders done in Marmoset Toolbag 3.
RebearthA game created by a group of students at FutureGames, Stockholm. We had a five week period to work out the game play, art style, and objectives.
The game plays-out in a seemingly dead world, and it is the players objective to uncover the secret of this world. Advancing through the puzzles laid in the players path will lead to new clues, and a step closer to the games final destination.
My responsibilities were to create rock and stone assets, set dress blocked out levels, and add lighting. We were a small team, and focused heavily on cross discipline communication. Each group member were encouraged to give feedback and have an active role in various discussions.
Dilán, a small armadillo, lives in a colorful world together with his friends. Its special ability allows Dilán to move around its surroundings. The players objective is to help Dilán find special items, which will help Dilan wake its friend, the mountain cat, from its deep slumber.
The game was created in Unity3D by group of students at FutureGames, Stockholm. We had a seven week period to work out the game's game play, art style, and objectives.
My responsibilities were to create environmental assets, which was used to set dress each level. We were a small team, and focused heavily on cross discipline communication. Each group member were encouraged to give feedback and have an active role in various discussions.