Lee Ming Yew | Game Art Showcase

KASAI SHIMA

Hello! I'm Ming Yew, an Environment Artist currently studying at MAGES.

Kasai Shima represents my first foray into 3d environment projects and my initial exploration with Unreal Engine. The challenge was significant, given the exterior environment choice and the need to model a multitude of unique assets within a constrained timeframe. However, the thrill of the process was unparalleled.

My inspiration for this project was 三叠色Size. My aspiration was to craft an environment that transcends the boundary between reality and the virtual world, immersing the audience in a game-like experience.

VIDEO REEL

WORK PROCESS:

Over a period of 2-4 weeks, I embarked on an intensive journey to create Kasai Shima. The process involved modeling, UV Unwrapping, procedural PBR texturing, and rendering in Unreal Engine, all within a tight schedule. I used 3ds Max for blocking, modeling, and UVs, while texturing was done in Substance Painter. The final assembly and level creation took place in Unreal Engine. To add excitement, I incorporated mountains and boats, inspired by my research. I also used the Niagara system to create a fireworks effect, aiming to bring a lively Japan Festival scene to life.

BREAK DOWN:

My main reference for this project was the concept art from 三叠色Size. I aimed to replicate elements like the composition and integrate them into my environment.

To enhance certain assets, I experimented with decals and vertex painting techniques. This is evident in the moss on the roof and the brick wall beneath the concrete wall, which may cause some textures to appear different from the actual outcome. I also incorporated Megascans from Quixel Bridge into my work.

Initially when I was painting and blending different materials on the geometry (vertex painting), the textures were blurry due to the low polygon count. By increasing the polygon count of the geometry that I was painting, the texture quality tremendously improved due to the extra vertices present giving it the desirable texture and outcome that I envisioned.

The images below demonstrate how I used point lights or rect lights to simulate certain lighting effects and the process of applying decals.

STYLIZED COMPUTER

The concept art I picked for my assets was done my Alexandrin Damascan. The primary challenged I’ve face was how to texture from a colourless concept to something vibrant and eye catching within the limited timeframe.

TURNTABLE

BREAK DOWN:

To add a touch of fun to my model, I incorporated some meme stickers. I used Substance Painter to apply all the stickers, a process I found thoroughly enjoyable. The original concept art was colourless, so I took it upon myself to texture with my own creative ideas.

The images below display the wireframe and texture map of my assets. This marks my first step towards learning 3dsMax and Substance Painter. It was a steep learning curve for me but through understanding the tools of the software and perseverance, I’m glad with my final result.