Real-time Game Art Showcase

Real-time Game Art Showcase

Louis Sullivan
by Ed Freifalts, louisjsullivan, martyrigz, natebed, tompepper, and variglo on 30 May 2020 for Rookie Awards 2020

Hello! I'm Louis, and this is my best work from the last year of study and practice. From personal work to group game projects and even competition finalists, all my work has been focused towards honing my craft, expanding my skill set, and having fun expressing myself creatively.

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Stylised Street Market Environment

Inspired by the vibrant bazaars of Turkey, you can expect to find all manner of trinkets and exotic spices in this dusty Arabian street market.

I entered this project into the Search for a Star Environment Art challenge, and ended up getting 2nd place in the competition overall.

For this project I wanted to focus on creating an exterior scene using modular pieces, tileable textures and trim-sheets. I also wanted to try my hand at creating a stylized environment, as I have only done realistic before. I settled on a colourful, cartoonish style inspired by the Spyro Reignited Trilogy.

This is some reference and inspiration shots that I took whilst in Turkey last year. The vibrant street markets and mysterious "fairy chimney" rock formations really captured my imagination.

Dead Tone - Abandoned Telephone Box

The advancement of technology has rendered many things obsolete, even things widely considered iconic. In countless British towns you can find these relics from another time, abandoned by us and reclaimed by nature.

This was a smaller project done over about a month, focused on realistic PBR texturing, storytelling, and detailed prop work. I wanted to practice these areas, but still wanted to present the props in an interesting way.

I find how technology quickly becomes redundant very interesting, especially when it makes iconic things like red telephone boxes obsolete. There's something eerie about seeing it, like it belongs to another time, and it still holds memories from that era.

Creating an overgrown prop let me practice both organic and hard-surface modelling, and I had a ton of fun making the decals and weathering to make the prop look vandalized and abandoned.

Planetary Pest Control

Planetary Pest Control is my final year group game project. It was made over 8 months, with 17 people involved. As well as being creative director, I also created environment art as well as one of the protagonists, E.V.

Check out the game's entry into the Game of the Year competition here!

Above all, E.V. had to be readable from a top-down perspective, and she had many design elements on her that were integral to the coop gameplay. Her large visor is used in game to show her mood, if she's low on health or ammo, among other things. The canister on her back ties into an important gameplay mechanic, and her weapons have to be able to be swapped out at any time.

Nathan Bedford, my friend and concept artist on the team, created the concept for E.V, which you can see in his Rookies entry here. I also worked with Nate on the trailer.

Defining and creating the environments was a collaborative effort within the team. Along with two others, I was one of the main environment artists. Between us we created the assets and dressed the 6 levels in the game.

These are the environment assets I created for the game. All assets not pictured here were made by others on the art team. A couple of assets in the breakdown use textures made by other team-members. (Tom Pepper and Ed Freifalts) Rigging by Marty Ward and Eric Eggert. UI Graphic by S. Rodyakin.

The Boathouse - 3 Day Art Test

The sun sets over a lonely outcrop as the supplies of the lighthouse keepers are replenished. Enough, hopefully, to hold out against the coming winter storms.

This was an art test done over the course of three days. Unfortunately the position was cancelled due to COVID-19, but it was still good experience as I used the test as an opportunity to push myself and see how much I could get done within a short time-limit.

The brief was up to interpretation so I had a fair amount of control over the content and composition of the piece. I used Unreal's starter content materials in certain places, due to time constraints. The use of megascans was encouraged, so I used them for the terrain and foliage. This way I could focus on creating the boathouse, lighthouse, and props, in order to produce a well-rounded environment.

Thank you for looking at my work, I hope you enjoyed it! 


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