u/IndividualOnion518

This is a material set I had the chance to create for the Half Life RTX project. The challenge with this was recreating a texture from scratch with only old reference screenshots or textures. As this is a remaster project we tried to respect the source material as much as possible. Trying to place scratches, grime and patterns exactly were they was a real but rewarding challenge. Here I was tasked with recreating the walls from city 17's apartment complex

Full Project here: ArtStation

This is the second biome in the game I worked on. You may have seen the previous on which was a floating desert island landscape.

The lore behind this one was to create a world that is underneath the ocean but doesn't answer to the rules of being underwater. So you are able to walk, you can find pond and waterfalls inside of a body of water, the environment can be in a floating state but you are not (and no we did not copy clair obscur )

We wanted it be vivid, always in movement and filled with flora compared to the dead desert biome. To contrast the heavy organic elements I went with medieval architecture for player guidance.

Sculpts were done in Zbrush, layout and renders in Unreal.

I have been working on a game for the past 3 years as a Senior Artist. I have almost a decade of experience and worked through multiple types of projects from AAA to Indie and realistic to stylised.

Something that's bothered me very early on, and seems to be bothering a lot of gamers, is that art recently has because a selling point doing a disservice to the final game rather than something to serve the game and level design. I have tried as best as possible to go back to and research art styles that serve the pillars of a final game rather than trying to make a pretty image with no purpose.

In the game I've been working on, the core loop is to bring water back to a central hub where the player can track their progression and decide where to go next. Instead of making something look very aesthetic and serve only the art without answering any design problems, we decided to incorporate that core loop clearly in the art. I made pond layouts that fill in individually every time you bring water back. This triggers a condition which spawns vegetation and lights within the scene to indicate clear progress.

The goal was to solve the challenge above but also to avoid useless UI that most of the time plagues the screen and floods the player with information. This helped with two things, the first giving a sense of progression to the player and the drive to fill the entire Hub with water. The second is trying to push forward titles that utilise every aspect of the development to serve the final purpose of the game, not their own.

If you're interested and would like to find out a bit more here is the environment I am talking about The Bastion .

I'm curious to hear your thoughts on this topic

An environment done for Fading echo, the latest game I've been working on. Check out my Artstation for the full post.

Full environment was built with a modular organic pipeline. A set of 5 rocks were created and assembled in level instances to build the majority of the biome.
Sculpts were done in Zbrush, layout and renders in Unreal. Architecture models in maya