Creating Fantasy Landscapes Digitally In Photoshop With Immersive Details

Creating Fantasy Landscapes Digitally In Photoshop With Immersive Details – This entry shows my recent projects that show my love for reality, games and a combination of both.

Hello everyone! This is my second goal for the Rockies! I am a second year Game Graphics Production student at DAE University. With this entry I want to show my love and ability to create realistic visuals, game optimized scenes and assets for next generation games and environments.

Creating Fantasy Landscapes Digitally In Photoshop With Immersive Details

During this project I worked very closely with reference 2d artwork by George Jacinto – “Half-Remembered Ruins”. A personal goal of this project was to test the ability to recreate a 2d concept in a 3d real-time environment. I worked with MegaScan and Unreal Engine 4 to achieve this goal. My main focus was lighting on this scene to achieve a painterly, smooth and realistic look.

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I have documented the various stages of development to better illustrate my creative process. First, I sketched out the scene using simple geometric objects to get a general idea of ​​the scene and its 3D feel. After that I worked on a Protom-Allo pass to get the volume and shadows in the right place. In the next step I replaced the suspension with a Megascan, using only a few of them but to increase the performance by twisting and turning. The roughness descriptions implemented in the game engine, local volumetric fog and post processing allow it to be combined into the final result.

Additionally, I created a Material Designer element for the destruction to be different from my imagination. I created Rock and Fern to not rely entirely on MegaScan, but to create my own custom assets where needed to achieve my visual goals.

The goal of the following project was to create a completely vertical piece of one of my gaming visions. I treated the player as a naturalist. The sun has gone dark and you must collect light sources to store light energy and return it to the plants to survive until the sun returns and the spell is broken. The amount of time for this project was very limited, so I focused on designing the game mechanics and the overall feel of the game. More levels will be added later and there are even plans for a playable outdoor area where you’ll find a giant tree – it wants to protect the player’s house. To demonstrate the mechanics, I focused on one dungeon in the game and tried to clear as much as possible in the given time. Below I’ve attached some gameplay to show what I’ve done.

The user interface graphics are self-made, with the main character modeled by ZBrush, textured by Element Painter and manipulated by Mixamo. I used MegaScan again to create the worlds but optimized them for gaming use. I added low resolution collisions for them and used LOD to prevent overcrowding. To get an additional performance boost, I made sure to use a new resource type if I needed to increase performance with instant objects and small objects. I use baked light whenever possible. The sounds used are free sounds from freesound.com. The images below show the layout of the dungeon from blocking to filling the property to the final light

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The following project is a full-scale design project with a short story, in Unreal Engine 4 with a modular asset workflow. My goal was to create a spaceship interior inspired by the style of Star Citizen. To achieve my goal I used my own modular properties and trim sheets. The following gameplay video shows the entire interior and some implemented gaming features.

Below, I’ve attached a demo of the module pieces used to create this layer as well as the cut sheets, most of which are mesh modeled.

With the following projects I would like to demonstrate my ability to create optimized, high quality and photorealistic 3d assets for games. The shots below are real time but I’ll input them at Cinema Texture sizes to show the maximum potential and texture performance. The mesh itself is optimized as a hero property and the texture level can be reduced accordingly for game use.

The next project is aimed at the same goal as the above project, this time I took a treasure with more complex materials. For both, Key and this microscope, I worked closely with real-life references to understand every detail and train my eye to focus on important texture areas. When I study the materials and work with them, I try to see where fingerprints are found or where dust accumulates and which parts are used the most and wear faster than other surface areas.

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The next project will show another area. This time interior design. I used a photo from the Ikea page for interior design as a reference. The main focus here was to create a realistic scene with baked light. I tried to get a convincing scene in 3D to look as realistic as possible using light profiles, different light channels and auto-generated material designer objects.

Below is a two-material carpet and wood floor created in Material Designer with parameters for carpet and carpet fiber rotation.

Next I want to show you a high poly car I made. This is obviously not game ready, but it was a good practice to demonstrate the ability to create clean undistorted high poly meshes on complex surfaces like car hulls to low poly meshes. The biggest challenge here was balancing the edges and corners so that the light reflection on the car didn’t look distorted. The car was modeled in 3dsMax and built by Arnold.

Last but not least, a very small but challenging one was the following. I finally wanted to figure out how to make believable, real-looking gemstones, so I took on the challenge of making a gemstone necklace and tried to make it as realistic as possible. This time it’s an offline recording.

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I thought to myself that if I cut a particular gem, I would get the best reflection by cutting and creating the same aspect in a diamond in 3D. Another important thing is to add a bevel on the edge, so the light reflects/collects on the edge making the gem stand out more. Also, the appearance behind the jewelry is very important. In this case, I kept the gem socket’s pure chrome material to allow for maximum reflection and flash of light in the gem. I learned a lot from this experiment.

3dsmax, Adobe Photoshop, Blender, Procreate, Substance Designer, Substance Painter, Unreal Engine 4, ZBrush Unreal Engine, 3D Environment, Game Assets, 3D Game Modelling, 3D Modelling, Hard Surface Modelling, Architectural Visualization, 3D ProModular, Real Time Assets 3D Props, 3D Car, Necklace, Destruction Picture Fantasy. Backgrounds can be intimidating to many, and I hope you can gain some insight into how to draw a virtual background in this tutorial.

With these in mind, fantasy can be anything, in my opinion, the only limit is your imagination. A good rule of thumb to make something look fantastic is to include elements that you don’t normally see in our physical reality.

When you’re brainstorming, it’s good to look to a variety of media to inspire you. Personally, I like to get inspiration from movies, TV series, webtoons/manga as well as my favorite artists. To name a few, I love the concepts of Treasure Planet and Arcane, and I love finding environmental/landscape inspiration from artists like Rossdraws and phlipsue_Art and john_stone.art.

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To design something, it’s a good idea to do some concept work first before sketching out the entire area.

For this tutorial, I will draw an imaginary environment with giant tea trees with tree houses around these trees. To make it more wonderful, I want these houses to be built on floating stones.

Here is a simple conceptual design. It doesn’t need to be neat and tidy, but it’s good to think of some world-building stuff behind it and sketch out a few ideas. It’s a good idea to start by brainstorming what you want to incorporate into your environment.

Before we get into the “virtual” background, one must understand what a background is, let’s say a “landscape” or “environment” for example.

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I’m no expert, but whenever I’m learning as an artist, I think there are 3 important elements that make up a landscape: foreground, center, and background. nose,