Creating Realistic Environments In Photoshop For Game Design

Creating Realistic Environments In Photoshop For Game Design – My name is Paul Fish, I’m originally from Minnesota, but I’ve been living in Southern California for about 15 years and have been working professionally as an environmental artist in the game industry since 2007. I’ve worked under different names throughout my life. His career includes Fallout: New Vegas, South Park: The Stick of Truth and Torment: Tides of Numenera.  I am currently working as the Lead Environment Artist for Wasteland 3 at inXile Entertainment.  I started playing at a very young age, but it wasn’t until high school that I became interested in how the games I played were built.  This is when I started dabbling with level editors and 3D modeling software.  After high school I moved to Southern California to continue my education and career as an artist.

With this isometric view, sometimes it’s easy to look at the zoomed-in design or concept art and see things easily, but when you see how close the camera is to the game, you realize just how much detail is needed.  Creating art for these scenes can be a time-consuming process for artists, especially with small art teams.  For larger scenes, I often break them up into different areas and break them down into manageable chunks.  An example is the doom of the fallen: the tide of Numenera. The level is quite large and has several unique sections, a foundry, a town, various item shops, and a mined tunnel area.  Since all these areas are completely different from each other, I made a separate list of assets for each and tried to focus on one area at a time.  It keeps me focused and doesn’t let me move from one random bit to another, which is easy for me to lose when I’m dealing with big levels. I also make a priority list for myself, because if I don’t, I can sometimes get distracted focusing on some small detail that I’m missing, but it’s not important to the design or the story.

Creating Realistic Environments In Photoshop For Game Design

Here’s a behind-the-scenes look at how the scene was created. We provide about half a dozen different transitions in Mental Ray (the descriptions here are albedo, spec, normal, and AO). All of this is used together (along with the latest changes and additions to Photoshop) to create the illusion of 3D scenes you see in the game. Architectural elements

Textures Used In Vfx For Games

For most of the work I’ve done for this game, I’ve been very lucky to have great concept art, detailed narrative descriptions, or at least many references and art direction to work with. .  However, when I started working on art for a premade isometric game, it was sometimes difficult to add the right level of detail to the models and textures because I was used to creating models and textures that were optimized for detail. intended for real time use.  It took me a while to learn to use the mesh details where I would use a normal map and not have to worry about multiple counts or texture sizes.

I’m usually given something like this before working on a scene.  It gives a rough idea of ​​what it should look like and usually includes challenges for some individual scene elements or assets needed for gameplay or story reasons. (Concept art credit: Daniel Kim) Materials

The answer to this question varies from game to game.  The materials for my work “Pillars of Eternity” are mainly textures from photos that have been heavily edited in Photoshop.  Tyranny, on the other hand, was a more stylized game, and our textures were simple and hand-painted.  Tyranny had a lot of pre-production work that developed the visual style of the game, including the look of textures and materials.

I’m far from a Mental Ray expert, so experimenting with different textures and material rendering methods is always a challenge.  On the other hand, working on Torment: Tides of Numenera is a bit more freeing. The distant sci-fi nature of the game allowed us to be more free with the look of the material. Most of the materials created for the game are tiled textures, but procedural tools aren’t used much (at least by me).  I’m late to the party when it comes to designer/artist items.  I didn’t start using procedural texture software until the final stages of Torment’s production.

Creating A Hdri For Use In A 3d Package

Another example of the process of building the scene. Our concept artist (Credit: Daniel Kim) will generally get very simple blocks from the level designer. He then worked with our art director, Charlie Blumer, to explore what the main architectural elements of the scene would look like and what the general direction of the scene would be. Light

I have not finished any world building or lighting Pillars of Eternity (I have only worked on environmental models and textures), I will refrain from commenting on it.

In Torment, we have a dedicated lighting/render artist (the talented Aaron Meyers) who takes over the scene after the environment artist models, textures and assembles it.  In many cases, the environment artist will bring the entire scene (millions of cops and all) into the Marmoset toolbox and create a rough lighting fixture there to give a general direction to the final lighting.

For me, it’s fun to work in indoor spaces, and especially small dungeon levels, because everything I play is enclosed in a small area and I know more or less exactly what the player looks at when moving through the stage. Dungeons and interiors also offer a unique lighting option, because there is no natural light, I can decide how everything is dimmed, now the scene is a bit more visually creative, and focus on small visual story elements. easier.

Game Environment Design Services

The environmental story is a big part of the game.  In many cases, you’ll be visiting the same area multiple times throughout the game, so there should be plenty of story elements around every corner.  One thing that makes this easy for this type of game is rich, detailed text has been written to describe locations and events.  Character and quest description, dialogue, lore, etc.. for each area I work on. There are pages and pages of design documents. I get a really good feel for the feel of the area before I get a reference or concept art. It can be very interesting to work on the text of the story that the player reads is sometimes more detailed than the background that has been created.

Depending on how big the scene is and what’s in it, it can take an artist anywhere from a few days to a month to create all the art needed for such a scene.  Some environments have many unique assets that must be carefully crafted, while others may consist of sets taken from existing scenes.  As I mentioned before, I didn’t start using procedural texture tools until the end of Torment: Tides of Numenera development, but I think tools like Substance Painter and Material Designer will be a big help in many environments. faster.  What I think can be used to save time are ready-to-play texture/material libraries (Gametextures, Quixel Megascans, etc.).  They can focus on other aspects of the environment, such as creating commonly used materials from artist plates.

We use cookies on this website to improve your browsing experience. By using the site, you agree to the use of cookies. More info Jacob Claussen hand painted a beautiful scene for King Arthur’s Challenge and talked us through the process of achieving this style. Learn how they plan their projects, how they prepare their assets, and how they build their environments

My name is Jacob Claussen and I work as a 3D artist at Ubisoft in Stockholm. I started my career in an indie studio I founded with some friends, we released Blast Out, an arena fighter game. After moving to the present, I wanted to see the other side and learn what a bigger company was like, so I joined Starbreeze Studios and worked as an environment artist on Overkill’s The Walking Dead. With the game released, I wanted to try different studios and found myself joining the newly opened Ubisoft Stockholm studio as a 3D artist.

2d Environment Art & Design

When I studied at the University of Skövde I wasn’t sure what path to take in 3D, but I went to school with the goal of doing animation in the future, joining a game-oriented university, and after a while.