InteriorEnvironmentAssets

Environment created in Lumberyard, as a Demo scene for GDC 2017. I worked as a material artist doing procedural materials and variations for buildings (bricks, roofs, wood, cobblestones, concrete bands) also the trashcan, streetpivot 3D models, few cracks and some edge trim decals. Both Lumberyard, aswell as NVIDIA used this scene, to show of specific technical features like SAA (Specular Anti-Aliasing), OIT(Order In Transparency, and TAA (Temporal Anti-aliasing) in real-time during the GDC...

I had the amazing opportunity of working alongside the talented team at Naughty Dog contributing as Principal Environment artist on The Last of Us Part 1. A project like this is a massive effort that spans many people and departments, but I would like to thank some of my close collaborators including (but not limited to): Texture Artist: Tiffany Nguyen Lighting Artist: Antoine Deschamps Wide Artist: Ryan Burke Graphic Design: Hailey Del Rio Outsourcing: Carlos Rodriguez, Mark Pajarillo...

Some of the areas I got to work on for the Last of Us Part I. I was responsible for texture work in these environments which included vert-blending, setting up materials/shaders, UV work, and some additional environment work/set dressing using Naughty Dogs library of props/materials and tools. Worked with some amazing top-industry talent and got to learn a lot from this experience. - - - In Collaboration with - - - Additional Material Artists: Dassan Verstrepen and Peyton Varney Environment...

Survivor's Safe House This project is now available on the Unreal Marketplace https://www.unrealengine.com/marketplace/en-US/product/survivor-s-safe-house A huge thank you to everyone who helped me along the way with feedback, criticism and encouragement.

Tyler Anlauf prepared a detailed breakdown of his modular Roman environment and talked about blockout, assembly, lighting, post process, composition and more.

Open to portfolio and scene reviews (3D / cinematics), on request. I decided to practice in something complex. That's why I choose to create a whole building with possibilities to make a modular system. At the end decided to use Unigine for render and it has pretty easy and have good lighting :)

Tyler Anlauf prepared a detailed breakdown of his modular Roman environment and talked about blockout, assembly, lighting, post process, composition and more.

https://gamesartist.co.uk/apocalyptic-metro/ Environment Artist and recent Graduate Jinkun Chen details his project, The Apocalyptic Metro. Focusing on recreating atmospheric lighting and textures, this article discusses tools used, modelling & texture creation, vertex painting, asset modification and lighting techniques used in the project. https://www.artstation.com/jinkunchen https://www.artstation.com/artwork/04Leay

A player can encounter these classic wooden shopfronts in the old part of Villedor. I used trims and mirrors to reduce textures size. Color variation was achieved by using gradient for optimization purposes. Posters made by: Emil Cegielski (design), Paweł Maroń (texture weathering). --------------------------------------------------------- Level Design: Igor Sapijaszko Level Art: Łukasz Maliński, Paweł Maliński...

Some wall materials and blending maps I've made during the production of the Dishonored 2.

Sup everyone! I made this radio for 3D Monsters Community Challenge https://www.artstation.com/monsters3d Info: -10,4 k tris -two main sets (4k, 2k with ~80 px/cm TD) and one for the glass

My first time using Unreal Engine, I had an Interesting time, There's a lot I don't know in there yet, and I'm Still learning it so far, I found the incredible concept art by Jonas De Ro and I wanted to turn it into a 3D and training in modeling more assets, It took me a good time to model and paint everything in there, but I'm glad with the result I got in the end. The concept art by: Jonas De Ro https://www.artstation.com/jonasdero