(Not Really)

(Not Really)


About Me

  • Grew up loving art and started doing 3d design work in high school. Creating short animated films and building levels for video games
  • Love working in a variety of digital art mediums
  • Continued on that path which led to a career in games
  • Enjoy Dodgeball, Ultimate Frisbee and film





Part 1- An overview of some workflow processes that I have leveraged to create quality and performative real-time assets over the years. Shows application for character and environment work.

Part 2- Walkthrough of a personal project that is a little more experimental but conveys aspects of lighting, rendering, visual development. compositing and is a fusion of different digital media.


Process and workflow overview

Texturing Bake compositing and Modelling for Textures


The main goal of this section is to show a process I have leveraged many times to create quality and performative assets quickly.

Utilizing high resolution modelling techniques to create content that doesn't rely on advanced shading and lighting setups.
(but can support them if desired)


Assets presented are all meant to run on several year old mobile devices.

Baking Textures

  • Project high resolution data onto low res model

Pretty standard game process, except instead of plugging the textures into a shader we will composite them into a single diffuse

final Thoughts

  • Smooth gradients and color transitions reduce and read very well
  • Easier to art direct, Less stylistic diversions, more compartmentalized process than just painting
  • Merges old and new processes, Can hook into shader effects if desired

Modelling for texture/Environment art (skipped for time)

Some similar concepts applied to environment art


Ripping Textures

  • Quickly organize whats needed to honor the concept
  • Thinking about draw calls and UV layout

Example ripped from concept art

-Helps me understand how to layout my atlas intelligibly and take stock of how much unique content I actually need to build
-Helps me understand how 2d space and 3d space will come together
-Helps understand the most efficient way to UV, Can start UV's without final texture
-Use texture bits to drive modelling


Texture layout to completion

Texture rip based on a different concept for an "underground mall"

More examples using these methods


End Part 1

Project Overview

Eye of the Void



Goals for this project...

  • Wanted to tryout new techniques and expand upon older ones
  • Participate in a community contest
  • Work while on the train
  • Create a different and compelling portfolio image

Worshiped and wondered... A monument for stationary eyes. No wanderer of sound mind enter, Lest they leave it all behind.  -Unknown

Reference and inspiration

  • I wanted to create something intriguing and imaginative
  • Mainly used Zdzisław Beksiński but also Arnold Böcklin for inspiration

Exploring mandebulb3d

  • Fun to play with; albeit clunky
  • Easily accessible on the train
  • Inspired my imagination
  • Exported using Voxel Stacking
  • Image stacks to mesh creation done in ImageJ

Kit Creation

  • Created different designs then output some that I found interesting
  • Used this kit to drive image creation quickly in Zbrush

Concept Creation

  • Created in Zbrush and Photoshop
  • Experimenting with different compositions
    -Fibonacci spiral, decided on straight forward shot communicated story better.
    -Direct, Eye contact, Forward, Powerful

At this point I have pretty good Idea of where I am headed and start building assets that I will need



World Machine

  • Procedural and node-based terrain editor
  • Uses different noise functions, masking, blending effects
  • Effectively generates a grey scale heightmap and lets you visualize it and work with it in 3D
My terrain network. Iterated and output several times to keep it simple and fast. This is probably 1/4 the actual network

My terrain network. Iterated and output several times to keep it simple and fast. This is probably 1/4 the actual network


Additional Asset creation...

Model Placement


  • Mostly Triplanar projections
  • Camera projection
    -Projected paint markings and some grunge/dirt textures
  • Used Vray blend material to mix projection textures with standard ones

Rendering and Lighting

  • Vray
  • Worked on decimated proxy for faster render times
  • Hdr + Sun + Area lights

Final Composite

Final Thoughts

  • Had to work through some render crashes do to too much displacement density
  • Could absolutely adapt this work to real time with some additional work
  • Could switch to traditional modelling practices at any point
  • Would have liked to focus on terrain polish; Get more texture variation coming through.