Hi there! My awesome team-mates at Spiritwalk are all releasing their work so I'm super stoke to join in and show you all the environment work I have done for Spiritwalk's debut title SHARDBOUND
Check out the character art thread that will flooded with awesome artwork in just a moment : http://polycount.com/discussion/191746/shardbound-by-spiritwalk-games-character-art-drop-img-heavy/p1?new=1
This is "Sinners Mire", my very first work at SpiritWalk and the very
first map I did for Shardbound. I started on October 1st 2016 so it's
been almost a year already
Nothing but good times.
Initial Concept Art for Sinners Mire by SIMON KOPP
is dope. It
was more like a mood board than something to precisely duplicate. We
knew for instance that, among other things, blockers would have another look and the playfield
(the tile arrangement) was not the definitive one. Player 2 views was
also something to experiment with.
I remember first starting to play with the look of the fractured tiles
and to experiment with muddy waters. Slowly more and more of the concept
art's key elements were built until we had a first rough impression of
what the map would look like both from player 1 and 2 cameras. At this
point, concept artists stepped in and drew paintovers to bring me a more
precise direction (and new cool stuff were brought in like the Temple).
I didn't know much about Unreal Engine at the time so a lot of stuff was
poorly optimized at first and was later reworked and drastically
improved by good team-mate and senior tech artist Ira Goeddel
Overall the process didn't take too long. We wanted to get it in game
asap so the background was left empty and filled with particles in-game
until a matte-painting or 3D background is added.
Why I love Unreal Engine... The tech stuff is just too good with UE.
Vines were added using splines and I used material's world position
offset to procedurally hang the moss in a random fashion. Water droplets
and ripples were also added.
We spent a bit of time experimenting with the circuity looking
structures we call "Chromite". Main challenge was to make it readable
and to look like there's still active glowing chromite emitting light
from inside the structures.
Love working in Unreal Engine... adding fake caustics, fake ray lights
in water, water ripples, moss on water surface with vertex painting,
vertex animation on foliage, you name it.Thanks to Art Director Josh Nadelberg
for the great support and help
through this process and to Senior Tech Artist Ira Goeddel
with my poor UE knowledge at the time and overall lack of optimization.
He drastically improved the lighting since then as well as many other things, so download
Shardbound and check all that in-game