Best Of

Still whittling away at the blockout, made lots of scale changes along with moving some stuff around. Getting closer to a look I like.

another one for my soldier - has a few wobbles here and there, but works ok. will do a zbrush pass at some point

and so we move forward, still struggling a bit with the proportions but..

 I seem to have got this technique down quite well. slightly high poly, but still ok I think, with LOD's or just turning off the bevels

*cough cough* 

https://www.rockpapershotgun.com/for-a-jetpacking-open-worlder-starring-bug-sized-captain-picard-infinitesimals-feels-a-lot-like-operation-flashpoint

Stoked you guys found a publishing partner and looking forward to the release! 

Hello again!
Done some more work on this project since my last update, even doing some lighting tweaks as I wasn't fully happy with the super soft lighting of my original setup.
Here are my shots so far that I want to push further and focus the detail on, based on what's in frame here. 





The task I put the most time into for this update was on the RGB/Splatter mask for the main house. Currently I have a shader setup that mixes vertex painting for the softer more recently painted over parts of plaster whereas the RGB mask has more beat up/detailed plaster damages. 
Another big change here was over color in the scene. I want a warm scene that is boosted by that sunset light, so i made the surrounding houses a less saturated yellow and tweaked the main house to be saturated and warm as my main focal point. 



For the bottom end trims of the building modules, I decided to combine that that material into a trim sheet with the street trims.

As per usual, it would be great to get some feedback on this one! Mainly looking for set dressing feedback and damage pass feedback. 
Thanks for reading!

Eric Chadwick said:

Hi there!

I would ask what's your focus? Seems like "prop artist" from your portfolio. I suspect the answer is more along the lines of "whatever 3d art job will hire me" because that was my remit back when I was getting started. However, you kind of need more specificity when seeking full-time studio jobs. 

Where do you want to work, ideally? And doing what exactly? Because you will generally be hired, as an entry-level artist, to perform a specific task, and to repeat that task 8 hours each day.

So it becomes pretty important for you to drill down and figure out what exactly you really want to be doing, for 8 hours at a time. Then, figure out what employers want that coincides most closely with that desire, and cater your portfolio to match that as close as possible.

I agree with this, specialization is quite important.

I started out as more of a generalist too, experimenting with props, weapons, and environments. But from what I’ve learned, most studios do prefer specialists over generalists.

After doing some research, I found that environment artists are often in high demand, and the competition is a bit less intense compared to some other roles. I also really enjoy making environments, so I decided to focus my efforts there.

By the way, I had a look at your ArtStation, you’ve got some really beautiful work! I’m especially impressed by the textures and models, the Sci-fi Box and the Wizard’s Cave stood out to me in particular.