This is the same approach I took to all the assets. Here is a breakdown of the setup for the washing machine. I really wanted to keep everything simple but painterly. I textured the majority of my assets in Substance 3D Painter. I apply a second decimation and name each part x_low, then I take that mesh back to Maya to UV and export that again as the low poly. Once the sculpt is done, I decimate it slightly and name each part with x_high. I then apply Clay Polish and Normal Polish from the Deformation menu or Smooth with Shift depending on the material type. I used Clip Curve to carve into the mesh and then Orb Flatten Edge Protect to fix any artifacts and smooth the surfaces. My approach to sculpting all the assets was basically the same. I work at 4096 resolution with Polish turned on. Import the meshes into ZBrush using the FBX importer and subdivide or dynamic subdivide to smooth out the mesh and then dynamesh them all. When using DynaMesh in ZBrush, it takes the mesh size into account for the resolution, so very small meshes become harder to work with. Make sure each part is a separate mesh and then scale up any small parts. I knew that I would be using Nanite in UE5, and this meant I could use my decimated ZBrush sculpt and so the basic approach was:īlock out in Maya, making sure to separate all the parts I wanted to be a different sculpt such as the back plate and the trim for the button panels on the washing machine. I felt that this concept would allow me to really focus on my sculpting and lighting. I chose Delpin Casado’s gorgeous “ Medieval Laundromat” concept mostly because of the bright, vibrant colours and the contained interior with a limited set of dressing props. This is not my first challenge, so I had some idea of what to expect and planned the scope with the deadline in mind. Making portfolio projects can be a tough task, and often they end up dragging on for a while having a tight timeline forces you to be smart with how you work and really focus to complete the piece in time. Secondly, these challenges have a time limit of around 2 months (7-8 weeks). Firstly they have two stages, concept and production, which means you get loads of beautiful and inspiring concepts to choose from. I love these challenges for a few reasons. These challenges run a few times a year and offer a chance for artists to enter various categories and compete to make awesome art with a preset theme. I created this piece for the ArtStation Challenge, Medieval: Back and Forth, in which I was fortunate enough to pick up 3rd place. My work on Sea of Thieves was a big inspiration for the style of the scene. I worked remotely on this game through the pandemic for a year up to the release and after that returned to work on Tempest Rising making mostly hard-surface vehicles for the upcoming RTS game.Īfter this, I got my job at Rare, where I currently work. My first full-time art job was Kena: Bridge of Spirits for Ember Lab. On the side, I worked on a few freelance jobs to build some experience including some outsource work for Dekogon and working on a vertical slice prototype for the game Tempest Rising, which I would later work on again once the game was funded. While working in QA, I focused on my portfolio in my spare time and made friends with some artists at the studio who gave me feedback and helped me develop my art. I ended up landing a QA job at Frontier and worked there for a bit over a year. I started my game art journey studying Computer Games Art at Anglia Ruskin University in Cambridge, UK, and after graduation, I struggled to find a role in the industry. My name is Tim Burroughs and I have been working professionally as a 3D environment artist for around 3 years.
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