Valley of the Fallen Grace

Software

• PureRef
• 3ds Max
• ZBrush
• Photoshop
• Substance Painter
• Quixel Megascans
• Unreal Engine 4

References

I found the works of Romain Jouandeau and Otto Ostera, and I was inspired by them. I thought these works were good at expressing space and creating an atmosphere in medieval villages, so I focused on medieval villages as well.

My aim was to maintain the strengths of the original works while incorporating my own artistic style. To set the environment in my work, I referred to the original works and collected reference data from similar environments as much as possible.

Sculpting & Texturing

Let me introduce the process of working on the prop I recently finished, the candle set. For the initial modeling, I simply created the basic shape using 3ds Max and made it into a low-poly model.

After creating the shape, I used Zbrush to sculpt the object and give it more detail. I enjoy the process of sculpting and texturing, as it allows me to see the objects come to life.

When I sculpt, I focus on refining the outer lines of the object, as the surface details are represented through texturing, which captures the shape and silhouette. After sculpting, I worked on optimizing the topology while maintaining the shape of the props in 3ds Max.

Then, I proceeded with the UV process and used Substance Painter to bake the low and high poly models before starting the texturing process.

The most crucial aspect of texturing is making the texture instantly recognizable to others upon seeing it.

I didn’t use smart materials for all the props; instead, I referred to the provided reference materials and layered masks as needed.

This process taught me how to create textures that closely resemble the references.

Step 1: The base color can be used as a starting point, but using a non-monotonous material image enriches the base color.

Step 2: Build upon the base color by expressing internal elements such as breakage or cracks, as well as external elements like stains, moss, and mold.

Step 3: Add soil, mud, and leaves to further enhance the environmental depiction.

Step 4: Apply gradation and ambient occlusion to enhance the sense of volume and achieve completeness.

Level Design

Key aspects of level design are visuals and optimization. Starting with the reference works, I first set the space to be similar. Then, I incorporated the narrative of the environment into my work, rearranged the props, and naturally placed grass and stones by referring to various materials to ensure seamless blending without any awkwardness.

I also portrayed wet and dry soil and ground with footprints in various ways. While considering perspective, I eliminated elements that were distracting to the eyes and continuously checked whether the scene looked aesthetically pleasing from the main camera view.

Lighting

Lighting plays a crucial role in creating the atmosphere of a scene. I aimed to create picturesque artwork and to achieve that, I controlled fog and light to set the atmosphere.

I treated the directional light as the sun and used spotlights or point lights to emphasize specific objects.

Fog is essential for gradually revealing the distance, so I made sure that the perspective was clearly visible in the main shot.

Conclusion

This project has not only allowed me to learn 3D programs but has also enabled me to express my artistic vision through the use of 3D technologies. I am proud of the attention and love my work has received. None of this would have been possible without my mentor, who provided me with invaluable support and feedback.

I would also like to express my gratitude to the incredible composer ([email protected]) who created the perfect background music for my work. Furthermore, I would like to extend my appreciation to Game Artists for providing me with the opportunity to showcase my work through this article.

If you have any questions, please feel free to reach out to me via ArtStation.