Vertex School Game Art Program Student Showcase
It’s time for the highly anticipated Game Art Program Student Showcase, where we take immense pride in showcasing the incredible achievements of our students.
Our Game Art Program allows you to embark on a transformative 9-month journey, divided into three engaging terms.
Observing the student showcase is not only entertaining but also illuminating, showcasing the remarkable progression of artwork from Term I to Term III.
We trust that our student showcase will ignite your passion and inspire you to take the leap, jumpstarting your own rewarding career in game art!
TERM 1 Artwork
In Term 1, you’ll delve into the fundamentals with “Intro to Game Art (Skill Building),” crafting a Prop Capstone that will stand proudly in your portfolio.
Gameboy Classic Nostalgia
Anthonie Nolin
This is my Capstone prop for my first term at Vertex School, I have learned so much from the instructors and my fellow students there!
The project involved creating a high poly and low poly asset in Maya, baking/texturing in Substance Painter, lighting/rendering in Unreal and Marmoset.
BugOutBag
Joshua Rodriguez
Let’s go on an adventure! The Bushcraft Bag has everything you may need. Water, Light, and Axe.
This prop was modeled and created by myself. The prop was made using the High poly to Low poly workflow. Utilizing the high-to-low poly workflow, gaining a better understanding of the naming conventions and what goes into the process. Zbrush was used to sculpt in the details that will make the bag feel more like cloth.
The bag’s low poly was made using retopology methods in Maya. The sleeping bag went into Houdini to use the program’s auto UV function. The close-up shots display the details of the fabric that was put into the model via Substance Painter. The project was the capstone project for the Vertex School term 1 for environmental artists. The prop puts on display a variety of different materials. The Medic Patch was made using the patch generator by Bao Le.
African Kenyan Knife
Sahir Robbie
This is a Project I made in my first semester of Vertex School. It’s an African Kenyan Knife. I really wanted to focus on showing my sculpting and texturing skills on a simple prop. The knife itself is a relic to the Kenyan Tribe and has gone through rigorous battels, slaughtering dozens of enemies to anyone who wields it. Its been forgotten, rusted, blood-stained, and left into the eerie forests of Africa. Only to be picked up by the next warrior it chooses.
Rococo Clock
Martiine Mayeur
I fell in love with this clock during a museum visit in Germany and decided to recreate it with slight modifications for my Vertex School first capstone project.
Lots of fun sculpting, baking and texturing later – here it is!
Many thanks to my Vertex mentor Paul Layton and others who gave advice and helped me improve along the way 
– Highpoly/lowpoly in Blender
– Sculpted in ZBrush
– Baked in Marmoset
– Textured in Substance Painter
– Rendered in Unreal Engine
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Original clock on references made in 1755 by Joseph Niggl. Currently located in Füssen Museum, Germany.
Clock face ornament designs from all-free-download.com
Payphone on Eagle Rock Blvd Prop
Alen Esmaelian
My first term prop submission for Vertex School. This weathered old relic payphone was inspired by an actual payphone I stumbled across on Eagle Rock Blvd. in Los Angeles. I chose this prop to challenge myself with various weathered surface details, especially all the accumulated paint outside and inside the payphone… Plus I had a blast working on it!
The base low poly was modeled in Maya, sculpted and converted to high poly in Zbrush, textured and painted in Adobe Substance Painter, and finally rendered in Unreal Engine.
Cobra 29 LTD Classic CB Radio
Lewry Henriquez
This is a Cobra 29 LTD Classic CB Radio made for my term 1 capstone project at Vertex. Modelled in Maya, textured in Substance Painter, and rendered in Unreal Engine 5.
A special thanks to my mentor Paul Layton for the guidance and feedback during the term!
Antique Sewing Box
Jene Yeo
Maya, Zbrush, Substance Painter & Unreal Engine 5.
Hero Prop created for Term 1 at Vertex School. High to low poly workflow.
Special thanks to Lena, Paul and classmates!
Clipster sheep clippers prop model
Nikola Spasov
I made my dad’s sheep shears as my first Term prop for Vertex School. It consists of several different parts that were challenging and fun to model as a High poly and Low poly mesh decomposition. Texturing the model was also a challenge as I had to ad so many layers of sheep grime onto the blades either through ganarators or hand painting. I used Unreal for the renders and put together a quick turntable.
Deimel Guitar Basquiat Edition
Plamen Bayraktarov
This is my Term 1 capstone project for Vertex School. It was inspired by Deimel Guitars’ artist editions and the artist Jean-Michel Basquiat. The main goal for this project was to push my limits with textures and materials. I wanted the guitar to look as if it has seen a lot of damage and have a really worn-out appearance.
Many thanks to my mentor, Paul Layton, for all the feedback and guidance, as well as to my fellow classmates during the past 6 weeks.
The floor and wall textures are from Quixel Bridge’s library.
Paul Layton –
https://paullayton.artstation.com/
Antique Telescope
Suzi Bicsak
Sleigh
Sam Miceli
This sleigh is loosely based on 19th century Cutter sleighs.
The snow texture is from the Substance asset library.
Software Used:
Maya, Substance Painter, ZBrush, Photoshop (for the painting in back), Unreal
1950s A7B Czech Military Valves Transceiver
RanjiniB
It was made between 1950-56 by the electrotechnics company TESLA (Technika Slaboproudá), Pardubice, in the former Czechoslovakia. A really interesting piece of military radio communication history and highly collectible.
I completed this project as my Capstone, which is part of Term 1 at Vertex School. I want to extend my sincere gratitude to my mentor, Paul Layton, for his invaluable guidance and support in my journey to develop and present this work. It was with his assistance that I ventured into using Adobe Substance 3D Designer for the very first time, and I am truly thankful for his expertise.
I would also like to express my appreciation to Lewis Ryan Hewison and Zachery Ashton, Vertex Mentors, for their constructive feedback and the helpful video resources they provided during this project.
Additionally, I want to acknowledge and thank all my friends and fellow students who contributed their insights and ideas, which greatly enriched my project along the way.
-Lowpoly in Maya
-Highpoly in Maya and ZBrush
-Baked in Marmoset Toolbag
-Textured in Adobe Substance 3D Painter
-Procedural maps Adobe Substance 3D Designer
-Rendering in Unreal Engine 5
-Presentation in Photoshop
-Video compositing in Adobe Premiere Pro
Paul Layton:
https://paullayton.artstation.com/
Zachery Ashton: https://www.artstation.com/zashton26
Zulu Spear and Shield
Ricky Green
This was my Term 1 Project at Vertex school, it was my taken on the African Zulu spear and shield used by the Zulu tribe. I wanted to give it a slightly aged but still usable appearance. I textured the spear to look like it’s used frequently, but taken care of for future battles. The shield front is made of old and weathered cow hide, while the back of the shield is made of wood. I would like to thank you the mentors for their help and advice.
Apocalyptic damaged Zippo lighter prop
Aya El rhazouani
TERM 2 Artwork
Term 2 marks a pivotal moment as you choose between the Environment Art Track and the Character Art Track. This term introduces you to the intricacies of your selected track, providing essential skills for both environment and character artists. It concludes with the completion of your first Environment Art or Character Art Capstone Project!
Star Wars Cantina
Michael Fairchild
This is my Term 2 Capstone Project created under the mentorship of Jacob Claussen. I was heavily inspired by both Star Wars: Jedi Survivor, and the upcoming Ubisoft game Star Wars: Outlaws. I gathered a large amount of reference from The Mandalorian, Andor, and Kenobi as well. Most materials come from two 2048×2048 trim sheets using a Master Material which I was then able to create a Material Instance from; modified with various roughness and alpha maps. I was happy to be able to use my knowledge of Unreal Engine to create Master Materials, Vertex Paint, and Blueprints that really made my scene pop in a way I was not able to do before joining Vertex School.
Abandoned Courtyard: Unreal Engine Environment
Cole Bayer
I’m proud to present my second-term capstone project at Vertex School! For this assignment, I aimed to explore storytelling, textures, and the creation of a cohesive environment using various assets.
I was inspired by Jothi Suresh’s “Abandoned Courtyard” concept art which served as a strong foundational reference for my project because the composition struck a nice balance between exterior and interior elements in an abandoned setting. This also provided me with many options for narrative development.
Naturally, I found myself also inspired by the exceptional work of talented artists and designers from The Last of Us game series, particularly Jared Sobotta and Jonathan Benaninous. The detailed documentation of their work furthered my understanding of Substance Designer which was a primary goal of mine for this project.
Another goal of mine was to become more familiar with the node-based workflows and blueprints in Unreal Engine for quick iterations. To avoid obvious repeating patterns, I kept my texturing relatively simple, so that I could utilize vertex painting and decals to create unique variations within my reused assets. I also used a spline blueprint to place and change the orientations of my wires, hose and rope assets. To bring it all together, I heavily relied on changing the color, roughness, and normal parameters of various textures via the engine’s node capabilities to create cohesion between my assets and the photoscan assets. This allowed me to visually develop my assets and textures directly in-engine and create an efficient workflow.
The “Kit” screenshot is composed of assets of my own creation- save for the foliage textures. I utilized Speedtree to build various ivy generators and randomize the results for quick iterations on their formations and behaviors. This enabled me to uniquely wrap my ivy around my pillars and oak tree with ease. I used Megascans assets to fill out the space and assist in giving the space a (previously) “lived-in” feel.
A special thank you for the invaluable feedback and guidance from my mentors Salvador Sánchez and Chris Vogelsang. Their continuous support and insights helped me think like an environment artist and refine my skills.
Looking forward to my third and final term at Vertex!
Swiss Bunker Art Storage
Lake Gildner-Blinn
This scene is an original composition inspired by the repurposing of Swiss WWII bunkers for peacetime purposes.
In this scene, the bunker, once used to as a military compound to protect the Swiss people, was given new life as bombproof storage for priceless works of art. In 1986, midway through storing said art, a disaster ended society, leaving the bunker and its artifacts to the elements and those who are left.
A huge thank you to Lewis Hewison and Jacob Claussen for the mentorship through this project.
This scene was created in Unreal Engine 5, and everything was modeled in Maya and textured in Adobe Substance Painter.
Bronx Corner
Jerry Lockamy
In the Bronx Corner Bodega and Police Substation 3D environment scene is the grungy old used-up food and liquor store juxtaposed against the relatively upkept police substation precinct number 9 at night. I am very thankful to Vertex School mentor Ben Merrick for the invaluable guidance, and Salvador Sánchez for being there for me (all of us) in the lab for extra help.
Forgotten Faith
This church is architecturally inspired by the Halfway Creek Church that resides in Jamestown, South Carolina. While no longer in service, both the real-life structure and my rendition of it are monuments to the idea of an impermanence of faith, and a ground once-held sacred by man becoming consumed by the natural world around it when left alone and forgotten. This piece is my first real-time environment made in Unreal Engine 5, and I couldn’t be more proud of my work. I gained invaluable knowledge from this experience, thanks very much to my mentor Ben Merrick and the team behind the Game Art program at Vertex School.
The bushes and trees were purchased from the Unreal marketplace, and the grass assets are Megascans downloaded from Quixel Megascans. All other building and material assets & textures are of my own creation.
The Last Day of Peace
“…the Harbor Bell rang as the last light of sunset glowed upon his banner, and I knew their war had come for us at last….”
I’m very pleased to present my first ever real-time environment, created in UE5 during Term 2 of the Environment Art course at Vertex School. My sincere thanks go to my mentors Ben Merrick and Salvador Sanchez for their patient guidance throughout the last twelve weeks, as well as to Jacob Claussen for his insightful feedback. I learned an enormous amount and am grateful for the time I had working on this project.
The horse and rider assets were purchased from the Unreal marketplace, and the vegetation assets are from Megascans. The sky HDRI was sourced from PolyHaven, and the river uses the UE5 water system plugin. All other scene assets are my own.
Apartment & Ramen Shop
This is my 2nd Term capstone project for the Game Art Program at Vertex School.
I would like to thank to my mentor Ben Merrick for his invaluable guidance and advice.
I would also like to thank Salvador Sánchez and Jacob Claussen for their valuable feedback.
Wedding on the Napa Valley Wine Train
For Term 2 at Vertex School, I decided to make a scene about a wedding having taken place on the Napa Valley Wine Train; specifically in their Gourmet Express 1017 Pullman Lounge Car.
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99% of the scene’s assets were modeled in Maya 2024, textured with Adobe Substance 3d Painter, and rendered in real-time using Unreal Engine 5.21 by me. However, Megascans foliage assets were used for the exterior portion and I borrowed a couple extra wine bottles from the “Edith Finch: House and Common Areas” pack found on the Unreal Marketplace from Epic Games to fill out some additional space in the train’s bar area.
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Special thanks to Cairo Goodbrand and Salvador for all the mentoring and pushing me to the finish line!
Blooming Italian Alley
Happy to show you my second project of the Game Art Program at Vertex School! ^^
I decided to create a small Italian alley with lots of flowers and details.
The painting on the canvas is from Francesco Mangialardi and was my main inspiration.
https://www.facebook.com/mangialardi53/?locale=de_DE
You can find the butterfly particles here: https://www.artstation.com/bradyjdesign/store
The rest is my work.
Special thanks for helping and supporting me go to: Salvador Sánchez, Ben Merrick, Rene Vidra, and Jens Lindfors
Arguments Yard
Hey, here’s my most recent environment for term 2 at Vertex School! My goal for this project was to learn about modular asset creation for environments in Unreal Engine and all the different ways to get variations and breakup with Vertex Painting, Decals and RGB Masking, as well as creating materials in Substance Designer. It was a bit of a challenge but I sure enjoyed gathering more knowledge and insights about the programs and ways to create.
Thanks for all the valuable feedback and help from my mentor Cairo Goodbrand, Lab teacher Salvador Sanchéz and additional support form Jacob Claussen, I really appreciate it!
The moss texture, most of the Decals and Foliage is from the Megascans Library, the rest is my work.
Souless Desert
My first Environment and experience with unreal on my Term II of the Game Art Program at Vertex School. It was an attempt based a concept by one of my favorite artists, Tim Kaminski. A big thank you to Kem Yaralioglu who put up with me at the time of this project, and Steven as well.
TERM 3 Artwork
As you enter Term 3, the stakes get higher, involvement deepens, and exploration of advanced features takes center stage. Armed with increased experience and project time, you’ll craft your second Environment Art or Character Art Capstone Project—an impressive real-time environment or character.
Empyrean’s Approach
David DeVries
For my final term of the Game Art Program with Vertex, I wanted to try my hand at making a large-scale futuristic building. I have nothing but praise for Vertex with the amount of learning material that is available to students. I’m also grateful for my mentor Cairo Goodbrand as without his guidance and feedback on this project I doubt it would have come out as well as it did. The original artwork was made by Mark Zhang. For the modeling the building, ship, and trees were made in Maya, the cliff face was sculpted with ZBrush and the landscape is from Megascans, and the fog is by William Faucher.
The Pale Man’s Room – Pan’s Labyrinth
Jessica Latch
This project is inspired by the iconic “pale man’s feast” scene in Pan’s Labyrinth. I used both stills from the film and the original concept art by Sergio Sandoval as reference, but had a lot of fun putting my own spin on it. Created for term 3 of Vertex School’s Game Art Program.
I sculpted and baked down several assets, including the hearth, table, and throne. Fruit bowls and other containers were created and filled using Blender’s rigid body physics. Credits to Megascans for their food assets and decals. Bones and dinnerware assets purchased from UE marketplace.
Many thanks to Ben Merrick for his guidance on this project!
Winslow Safe Shop – Dishonored Fan Art
John Dempsey
This is a game-ready environment based on the Winslow safe shop in Addermire from Dishonored 2.
It was created for my final (term 3) capstone project on Vertex School’s Game Art Program. Many thanks to my industry mentor Ben Merrick for his help and tuition over the last 6 months and to Salvador Sánchez for his guidance in the labs.
Modelled in Maya, unwrapped in Rizom VS and Maya, hero safe rigged and animated in Maya, textured with Photoshop and Substance Designer. Rug and welcome mat photos sourced from Textures.com and changed into PBR textures with Substance Sampler. The rumpled velvet mat inside the hero safe was created using a Zbrush cloth simulation. The CCTV Post Process was based on a tutorial I found online but I modified it to create a more realistic look and flicker. Shaders, staging, lighting, cinematic animation and scene renders all in Unreal Engine 5.1. Standalone renders and breakdowns using Marmoset Toolbag and Photoshop. Cinematic edited and rendered in Premiere. The awesome cinematic music is Dramatic Epic by Lexin_Music (Aleksey Chistilin) on Pixabay. (https://pixabay.com/users/28841948/)
My main concept art reference was a piece by Aimé Jalon and I also own the Dishonored 2 art book. I revisited the game and gathered reference with screen captures. Whilst blocking out, I decided to move several key elements to create better composition for my still renders.
The Dishonored games were hugely influential to me and really opened my eyes to the power of environmental storytelling in games. This artwork is a tribute to the brilliant work of Arkane Studios in bringing this world to life. This is a fan art piece and all copyright relating to the Dishonored games rests with the original copyright holders.
Female Viking Soldier
Pema Tshering
Here is my attempt at creating a 3d female Viking character. As of now, Im considering it finished. However, there are some improvement I could make in the future. The character was sculpted using ZBrush, and Marvelous Designer was used in crafting some of the clothing elements. I used maya for the creation of weapons, accessories, as well as retopology and optimization tasks,. I turned to Substance Painter for texturing, and utilized Arnold for rendering to bring the character to life. In order to complement the artwork, I integrated a ground feature from Quixel Megascan. Done under the mentorship of @Crystal Bretz. Original concept by 西兰花
Museum of the High Seas: Hall of Borrowed Artifacts
Grant Diffendaffer
Whodunit? Where did all this stuff come from and why is it stuck on an island in the middle of the ocean?
I built this scene in Unreal Engine during my third term studying Environment Art at Vertex School. My goal for this scene was to create a photo-realistic yet magical immersive environment that would showcase my photogrammetry collection while expanding my skills in texturing, scene building, and rendering. While practiced at creating assets from individual objects, I’ve been working on full architectural captures, and this was a chance for me to move forward a full room scan that had been on the back burner.
The hall itself is now part of the Asian Art Museum of San Francisco (formerly SF Public Library), and I had 639 photos of it–insufficient for a truly high quality model of the space, where the many planar surfaces were not fully defined by resulting photogrammetric point cloud. Initially, I wanted to make the best possible scene with the existing capture–with minimal modifications to the actual mesh and no additional photography. While intital results came quickly, and were impressive, I knew that a more laborious mesh cleanup would improve the final product and ultimately decided this was preferable to the greater challenge of travel for additional photography.
The mesh was cleaned, retopologized , sculpted and smoothed in ZBRush as Dynamesh, with dozens of boolean operations to improve planar surfaces and sharp edges. I wanted to use ambient occlusion maps to add to the subtle nature of the light in the dark room and this required heavy cleanup as the pitted nature of the mesh quickly brought any variations…to light. Ultimately, because of the project timeline, the high quality of imagery being produced from the existing mesh (and because my intention was never a large sculpture job), I decided to leave the mesh with some of the imperfection visible in the breakdown images. I will likely return to the city in the future to gather additional photography, which is a much more efficient way to cope with lack of detail and small alignment issues in the existing project.
All of the artifacts in the scene are photogrammetry products from photos I’ve taken over the last 10 years or so. Because my practices have improved over time, there is some variation in the way they were shot. My best practice is to shoot in RAW (Sony A7ii), and to edit in Lightroom as demonstrated here, first boosting shadows to max and dropping highlights to min, then if needed, boosting blacks and dropping whites. The exact same edit is repeated to the full batch. This benefits point computation as well as final texturing.
Because I don’t typically store RAW images long-term, the models here were recomputed (in Reality Capture) using the original photo edits. In this case, all of the artifacts were computed from .jpeg images, and the room from TIFF files (which are actually larger files than the initial RAW photos). My intention when originally saving those files out as TIFFs was to experiment and determine whether photogrammetry output was improved with the uncompressed image files. I did not do a proper A/B test on that question because I always planned to go back for more photos to improve the mesh.
Moving forward with the as-is capture, I didn’t take the time to see if a JPEG conversion would make the mesh worse. I did make several efforts ultimately to compute a better mesh with the existing TIFF files, first by computing with High Quality settings in Reality Capture. While this boosted poly count from 56M to 334M, it did not improve areas of the mesh that suffered from inadequate photo coverage and had the overall effect of just boosting noise in most of the scene. Computation in Agisoft Metashape provided similar results, with good detail in areas of good photo coverage, and similar problematic noise in the mesh.
The final 14.5M poly HP mesh was decimated to 600,000 polys in Reality Capture where a baked normal map was also created. The diffuse photo texture produced by RC was used to create a roughness map in Photoshop. AO and Curvature maps were baked in Substance painter. The same process was used for all of the artifacts, some of which also received a touch-up to the diffuse with some pass-through clone stamping in Substance Painter.
I modeled the chandelier in Maya, sculpted it in ZBrush and textured it in Subtance Painter. Besides scans, the only other polygon assets in the scene are the sculpture plinths (I modeled these cubes) and the floor plane. Both are textured with Megascans.
I want to give my great thanks to my mentor Ben Merrick and tutor Salvador Sanchez for their professional assistance during the project, which was invaluable.
House by the Creek Study
Dan Thiry
This is my Term III environment project. The environment was a study off of Erik Taberman’s concept art House by a Creek https://www.artstation.com/artwork/18ED6Z. The vegetation, wooden planks, rocks, and textures were made by Quixel and Megascans. I want to thank my mentor Chris Vogelsang for directing and guiding me through the creation of this project.
Abandoned Kitchen
Jasmine Ying
My Term 3 environment project at Vertex! Inspired by the “Abandoned Kitchen” concept by David Yan.
Blood decals and cardboard boxes are from MegaScans, and the fire FX is from “M5 VFX Vol2. Fire and Flames”.
Huge thank you to Ben Merrick, wouldn’t have finished and posted this without your guidance!
Wheatfield Valley
Gil Serranito
Little open Environment with Unreal Engine, on my Term III at Vertex School. Wanted to do a project using solely Substance Designer, but ended up using Painter for the rocks. I’ve learned SO much since first starting and would like to thank Ben Merrick, Steven Bennis and everyone at vertex for their help.
Outpost: Unreal Engine 5 Environment
Cole Bayer
My final capstone project for Vertex school! Environment inspired by Eytan Zana’s incredible concept art: Outpost
My third and final project at Vertex School marks an incredible 9-month journey. I’m forever grateful for and inspired by the talented individuals I had the privilege to work with, from mentors to peers. Their support and guidance pushed me beyond my perceived limits.
This experience has instilled confidence in my work, a desire to embrace challenges and to continually seek improvement. I’m excited to see what’s next!
I owe a big thank you to the mentors who provided guidance and feedback for this project: Chris Vogelsang, Salvador Sánchez, Jacob Claussen, and Andrew Baker.
And credits for outsourced assets- thank you!
Mateusz Woliński: SWAT Operator (Character model and textures) https://sketchfab.com/3d-models/swat-operator-9e82fabf26194896b5ad4a364d864eab
Lost Spaceship: Finval (music) https://tunetank.com/track/3643-lost-spaceship/
Desert Monolith: Pixabay (ambience) https://pixabay.com/sound-effects/desert-monolith-6369/
Walt Disney Animation Studios Cloud Data Set (background cloud VDBs) https://media.disneyanimation.com/uploads/production/data_set_asset/1/asset/Cloud_Readme.pdf
All other assets are Megascans
Hilda
Manuel Sierra
Fun project for learning Unreal Engine character pipeline at the Vertex School.
Concept art by the great
Special thanks to Matt Lefferts for guiding me throughout this character.
Orang Asli Tribe Village
Mia Siemiontkowski
This is my Term 3 Environment project for Vertex School.
Props, vegetation and scene are inspired by the Orang Asli Tribe of Malaysia. My focus with this project was to learn to create an exterior environment in Unreal Engine with props, vegetation, materials and some modular parts. I also included vertex painting and parallax occlusion. I wanted to challenge myself so I made most of the environment but a few of the background props are from megascans.
Want to give a BIG thanks to Jacob Claussen and Salvador Sanchez who have been an amazing support!
Abandoned House UE5 Environment
Oliver Readman
My final capstone project for the Game Art Program at Vertex School.
Environment inspired by the fantastic, atmospheric concept art by Abandoned House
This piece marks my third and final piece with Vertex School and the end of an amazing 9-month journey.
For this project I created my first-ever exterior environment initially with a 6-week deadline, however, quite a bit more time was required to push the project quality further.
I’m very proud of the work I have created, this piece was certainly a challenge for me as I’ve had to learn new techniques and software such as Terrain generation inside GAEA and Foliage generation in SpeedTree.
Huge thanks again, to my tutor Chris Vogelsang for his feedback even taking time outside of the course to give me valuable feedback, it is much appreciated.
Credits:
Giulia Gentilini – Main Concept Art Reference
Megascan Library
Easy Fog https://www.unrealengine.com/marketplace/en-US/product/easyfog
Ultra Volumetrics https://www.unrealengine.com/marketplace/en-US/product/ultra-volumetrics
Ultra Dynamic Sky https://www.unrealengine.com/marketplace/en-US/product/ultra-dynamic-sky
EP Master Materials https://www.unrealengine.com/marketplace/en-US/product/ep-master-materials
Camp Castaway
Alyssa Swanson
Vegetation in this scene was my main focus as it brings more realism to the environment, it was also my favorite part of the process. I enjoyed seeing what I could used from the trees to make other objects around the scene as if I was stranded.
While Creating this project I researched a lot about composition, lighting, and landscaping. Implementing the program Gaea I made mountains in the distant background to add depth to the scene.
Thanks to my mentor Jacob Claussen for helping me on this project and opening my eyes to the world of vegetation!
Learn more about the Vertex School Game Art Program now!
Next read: Check out the Spring 2023 Student Showcase