On this page you'll find a few of my favourite pieces of work, with a brief annotation for each describing my inspiration and processes.

(Click images to enlarge)


This is a recent tutorial I made on how to create quick tileable textures in Zbrush


This short project was a brief insight into procedural art generation with Substance Designer. This was a fairly simple texture to produce as it only layers up two line alphas which are warped and repeated as noise. The two main layers are green grass blades, and shorter, dead brown grass blades to give the texture a little more depth.

This substance file can be imported into supported engines like UE4 and attribute sliders can modify the output to generate a wide range of different grass textures. Substance Designer is a great program for procedural texturing and I will be focusing on it when I work on environments in the future.

 

CLICK HERE TO SEE THE SUBSTANCE IN ACTION.


WIP

I decided I wanted to add a better character to my portfolio, so I started sculpting an old box modeled low poly Wizard which was a draft idea for a University project which I didn't follow through with. After sculpting and working out the main forms I retopologised the subtools in Zbrush and brought it into Maya for UV'ing.  

I'm currently working on a second high detail sculpt pass which I will use to bake various maps onto the low poly mesh. I've settled on using a PBR workflow for the textures which I will probably use Substance Painter to generate.  

 

monkrotate3.gif

This is a render of a real-time forest environment built in Unreal Development Kit which was my third year project at the University of Hertfordshire. This was my second attempt at an organic environment piece in UDK, focusing more on visual fidelity, composition, correct scales and texture blending.  

It features a terrain heightmap built in World Machine, with a layered material which blended grass, dirt and rock textures. Tree and grass mesh assets were optimised for overdraw, and the rock assets were textured in order to blend in with the terrain seamlessly to prevent texture popping and create an organic look.

The water shader was built using UDK's powerful node based material editor, featuring depth based opacity, shore foaming, realistic surface deformation, and real time reflections.

 

Click here to see some development stills.

Click here to watch an in-engine fly-through.