Technical and Art Tips for Environment Artists
Events
Subscribe:  iCal  |  Google Calendar
Milwaukee US   17, Jun — 22, Jun
New York US   17, Jun — 20, Jun
St. Petersburg RU   19, Jun — 21, Jun
TBA BR   22, Jun — 24, Jun
Amsterdam NL   25, Jun — 28, Jun
Latest comments
by Yes
5 hours ago

Gabe is amazing and im happy to have him basicaly be the face of gaming. If you have something against him reply to this, i would love to discus

by Kai Marshall
20 hours ago

Awesome! So proud of you!!! <3

Positive site, where did u come up with the information on this posting?I have read a few of the articles on your website now, and I really like your style. Thanks a million and please keep up the effective work. rv altitude

Technical and Art Tips for Environment Artists
11 April, 2019
Environment Art
Environment Design
Interview

Sam Gao talked about the stylized art direction of one of his projects with a Ghibli style and shared several tips for environment artists.

About the Project

Tactics Empire is a short adventure third-person shooter created by Erisa Liu Ken Visudharomn, and me. The idea and direction of this project were born from both the things we loved growing up and the skills each member of the team had.

In this article I will be mainly focusing on the art direction and some environment art tips that helped in terms of efficiency and performance when I dealing with a large environment in a limited amount of time.

Art Direction

I wanted the style to be able to support the gameplay and the narrative setting. It is a blend between Zelda Breath of the Wild, Studio Ghibli, and Grand Blue Fantasy Relink.

However, Europa Game by Helde Pinto has been the “proof of the concept” for the art direction, and we are fortunate to have him as our environment art advisor on the project.

Pre-Production Design

The enemies in this game came from a more modern style of Japanese mecha animes such as Evangelion, from design to texturing and VFX. It is contrasting with the rest of the environment which is an old school Ghibli style. Spiderman Into the Spider-Verse proved that the style jumps can create a level of impact to the visual.

A side note about animation: Animation is quite new for me, yet I found a tip for the game animation: treat it as a GIF or emoji creating as much impact as possible within a couple of seconds to grab tension instead of thinking too much about readability and acting.

Level Design

I tried to use a linear path as much as possible because it makes the level overall easier to manage and creates a heroic experience for the character with defined single-point composition.

This was reversed in the final level The Town of Noir leaving the playable area empty and surrounded by high-frequency details which gave an arena feeling.

Designing a level with art in mind saves a lot of time down the road.

Modeling

Here is a sheet of our modeling style I established.

Environment Art tips: For a fantasy environment it is nice to break down the concept into a couple of elements, then build a kit for each element. “Kitbashing” is based on the limited pallet. It is much faster and most importantly, maintains consistency throughout the design.

For the town, we were heavily inspired by the vibe in Howl’s Moving Castle which took place in Europe of the early 19th century. We combined that with magical fuel that enhanced steampunk tech parts. The windmill was the testament to the style, and I used it as a guide for all the architecture.

Most of the knowledge on the modular environment building was gained from Giovanni Martinez and Trey Mcnair while I was interning at Insomniac Games.

The modular kit also handled 90% of my props.

Texturing Style and Approach

Studio Ghibli paintings are a library of the references. I wanted the materials to have a certain level of PBR properties that allow the light to bounce around nicely balanced with traditional media handcrafted flavor.

Most of the textures were done in Substance Designer, then received final touches in Photoshop with a set of brushes I created for the project. I treat it as the signature of an artist.

Note: I added many variations to the color map based on the reference, however, with PBR lighting I found it was easier to do the opposite. Keep the base material cool and simple. Use decals and world position to add the gradient.

Substance Designer is amazing for creating variations for one texture, and I have two versions of every texture. Blending between low and high intensity of details is based on the composition.

Another important thing is that I stylized the heightmap with the same brush set for the vertex blend.

Environment Art tips:

  • For a big project, is it worth to take some time and build a system based on what the style needs avoiding 1-1 textures as much as possible, even for the props. It makes the integration process much easier.
  • Keep the tiling textures under the same grid so you will only need to UV them once.

For the master material:

  • Trim the edge for different types of bevels + world position + overlay gradient with a 3-way vertex blend.

Upon those, I also have mesh decals and Slope material to add variety.

For Mesh decal and cutting sheets, I found that using Masked material with DitherTemporaAA (to control the opacity) works better than using decal material.

Vegetation

The best way to think of vegetation in this style is to treat it like a painting, from the base color, slowly building up the details and layers.

World position color is the best way to achieve these washes of color.

Workflow: The vegetation in the Studio Ghibli style tends to have a huge range of level of details, so I created a highly-detailed version for each sample, then created low-fidelity versions through materials.

Environment Art tips: ZBrush to Substance Designer is still my favorite workflow for vegetation. Creating custom functions inside Substance makes the whole process much faster. I learned the techniques from Jeremy Huxley. Peyton Varney also has similar tutorials.

Clouds

I tried the volumetric clouds but ultimately went back to hand-painting them. A trick I found is to paint a subsurface mask with the clouds and use it to fake the scattering effect.

Lighting

Lighting was a tricky task because it is not “perfect” in terms of realism. I used both gradient and point light to stylize the lighting structure, both in value and color temperature. One trick I use to increase the contrast in a soft-lit situation was to shift the highlight to a cooler color.

Final Advice

I strongly suggest that environment artists get into some basic VFX or animation because dynamic vibrancy adds a lot to the overall feeling. You don’t need much, Zelda Breath of The Wild is a really good example.

Conclusion

I think art appears at its best when the personality of the artist emerges through the visuals.

A more practical suggestion would be to have a tight and clear blueprint and plan before the project but stay loose until the polish phase.

Thank you for reading! I hope you found something helpful here.

Special Thanks To

Sam Gao, Environment/3D Artist

Cartoon Water Shader by Adam Homoki is a fascinating highly stylized water material and a river tool with many features including buoyancy, caustic effect, refraction, water depth and more.

Any future updates are included and will be available for download in case they are released.

See the full description

Contact Adam Homoki

Comments

4
Leave a Reply

avatar
3 Comment threads
1 Thread replies
0 Followers
 
Most reacted comment
Hottest comment thread
4 Comment authors
TiomLuke JarrettchamindaWeston Mitchell Recent comment authors
Luke Jarrett
Guest
Luke Jarrett

most of these pictures arent loading for me

Tiom
Guest
Tiom

Opening it in a different browser fixed it for me.

chaminda
Guest
chaminda

this is awesome

Weston Mitchell⛏️🐭
Member
Weston Mitchell⛏️🐭

absolute joy, i love the work
Excited to see more from y’all

Related
Education
Environment Art Program
Education
Environment Art Program
Education
Electives
Education
Electives