Do you want to learn more? Make sure to check out our exclusive interview with the artist to get more details on his approach.
On Dishonored 2, we’ve taken a global approach in our textures, working traditional hand-painting workflows in Photoshop. Because we started it this way, we didn’t include a complex procedural process. However, we worked with Substance Designer to generate mask and selections, and that was helpful.
Because we were always using the same kind of textures, I helped create a material library.
These materials were stylized. During a period, at the beginning of Dishonored, we were searching how to get that style. The main goal of Sebastien was to remove noise (at that time, many games were using photo texturing, sometimes with a big amount of visual noise).