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百度云

An abstract beige background with wavy lines_edited_edited_edited.jpg

Digital Media Art

Digital Game Development
Art Track

AirshipSyndaicate
3D Environment Artist

上海电视台
3D Artist

叠纸
3D Environemnt Artist

Section 1:

介绍自己
都用啥软件
模型高模
模型低模
Project_02
Image by Andrew Kliatskyi

              MidPoly  

3dsmax.png

              HighPoly  

ZB.png

              Retopology  

Topogun.png

              UV Unwrap  

unfold3d.png

              Baking  

marmoset.png

              Texturing  

Painter.png
Unity_W.png

              Tuning  

Section_02

Section 2:

Project Egypt

Concept

Egypt_Concept_01.jpg
Egypt_Concept_02.jpg

To provide the project team with visual guidance and references during the early stages, and to help quickly establish the visual direction, I communicated with the designers and the art director. From our discussions, I learned they aim to depict a grand scene reminiscent of Egypt during its golden age.

Terrain

I choose to generate the height map in Gaea and then import it into the engine for fine-tuning. To match the composition of the concept art, I use masks in Gaea to control the terrain's undulations and river distribution in specific areas.

Arrangement.png

Buildings

I used a modular approach to create several buildings, employing the commonly used trimsheet technique for open-world development to save performance. This method is similar to assembling with building blocks, using as few texture sets as possible to cover and unify as many models as possible. It requires pre-planning the distribution of textures. For example, in this case, I planned the textures into four sections in advance, which I then refined further.

Vegetation

Medemia_Palm_01

Medemia_Palm_02

papyrus

Lighting&Atmosphere

Before fill light

After fill light

Official PV

Environment showcase

Waves

Shore

Wave Shader

20250106-012747.jpg

I implemented the effect in Unreal Engine using the Shader Graph, essentially a "node-based" approach. The results can be seen in the subsequent scene demo.

I used the following formula to drive the interaction between the water and the shoreline. In the engine, this was essentially recreated using nodes. This approach ensures consistency between the vertex animation driven by the model and its in-engine performance.

Basiclly clamp Y value between 0 and 1 as the UV coordinate to drive three wave texture to mimic the complexity of shoreline wave

For the later mobile version, considering performance constraints, we decided to simplify some effects after discussions with the tech art team. We translated selected effects into GLSL for implementation.

Maxscript

请随时联系我讨论可能的项目或了解有关我的工作的更多信息。
Contact
+86 13366020163
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