The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

 Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

 Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

 Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

 Substance Designer renders of materials created for an art test.

Substance Designer renders of materials created for an art test.

 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 Work-in-progress:  The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.  I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.  The proxy level was then passed on to concept, which helped flesh out more detail across the environment.  From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.
 Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.
 Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.
 Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.
 Substance Designer renders of materials created for an art test.
 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.
 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.
 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.
 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.
 Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

The first level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing, save for a couple select props that were outsourced (the giant cat head on top of the pyramid).

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. High poly sculpts from Zbrush were used for baking to the small and large cat statues on the play are and in the distant background. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing. Normal atlases were used for creating all iconography and details in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Work-in-progress:

The second level I created at First Strike. I had complete ownership over the level, which included all modeling and texturing.

I first created a proxy level based on a designer blockout. This is where I determined the general look and feel of the level with big shapes, textured with flat colors.

The proxy level was then passed on to concept, which helped flesh out more detail across the environment.

From certain key area concepts, I then created the final art for the level. Substance Designer was used extensively for creating procedural tiling textures that were then combined in Unreal for micro and macro surfacing or vertex blending. Normal atlases were used for creating all damage and detail in the level. Vegetation was originally photo-sourced, but combined with high poly sculpts and processed in Photoshop to make them more unique. Vertex color is used for creating paint, dirt and moss blends.

Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

Substance Designer renders of tiling materials used in the two levels shown here. Some of these were combined with others through Unreal shaders for vertex blending or a combined macro and micro surface.

Substance Designer renders of materials created for an art test.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

Marmoset render of an art test. All modeled in 3ds Max and textured in Substance Painter. Stone blocks on top, and stone pattern at base were both created in Substance Designer.

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