Environment Art - 'Binarium' - 2024

A Little About "Binarium"

The goal of this project was to try out some new workflows. Mainly, I wanted to experiment with Geometry Script and Unreal's Material Layering System. Geometry script was used to generate the rock formations to give it an alien-planet feeling, all the while being easy to iterate in-engine without the use of external tools like Blender, or Houdini. Meanwhile the material layering system allowed for easy mesh texturing without the need for painting each individual mesh, since all the master materials and material library were accomplished through world aligned layers.

Here are some details about the logistics of the project :

It took approximately 160 hours to complete the scene from first block out to final execution.
Blender and Substance Designer were used.
The entire scene outside of the water shader, VFX, and foliage use world aligned material layers. No manual painting was done for a majority of the scene, as a proof of concept.
The rock formations were created using Unreal's procedural/dynamic mesh system called Geometry script which allows to on the fly iteration and editing of meshes. I made a tool to allow me to dynamically make rock meshes in-engine.

Environment Art - 'Bygone Shrine' - 2024

A Little About "Bygone Shrine"

The goal of this project was to create a stylized grass shader capable of reading off of an RVT, have individual grass card pivots, and have functionality for wind, color, and size randomness. I decided to incorporate it into a scene inspired by the Frutiger Aero aesthetic of the early 2000s.

Here are some details about the logistics of the project :

It took approximately 55 hours to complete the scene from first block out to final execution.
Blender and Substance Designer were used.
The grass shader utilizes mesh pivot points baked into the UVs to have cool effects that only affect individual grass cards within the foliage mesh. So that means I can make individual blades of grass different colors, sizes, or weight in regards to wind.

Environment Art - 'Range' - 2022

A Little About 'Range'

This was a project I created for my 'Applied Principles : Game Art' class in 2022. Every aspect, from the models, materials, VFX, and texture work, was done by me. The scene depicted is a Sci-Fi Art Deco/Brutalist gun range for a government institution. In universe, their key weapon of choice, 'The Uniform', is used for its power and versatility because it functions as a hybrid between a powerful personal railgun and conventional firearm.

Here are some details about the logistics of the project :

It took approximately 55 hours to complete the scene from first blockout to the final product.
Blender, Substance Painter, Substance Designer, and Unreal were used to create this scene.

Environment Art - 'Haven' - 2024

A Little About "Haven"

The goal of this project was to create a scene with a number of props and nooks and crannies to stress test my real-time mesh painting system. The scene was all modeled by me, and things like the colors and shadows are all handled through tech art techniques. I use vertex color data to handle the color and shadow colors of objects based on a curve asset. Overall, while not perfect, I think the experiment was a success.

Here are some details about the logistics of the project :

It took approximately 75 hours to complete the scene from first block out to final execution.
Blender and Substance Painter were used.
The entire scene, besides the floor, uses color curves and vertex color data to define the final look. This means that I can change the color palette at will.

Character Art - 'Mycka'

A Little About "Mycka"

The goal of this project was to create an NPR anime inspired character fit for the default Unreal Skeleton rig. This is the main character for the stylized action adventure game I am developing called 'Lying Saturday'. Every aspect of the character was handled by me, from concept to execution. The final result uses a custom shading model created and added to a custom source code build of Unreal, and is able to use any animations that are meant for the Unreal Manny/Quinn rigs (albeit it might need a little bit of editing to look right because of the stylized proportions).

Here are some details about the logistics of the project :

It took approximately 115 hours to complete the character from first sculpt, to retopology, to rigging, and texturing. An additional 20 hours was put into the animation work and animation blueprint work.
Blender, Zbrush, and Substance Painter were all used.
The character uses 'custom face normals' for some nice anime-like shadows.

Check out my post about this below :

Isaac Nguyen - Learning The NPR WorkflowLearning The NPR (Non Photo-Realistic Rendering) Workflow

Environment Art - 'Virtue Station' - 2022

A Little About 'Virtue Station'

This was a project I created for my 'Game Studio I : Portfolio' class in 2022. Every aspect, from the models, materials, VFX, and texture work, was done by me. This scene functioned as a way to showcase both a pretty and customizable environment, as well as serve as a tech demo for a real-time painting system shader I was developing for our senior thesis project, 'Lying Saturday'. The scene depicts a stylized subway station which can be dynamically painted in by hitting a ball around the station which drops paint.

Here are some details about the logistics of the project :

It took approximately 90 hours to complete the scene from first blockout to the final product, with the included technical aspects like the blueprinting and shader development.
Blender, Substance Painter, Substance Designer, and Unreal were used to create this scene.
The scene utilizes a special atlassing system, making the entire environment only 2-3 materials, making it easier for the logistics of the real-time painting function.

Texture Art

Procedural 'Hand-Painted' Stylized Smart Material

See more about how I made this here :

Procedural 'Hand-Painted' Stylized Smart Material

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