Tiling texture samples. Created in Substance Designer. The goal was a painterly, stylized look.
Monstra Bridge. This set is located on the inside of a giant whale, so it called for a lot of flesh and bone-like textures. Lighting done in Maya, textures created with Substance Painter and Designer.
Monstra Torture Cell set.
Monstra Hallway set.
Monstra Small Room set.
Monstra Small Room set's bone bed. Bed textured in Substance Painter.
Another portion of the Monstra Hallways.
Lantern Relic. This asset required simple textures and the strong cel-shaded outline typical of our characters and props. Textured in Photoshop. Pencil, shader and AOV setup done in Maya, then rendered in 3DS Max.
Whale Tooth Dagger. Another prop that required the Pencil treatment. Textured in Substance Painter, Pencil set up in Maya and rendered in 3DS Max.
Mantle Crater settlement. Lighting done in Maya, textures created with Substance Painter and Designer.
Mantle Crater fire pit area.
Hoverbikes textured with Substance Painter. Pencil set up in Maya, rendered in 3DS Max.
Hoverbike and alternate versions featuring impact and acid damage.
Schnee Manor Estate Grounds. This area features a small building that houses power generators for a massive mansion. Lighting done in Maya, textures created with Substance Painter and Designer.
Schnee Manor Power House.
Schnee Storage and Shipping Facility exterior. Lighting done in Maya, textures created with Substance Painter and Designer.
Schnee Facility entrance.
Schnee Facility interiors. Lighting done in Maya, textures created with Substance Painter and Designer.
Atlas Farmland. An expansive farming area in the outskirts of a huge floating city. Lighting done in Maya, textures created with Substance Painter and Designer.
Unknown Shoreline. This undisclosed location is the very last shot in Volume 8, and an exciting preview of where the series is heading in Volume 9. Lighting done in Maya, textures created with Substance Painter and Designer.
Volume 8 marked a significant shift in my career: I was offered the opportunity to become a Look Dev artist and focus more on texturing and lighting. During this period I was in charge of creating textures with Substance Painter, Designer and Photoshop, doing initial lighting on sets in Maya, building shaders for Redshift, and setting up files for Post/VFX. I learned a lot about lighting and creating our distinctive outlined cel-shade look for characters and props, and got very acquainted with procedural texture authoring software.
Modeling by: Tim Reed, Chris Barker, Tad Catalano, Brandon Bruce, Shane Roberson, Lee Long Sam, Alex Juarez.
Additional Look Dev by: Christine Stuckart, Ariel LaCroix, Megan McDaniel, Paul Yoon, Leo Pecina