However, there was still the challenge of filling large environments with regionally correct vegetation, now that I understood what it should look like.
Armed with this, I was able to make some categorizations of the various biomes, and typical plants, trees, and scrub. As a Canadian currently living in Spain, I’ve not yet had a chance to visit Australia, so I started off on a virtual road trip, thanks to Google Maps.Īfter having visited each of the real-world locations of the scenes in the game, I had a nice overview of what each area’s vegetation looked like.
#Broken roads lead me to you how to#
One of the immediate challenges we faced was how to fill large areas with dense vegetation (without having to place each bush and twig by hand), and how to vary the vegetation according to the different regions and areas of the game. As the technical and VFX artist at Drop Bear Bytes, one of the coolest parts of my job has been helping the art and level design teams fill our apocalyptic world with trees and plants across the whole range of the outback, from forests to barren wastelands.Īs a technical artist, I get to work in the wonderful area in between pure art, pure programming, and the mysterious art of level design. Australia has a huge range of flora and fauna that varies wildly by region, and many of which aren’t found anywhere else in the world. With Broken Roads being set in the Australian Outback, we knew it was important to create diverse and vibrant environments to immerse players in a truly Australian-flavored apocalypse.
#Broken roads lead me to you skin#
I add an overlay layer on top of the skin and paint in some reddish brushstrokes along the rim of the nose and the edge of shadows to help bring in the effect of the sunlight bouncing through the transparency of the skin.įor Tilly I made sure to add in some cute freckles! One significant detail to add is subsurface scattering. Towards the end of the process I spend time on small details around the eyes, making sure the eyelashes, shadows and highlights within the eyes look good and make the portrait come alive. Throughout this process I am continually checking back and forth between my 3D texture reference to make sure the portrait is consistent and I am not forgetting any small details. I will also add various multiply layers on top using the lasso tool to create hard cast shadows in areas where they are needed or soft linear dodge layers on the areas catching the light such as the cheeks, nose and forehead.Īt some point I color in the line art layers by locking the transparency of the layer and picking a darker color that corresponds nicely with the lighter color that I’m picking from. I usually start with the skin and face first to establish the direction of the lighting and the overall color tone and move out from there, using smaller finer brush details on the face and larger brushier strokes on the clothes, hair and other accessories. PAINTINGI start painting on each separate layer with a combination of different textured brushes.
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