3D World


- rod­bur­ton.art­sta­tion.com


Rod­ney Bur­ton SOFT­WARE

Sub­stance De­signer, Mar­moset Tool­bag

En­vi­ron­ment and tech­ni­cal artist Rod­ney Bur­ton par­tic­u­larly en­joyed re­liv­ing his early gam­ing mem­o­ries when work­ing on this pho­to­re­al­is­tic ren­der. “Every game writ­ten on the tapes I owned and played dur­ing child­hood,” he ex­plains, “it was fun to in­clude them should any­one see the work and recog­nise them. The whole thing was a bit of a nos­tal­gia trip and gave me an op­por­tu­nity to insert my own nar­ra­tive.”

The process be­gins with a notes page on Bur­ton’s com­puter, con­tain­ing ran­dom ideas for things he might want to make. “When I want to make some­thing new I block it out in De­signer, Maya, or Un­real depend­ing on the idea,” adds Bur­ton. “From there I can judge how in­ter­est­ing or vi­able it will be and I might pur­sue it fur­ther or scrap the idea and move to the next.” What Bur­ton loves most, how­ever, is a last-minute dose of in­spi­ra­tion that com­pels him to be­gin im­me­di­ately, just like he had with this nos­tal­gic piece. Bur­ton didn’t em­ploy any un­usual tech­niques for this project, opt­ing to fo­cus on do­ing small tasks well. “I achieved the pro­ce­dural hand­writ­ing by us­ing a text node with the Ink Free font, then warp­ing it with a Per­lin noise to make it look nat­u­ral and messy,” he con­tin­ues. “For the rough­ness, I have a habit of run­ning my ini­tial grunge maps through a di­rec­tional warp with my height map as the in­ten­sity. This usu­ally al­lows my rough­ness to bet­ter obey the con­tours of my shapes and is a good tech­nique on any ma­te­rial.”

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