Photoshop & Blender: THE LAST OF US ENVIRONMENT ART

See how One Pixel Brush concept artist Balázs Ágoston creates an interior for the video game The Last of Us Part II

- Balazs Agoston

I always try to find the right balance when implementing 3D into my workflow. During my time working on The Last of Us Part II, I found that maintaining 75 per cent 3D for interiors and 25 per cent 3D for the exteriors worked well.

For this workshop I’ll explain how to deliver a complex interior scene. I work with Blender because it handles complex scenes effectively, even on a low-powered setup. The program’s huge amount of Add-ons have become part of my workflow. I’ll be touching on topics such as texturing techniques, finding the best composition, preparing assets ahead of time and lighting the scene.

Preparing for the Photoshop phase is also key. Choosing the right render paths can save time because you can produce loose-looking areas that are easy to finish in Photoshop. Photobashing techniques can quickly introduce greater realism, and with the right amount of research you can solve a lot of issues that you wouldn’t have time to do in 3D. This workshop covers just a few of the aspects I consider when developing complex interior concepts. I hope you enjoy it!

1 Develop a 3D block-out

I build up the foundation of my 3D scene based on the client’s layout. The setting is an antique pottery shop. The building’s façade, windows and furniture all have to convey the idea of an average shop selling pottery and other items in Seattle. The client sends me several reference photos to point me in the right direction.