3D Creative December 2015

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3DCREATIVE MAGAZINE | Designing for videogames An Allied vehicle Matthias made for his sci-fi WW2 universe © ZeniMax Media and MachineGames An Allied vehicle Matthias made for his sci-fi WW2 universe © ZeniMax Media and MachineGames for reference for hours and hours, just to make sure I have everything figured out, so that in the middle of the project I don’t need to go back or remake pieces. Next to all of this, I am too lazy to make blockouts – not for professional nor free-time projects. Yes, this is a bad thing, but it just doesn’t work for me. I see concept art as a sort of blockout, and then you have to make that design better. To comfort myself I always start working on a really interesting area of a vehicle, a detailed part, and that way I’m pumped to keep working on it and can figure out the style I’m going for. So I start on one specific area of a vehicle and make that one as alpha as possible. Then I can bring my design over to the team and show them my vision of the vehicle, instead of having to say, “This is just a blockout, just imagine the details being there.” After that I really do a lot in post, for example: removing floating parts, fixing color schemes, adding AO, adding texture information, and so on. 3dc: Vehicle designs are a huge part of your portfolio and something you really enjoy. What makes vehicles especially interesting to you? MD: I didn’t start making vehicles just because I liked them or anything like that, but because I was told it was the hardest thing in the hardsurface field. So I just went for it. When I told people I was working as a 3D artist, they were super enthusiastic until I told them that I was making vehicles! Then I always got the reply, “Oh, just vehicles.” So that became my goal: making unique and interesting vehicles. To me, making vehicles in this breathtaking industry is the best job in the world. I always start with the same thought in mind: “This needs to be more than just a vehicle. Every flow and line has to be elegant and done with a lot of care. It might sound silly but I could be tweaking a couple of polygons for hours just to make sure they catch the light in the right way. Every line, every surface is designed with a purpose, and nothing is done without a reason. If an artist takes a minute to check out my vehicle then I’ve accomplished my goal. 3dc: What do you think is the key to creating a strong vehicle? MD: Personally, I see vehicles as storytellers. Just think about it: the main character fills up just 20% of the screen, so the rest is the environment, and it doesn’t matter what sort of game you like to play, there will always be some sort of vehicle in there somewhere. 3DCREATIVEMAG.COM
3DCREATIVE MAGAZINE | ISSUE 124 An Allied vehicle Matthias made for his sci-fi WW2 universe © ZeniMax Media and MachineGames But what really comes up a lot is that most games copy the same vehicles all over the game and just give them different color textures, so it doesn’t look like you’re coming across the same vehicle over and over again. But vehicles should tell stories as well, just like characters, weapons and environments do. They can be so much more than just pathblockers or pieces of cover. They should give the player an insight into what is happening in the environment. The key to this is making them unique. You want to tell a story with them. Okay, maybe it’s not always easy to find unique ideas, but a good idea is to search for vehicle dioramas. Miniature model hobbyists put a lot of work into making their pieces memorable. Anybody can go to a store and buy a vehicle assembly box, but making it stand out is something different. Artist history Matthias Develtere’s career up to this point... Sep 2013: Made the decision to start learning/making a portfolio on his own Jan 2014: Finished his first portfolio piece and began making something new every month Sep 2014: Started working for MachineGames Jan 2015: First time working for a magazine – 3dcreative, of course! May 2015: Release of the first game Matthias worked on May 2015: Announced as a new artist for VERTEX3 magazine Jun 2015: Started working on his own sci-fi universe Sep 2015: Made the decision to move on from vehicles to environments 27
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