Peter Dimitrov
Senior Environment Artist at Rebellion
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The Orbital Gateway

This is my entry for the Artstation Challenge. Game Environment / Level themed Grand Space Opera: Lightage. Created between January and February 2021. It has been a lot of fun working on this and it's been a very valuable learning piece as well. I hope everyone else had just as much fun and I want to thank all of you who stopped by in the development blog over at:
https://www.artstation.com/contests/grand-space-opera-light-age/challenges/97/submissions/60475
Special thanks to Victor Fritsch for his initial 2D concepts that my project is based onto. Check him out here:
https://www.artstation.com/vittorio
Assembled in Unreal Engine 4.

Enjoy and thanks for checking this project out. Pete.

Cinematic fly-through.

In this backside view I reused some of my assets to try some storytelling and showcase a part of the gateway & stargate that is damaged and malfunctioning.

In this backside view I reused some of my assets to try some storytelling and showcase a part of the gateway & stargate that is damaged and malfunctioning.

Making the portal effect and experimenting with it has been a really enjoyable process. I mixed panning materials with noises and textures fed into normal, fresnels and refractions used onto multiple tori. On top I also placed a particle system I created.

Making the portal effect and experimenting with it has been a really enjoyable process. I mixed panning materials with noises and textures fed into normal, fresnels and refractions used onto multiple tori. On top I also placed a particle system I created.

The set of 11 panels above was one of the parts of the project that took me the most time. I tried to created them detailed and interesting while balancing geometry and 2D texture details and hard surface stencils.

The set of 11 panels above was one of the parts of the project that took me the most time. I tried to created them detailed and interesting while balancing geometry and 2D texture details and hard surface stencils.

I relied heavily on spline systems reusing the same few meshes. By the end all spline actors were baked into packets of static geometry so draw calls are minimal and the environment is optimized and runs well.

I relied heavily on spline systems reusing the same few meshes. By the end all spline actors were baked into packets of static geometry so draw calls are minimal and the environment is optimized and runs well.

To the left you can see a trim sheet that is used in the background. To the right are hard surface stencil details and decals I modeled in Maya and then baked in Substance Designer in order to distribute across the arced platforms for more detail.

To the left you can see a trim sheet that is used in the background. To the right are hard surface stencil details and decals I modeled in Maya and then baked in Substance Designer in order to distribute across the arced platforms for more detail.

Time-lapse dev video created using screenshots taken during the making.

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