Earlier in the Autumn, 80 Level published an article looking at Remedy's content creation pipeline for Alan Wake 2 when creating vast environments. The article was inspired by a blog post written by Principal Technical Environment Artist, Benjamin Lindquist for Adobe back in June. As we missed the original post, but posted retweeted the 80 Level article, we wanted to revisit the original today to spotlight this brilliant retrospective on Alan Wake 2's production.
In the original piece, Benjamin explains how his job has taken on a more technical focus, with him taking ownership of how the studio creates content in the Environment Art. The piece reviews Adobe's Substance 3D Designer, and how it works alongside their in-house Northlight engine, and OpenUSD. Even though the piece explores the more technical aspects of the role, it's also very approachable. His writing has a nice balance of personal and professional, with a story-like description that creates a story of how the teams worked.
"My name is Benjamin Lindquist, and I’ve been working as a Game Artist / Environment artist in the games industry since 2012. Despite making “art” for quite some time and enjoying it, I’ve always had a fascination with technical aspects of content creation. During the 10 years at Remedy, I’ve slowly moved towards a more technical focus and taking ownership of how we create content in the Environment Art team. I’m currently working as a Principal Technical Environment Artist which, to put it simply, is a sort of nerdier version of an environment artist. My day to day is very varied, depending on current needs, ranging from [research and development] related to content workflows, writing documentation, mentoring artists, overseeing art-quality, working on visual targets and a lot more."
Check out the full article, HERE!
