Gaudencio A.

Grey Horizon — WIP *This project is still a work in progress, with material and asset refinement, final lighting, and post-processing still ahead. * I started this project about a year ago, during a period where everything felt uncertain. Watching ongoing conflicts around the world, seeing the games industry go through repeated layoffs and studio closures, and wondering what the future of creative work looks like made it difficult to feel optimistic. Rather than making a scene that was only about destruction, I wanted to explore the idea that people continue to build lives even in uncertain places. Inspired by the layered urban fabric of Beirut, the environment contrasts remnants of conflict with small acts of everyday life: a survivor shelter beneath a collapsed bridge, an abandoned tank overlooking it, laundry drying, people adapting, and a city that still carries its identity on the horizon. The timelapse shows the project evolving from the initial blockout to its current state—through composition changes, asset creation, lighting iterations, and environmental storytelling. #UnrealEngine5 #EnvironmentArt #GameDev #3DArt #WorldBuilding #WIP #GreyHorizon

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To all the pro #ai people on LinkedIn. I have a question for you. In the future, what criteria should companies be looking for when hiring senior candidates, when the junior roles that eventually build people into seniors is gone? Hint: There is no answer. Talent and experience go hand in hand.

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Technical Artists need to be creative. I want to be clear because creativity is widely misunderstood. Creativity is tightly and closely related to problem solving. Great artists and Technical Artists are given a limited environment and are still able to produce amazing results. Great artists understand this and deliver memorable pieces regardless of the limitations of the environment. Therefore a Technical Artist also needs to be creative when working under constraints.

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Having a great portfolio isn’t enough for AAA games—you need to master real-world production pipelines. To bridge this gap in Latin America, 𝗚𝗹𝗼𝗯𝗮𝗻𝘁 𝗚𝗮𝗺𝗲𝘀 𝗦𝘁𝘂𝗱𝗶𝗼 and 𝗜𝗺𝗮𝗴𝗲 𝗖𝗮𝗺𝗽𝘂𝘀 created the first-ever Hard Surface Specialization for AAA Video Games. Watch our 3D Artists - Alexis Fioretti, Luis Salem, and Melisa Aixa Coolen - explain how we're helping Latam talent meet international standards. How are you leveling up your 3D workflow this year? #GlobantGames #ImageCampus #3DModeling #GameDev #HardSurface #AAA

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Back with another Tutorial! This time I wanted to go over a largely requested topic, Modularity! I go over setting scale in Maya, how to prep and plan for modular pieces as well as how to implement Pivot Points properly for usage into Unreal Engine. https://lnkd.in/g2kGU-b3 Also I did somethings a bit different, I added Custom Subtitles for atleast 12 different languages to hopefully help others undertstand to workflows a bit better! #texturing #UE5 #performance #optimization #gameart #gamedev #techart #materials #environmentart #modularity

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According to the 2026 Unreal Fest Keynote Address: 5.8 will be the last version of the Unreal 5 Engine. Epic reserves the right to release a 5.9 version. Early Access to Unreal 6 will be released in late 2027ish. Unreal 6 will merge Unreal and UEFN into one Editor. Blueprints will be ‘deprocated’ by the 2028-2029 version of Unreal 6. #unrealfest2026

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Bringing characters to life in real-time. From sculpt to engine-ready assets, our focus remains on performance, detail, and storytelling—crafted for next-gen experiences. Swipe through to explore our latest real-time character work. #RealtimeCharacters #GameArt #CharacterArt #3DArt #GameDevelopment #DigitalArt #RealtimeRendering #CharacterDesign #CGI #ArtStation #GameAssets #NextGen #HeadHoppersStudios

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DigixArt breaks down the incredibly innovative Story-Link system for Tides of Tomorrow, explaining how Unreal 5, state machines, Blueprint, Houdini, and more combine player choices into the narrative. "It consists of several post‑process layers stacked together within a post-process volume," explained Raphael Garcia, Technical Artist at DigixArt. "Working in layers rather than using a single large post‑process pass gives us more flexibility, since we can sometimes activate only certain passes and not others, which makes it easy to create different intensity levels and serve the staging." "Splitting the post‑process into multiple layers also lets us control the Blendable Location of each pass independently, which helps us fine‑tune the inputs and optimize performance." Read the full deep dive interview below 🔽

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You probably don’t know about one of the coolest and most powerful features in MetaHuman Creator. With Unreal Engine 5.7’s improvements to the Conform workflow, you can now auto-rig a wide variety of biped characters to MetaHuman rigging standards. But here’s the thing. Once you’ve saved that new MHC asset, you can use it as a Blend Preset Selection in the Blend Tool. That means you can: > Author a few custom MetaHuman meshes. > Auto-rig them using Conform. > Then use the Blend Tool (in Global or Local mode) to generate character variations fast. And if you set Blend Type to Shape, only the mesh shape is blended, preserving skeleton transforms and any animation dependencies.

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