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3DTotal: So you have been selected for “Into The Pixel”. Tell us a little about the show and what it means to you to be part of it.
Bruno: “Into the Pixel” is part of E3; it is an actual gallery space that showcases artwork related to video games. I didn’t get a chance to go this year, but I believe it’s still accessible to everyone; even now that E3 is no longer open to the public. It was nice having one of my pieces selected; concept artists sometimes work for so many years on a project, and some of the concepts don’t ever see the light of the day. It’s rewarding to see your work printed, framed and displayed on a wall, for everyone to enjoy. |
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3DTotal: Can you talk a little about your working process and how you constructed some of the concept pieces for Stranglehold and Area 51, for example?
Bruno: Stranglehold and Area 51 are both realistic games. They’re both super-detail oriented, utilising top of the line, next-gen technology. My process changes from concept to concept, really. Lately, in order to get a more realistic look, I model basic shapes in 3ds Max, sometimes play with the lights a little, and turn on Global Illumination. Then I take the render and paint over it in Photoshop. Once I’m finished laying down the basic shapes and values, I bring in lots of photographs and textures. Contrary to what most people think, these photos are not used for their subject matter, but rather they are used to create noise and the impression of detail, similar to techniques applied in Impressionist paintings. Once all textures are in place, I paint over it some more to bring the concept together. I go back and forth between the two steps, until I get a result I’m happy with. |
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3DTotal: Do you find Global Illumination and the general use of lights in 3D software is helpful in solving the lighting issues in your concept work?
Bruno: It helps in the beginning stages. Playing with lights in 3D helps me decide on the direction of my main light source, while Global Illumination creates more realistic bounce lights. In the end however, most of my lighting is done in Photoshop. This is because I’m more comfortable with this application; it’s simpler, faster and there are no technical limitations to it.
3DTotal: What do you feel are the best aspects of working in the games industry?
Bruno: The gaming industry is full of talented and passionate people. The medium is constantly evolving, which pushes artists to learn new tools that help bridge art and technology. With the improvements made in games, it has become very rewarding to see a finished product that looks so close to the concept created for it. |
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3DTotal: Do you, as a concept artist, feel the effects of advancing technology, or is this type of job exempt from the evolution of game development?
Bruno: We don’t feel the effects as much as other departments do, since we’re more directly involved in pre-production. On the other hand, given the tools and technology that are now available to us, we are expected to create more detailed and complex artwork in less time.
3DTotal: What particular subjects do you favour as an artist, and why?
Bruno: There isn’t one specific subject... I am inspired by all kinds of themes and topics and I switch around quite often. If I had to choose, I would say I enjoy creating fantasy and sci-fi environments, but even these are based more on reality, and include at least a few present day elements the viewer can relate to.
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