Although the building which remains now has been renovated in 2007 and is said to be an accurate restoration from the early 20th century, I still needed more reference for other details such as vehicle, common props, signs, and posters to make the scene more convincing. I was unable to find the exact photo of the street during the war. I wanted to replicate the SanXia Old Street during a time of fear and uncertainty. To give more story elements to the scene, I decided to set the time during the Second World War when most men were called to battle, and stores and businesses were closed down. The traditional Chinese spring couplet and Japanese signs show the unique blending of culture and history setting of Taiwan during Japanese colonization. The design of the street was heavily influenced by a mix of Western baroque-style architecture and Japanese/Chinese carving, which was popular in post-Westernized Japan. As I was doing my research, I realized that the old streets in SanXia perfectly illustrated the layers of Taiwanese history of the past century. So from the get-go, I set my vision on Taiwanese scenery.
I had always wanted to create something related to my home country Taiwan. I was hoping that through this course I would be able to push the boundaries of my skills and gain knowledge of professional practice from industry veterans like Clinton Crumpler. My 3D experience has been mostly self-taught, therefore some of my workflows lacked the industry level of efficiency. I chose the Modular Environment course because modularity is a crucial component in environment art that I was unfamiliar with at the time. I have heard great things about CGMA and with its flexible class structure, it really made the learning convenient for me. With so much free time, I thought it would be great to take a mentorship course to boost my skills while searching for a job. Why CGMAĪfter my freelance work with Upsurge Studio was finished, I was on the hunt for jobs again. I am incredibly grateful for the privilege to share my workflow on my latest environment piece made at CGMA. In that time, I took on some freelance and contract opportunities in architectural visualization and indie game projects, which eventually led me to my current full-time job. I then realized how disadvantageous my portfolio was and used the next 3 years to learn and hone my skills.
At that time I was still naive in regard to the industry’s entry standard and struggled to land a job after graduation. I first learned 3D modeling in my first year of university. In high school, I dreamed of being an environment artist and was fascinated by the idea of immersing myself in the world of art. I am currently working as a Junior Environment Artist at A44 Games based in Wellington, New Zealand.
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