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I'm not saying "Warthin" and you'll never make me!
Hello, and welcome to another edition of Artcraft. I’m Chris Robinson, senior art director on World of Warcraft, and today our environment team is going to give you a look at one of the zones we’re creating for Warlords of Draenor, as well as share some insight into how we approach creating environment art. Take it away Gary!
Hey, I’m Gary Platner, lead environment artist on World of Warcraft. I direct a team of artists who help create the world . . . of Warcraft. We shape the land; texture it; place the trees, rocks, and buildings; and design the “sets” where our quest team will later place the “actors.” Today we’re going to be showing you some of what's going into the creation of the Spires of Arak. This location that would later become known as Terokkar Forest, but in Draenor-terms, this zone is the home of the regal, sinister, and flighted arakkoa.
One of the best parts about working on WoW for me is when we first start a new exterior zone. Creativity reigns, and almost anything goes—it’s real blue sky stuff. When we started working on Spires of Arak, we only had some basic ideas: tall rocky spires jutting out of a dense forest. So we got together to talk about what that might look like, and soon afterward, artist Jimmy Lo started making concepts.
Based on these concepts, we could tell right away that this zone was going to present some unique challenges. The biggest one was how we were going to build the large spiky rocks that would give the zone its distinctive look. We had two basic methods in mind to create those spires. Some of us thought that the best way would be to make most of the rocks as 3D props instead of using our terrain editor to sculpt the landscape into tall spires. 3D props have some distinct advantages, since building a prop allows for the creation of fully 3D objects of any shape, which gives us a lot of design freedom. The downside is they tend to be difficult to blend into the landscape in a natural-looking way (see the original Blade’s Edge Mountains in Outland). They’re also much more difficult to iterate on as design needs change. If instead we used our terrain editor to create the spires, that would allow us a lot of freedom to iterate on zone layout and design without needing to fidget with large pieces of premade geometry, with the potential downside of not being able to do the concept justice.
Our design team wanted to at least give the terrain editor option a chance, so they embarked on creating a proof of concept to see how well it could work. A lot of us contributed to the Spires of Arak, but ultimately Matt Sanders (exterior level designer) and Kelli Hoover (environment artist) were tasked with creating the zone. Kelli gathered resource material and started to do some paint-overs of our concepts in order to unify a distinctive new color palette. Meanwhile, Matt created the proof of concept in our editing tools in order to test ideas for creating large spiky rocks with the exterior terrain editor.
Kelli gathered a lot of reference pictures, paying special attention to color and mood. She then slightly recolored Jimmy’s concepts to model different times of day.
Then Kelli moved on to testing texture ideas by creating rough and quick block-out textures, which aren’t intended to look final but help give us an idea of color and detail. We can paint these rough textures over the landscape and do various tests to help us see how they interact. We can also see how the textures change and distort as they are painted on steep mountain terrain.
As you can see here, Matt and Kelli experimented with different textures and geometry in an attempt to duplicate the concepts from Jimmy.
Kelli and Matt discovered that using a striated rock texture would actually work better than a simpler rock pattern, and the striations give the impression of upward movement. These linear texture shapes would also bend and stretch well over the exterior terrain creating a really unique look for the zone.
Once Matt and Kelli finalized their demo zone and we agreed that everything was heading in the right direction, the real work could begin. Now the whole zone could be completed using the style and techniques that worked in the small demo zone. They’d still have to work out the look for some of the smaller subzones, though, like dense forests, beaches, and a massive thorny bramble where the Shattered Hand orcs dwell.
Last but not least, we’ve prepared a short video for you to demonstrate the various steps involved in creating the Spires of Arak. Thanks for tuning in, and we look forward to sharing more with you in the future!
Hey, I’m Gary Platner, lead environment artist on World of Warcraft. I direct a team of artists who help create the world . . . of Warcraft. We shape the land; texture it; place the trees, rocks, and buildings; and design the “sets” where our quest team will later place the “actors.” Today we’re going to be showing you some of what's going into the creation of the Spires of Arak. This location that would later become known as Terokkar Forest, but in Draenor-terms, this zone is the home of the regal, sinister, and flighted arakkoa.
One of the best parts about working on WoW for me is when we first start a new exterior zone. Creativity reigns, and almost anything goes—it’s real blue sky stuff. When we started working on Spires of Arak, we only had some basic ideas: tall rocky spires jutting out of a dense forest. So we got together to talk about what that might look like, and soon afterward, artist Jimmy Lo started making concepts.
Based on these concepts, we could tell right away that this zone was going to present some unique challenges. The biggest one was how we were going to build the large spiky rocks that would give the zone its distinctive look. We had two basic methods in mind to create those spires. Some of us thought that the best way would be to make most of the rocks as 3D props instead of using our terrain editor to sculpt the landscape into tall spires. 3D props have some distinct advantages, since building a prop allows for the creation of fully 3D objects of any shape, which gives us a lot of design freedom. The downside is they tend to be difficult to blend into the landscape in a natural-looking way (see the original Blade’s Edge Mountains in Outland). They’re also much more difficult to iterate on as design needs change. If instead we used our terrain editor to create the spires, that would allow us a lot of freedom to iterate on zone layout and design without needing to fidget with large pieces of premade geometry, with the potential downside of not being able to do the concept justice.
Our design team wanted to at least give the terrain editor option a chance, so they embarked on creating a proof of concept to see how well it could work. A lot of us contributed to the Spires of Arak, but ultimately Matt Sanders (exterior level designer) and Kelli Hoover (environment artist) were tasked with creating the zone. Kelli gathered resource material and started to do some paint-overs of our concepts in order to unify a distinctive new color palette. Meanwhile, Matt created the proof of concept in our editing tools in order to test ideas for creating large spiky rocks with the exterior terrain editor.
Kelli gathered a lot of reference pictures, paying special attention to color and mood. She then slightly recolored Jimmy’s concepts to model different times of day.
Then Kelli moved on to testing texture ideas by creating rough and quick block-out textures, which aren’t intended to look final but help give us an idea of color and detail. We can paint these rough textures over the landscape and do various tests to help us see how they interact. We can also see how the textures change and distort as they are painted on steep mountain terrain.
As you can see here, Matt and Kelli experimented with different textures and geometry in an attempt to duplicate the concepts from Jimmy.
Kelli and Matt discovered that using a striated rock texture would actually work better than a simpler rock pattern, and the striations give the impression of upward movement. These linear texture shapes would also bend and stretch well over the exterior terrain creating a really unique look for the zone.
Once Matt and Kelli finalized their demo zone and we agreed that everything was heading in the right direction, the real work could begin. Now the whole zone could be completed using the style and techniques that worked in the small demo zone. They’d still have to work out the look for some of the smaller subzones, though, like dense forests, beaches, and a massive thorny bramble where the Shattered Hand orcs dwell.
Last but not least, we’ve prepared a short video for you to demonstrate the various steps involved in creating the Spires of Arak. Thanks for tuning in, and we look forward to sharing more with you in the future!
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