Muhammad Humza Zahid

Game Art And Design

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Blog Post 46 (Final Reflection & Future Direction)

Completing Reclaim was both exhausting and empowering. I proved to myself that I can handle a large-scale, industry-standard project from concept to post-production.

Most importantly, I realised that my real strength lies in bridging art and technology, a path that aligns with becoming a Technical Artist. Reclaim isn’t just a project, it’s a launchpad for my career.

Heres the Showreel given Below 👇

Reference:

Kleon, A. (2014) Show Your Work!. Workman Publishing.

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Blog Post 45 (Relating to Industry Forefront)

The forefront of environment art lies in the intersection of realism, optimisation, and narrative design. Studios like Naughty Dog, Guerrilla, and CD Projekt are pushing abandoned architecture as storytelling devices.

By aligning Reclaim with these trends, I ensured my project wasn’t just academic but professionally relevant.

Reference: Totten, C. (2019) An Architectural Approach to Level Design. CRC Press.

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Blog Post 44 (Reflecting on Learning Outcomes)

This project taught me:

Creative Decision-Making – Ruining a clean station into a reclaimed one.

Technical Growth – Overcoming USD import issues, mastering decals.

Project Management – Following Gantt charts and documenting consistently.

It also clarified my future trajectory, I now see myself moving toward a Technical Artist role where art and problem-solving meet.

Reference: Kerzner, H. (2017) Project Management: A Systems Approach. Wiley.

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Blog Post 43 (Showreel Creation)

Editing my Unreal cinematic sequences in Premiere Pro was the final step. I kept the cuts sharp, transitions minimal, and music atmospheric. The goal was to let the environment speak for itself.

Including this project in my showreel creates a professional “shop window” a trailer of what I can do for studios.

Reference: Brown, R. (2016) Effective Demo Reels. GDC Vault.

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Blog Post 42 (Portfolio Value)

Reclaim will become a portfolio centrepiece. Its versatility means I can showcase it in three contexts:

Games/VR – Interactive exploration.

Cinematics – Sequenced shots.

Concept Visualization – Still renders.

Having a project that demonstrates pipeline fluency from Blender → Substance → Unreal → Premiere positions me strongly for both junior environment artist and technical artist roles.

Reference: Keller, J. (2022) Building a Portfolio for the Games Industry. ArtStation Learning.

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Blog Post 41 (Acknowledging Weaknesses)

If I could improve one area, it would be asset optimisation. Some meshes were heavier than necessary due to rushed UV packing. While this didn’t affect still renders, it could impact performance in a real-time VR deployment.

This showed me that technical polish is just as important as artistic vision, something I’ll need to refine before entering professional pipelines.

Reference: Crytek (2019) Optimisation Techniques for Real-Time Environments. CryEngine Documentation.

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Blog Post 40 (Evaluating Strengths)

The strongest part of Reclaim is its balance of realism and atmosphere. The Paddington Station still reads as recognisable architecture, but the decay and foliage transform it into something poetic.

This balance was only possible through careful material layering and restrained use of decals. I see this as one of my key strengths as an environment artist, creating immersive spaces that are grounded but emotionally charged.

Reference: Kent, S. (2017) The Art of Game Environments. Focal Press.

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Blog Post 39 (Industry Inspiration)

While working on Reclaim, I kept revisiting works like Aeryn Gray’s subway ruins and the Last of Us Part II’s overgrown Seattle environments. Both reinforced that environmental storytelling thrives on subtle narrative cues, abandoned luggage, graffiti, broken tiles.

The Last of Us™ Part I - PS5 Games | PlayStation

Experience the emotional storytelling and unforgettable characters in The Last of Us rebuilt for the PlayStation®5 console.

This motivated me to ensure my Paddington project wasn’t just technically sound but culturally resonant, tapping into player emotions of loss and reclamation.

Reference: Naughty Dog (2020) The Last of Us Part II: Environmental Storytelling. Game Developers Conference.

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Blog Post 38 (Managing Technical Problems)

Throughout Reclaim, I faced multiple technical bottlenecks—USD imports failing, UV overlaps, and Unreal crashes during foliage painting. Each hurdle slowed progress but also strengthened my problem-solving approach.

By documenting every error and solution in my notes, I built a personal troubleshooting library. This not only helped me progress but mirrors what industry technical artists do daily.

Reference: Tkach, M. (2020) Troubleshooting Unreal Engine Pipelines. UnrealFest Europe. Riot Games (2021) So You Wanna Make Games?? | Episode 5: Technical Art. Available at: https://www.youtube.com/watch?v=kr7XYXMM7-U (Accessed: 21 August 2025).

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Blog Post 37 (Lighting as Atmosphere)

Lighting was one of the most crucial creative decisions. I used a mix of directional light shafts and volumetric fog to highlight the ruined station’s contrast between human absence and nature’s return.

What surprised me most was how little light was needed—shadows carried just as much storytelling weight as highlights. This reminded me of industry workflows, where lighting is treated as both a technical optimisation and narrative driver.

Refrence: Faucher, W. (2025) Revamp Exterior Lighting w/ Atmosphere Index + Bonus Tip! – Unreal Engine 4 (4.26). Available at: https://www.youtube.com/watch?v=p7HzA0njaFA (Accessed: 21 August 2025).

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Blog Post 36 (Reflection on Time Management)

Looking back, my biggest challenge was time allocation. UV mapping and Substance texturing took longer than expected, leaving me less room for polish at the end.

However, my Gantt chart planning and weekly check-ins with Neil and Wayne helped me stay on track. This project taught me to budget extra time for technical tasks, a lesson I’ll carry into professional practice.

Reference: Kerzner, H. (2017) Project Management: A Systems Approach to Planning, Scheduling, and Controlling. Wiley.

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Blog Post 35 (Capturing Cinematics)

Learning Unreal’s CineCamera Actor and Sequencer tools was both challenging and rewarding. I framed shots with intentionality—lingering on overgrown staircases, broken panels, and shafts of light.

The goal was to capture cinematic storytelling, not just environment showcase. By treating the camera as a narrative tool, I elevated the presentation of the environment.

Reference: Epic Games (2024) Sequencer and Cinematics. Available at: https://docs.unrealengine.com (Accessed: 7 July 2025).

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Blog Post 34 (Post-Processing Choices)

Unreal’s post-processing volume allowed me to refine the mood. I lowered saturation, boosted contrast in shadows, and added volumetric fog. The result was a haunting yet cinematic look.

This stage was about restraint, I resisted overusing colour grading or bloom. Subtle changes created far more atmospheric power than dramatic filters.

References: Faucher, W. (2025) The 2025 Guide to Rendering in Unreal Engine 5. Available at: https://www.youtube.com/watch?v=fVg5ihB8Wdc (Accessed: 21 August 2025).

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Blog Post 33 (Decals as Storytelling Tools)

Decals became my secret weapon. By layering cracks, leaks, and soil build-up, I could communicate decades of neglect in a single shot. Small visual cues—like water seepage under cracked tiles—did as much storytelling as foliage or lighting.

This reinforced that environment art is environmental storytelling, where even micro-details shape player immersion.

Reference: Kent, S. (2017) The Art of Game Environments. Focal Press.

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Blog Post 32 (Vegetation & Foliage Pass)

Using Quixel Megascans and FAB assets, I layered ivy, grass, and moss across the station. The shift from sterile architecture to nature’s reclamation felt symbolic—themes of decay and resilience became visually powerful.

I also experimented with decal ivy tricks learned from YouTube, which gave me more optimisation control. This reinforced that indie-friendly hacks can still produce industry-quality visuals.

Reference: Quixel (2024) Megascans for Unreal Engine. Available at: https://quixel.com (Accessed: 6 July 2025).

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Blog Post 31 (Importing USD vs FBX)

Initially, I used USD exports from Blender, but Unreal’s foliage tools refused to work on them. After much trial and error, I switched to FBX, which solved the problem instantly.

This workflow hiccup reinforced the lesson that technical flexibility is crucial. The best artists aren’t those who never hit roadblocks, but those who adapt quickly when pipelines break down.

Reference: Epic Games (2023) Unreal Engine 5 Export & Import Workflows. Documentation. Available at: https://docs.unrealengine.com (Accessed: 18 August 2025).

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Blog Post 30 (Feedback Session with Eden)

When I showed the clean version of Paddington Station to Eden, his feedback was both validating and transformative. He encouraged me and gave me a clear and focal point for the project

This moment was key: it reminded me that iteration and critique are creative allies, not obstacles. Without feedback, I might not able to get main focal point for my project.

Reference: ShaUNreal Design (2025) Composition and Catchlights Unreal 5.5. Available at: https://www.youtube.com/watch?v=qCWBxAgPQIo (Accessed: 18 August 2025).