Maintenance Hangar — Unreal Engine 5, work in progress
Environment Art · Unreal Engine 5
Modular kits and hard-surface props modelled in Blender, textured in Substance 3D Painter, then assembled and lit in Unreal Engine 5. Trim sheets, channel-packed masks and texel-density discipline, because the constraints are where art direction and real-time budgets actually meet.
3D Environment Artist
Screening for technical artist work instead? See the technical artist portfolio →
Selected work
Environments, the modular kits and materials that build them, and the prop practice that feeds both — in one place, strongest first. Every piece is personal or study work, modelled and textured by me unless the card says otherwise.
Showing 9 of 9 projects
Environment / Modular Kit
A large-scale sci-fi hangar built from a custom modular kit, lit with Lumen and textured almost entirely from a single trim sheet.
Lighting Study
A baked, night-only Unreal scene rebuilt as a fully dynamic Lumen environment, with a C++ controller that switches or blends between two complete lighting looks at runtime.
Material Study
An Unreal Engine 5 master material driven by ID masks, so one mesh can swap between wood, painted metal and emissive trim without leaving the engine.
Prop
A stylised hard-surface door prop designed for high readability — retro-futurist shapes, custom decals and a refractive locking hub.
Prop
A hero power-source prop using a weighted-normal workflow to keep bevels smooth at a real-time-friendly poly count.
Prop
An ornate short blade sculpted in ZBrush — tri-metal material definition with refractive gemstones and aged gold filigree.
Material Study
A photoreal prop study in material storytelling — layered oxidation, grime and stencil wear that imply years of handling.
Product Render
Product visualisation: a hard-shell luggage set with a subtle orange-peel finish authored to keep the polycarbonate from reading as CG.
Prop
A low-poly game-ready character prop built to a 7,500 triangle budget, baked and rendered in Marmoset.
Prop · 2022 · 3ds Max, Substance 3D Painter, Marmoset Toolbag
Prop · 2022 · 3ds Max, Blender, Substance 3D Painter
Prop · 2022 · Blender
Experience
Most of the technical-art work is consistency: setting the workflow, reviewing asset quality before it reaches the engine, and keeping output aligned as more hands touch the same scenes.
The rest is the engine itself — scene lighting, optimisation and draw-call reduction, the decisions that determine whether an environment holds its frame budget — plus Blueprint support where the art pipeline needs it.
Analyzer Tensor Technologies
Analyzer CAE Solutions Pvt. Ltd.
Aswaforce Pvt. Ltd.
Independent
Tata ClassEdge / The Radiant Way School
Capabilities
Listed at the depth I can defend in a portfolio review — nothing aspirational.
Godot (2D and 3D) — Comfortable in the editor: scenes, nodes, the project structure and general engine concepts in both 2D and 3D. I do not write Godot scripting, and I make no claim to GDScript, C# or gameplay programming in Godot.
Python — Small pipeline tools rather than software engineering — see the Blender add-on below. Not a claim to Unreal editor scripting yet.
Working knowledge rather than production depth — listed for accuracy, not as a headline skill.
Nanite for environment authoring — Moving my own kits onto it, beyond tuning its cost.
Unreal Insights — Timeline and trace analysis; my profiling so far has used CsvProfiler.
Niagara — Real-time VFX — no published work yet.
Python editor utilities — Extending pipeline tooling from Blender into Unreal.
Not yet demonstrated on this site, so not claimed as a skill. Listed so the gap is visible rather than hidden.
About
I lead 3D environment production at Analyzer Tensor Technologies in Pune, where I moved with my department when it spun out of Analyzer CAE Solutions. Day to day that means owning scene lighting and optimisation, reviewing asset quality across the team, and keeping the workflow and output consistent as the project scales.
My hands-on work is stylised and low-poly environment art: modelling in Blender, PBR texturing in Substance 3D Painter, then assembly and lighting in Unreal Engine 5 with Lumen and baked workflows. The parts I enjoy most are the constraints — trim sheets, virtual textures, channel-packed masks and draw-call reduction — because that is where art direction and real-time budgets actually meet.
Alongside that I use AI tools to prototype interactive websites and digital experiences, work through UI/UX and visual directions, and build small reusable tools that take repetitive steps out of the art pipeline. I treat that as applied creative technology and execution planning rather than engineering: it is how I get a concept in front of people quickly.
Before Pune I made models and textures for gaming, VR and architectural visualisation at Aswaforce, worked freelance on product visualisation, and trained teachers on classroom technology at Tata ClassEdge. I trained in Game Art and Design Integration at MAAC Kolkata after a Bachelor of Computer Applications.
Contact
Open to Unreal Engine environment art, technical art and real-time optimisation roles — on-site, hybrid or remote. Currently 3D Team Lead at Analyzer Tensor Technologies, Pune.
tvishnuvardhan.503@gmail.com