3D BLOG/INTERVIEWS/BEHIND THE SCENES OF KERRI ZHANG’S IMPRESSIVE 3D ENVIRONMENT ART

Behind the Scenes of Kerri Zhang’s Impressive 3D Environment Art

May 19, 2025

Article by Filip Radivojevic

Kerri Zhang is a passionate 3D environment artist with a strong eye for detail and atmosphere in her digital creations. From her early game projects to her senior thesis, XELVITA, Kerri has demonstrated a deep passion for immersive world-building and technical artistry. In this interview, she shares her journey from aspiring 2D animator to environment artist, her creative process, the tools she uses, and how she balances artistic vision with game-ready efficiency.

Introduction

Could you share a bit about your background and what led you to pursue a career in 3D environment art?

Hi everyone! I'm Kerri Zhang, a game art student from Ringling College of Art and Design, and I just graduated this May. During my time at Ringling, I got my start in environment art by working on my first game projects, The Wandering Programmer and Fretia - a top-down fixed-camera game I made during my sophomore year. Those projects taught me the basics of baking lighting, and setting up environment pipelines.

In my junior year, I took things a step further by focusing on foliage creation for my biome project, The Wanted. That experience really helped me level up my skills, and it actually led to my first industry experience with Turn 10 Studios. It was incredible to get a chance to work with such a talented and professional team. They provided me with an excellent working environment and learning experiences to help me become a professional artist.

For my senior thesis, I teamed up with two talented classmates to create XELVITA, which was an incredible project that pushed me creatively and technically.

When I first got into 3D art, I thought I wanted to be a character artist because I've always loved both characters and environments. But after trying both and learning more about the industry, I realized how tough it is to break into character art since the market is pretty saturated, making it harder to land a job right out of college. On the other hand, I found myself getting more and more into environment art, especially after learning from some amazing environment artists. The moment I saw players interacting with the worlds I created, I felt this huge sense of accomplishment, and that's when I knew I wanted to focus on building immersive environments.

What inspired your transition from 2D animation to 3D game art during your time at Ringling College of Art and Design?

Actually, I had already mentally prepared myself to start learning 3D when I applied to Ringling. Initially, I wanted to do 2D animation because I've always loved anime. I'm constantly blown away by the impactful shots and the energy that fluid, dynamic animation brings. I dreamed of creating something just as cool, and CalArts was my top choice.

When I was applying to colleges, my teacher also recommended Ringling, saying it was one of the best schools for 3D animation. I looked it up and found that many graduation projects from Ringling were really popular, some were even trending on Bilibili, a well-known Chinese video platform. That's when I decided that whether it was 2D or 3D, as long as I could create animations that could touch people's hearts, I'd be happy to do it. That was my dream back then.

But reality can be harsh, or maybe it was just fate guiding me toward a better path. CalArts rejected me, and since the animation program at Ringling was extremely popular, I had to choose a different major. I felt really lost at that point, like I was saying goodbye to my dream, and even considered taking a gap year to focus on building a stronger CalArts portfolio.

After carefully thinking it over, I realized that although I couldn't study animation at Ringling, the Game Art program was also highly ranked and really well-regarded in the industry. When I compared it to other majors, I found that the quality of work from Game Art students was the most impressive and exciting to me. I was nervous about getting into 3D since it was all new to me, but I decided to take the leap and choose Game Art. Seeing all those impressive graduation projects gave me the courage to choose. They made me believe I could do it too, or even better.

While studying at Ringling, I never gave up my biggest hobby - drawing concepts. Below are some environmental concepts I created. They also helped me develop a critical eye for compositions, colors, storytelling, etc., all related to the 3D environment.

Tools & Workflow

Which software tools do you primarily use in your projects, and how do they contribute to your creative process?

For the pipeline I've learned from college and YouTube, here are the main software I use when creating different game-ready assets:

Maya - Modeling, UV, blocking
Zbrush - Sculpt organic high-poly models for texture baking
Substance Painter - make textures for assets
Speedtree - create any kind of foliage, like trees, grass, ivy, etc
Gaea - make modified terrain
PureRef - helps to organize references
Substance Designer & Sampler - create tileable textures
Unreal Engine - World building
Marmoset - only for rendering individual 3d models

I frequently use Maya, Zbrush, and Substance Painter. Those are the key software for making any kind of asset, such as mod kits, set dressings, and even textures. And I only create foliage in SpeedTree.

Can you walk us through your typical workflow when creating a game-ready environment, from concept to final render?

I always start by defining the environment style and key model elements while collecting real-world photography and analyzing similar artistic works. (For example, will I focus on making a biome or architecture?) This helps me understand how to translate reality into digital form, especially when it comes to materials, architectural details, and shape language.

Next, I move on to sketching and ideation. I create quick sketches to outline architectural modules, environmental layouts, and key compositions, which helps me establish a clear visual direction. This phase is crucial for exploring ideas and setting the aesthetic tone of the project, even for prop designs.

Once the concept is clear, I focus on material and modular planning. For architecture, I create modular kits using trim sheets for efficiency and consistency. I carefully plan the trim sheet to cover commonly used patterns, maintaining high visual fidelity while optimizing the asset production pipeline.

When creating natural biome parts, I often use SpeedTree. After preparing tileable textures in Designer and Stager, I start by creating cluster textures for my plants in SpeedTree. Clusters help optimize performance by using alpha textures to represent dense canopies without heavy geometry.

After that, I move into building the scene. I start by designing the level flow and player guidance, using elements like elevation, lighting, and focal points to naturally direct movement. For example, elevating the main door and using warm lighting against cooler tones helps highlight the intended path.

Atmosphere and environment details come next. I focus on composition, depth of field, and set dressing to make the scene visually engaging and immersive. Adding FX elements like fog and dynamic particles enhances the sense of life and realism.

Throughout the process, I balance visual appeal with performance optimization, ensuring that the environment is both immersive and game-ready.

Inspiration & Creative Process

Your senior thesis project 'XELVITA' draws inspiration from Dark Souls and Diablo. What aspects of these games influenced your work, and how did you incorporate them?

XELVITA features two distinct styles: a sci-fi underground facility and an abandoned surface city called Duskveil. Since these areas are far apart, their levels of civilization and technology differ significantly. I was responsible for designing Duskveil, which has a more archaic and gothic look compared to the advanced underground facility.

For Duskveil, I wanted a grand, imposing gothic aesthetic with towering, rugged architecture. When researching real-world references, I found that most gothic structures are incredibly intricate and time-consuming to replicate. To balance detail with efficiency, I drew inspiration from the architecture of Leyndell, Royal Capital in Elden Ring. It captures the monumental feel I wanted while guiding me in balancing detailed elements with practical design choices..

To add a unique touch while avoiding overly stylized results, I looked to Diablo 4 for inspiration. Its blend of organic patterns and 3d ornate structures offered a way to incorporate fantasy elements without losing realism. Compared to Elden Ring, which sometimes leans into stylization with its unique asset designs and lighting, Diablo 4 struck a better balance of maintaining a realistic yet fantasy-rich atmosphere, which aligned perfectly with my vision for Duskveil.

How do you approach balancing artistic vision with technical constraints in your environment designs?

Balancing artistic vision with technical constraints is essential when designing game environments, and I achieve this through a combination of optimization techniques and strategic asset management.

Procedural Asset Placement with Blueprints:
To speed up the environment-building process while maintaining flexibility, I use Blueprint presets for procedural asset placement. For example, I created customizable presets for roof and window variations and modular building assemblies, allowing me to populate large areas while minimizing manual adjustments quickly.

Efficient Texture Blending with RGB Mask Workflow:
One key approach I use is the RGB Mask & Layered Material workflow, which allows for efficient texture blending without sacrificing visual quality. Since Substance 3D Painter only reads the first UV channel, I duplicate the trim UV channel to the second UV slot and then unwrap the first channel to create an RGB mask. I assign different effects to each channel (e.g., dust, leaks, grunge), and then implement the RGB Mask function in Unreal Engine using a reusable Material Function. This setup not only optimizes texture management but also adds modularity.

Enhanced Vertex Painting with Layered Materials:
To increase texture variety when vertex painting, I use layered materials, which enable smooth blending of multiple textures. This method helps me achieve diverse surface details while keeping texture usage efficient.

Improving World-Aligned Materials for Better Adaptability:
World-Aligned (WA) materials in Unreal can misalign when models rotate diagonally between axes. To address this, I modified the WA function to ensure the texture rotates correctly with the object while maintaining world alignment, even when the model's scale changes. This keeps the textures visually consistent regardless of the object's position or rotation.

Managing Asset Complexity:
In addition to procedural methods, I keep a close eye on polycount and the number of material slots per asset. Reducing unnecessary geometry and optimizing material usage helps maintain performance without compromising visual quality.

By integrating these techniques, I ensure that my environments are both visually appealing and technically efficient, allowing me to maintain artistic vision while meeting performance standards.

Projects & Achievements

Your work includes biome environments and nature-based assets. What draws you to these themes, and how do you approach designing organic elements in your scenes?

My journey into creating biome environments started as a school project during my junior year, but I quickly enjoyed the process. One of the biggest influences on my work is living in Florida. The local environment here is incredible, with diverse vegetation and lush ecosystems, especially when the sunlight hits just right. Sometimes, just looking out the window feels like seeing a scene straight out of realistic CG artwork. (I even took some photos to capture those moments!)

Living here taught me a lot about how plants naturally group together. I noticed that combining large and small patches of grass with varied plants of different sizes creates a more realistic and visually appealing look. So, when designing plants, I don't necessarily invent unique species from scratch. Instead, I base a lot of my work on real-life references, especially when creating realistic, nature-related scenes. Observing how plants grow in real life is essential for making believable environments.

Another major inspiration for my biome projects is my favorite survival game, The Last of Us. I'm particularly drawn to how the game artfully portrays natural overgrowth on man-made structures, creating a beautiful, post-apocalyptic atmosphere. The way plants take over abandoned places in the game is done so well that it feels natural yet visually stunning.

One challenge in game environments is balancing realism with performance. You can't perfectly replicate every single tree, so reusing assets efficiently is key. For instance, some of the bushes in my scene are actually made from tree crowns to save resources. I applied a similar approach during my internship at Turn 10, where optimizing natural assets while keeping them visually convincing was crucial.

Ultimately, I love creating biome environments because they combine my passion for nature with the technical challenge of making them game-ready, and every project teaches me something new about finding that balance.

As you continue building your portfolio, what do you believe are the most important elements that make a strong presentation for a 3D environment artist?

To build a strong portfolio as a 3D environment artist, it's essential to demonstrate a wide range of skills beyond just modeling. Being proficient in world-building, lighting, composition, and even some level design to complement gameplay can really set you apart. The best way to showcase these skills is by sharing your creative process, almost like creating a mini-tutorial. Don't worry about others learning from your methods, in fact, breaking down your workflow not only clarifies your own thoughts but also helps you learn new things while teaching others.

A well-rounded portfolio piece should typically include the following:

Beauty Shots: At least one high-quality render that highlights the environment.
Walkthrough Video: It's even better if you can include a video walkthrough to showcase the actual sense of space.
Process Breakdown: Share your progress from initial sketches and blockouts to the final render. This gives insight into your thought process and problem-solving approach.
Hero Asset Showcase: Include detailed shots of key assets, showing textures and wireframes to highlight your optimization skills.
Technical Tips: If you've developed any smart workflows or tricks, share them. It shows how you solve problems and willingness to improve efficiency.
Reference Board: Display your inspiration and sources.
Proper Credits: If you're working from someone else's concept art, always credit the original artist.
Eye-Catching Cover: Start with a well-designed cover that immediately grabs attention.

Future Goals

What are your aspirations for the future, and are there any particular projects or studios you're aiming to work with?

In the future, I aspire to work on big projects at renowned studios like Rockstar, Sony, Blizzard, etc. One of my biggest dreams is to be part of the Diablo team, not only because I'm a huge fan of the dark, gothic style but also because I want to learn from one of the most talented environment art teams in the industry.

I'm also drawn to working on projects with a similar eerie and atmospheric vibe, like Scorn. I'm really passionate about creating immersive, dark fantasy worlds that evoke strong emotions, and I would love the opportunity to bring that vision to life in a professional setting.

As someone still on the path to entering the industry, what are some of the biggest challenges you've faced so far, and how are you working to overcome them?

Finding a full-time job has been incredibly difficult this year, especially as an international student. The biggest obstacles I face are related to me as an international student and the intense competition in the job market.

One of the main challenges is dealing with visa restrictions. Even though I have three years of OPT, which legally allows me to work in the U.S., many companies still hesitate to hire me because they're concerned about the possibility of needing to sponsor me in the future.

I've had several interviews where everything seemed promising, even making it to the final round or completing an art test, but in the end, I was turned down. Companies often phrase it as "our team feels it's not the right time," but I understand that the real issue is my international status. Since they can't explicitly say it's because of visa concerns, they often use these more vague reasons to avoid potential complaints.

I had a hard time when this situation made me question my own abilities, wondering if I wasn't skilled enough or just not a strong candidate. It was only after hearing similar stories from other international students that I realized it wasn't just me, it's a common hurdle we all face.

Another factor is the level of competition, which is much tougher than I initially expected. Some internship and entry-level positions that seem targeted at recent graduates actually attract candidates who are far more experienced. Many of them are either graduate students, people who went back to school to study 3D after already working in other fields, or even professionals who have been laid off and are now looking to re-enter the industry. I used to think I'd be competing mainly with peers my age who are also fresh out of college. Still, the reality is that I'm often up against candidates with significantly more professional experience. On top of that, the economic downturn has caused many skilled professionals to lose their jobs, so they're also competing for the same entry-level positions. This makes the job market extremely competitive, especially this year.

Given these challenges, I've adjusted my approach. Instead of focusing solely on full-time roles, I'm actively seeking freelance, part-time, or indie projects to build my experience and expand my professional network. I believe that gaining hands-on experience through smaller studios or outsourcing projects will help me strengthen my portfolio and skills while keeping me prepared for when the job market improves.

Right now, I focus on making the most of any opportunity I can find, continuing to learn, and staying proactive in my career development.

Even though it's tough, I'm trying to stay positive and practical about it. I know that by building up my experience now, I'll be better positioned when more opportunities open up in the future.

Follow Kerri Zhang on ArtStation, YouTube, and Instagram to explore more of her incredible work.

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