Most junior artists struggle because their portfolio is trying to be everything at once:a little bit of props…a little bit of environments…a little stylized…a little realistic…some student exercises…some half-finished pieces…

In other words:you’re selling 20 mediocre products instead of 1 excellent one.

Choosing a niche fixes all of that and makes your portfolio immediately relevant to studios.

Here’s exactly how to pick yours:

1. Start With What You Actually Enjoy Creating

This matters more than anything else.

Every specialization requires years of practice.If you hate the day-to-day work that specialization requires, you won’t last.

Ask yourself:

• Do I enjoy building props?
• Do I like creating sets and environments?
• Do I love stylized shapes?
• Does realism excite me?
• Do I prefer organic sculpting or hard-surface?

If you’re not sure yet, pick the work you naturally find yourself doing even when nobody asks you.

If you enjoy it, you’ll stick with it.And if you stick with it, you’ll get good.

2. Look at What the Industry Actually Needs

This is where most juniors get stuck.

You might love sculpting giant dragons…But studios are hiring:

• Prop Artists
• Material Artists
• Environment Artists
• Level Artists
• Worldbuilders
• Hard-surface Specialists
• Vegetation/Foliage Artists
• Weapons Artists
• VFX Artists
• Technical Artists

Check job boards and note what roles come up consistently.

Then ask:“Is there overlap between what I enjoy and what the industry actually hires for?”

That overlap = your niche.

3. Reverse-Engineer From the Studios You Want to Work At

Every top studio has a “visual culture.”

World of Warcraft stylized ≠ Valorant stylized ≠ Fortnite stylized.Ubisoft realistic ≠ Naughty Dog realistic.

Pick 1 target studio and ask:

• What do their props look like?
• What’s the style of their modular kits?
• What’s the level of polish they expect?
• Are their environments stylized, semi-stylized, or realistic?

Your niche should match their product.

You don’t need to copy their style — but your art should look like it belongs in their universe.

4. Look at Job Titles, Not Just Finished Art

Most juniors look at the final game art and aim for that style…

But forget to check the actual roles that create those assets.

If your dream studio hires more:

• Prop Artists - specialize in props
• Level Artists - focus on modularity
• Material Artists - focus on Substance Designer
• Vegetation Artists - focus on foliage creation
• Hard-surface - weapons, gadgets, machinery

Your niche should match a job title, not just a vibe.

5. Choose the Niche That Gives You the Shortest Path to “Portfolio Ready”

This is the hack nobody talks about.

Some specializations take much longer to get “hireable good” at.

For example:

• FULL environments - slow
• Stylized prop sets - fast
• Hard-surface props - medium
• Materials - fast-ish
• Organic sculpting - slow
• Modular kits for AAA realistic - slow

If you want to get hired faster, choose the niche where you can create 3–5 strong pieces in a realistic timeline.

Speed matters early in your career.Momentum matters even more.

6. Check Your Existing Strengths (Don’t Start From Zero)

Look at your current skill set and ask:

“What am I already halfway good at?”

Example:If you’re good at:✔ modeling ✔ sculpting ✘ lighting ✘ composition - Prop Art might be the better niche over Environment Art.

If you naturally enjoy clean, mechanical forms:Hard-surface.

If you love color, shape language, and stylized exaggeration: Stylized props or stylized environments.

If you’re the person who loves tiny details and texture work: Material art.

Choose a niche where your strengths actually matter.

7. Pick ONE Niche and Build a 3–5 Piece Portfolio Around It

Your niche is ONLY real when your portfolio shows it clearly.

If your portfolio says: “I do a bit of everything”

You are effectively saying: “I specialize in nothing.”

Choose one niche and create:

• 3–5 high-quality pieces
• All in the same style
• All relevant to a specific job role
• All with consistent presentation

This turns your portfolio into a product.

And products need clarity.

8. Reevaluate Your Niche Every 12 Months

Your niche isn’t locked forever.

As you grow, you may realize:

• “Actually I prefer environments.”
• “I want to move into hard-surface.”
• “I want to do stylized instead.”
• “I want to do materials.”

That’s normal.

But early in your career, sticking to ONE niche for 1–2 years is what helps you get hired.

After that, you can branch out.

TL;DR — Your Niche = Where Passion, Skills & Studio Needs Overlap

Here’s the formula:

Niche =

• What you enjoy
• What you’re naturally good at
• What the industry hires
• What your dream studio needs
• What you can finish 3–5 strong pieces of
• What you can improve at consistently

When those align - you become instantly hireable.

If you're struggling with finding your niche, or need a bit of guidance to make sure you're picking the most optimal thing for you, feel free to book 1:1 consultation so we can discuss your specific situation.

Breaking into the game industry is hard — but growing inside the industry can be just as challenging.

One question I get all the time from aspiring and early-career artists is:

“What actually separates a Junior Artist from a Mid-Level Artist?”  And the truth is… it’s not just skill. It’s how you work.

Let’s break down the real differences I’ve seen from mentoring artists and working in multiple studios.

1. Juniors focus on finishing assets. Mids focus on solving problems.

As a Junior, your goal is usually:“Tell me what to make, and I’ll make it.”

As a Mid, it becomes:“Tell me the problem, and I’ll figure out what needs to be made.”

Studios trust Mid-Level artists to:

• understand production constraints
• choose the right workflows
• anticipate issues before they appear
• propose solutions instead of waiting for direction

That shift from task execution to problem solving is one of the biggest milestones.

2. Juniors show potential. Mids show consistency.

A Junior might create a great asset one time.

A Mid can deliver high-quality work every time, even on tight timelines, even with unclear briefs, even when things inevitably change.Consistency builds trust — and trust is what gets you promoted.

3. Juniors need guidance. Mids offer it.

A Mid-Level artist doesn’t need hand-holding through:

• planning
• blockouts
• feedback cycles
• optimization
• documentation

And on top of that, Mid-level artists often:

• give feedback to juniors
• help them with workflows
• explain why certain decisions were made

You don’t need to “lead” to be Mid — but you do need to help the team level up.

4. Juniors execute the brief. Mids shape it.

A Mid-Level artist can:

• spot missing details
• ask the right questions
• challenge unrealistic expectations
• push back when something breaks style or gameplay
• help refine the visual direction

You start to become a creative partner, not just a pair of hands.

5. Juniors follow pipelines. Mids adapt pipelines.

Studios expect Mid-Level artists to:

• know the pipeline deeply
• identify bottlenecks
• tweak workflows
• adopt (and even introduce) new tools
• optimize their process

Your experience becomes a multiplier for the whole team.

So how do you become Mid-Level?

Here’s a quick roadmap:

• Master the fundamentals
• Build a portfolio that reflects production thinking
• Learn to plan your work and justify your decisions
• Get comfortable with giving and receiving feedback
• Focus on reliability and predictability
• Understand the “why” behind every asset you create

A Mid-Level artist isn’t defined by years — they’re defined by impact.

If you’re working toward this step, keep going — every asset you make is training you to think more clearly, work more intentionally, and become the person a team can rely on.

If you want help creating a roadmap to reach Mid-Level faster, feel free to message me or check out my mentorship — I’ve helped a lot of artists bridge that exact gap.

Getting Feedback That Moves the Needle

Getting good feedback is one of the biggest accelerators in your art career.But here’s the thing — not all feedback is created equal.

If you’re not intentional about who you ask and how you ask, you might end up getting opinions instead of insight.

Over the years I’ve seen tons of artists plateau not because they lack talent, but because they don’t know how to gather and process feedback effectively. So let’s fix that.

1. Be Clear About What You Want

When you ask someone “What do you think?”, the answers are usually vague.Instead, guide the person reviewing your work.

Say things like:

• “I’m trying to improve my lighting — does the mood read clearly?”
• “Can you spot any areas where my composition feels off?”
• “Does this piece feel game-ready in terms of trim usage and texel density?”

Specific questions lead to specific feedback.

2. Choose Your Reviewers Wisely

Not all feedback is equal.When you’re just starting out, it’s easy to share your work with everyone — friends, Discord groups, Reddit — but try to identify who’s ahead of you in the skill tree.

Seek out:

• Artists working in the industry or one level above your current target role.
• Mentors or seniors who’ve worked on shipped titles.
• People who understand game-ready pipelines, not just pretty renders.

One solid critique from a seasoned artist is worth more than twenty from peers still learning the same fundamentals as you.

3. Learn to Filter Feedback

You’ll often get conflicting advice — “push your contrast more,” “tone it down,” “change your lighting setup,” “don’t touch it.”So what do you do?

Filter.

If multiple experienced artists point out the same issue, it’s likely valid.If feedback conflicts, check it against your project goals and art direction.

Don’t take everything literally — take it as information, not instruction.

4. Implement Quickly

The faster you act on feedback, the more you internalize it.Don’t wait weeks. Take a day, apply what you learned, and compare before/after.This builds iteration speed — a skill studios absolutely love.

5. Learn to Ask for Feedback Professionally

When messaging artists or recruiters for feedback:

• Keep it short and respectful.
• Show that you’ve done your homework.
• Don’t send an entire 30-piece portfolio — pick 1 or 2 works you really want help with.

Example message:

“Hey [Name], I’m working on improving my modular environment art skills.Would you mind giving me a quick thought on this piece? I’m mainly focused on improving my composition and lighting.”

You’ll be surprised how many people say yes when you ask the right way.

6. Give Feedback to Others

This one’s underrated. When you give feedback, you learn to see.You start spotting patterns and common issues — and over time, those same patterns help you critique your own work better.

It’s one of the fastest ways to level up your eye.

In Short

• Ask specific questions.
• Choose experienced reviewers.
• Filter advice wisely.
• Act on it fast.
• Be respectful and concise.
• And give back — that’s how communities thrive.

Feedback done right can cut your learning curve in half.It’s one of the most underrated art superpowers you can develop.

💬 If you’re struggling to get useful critiques or just want help building your review loop, feel free to book a One-on-One with me — I’ve helped dozens of artists set up actionable feedback systems that actually get them hired.

If you’ve ever felt stuck applying for dozens of jobs and hearing nothing back — you’re not alone.

Breaking into the game industry is one of the hardest stages of any artist’s career.

The good news? It’s 100% doable — if you approach it strategically.

Here’s what I’ve seen actually work for the artists I’ve mentored who successfully landed their first studio role.

1. Have a Clear Target

This might sound obvious, but most artists fail before they even start because they’re trying to get any job, anywhere.

When you’re starting out, focus on one specific goal:

“I want to be a Junior Environment Artist on a stylized fantasy game like World of Warcraft.”

Once you’ve defined that, every piece of your strategy — your portfolio, your networking, your social posts — can align around that vision.You’ll appear focused and intentional instead of “open to anything.”

2. Reverse Engineer the Path

Find 3–5 people who already have the job you want.Check their:

LinkedIn profiles

ArtStation portfolios

Early works (scroll back in their gallery or timeline!)

Look at:

• What kind of projects they built before getting hired
• Which skills they emphasized
• Where they worked or studied

You’ll quickly spot patterns that show you what’s actually required — not what random job descriptions say.

3. Build a Focused Portfolio

Studios don’t hire “generalists who love making art.”They hire people who look like they can solve their immediate production problems.

Focus on:

• 3–5 strong, finished projects
• Consistent style
• Strong storytelling and presentation
• No filler or old student work

If you’re unsure where your work stands, ask a professional for feedback — not your classmates.You want input from someone who’s already done the job.

4. Start Talking to People Early

Networking isn’t about collecting names — it’s about building trust.

Start small:

• Leave thoughtful comments on ArtStation or LinkedIn posts.
• Share your WIPs and lessons learned.
• Join Discord communities for your art niche.
• Reach out to other artists or mentors for portfolio feedback.

The goal isn’t to “get a job through someone” — it’s to get on people’s radar before an opening appears.

5. Apply Strategically

When applying:

• Customize your application for each studio.
• Reference their art style or game in your email.
• Keep your message short, polite, and professional.

If possible, send your application directly to an artist or recruiter at the studio rather than just through a portal.Personal connections go a long way.

6. Build Momentum

Even if you don’t land your first few applications — keep improving and posting.

Studios like seeing consistency and growth.Someone who’s posting new work, learning, and engaging regularly is much more likely to get noticed.

✨ Final Thoughts

Getting your first studio role takes time, persistence, and strategy.But the moment you land it, your career trajectory changes forever.

Stay focused, improve your craft every week, and put yourself in the right circles.That’s how you build momentum — and that’s how you get in.

If you’re currently applying and not sure where you’re going wrong, I offer 1-on-1 portfolio and strategy sessions — we’ll review your work and build a plan together so you can land that first studio job faster.

If you’ve applied for a role in the games industry, chances are you’ll eventually get asked to complete an Art Test.It’s one of the most nerve-wracking stages of the process — but also one of the best opportunities to show how you think and work.

Here’s what to expect, and how to make sure you stand out for the right reasons.

1. What Is an Art Test?

An Art Test is a small project meant to evaluate your technical and artistic skills, but also, your process.The goal isn’t just to see if you can make beautiful art — it’s to see if you can create production-ready work that fits the game style, follow a brief, and meet a deadline.

You might be asked to:

• Create a small environment or prop that fits a given style.
• Match the art direction of a specific game.
• Work within technical limitations (polygon budget, texture size, modularity, etc.).

It’s a simulation of what you’d do day-to-day on the job.

2. What They’re Actually Testing

Hiring managers want to see:

• Interpretation: Can you read the brief and understand the intent?
• Process: Are your file structures, naming conventions, and workflow organized?
• Efficiency: Are your assets optimized and clean?
• Taste: Do your artistic choices align with the studio’s visual style?

If you can show all four, you’re already ahead of most applicants.

3. How to Prepare:

Step 1 – Study the Studio’s Style Before you start, spend an hour researching the game’s visual language.

Look at:

• Proportions
• Lighting direction
• Materials and surface treatment
• Color balance
• Scene composition
• Technical Limitations - texture size and polygon counts (if not given in the brief)

Reverse-engineer what makes their art feel the way it does.

Step 2 – Build a Mini Pipeline - Treat the test like a real job.

Create folders for: /References/Models/Textures/Screenshots/Final

Label everything professionally. If they open your files, it should feel like opening a clean production asset.

Follow good naming conventions. Example for a 3D prop: M_Name_of_Prop_01A

M stands for Model, the type of Asset this file is. Then you follow up with the name, then the type and variation

Example: M_Chair_03B -  meaning that this is the 3rd chair that you've made for the project, with a slight variation (B instead of A) 

Step 3 – Time Management

If you’re given a week, plan your days:

• Day 1: Research, blockout, scale check
• Day 2–3: Modeling
• Day 4–5: Texturing and materials
• Day 6: Lighting, polish
• Day 7: Presentation and renders

Showing that you can deliver on time and on quality is just as important as the artwork itself.

4. Common Mistakes

•  Over-scoping — trying to make something too big and running out of time.
•  Ignoring the brief — adding “cool” ideas that break consistency.
•  Not Telling a Story — missing out on storytelling opportunities within the brief.
•  Poor presentation — great art can fall flat if screenshots are low-res or unlit.
•  Missing follow-up — not sending a short note thanking them for the opportunity.

5. Submitting Your Test

Before you send it:

• Double-check naming conventions and file sizes.
• Add a short readme explaining your process and tools.
• Include high-quality renders and wireframes.
• Keep it simple and professional — no watermarks or personal logos unless asked.

And remember: even if you don’t get the job, most studios keep strong tests on file. A good impression can easily lead to another opportunity down the line. 

Worst case you can spend a bit more time on the project and include it in your portfolio (only after approval from the studio and without saying it's an art test for them!!!)

✨ Final Thoughts

Art Tests aren’t there to scare you — they’re there to help studios see how you think.Treat them as your chance to show off your problem-solving skills, professionalism, and creativity.

The better you do on your test - the more levarage you'll have to negotiate the ideal salary and benefits with the studio, so don't overlook them, even if you're a seasoned professional!

And if you’ve been struggling with Art Tests or want someone to review your process, I’m happy to help.You can book a 1-on-1 session with me and we’ll make sure your next submission shines.

    Breaking into game art — or even leveling up within it — can feel like a minefield. Between software updates, new workflows, and constantly shifting expectations, it’s easy to pick up bad habits or lose focus on what really matters.

Here are some of the most common mistakes I see game artists make (including ones I’ve made myself early on), and how to avoid them.

1. Focusing Too Much on Tools, Not Fundamentals

Learning new software feels productive — but it can become a trap.Many artists jump from one tutorial to the next without ever internalizing why something looks good.

Strong fundamentals — composition, color theory, scale, silhouette, and visual storytelling — will always outlast the latest ZBrush feature or Substance update.

📌 Tip: Before starting your next project, ask yourself: “What artistic principle am I practicing here?” Make sure every piece has a learning purpose beyond just “trying a new tool.”

2. Not Thinking Like a Game Developer

Creating a beautiful scene is one thing — making it run well in a game is another.Many junior artists create pieces that are gorgeous… but not game ready.

If you want to work in the industry, you need to understand optimization, modularity, texel density, and how your work fits into a level design pipeline.

📌 Tip: Study breakdowns on ArtStation or watch GDC talks that focus on production-ready workflows. You’ll start to see how studios think — and how you can make your art plug seamlessly into their pipelines.

3. Neglecting Composition and Storytelling

Environments without story are just geometry.Props without purpose are just shapes.

Even a small diorama should make players feel something — curiosity, wonder, nostalgia. Every object, lighting choice, and color contrast should serve the story.

📌 Tip: Before placing a single asset, write a one-sentence story for your scene:

“An abandoned temple overtaken by nature.”Keep everything consistent with that narrative thread.

4. Rushing to Finish Instead of Iterating

Speed is great — but rushing kills quality.Many artists post their first “finished” pass without letting the work breathe.

The best artists I’ve worked with take feedback early and often. They know that art direction is 70% iteration and 30% creation.

📌 Tip: Block out your environment first, then do a beauty pass after multiple feedback rounds. Treat iteration as part of the process — not an afterthought.

5. Not Studying Real Game Art

It’s surprisingly common to see artists creating “game art” without ever analyzing how in-game assets actually look.AAA and indie teams have very different constraints, yet many portfolios don’t reflect that awareness.

📌 Tip: Study your dream game under a microscope. Analyze texture density, prop scale, lighting language, and color grading. Try to recreate one section — it’s the fastest way to learn production realities.

6. Being a Lone Wolf

Art is collaborative. Yet many artists isolate themselves — never sharing work until it’s “done.”That mindset slows growth dramatically.

📌 Tip: Join Discord communities, mentorship programs, or feedback groups. Get eyes on your work early. Some of the best breakthroughs come from five-minute critiques.

7. Forgetting That It’s a Journey

This one might sound cliché, but it’s true — game art, and art in general takes time.Every senior artist you admire once struggled to bake a clean normal map, align modular pieces, or light an environment. The difference? They just kept going.

📌 Tip: Focus on small, meaningful wins. A polished prop or strong composition study can teach you more than an overambitious environment ever will.

Final Thoughts

The path to mastery isn’t about avoiding mistakes entirely — it’s about learning from them faster than others do.If you can stay curious, keep improving your fundamentals, and seek consistent feedback, you’ll be amazed at how far you’ll go in just a few years.

And as always — if you’re unsure where your current weak points are, or you want to build a personalized growth plan, feel free to reach out for a 1-on-1 session. Let’s figure it out together.

Which of these mistakes have you made?

Want to switch careers and get into game development, but you’re not sure if it’s for you?

Read on, I’ve got you! ;) 

Money

“If you’re in it solely for the money, you’re better off trying to get into finance.”

There are a couple of things to be said here:

• The top 1% performers of any industry can make a shit ton of money, so it comes down to how much value you provide. The Senior Art Director of one of the leading studios will obviously make several times more than a junior 3d generalist in an emerging indie studio. Duh.

• You pay for prestige - The more prestigious the studio is, the more likely you are to be paid less, to a degree. The top studios that everyone wants to work in have swarms of people who would do anything to work there, even for free. This allows the studios to pay lower base salaries and complement that with higher bonuses based on performance. This doesn’t mean that the best studios have bad salaries, they do want to attract the best talent after all, but if the salary is the most important thing, you’re better off joining an art outsource studio that works on boring projects.

Competition

It’s a highly competitive industry, with the highest degree of competition happening at the very beginning. If pushing yourself and hustling isn’t for you, I’m afraid you’re not likely to make it big in this industry.

Good news is that once you get to senior level, there’s a true hunger for qualified talent. If you’re one of the best people in the industry, you’ll get to pick where you work, not the other way around.

Work / Life Balance

The Game Development scene is notorious for its crunch culture. I do have to say that with the maturing of the industry this is becoming less and less of a problem. While there are still outliers, most of the well known studios have moved away from this unsustainable model.

Career Opportunities

Even though there’s massive layoffs each year, the Gaming industry is still expanding rapidly! There’s a consistent demand for developers, artists, and designers. Skills in game dev are transferable to other industries, like film, AR/VR, and tech, which makes it easier to switch careers if needed.

Creative Fulfillment

Game development allows you to bring stories, characters, and worlds to life, offering immense creative satisfaction. I would even argue that Games are the most advanced form of art humanity has been able to achieve. They combine the visual, narrative and musical arts, while adding a layer of interactivity on top, making you feel as if you ARE the main character, rather than a spectator.

Environment Art, Prop Art, Level Art, World Art, why are there so many different words for the exact same thing!?

This is something that my mentees often ask me.

For someone looking to break into the Game Industry it can be quite confusing when every studio seems to have their own wording for what looks like the exact same role.

In this post I’ll try to explain what the differences between the roles are from my point of view, based on my experience in the industry.

Prop Art 

The Prop Artist is a highly specialized 3D artist creating 3D models for the game. They create the assets that you use to fill the environment with. These can range from filler props like chairs, tables, mugs and anything generic you might think of, to more custom “Hero Pieces” like specific Sculptures, Weapons and Gameplay Interactive assets like Rewards Chests, Puzzle Platforms, etc.

If you are a really strong 3D modeler that knows how to create efficient assets, texture them and tell stories through the props, then this role might be for you.

Something good to mention is that every 3D game needs a prop artist. It’s generally the easiest way to break into the industry if you have the skill set and you can always move to one of the other roles in this list.

Level Art

Level Art is sometimes confused as Environment Art and rightfully so, as there are many overlaps.

In most AAA studios the Environment Artist gets split into sub-disciplines like Prop Art and Level Art. While the Prop Artists create the Props, the Level Artists use them to create the actual game level. You still need to know how to do 3D modelling, but instead of focusing on Props, you focus more on creating Modular set pieces like walls, stairs, rooftops, etc. Basically you create the “Set” of the game and you fill it out with the Props given to you.

Good knowledge of Architecture, Composition, Set Dressing, Visual Storytelling and Lighting are key here. Knowing a bit of Level Design is a massive plus, since you’ll be working with that department most of your time.

Environment Art

This is typically the general, all encompassing term used for artists who want to focus on building the environments and levels of a given game. The skill set required for this position are 3D modeling of props and assets, as well as the ability to create Level Art and tell stories with your environment.

Most AAA studios try to have really efficient pipelines, so they split this role into the sub disciplines of Prop Art and Level Art.

World Art

World Art falls under the “World Building” family. It’s something pretty new to the game industry, but it seems that it’s here to stay, as more and more studios are going this route. It’s closer to Level Art, but there’s also a bit of Level Design in it. Depending on the studio it could require 3D modelling, or it could be a full blown hybrid position.

On the World Building team on World of Warcraft we have 2 roles that have large overlap - the World Design role and the World Art role. They are both hybrid roles, but the designers focus more on the level design and tech aspects of creating the level, while the artists focus on, you guessed it.. Art.

Being a World Artist requires really strong terrain sculpting and painting skills, storytelling through set dressing, understanding how to guide the player through your environment, and being able to create a nice atmosphere that fits the creative direction through lighting and VFX.

It’s good to mention that the bigger and more specialized AAA studios have even more granular separation inside Environment Art. I’ve seen roles like Texture Artist, Vegetation Artist, Weapons Artist, Vehicle Artist, etc. That’s why it’s good to know exactly which studio and game you’re targeting and making sure your portfolio and resume reflects that.

No matter which sub role you choose, as long as you work on your fundamentals you can make the jump to the rest in this list. I know because I’ve been in each role throughout my career.

My advice for people trying to enter the industry is focusing on one, getting your foot through the door, and then thinking about changing if that’s what you want. Sometimes you won’t know what you want until you’ve tried all of them, and that’s totally fine!

As always, if you’re unsure which one is the best fit for you, or simply need guidance on how to navigate the confusing world of getting a job in the games industry, feel free to book One on One meeting with me.

Creating a strong composition is one of the most important aspects of game art and art in general. It not only helps create a stronger and aesthetically pleasing environment, but it helps with the gameplay and readability of your level.

Some of the tools that we get to play around with, when creating compositions are:

1. Rule of Thirds

Unless the Narrative calls for it - creating a centralized composition is more often than not - boring. That’s why artists of the past have come up with something called the Rule of Thirds. By splitting the screen into 3 equal parts - both horizontally and vertically, and positioning the Focal Point (point of interest) into one of the thirds, it allows to create a more appealing composition.

Keep in mind that it matters on which point you add your focal point to. Each of them tell a different story, so make your placements wisely.

2. Leading Lines

Leading lines are  visual elements that naturally guide the player’s eye towards your focal point. They can be anything from the roads and rivers in your scene, to the perspective edges your buildings have. By placing them strategically in your environment, you can lead the player’s journey to the things that really matter in your in-game location.

3. Contrast

When it comes to creating a strong focal point - everything can be boiled down to creating a contrast of the focal point with the rest of the environment.

The contrast could be achieved in several ways:

• Brightest brights vs darkest darks - literal contrast between light and dark values that are focused around the point of interest in your shot.
• Saturated Colors vs Muted Colors - organizing your most saturated accent colors around your focal point is a great way to make it stand out!
• Big vs Small - a nice contrast of big vs small shapes can be a really effective way to make your composition work better.
• Signal vs Noise - high frequency details arranged mostly around your focal point while the rest of the environment has some breathing space, or the complete opposite, are great ways to create contrast around your focal point.
• Interest vs Monotony - sometimes when we make the most interesting part our Focal Point, we’re instantly attracted to it through our curiosity.
• Movement vs Stillness - humans as the apex predators that we are, are extremely attracted to movement. Using our inherent attraction to movement can benefit your environment immensely. Make sure to not over-do it though, just focus it around your Points of Interest.

4. Framing

The idea of framing is using the visual elements that you have to create a “frame” around your focal point. This could be done super subtle, by using trees, architectural elements, or even shadows to draw the eye towards where you want the players to look at.

Archways and Doorways are exceptional for this, as we are conditioned to look for those elements as part of our civilization.

When creating games, stunning visuals are just the cherry on top. The most important part of a game environment is actually supporting the gameplay loop and guiding the players towards the game objective. 

It’s interactive media afterall, not a static shot.

If this is something you’ve been struggling with for a while, feel free to shoot me a message, or sign up for a one on one mentorship session.