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About Me

My name is Rosie Jarvis and I am a 3D Artist from England working in the games industry. I started my career doing an internship as an animator during my final year of my animation degree. I then went on to work as a concept artist for 2 years in a mobile game studio and have just started a new job as a 3D artist.

Throughout my education and career I have always leaned towards oil painting and 2D art; the small amount of 3D I did in university I hated! It wasn’t until quite recently when I fell in love with hand-painted textures and bringing my concepts to life; I realised what a great medium 3D is and started taking it seriously.

I post work-in-progress shots and all my personal work on Twitter and like to work on a lot of projects simultaneously.


I get a lot of inspiration from the real world, I spend a lot of my personal time hiking, traveling and being in nature, so environment art is what I love to create the most. I like to find other artists creating low poly, stylized work on Twitter and Sketchfab to inspire my processes and techniques.

This piece was my first model working with someone else’s concept rather than my own; I wanted to test how I could translate someone else’s idea into 3D. I actually spent about 3 years before my degree doing exclusively oil painting and I think that is why I love painterly, illustrative 3D works so much. I found this beautiful illustration by @bogus_e on Twitter and asked her if I could create it in 3D.


I use Maya for my modeling. Sometimes when making a more organic or complex piece like a plant or an animal or rock formation I will make a base in ZBrush. Because this illustration has very simple shapes I made it all in Maya, trying to create an interesting silhouette with low poly shapes and mainly focussing on the texturing side of things.

I like to bevel the edges and add edge loops almost randomly and push them in and out slightly to create a “wonkiness.” I keep the model looking as organic as possible, like traditional media, as working with low poly can sometimes look too sharp and perfect.

To save on UV space, I like to overlap UVs and squash, stretch, and rotate the assets so that they don’t look identical. For example, these tree stumps all have the same UVs and are scaled differently to hide that.

Same with the logs in the fire pit and the trees in the background. Every rock in the scene uses this rock texture.


Texturing is my favorite part of 3D art so I tend to spend the most amount of time at this stage. Because I trained as a 2D artist for so long, I feel most of my skills are in this area, so I like to push myself with texturing.

I do 90% of my texturing in 3D-Coat. I love being able to paint onto the model and not worry too much about ugly UV seams as I can paint over them. I tried to keep this as true to the concept as possible; it would have been difficult to get the rays of light on the house in the position I want them just by painting in Photoshop like I used to.

I did the ground texture as an alpha so I could keep the chalk-like texture around the edge of the scene and easily experiment with the shape and look of it as it is used to frame the scene.


I really enjoy uploading my finished model to Sketchfab and playing around with the settings. It is so easy to use and can really change the mood in your scene. In nearly all my models I set all my materials Specular F0 to 0 to make it look more unlit but so I can still have lighting information.

In this scene I added Grain, Depth of Field and Bloom to create some more atmosphere.



I really enjoy using Sketchfab, I love the post-processing settings and user accessibility, the community and the constant source of inspiration from other artists. For my next project I would like to challenge myself and start doing more characters as I have mainly done simple environments so far. Thank you for taking an interest in my art process and thanks Sketchfab for the spotlight!

Twitter / ArtStation / LinkedIn


About the author

Rosie Jarvis

3D artist working in games

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