Game Development – Art Portfolio

Purpose of the Portfolio

Applicants must submit an entrance portfolio of their artistic works that showcases their abilities and demonstrates readiness for our advanced-diploma curriculum. The portfolio consists of two required projects, supplemented by optional pieces, each with detailed documentation, plus a resume and cover letter.

Why We Require a Portfolio

Our program moves quickly and assumes prior 3D computer graphics experience using industry standard software. Your portfolio demonstrates that you can finish projects, create high quality 3D models, and explain your artistic decisions. These skills are essential for success in our production-focused program and the game development industry.

What We’re Looking For

In the creative 3D industry, we often refer to portfolio pieces as BRICKS and PILLARS. Pillars are the feature pieces that are fully realized and polished to the highest quality. Bricks on the other hand demonstrate the essential foundational building blocks of your skillset but may not have the polish of a fully realized portfolio piece. The focus of your portfolio submission are the key pillar pieces. Bricks may also be submitted as supplemental skills you wish to show with an explanation of their importance and why you believe they serve to round out your skills.

For ALL submitted pieces include a detailed credit list of:

1. What you did or what your contribution was
2. What software you used
3. An estimate of time spent

In the case of a group project, please provide credits of what your roles and responsibilities were as accurately as possible.

Submitting a portfolio is a demonstration of your artistic abilities and shows us your commitment to be organized and follow instructions – this isn’t just an art test, it is a showcase of your personal professional development.

Required Portfolio Pieces

1. At least one example of a “finished” 3D model textured, lit and rendered.
   1. Good topology – be sure to show your wireframe along with the finished piece
   2. UV layout screenshots
   3. Final textures and materials visible on the finished piece
   4. Well-lit renders from multiple angles:
      1. One full detail image of the model
      2. Two unique angles showing different features or details of the model
   5. Be sure to include concept art of your own creation or sourced from online giving proper credit
2. At least one 3D art piece such as a model or sculpt which doesn’t need to include UV or textures
   1. Well lit renders from multiple angles:
      1. One full detail image of the model
      2. Two unique angles showing different features or details of the model
3. Resume and Cover Letter
   1. The resume should showcase and itemize your experience with art and games and other relevant skills and experiences you bring to a group or studio-like setting.
   2. The cover letter will demonstrate to us your personal history and relationship with art and games and whatever influences and inspiration compels you to create. We want to hear your voice and personality.

All 3D submissions should be lit and rendered in your software of choice.

Optional pieces to consider:

1. 2D or 3D animation
2. Illustration examples
3. Video or still images of relevant group work

Game Development – Art Portfolio Rubric Guide

How to Read this Rubric Guide

Each section mirrors a category from the rubric we use to score your portfolio.

In every section you’ll find “What we want” (the key features your work should demonstrate) and “Why this matters” (the reasoning behind our request). Use them as a roadmap: Gather the art pieces, provide context, and explanations or supplementary imagery, and you’ll give us the clearest picture of where your skills stand today.

We have also included a glossary of basic explanations and common terms used in 3D computer graphics as it relates to your portfolio creation and the game development industry in general.

Technical Execution – Wireframe and UV Layout

What we want: Finished models should demonstrate clean geometry with efficient polygon use and solid technical foundations. UVs should be well laid out and optimized, with logical mirroring and minimal distortion. Low-poly versions should be optimized without sacrificing important detail.

Why this matters: A technically sound model is essential for game-ready assets. Clean topology, efficient geometry, and smart UV layout show us that the applicant understands how assets function under the hood—skills that prevent downstream issues in rigging, animation, lighting, and engine integration.

Artistic Fundamentals – Models and Textures

What we want: Models—both finished and untextured—should demonstrate an understanding of proportion, detail balance, silhouette, and visual hierarchy. Even if untextured, pieces should read clearly and show thoughtful design decisions. When viewed alongside its concept art, the model should clearly reflect the original intent while incorporating practical adjustments for 3D application, demonstrating consistency in form, scale, and design language.

Why this matters: Strong design fundamentals are the foundation of compelling 3D art. Students who understand shape, balance, and appeal can adapt to different styles and pipelines, and are more likely to succeed across game art disciplines—from modeling to environment design and beyond.

Visual Presentation – Materials and Lighting

What we want: Applicants should compose and light their imagery in a way that enhances form and readability. While 3-point lighting is a widely used method, any approach that achieves a clear, professional presentation is welcome. Textures (where applicable) should use a proper PBR workflow. Unlit hand painted textures don’t need to abide by PBR rules. Visuals should feel intentional, polished, and professional.

Why this matters: How an asset is presented communicates care, professionalism, and storytelling. Thoughtful lighting, framing, and surface treatment can elevate even a simple model. These are essential skills for building compelling, readable game assets that support both mood and function.

Resume and Cover Letter

What we want: Be sure to include both documents. When preparing your resume and cover letter, present complete, well-structured information that speaks directly to game-development skills and experiences. Maximum one page each unless you’ve got extensive experience to cover.

Why this matters: A concise, well-organized resume and cover letter show that you can communicate professionally, an essential skill for pitching ideas, securing internships, and collaborating with industry partners throughout the program.

Glossary of Common 3D Terms

3D Development Fundamentals

• Asset: Any individual resource used to create the game, including 3D models, sound effects, textures, and animations.
• Mesh (or Model): The 3D object itself, created by a collection of vertices, edges, and faces (polygons) that define its shape in 3D space.
• Polygon (Poly): A geometric shape (usually a triangle or square) that acts as the building block of a 3D mesh. “Poly count” refers to how many of these make up a model; lower counts are better for game performance.
• Texture: A 2D image applied to the surface of a 3D model to give it color, detail, or patterns (like wrapping a gift).
• UV Mapping: The process of projecting a 2D image (texture) onto a 3D model. Think of it as flattening out a 3D box into a flat cardboard pattern so you can paint on it.
• Material/Shader: Instructions that tell the game engine how a surface should look and interact with light (e.g., is it shiny like metal, dull like rubber, or transparent like glass?).
• Rigging: The process of creating a digital skeleton (bones and joints) inside a 3D model so that it can be animated and moved.
• Game Engine: The software framework (like Unity or Unreal Engine) where all assets, code, and logic are assembled to build the playable game.

Design and Composition

• Whiteboxing (or Greyboxing): The early stage of level design where simple, untextured geometric shapes (cubes, cylinders) are used to test the layout and gameplay flow before making it look pretty.
• Silhouette: The outline of a character or object. A strong design should be instantly recognizable by its blacked-out shadow alone (e.g., Mario or Sonic).
• Rule of Thirds: A composition guideline where an image is divided into nine equal parts by two horizontal and two vertical lines. Placing key elements along these lines or intersections creates more tension and interest than centering them.
• Focal Point: The specific area of the screen or environment where the player’s eye is intended to be drawn immediately, often achieved through lighting, color, or leading lines.
• Iteration: The cycle of designing, testing, analyzing, and refining a feature. Game dev is rarely about getting it right the first time; it is about improving it repeatedly.

Lighting Basics

• Ambient Light: The base level of light in a scene that illuminates everything equally, ensuring no part of the game is pitch black (unless intended).
• Point Light: A light source that emits light in all directions from a single point, similar to a lightbulb or a candle.
• Directional Light: A light source that hits everything from the same angle, used to simulate sunlight or moonlight.
• Three-Point Lighting: A standard method for lighting a character or object using three sources:
  1. Key Light: The main, brightest light source.
  2. Fill Light: A softer light used to fill in the shadows created by the Key Light.
  3. Back (or Rim) Light: A light placed behind the object to separate it from the background and highlight its edges.
• Baked Lighting: Lighting effects (shadows and brightness) that are calculated beforehand and “painted” onto the textures. It looks good and runs fast but cannot change during gameplay (e.g., a static shadow of a building).
• Real-Time Lighting: Lighting that is calculated instantly as the game runs, allowing shadows to move and change (e.g., a flashlight beam). This requires more processing power.