Hard Surface Art Lessons from Former Bungie Artist Chase Markham

Hard surface art is not only about making something look good. It also has to be created fast enough for real game production.

Speed matters because teams need to test ideas, build prototypes, compare different designs, stay within budget, and move assets into the game without waiting weeks for every iteration.

That does not mean sacrificing quality. Fast modeling comes from better workflows, reusable model libraries, 3D concepting, and knowing where extra detail truly matters.

Chase Markham has worked on weapons, vehicles, props, and real-time assets, including work on Destiny 2 at Bungie. In this interview, we explore how experienced hard surface artists work faster, make better design decisions, and build production-ready assets without sacrificing quality.

Main Topics:

• Hard Surface Modeling
• 3D Art Workflow
• Game Asset Production
• AAA Game Art
• 3D Concepting
• Asset Optimization
• Weapon and Prop Design
• Production Efficiency

Interrview

Q: You have worked on weapons, vehicles, props, and environments throughout your career. What changed most in the way you approach hard surface art as your experience grew?

These are simply insights that I’ve found valuable throughout my own journey, and my perspective continues to evolve with every project.

Growth comes through reflection, experimentation, and learning from mistakes. Like any aspect of art, these skills aren’t developed overnight, but every challenge is another opportunity to refine your craft and become a better artist.

Q: How important is 3D concepting before starting final production?

Getting an asset into the game as early as possible is one of the best ways to set yourself up for success.

Seeing it in its intended environment helps validate proportions, detail placement, and UV planning—decisions heavily influenced by the player’s perspective. What looks important in a modeling viewport may not translate the same way in-game.

For Destiny weapons, our north star was always the first-person view. That perspective determined where we invested our time, geometry, and detail to maximize what the player would actually see.

Areas like the scope and primary frame demanded the highest fidelity, while less visible elements such as the stock or grip could be optimized without affecting the overall read.

↓ Artwork by Chase Markham

These priorities informed every asset decision, from geometry allocation to texel density and texture resolution, ensuring we spent our budget where it had the greatest visual impact.

Keeping the final camera in mind leads to smarter production decisions, reducing unnecessary work and ensuring time is spent where it matters most.

Q: What techniques help you create hard surface assets faster without sacrificing quality?

One of the things I enjoy most about this industry is how openly artists share their knowledge.

New techniques and workflows are constantly pushing the craft forward, and in recent years, two of the biggest advancements for hard surface modeling have been Plasticity and Marmoset Toolbag’s Bevel Shader.

Together, these tools have fundamentally changed the way I approach hard surface modeling by shifting my focus away from topology management toward design exploration.

I can quickly block out forms, bring them into the engine, and evaluate how they read in context before investing time in refining the details.

That early feedback makes it easier to identify what works, what doesn’t, and what needs further iteration.

↓ Artwork by Chase Markham

Not every design decision is solved on the first pass, so there’s something incredibly freeing about knowing that change requests or new ideas won’t be met with a ton of topology adjustments. Instead of feeling locked into earlier technical decisions, I can iterate confidently and stay focused on refining the design itself.

Q: Where should teams spend the most time on a hard surface asset, and where can they safely save time?

The player’s viewpoint should always be a primary consideration because it determines how an asset will read in-game.

In a first-person game, every element within the player’s immediate field of view becomes a deliberate tradeoff. Geometry, surface breakup, materials, and VFX all compete for attention, making it essential to prioritize the details that have the greatest visual impact.

↓ Artwork by Chase Markham

A third-person asset may require stronger overall shapes and larger design language so it remains recognizable at a distance, while a top-down perspective often relies heavily on silhouette and color separation to maintain clarity.

Understanding how the player will experience an asset leads to better decisions about proportions, materials, and detail placement.

The goal isn’t simply to create the most detailed asset possible—it’s to create one that communicates clearly from the perspective it will be viewed.

Q: How do you build and use model libraries without making assets feel repetitive?

Asset libraries haven’t traditionally played a major role in my workflow beyond reusing smaller highly repetitive elements like screws, bolts, and other mechanical components.

However, if I find myself creating the same shape or design element repeatedly, it’s a good indication that it belongs in a reusable library.

For me, asset libraries aren’t about replacing creativity—they’re about eliminating repetitive tasks so I can spend more time designing.

↓ Artwork by Chase Markham

Q: Which recent game impressed you most with its hard surface art, and what do you think it did especially well?

One of the most exciting aspects of this industry is seeing artists continuously raise the standard while sharing inspiration with the community.

When I think about hard surface art, id Software’s work on DOOM immediately comes to mind. Their weapons embody what makes great design: bold silhouettes, intricate details, gritty materials, and a strong sense of purpose.

What stands out to me most is that they have a visual language that’s uniquely their own—it embodies that “you know it when you see it” quality.

Other standout examples for me are Highguard and Apex, which achieve a similar balance between visual complexity and readability. Their designs are layered with mechanical detail and thoughtful engineering, yet remain clear and recognizable.

They’re a great reminder that successful hard surface design isn’t about adding excessive detail—it’s about using detail intentionally to create believable forms, communicate function, and maintain a strong visual identity.

Q: Which parts of an AAA hard surface workflow do you think every smaller team could benefit from?

Communication is the foundation of a shared creative vision. When a team is aligned, collaboration becomes more effective and the work benefits as a result.

Weekly syncs, art reviews, and skill shares were some of the most valuable practices I experienced. They created opportunities to solve problems, exchange knowledge, and learn from both artistic and technical perspectives. Beyond improving the work itself, these conversations strengthened trust, fostered collaboration, and helped build a more connected team.

↓ Artwork by Chase Markham

Q: If you could give one piece of advice to artists or studios that want to build better hard surface art, what would it be?

Always be looking ahead, because nothing in this industry stays the same for long. Tools, workflows, and expectations are constantly evolving, and the ability to adapt is one of an artist’s greatest strengths.

Complacency can quickly become a barrier to growth. Stay curious, experiment with new approaches, and adopt the ones that genuinely improve your process. The strongest artists are those who continue refining their fundamentals while remaining open to change.

Most importantly, find inspiration in your craft. Surround yourself with references and artists whose work excites you, challenges your thinking, and motivates you to keep growing, but above all else reminds you why you started creating in the first place.