Bus Stop in Fortnite

The idea came to me during a morning run, loosely inspired by Fortnite's aesthetic — I wanted to build a faithful representation of what I had in mind. The technique draws heavily from the work of Piotr Kryński, applied here at a smaller scope. I treat this piece more as a 3D workflow / environment concept art reel than a purely artistic showcase, so here's the breakdown of how it was made.
The shot was built in Blender, including post-production.
Pipeline & some extra tools (definitely worth checking):
— Environment blockout: Blob Fusion
— Vegetation: The Grove (twigs/seeds), Graswald Pro grass/vegetation packs (the paid Pro version was later discontinued and made freely available as a plant asset library — not to be confused with graswald.ai, the company's newer AI product-visualization tool) — all assets reprocessed and optimized for the scene
— Hard-surface modeling: Plasticity (balloons, bus base — CAD-style modeling suits this kind of geometry better for my taste ) → reworked in 3DCoat on voxels, then cleaned up and merged into the final scene mesh in Blender
— Additional hard-surface detailing: Hard Ops / Machine Tools
— Spline-based work (cables, wires, procedural detailing): CurveBasher, Cablerator
— Retopology for UV/texturing: QuadRemesher
— UV: UVZen
— Scene organization: Group Pro
— Clutter/debris scattering: Geometry Nodes + built-in Particle/Hair system
— Lighting: Gaffer
— Character: started as a 'Tank Girl'-inspired 2D sketch, converted into a base mesh with Tripo (AI-assisted base mesh), then refined and textured in 3DCoat. Rigged with Voxel Heat Diffuse Skinning + Auto-Rig Pro
— Compositing: 100% native Blender compositor, no addons — a few of the node setups (gradient masking, vignette tricks) are included as screenshots in the file list for anyone curious about the breakdown
Core software: Blender, 3DCoat, Plasticity, Photoshop