Zoom in on the tactics behind the textures. Texture Artists Ryan Gao and Ramil Laudico reveal how material realism impacts Rainbow Six Siege’s immersion and tactical gameplay, and how a tight-knit, collaborative process brings it all to life.
Hey Ryan and Ramil! Tell us more about what you do as a Texture Artists?
Ryan Gao: I’ll give you the same answer I give my mom. Think of it like decorating your house. You’re not smashing down walls or pulling up floorboards. You’re instead asking wood or tiled floors? Plaster or wallpaper? Curtains or shades? Sounds like fun, right?
Ramil Laudico: Ryan nailed it. We work closely with level artists and modelers to beautify the worlds they create by providing them with materials. That’s the biggest draw for me—getting to collaborate with so many different teams and skillsets.
RG: And my favourite thing is breathing life into these worlds. Even tiny details—some weather damage, a dusty surface, a few scratches—they all tell a story about the place.
Rainbow Six Siege X
Can you share any insight on what the Texture team has been up to on Rainbow Six Siege X?
RG: We’re modernizing some iconic Siege maps here in Toronto, upgrading texture quality and resolution on some maps that are nearly 10 years old! The work ranges from huge surfaces with seamless textures to complex assets with unique UV meshes. The amount of work behind it can be surprising as sometimes a single, simple-looking prop can use over seven different materials! In total, we’ve updated hundreds of textures across three maps.
That’s incredible! Any assets that needed special attention or that you and the team are particularly proud of?
RG: We’re proud of the level of detail and realism we’ve achieved in bringing these textures into 4K. We work closely with level artists and lighters like Yuki to ensure every surface not only looks authentic but also supports clear gameplay and the intended mood of the space.
We also pay close attention to texel density to ensure every surface has a consistent finish and look cohesive compared to each other.
RG: For the ponds in Skyscraper, we switched from using clutter meshes (think hundreds of generated pebbles whose polycount is very demanding on a game’s engine) to displacement mapping (a single, smart texture with improved depth and dimensionality) resulting in a more realistic look and better game performance.
RG: To sell the narrative of an abandoned theme park, we meticulously aged the ceramic textures in the washrooms, adding cracks, chips, and grime to enhance the damaged, grungy atmosphere. Here’s a closer look at the difference:
Were there any unique challenges or considerations when creating assets for Rainbow Six Siege compared to other games?
RG: Absolutely. The core consideration is the player’s perspective—literally. When you’re on a recon drone, you get a close-up of every smudge of dirt and chipped tile on the floor. When you’re rappelling, you’re inches from the wall, so every brick and crack is visible. That’s why realistic 4K textures are so crucial. We also pay close attention to texel density to ensure every surface has a consistent finish and look cohesive compared to each other.
It’s not just about immersion, but tactical clarity. Players should be able to glance at a surface and not just see how it fits into a map’s theme but also “read” its material, understanding its destructible or tactical potential at a glance.
Ramil, you have a unique perspective having worked on Rainbow Six Siege in its early days and now again a decade later. From a texture artist’s viewpoint, what is the biggest way that Siege’s art has evolved?
RL: The evolution has been incredible. A decade ago, we were limited to 1K textures. Now, with tools like Substance 3D Designer, we can add 4K textures with a stunning level of fine detail that makes maps feel vibrant and truly lifelike. It’s not just the tech, either, the collaboration is better. We now have regular feedback sessions with art direction, which creates more transparency and helps everyone do their best work. Seeing it all come together is really rewarding.
Your team in Toronto is tight-knit, but you’re also working hand-in-hand with the lead studio in Montreal. Can you share what the team’s collaborative nature looks like in practice, and how it’s strengthened your work on the project?
RG: The collaboration has been incredible from the start. The Montreal team shared their project knowledge in such a clear, structured way that we felt integrated immediately. Even though we’re in different studios, I’ve never felt like we were two separate teams. We have this “sharing is caring” mentality where we’re constantly sharing tips and ideas and growing together.
RL: Everyone on the team is so talented and inspiring. As a senior artist, I mentor my teammates in some ways, but I prefer to say we are exchanging ideas. We critique each other’s work, which gives us a fresh perspective on approaches. It keeps me growing and just goes to show, you really can teach an old dog new tricks!
Career Development
What did you do before working at Ubisoft Toronto? How did you break into the video game industry?
RL: Before Ubisoft Toronto, I was a Texture Artist at Ubisoft Montreal. My start in games was a bit of a dream come true—I was studying computer animation in San Francisco when a friend told me about an opportunity to work on a Bruce Lee game for the Xbox. Although my initial goal was to work in films, as a martial artist and huge Bruce Lee fan, I couldn’t say no! That led me to work at a few indie studios before landing in the AAA world.
RG: I started as a generalist in VR and VFX, handling the entire 3D pipeline from start to finish. Getting into games was always the goal, and I just kept polishing my portfolio and pushing towards that dream. I have to give a huge thanks to my college professor, Jonathan Boujos, who mentored me even after graduation. He was the one who encouraged me to apply here and was my reference—I owe him a lot!
What are some tips you’d give to someone hoping to land a similar role to yours?
RG: There’s no need to rush, focus on building your skills one step at a time. There are incredible resources are out there! Follow tutorials from material masters on ArtStation and Gumroad, and join Discord communities. Alex Beddows, for example, has a fantastic blog for aspiring material artists. Keep polishing your portfolio and never underestimate networking.
Just For Fun
When you’re not working on stunning detailed textures, what do you do to relax?
RG: I’ll be playing video games, probably something from the Final Fantasy franchise or my current comfort game Trails in the Sky 1st Chapter (it’s so wholesome!) Otherwise, I’ll do some baseball drills with friends
RL: I’ve gotten back into painting, specifically by giving old skateboard decks a second life. Cutting, sanding, painting—I love the idea that we can still create beautiful things with our hands and not just on the computer. A few of my custom decks are even on display here at the Toronto studio as part of the studio art collection!
People of Ubisoft Toronto is a series featuring studio members from a variety of projects and backgrounds as they share their experiences at our studio, perspective of the video game industry and, perhaps, even a sneak peek of what they’re working on!
Our studio values diversity and believes in embracing differences to build stronger and more creative teams. We welcome people who would like to join us and redefine the future of games. Visit our careers page for more information on open roles and how to apply. To know more about our studio members and culture, click here.
