Creating a factory game that’s not only functional but beautiful is no small challenge.Welcome to our new Art of Modulus mini-series! In this first piece, we sat down with Art Director Antoine Lendrevie and Tech Artist Thomas Preudhomme to talk about how the game’s visual identity first came together. From the earliest prototypes to the unexpected Solarpunk inspiration behind the atmosphere, here’s how Modulus found its “zen.”
ONE WORD EACH TO DESCRIBE THE VISUAL IDENTITY OF MODULUS.
Antoine: So to me, even if one word is a bit difficult, I would go for zen
Thomas: Yeah. It's a good one, I think it would probably be chilled or relaxed for me.
ORIGINS OF THE VISUAL STYLE
HOW DID THE VISUAL IDENTITY OF MODULUS FIRST COME TOGETHER?
Antoine: It took a while in preproduction and a lot of iterations, before getting that, zen and, relaxed and even kind of Solarpunk aesthetic that we now have.
When I joined the project, a prototype already existed, with a team exploring art styles. The initial concepts focused on modularity and geometry, drawing heavily from voxel art and isometric 2D references. 
I recall seeing concepts reminiscent of Monument Valley, characterized by vibrant colors, which are crucial to the game, and an already serene atmosphere. The puzzle aspect of the prototype was initially much more prominent too
The visual identity was largely leaning towards this style, but my expertise in voxel art shifted the game's direction. As we'll discuss, the game's core concept also naturally pushed us towards voxel art.
WERE THERE ANY UNEXPECTED INSPIRATIONS OR REFERENCE POINTS?
Antoine: I don’t use many references because I try to keep things unique, but one big influence for the Solarpunk vibe was an ad called Dear Alice for Chobani Greek Yogurt.
It’s a gorgeous animated short and probably one of the best examples of Solarpunk out there. It became a landmark reference for the style. I think it's a counterbalance to Cyberpunk, that we've seen quite a lot in the last ten years, and some people want kind of a similar vibe, but on the good side instead of the bad side. I think people need that at the moment.
WHAT CHALLENGES CAME WITH TRYING TO MAKE A FACTORY GAME THAT’S ACTUALLY BEAUTIFUL?
Antoine: The game design involves intricate constraints. For example, when creating a building, I don't just "make a blue building." Instead, the game designer provides specific modules, dictated by gameplay requirements. These early-stage modules must offer a challenge, but not excessively so.
Their color and size are crucial because they need to fit into the assembler level one, which has an 8x8 module capacity. Therefore, these modules must adhere to those precise size and color specifications. Additionally, the number of modules, 12 of type one, 20 of type two, and 30 of type three, for example, are all calculated based on production line ratios. 
Given this blueprint, my goal is to create the most aesthetically pleasing building possible within these significant constraints. While this limits creative freedom, it also presents an exciting challenge to achieve visual appeal despite the restrictions.
Thomas: The most challenging aspect of prototyping Modulus was always the unknown. We were creating modules and buildings, operating on the assumption that we would ultimately assemble something pretty.
However, that wasn't a given. For a long time, there was significant anxiety about what would happen if we couldn't create something appealing from these components. Then you arrived, and it all came together.
That’s where it all began: a foundation of voxel modules, geometric clarity, and a Solarpunk “zen” aesthetic. Next time, we’ll zoom in on voxel art itself and explore why this blocky approach became the cornerstone of Modulus’ design.
If you want to see the art in action, you can play the free demo right now. And don't forget to wishlist Modulus on Steam so you don't miss our Early Access launch on October 22nd this year.
You can catch a more detailed video version of this interview below.
Thanks for reading.
Team Happy Volcano