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Intro Hi everyone! But 3 years ago driven by the long-held dream I decided to move over to the game industry and enrolled at the Game Art faculty in Scream School in Moscow.

After a year of education, I found my first job in game industry. In these references I got exactly what I was looking for: relatively small scene, modular elements, interesting lighting and gloomy atmosphere of abandonment. I began to decompose the references and this approach helped me to decide which objects I need and how many of them I need as well as it helped me to plan the modularity. I made my Trello Board to collect different references of objects for the scene, textures, decals and materials, which I wanted to create.

With help of Trello I was able to follow the progress and control the amount of work to be done. Checking my references I made the basic blockout of large and medium objects to quickly fill the space of the whole scene. I used Maya for modeling and compiling the draft blockout where I can easily check the connectivity of modular assets between each other.

After that I imported these objects into Unreal Engine 4 and made a blockout in engine. At this stage I realized that I can make my scene even more interesting with adding the second floor which required some additional modular elements. During this blockout stage I also positioned the cameras for future beauty shots.

After I was satisfied with the blockout I began model low polys and high polys of other objects and unwrap UVs. I tried to use trim sheets where it was possible to avoid a great number of unqiue textures. For most textures I used Substance Painter and as far as I had quite strict deadlines I used tile textures made from photos and Substance Share content.

I was trying not to be very obsessive with high texturing quality of each and every object because the prime goal for me was the quality of overall look of the whole scene. That is why it was a relatively fast stage of the project for me and that is what I get:. At a certain point I understood that the scene lacks some kind of main object which would draw enough attention.

I got back to references in Pinterest and searched out an interesting wall drawing. It was a big luck to find the photo with high enough resolution to make a decal from it. When the major part of the objects were ready I began setting up the light and spent about two days for lighting process.

First I added a subtle fog to give some depth and atmosphere. After experimenting with a few variants I realized that the light looks quite simple with any of them. So, once again I returned to my references to inspect them closely with regard to the lights and shadows and this time I detected this purple violet hint in the shadow color.

That was a good starting point for adjusting the skylight and exponential height fog parameters. I have always tried to check the overall look from different cameras and different camera angles.

As written before my main view was determined at the beginning and so I could have made some experiments with light sources to enforce the visual impression. I was just moving the point light behind the door and noticed an interesting shadow of the chain-link on the column. Even though I understood that such effect would be unrealistic, I have still decided to leave it at that because it brings more artistic interest to the composition. After all the lights had been established I moved to post process set up.

At the end I opened the screenshot of the scene in Photoshop where I finally tonemapped it for the desired look and imported the LUT texture into post process. It looked quite nice but it still lacked some additional details and there were still plenty things to work on. That is why I decided to spend two weeks more to carry the work to the final quality completion. During the first week I fixed certain bugs and problems with lightmaps, made a few new objects such as cloth, mines, gas masks, bullets, holders for wires and etc.

Below is my final result:. The second week was to prepare the work for publication on Artstation. I made several beauty shots and set up camera flythrough for future video. With help of guide by Clinton Crumpler I also made some screenshots. The whole project took me about two and a half months. I have usually worked on it after the working hours on weekdays and full time on the weekends.

Apart from lots of new interesting approaches and techniques of modular assets creation that I learned, this class gave me the opportunity to make a full-fledged scene for my portfolio in a limited period of time with deadlines each week. I really enjoyed these classes also and soon you could see the result of my work on my Artstation profile. I wanted to create something in this style a long time ago.

So, at first, I took a vacation and then spent another week sketching. What happened? Where is Stalin? I think recreating Red Alert in the world of the new Wolfenstein is a great idea.

Here are my sketches and the concept that I created for myself. It helps me understand what I want my scene to be like and create good pool of references. I started from a location that requires months of work, I think :D And every new iteration gave me a better understanding of not just what I wanted but what I could really do. After a week of work on the location I changed it of course and reduced the size. First location blockout was bigger, but I had drop most of the ideas from the start even before the release of Wolfenstein II: The New Colossus.

I like these forms. I have been studying manufacturing for 6 years and I honestly like industrial design lathes, engines and all that stuff. I know why it requires so many bolts or why this frame has these stiffeners.

I tried different pipelines in this project. One of the biggest parts � trim sheets. I took many of screenshots in Wolfenstein, looked through a lot of references and chose the forms that looked cool and not too noisy.

This formed my trim sheets, which I used for planes, meshes. Also, I have a practice of making only a part of the asset. For example, my steam device has very big pipes and a lot of small elements. So, I created only 1 unique meter of the pipe and then just rotated it. More than that, I took it apart and reused the parts later in the scene. I think the GDC session from Fallout guys helped me here. They said that they created a big kitbash for a modular environment and used it to build different generators and machines.

I did same, but in another way. And the last thing � I tried to use Epic Games pipeline from Paragon. I did not take any texture assets � instead I assigned material functions and played with tiling. For some assets, simple material can look very cool. Their pipeline is much more logical, but using material functions and blending them with BW mask gave me a pretty nice result.

I think I will practice this pipeline much more � you can greatly increase resolution of your textures. Simple metal lines, painted elements, cool panels � all of that was separated and used in the scene as individual elements.

Trims are tileable textures that are tileable in only one way. Trims require a little bit more planning than other way of work, but they let you work very quickly. I created my trims in 2 ways � standard high poly � low poly. And some were created in Substance Designer. Also, I like using atlas maker node in Substance Designer just for packing textures sometimes. Trim sheets help you in different aspects.

First, you save time by not repeating the same work. Second, you save texture memory. Third, you have consistency in design. You can try different designs and understand what will look better. Really, my way of work totally changed after getting a better understanding of what you can do with materials in Unreal. I still use one master material with many controls for a lot of meshes, but I do more specific things more and more often.

I saw how it was used in Infiltration demo and realized how ingenious it was. It brought about a fantastic result with my tileable texture. I know that this node is expensive, but I used some tileables so often, that breaking it with World Align dirt gave a fantastic result. Speaking about precomputed AO. If you understand how this stuff works, you can create perfect art by just using nodes in material editor. If you want to understand how powerful this can be, just take a look at the last stream from Epic games about shaders.

Totally incredible. I took this idea from Infiltrator demo and current pipeline in Paragon. You do not texture your assets, but you create material functions and work in Unreal Engine like in Substance Painter � you assign material functions and use masks.

For example, here you can see one of materials of metals with a few controls. That lets me reduce texture sizes but get good texture quality. One day I hope to create a system like in Paragon and use it in my workflow. From the start I understood that I wanted to take color theme from Batman Arkham Knight � fantastic works from Ronan Mahon were my references.

But then I decided that it was pretty reasonable to have one warm location and another one cold and from that point every play with light was a challenge. All my lights are static, but in this project, I used volumetric fog, which game some cool effects.

I think this ended good only because of references and friends feedback. Maybe a little bit of experience from last location from ArtStation challenge also helped � I still think that lighting scenario was really complicated. I think my location had 2 separate scenarios � tunnel and final hall. For the tunnel I used one blueprint assemble with columns, pipes and side panels. For example, this tunnel length is 8 m, but my base road tile is 6 meters, so added it later in the scene. Then I added a lot of meshes from this list.

First, I started from big ones, like boxes and generators and then added small ones, like bullets, wires and small ammo boxes. Tileable textures and trims saved me when I worked on the big hall. In my opinion, in terms of modularity, my second part of the location is much better. For whole second floor, I used 1 door, tiles, 2 trims and small details. And decals, of course. Magic function of wetness from Infiltrator demo with small changes. One of the best scene I have seen.

QA sessions with Clinton were really important to me, because it was a fantastic opportunity to ask questions about serious projects from a man with a solid production background. Second, that planning plays a very big role and on what moments I should focus more. With modular workflow you always have to choose � what will be your base. For example, you are building city � what will be in your building kit? Houses, walls or bricks and planks? And, of course, I learned the most common and efficient tricks in the work � trims and shaders.

Also, during this course I tried different pipelines and that also gave me a good understanding of modular workflow. As a result, a nice scene, which I happy to add to my portfolio. And now I am ready to start a new one.

The setting would be an unknown city in Iraq. I really wanted to work a lot with modularity and vertex painting, as I did not have much experience with either one. To solve the problem, I created a blueprint spline that allowed me to vertex paint onto it. To plan the environment and answer questions like: Why did this happen? When did it happen? Where did it happen? Is it sad or happy? This really helped me set the foundation for the overall scene.

I made a Trello board to plan what type of props, decals, and textures I would need for the environment. I also made a Pinterest board to gather reference images. After planning and gathering everything I needed, I began to block out of the buildings and environment. Before I put a lot of thought concerning the layout of the city, I began concentrating on the type of helicopter I would use for the crash.

First thought was maybe a Black Hawk, but I really wanted a very large helicopter that would be more thought provoking, as to how something so massive could have come down. I came across the CH Chinook on the web and knew that was the one. Next, I began thinking about how the helicopter crashed. So I knew it needed to be a missile or rocket of some sort. So I went with the idea that the back right engine was struck by a heat guided missile. The reason for thinking out such details, is so I would account for the damage needed while modeling and texturing the helicopter.

The story also assists with planning the crash landing portion of the scene. I then consider as to what condition it would be in?

If the helicopter skid a great distance when it crashed, it would allow me to play a lot more with how it affected the whole street and scene. So that is what I went with. After considering the details of the helicopter, I began planning the layout of the city as to where the helicopter crash would be resting.

I decided I wanted the helicopter crash to be resting at an intersection, to give more of a focal point for the environment. After figuring out the information about the helicopter and city layout, I started creating the block out of the buildings in Maya. So I made sure they would be able to share the same walls, doors, and windows. I also made several window and balcony variations to help hide the modularity feel. With how large I saw this environment was evolving, I became a bit concerned with the timeframe of 10 weeks.

So my focus was to model the helicopter as fast as I could, without affecting the quality of the helicopter. As I worked on the helicopter, I also worked on the buildings in the scene. I wanted to make sure that if I was not able to complete the helicopter in time, at least I would have the urban city finished. Using a lot of textures from Textures. I also made sure I was taking advantage of Substance Designer as well. I knew it would need to be sculpted to get the look I wanted.

I then created the asphalt high poly in ZBrush and decimated it to make the low poly. Then I textured the asphalt pieces in Substance Painter and was much more satisfied with the results.

My Urban Warfare on Artstation. I began his course with very little knowledge of environment building. Clinton was very patient and helpful with my large scale environment. The weekly feedback from Clinton helped me to learn and enhance skills.

It took around hours to complete the environment for the course. Scale and time frame is probably one of the biggest lessons I have learned here. I had so much fun working on every individual Model, Texture, and Material.

I have become a big fan of CGMA and the classes offered. The confidence of knowing that the information and skills I am taught are of AAA standards is flat-out priceless. Peter Nicolai did a breakdown of his colossal library environment, talking about the creation of books, materials, the use of scale and the production of this crazy staircase.

Hi, my name is Peter Nicolai. However, I have always been in the production department dealing with schedules and budgets and people. My art interest has always been practiced at night and on the weekends as a long-term hobby. This class was my first attempt to make something much larger and follow some more specific rules and guidelines as opposed to just tinkering at home.

I have learned a ton from so many other artists who have shared their work or taken the time to make tutorials. I hope something in here will be helpful or useful to others out there. As the class started I had no idea what I was going to build. I was initially thinking of places of a much more modest scale. I was looking for something that would suit my skill set and the fact that this was quite literally the first thing I was going to try to build.

I went to Google and Pinterest and started searching for interior spaces just looking for something that would keep my interest across the class. I wanted a space that offered up enough to work on in terms of both big shapes and small little elements and props.

I started looking at random keywords to generate ideas: airplane cabins, castles, libraries, museums, offices, kitchens and any room that seemed both full of details but was also fairly contained.

That staircase popped up and obviously caught my eye. I investigated it a bit more. The more I looked at it the more complex it was; the more intricate details I kept seeing. It actually put me off the idea for several days.

It was just such a cool space and everything else I looked at was not nearly as interesting to me. So I went back to it. I was a little terrified of how much i was attempting so much for smaller and contained but decided to start building it anyways just to see how bad it might be.

I built a Pinterest board and started collecting as many images I could find. I wanted to try and get a sense of the space and figure out what I actually need to build. To understand the bones of the space I wound up doing a handful of construction pencil sketches on the side to try to establish the layout in my mind and to understand how things were arranged in space in relation to each other.

Once the ref was assembled there was nothing to do but build a quick block out version of the space to help me decide if I could actually use this location. The goal was to simply match the reality of what I saw as best I could. Armed with the reference and Pinterest board I started looking at both the interior and exterior photos again to try to establish some kind of size and scale.

At one point, I was online trying to find if there were any public records that would even describe the size of the lot or dimensions of the building. In the end I never found a single measurement that I could rely on.

I had to eyeball everything and make some educated guesses about expected standards for retail counter tops and doors. By extending this and just building up layers of these slightly informed guesses I was able to flesh out two stories worth of building: doors, height of each story, height of ceiling, width of overall store, heights of railings etc.

I found photos where I could count the number of floorboards all the way across the floor and then made an assumptions that each board was say 4 or 5 inches wide and derived an overall width for the floor.

I kept piecing things together in that fashion. It seems to hold together as a believable scale. Towards the end of the project, I had posted a few pictures online and got a great bit of feedback from an actual patron of the store. So my measurements are likely shaky but not too far off from reality. Once I had those measurements in hand it all boiled down to just building a bunch of boxes in Maya and seeing how it felt.

Did the hallways look wide enough? Were the railings tall enough? There was a lot of back and forth here. If a basic assumption changed one that had informed the other assumptions , it was a lot of work to tweak, a house of cards of guesswork. In the end, one of the most valuable things that I found buried amongst my ref was from a site that had gone to the bookstore and actually captured a bunch of photos from six or seven locations.

That bit of reference was a godsend. It really helped put a lot of the other ref in context. I had a lot of vacation photos, wildly varying lighting conditions, pics that were nearly but not quite framed on the detail I wanted to see etc.

It was also during this block out phase that I started to understand how I would actually build this place in a modular fashion. When I had first seen the photos I responded to the cool shapes and architectural detail scattered throughout. Once I started seeing that, I was surprised at how modular the space already was.

It was actually an excellent experiment to try and build a large space using a smaller number of repeatable parts. It was all very low rez primitive boxes and so there was no nothing precious about it. I would rip things out, break them up, recombine them. This block out phase directly informed the breakdown between modular, hero and crazy ornate detail pieces I would need to build. During this phase, I was also implicitly trying to do some visual editing.

There was just so much detail with lots of little carvings and specific patterns all over the place. I would try to keep the visual density or business but I wanted to reuse as much as possible and build as little as possible. As the modeling was in progress, I would start moving pieces between these three tiers.

It would also help me define the kind of blueprints that I wanted to build in engine. To make set up that much simpler, I would start assembling these pieces into blueprints that would make the level layout that much more straightforward. For example, the upstairs and downstairs bookshelves were combinations of anywhere from 3 to 7 other little meshes. The halogen lighting downstairs is another blueprint. It contains the cable, the light housing, and the light itself.

On that one I exposed a couple parameters to allow free rotation of each light along with color, intensity, fall off and a matching bounce light.

I was doing my texturing largely in Substance Painter. Photoshop was used every once in a while just to get some quick fixes finished. Most texturing was based off of the stock materials that Allegorithmic delivers. I modified them enough to suit my needs in terms of colors, scale, or how visible the wooden ring patterns were.

I was putting together my own saved custom materials against a bunch of the materials that I saw in the photos. Once I got one that was looking good I quite frankly duplicated it and made a quick color tint so that it would look different enough that the difference would read and then saved it out. I wanted to get those base materials in there and playing against the lighting and as quickly as possible to see how the whole thing was sitting together.

I tried to bring a very little bit of that process to this environment build. I set myself up with a bunch of saved camera positions that showed off the space and also covered the lighting conditions and different materials. It gave me a place to go back to to understand my current changes and whether I liked the direction they were going. The modeling workflow is pretty straightforward.

My modeling process is fairly basic with a heavy dose of trial and error on some of the more flowy shapes i. Basically I would take the lo-res shapes from the block out and treat that like the bounding box. I knew that I could model whatever I needed as long as it fit inside that shape. If there were specific connection points to maintain I made note of those as well. Most everything was done in Maya. Occasionally I would jump over to Modo for a few pieces as little experiments.

The goal was to get a rough pass of everything in pretty quick. My plan was to drop in early temp lighting as soon as possible.

I wanted something that would be representative of the cubbyholes and negative spaces to get a read on how the whole thing was looking. Because of the size of the space it helped keep me from getting too wrapped up in details too early on in any one piece.

I swept through front to back and top to bottom looking at the whole thing and trying to get a sense of where there were bare spots. I was constantly discovering pieces that had no block out shape or could be recombined or split up differently. It was a very cyclical and organic process. Sometimes it felt like it would never end but it was just a lot of pretty fundamental basics to get all the shapes together.

The one thing that did continue to evolve as I was modeling was another key aspect of the class. The goal was to was to get you to understand what was a hero piece, what was a modular piece and what details or shapes could be captured in trim sheets. I was building trim sheets in parallel to see the detail that the technique captures.

It was really interesting to see the levels of high-frequency visual detail and decorative carvings show up really well when I got it in engine. I was pretty excited by the results. This was my first exposure to proper trim sheets. I did not understand just how far you could push them. The class and the information Clinton shared was a real eye opener for me. I started allocating space in a sheet for various patterns I wanted to capture.

They were all modeled in Maya. The bakes happened in substance. In the end I cut the sheet in half which is what made it into the engine. The removed elements were promoted to their own assets with a different texturing solution. The books are a huge influence on the sense of the space. It was a shift in the blockout phase to get those things in there even as simple white boxes; they take up a lot of screen space. I only ever modeled the one and then set up a number of blueprints with books of varying configurations.

I made a variety of stacks of books and then a couple leaning to left and right. No human being would stack books like this. The bookcase patterns themselves were then repeated throughout. I was trying to reuse as much as possible.

For all the colors, I built a basic material with two color ramps based on the world space position of the individual book. Each ramp was multiplied together to get a color and variation for each book. Some additional params were set up for saturation and brightness.

As you move whole stack, front to back of the store and then up and down the shelves, they would all change their color and value. When I was first looking at whether I would even do this space, a lot of it hinged on whether I thought I could actually build that staircase. It was the first thing I tried blocking out. In the end I think I blocked it in and rebuilt it possibly four or five times just to try to understand the form, then how I would break it down based on construction methodology, reusability, UVs etc.

I started with some basic circles and top down views to establish some nice elegant curves. The side elevations were a bit more constrained in that I had my overall building proportions and a set number of stairs with which to work. I experimented a lot with how to build the pieces and where to break them.

My first version of it was just a box that I modeled out and then threw some quick subdivision and smoothing on. It looks like a ramp out of a sci-fi movie but it gave me a placeholder. I extruded profiles along that curve. I just went through a series of experiments again and again. These experiments would change as the pieces and their cut points changed.

It was the a mix of both construction and grouping tests. It was very challenging for me. Each of those sections is made up of multiple pieces of the stairs themselves: railings, posts, trim detail, stairs, decorative baseboards. The stained-glass ceiling is a total cheat.

It is just one big flat card with a texture. I found photos of the stained-glass window so I grabbed the best one I could get and went into Photoshop. I did some editing there to build what I needed and then just dealt with it all in the shader. I turned it into a translucent material so that all my exterior lighting would shine through that space. It was another big element to get looking right. The stained-glass and the central staircase really serve as the central focal point for this space.

The first tests when I saw some actual colored light coming through that thing were pretty exciting to see. It was a straightforward set up I grabbed out of the UE4 documentation for putting the shader together. The rest of it was iteration on the lighting and integrating it with the rest of the environment. I knew i wanted the stained glass window itself to be bright and back lit; I knew I needed it to flood the surrounding vertical ceiling pieces with light and then have a nice falloff across the horizontal ceiling as you moved into shadow.

I knew for me that the lighting was going to be a challenge. I had the glass windows on one side of the building, the big skylight up above with the stained-glass window, all the localized halogens downstairs, the bookcase lights upstairs etc. It was a lot for me to balance with all the various subtleties from these sources. I wanted to understand when I saw a certain kind of artifact or result that I was familiar with what would go away at a higher quality bake versus what might be an actual bug or issues to track down.

It felt like a good use of time to take a couple days up front and run these tests. I ran individual wedges of each of those lighting passes at several different bake qualities. I also got in the habit of screen capturing all 10 saved camera positions in a variety of view settings lighting, detail lighting, lit after most bakes.

Is my change better or worse? Did I fix something upstairs only to break something downstairs? When the heck did that lamp turn purple? It served as a way for me to sanity check myself while working. As I would do better and better bakes later in the process it was always nice to have that growing ref to go back to.

You could really picked out the evolution of any one particular camera position and understand what elements were working or what you may have lost and wanted to bring back. As the bakes progressed I also cheated in bounce and fill lights as necessary.

It became easier to add additional lights and tweak their color and intensity to achieve the effect I wanted as opposed to continually poking at lightmass settings. I was very happy with the match I got upstairs. When I saw this comparison, I felt pretty relieved that I was on the right track.

This happened on my way to trying to finalize the lighting. The color variations were forgivable and a lot easier to tweak and tune later. But I was pretty happy with the overall feel of the light from screen R. There is still plenty to tweak and adjust other lights to activate screen L but this moment was a big confidence booster. The idea of a one stop shop lighting scenario that works for the whole space is still something that is elusive to me.

Post-processing we kept to a minimum till the very end. I worked with the eye adaptation turned off and locked in at a neutral exposure. Overall, the class ran for 10 weeks. You have to do what you can to make sure it is something you are engaged and interested in. You may not be able to do that everyday at work but this is your project so do something that really inspires you because there is a lot of really fun work ahead. For all the times when I was slowed or stuck trying to figure out some problem, I was happy to be doing it since I happened to pick this fun place to build.

The critical takeaway for me was more about ways to think about how to treat different elements in the scene: the categorization of hero, modular, trim etc. It definitely helps me understand how the more seasoned professionals can look at concept art or ref and come up with a plan of attack on on how to build things efficiently in putting these beautiful scenes together.

As for quality, I just wanted everything to look consistent. I can think of a few things that may have helped me keep the quality bar consistent while working relatively quickly and across all the assets.

I think the tools that I used helped dramatically. Changes made later could be quickly pushed to assets or texture sheets when I was ready for that. I also think the consistent review cameras helped me keep my head above water when all the pieces were in flight.

The remaining polish will happen on my own time. Overall, the class was a great experience and a ton of fun. Hello, good people of 80 level. The path that led me to my current position of 3D artist was a mixture of different interests and searching for the right one, which, I believe, I found. That mix was also beneficial to me because I learned different skills from different areas and trained my eye to understand things from various points of view. I studied architecture at the University of Belgrade.

After college, I worked as a graphic designer for Fnatic , one of the biggest names in competitive gaming. At that time I also knew a couple of things about 3D so I got the opportunity to work on my first 3D model for the game. Afterward, I was totally into 3D and gaming industry in general and started to pave my path in that direction. Since then I worked as a 3D artist for a couple of other independent studios and contract projects and recently started to work at Art Bully studio here in Belgrade.

My starting point was to think about the kind of emotion I would like to get. I also wanted to test myself and my current knowledge of UE4.

The inspiration for all of that came when I was looking for some architecture projects and stumbled upon a project by Quang Le and Lien Hoang Phuong. It was a very clear and strong concept and their project was a winner of INNATUR 3 propose fresh ideas of blending architecture and nature. I realized that I wanted to make a similar thing in UE4 and bring that scene to life with some extra touch and few ideas of my own, of course, to make it look more abandoned or maybe even post-apocalyptic.

The idea behind this project was to make the scene that is simple from a modeling point of view but also readable and a good base to make most out of the lighting. The first stage was to make the modular cubes walls and to block out the scene.

At that stage, I used textures that were still WIP just to have some rough impresion of how things work together. After that, I added a couple of decals in the building for the labels. I also placed directional lights to have some starting point and something to work with.

So it was about making good tileable textures of concrete. I used images from the internet and Substance Painter for extra touches. After that, I made 2 or 3 variations so I can use it for vertex painting in UE4. Also, the texturing is one of the most important aspects of any scene because small tweaks define a realistic look. I always pay attention here and tilt the sliders until I am satisfied with the results.

The key thing when working with minimalistic scenes is to make the most of what you have. When you work with minimalistic scenes it is even more important that things just work together as they should.

The important part for any scene, for minimalistic especially, is lightning. It can elevate the scene up to the next level or totally ruin it. Therefore, I would suggest paying extra attention to it, because if there are no interesting assets, lightning turns out to be of the highest importance. It sets the atmosphere of the whole scenario and brings it to life. Next part I was working on was the foliage.

For the lianas, I used one texture atlas from the Megascans library. For the foliage placement, I used UE4 tool and tweaked some details. Another important part of making a good-looking foliage was to set up materials properly, and by that I mean to add parameters for the color variation, subsampling, and wind movement. It is all about subtle touches but it makes the final model look more realistic. One trick that helps make foliage look better and more realistic is to pump a bit the intensity of a normal map.

To do that, we have to make a 3vector with AppendVector and use the intensity control for only Red and Green channels and set the Blue one to 1. There is no big secret here, just tweaking and testing until the results look good.

Hence, I went for the more cinematic approach with this scene. I decided to choose one directional light. Beside directional light, I also used sky light, reflection capture spheres, and exponential height fog.

It really helps to ground everything together and to boost the scene and make it more believable. It is necessary to restart the project before the effect appears. From my experience, it is more of random tries and errors until you get something that looks good. Nevertheless, it can give you that additional boost for the lighting and occlusion of the scene.

I would say it is more like a cherry on top of the cake and it can easily go without it. By that, I mean visible rays that come through windows and bounce a little bit on the surface border of the hole. That was the main challenge and finally, I decided to fake that effect with spot and point lights placed outside of the windows to boost the lighting coming through them.

An important thing for the spot-light is to set the outer cone angle to larger numbers to be less focused and to get more light scattering so it can better mimic the sun light. For the point lights, I turned off casting shadows because I used them just for boosting light in certain areas. I also paid attention to how to properly place the directional light to make the most of it and to get as many interesting shadows as I could. I also used particle systems for the dust and falling leaves.

It is barely noticeable, but it gives the scene a bit of dynamism, since without Modular Kitchen In Wooden Finish Guide it, the whole scenery would be completely static. There are many good tutorials on YouTube that give a great explanation on how to make simple particle systems as these, so you can check that out if you want. One more important thing that I want to mention is the post-process. I use it as a final touch to make the image even more believable and to play with colors a bit more.

It is pretty much the same process as the adjustments that are done on the images in Photoshop, for example. I placed one post-process volume box in the scene, set to unbound and adjusted parameters until I was satisfied with the final result. As you can see in the previous image I used Look Up Tables LUT to achieve the desired colors because I find it to be the easiest way to achieve good results, at least for me. It is as simple as taking a screenshot of the scene and color correcting it in some program that you are most familiar with, then using the same adjustments for the LUT image and after that going back with that LUT and placing it in UE4 post-process volume.

I would also mention the sound as another important component. It is well known that visual and sound parts are always a good combination and goes hand in hand together so I always tend to find good music that will suit my scene and also enhance the emotion and feeling that I try to present.

It is a beautiful music and it blended very well with the scene. A hard thing for me was to understand when to stop because I can always find something that can be better even now when I look at this project. He is a really talented artist and a great guy in general and I would like to take this opportunity and thank him for his awesome teaching. I need to mention that I also learned a lot of new things from the internet, from guys like Koola and 51Daedalus he has great UE4 lighting tutorials on Youtube and I would like to thank them too for sharing their knowledge about UE4 and being an inspiration for me to learn more.

For more of my work, visit my portfolio on Artstation or my Facebook page to see what I am working on. This project can also be found on my Youtube channel. Hello everyone!

My name is Daniel Cangini and I am an environmental artist who currently works as a graphic designer in Rome, Italy.

After graduating in I worked in Direct2Brain as Modeling Artist, it was an incredible experience where I met and worked with so many talented and dedicated artists. My main goal was to learn the process of creating environments in Unreal. I had established a quick Trello board to organize my thoughts and I began examining ruins images to understand how they were built and where I can break the modular repetition. I started by gathering multiple references to have a solid compositional ideas, find things that make the location unique and how to breaking up the textures into main textures, secondary, and decals.

After analyze the Images collected, I started to work on a style guide. I focused on the main design, what assets would be built inspired on the Uncharted Temples environments. When I started the scene blockout, I concentrated on the proportions and scale of the asset, this was the best way to test the composition and scale of assets in 3D space and make quick changes before creating the final pieces.

Once I created the shapes for the modular pieces and large props that I liked, I then continued to block out the assets on details. Then I exported each piece individually and assembled my meshes in UE4. The Temple was a compositional element integration with strong emphasis placed on harmony between architecture and striking natural surroundings.

I kept the main meshes simple and flexible by using the modular modeling and tiling textures for re-usable assets. I used painter and designer to develop my materials. With Substance Designer I began by creating the Height map. My workflow for the texturing involved finding a lot of images and reference to work from, design the main shapes or patterns, develop the color variations.

Once I was satisfied with my base material I would move towards building the damage by adding secondary details before finishing the textures. A first challenge was to create the shader in Unreal. Because I wanted this material to be scalable and have the same texel density.

I like to use and play with The Material Instances because they are useful to make changes in real time. Keeping in mind the amount of vegetation to be included, I started hand modeling with planes in 3ds max and positioning them until I had the main shapes desired. O info from my Albedo textures. Next, I exported the channel packing textures into Unreal. To simulate the subsurface scattering, I created a master foliage shader with two sided foliage.

Then I implemented the Subsurface amount parameter and plugged it into my master material. I started creating the terrain master material to use the vertex paint, modulate that blending and add features such as parallax and wetness.

With the use of the Vertex painting I decided areas where the mud, grass and leaves would appear or add and remove the puddles. One benefit of this is being flexible to constantly change the lighting angle and the time-of-day.

Inside the Temple to achieve the mystical lighting I used the Yellow god rays Lighting, I started from a cone shaped modeled in Max and then I assigned the god ray-material into Unreal. Regarding the particle systems, I found several Wooden Modular Kitchen Images Price interesting tutorials on the web where I understood the basics setting to create the different fire particle system for the candles and torches, in Unreal 4. Inside Unreal 4 Modular Environments course, I had the opportunity to realized a fully realized environment for my portfolio screenshots.

From these courses I learned the foundation about the environment pipeline to create high quality assets, and how to create materials and textures for video games in Unreal Engine 4. Soon I will post the result of my work on my Artstation profile. In , I received my B. Upon graduating, I worked for the government for about 6 years which I quickly realized was not for me but I needed to pay off school loans so I stuck it out. I decided to change things up and went back to school to get my masters in 3d environmental design from Virginia Tech.

This class was exactly what I needed and was a great learning experience for me. I feel much more confident and well equipped with the tools and knowledge for creating game environments. I am now currently searching for a full time job as an environment artist. The main goals were to learn how to create modular pieces as well as unique and tileable textures for my environment.

After working on this project for about a week, I decided that it was time to switch over from using Cinema 4d to Maya since Maya is one of the industry standard programs for creating games. Most 3d packages contain the same tools, so my main challenge was just figuring out where the tools were located. Before opening up Maya or Unreal , I needed to come up with my concept. I decided to create a fictional space called a Light Lab. In an effort to garner control, the corrupted government officials have outlawed light farms and require citizens to obtain their light from them, at huge markups of course.

Engineers and scientist have gone underground to fight the suppression. My main reference was the office my wife and I share in our house. The format of this room was the room I wanted to create. I Wooden Finish Modular Kitchens 43 took a few pictures of it and quickly laid out where I wanted things to be located.

I created a Pinterest board for much of my inspiration and reference images of what I wanted the style of the room to look like and all the props I wanted to incorporate. This way it could all be in one place that I could quickly access while working. Before switching over to Maya, I blocked out the modular pieces that made up the room in Cinema 4d. Then I looked through my reference imagery and blocked out a lot of my larger props: desks, chairs, file cabinets, tvs, etc.

After the block out, I worked in Maya and got started on developing the props by adding more detail to each one. I would place each model into Unreal once I had created it to help me figure out if and when I needed to create more pieces to help fill up the room. I baked my maps in Mightybake. For the sake of time, I took a seamless texture, from textures. Then I placed all of these maps into Unreal to create the texture for my floors.

The cracked plaster on the walls came from taking a masked texture of damaged plaster and I created a decal material in Unreal. That way I could place it anywhere on the walls I felt was necessary. I did this same technique for some of the trash on the floor and the stains in the ceiling tiles. I kept the lighting pretty simple. I started out with a couple of point lights for the glowing energy ball, a spotlight for the one fluorescent light that still works, an Exponential Height Fog, and worked my way out from there.

I only used a Sky Light and a few more smaller spotlights for the screens. I had never used them before but during one of the lessons, Clinton showed us how to create them using Photoshop and placing them into the Post Process Volume in Unreal. This was a game-changer for me, it really helped speed things up and quickly gave an overall look and feel for what the lighting needed to be without having to individually tweak each light.

Also, learning how to correctly create modular pieces using the grid was something I always wanted to learned but never knew if I was doing it right or not.

Clinton did a great job of teaching us how to use many different types of materials in Unreal which was a huge help in making changes to my textures without having to leave Unreal to do so. The best thing I would say I learned was getting clarity of whether I was had been doing something right, wrong, somewhere in between when creating environments.

Getting feedback from a professional in the field was invaluable and I am very grateful to have taken the class. I would definitely recommend this class to anyone interested in learning industry standard practices. Check out Grigoriy Karmatskiy talk about the amazing things he learned about the production of game environments. My main goals were to create a scene in late 19th-century setting which could be interesting to make and challenging at the same time.

I started by gathering reference for the scene. Up until the end of the first week of the class, I was choosing between tram depot and a different scene based on existing concept. The first iteration was bigger than the final scene and looked more like a train station with several levels and huge spaces. Ever after big shrinking the depot seemed to be too big to be made in 10 weeks but I was already in love with the idea so I decided to risk and make it anyway.

Also, I would use as reference some concepts from Bioshock Infinite by Ben Lo and various photos of existing depots, workshops, railroads of that era and so on. I started to think of modularity and how to make it the most rational way possible. I made a Trello board with all the assets and modules I needed. When the list had been made I started making modules of the building and made several blockouts inside 3ds Max.

Quickly after that, I switched to trams and I made them as modules as well. As a result, I had around individual assets including 40 building modules and 14 tram parts. At that stage, it was the best time to check the scale and make sure that all the objects, as well as the scene itself, looks good. Most of the building parts, steel beams, railings, balconies, bridges were made using face weighted normals. I would use it for shelves, tables, frames and many small props as well.

My plan was to replace some of them with uniquely made props later if I have time. For High poly modeling, I used 3ds Max. Some of them were polished in ZBrush to add small dents and details. I tried Marmoset Toolbag 3 for baking and really liked it.

It is fast, intuitive and it allows you to paint normal direction on top of the model. Having so many assets was not an easy thing for the texturing. I decided to use tiling and trim materials with color tints as often as possible. Tram is a good example of using several types of materials. I used a few color-tinted trim sets interior, exterior, painted metal, wooden trim for doors , several unique textures for bigger parts and texture atlas for smaller details.

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