THE ENVIRONMENT

ARTIST HANDBOOK
2023

COMPILED AND WRITTEN BY TIMOTHY DRIES

6 NEW THIS MONTH 46 WORLD BUILDING
7 Unreal Engine Camera Bookmarks 47 World & Location logic
8 Relocation Assistance 48 World Building - An Overview
9 Seniority levels in games 49 World Building - Basic human needs
10 Baking vertex color in Unreal Engine 50 Who’s in your environment? - Part one
11 Prefabs in Unreal Engine 5 51 People’s personal motivation
52 Nature’s impact on world building
53 Landmarks and Points of interest
12 ART FUNDAMENTALS 54 Using roleplay for idea generation
55 Asset Clustering
13 Environmental Storytelling
56 Make a game art asset feel “real”
14 Leading the eye - 01
15 Leading the eye - 02
16 PBR Theory for artists - 01
17 PBR Theory for artists - 02
57 PRE PRODUCTION
18 Composition - Rule of thirds 58 Why do you want to make a project?
19 Composition - Different focal planes 59 Metrics and grid settings
20 Composition - Perspective usage 60 Using & Finding references
21 Composition - Using contrast 61 Overscoping
22 70 - 30 Rule 62 Reference sheets
23 Colors and emotional impact 63 Modularity breakdown
24 Shape Language in Games 64 Different reference purposes
25 Where do I put my focus? 65 Environment blockouts
26 Texel Density 66 Planning your scene timeline
27 Player Leading with Visuals 67 How to find references

28 ENVIRONMENT WORKFLOWS 68 MODELLING & UNWRAPPING

29Destructive versus non destructive workflows 69 Intro to blender 2.79
30 High to Lowpoly Workflow 70 How to use instances
31 Hand painted Workflow 71 Blender fracture addon
32 Masks and Tileables Workflow 72 Unreal Engine Contact Shadows
33 Hybrid Trimsheets Workflow 73 Bevels in blender
34 Detail Textures workflow 74 Smoothing curves and bevels
35 Workflow Overview: Midpoly Workflow 75 Mass replace objects in Blender
36 Reuse in environment art 76 Making debris with particles
37 2nd UV Workflow - Base setup 77 Tileables to geometry
38 2nd UV Workflow - Mask Generation 78 Heightmap to Geometry
39 Second UV Workflow - Unreal Setup 79 Face Weighted Normals
40 Planning your trimsheets 80 UV Packing, optimize resources
41 Trimsheets - Adding Details 81 Stylized Asset Design
42 Trimsheet UV Tricks 82 Batch Exporting
43 Channel Packed Textures 83 Putting details in your Geometry
45 Damage decal Workflow 84 Blender Simulations for Asset Creation

Page numbers are clickable and will take you to the corresponding page
 85 Geometry nodes roof tiles 122 UNREAL ENGINE
123 Unreal engine camera tricks

86 BAKING 124 Channel packed SRGB option

125 Bulk edit via Property Matrix
87 Baking theory for beginners 126 Material parameters
88 Baking - building the lowpoly 127 Texture Tiling
89 Baking - UV mapping tips 128 Parallax texture setup
90 Baking - Highpoly mesh tips 129 Unreal Engine Auto-Screenshotter
91 Texture baking - 01 130 Snap & Transform tools
92 Texture baking 02 131 Unreal Engine Hotkeys
93 Baking troubleshooting - 01 132 Foliage editor tool tips
94 Baking troubleshooting - 02 133 Blender fracture addon
95 Opacity mask in Substance painter 134 Scattering objects in Unreal Engine
96 Baking floating geometry 135 Thumbnails, colors and favorites
97 Baking by “Mesh Name” 136 Unreal engine collections
137 Default maps in Unreal Engine
138 Saving materials to text
98 TEXTURING 139 Collision overview

99 Texture maps explained - 01

140 Light debugging viewmodes

100 Texture maps explained - 02

141 Unreal Engine Panner Node

101 Intro to tileable textures

142 Material linking on Import

102 Making tileable textures - Basics

143 Quick destructible meshes in Unreal Engine
103 Introduction to Trimsheets
144 Mesh Distance Fields

104 What is texel density?

145 Different collision types

105 Anchor point normals

146 Exporting & Importing

106 Woven Pattern in Substance Designer

147 Depth of field in Unreal Engine

107 Anchor point color variation

148 Adding content packs back in

108 Hand painting tips

149 Easy Procedural Foliage Scattering

109 What is ambient occlusion?

150 LEVEL ART

110 MATERIALS 151 Blending shapes together (Rule of three)

111 World Aligned Materials

152 Blueprints for speedy level art

112 Master Material Basics

153 LOD’s for trees in games

113 Material Instances and how to use them

154 Level of Detail Meshes

114 Material Hotkeys

155 Occlusion Culling

115 Vertex painting - 01

156 Hiding Parallax Limitations

116 Vertex painting -2 0

117 Decals - 01
118 Decals - 02 157 TERRAIN MANIPULATION
119 Master Material Creation - Part 1 158 Generic Landscape Tips
120 Master Material Creation - Part 2 159 Terrain features for player leading
121 Master Material Creation - Part 3 160 Landscape introduction

Page numbers are clickable and will take you to the corresponding page
 161 Landscape sculpting 195 Greenscreen renders
162 Automatic grass spawning on Landscapes 196 Improving your renders
163 Unreal Landscape Material Basics 197 Vignette’s
164 Details in landscape sculpting 198 Crisp Unreal Engine Renders
165Landscape Displacement in Unreal Engine 5

199 MINI TUTORIALS

166 FOLIAGE
200 Let’s Create a Roof
167 Subsurface Scattering in Unreal Engine 201 Concept art breakdown - Example 01
168 Alpha overdraw 202 Adjustable pipe material
169 Blender foliage with particles 203 Fake wind effect using normals
170 Foliage in Blender using Arrays
171 Foliage creation - Starting out
172 Grass creation - Part one (Highpoly) 204 PERSONAL DEVELOPMENT
173 Grass creation - Part two (Lowpoly)
205 Building a good habit
174 Grass creation - Part three (Engine Setup)
206 Moving company or countries
175 Speedtree color variation node
207 Building a motivational system
176 Foliage Master Material Example
208 Motivational Tips
209 Avoiding art blindness
210 Asking for feedback
177 LIGHTING
211 Self promotion for artists - part 01
178 2 point lighting setup 212 Self promotion for artists - part 02
179 “Light Painting” 213 Avoiding exposure work
180 Tonal Values 214 Earning on the side
181 Fake lightshafts in Unreal Engine 215 Switching to Blender - Quick Tips
182 Unreal Engine light mobility 216 Resources - 01
183 IES Profiles for lights in Unreal Engine 217 Detaching from your work
184 Rectangular Lights 218 Being Objective about your work
185 Light propagation volumes

219 BREAKING INTO THE INDUSTRY

186 POST PROCESSING
220 Art test tips - 01
187 Color correction: LUT 221 Art test tips - 02
188 What is anti aliasing 222 What to expect from your first interview
223 Your first week in the industry
224 Reaching out to professionals
189 PORTFOLIO PRESENTATION 225 Environment Art Tests

190 Portfolio Thumbnail Tips

191 Portfolio tips - Part 01
192 Portfolio tips - 02
226 INDUSTRY INSIGHT
193 Optimizing your portfolio - 01 227 Your day as an Environment Artist
194 Optimizing your portfolio - 02 228 Disciplines in Environment Art

Page numbers are clickable and will take you to the corresponding page
229 seniority levels in the games industry

Page numbers are clickable and will take you to the corresponding page
 NEW THIS
00 MONTH
 Unreal Engine Camera Bookmark

Introduction
Tired of remembering camera positions, or always in fear of accidentally moving a camera? Camera bookmarks in Unreal are a life
saver when it come to removing this stress from your projects.

1. Overview
These bookmarks are really Now if you want to go to one
easy to setup, if you want to of these bookmarks you’ve set
set a bookmark you can use you can quickly press the
“CTRL + Number” where all the corresponding number (“1” for
different numbers can be used camera bookmark one for
as bookmarks. example) or even quickly flip
through them, this is amazing if
you have multiple important
This allows for a total of 10 locations in your environment.
bookmarks in your scene.

2. Camera to bookmark
Once you’ve got this set, you This is great for creating
can create a new camera, specific camera actors in
select the camera and then specific places.
selecting “Snap actor to view”
this will then move that
camera to that ___location on
your bookmarks.

3. Move camera back into place

Another way of doing this is to (To avoid accidentally moving
“pilot” the camera and then the camera you can also
press the bookmark you want disable moving in the actor
to snap too. This is great if you panel)
found a nice shot, saved it, but
then accidentally moved the
camera later on.

Unreal Engine Camera Bookmarks

Back to Table of Contents 7
 Relocation Assistance

Introduction
It’s super important if you are moving abroad and usually companies don’t tend to highlight if they even do it. But what is it and how
do you make sure you get the most out of it? Let’s discuss it!

1. What is it?
Relocation assistance is a way However, it can also include
for companies to help you way more than just that, so let’s
make the move to another explore that a bit.
country way easier and make
it more attractive for people to
do so as well. Usually this
means that the company will
give you money to cover
certain costs that are normally
involved with the moving
process.

2. What can it include?

Monetary compensation: the you the best selection of
company offer money to what’s currently on offer.
cover the full or partial costs of Visa Procedure costs: If you are
travel/relocation for yourself moving from abroad and
and your furniture. require this then this can also
Company housing/apartment: apply to you and the company
some companies will also offer might/has to offer this when
temporary housing or even you are joining them.
permanent housing in cases, Storage costs: If you are
sometimes even partly paid for moving storage the company
a limited time. There are also might even pay for storing it for
companies who will do the a while as well.
house hunting for you and offer

3. How and when to bring it up

So now that you know this yourself.
exists, how do you bring this
up? Usually the company either has
a base line already in mind for
Normally during the interview this, so it doesn’t hurt to ask!
there will be a stage where
you will discuss your personal
needs and contract. Just ask
them if they offer relocation
assistance and then discuss
what you would need to be
able to make the move

4. Checking applications
So it’s important to also check company as soon as possible,
in the application when you so you know if they do offer it
are applying for the company or not.
that they indeed offer this, you
don’t want to suddenly realize
that they didn’t offer anything
like that at all.

So if this is an important topic

for you, and you don’t see
anything in the application,
make sure to ask that

Relocation Assistance
Back to Table of Contents 8
 Seniority levels and Responsibilities

Introduction
Giving yourself a goal to work towards is part of building your own career, so having a title to work towards can give you great job
satisfaction. However, with the titles always in flux and companies adding different ones, where do the differences between these
levels lie?

1. Overview
Seniority levels seem to be set Also transitioning between
in stone in the games industry, seniority levels will also mean
however, every company can you will be fulfilling a lot of the
define them in a different of the responsibilities already
manner since they perform for the next seniority and
different task or have different wonder why you are not
responsibilities. getting that sweet promotion.

It’s also for this reason that I Never let that stop you from
tried staying away from all the discussing a potential
very specific responsibilities promotion with your current
and pretty generic. manager though.

2. Junior/Graduate
As a Junior or Graduate artist This also means that usually
you will just be getting to grips your won’t have important
with how the industry works. responsibilities and will be
working to support the work of
Intermediates of Seniors as well,
So this means that you will be so that they can then in turn
getting a lot of support from support the art director above
the Intermediate or Seniors in them.
your team to build up all those
skills. You will be exposed to a
lot of new skills and be growing
a lot in this period once you’re
getting into the industry.

3. Intermediate/Mid
An Intermediate/Mid or “just” As a Mid environment artist
Environment artist you have a might also start helping out
solid grip of the workflow used, with managing an on-boarding
can work pretty independently other people getting into the
with occasional support from industry, like new Juniors or
seniors or leads above them. Graduates joining the
company.
This also means that you get
more ownership as your skill set
grows and you get to work on
bigger sections of the game or
more important props.

4. Senior
As a Senior Environment Artist sections of the game. As well
you have a strong grip on all as being responsible for
things environment art. You will mentoring/managing multiply
also be responsible for setting people and taking care of their
the bar for the rest of the team career progression as well.
in close collaboration with the
lead artist, and you are
expected to do so fully Important note: Managing is
independently. becoming less mandatory for
people who are not great
managers so managing or
This means that you are going mentoring people might be
to be responsible for bigger optional for companies.

Seniority levels in games

Back to Table of Contents 9
 Baking Vertex Color in Unreal

Introduction
The modeling tools are a relatively new addition to Unreal Engine, and when I was experimenting with it I stumbled across this bake
vertex color module. Prompting me to test it to add additional details to models that use a second UV set.

Even though it’s still pretty basic on what information you can bake especially when doing it on a channel by channel basis, it’s
definitely worth investigating.

1. Accessing the tools

These tools are disabled by of tools, from actual modeling
default, to enable them go to tools (yes you can model stuff
“plugins” and then look for directly in engine) to the vertex
“modeling tools”. Once you’ve baking tools we are going to
checked that they are active use for this tutorial.
you may need to restart the
editor for this to take place.

On restart we can now find

these in the “Selection mode”
menu under “Modeling”. This
will open up a whole new set

2. The options
Select the “BakeVtx” option specific asset, so in our setup
first, opening a new menu. we store “Curvature” in the Red
vertex color channel, “Ambient
Occlusion” in the green vertex
On opening “Output mode” is color channel, leaving blue
set to bake a full RGBA texture, and alpha empty.
which can be useful for if you
need to bake a texture directly
in engine. However, for this We can then sample these
section we’re going to set this different vertex color channels
to “Per Channel”. This allows us to use as masks for any
to store date in the different materials that need additional
vertex color channels for this layering.

3. Preview mode
In terms of the data we can both the options for AO and
bake down, it’s pretty limited Curvature, since there will allow
here, only allowing us to bake us to change the look and feel
Curvature and AO, but if you of it.
then add more layers on top of
each channel in the material If you are changing the
you can get some great Ambient occlusion parameters,
looking variation. put the preview mode to the
“red channel” this allows you to
Some of the other options in see what you are baking and
this panel that are worth noting get a better feel for the end
are the preview mode, and result before baking it properly.

4. How/Why I use this

I’ve been using trimsheets that the issue, if you’re doing
require additional detail layers hundreds of assets that means
on top of them to make them hundreds of these textures.
look more unique. Before I was
doing this with Substance This setup reduces all this to a
Painter, then generating a
quick mask for each channel , single click per asset and
storing the data on the asset
packing that into one texture itself. Combine this with only
and sending that to Unreal having to create material
Engine. instance for a preset (clean,
dirty, etc…) and it’s a win!
However, you can already see

Baking vertex color in Unreal Engine

Back to Table of Contents 10
 Prefabs in Unreal Engine 5

Introduction
We are looking at a new feature they added in Unreal Engine 5 called Packed level actors or Level Instances, which are amazing if
you are building something at a larger scale and want to reuse groups of assets over and over.

I’ve personally been using them as prefabs that don’t have additional logic stored in them for now.

1. Overview
This new addition is amazing to around!
create prefabs of meshes that
can be used all over the To create them, you simply
place. select a bunch of assets you
want to combine and then
Another great thing is that right click all of them and go to
these groups can also be “Level” and create either a
broken again to get your initial “Level instance” or a “Packed
assets back from it, which was level actor”.
also not possible with
blueprints, so amazing stuff all

2. How to create them

The first selection of the two where you can select your
here and it’s the basic version. pivot placement for the group
This one is perfect for groups of of assets.
meshes that don’t need any And will also create your new
additional logic added to it. Blueprint meshes inside of the
folder selected.
To create this select your group
of assets, “right click” > “Level”
> “Create Level Instance”.

This will open up a window

3. Changing them up
These new Blueprints also gray out the meshes that are
come with a new way of not in the group, making it very
editing them. Instead of having useful for editing.
to go into the individual level
which is used to store the data, Once you are done, you can
you can just edit them inside of just go back to the main group
the current level instead. (in green) and click “Commit
changes” or alternatively,
To do this, just select the “Right Click” > “Level” >
blueprint and in the details “Commit” to commit these
panel you can now see a new changes.
“Edit” button pop up. This will

4. Some additional notes

Meshes are instanced: this You can break these blueprints,
means that vertex paint will making it super easy to go
propagate to other instances back to the original assets.
of this blueprint as well.
No thumbnails for Level This technique to make quick
instances: making it annoying variations for these blueprints,
to find a specific one inside of since you can just take a base
a collection of them. And one.
generating your own takes
time. This stuff is amazing!
Breaking them apart:

Prefabs in Unreal Engine 5

Back to Table of Contents 11
 ART
01 FUNDAMENTALS
 Environmental Storytelling

Introduction
Environmental storytelling is the soul that breaths life into your environments and should always be at the core of the scene or project
that you are making, so why is that and how can we tackle this for our own needs?

That's what we will quickly look into today.

1. The importance
There are obvious advantages It will add to the scene and
for this ofcourse, but do keep in make it feel more relatable
mind that it will break all the and alive.
texture links that are
embedded in the project.

So it is really important if you

are making environment art,
even if you just add a little bit
of it, either in the textures of the
assets or by adding additional
props.

2. Planning and immersion

So how do you add a story to A good way to do this is to start
your environment, well thinking about the basic story,
normally you don't add one, it's then think about what would
going to be fused with all the have happened to the
assets that you are going to environment or the characters
create for that environment so within them and continue to
you need to establish at least build upon this base until you
the basics of the story before have some- thing that you like,
you start on it. is fitting to the scene or is
unique in it's own way.

3. Leaving room for imagination

The sense of wonder is a For example in the scene "Last
powerful thing, so ideally Bastion" I played around with
taking this away is and feeding the balance between hope
the entire thing to the viewer/ and despair so you can see
player is something that I avoid that the light is still on, there are
when creating environments. still banners present, the sun
shines down with rays of hope,
but why is there no-one in the
I love to look at Environments lookout tower?
that take me somewhere,
immerse me and still leave
enough room for questions.

4. The choice is yours

This is such a wide topic that I to convey to the people
can't address this in a short viewing this and get as close as
format like this, so there might possible.
be more tips/tricks coming that
support this topic. And most importantly, keep
learning and experimenting,
But what I wanted to end with, I'm still doing that myself.
is that you have the choice
how you construct your story,
you can keep it simple or have
it really on the nose.

Environmental Storytelling
Back to Table of Contents 13
 Leading the eye - 01

Introduction
Let's have a look at something that is often discussed in concept art and traditional painting, but can be used inside of environment
art and games as well, this being how to lead the eye. With this we will have a look at the different tools that creators can use to
really get the most out of the visual aspect of your work and create a piece that is pleasing to the eye.

1. The tools
When it comes to making a towards the thing you want to
pretty picture it’s important to focus to be on.
understand the rules that make
up the fundamentals of a
picture that works.

In this entry we will have a look

at some of the different tools
we can use to guide the
person looking at a picture

2. Contrast
Contrast is the different in flatten out the image. But we
colors or values, so this will can use this our advantage
actively determine how bright artistically, because higher
some things will be compared contrast is also going to draw
to other things in the scene. the attention of the eye
towards the contrasted area
In general, less contrast will more than towards a less
flatten out the image. But we contrasted area.
can use this our advantage
artistically.
In general, less contrast will

3. Light
On the right are some rays for instance.
examples of this both in
concept art and 3D art. You Another golden tip is to look at
are pulled in by the use of light the masters of painting,
on the house section creating because they really used this
a contrast with the darker fully to there advantage and
foreground. pushed the meaning of using
When it comes to 3D we can light into the symbolic realm at
make use of all different kinds times.
of light and further
accentuating it with fake god-

4. Details
The eye is automatically concept art work as well, but
attracted to something that can be super useful for
looks more detailed and Environments as it will allow you
complicated than areas of rest, to optimize your time spend on
which are as important as assets that need to be in focus
details by the way! or be used as interactable
props or gameplay.
If everything is busy and
detailed, nothing is. This is a really big topic, so we
For some examples the use of will continue this in the next
this is probably most visible in one!

Leading the eye - 01

Back to Table of Contents 14
 Leading the eye - 02

Introduction
In the second part of leading the eye we will continue the exploration of different tools that we can use to guide the eye through
the image.

1. Aspect ratio
Let's look at some other tips But for personal work we can
and tricks to help you guide have a little bit of a play with
people through the these dimensions and maybe
environment/ art that you are switch for a vertical aspect
making starting with the ratio for vertical compositions.
Aspect Ratio.
Another thing that I love to do,
Something that we don't really Is adding smaller black bars at
tend to think of because we the top and bottom of the
are limited by the end goal of image and add a cinematic
our medium being the feel to the image.
computer screen.

2. Rule of thirds
This is the old time classic rule The intersection of these lines is
that I love to use myself, the called a Power-point (or a
core of this rule is that you crash-point apparently? but
divide your image in three power sounds better right!?)
equal chunks both horizontally
and vertically. You can see an example of this
technique in use on the left.
Then once we have this grid,
try and put the focus point of
the image on one of these
intersections or along one of
these lines.

3. Depth of field
Another trick to really pull in the subtle way is the way to go but
focus on your environments is there are other great examples
to use depth of field. who use depth of field in a
bigger way.
I use these in my environments
but in a really minor way, to The first of one of these
slightly make the foreground environments that comes to
blurry and pull the focus in on mind are the environments of
the main focus of the image. Unravel, heavily influenced by
shift-tilt photography.
For most example
environments, using them in a

4. Patterns
This is a deeper topic and Some more simple examples
really justifies a breakdown of are round shapes feel safe and
it's own for all the things you inviting (see the image on the
can do, these patterns can right) where as sharp shapes
range from using patterns in feel dangerous and should be
colors, shapes, lines avoided by the player.

This entire section is based on Another example is the use of

rein- forcing the feeling that repetition to create a sense of
you want to convey with your com- fort, structure and
image. convey the sense of hierarchy.

Leading the eye - 02

Back to Table of Contents 15
 PBR Theory for artists - 01

Introduction
This time we are going to dive into the magical world of texturing, this little introduction to some of the theory behind texturing, which
will be crucial to understand what makes good textures tick and how you can leverage all those different things to your advantage.

1. What is PBR?
Physically Based Rendering, this real life examples where
way of texturing and rendering everything is considered shiny
is meant to be a closer and will also allow artist to
representation to the real author materials independent
world. Why is why we call it of lighting as these textures are
Physically Based Rendering as a closer representation to the
it’s not truly physically accurate real world.
but a really close This comes with a bunch of
approximation. adjustments in how we author
different textures and how the
This workflow has been shaders using these textures will
be rendering them on screen.
invented to come closer to

2. Different shading models

When approaching this not, which will influence the
shading model we need to color of the reflection and the
have a look at the different roughness will control the
shading models, generally amount of reflection.
there are two ways of working.
These differences do not imply
Specular/gloss and metalness, that one is better than the
where the first one uses the other, it just implies a different
specular and gloss to control way of exporting/authoring
light bouncing back where the your materials.
second workflow focuses more
on if the material is dialectic or

3. Albedo and it’s values

With trying to approach it more Another good source of this
realistically that also means information could be looking at
that the values of some some Megascan textures and
materials can be measure too sample some of the colors that
in the form of texture scanning can be seen on these
(photogrammetry). But more examples. Keep in mind that
specifically about albedo for this texture does not contain
the moment, these are the any light information. But of
color values behind the course everything said here are
texture, most of these can be the base rules and they can be
found on charts if you really broken for artistic purpose.
want to be as accurate as
possible.

4. Metalness
With the metalness workflow is that it a conductive material
comes a new way of handling will use the basecolor in its
different maps for your reflections (thus have a
material, for this texture colored reflection) where
specifically we use a black and normal material don't have this
white texture where white is behavior.
metal (or Conductive) and
black is just a normal surface But, we are artists after all, we
(Dielectric). Dielectric being should always respect the rules
the inverse of being that some of these charts
conductive. Why is this dictate, but allow some
important you ask? This personal freedom!
changes the way the material

PBR Theory for artists - 01

Back to Table of Contents 16
 PBR Theory for artists - 02

Introduction
In part two of this introduction to PBR we will have a look at the remaining textures that we need to build our PBR shaders, there are
some additional textures that we won't be discussing here, but they are also less vital to the creation of shaders.

1. Normal map
This isn't something new to the detail in most
PBR pipeline specifically but I
want to give an outline of what cases baked down from the
it is used for anyways, so highpoly meshes down onto
people new to these textures the lowpoly mesh.
can still get to grips with them.

A normal map is this weird

blue/yellow/green texture, this
is because this texture will fake
the lighting coming of the
texture and will add extra WikiMedia - normal map example

2. Roughness
Arguably the most important bigger or smaller.
map in this entire lineup, this
map will control the porosity of The closer this value gets to
the material, the more porous zero (or black) the more it will
the material is the more the reflect the light back without
surface is going to be being altered in any way and
scattered with minuscule little the closer it gets to one (or
details which are going to white) the more light absorbent
bounce the light in different it will get.
directions and will thus alter the
spread of the light being
bounced back and will thus Freepbr.com - Greasy worn PBR metal
make the specular highlight

3. Specular/Glossiness
This is mainly used in the Lastly, this also means that if we
Specular/Gloss workflow and have shiny metals we need to
replaces parts of the Metalness push the contrast in this map
and Roughness texture. This between metal and wood for
map controls the surface shine example.
as well as the color of the shine
it will reflect back from the
surface. This means that we
need to balance the shine of
all the materials in this one
map including both metal and
non-metal parts too. Polycount - ANSWERED: About Gloss Maps!!!

4. Ambient Occlusion
Ambient occlusion is This is super useful to simulate
something that has been here shadows in crevices or other
for a lot longer than the PBR things that got added that
workflow, this texture will fake require some shadow or depth.
shadow and is mostly know for
grounding smaller elements
together by adding some
shadow on where different
elements connect.

PBR Theory for artists - 02

Back to Table of Contents 17
 Composition - Rule of thirds

Introduction
So it’s been a while since we touched some fundamentals, so hopefully this one will help me kick-start a whole bunch of them! First
up we have Composition, starting with a basic rule I lend from Photography and use in all of my work since, the rule of thirds!

1. Rule of thirds
What does it add to your work? division on the horizontal and
The rule of thirds is a trick that's vertical axis. Then we use the
mostly used in photography to intersections of these lines as a
add a more dynamic framing rough guide for our focal points
and balance to your pictures, if in the scene.
you are looking for a nice
framework to build your Unreal engine even has a built
compositions from this is one of in tool for this, which makes it
the best ways to get started. really useful to check your
compositions on the fly under
It's fairly simple, we just divide “Perspective
the frame up in three equal

2. Balancing the horizon

Let's start with the beginnings reinforce the feeling of things
though, the first thing that I do towering over you as things
is balance my horizontal take up more space in your
elements to offset everything frame especially using the 2/3
from the middle of the frame, for the ground rule.
which is where the horizontal
lines come into play.

The general rule is either using

2/3 for the ground, or use 2/3
for the sky, depending on what
is in the scene this will also

3. Using the cross sections

Another thing that really helps Also if you are working with this
me in my compositions is rule in mind and you are
focusing on the intersections looking for a more dynamic
between these lines and composition it's better to use
putting the focal points of the the diagonals, so using one of
scene on these (or close to the points of the top and then
these!) points. Using this the opposing corner from the
connection help reinforce a bottom,
composition that has space to
breath and gives a more
meaningful connection to
these elements.

4. Creative uses of this rule

It's good to start with this rule, static and create a different
but keep in mind that all rules mood in the frame (see
can be used in creative ways picture), which might be what
once you are familiar with you are looking for...
them so for example you might
want to have a central
focused composition. putting So play around with this once
you are more comfortable with
the focal points not purely on this rule, when in doubt, stick to
the intersections, however the basics and keep looking for
even in this case the same compositions in other people’s
rules still apply, because if you work.
center these elements on both
axis, the frame is going to feel

Composition - Rule of thirds

Back to Table of Contents 18
 Composition - Different focal planes

Introduction
Different focal planes can be used to divide your environments in clearly defined sections that can help create a more balanced
and organized composition, in this tip we will have a look at different ways that these can be used, but you can play around with
the rules a little bit for this one, so make sure to experiment.

1. Fore, middle and background

Another great trick that comes attention of the viewer (or the
from photography and is also player) towards the intended
widely used inside concept art, focal point of your image and
however when creating your also helps to create a more
environments you can also use balanced composition.
this separate between
foreground, mid-ground and
background.

This is helpful for focusing the

2. Using the foreground as a blocker

The way that I love using On the right you can see an
shapes in the foreground is to example of this in use in one of
emphasize the focal point that my scenes.
in the back more, we can use
certain shapes here to guide
the composition a bit better.
This becomes really useful for
your own personal scenes that
focus on one or more camera
angles, but don't depend on
360 rotation of the camera.

3. Choose where to put the focal point

If we are going to focus on scene made by Otto Ostera,
Environment Art, most of the which serves as a really good
focal points will either be in the example of a different focal
middle or back. However, they point on a different focal
don't have to be, you can play plane.
around with this rule, but make
sure to understand if before
breaking it.

On the right we can see a

comparison between a scene
of mine on the left and a

4. Creating some rest

Another major part of following This will also help organize the
this rule is that it will help you details in the scene into clear
maintain a sense of order and separations, which is definitely
rest in your scene, the person a plus in bigger environments
viewing your art is going to with a lot going on
subconsciously identify these
area's and it will help them
understand the scene itself.

Composition - Different focal planes

Back to Table of Contents 19
 Composition - Perspective usage

Introduction
In this one we will be looking at the main component of the scene when it comes to manipulating the view that the person has of
your work, so for this one we will be diving into some tricks that we can use to affect the mood of our artwork though adjusting the
camera.

1. Impact on the viewer?

Changing the perspective of As environment artists we
the camera can have a big should not forgot that a lot of
impact on the viewer's mood the power of our work comes
and how they perceive the from manipulating the the
artwork itself, the impact of this viewer's eye, meaning the
can really move the viewer camera. so let's have a look at
into a different emotion and some different perspectives
be led through the picture in a that we can use to do so.
completely different way.

2. Birds vs ants perspective

If you have ever done a On the other side the ants
concept art class on perspective does the opposite,
perspective then these might it can instill this kind of
sound familiar, the bird eye underwhelming or dominated
perspective is the perspective kind of feeling, because all the
you take when flying really high structures that we add in the
above all the buildings, this is scene are going to feel like
perfect if you want to create they are looming over the
he feeling that your world is player.
much larger then it is.

3. Camera rotation
Angling the camera can have the feeling of unease or more
a dynamic or static effect on typically it's used in action
the viewer depending on the packed shots in movies. Then
angle, most of the works we as this might not sound like
environment artists will be something you can use, but it
making will feature a normal might still be worth giving a
flat angle camera as the shot as this is also not a rule
subject matter we present it that is set in stone you should
static as well. always try and experiment with
this and see if it makes you feel
different about your work.
Adding a rotation to your
camera can be used to create Forza Horizon Screenshot - Reddit

4. Field of view
Let's talk about the field of view we are using Unreal Engine this
of your camera, this can also is going to be set at 90, going
have a big impact on how you lower will push it more towards
perceive the level, it can make isometric and going higher will
it feel super open, or it can push it to be more 360. This in
induce claustrophobic to a combination with a lower
point where the depth is camera standpoint can really
sucked out of the image and it help you with making elements
becomes isometric. in your scene feel towering, as
seen a little bit in my last scene
"Last Bastion".
A normal FOV depends on the
program you are using, but if

Composition - Perspective usage

Back to Table of Contents 20
 Composition - using contrast

Introduction
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1. Shape contrast
The first thing that is worth For example round shapes
discussing is the contrast of often make you feel a safe
different shapes, simply where as in the opposite side
explained this is the language of the spectrum spiky shapes
of the shapes that you are feel dangerous, so when the
using, you can see clear player sees this they will want
examples of this in use in to avoid this most likely. Then in
stylized games where between we have square
dangerous areas are often shapes, and most shooters
indicated with spikes and safe especially the cover based
around often have softer ones have turned this shape
shapes to them. into cover, because it feels Destiny 2
safe and structural.

2. Value contrast
The next thing is looking at the But this can also translate into
different values in your scene light for example, where if we
and how they can influence have a dark warehouse and
the players moving through it. we put one light, the player will
People tend to be attracted to go towards it because of the
area's that provide higher contrast different (and also to
contrast and stand out more feel safe, I wouldn't want to be
compared to other area's. For alone in a dark warehouse!)
example people will be more
likely to investigate area's that
are darker if they have been
running around in a light Farcry 5
environment.

3. Color contrast
We touched upon it briefly You can see this being used in
before but this is one trick that climbable ledges or ladders in
is often being used in games, Farcry 5 for example where
and that is through the they use a color that is bright to
consistent use of color indicate such ledges. So if the
throughout the game players player sees something blue on
will realize that if they see that a cliff they know that there is a
particular color they can go spot there that they can then
there to for example climb, or use to climb it.
find lost treasure, etc...

Destiny 2

4. Texture contrast
This is a more nuanced trick to you put a highly detailed asset
pull the attention and is more in the middle of it people will
seen in Concept art then in be attracted to this. This can
Environment art, but that really help guide the player
doesn't mean that you can't through your environment,
apply it here either. This trick especially used in conjunction
makes use of being attracted with all the other tips and tricks.
to loads of details.
Thanks for going through this
This for example means that if one!
you have a calm landscape
with nice round shapes and Wolfenstein

Composition - Using contrast

Back to Table of Contents 21
 70 - 30 Rule

Introduction
This rule is the foundation of so many things, giving you a good idea on how to balance elements in your scenes or props, but this
can also apply to other things in your life too, say for personal schedule, marketing yourself, etc...

1. Overview of the rule itself

The 80/20 rule (or the 70/30 rule With 70 being the spaces of
for others) is a rule that applies rest and 30 being the busy
to a lot of things in life, but for areas, this will lead to a better
the sake of this tip we'll keep it balanced environment that
to art. So with this rule we makes it more pleasing to look
determine the balance of at or walk around in.
details versus areas of rest in
the image, on a prop or when
building a ___location.

2. In Environment Art
So when it comes specifically But for these things to stands
to Environment art, this is where out we need area's of rest to
you can construct a scene help with contrasting them
that doesn't feel to against it, which is where the
overwhelming by applying this other 70 percent comes in to
rule to the environment. So in help us with this contrast.
this case we can apply the rule
of 30 percent busy area that
pulls the player or the viewer to
these spots.
Farcry 5

3. Prop Art & Design

We can apply this rule to the The idea here as with all the
creation of props too, where other parts is that you focus the
you add all these nice details player or viewer on the details
on 30% of the mesh, you can you added instead of being
really see this playing out really lost by all the noise you add
nicely with good hard surface onto these props.
design or nicely constructed
props.

4. Applying this to other subjects

This can apply to a lot of other balance in your life.
stuff outside of just the pure art
creation, for example you can
spend it on marketing your
artwork or sharing it on social
media too. Some have
experimented with spending
20% of your time marketing
yourself, your products, your art
or whatever, when keeping
80% of your time to work on the
stuff you love is really important
for your mental health and the

70 - 30 Rule
Back to Table of Contents 22
 Colors and emotional impact

Introduction
Colors are important for creating a mood and playing on emotions of the viewer and player. Colors can heavily impact the way we
feel about situations, and in games where we have control over these colors we can really play with those to play on the
heartstrings of people.

1. Colors overview
Colors have an incredible with it's bright colors so that you
impact on people's emotions start thinking about the food
on a subconscious level, we even before you enter the
can see that in a lot of real restaurant
world examples going from fast
food chains to the high fashion
brands.

In fast food chains they are

typically used to get you to
start thinking about the food
and capture your attention

2. Color breakdown
This image on the right does a
great job at breaking down
how the different colors affect
your emotions. Notice that
they can both have positives
and negatives, which we will
dive more into with the next
point.

3. Negative and Positive sides

Colors can affect you both on So it's important to keep in
a positive and negative role. mind that you reinforce it with
For example if we look at the some other elements, like using
McDonald's example again we a nice orange sunset to bring
know that they use red to new energy for the survivors,
evoke appetite and excite like seen in my last scene "Last
you, but it can also mean Bastion"
danger or anger in other
cases.

4. Examples in scenes
This recent example by Peter
Tran is a perfect example of
how colors can completely
change how you feel about
the environment.

Colors and emotional impact

Back to Table of Contents 23
 Shape language in Games

Introduction
Inspiration for this has been taken from a really nice article provided by 80.lv all about this topic, so consider this a deep dive into
that topic, but I'll do my best to give you a short and concise overview of the good stuff.

1. Shape language overview

What's this all about? belt?
Shapes have a big influence
on our psychology and level Some assets will have
designers and environment predefined shapes when we
artists make use of this to stick to realistic games for sure
influence but if you are working on a
fantasy game, we can really
. But different shapes have broaden the shapes we can
different impacts on the use and use them to put extra
players, so how can we make emphasis on the emotional
the most use of the different impact.
shapes we have in our tool

2. Sharp shapes
Let's start with the easiest of other more safe looking shapes
shapes to identify are the sharp that surround it. In this last
ones, these are most example they also go hand in
commonly used for indication hand with more darker colors
of dangerous area's or plus a dead looking landscape
foreboding danger ahead. that has been stripped from
natural resources. Really driving
the point home.
This is also why if you have
camps build by baddies they
are often surrounded with
these kind of shapes to make
them stand out from all the

3. Smooth shapes
Then on the other side of the We can see an example for this
spectrum we have round on the main base in
shapes that are directly linked Wolfenstein.
with comfort and a safe
feeling.

You will often see these in

friendly hiding spots, camps or
safe zones.

4. Blocky shapes
Protective, sturdy and more This is also reflected in
seen in cover based shooter to architecture and other forms of
really drive the point home. In design as well, where banks will
these they often provide a often be housed in structural
gameplay element too, where blocky buildings further
you can visually see that if emphasizing safety, but in this
something has the rough case for your assets instead of
height of cover (1m for half protection from bullets.
cover and 2m for full cover for
example) you can take shelter
there.

Shape Language in Games

Back to Table of Contents 24
 Where do I put my focus?

Introduction
With this one we’re highlighting the importance of being able to focus on things that are important to focus on in your scenes or
props to make sure that you finish your projects within a good timeline and without burning yourself out. Because not everything
deserves the same amount of attention to look good.

1. Why does this even matter?

This might be a weird question beautiful/awful thing that
to start out with, but people happens on bigger scenes is
step into this trap more often that you also learn so much
then they realize themselves that new knowledge at the
and it just disappoints me end might make you question
when watching people not assets you did in the beginning.
finish or throwaway valuable
work because they seriously So here’s a little guide on what
underestimated how much to focus on when working on
time it takes to create a bunch either props or scenes.
of unique props with unique
texture maps, especially when
making a sizable scene. The

2. The focus of the scene

Pick the focal point for your It doesn’t have to be a story
scene, for a prop this is simple, though, like in the images on
it’s the prop itself. However it’s the right it can also be the
with a scene where it gets most important structure like in
complex. the work from Yinuo Chen.

But since these sections of your

For me it all starts with a story, environment or props needs to
and the core of that story is stand out we should opt for
where I want you to focus your some nice unique textures,
attention too, making this dedicating a lot of time and
stand out should be the main love onto making this thing
focus of your attention. really stand out.

3. Supporting assets
Next up are the assets consider this a supporting asset
surrounding the hero asset, since it’s so heavily tied into the
which still deserve a fair main prop for the scene itself.
amount of time spent, but we
can already start looking at However if we’re making a
more optimized or reused ways table diorama , then maybe
of creating these. This also you can make the table itself
depends on how important out of a trimsheet and details in
they are. a way where you can reuse
them again. Like the second
For example if we have a UV workflow for example.
weapon scene, we should not

4. The rest of the scene

Now we’re getting to the items and get those from a
that are less visible, less marketplace or reuse them
important to the scene OR if from another project if you
you are working on your skills can.
and upping your portfolio
don’t match with the goals of
the project. With goals not This way of working guarantees
that you’re only focusing on
matching I mean that if you the skills you actually want to
are doing a piece on learning improve, improve them and
trimsheets it wouldn’t make then move on instead of
sense to then also make all the delaying the end of the project
foliage in the background unnecessarily.
yourself, do yourself a favor

Where do I put my focus?

Back to Table of Contents 25
 Texel Density

Introduction
or pixel density or texture density as commonly referred to. It’s the measure to which all artists stick when they want to know how big
they need to go for their texture sizes for all their assets.

1. What is it?
Texel density (px/cm) is a This number then gets used to
number that correlates the size create consistency within your
of our textures to the size of the scenes by standardizing the
assets throughout the entire amount of texture space gets
game or your scenes. used on all the assets in your
scene.
“Texel” (texture element) is
similar to textures in the same It’s expressed in the form of px/
way that a Pixel is to your cm so we can convert the size
screen resolution size. It’s the of assets to texture sizes.
base unit measurement when
it comes to textures.

2. Why is it important?
We use this to create A more player facing point of
consistency between texture importance is that it retains
resolution depending on scene immersion when in the game.
assets, but it will also stop us When players see a really low
crazy artists from going resolution texture it can have
completely nuts with adding the effect of pulling them out
way to high resolution textures of the experience. Like seen in
to any asset we create that the example on the right.
might be to small to get big
textures.

3. Deciding your texel density.

As for calculating it, let’s start the size of the texture with the
with the basics. A simple plane size of the wall itself. Which
of 1x1m (or 100cm by 100cm), looks like 2048/100, that gives
that has it’s entire surface us a texel density of 20.48 px/
unwrapped to it’s UV’s. cm.

Let’s say we then add a Texture size / Asset size = Texel

2048px x 2048px texture map Density
to this for an example and we
love how this looks in terms of We can then input this figure in
visuals. Now to get our final most texel density calculator
texel density, we can divide tools.

4. When to break texel density

Not everything needs to match examples.
perfect to the texel density set,
there are assets in games that Another situation where you
can break texel density set for change the texel density is
the entire game as they are when you are working with
more or less important visually. partially hidden sections that
are not that visible but still need
Some examples for these are to be modeled, these sections
weapons, menu items and that are smaller can also help
cinematic props for higher you increase the size of other
texel density and background sections that are important to
props for lower texel density the asset.

Texel Density
Back to Table of Contents 26
 Player Leading with Visuals

Introduction
Player leading is a term that’s often used in the games industry as a term to guide players towards a certain goal or stage in the
level. Player leading can serve different purposes and be done by multiple disciplines, think voice lines, level design, narrative, etc...
but for today, we’re sticking to the visual examples.

1. Scale and height

This is the most common with a massive tree that almost
example that you’ve already takes up the entire screen
noticed, making something big serving as your main reference
is the best way of making point for a lot of the game.
things stand out in the distance
and will also serve as a great Additional tips can be found
reference point should you under “Landmarks and Point of
ever get lost. Interest”

A great and more recent

example that takes this to a
whole other level is Elden Ring, ELDEN RING

2. Composition
Obviously I can’t skip a talk Composition is a deep topic
about player leading by onto itself, so you can always
talking about composition. check out the different sections
on this broad topic.
You can always direct and
compose shapes and assets in
a way where they highlight the
object you are trying to lead
the player towards, easier to
achieve in linear games
compared to open world
games. DESTINY 2

3. Colors
and especially the contrast we decided to pick a color
between them. that was as opposite as
possible (blue for us, since we
had other restrictions) and then
This is something we used used that in specific locations
extensively for each ___location to pull the players towards that.
we worked on while working
on the Special Operations in
Farcry 6. Again, coming back to Destiny
this game also has countless
examples of great use of color
We knew that most of the for directing the players.
world was dominated by DESTINY 2
foliage which was green. So

4. Shapes
Can be used effectively to Entertainment did a great job
lead the eye, especially when by infusing the more subdued
used in contrast to each other. brutalistic concrete with
splashes of color, so really
combine them both.
Control is an amazing example
for this, set with brutalistic
shapes that make up a large
proportion of the game. This
then makes more organic Again, we did a bit of a
shapes stand out by virtue of deeper dive on it in our tip on
contrast. To add on top of that “Shape Language”
the developers Remedy CONTROL

Player Leading with Visuals

Back to Table of Contents 27
 ENVIRONMENT
02 WORKFLOWS
 Destructive versus non destructive work

Introduction
You might have heard or even have been using this for a while now, but this is the difference between being able to go back to a
previous state of the asset or not. More down below.

1. The difference
Destructive workflow is your So logically non destructive is
normal way of working where trying to keep the option of
you are just modeling things going back to previous States
like you normally would and as much as possible, for
don't have the option of going example using an edit poly
back to edits that you have modifier in max will allow you to
done further then your go back to states before
reverted states allow you to, so adding this modifier. Another
if you want to go back you example is the curve modifier
need to start over or salvage in Blender to deform a mesh
things. with a curve, where you can
always attach a different curve
or delete the modifier.

2. Minimizing risk
The reason why we do this is to and adjust them on the fly, this
minimize the potential risk if we will ensure all the pieces will
want to do adjustments later have the same roundness.
on, it's way easier to do so
when you only have to go Most modeling packages have
back a couple of steps instead some sort of options available
of starting all over. but it might be a little bit less
intuitive in Maya compared to
For example when building a Blender or Max for instance.
modular kit in Blender you can
just predefined your curves for
all the rounded corner pieces

3. Manual Backups
So in times when it isn't possible This is going to save you a lot of
to continue with a non- time when working on a really
destructive workflow the way expansive modular set for
forward is getting rid of the instance. You can also do this
non-destructive layer and with incremental saves for the
committing to the actual file itself.
mesh. When doing this make
sure that you create a manual I love to do is once I have a
backup by duplicating the backup mesh is saving it on
mesh with all the modifiers another layer where I store all
attached to it. the backup meshes for
instance.

4. Different options
Some programs are better at it packages that I have used
then others too. Houdini for myself) are Blender and Max,
example is amazing for they both have comparative
keeping everything non- ways of working with modifiers
destructible because of it's that you can adjust on the fly
node-based setup and you
can go all the way back to the So in short, wherever possible
start input that you gave it and try and use these modifiers,
do adjustments or swap it out layers or procedural where
completely. possible, keep things as fluid
and streamlined as possible.
The runner up (from all the

Destructive versus non destructive workflows

Back to Table of Contents 29
 High to Lowpoly Workflow

Introduction
The bread and butter for most artists when they are getting started, especially when it comes to creating props that need a lot of
details, like gameplay related items, weapons, or assets that are important to your world.

1. Overview
The core of the workflow is This workflow is mainly used for
making a highly detailed mesh props and assets that need a
that has all the nice details, lot of detail and are going to
then make a lower poly more be really big on screen, this is
optimized versions on the same why you see this workflow see
mesh, unwrap it (this is the 2D used a lot in Weapons,
representation of your 3D Gameplay and object that are
object) and then "Bake" really important to the
(transfer) these details from the narrative side.
High quality mesh (Highpoly) to
the lower resolution (Lowpoly)
mesh.
Vincent Lei

2. Pro’s
The pro to this workflow is that It also makes for an easier
this is the most typical pipeline workflow overall, because you
that allows you to be really can work on these assets in a
specific with the details and vacuum and in a lot of cases
the amount of it too, which for don't have to worry about
assets that are important is sharing resources from other
great, because you can add a assets.
lot of unique details to them to
make them stand out.

Antoine Gerin

3. Cons
This workflow isolation also has shader tricks like colorization or
a big downfall, especially in something) and it's UV's, so this
terms of performance, these makes it so that you can't really
textures are big and can really use this texture on other assets
take up a lot of space and can either.
possibly become a strain on
other resources needed for Baking is the last one, because
other assets in the game. you need a highpoly object
with your details to bake down
Plus, these textures can only be onto your lowpoly mesh, which
used on this specific asset just adds a ton of iteration time
(unless you are adding some by itself. Timothy Dries - Planet Coaster

4. More on this topic?

Even tho this is the basic for of top of these unique pipes more Dirt mask on top
of unique textures
any pipeline there are a lot of on this can be found in
things you can add on top of “Adjustable pipe material” in
this base to make it more our PDF).
interesting.
Adding reusable sections:
Adding masks: You can also add sections of
You can add different masks reusable meshes (like cables,
on top of your texture to add bolts, etc... are great
layers to it that you can adjust contenders for this)
on the fly (Example on the right
is a world based dirt layer on

High to Lowpoly Workflow

Back to Table of Contents 30
 Hand painted Workflow

Introduction
Popularized by World of Warcraft, this workflow takes back artistic control to it's roots in 2D.
The sheer time and dedicated you need to put into this is definitely the thing that makes this workflow so appealing to artists
because it’s so close to the core artistic approach.

1. Overview
The core of the workflow is really good understanding of
basically you painting how light works in real life since
everything by hand or at least you only have one diffuse map
in part. A popular technique to work with if really limiting
for when there was no normal yourself.
map available yet and there
we're strict limitations on the Newer additions from this style
amount of polys you could use. break those limitations a bit,
stylized PBR that adds normals
Painting everything into the and roughness maps, cell
texture like highlights and shaded that adds nice edges, Textures example
shadows manually requires a etc… by Lianna Tai

2. Pro’s
The main thing here is the Honestly, this workflow can be
artistic style choice really, it's a really creatively fulfilling as it's
really handcrafted style that so light on the technical
contains a lot of work and aspects that it's just fun to work
dedication to get it right. within.
Which is also why it stand apart
from all the rest and feels really
unique.

Fanny Verge

3. Con’s
This style is energy and time rely on a diffuse and emissive
intensive, which is probably the texture (if needed) so no
main thing that hold a lot of normal or roughness/specular
people back if you wanted to map was used in the early
build an entire scene or world days.
with.
Since then we have more
World of Warcraft is definitely texturing techniques and new
the staple example for this maps we can use in this
style. So if you are sticking to technique so the style has
the older style of texturing this evolved since then. But more
also means that you can only on that in the next step! Thiago Araujo

4. Hand painted in the modern age

Stylized games and workflows base for your information, etc...
are currently living through a
full Renaissance. So you can really push your
own inspiration into these styles
There are so many different with all these new additions, so
styles breaking away from the try some stuff out!
pure hand-painted look, like
Stylized PBR (adding normals,
roughness and ao into the
mix), adding filters through
Substance Painter, Baking
information and using that as a

Hand painted Workflow

Back to Table of Contents 31
 Masks and tileables workflow

Introduction
A highly reusable workflow often used in games that have to render a lot of assets on screen, see open-world games. Making use of
assets that already exist or are made to be highly reusable.

People can also call this the 2nd UV workflow (since we will be using a second UV to store unique data)

1. Overview
Large open spaces that are The way that we blend these
filled with assets are often together is to use a new UV
limited in resources. A way that can store a unique
around this is to share unwrap so we can store a
resources between assets that unique mask in this UV, this
are less important then others mask can also be relatively
on your screen by making use small compared to your normal
of tileable materials or shared textures as you usually blend
trimsheets, and then adding this with a different mask
additional detail layers on top (higher resolution) for the
of them by using other tileable transition between the material
materials. For example a metal and the layer on top of it.
bucket that is rusty or dirty.

2. Pro
The high re-usability of the and dirt can make for a
workflow is definitely the powerful kit that can be used
powerful side of the workflow, on hundreds if not thousands of
where you can make assets assets.
that become more and more
versatile the more textures and The amount of detail can also
resources become available. be decided on an asset by
asset basis, making simpler
A simple kit might start out with assets easier to render and
one type of metal, but expand more complex ones more
to multiple types of metal later, detailed as needed.
combining this with welds, rust

3. Cons
From an artistic perspective artistic detail on these assets,
you can’t really go all out with because of the density of the
adding a lot of details in your assets in modern day games
props that use this workflow, and how fast paced a lot of it
unless you start adding usually is anyways.
additional materials, decals or
layers to it (but then you are The other small side effect is
losing the performance gain of that if you want to do some
doing this in the first place). adjustments to the blending
you will have to go back to
But if we take a step back, you your texture and adjust it there.
can’t even see this “lack” of

4. More information
You can find a complete step This is a really well used
by step breakdown later in the technique which can be seen
document (if you have access in a lot of games, including
to the PDF, you can find this on Farcry 5 for example.
Beyondextent.com), which
goes over the different steps
you have to take to get This workflow can also be
combined with trimsheets,
through the whole process, decals and more for additional
from setting it all up, to the details.
mask generation and the UV
setup.

Masks and Tileables Workflow

Back to Table of Contents 32
 Hybrid Trimsheets Workflow

Introduction
This one is named as such because it's a combination of unique and trimsheet textures, adding reusable sections in the Unique
Textures to make them a bit more versatile. Let's talk about it a bit more.

1. Overview
Using a combination of unique A good example for this are
and trimsheet textures this is a cables, wiring, pipes, etc...
great technique to make your these need only a little bit of
trimsheets more unique with room on your texture to support
some additional unique the geometry it can be built
elements. Usually we look at with. So instead of filling out he
this the opposite way where space of the texture
we add reusable pieces into completely with a trimsheet we
the texture to add more just need to make sure to add
versatile sections onto the a little space for unique
texture itself. elements to allow us to fill them
with unique textures.

2. Pro’s
The big advantage to this And even with smart use of
technique is that you are your texture you can get more
adding bit's of unique texture specific details like dirt or
to your trimsheet to make them damage on your textures. This
more unique and get rid of the makes it perfect for unique
typical "Trimsheet" look. Which textures that are to big to
is great to give back artistic texture them with a normal
control over specific bits of unique texture.
storytelling or narrative that
you want to add onto your
models.

3. Con’s
The limitations of this technique aren't fully loaded in by other
are that we make the assets that don't need those
trimsheet way less shareable unique details.
between different assets in one
scene.

The more specific stuff we add

to the texture the less usable it
is on other assets or it becomes
heavier on performance when
doing so, as you are potentially
loading in a texture that you

4. Additional Information
Usually this is something that Hamish Ames also offers a
people figure out through the great free PDF on the topic as
limitations of using Trimsheets well, which you can find on his
for a while and want to add a Artstation, so make sure to
little bit of uniqueness to them. check that one out!

For some more resources we

actually had a workshop on
this technique which you can
find on YouTube.

Hybrid Trimsheets Workflow

Back to Table of Contents 33
 Detail Textures workflow

Introduction
Sometimes also called secondary textures are mostly used on characters for skin, rocks or other natural assets that are too big for a
base normal texture by themself.

By adding an additional layer on top of it we can add extra details on top of the already existing texture which makes it look way
better up-close.

1. Overview
A workflow that is mostly used This is a great little tricks that is
on rocks, cliffs or other natural also scalable, because these
hard surface elements. it natural assets are pretty huge
makes use of your base most of the time and can thus
texture, which in most cases is not really support a texture that
unique. And then adds extra fit's their texel density most of
details textures on top of that the time.
through the use of a detail
normal map.

2. Pro’s
It's a great and relatively Another great thing here is that
cheap way to add a layer of you can control this layer
crisp details on top of your independently from the base
textures, these textures can layer, and you can scale it on
also be reused on multiple the fly if you want. Allowing you
different assets throughout your all the control and optimization
environment too. you would want.

3. Con’s
Usually this workflow is only So be careful on how intense
used for these natural assets as you go and make sure that the
they are very noisy by themself textures you're adding on top
and thus the texture detail we of them are well balanced and
are adding on top of it will don't add too much.
work to it's strength here. That
being said, this layer of noise
can end up feeling, well, noisy!

4. More resources
Mre on this workflow are usually textures together called
found under "Detail textures" if "DetailTexturing" which also has
you search for it, but it can also some documentation under
be found under "detail "Adding Detail Textures".
normals" as this is the cheaper
and more widely used
approach just with a normal Unity also supports "Detail"
textures as standard materials.
map.

Casper wermuth also shows a

In Unreal Engine you already more in depth version of this in
have a node available for his tutorial
blending detail and base

Detail Textures workflow

Back to Table of Contents 34
 Mid-poly (Star Citizen) workflow

Introduction
This workflow (often also called the Weighted normals and Decals workflow) is picking up steam just because of it’s versatility and
because hardware is getting more powerful removing restrictions on the amount of poly’s that you can throw at it. The most typical
example is Star Citizen ofcourse, but games have been using and continue to use different implementations and variations of these.

But let’s give you an overview on how this differs from the traditional pipeline.

1. Overview
Heavily used in star citizen and with “Face Weighted normals”. Digital Foundry: Star Citizen's Next-Gen Tech: Micro-Level Detail

probably the ones that are

carrying the banner when it They then combine this with the
comes to this particular use of tile able materials as a
workflow. base and then add additional
details on top with “Parallax
The workflow itself uses a higher occlusion decals” (more info
amount of polygons in general on what Parallax is in our
as instead of baking the bevels Compilation or blog #52)
down from a highpoly mesh
you just model simple bevels in
and then solve the shading

2. Pro's
It makes it easier to iterate as feedback you might get during
you don't need to go back to the process.
baking with this workflow and it
also allows you to combine It's also way more scale-able
lower resolution textures since usually the base of it relies
because you aren’t relying on on a tileable material and a
unique textures for details but decal sheet for additional
add them with decal textures. details. So if you need to
change the base material you
It also allows you to easily can just plug in another tileable
make adjustments on the material and you are good to
shapes and work around go.
Matthew Trevelyan Johns

3. Limitations
The main limitation is in most behind this to make this less of
engines that POM decals have an issue, but you can still tell in
a limitation in viewing angle, so some area’s.
this means that if you look at
Parallax at really harsh angles Also, a lot of planning needs to
you can tell that's it's faking the go into the decal sheet itself
depth of them and you can and can become tricky to add
even see the pattern in some specific things onto the more it
cases. fills up, so a lot of
experimentation or planning
From what I've seen Star Citizen needs to go into this.
has put some extra resources

4. Looking for more on this?

Star citizen is the example for minimacman/blog/gwY2/high-
this and there are some great detail-pom-decals-inside-ue4-
video's by digital foundry brief-reference-guid).
(https://www.youtube.com/
watch?v=TUFcerTa6Ho&ab_ch But it’s not unique to Star
annel=DigitalFoundry) Citizen tho it can also be found
in other games to varying
There is also a great degrees like The Ascent more
breakdown on how to achieve recently.
this in Unreal by Thomas
Woodward's blog (https://
www.artstation.com/ Star Citizen

Workflow Overview: Midpoly Workflow

Back to Table of Contents 35
 Reuse in environment art

Introduction
Let's dive into the topic of Reuse and Modularity for Environment Art, I wanted to call this Modularity in Environment Art at first, but
people might get a bit confused because this comes with a specific type of reuse, so here we go.
Reuse and modularity is something that is well know in the games industry as the limitations are everywhere especially when building
Environments. These will help performance greatly and are a great way to optimize your scenes and games.

1. Texture reuse
First up in the list is texture move them around. This
modularity. applies to all the different
texture maps, for example you
can use multiple normal maps
There are many different on the same asset.
techniques that you can use
when it comes this specific
types. First one is the most Some other examples are
common one, tileable textures, trimsheets or channel packed
which are modular in their own textures.
right, because you can blend
between multiple textures,
scale them up or down and

2. Mesh modularity
Mesh modularity is specific to generic pieces that are there
modeling and Unwrapping, this to solidify the structural feel of
stands for is the reuse of certain meshes in the world. Making
parts of the mesh. For a simple these over and over is just a
example, using symmetry on waste of time, bake them all
the mesh making it so that you down onto a large decal sheet
only use half of the UV space and keep reusing them on your
compared to unwrapping it in models.
full.
Additionally to this save the
Another example could be source file in your library!
cables, bolts, nails, etc... The

3. Material use
The following section might be plus will save you time creating
a bit specific to Unreal Engine them! We can then create
as this is my preferred engine some additional variation using
to work in, but can be applied vertex colors, masking, etc...
to other programs as well in This in combination with
different ways. So if you are channel packing we can make
really looking to save your a really performant
budget, you can texture a full environment.
environment using one master
material and accompanying
Material Instances, this will be
way cheaper than using a
bunch of master materials ,

4. Asset modularity
What we mean with modular etc... With all these pieces we
environments is that we are can then build our full
trying to split up a full environment.
environment into multiple
pieces that can then be You can see these as big Lego
reused in ways to make
different sections of that pieces, we want to find a
balance between the
environment. granularity of the assets and
the quickest building
So for example a building kit experience.
that is split up into multiple
different walls, pillars, windows,

Reuse in environment art

Back to Table of Contents 36
 2nd UV Workflow - Base setup

Introduction
We're diving into the workflow that I recently started using in my personal projects. So if you are using tileables or trimsheets and are
wondering how to make them look really good with additional layers, then this one is for you!

1. Overview
If you're using trimsheets or trimsheets or tileables.
tileables you will quickly start to
notice that they feel flat and There are some new costs that
don't allow for additional come into play though, one is
details to make them look as the extra UV set and another
refined as unique textures. are the masks that we use.
These masks are usually
This is where we can start using packed in different RGBA
a second UV that will give us a channels and are often lower
unique unwrap for the object, res then the actual texture
and we can use that to layer resolution. (More info on what
multiple masks on top of these “Channel packing” is can be found in the
our Environment Art collection.)

2. Setting up the second UV

Go to your asset that you want I can just pack all the islands in
to use and make sure that my second UV channel. We're
you've unwrapped it properly looking for a nicely packed
for your trimsheet or tileable and unique unwrap that
already, this makes it easier to doesn't waste too much space.
make a second UV channel.

In my case using a trimsheet I

can quickly and easily setup a
second UV channel because I
unwrapped my first UV already
an squared most of the UV's, so

3. Destructible part of the workflow

Now that we have this setup this duplication will mean that if
and because Painter only you adjust the UV mapping of
allows painting on the first UV the base you will need to redo
map (unless using UDIM's) we need the duplication part. Minor
to duplicate the mesh and adjustments are easy to do but
then get rid of the Trimsheet UV adding new things will force
so we can start painting on the you to go back.
Unique UV and building up our
masks. Keep this in mind and do this
once you are happy with the
The reason why I call this the Unwrapping of the trimsheet/
destructible part is because tileable layer of the asset.

4. Setting up painter file

Set's setup the different drop in other assets and have
channels that we will be using, the same sort of outcome.
for this I use the Custom
Channel (“User”) 1-4 for the This part can improved a lot
different Channels that will tho, you can build your own
eventually be packed into a
single texture. smart material to handle this
and also you can automate a
lot of these steps so you don't
I have multiple groups setup, have to do it all by hand.
one for each channel and
then build up the masks with Which I want to experiment
Generators to make it easy to with more later on.

2nd UV Workflow - Base setup

Back to Table of Contents 37
 2nd UV Workflow - Mask Generation

Introduction
This blog entry follows last weeks introduction to this topic “2nd UV Workflow - Base Setup”

Now that we have the texture done and we have the models setup we're ready to dive into Unreal Engine, where we're going to
finish this little breakdown with our setup in Unreal Engine.

1. Starting out
Baking lowpoly to lowpoly Setting up groups for different
channels
We do this to generate some
information that we will be Now for every channel that we
using in the generators for our eventually want to pack in our
non-destructible mask setup texture we set up a different
later, the masks generated group so that it's easy to
there such as AO, Curvature, recognize which group is for
Position etc... will then be used which channel too.
in these.

2. Keeping it non-destructible
Using Generators advantage of all the maps we
Really useful to start. In this baked in the beginning and is
case I'm looking for a dirt mask, just a projection from all sides
so we start out with a "Dirt" on top of the assets.
generator and adjust some of
the values to where I'm happy Filters
with it, so lot’s of dirt for the dirt These can add on top of the
mask and less dirt for the moss generators and projects to
for example. make them more unique and
break away from the
Tri-Planar Projections generator look.
these doesn't make

3. Different masks
So every mask that I use is built BLUE starts out with a "UV Color
differently in this same way, for Random" at first, this gives each
this prop the RED = dirt, GREEN separate UV islands a different
= moss, BLUE = color variation shade of gray (that we use in
and ALPHA = water. Unreal as color overlay
strength), then we can add
additional tweaks on top of it.
RED and GREEN are roughly the
same with a dirt generator as a
base and then projections, ALPHA is for water damage,
filters and a paint layer for little just using different alpha's as
personal details. projections, to make it look
more like water damage.

4. Details and other meshes

If we want to add additional Now we can just drag in the
details to this setup we can asset, bake lowpoly to lowpoly
add a paint layer on top of the again and then we have the
stack and paint in some same sort of texturing style as
additional details to make the other props too and allow
them more unique. For you to quickly go through a ton
example I need to go in of assets.
manually and remove some of
the AO that is baked, because Just make sure to save your
it will show the mask through asset under a different name if
the opacity. you want to come back to it.

2nd UV Workflow - Mask Generation

Back to Table of Contents 38
 Second UV Workflow - Unreal Setup

Introduction
This blog finalised the series on how to use the 2nd UV workflow, this time being specifically for the shader setup in Unreal Engine.
We'll dive into the shader setup, some material functions, additions to the shader to make it more customizable and more...

1. Unreal Engine Shader

This might seem like a big bowl The biggest section are
of spaghetti right now, but in definitely the materials layers
fact it's not really that that are blended, a lot of it is
complicated. In this one we hidden inside of the material
are going to break down. functions which are the bigger
nodes that have a lot of
connections.
We have four different section
here, two are for blending
material layers that use
textures, one for color variation
and one for water damage.

2. Material functions
Material functions allow you to use a normal lerp node).Then
combine a bunch of nodes the output of these nodes we
that you reuse over and over in then combine into a material
a separate setup. The function attributes node again so we
takes all inputs and blends keep it nice and clean.
them together. (basecolor A
with basecolor B, etc...) using a I also use a function for the
Height Lerp, then I add a color variation, taking the
multiply of the vertex color and basecolor texture and adding
the mask we get from a color on top of it based on
Substance painter and add the mask that we get for
that to the transition phase of Substance Painter.
the Height Lerp. (You can also

3. Customisability
Mask Contrast Vertex painting
Adding some simple "Contrast" I like to build a lot of modifiers/
after our masks we get from customisability into my
Substance painter will allow us materials, so we already have
to change how tight we wants these masks that we get from
these masks. Keep in mind that substance that are really
we need to have some Grey amazing, but I'm taking this a
values to give us something to little further by adding vertex
work with when it comes to paint to it too, this allows me to
increases in contrast. disable different layers based
on vertex paint on asset
instance base.

4. Limitations and workaround

The reason why I don't have 4 However, you can avoid this by
different texture layers setup is ignoring this limitation if you're
because there is a 16 slot only building for PC anyways.
limitation to the amount of
texture samplers that you can You can do this by setting the
use inside of the material. texture sampler's to Sampler
Source > Shared: Wrap.

Second UV Workflow - Unreal Setup

Back to Table of Contents 39
 Planning your trimsheets

Introduction
Trim sheets are the bread and butter for environment artists, so today let's have a look at how we go abut planning them.
We’ll be diving into what makes for good trimsheets, building for different scales, how to start blocking the shapes and more.

1. Good Trimsheet conditions?

The main thing I look for when layer on top of it for example
thinking about trimsheets are: through a shader.

Reuseability: Feel free to mix it up, my

If you have a scene with loads example will be dealing with
of recurring elements then you wood in isolation, but you can
know you can turn those into combine multiple materials into
trimsheet elements. one comprehensive trimsheet
to even texture a larger section
of your scene.
Adjustability: Use your
trimsheet in more then one
way by just adding a paint

2. Break down different scales

First, let’s find the biggest The next step is then bridging
features that can be textured the gap in between them, we
with our trimsheet and then want to do this to allow for
find the smallest thing and then stretching of the different UV
make pieces that can islands if we need too.
accommodate both of them.
I did this by simply scaling the
So in my example the biggest larger section in half, and then
thing are the thick wooden we have one shape to bridge
beams and the smallest the gap between large and
section will probably be the small.
sides of the planks.

3. Blocking in shapes
So now that we have to give us an idea how many
something to work with it's time pieces you need to make the
to start blocking in the pieces set work for you.
(you can also do this in 2D! if
you prefer and are faster in it) Make sure that these sections
So first of all let's just make a also stick out from the template
plane that we have can use as if you want them to tile in either
a guide for our different direction. For example my
sections. planks are longer then the
template to make sure the
Then we can start blocking in edges continue if I we’re to
simple sections with primitives add longer sections.

4. Keep some open space

Last trick, but such a good one If you don’t have any open
to keep in mind when building space anymore on your
trimsheets. trimsheet you are going to
have to either move the
existing stuff around or waste
Sometimes in the later stages budget by adding a new
you notice that you need texture for these items.
some extra space on your UV
set to add some little sections,
like for example adding little Have fun creating!
nails, bolts and broken sections
on my trimsheet.

Planning your trimsheets

Back to Table of Contents 40
 Trimsheet - Adding details

Introduction
Building a trimsheet isn't as daunting as it sounds, so let's dive into some techniques on how to add more details to these pieces and
how to prepare them for our baking step.

1. Adding bevels
This is following straight from We can do this with adding a
the last weekly tip we did abut single bevel to all of our edges.
trimsheet planning, at this This will make it so that if we
stage we already have a bake that information down
blockout of the shapes that we we face a bevel into the
want to have in our trimsheet. texture, if we do this on both
It's time to start refining them a sides then they should align up
bit more. In this case, because nicely.
we're working with wood, we
want to have a nice transition
between the edges of the
wood going to the top sections
of the wood.

2. Adding Details
This also differs from trimsheet For example, those nice bevels
to trimsheet, some hard we added before, we should
surface ones don't need a try to keep them intact,
details pass, you will most likely especially at the edges. If we
doing that from the start don't do this then we might
anyways, but for this specific end up running into issues
trimsheet there are some where the two sides of a
additional things we need to wooden beam meet.
keep in mind when we're
doing a details pass on it.

3. Mesh decals
Trimsheets can only be the We need to keep spacing in
trims we've been working on mind for these meshes tho, if
until now, but you can also be we put them too close to each
a little more creative and add other we run into issues where
some details to your trimsheet we might need to add more
too, I chose to do this in my geometry in the lowpoly to be
example so we can get some able to cut them out without
extra damaged sections we intersecting with any of the
can add as see-through other mesh decals.
geometry on top of our normal
geometry.

4. Baking it all down

Baking distance: First thing we more tips on this in "Substance
need to keep in mind, we Painter Opacity Map Bake" or
need to make sure that our (Blog #97)
bake distance is large enough,
so in this case that is a plane AO causing issues: Especially
above our lowpoly that will
capture all the information in when using floaters, make sure
that you give them enough
between. space between elements to
AO baking won't have an
If Baking opacity: You will need effect.
to do some thing to make it
easy on yourself, you can find

Trimsheets - Adding Details

Back to Table of Contents 41
 Trimsheet UV Tricks

Introduction
This time we're going to be focusing on UV tricks that you can do when you already have your trimsheet setup and ready to go. If
you are wondering how to create them, check out the previous entries about planning, and creating a trimsheet.

1. Use Snapping
This time we're going to be Snapping will greatly increase
focusing on UV tricks that you the speed of which you can
can do when you already iterate on getting UV Islands to
have your trimsheet setup and align with your textures, this is
ready to go. If you are especially handy in our case if
wondering how to create we want them to snap with the
them, check out the previous sides of the wooden sections.
entries about planning, and
creating a trimsheet.

2. Making tileable sections

Working within tight restrictions For example in my case we
and limitations is often times can use a section of these 4
the thing we do most so saving beams to make a tileable
a texture can make a big section out of, if we then add a
difference. So instead of couple of these right beside
making a fully tileable texture each other we can get pretty
of the item we need, maybe far!
there is already something on
our trimsheet that we can use
to make a tileable section out
of.

3. Curves and bend

what about curved sections? We do need to add a bit more
Well, don't overthink it too geometry if we use this method
much, we can just add because we can't fake a nice
geometry to it and start curve with a unique texture like
deforming them without we would do in other cases, so
touching the UV's. adding more geometry is a
solution to this.

4. Be creative with it
Don't let these couple of tricks Another interesting example is
stop you from trying something the interlocking bits of
else tho, you can do a lot of geometry to create an
amazing stuff with trimsheets interlocking wooden floor like
and a little bit of geometry. seen in Half life: Alyx

And also with combining them

with unique sections or mesh
decals you can build a texture
that is super versatile and
allows you to texture a lot of
the assets in your scene.

Trimsheet UV Tricks
Back to Table of Contents 42
 Channel packed textures

Introduction
Channel packing is one of those great things to save texture memory and reduce the number of instructions that materials use
inside of Unreal Engine, which will reduce the footprints on the memory for them.

1. Channel separation in Photoshop

You can find the individual It is the easiest to copy them
channels inside of the channel over from another PhotoShop
menu (next to the layer menu file into this file.
by default) and if your image >
mode is set to RGB or anything
not grayscale.

To copy these individual masks

it is the easiest to deactivate all
the other channels that you
don’t want to affect.

2. Substance Designer
If you are doing texture method.
generation inside of Substance
designer then you need to
keep an eye out for the RGBA -
Merge node, this will combine
the selected grayscale maps
into a single texture.

This can then be used in the

same way as the other
methods, but is a far easier

3. Substance painter
There is already a pre-existing and simple to export all the
preset for this to export all the maps you need and then hook
different channels to them up in the Unreal Engine
combined textures. material.

The one that I use (because I

use Unreal Engine so much) is
ofcourse the Unreal Engine
preset.

This preset makes it sure nice

4. Texture preview
Now that we generated the left and there you can filter the
texture and imported it into different channels.
Unreal Engine we can have a
look at all the different
channels using the Texture
Preview.

To do this, you need to double-

click the Texture and in this
view you can click the little
drop-down menu on the top

Channel Packed Textures

Back to Table of Contents 43
 Pipeline Introduction

Introduction
This allows you to copy and past bits or entire materials to a text file. You can also do this with blueprints as well, allowing you to
quickly save and share important bits of materials and code.

A really handy trick because it is so simple in it’s use.

1. Pipeline overview by focus

MODELING TEXTURING OPTIMIZATION PRESENTATION
Hard-surface: Baking: Exporting: Game engines:
3DS Max and Maya are Let’s start out with Normal Map Some really handy trick for a For presentation purposes you
probably the most know or baking, Substance Painter is small optimization, but more can go a lot of routes here and
typical 3D softwares used in probably the most than necessary when working the one that I like to do is
most modeling pipelines in straightforward option because with modular kits is getting a present them inside of a game
studios. Blender is good you can bake and texture in good batch exporter tool which engine, which shows that you
example for a really solid the same program, but there will set all your meshes to 0,0,0 can take an asset through he
upcoming 3D package with are some other great options and export it to a selected full pipeline. Most commonly
integrated sculpting options like Knald or Marmoset Toolbag folder, huge timer-saver so these will be Unity and Unreal,
and an increasingly interesting with nice realtime cage make sure to look one for your and I would say out of the box
toolset with a strong supporting adjustments and skew painting. program. Unreal is more artist friendly.
community offering a bunch of
plugins. Other options can Painting: Poly-reducing: Standalone:
include Modo ,Sketchup ,etc... Substance painter is the king When it comes to optimizing if you are looking for even more
when it comes to building your your models there are lot’s of artist friendly and standalone
Organic: own textures, especially different ways of doing this and programs, then having a look at
When looking at making because Quixel Suite is no almost all programs have some Marmoset Toolbag is probably a
organic models the first one longer being actively worked ways to do this, but still the most good way to start, allowing you
that comes to mind is Zbrush and and replaced by other reliable one is going to be to quickly import textures and
known for being an innovative standalone programs. Zbrush because it generates the models to then light and do
sculpting program and really The non-destructive masks and cleanest flow onto the model. some post-processing as you
nice for retopping and generators workflow that That being said, if you want see fit.
optimizing your meshes. Some Substance painter uses is really complete control nothing beats
other programs such as Blender nice and will allow for quick retopping by hand if you need Obviously, these are not the
and 3Dcoat, but as of writing iteration. stuff to be really specific! only options to present your
this, Zbrush is still the most projects in and there are some
known program. There are Procedural: Lodding: really nice ways build into your
other programs like speedtree, Substance Designer has been Again, best result when done 3D packages like Maya, 3DS
tree-it, etc... that are suited for here for a while now, and it manually but there are great Max, Blender, etc...
making something specific. remains a really fun node- options to do this, other than
based program that allows you some built in tools that reduce All the different programs might
Procedural: to fully procedurally make your your model (only geometry and make it more difficult to choose
A little section to the side, but own materials will all the don’t take into account number from them, and there are a ton
probably the most important adjustability that you can of materials etc) there is also the more than I list, or could ever list.
one going into the future are decide on yourself. option to get Simplygon (used in
procedural tools like Houdini most studios) which will take
and other integrations into control of this step and optimize
programs like it. the mesh and textures for you.

Pipeline Introduction
Back to Table of Contents 44
 Damage Decal Workflow

Introduction
This time we’re looking at the damage decals workflow. Where we use a layers of decals on top of our base mesh to add damages
sections to our assets. Which is really useful for games with a lot of broken architectural or rubble pieces.

1. Overview
It’s part of different mesh decal
workflows, but when people
refer to damage decals they For this to work you need your
are more specifically talking base mesh with a tileable
about decals that add texture and then where you
damaged sections to your want damage you add
assets. Like let’s say you have another piece of mesh on top
concrete pillars that are of your base that had the
broken and you want to damage decal (texture with
differentiate the broken opacity map applied to it)
section from the non-broken added to it, so you can get a
version. nice looking damaged section.

2. Pro’s
It’s really versatile, where once Another pro to this workflow is
you have a texture filled with that it’s super easy to work
different damage Decals you with, because you can just
can keep reusing this one over remove/switch out textures for
and over on appropriate these damage decals if
meshes with the same texture. needed and if you have laid
them out in the same manner.
Which in a game setting can
save you a lot of drawcalls /
texture memory and will thus
make your technical artists
happy.

3. Drawbacks?
The more traditional approach polycount budget, since you
to this technique is definitely to will have to add a whole lot of
have a decal that’s mesh for adding these decals.
standalone (see example on
the right) so if you are going Another minor drawback is that
that way you can’t really use it you can’t easily more them like
as a “Normal Decal” anymore. you can with projected decals,
Depends on how unique you so you will have to go back to
go for this look. your 3D program of choice if
you want to update the
This technique is also more position on the model.
expensive in terms of

4. More resources?
An expansion on this: see the workflow of creating
If the decal itself doesn’t look one yourself.
to unique we can also turn
them into “Normal decals” that Also one of my favorite blogs
are used to specifically only (Simon Schreibt) that always
affect the normal map of the
underlying object. inspired my also did an
excellent breakdown of this
technique used in fallout 3, as
If you want a video overview seen here: https://
you can head over to this link simonschreibt.de/gat/fallout-3-
here (https://youtu.be/ edges/
FPzPGm_WB7E) where you can

Damage decal Workflow

Back to Table of Contents 45
 WORLD
03 BUILDING
 World & Location logic

Introduction
To construct a believable ___location or world we need to focus on building a solid supporting logic for it, it acts like the foundation of
your whole environment, allowing you to go back to it if you are ever lost and find your footing again or even expand on it.

Brought to you by some holiday pictures :D

1. What does this mean?

We talked about this in a make it feel alive, believable
previous blog post but it might and grounded in reality.
be worth looking into this topic
deeper than we did back For this we need to start out
then. with planning the ___location and
thinking about some questions
When starting out creating we need to ask our self.
your own ___location it’s
important to establish some
rules and guidelines to
establish the ___location and

2. Form follows function

What is the function of the yard, to repair smaller ships, a
___location? Is a great question to local fishing shop near the
ask about your environments. docks, the docks itself, small
village, etc...
This question allows us to figure
out if we want to build a fishing All these things are there
village that this ___location is because they follow the
going to require a body of function of the place, because
water, but also so much more! people need to eat, etc…

For instance a small docking

3. History
Manmade Natural
For instance a museum that is A small settlement that grew
now re purposed as a military over time and now has an old
base can add a lot of interest part of the village versus the
to such a ___location, how would new part build in a different
people re purpose that style with different construction
___location to make the most out materials. Like you see in most
of it for their own purpose? major cities that have been
around for a really long time.

4. Keeping it logical
When coming up for ideas for a that you need to keep
___location, make sure that you checking if the environment
keep it grounded in reality. makes sense for yourself and
maybe show it to someone who
When talking about this you hasn’t seen it before at a stage
can look at the 80/20 rule, so where all the elements are in
80% grounded in reality and and make sense for you so you
20% imagination. can double-check that way.

Hope this helps!

The thing that is important is

World & Location logic

Back to Table of Contents 47
 World Building - An Overview

Introduction
World building is super important for games in general, people want to be immersed in worlds and want to feel a part of them. So as
game developers we do the best to give you the richest possible world so that you can really feel immersed in them. Let's have a
look at an overview of this.

1. Introduction to worldbuilding
World building has many the one we live in right now.
different facets, but in it's truest
meaning it literally stands for As for environment art
the process of constructing an specifically we will most likely
imaginary world in which in our take inspiration from the
case our players can then go narrative setup by narrative
on adventures and explore all designers and writers (or a
the facets of that created "bible" in some cases) which
world. Which if done correctly we can then turn into art assets
and with enough room for to make a space from.
creative input it can create
stunning results that do a good
job of being as elaborate as

Farcry 5

2. World building in environment art

When we talk about world We can implement this on so
building we have full control many different levels, this can
over the implementation on be by placing rocks and
the visual level, which is an sculpting terrain in a specific
awesome power to have. way to indicate a possible
Especially in the combination landslide, on the asset level to
with level design and if the two tell micro stories that tie into the
come together in the creation larger world narrative and
of a nice playable space that more... The possibilities are
looks good and tells a story, endless and awesome!
which is where we come in!

Red dead redemption 2

3. Balance between different aspects

Now when creating worlds in When it comes to games in a
games there are a lot of lot of cases the game can look
aspects and disciplines that at well constructed and pretty
come together to create this as it should, but if it runs at 5fps
world. For most games if not all and is boring as it can be then
games is that the gameplay who will play it? So in most
comes first, and many cases art can not be pushed as
worldbuilding aspects come to far as we as artists want it too.
life specifically to support to
gameplay.

Control

4. World building elevates the experience

This is the best part of the job, So don’t underestimate this
in all aspects of Environment section and build your own rich
Art really, people are looking worlds that people want to
to play games that engross explore for themselves.
them into the world and the
stories in that world. So we as
the visual representation of
that should be proud of
owning a small part of it and
really be proud on bringing this
visual experience to the
players. Ghosts of tsushima

World Building - An Overview

Back to Table of Contents 48
 World Building - Basic human needs

Introduction
So let's dive into some specifics when it comes to world buildings that's applicable for us Environment Artists. This is super useful to start
with in the beginning when planning your next piece (but can still be applied during working on it). Starting with basic needs!

1. Why do I need to think about this?

This might be the first question open the space for mini stories
you might ask yourself. But this even if it's just a single image.
is important for the creation of When you start thinking about
scenes, especially when the following points, it will
creating worlds that are inspire you to create new
interesting for people to unique assets and those will
explore and to view. It will make your work stand out
elevate your environments more.
from being nice technical
achievements to a world. The following examples can be
applied to individuals as well as
This will add depth and will collections of people. Assassin’s Creed Origins

2. Water and food

Water: The most important Food: The same applies for
source of life (if sticking to the food as well. Do they hunt? Is
human realm of course). everything automated? etc...
Finding out where people Even when building
have access to it, transport it abandoned or destroyed
and store it can really open up environments how we think
some interesting possibilities. about this factors will still have
For example on a planet that is an impact on how we
always freezing. Water, construct these environments.
collection, storage and
transporting it is totally different
compared to earth.
The Division 2

3. Clothing and heating

The same applies to the Also are the clothes linked to
clothing they wear, even what how they stay warm? if not
kind of clothing is is self-made then how do they stay warm?
(hinting at a lack of These can all have a big
commercial infrastructure or impact on the types of
rural life), super fancy (hinting structures, what kind of
at high society), has reinforced equipment they would use to
parts, military colors, metal keep them self warm and
plates, (think post apocalyptic, survive.
mad max style) maybe a
combination of them all!
The Witcher 3

4. Safety and protection

Then last one for this tip, safety traveling traders, that would
and protection. Are they a then mean that they don't
peaceful society? A smaller need weapons, have
community? Nomadic tribes? equipment to hide in hostile
all these things have impact on terrain and probably travel a
where they live and how they bit lighter then others to be
live. All of these factors have a agile. If you apply this type of
good impact on the assets you thinking you can quickly start to
make. build up a good foundation
that can really serve you in
creating your own unique
Some examples: The people in world or scene. Good luck! The Division 2 Concept art
your scene could be peaceful

World Building - Basic human needs

Back to Table of Contents 49
 Who’s in your environment? - Part one

Introduction
When thinking about world building, the people living in the world or scene you are building are just as important, even if they are
not visible they can still have an impact on the scene. So let's discuss some of the influences they can have.

1. Characters in Environment art

This is a subject that a lot of When you take this step and
environment artists might not you think about the their
be a really big fan off (Trust background, their skills and
me, I'm in the same boat). But current narrative it can really
over time I realized that there is open up for some great
no way around narratives in opportunities when thinking
your scenes without involving about assets to create for your
or at least thinking about the scene. So let's explore this a
people that might be a part of little bit.
them too. This also applies to
scenes that have no physical
people in them. Steven Hong - The Goblin Den

2. Their background
The origin of the person or And this is all without the
people is an important factor, person in question even
there are so many interesting making an appearance in the
ideas when it comes to it. picture themself, that's what
Especially when reflected in makes for some good
the environment itself. For environmental storytelling.
example in the scene on the
right by Martha Niemczynska The scene would look totally
you can see that this is a different if the person here had
person who is anti a different background.
establishment, a hacker, and
that he/she is on the run now Marta Niemczynska - Cyberpunk 2077 Fan Art
after their hit.

3. Cultural backgrounds
Another big category that can It doesn't have to be your own
have a massive impact on the culture either, if you do some
scene, you can really pull from good research in cultures,
your cultural background. For there is some awesome stuff
example what does a waiting to be found and can
skyscraper look like set in X push your world building to the
culture, whole world like the next level by picking on
artwork by Jeryce Dianingana. element and giving it your own
Really tapping into his own spin. This can both apply to
cultural background for both a macro and micro scale
inspiration leading to an in your environments, from
amazingly refreshing style that's massive buildings or entire cities Jeryce Dianingana - Wakongo Hotel
inspiring a lot of people. to a single prop.

4. Class & wealth

Lastly for this week's entry, let's just to get by on a day to day
look into wealth and class (with basis. Reflecting this in the
this more the upbringing of environment by having
someone). We can tap into this sewage water running down
by portraying a fancy mansion the street etc...
with lavish gold trims and
painting from the person to Think about the witcher without
indicate that he/she is really it's unique setting and reliance
proud of them self and that is on Slavic myths and role, that is
the only thing they care about. such a big part of that game.
Or we can do the opposite So make sure that you use it to
and show off a slum area Ivanna Liittschwager - Old London Slums
your advantage.
where they have to scramble

Who’s in your environment? - Part one

Back to Table of Contents 50
 People’s personal motivation

Introduction
When thinking about world building, the people living in the world or scene you are building are just as important, even if they are
not visible they can still have an impact on the scene. So let's discuss more of them in the second part.

1. Political alignment
So the first one is a thing that There are so many things you
games love to play with more can pull from here that can
and more especially in these make your scenes super rich,
politically divided times and where it's a utopia on the brink
that is the political alignment of of falling victim to a radical
the people in your scene. movement trying to break it
However, it doesn't have to be apart or vice versa, and it
radical to influence your world doesn't have to be black and
that you want to create. It can white either, there is so much
totally be a utopia as well! space in between, so use that
to your advantage.
Edit Ballai - Utopia

2. Personal beliefs
Allright, for this one let's have a Could be such a fun little scene
little fun! What if you make an to work on and would definitely
environment that is a flat pull some attention to itself
earthers den/garage. Imagine even if that theory is totally
that person building there own bonkers! You can apply this to
rocket to see for them-self if kids rooms believing that super
the earth is flat or not. There is heroes are real, a scene about
so much good stuff from maps santa's workshop, etc...
with ice walls surrounding the
earth, model and blueprints of
rockets, posters calling out
NASA for being fake. Beeple - Flat earth sunset

3. Religious beliefs
One of the main reasons that scene of a cult, playing on
pulled me to Farcry 5 and religious beliefs that people
playing that game (even if the have and all the outfits and
game itself was a little looks that come with that. You
disappointing at times). So could even push it into a more
there are entire games that horror directed scene and end
are build on this section alone, up with something more like
so you can pull from this outlast 2 for example.
section as well.

For example you can go this

direction of depicting a hidden Farcry 5 - Concept art

4. Education and other influences

Now there are so many So I want to leave you with this
directions to pull inspiration though, is that you need to
from and we haven't discussed take the time to think about
them all here, like Propaganda the people in your scene, why
and how that influences a they are there, how they got
character and adds to the there, where do they get their
world either visually or through food etc... There is such a
audio, same applies to wealth of inspiration at your
educational background of fingertips if you just look for it
the person involved, their
upbringing and so much more.
Bryan Koshu - Propaganda posters

People’s personal motivation

Back to Table of Contents 51
 Nature’s impact on world building

Introduction
In the previous couple of tips sections we've been focusing a lot on the people involved in your environments, so now we're going to
go back o our comfort zone and talk about the environment itself a little more, specifically natural elements that can have an
impact are under our control when creating an environment.

1. The weather conditions

The weather is a tool that is heavy tone, you can always
often used for emphasising a use rain to further push this
mood in your environment, mood. On the opposite side
while not often done by the you can use the rising sun as a
environment artist them-self sign for hope and in case of
when in the industry, in your most survival games that you
personal pieces it's good to survived the night. Happy and
pay some extra attention to loving moods can be
this aspect. emphasised by using the
magic hour type of lighting
For example if you want to (around 6ish as the sun goes
down). Don't underestimate
emphasise a really sombre and the power of the weather.

2. Terrain features
Terrain features also play a big example. Especially if these are
an important role when doing used in contrast to really up the
natural environments, for dramatic impact. More directly
example having a big hill right related to environment art, you
in front of you with a big can use terrain features to pull
structure on top of it can really the player attention to a
feel overwhelming and certain point. These are some
intimidating and on the excellent examples of player
opposite side you can build a leading and more on that
lot of intrigue by using smaller topic can be found in our tip
spaces and gaps in rock “Terrain features for player
formation to signal that there leading”.
might be a hidden path for

3. Water, rivers and streams

This goes together with other Because of this bodies of water
items on the previous list, serve as a natural point of
where people need water to reference in that world and
serve their basic needs (In can be used by players to find
realistic scenario's) but these their way though locations
can also serve to support the using them as guidance.
world building. If we look at
history, settlements have
always started around bodies
of water or near a river, and
then expanded outwards using
irrigation methods.

4. Altitude and verticality

"If you can see it, you can go to try and incorporate some
there" as said by Todd Howard height variation in your own
when talking about Skyrim. scenes, giving you a more
Players will always use height natural looking scene. Even
as places to get an advantage minor variation in roads or just
or just to get their bearings and "flat terrain" adds a lot of
figure out the next places to natural feel to it.
go.

So when constructing your own

scene, keep this in mind. Plus
just in general, it's a good rule

Nature’s impact on world building

Back to Table of Contents 52
 Landmarks and Points of Interest

Introduction
This time we're going to be diving into a concept that is used in almost all games, especially the open world ones and will help the
player find his way in massive open world environments. These being "Weenies" coined by Walt Disney actually.

1. What are they?

Big shapes in the environment However, they don't have to
are really useful for leading the be, they can also just stand out
player through the game. This by using contrasting colours,
has been used in a lot of shapes or silhouette's. Also, you
games going from single yourself can use these in your
player narrative driven games environments to make for an
to open world games. In most interesting point in your
cases their size alone makes environment to be focused on.
them stand out.

2. Size and silhouette

First and most obvious is having Another way for these to stand
a towering thing in the out is to have a silhouette that
distance that will immediately is substantially different
stand out and that is the most compared to other object in
common of approaches, but the environment, this is also
they don't always have to be why man-made weenies stand
giant and far away. Some out in a natural environment.
smaller items that stand out
can be used as an
intermediate between you
and the target ___location. Which
will be called breadcrumbs.

3. Color contrast
If we can't rely on having Just as seen in the example
bigger shapes we can also use from the right, you can clearly
colors to push the contrast and see the red building in the
thus making it more visible from middle of all the blue fog,
a distance, imagine you're which has been put there
walking through a nice lush completely intentionally.
green forest and all of the
sudden there is a painted red
building in the middle of it, that
will surely pull some attention
to it.

4. Some examples
Let's dive into some examples knowledge about the topic so
used in games, you can see you can use it to your
that these don't have to be advantage in either your work
limited to buildings, mountains or when working on games
or that kind of stuff. You can yourself.
also use fires, bright lights and
some others to pull the players
attention to it.

This was definitely more of a

level design topic technically,
but it's so good to have

Landmarks and Points of interest

Back to Table of Contents 53
 Using roleplay for idea generation

Introduction
As an Environment artist it's important to tell stories in your scenes, more so if you are a level artist and are actually building the
locations yourself. These stories are what give additional interest to the people walking around in your environments, so in this one
we're going to dive into a good method of coming up with some of these stories.

1. What do we gain?
When we start to envision All of these questions that you
ourselves in our work we think encounter are amazing ideas
about the smaller details that for cool little props that can
could get lost when not doing really add some character to
so, you think about your daily your scene, they will also help
routine in the setting you are you move your scene away
created. from the more standard
generic scene and more to
something personal and
"What would your day to day unique. (The world building
look like?", "What would the
routine of you be?", "What do section in the Complete
Compilation holds more of
you eat?", etc... these tips to look into)

2. Doing the research

However, these questions do the source material (which is
have to come from def more tricky when creating
somewhere, so we have to do fully new spaces, eg. Scifi).
research to start to imagine
which questions we can use. My recommendation on
Hopefully you have done a researching is also trying to look
large part of this section in places that are foreign or
already, but if we're talking new to you. Apart from your
specifically about typical google search, books,
environmental storytelling, then documentaries, etc... will give
what I personally love to do is you more interesting result and
have documentaries on that more unique stories.
get me as close as possible to

3. What are we looking for?

Larger General stories: connections of this person that
The more overarching story, we are impersonating now,
the world itself, what do does he have family, what's his
people use, what are there occupation, how does he get
habits, what kind of around...
governance structure is there,
how to they travel, eat, sleep These questions are really good
etc.. for coming up with idea's for
little unique story props in your
Smaller Personal Stories: scenes.
The smaller personal stories,
what are the personal

4. How do stories translate to assets?

For example if we focus on my also bring something to drink
medieval scene and on a and eat along the way, maybe
personal story. even store that in a chest that
you can lock so the contents
remain safe?
Imagine your a farmer in the
early medieval age, just got
done with your harvest and are You can see that this can
going into town for the day to quickly build up an interesting
sell your goods. For this we'll list of assets to build for your
need a cart, storage for the scene, so try it out for yourself.
food you are selling (most likely
Jute/Hemp bags) you would

Using roleplay for idea generation

Back to Table of Contents 54
 Asset clustering

Introduction
It’s now only what you place in a level that matters but also how you place things, and often times this might be the thing that is
overlooked, so for this one we’re diving into placing things in clusters. Why do we do this and how does it help us?

More information can also be found in “Blending shapes together (The rule of Three)”

1. The artistic reason

We’ve talked about contrast a and some smaller pieces of
bunch of times already so by rubbish next to it to give it some
now you know that without it flavour it will look so much
you can create interesting better.
compositions or playspaces,
they just feel boring and Obviously different art styles
uninspired without it. and projects ask for different
approaches, so try to apply this
But not only just putting thing whenever you can, but don’t
together makes things looks break any art direction rules!
nice though, you can push it a
little further buy adding nice
transitions between all the
surfaces and assets it’s
surrounded by if possible.
Imagine a garbage bin by
itself, it looks okay... But if you
add a carboard box next to it,

2. Navigation and player leading

Eluded to a little bit before Especially in cover based
already but navigation and shooters which lean more
player leading is a huge part of heavily on the tactical nature
games, and if we just have a of things you can definitely tell
bunch of noise in our scene that this has been a part of the
then we lose the ability to sign thought process throughout
or lead the player. the development and a player
always needs to be able to
quickly evaluate all their
So in an example from the options to move into the next
Deus Ex we can see that the position.
assets have been scattered in
the environment but there is
intentional space left between
object so the player can plan
their next move or see where
to go.

3. Reduces noise
This might be the main reason If you just add a lot of objects
why I would recommend that everywhere it will start to look
you do it, is because if you add like noise to the player, and
details everywhere you add so that will definitely impact how
much noise that you lose the a player/viewer of your art will
ability to make things stand out traverse the scene either by
(unless you want to do so with moving or with their eyes.
nothing).

Asset Clustering
Back to Table of Contents 55
 Make game art assets feel “Real”

Introduction
Game art assets can range from clutter that is scattered on the floor to highly detailed props that are important to the storytelling or
the characters they are surrounded by. With this tip we’re zooming into those highly detailed props and breaking down what makes
them feel “Real” or relatable to us as players.

1. Relate-ability
First of all, whether we come What you want to do
up with a new idea or we’re especially when building new
starting with a concept, we assets that are different yourself
need to make sure that it’s is to use relatable shapes or
relatable. Something that’s construction techniques to link
relatable can’t be 100% new it back to something that we
to the viewer, that would have seen already
require an entire explanation somewhere.
to even help them understand
what this object is.

2. Find good references

You need to arm yourself with nitty gritty details on how to
a bunch of good references, recreate them. The deeper you
both ones that will help you dig, the more unique you can
construct the asset itself but make your asset look. Some
also finding more obscure ones interesting recent finds are
that can help you add unique online museum's that take
details to it to help it stand out have a massive database of
compared to others. images with unique looking
items. However, even though
this things exist, make sure they
Which is why I love scouring the follow rule number 1.
web for detailed an obscure
references to really get into the

3. Adding storytelling bits

As a follow up from number 2, multiple layers to them.
if you find good references this Whatever you can think of that
also allows you add storytelling is relevant to the asset can be
details. really nice to add as a layer on
top of it.
These details can be for
example scratches of people
carrying this asset around,
people spilling coffee on it, the
asset being dropped on the
floor, so it’s dented a little bit,
inspection stickers that with

4. Make it personal
And even going deeper with depth it needs and deserves.
the storytelling is the layer that
adds character or references
to the person that owns or uses
this asset.

If you add this layer

successfully people can start to
see what kind of person this
asset is attached too. Allowing
you to get glimpses of the
person behind it. giving it the

Make a game art asset feel “real”

Back to Table of Contents 56
 PRE
04 PRODUCTION
 Defining project pillars

Introduction
When starting with your projects it’s really important that you know what you are starting to build, and nothing is less important than
defining some pillar or guidelines for your project which will help to guide you through the development of these full environments
which can take quite a long time.

1. Defining project pillars

When starting out a new that I personally like to start
project and being unsure with defining these pillars.
where to start, in this we will
have a look at some tips and Keep in mind that you can use
tricks on finding and defining these pillars in conjunction with
your pillars for your project, each other, so focusing on a
which will act as supports for story first might also help you
your project and allow you to with the style you want to pick
look back to them whenever for that story.
you find yourself lost.
We will have a look at 3 ways

2. What skills do you want to build?

A thing that I did when I was a wanted to learn inside of
student or starting in the Speedtree, before doing that
industry was structuring project I had no idea how to
projects around a learning a do any foliage and had only
new piece of workflow or used speedtree standard
program that I wanted to assets in one of my scenes.
learn.
For instance my work “Dense An early WIP screenshot can
Jungle” which is horribly be seen on the right.
named btw, was a project that
started because I really

3. Working with a story

Another thing you can do is control, some examples can
use a story as the foundation of be:
a good scene, this will allow
you to always think back The person living in the
about the story, and if adding environment, what does he do,
an asset doesn’t make any does he have a darker side
sense in the story then you with subtle hints pointing to it?
know that you should not etc...
spend time making it.

This story is something that you

4. Building on style
What is also an option, is
starting by picking a certain But style could also mean
style, this sounds kind of vague “Brutalism” for example,
because it’s also so focusing on concrete, harsh
encompassing. spaces and a feeling of
intimidation.
Because style could be “Hand-
Painted” and then picking a
subject that would really stand
out if you were to apply Hand
painted approach to it.

Why do you want to make a project?

Back to Table of Contents 58
 Metrics and grid settings

Introduction
This edition will dive into some of the most important aspect of creating a modular environment and is especially critical for
considering gameplay. We will discuss thing such as creating good blockouts, grid settings and how the whole scene reads as well.

1. Importance
Most commonly used for into the topic of metrics and
modular environments and is how to prepare aligning
especially useful giving it to everything to a grid which is
someone else to work with. going to make the Environment
or asset package that you are
So for gameplay and usability going to make that much more
the environment should feel usable.
nice and to scale when you
are walking or playing through So let’s dive into this!
them.
Which is why we are delving

2. How does it read

When we are talking about have a serious impact on the
metrics, the first thing that way the environment feels and
comes to mind is just the more how players interact with the
general dimensions and space. This is why running
getting a feel for them. through your own environment
(or placing dummy characters)
Changing the height of a wall is really important to get a feel
that should be climbable can for the environment.
make it feel less so if we make
it higher.
So adjusting the metrics can

3. Grid settings
Let’s have a look at your 3D useful to change this if at all
package and then jump into needed, especially if you are
the your game-engine. working with multiple divisions
of one meter for instance.
First, you notice that all of the
3D programs have a grid The next step is looking at
already there once you open Unreal Engine where you can
them, if you know what kind of set different presets, and make
metric that you are working sure to set the grid size
towards. beforehand.
You are working towards, it’s

4. Blockouts first
When working on a modular So spend that time working on
environment or an asset blockouts, define proper
package, it’s super annoying metrics and setup your grid
to having to go back to the correctly where you have to, it
drawing board because you will save you a lot of time down
didn’t take enough time to do the line!
some proper blockouts to
define different metrics and
really work out how the
environment is going to be put
together.

Metrics and grid settings

Back to Table of Contents 59
 Using & finding references

Introduction
When talking to a lot of people starting out in their journey to break into the industry as a 3D artist, the major thing that I can see
straight away is a lack of attention to scale and details in environments, props and others...
A big reason for this is because is that you are just to eager to get into actually doing the work, and a lot of people forget that
actually doing the work includes reference hunting.

1. Importance of references
Let’s talk about the support you when you don’t
importance of references. have a clear idea about
shape, proportions, details,
References are all about textures, mood and more...
understanding the object or
scene you are trying to create, It may feel a burden at first, but
made up or realistic, you once you start collecting
would still use real life examples references and use them
to construct both of these correctly, you will see vast
things. improvements in your work.
References are there to

2. Finding references
The first thing to thing about is which is great!
Google, and typing the
keywords as direct as possible. Other stuff include: Ebay listings
Another option for google is or spending a long time
using Google image lookup. clicking on links in my search
Just drag and drop images in that don’t appeal to me,
the top bar. because sometimes these can
be reference goldmines.
Pinterest is also a really good
tool for this and will also allow
you to store it in one place,

3. Compiling references
Now we just need to find a program that allows you to
proper place to store them. save boards that you create
yourself and the interface is just
I always used Pinterest before, drag and drop, so just select
but I needed to open a an entire folder of images and
browser and do some extra drop them in and watch the
steps to get me going, which is magic happen. As a sidenote
annoying. you can save these boards, to
quickly open them up the next
So then I made the switch to time.
PureRef, which is a standalone

4. Using references
There is a balance you need to references, architectural style,
find in how specific you need texture references and
to look when it comes to weathering inspiration.
references, and lean on them
when struggling. Last tip!
Mainly use real-life reference,
So find what works best for you try not to work from a game or
and work towards that, for other persons project, the
example, I like making multiple world has so much to offer.
boards. These include
Moodboard, modelling

Using & Finding references

Back to Table of Contents 60
 Overscoping

Introduction
Let’s dive into something that plagues a lot of people starting out on their own personal projects and trying to push themself is that
they tend to overscope their own projects and then never finish them in the end.

1. It’s too much

I see with a lot of people that that much experience yet, you
want to get into environment might not have an idea how
art, and think big. long it takes to finish an asset
going through your entire
However, this can be really pipeline which you probably
dangerous as it might be too are still figuring out as well.
much for you to handle.
So let’s dive in to some tips that
help you against overscoping.

But especially if you don’t have

2. How to keep it small

So there are a couple things would be looking at diorama’s,
you need to know to keep it some of these are really
small. awesome and there are a lot
of good examples on
Making a smaller environment Sketchfab.
is not showing less skill, it will
only allow you to show more
technical skill because you are
more focused on the actual
quality instead of quantity.
Some good examples for these

3. One camera illusion

One thing that I really like to look as good as I can.
do, is to make the blockout of
my scenes and restrict myself in After that if you still want to
the camera angle that I use expand this environment, it’s
and I work towards that one easy enough to fly around and
camera angle. dress some other regions for
other shots because you
This means that I don’t need to already have all the assets
worry about making it actually these anyways.
playable and can just focus on
that one angle and make it

4. Focus on the important

Focus on the most important be cut if you think you have
assets, typically your hero assets overscoped and need to do so.
that are essential for the
story,setting,... etc and move Hope it helps!
on from there.

Once you have blockout out

and placed your most
important assets, you can
move onto the other
supporting assets, that can also

Overscoping
Back to Table of Contents 61
 Reference sheets

Introduction
Let’s dive into something that plagues a lot of people starting out on their own personal projects and trying to push themself is that
they tend to overscope their own projects and then never finish them in the end.

1. All the things at a glance

The reason why I always use
this, is that it saves me a lot of So the reference sheet will just
time building assets for a scene have all the information that
and it keeps me focused on you need when modeling all
modeling instead of a balance those beautiful assets, and
between keep you focused while you
are working on it.
keeps me focused on
modeling instead of a balance
between modeling and
reference hunting.

2. Defining the pillars

So what is in my reference looking for inspiration for assets,
sheets? and at what time do I elements and shapes. So that
start building this? at one glance of the reference
sheet I get some good new
Well, the reference sheet is not ideas or know what I want to
the first thing I think of when build/experiment with next.
making the environment
ofcourse, first I define the pillars
of the environment, the story
and what style is.After I have
defined this in rough lines I start

3. Finding and compiling references

For this one I’m using the old nice manner.
school way of dragging it into
a reference folder on my PC so What I like to do is drag them in
I can use another program by section, for instance one
called PureRef. section with shape inspiration,
modeling details, etc... all as
PureRef allows you to just drag separate sections.
and drop all the reference
pictures into the program, it’s
going to automatically sort
them and present them in a

4. Extra notes
So using these sheets, making work and modeling process.
them easily accessible through
the use of PureRef and it’s Don’t forgot to take care of the
awesome saving feature planning stage, even if you are
should minimize the downtime using a concept for your
when you are working on your environment, think about what
own environments, this will also would make sense for you to be
speed up the process of getting in the scene and make it yours!
into it and loading all your
reference.
Hope this helps you speed your

Reference sheets
Back to Table of Contents 62
 Breaking down modularity

Introduction
One skill that environment artist need to have when it comes to the modular workflow ( the ability to reuse the same meshes/textures
multiple times to reduce the cost on resources) is the ability to break them down from the reference, now when it comes to
examples like these there are a couple of different types of modularity that we can talk about

1. Why would you use this?

Breaking down a concept into
a modular piece is really useful
when it comes to making the
blockout for the modular
pieces, the reason that we do
this upfront is to save is time
when we actually go into the
production of the scene itself.

2. Modular meshes
So let's take this screenshot mean that pieces of the wall
and break it down into it's will also be reused?
modular pieces first, a good
rule of thumb is to look for Have a look and really try to
repeating patterns first, and spot how big those pieces get.
then see how big those pieces
actually are.

Because for instance you know

that most windows are going
to be reused, but does that

3. Modular materials
Next up, let's take a look at the way will also help you to
amount of materials that we reduce the amount of time you
can reuse in our scene. A lot of spend on making materials
them might be using the same that you might end up not
base material but dressing using at all.
them up differently with decals
is going to make them look
more different and set them
apart from each other.

Breaking a scene down this

4. What kind of modularity

There are many types of in a unique way the longer the
modularity that we can speak development time of your
of, but generally on a scene scene will get. So work smarter,
level these are the most not harder! (or maybe a
important ones that you need healthy balance between the
to keep an eye out for. two)

Thinking about larger scenes

this way will help you
enormously budget/time wise,
because the more you will do

Modularity breakdown
Back to Table of Contents 63
 Different reference purposes

Introduction
So when hunting for references, I love to work my way from the larger scene as a whole to the smaller details. So in these references I
would start to focus on the overall scene composition first, move my way down to the specific mood and go smaller and smaller...

1. Overal scene composition

The first thing I start looking for this limited as t not get
when starting a new scene is confused by all the different
the overall scene composition, references, limitations are
references and pieces of good!
inspiration that can be used to
give me the general idea and
get me inspired for the overall
composition.

I tend to keep the amount of

2. Moodboard
Second thing that I have in the this one from the first one s you
reference sheet is the mood can spend way too long
that I'm looking for, this one is looking for both in the same
specifically based on the picture, unless you are lucky to
mood that I want to go for, in find that golden reference your
terms of colors and also in looking for!
terms of weather and lighting
in the scene.

Sometimes it's crucial to split

3. Specific elements to combine

Now we are getting down to This way I can easily identify
the more specific types of which parts of the reference
references, and these are the interest me and are applicable
specific kind. What I mostly do to the scene.
with these ones is that I find a
great reference but there is
only one small part of it that is
useful to my scene, so I either
crop it out or I make a note of
it.

4. Some additional notes

Lastly, I just want to add to this Also adding too many
that you can spend ages references can lead to
looking for references, but at confusion, so it's best to take
some point you need to make the references that you think
decision of when to stop. are pretty clear, especially for
the high level stuff and keep
the number of them to the
minimal you need to make
your scene.

Different reference purposes

Back to Table of Contents 64
 Environment blockouts

Introduction
Let's dive into something else for this weeks edition, let's talk about blockouts, what to focus on and how to tackle them.

1. What’s their purpose?

Maybe you have noticed this This is why we do blockouts for
in your own work at some our scenes, we do this in a way
point, but you get that nasty to avoid as much structural
feeling that something might mistakes along the way,
be off on your scene and you especially when it comes to
know that you have to fix it but the composition of your scene.
can't be bothered to do it
because you already
progressed so far.

2. Focus on the essential

It's all about minimizing the This is also why I'm reiterating
amount of stuff you are on what is important, keep
working on, blockouts are yourself focused on the large
there to help you figure out the shapes, composition, and your
fundamentals of your scene so camera angle for your scene,
that you avoid having to do the other stuff all comes later.
big reworks on your scene
later. Once you got the
camera angle and
composition that you are
happy with you can then use
these as solid fundamentals
and build upon them.

3. Use placeholder textures

Just use simple color materials for this and setup the whole
to indicate your rough thing pretty quickly by using
intentions. This will help you multiple instances of that
define your scene a bit more material and just override the
and give you an idea of the color. I want to reiterate, don't
different colors you are going spend your time on already
to use without getting carried adding a roughness, metalness
away with the material and whatever, focus on the
creation itself. color of your scene. Another
option would be to use a color
swatch texture to speed things
In Unreal Engine you can just up if sticking to a dedicated
use a simple Master material color palette.

4. Focus on speed
This might speak for itself after This focus on speed will help
reading all the previous part, you make decisions quicker,
but setting yourself some sort of give you more variation in
deadline on when you want to options and most importantly
finish the blockout stage can will cause you to focus on the
really help you focus on the bigger picture.
speed of iteration.

Environment blockouts
Back to Table of Contents 65
 Planning your scene’s timeline

Introduction
Let's have a look at how we can break down your projects in a way where you can get a better grip on what you are doing in the
next couple of months.

1. Starting at the end

When planning your own How granular you go is totally
scenes it's always good to think up to you at this point, some
about the time-frame you people do really well with
want to finish it in and what splitting it up in small chunks,
your end goal is, so let's say while other people try to keep
you take one month to finish a it a bit more free flowing.
diorama. Now you know the
end result and time frame and Imagine where you want to be
you can start making your way in the end and work your way
backwards and start dividing backwards from that point.
this environment into smaller
tasks like "blockout, modelling,
texturing,etc...".

2. How to keep track of it all?

Which app or fancy method However, there are some
doesn't really matter that much pretty good digital tools out
here, the main focus is making there like Notion (Which I'm
it as easily accessible as using now) or if you want to go
possible, so depending on the real simple something like Trello
size of the project this can go is awesome!
from a simple checklist to
entire sheets, the only thing
you need it that you can
check them when you need to
and don't have to spend your
time looking for them.

3. Build in "save points"

This is a thing that could work An example for this could be
for people having issues with making a cyberpunk
over scoping their projects and apartment, making a living
a thing I have been thinking room first and then maybe
about a lot recently. But you expanding upon it later with
can help yourself by building the textures and assets you
"Save Points" into your already have now and adding
planning. With this I mean to it is way better then trying to
compartmentalized sections of do the entire apartment in one
your environment that are still go and not finishing anything.
strong enough to stand on their
own, especially when building
the bigger environments.

4. The day to day

The whole point of planning planning your day to day work
your environment art workload is an easy way of turning all the
is to make it easier for you to ideas in your head into an easy
bit of smaller chunks of the to understand format and will
bigger whole and not be help you get more stuff done.
overwhelmed by it all. Which
also bring me to the to-do list
mentioned in last weeks post.

Holding a to do list and

Planning your scene timeline

Back to Table of Contents 66
 How to find good references

Introduction
A large part of the environment art workflow is looking and finding references in addition to the references that are provided to you
by art direction. But sometimes it might be tricky to find some of them, so in this one we're diving into how to find some good
references.

1. Try different search engines

This might sound like a weird So a couple of alternatives are
one because most of us are all using DuckDuckGo to search,
using google for all of our Google Incognito mode to
searching, but we tend to give you some other results.
forget that it does serve us
items based on our searches You can also use dedicated
and it's always learning from it, apps like Pinterest to build up
so for that reason, if you want some interesting boards to fuel
to find some more unique your creativity.
references you might want to
look somewhere else.

2. Talk like a robot

This also ties into the previous For example, "A nice looking
point when looking up stuff in green ceiling light that you
search engines, and that is to would see hanging in bars in
really focus on the most the 70's" can be converted into
important things in a sentence. "Green 70's Bar Ceiling light",
this will give you much better
results and also more results
If you want to find something because all the fluff is cut out
really specific, cut out all the of the sentence.
fluff and treat it like you are just
inputting commands or
keywords.

3. Image Descriptions as a guide

This is something that I use a lot, In addition to this, using google
especially when I'm not really image search can also really
sure what I'm looking for. I try to help you with finding similar or
get as close to the item I'm relevant images too, so that's
looking for using the previous another good tool to use in
section as a guideline and some cases.
then look at the descriptions
that are within the pictures to
find additional details or
information about the thing
you are looking for and then
add them into your new
search terms.

4. Dig deep
The last thing is digging deep, An example of this can be
often times the best people's personal travel blogs
references/resources are the for environment art references,
more obscure ones that take a they can be great for more
bit of time to find and you remote parts of the worlds
might have to do some where google maps don't work
digging. Be careful that you and without tourist hotspots.
don’t get sucked into endless
blackholes tho! Some good places to start are:
BoredPanda, National
Geopgraphic, Flickr and
Pinterest...

How to find references

Back to Table of Contents 67
 MODELING &
05 UNWRAPPING
 Intro to Blender 2.79

Introduction
As of writing this 2.8 was not yet in sight, but I had heard some great upcoming things about the program and it was also super
interesting to me that this program seemed to be more stable compared to Autodesk competitors, while also being free.

Let’s dive into some things that make the switch a little easier!

1. Change the default behaviour

When installing Blender you are corner and notice that you
going to notice a little pop-up can see that you can switch
in the middle of the screen, if between different presets.
you are like me I wanted to get
straight into the action and
clicked this away as soon as
possible, but there is actually
something really useful here.

Take a look at the top right

2. Changing hotkeys
A straight forward step maybe,
but taking the time to tweak
hotkeys further to what you are
most comfortable with is one of
the most important things to do
at the beginning because it
can save you tons of time.

3. Driven by addons
Capsule: one click batch bake that information down.
exporter, really useful to export
lots of assets at once when Special thanks to Andreas
working in a game engine Strømberg (@Stromberg90 on
twitter) for the tips on where to
Decal machine: Which I am find these addons.
currently still testing and going
through a full asset for, but this
seems to be crazy powerful, it
allows you to put decals on
any mesh and then let’s you

4. Setting the tone

This might seem petty but this I personally use the Elsyiun
was the biggest hurdle when theme.
getting into Blender. Take the
time to change the theme to
something that suits you
perfectly, it’s super easy but it
really helps you stick through
the initial “getting used to
blender” phase.

Intro to blender 2.79

Back to Table of Contents 69
 How to use instances

Introduction
Let’s dive into a real timesaver when it comes to modeling, and these are instances, which are super useful for making modular
pieces and testing them inside of the modeling package, as instancing will just propagate all the changes that you do to the master
or any of the other meshes to all of the others that are instanced.

1. What are instances

This is the use of Instances to one asset instead of multiple
quickly make changes along assets (which is also going to
multiple instances of the same make it cheaper/more
asset in a scene. performant once we are using
these in a game-engine.)
This is especially useful when
working on modular assets that Let’s have a look on how to
need to be tileable and usable use these in different packages
with multiple different other
assets, on with this you only
need to do he adjustments to

2. Supported programs
Blender: Duplicate Linked instances mesh and they will
Maya: Duplicate Special (with remain in sync.
instance active in the popup
menu) There is one exception to this
Max: Instances or References rule, with the References in
Max, the instances only
All of these options basically change if you change the
react in the same way, they master mesh.
will provide a two way , not the other way around.
duplication of the asset, so you
can change the master or the

3. Unreal Engine
Instancing come more automatically “instance” the
naturally in game engines mesh and make it cheaper on
especially if you are using the memory. The reason why I
modular pieces and will be put Instance in those
duplicating things around and parentheses is because they
using the same mesh multiple will still increase drawcalls.
times in the same level/
environment.

For example when this is done

in Unreal Engine, it will

4. Closing thoughts
I was already using this for a So I decided to switch it up to
long time in Unreal Engine itself, using Instances inside blender
testing modular kits when I was and doing my main bulk of the
building them inside the iteration in there.
engine, constantly switching
back and forth doing smaller
adjustments in blender,
exporting them to Unreal
Engine and then doing this
over and over if I needed to.
(what a waste of time!)

How to use instances

Back to Table of Contents 70
 Blender fracture addon

Introduction
The fracture modifier is super powerful for the creation of random looking cracks and geometry. There are things outside off these
applications that we can use this modifier for too, so let's dive into it.

1. Activating the addon

First off all lets see how we can tool in the 3D view by going to:
activate this add-on and get Object > Quick Effect > Cell
us started. Fracture.

Let's go to edit > preferences Or another option is that we

and in the add-on section we can look for it using the search
can use the search function to menu and look for “Fracture”
search for “fracture” and then
just tick the checkbox to
activate it.

We can then find the fracture

2. Controlling the fractures

Now we got this fancy add-on here, for instance annotations
installed its time to get to work, can be used to draw lines to
first off all the fracture add-on guide the cutting of the mesh
will divide the mesh in straight (2).
lines until we start introducing
some noise (1). This will then The option that I use is adding
introduce some random more cuts in the geometry and
rotations and offsets to the lines up the density of the mesh in
that are cutting the mesh. the place where you want
more cuts and setting it to
There are a ton of other fracture according to the
options that we can play with vertices (3).

3. More parameters
Some other options that are random (1b).
nice to play around with are
the recursive fractures (1a) There is also a handy offset
where it will do a secondary build in that allows you to
pass on the fractures, control the spacing between
fracturing the already meshes (2), this was particularly
fractured pieces from the first useful when experimenting with
pass. making these shapes and then
using them as booleans.
This comes with some
additional parameters like
breaking the larger, smaller,
close or far to cursor and even

4. Presets and experimenting

Some other options that are random (1b).
nice to play around with are
the recursive fractures (1a) There is also a handy offset
where it will do a secondary build in that allows you to
pass on the fractures, control the spacing between
fracturing the already
fractured pieces from the first meshes (2), this was particularly
useful when experimenting with
pass. making these shapes and then
using them as booleans.
This comes with some
additional parameters like
breaking the larger, smaller,
close or far to cursor and even

Blender fracture addon

Back to Table of Contents 71
 Unreal Engine Contact Shadows

Introduction
Contact shadows have been here for a while now (since version 4.14), but not that much people know about it or use them. They
are a great way to add visual fidelity to a scene by adding a more accurate approximation to shadows with dynamic lights.

1. How and when to use?

There are some specific chunks of geometry to work
usecases that apply for with. So make sure that you
contact shadows, they are not have bigger chunks that the
going to do that much if you contact shadows really love to
have a lot of smaller, real fine use.
detail on a texture for instance.

It will need some slightly bigger

2. Usage and ___location

These contact shadows are slider for the length of the
available on all types of light, shadow.
except for skylights.
A quick way to find it is
Contact shadows and it's searching for it in the search
settings can be found inside bar.
the light panel's hidden drop
down menu.

There is no checkbox, it's just a

3. Shadow settings
The settings for these kinds of this is based on the screen, so
shadows are super simple meaning that putting this to 1 is
though, you can just set the going to cast a ray across the
distance of the shadows. The entire screen, where 0.5 only
only option that you have is half and so forth.
changed it from screen
spaced to world unit based.

The standard way of adjusting

4. Remarks
Contact shadows are really specific for people that use
nice visually, but as most dynamic lights because baking
people tend to use the static shadows will be accurate as
lightmaps that get baked long as the lightmap resolution
inside Unreal Engine which allows for it on static objects/
includes these more minor lights.
shadows.

So this is more something that is

Unreal Engine Contact Shadows

Back to Table of Contents 72
 Bevels in Blender

Introduction
Bevels are becoming more and more important the cheaper geometry is becoming to render for the GPU, with games like star
citizen working with a Mid-poly pipeline might be nice to dive into some tips on bevels. So let's dive in.

1. General settings
First of all let's dive into some clamp overlap regulates if the
more of the generic settings for bevel will extend over the
the bevel. The most obvious of bordering edges. And lastly
all settings is just the “Width” of "Harden Normals" will match
the bevel or the amount of the normals to the new
“Segments” as well as “Profile”, adjacent faces.
allowing you control on how
the bevel reacts. Make sure that when you do
tick the harden normals button
Other settings that are useful that you smoothen the mesh
are "Clamp Overlap" and with the autosmooth function
"Harden Normals". In which in the “Object” menu.

2. Weighting
You might have noticed that modifier we just need to set the
by using Blender for a bit now "Limit mode" to "Weight" to only
that there is the option to have it influence the edges we
assign bevel weights through just tagged. The amazing thing
the edge menu. about this is that we can assign
different strengths when
adding the bevel on an edge,
This is useful if you want specific allowing us even more control
edges to bevel, allowing you and opens up options for
individual control over variation.
separate edges.

Then when adding the bevel

3. Angle based
But if you are looking for a angle in the bevel modifier
more generic option to quickly needs to be higher than the
bevel the entire mesh, then angle you want it to affect.
angle based bevels might be
the thing to look for. Allowing Again make sure to have the
you the simple control of auto smooth option active
setting which edge needs to under the Normals menu as
be beveled based on the mentioned in step one or the
angle of the polygons shading might look a bit weird.
neighboring it.

So the value that we give the

4. Vertex group
Last option here, is adding making unforseen connections
bevels according to the between them too.
assigned vertex group, but you
might be wondering what the
difference is between this and
the weighting option is?

The difference between the

two is that even if you were to
add your edge selection to a
vertex group it will convert this
edge selection to verticis. Thus

Bevels in blender
Back to Table of Contents 73
 Smoothing curves and bevels

Introduction
Bevels and smooth curves can be tricky to edit, but there are some ways that you can make it super easy on yourself.

1. Things to avoid
First let's talk about the things especially for Bevels.
you would want to avoid when
making these nice curves, the Another thing to avoid as
first thing being to try and do much as possible is doing these
this manually, this is never curves in a destructive manner,
going to be as accurate using try to be able to go back and
some sort of guide or using a adjust this whenever possible,
bevel to create a nice curve. you never know if you m want
to do some changes.
This is also going to be way
slower than doing it from
scratch in most cases,

2. Beveling correctly
The first thing to dive into is new edges, together with auto
probably when to do these merging of vertices this can be
Bevels as this is going to be you a really nice an quick way to
main source of rounded remove vertices.
corners, for most of you. There
are ways to do this without A non destructive way could
creating a mess from your be using the bevel modifier
mesh though, some examples and having it adjustable all the
shown on the right go into time, more on that can be
using clamp overlap to limit the found in the weekly tip for #87.
distance the bevel will go if it
reaches another edge or
setting this limit yourself with

3. Using curves
Using curves and the curve curve that will be used to bend
modifier in Blender to create this straight piece along itself if
easy curves you use a curve modifier. Make
sure to add enough new
edges so that it can actually
A thing that I recently got into be deformed.
when moving to Blender is
using the curves and curve
modifier to make nice curves This is not exclusive to Blender
surfaces. The way this works is though and you should be
that you have your normal able to do this in Max or Maya
straight mesh for my example a too.
wall piece and then make a

4. Relaxing or edge flow

There is also an easier option Actually since I'm working in
when you already have a Blender there are other ways
bunch of edges that should that can help you smooth
make a nice curve but now these out in different ways such
don't do that anymore, there as the Build in "Looptools" Relax
are multiple options for this like function, but for my taste the
the "Edge Flow" Addon for Edge Flow addon does a
Blender or the "Edit Edge Flow" better job and is quicker and
in Maya, the second actually more reliable.
works more reliably at the time
of posting this.

Smoothing curves and bevels

Back to Table of Contents 74
 Mass replace objects in Blender

Introduction
Have you ever had this issue where you made this awesome looking wall that uses a combination of a tileable texture and separate
bricks. But then you have made an even better looking brick for the wall, so how do you quickly replace all these previously places
bricks that aren't instanced? That's what we're going to dive into!

1. Select assets to replace

First of all, let's select all the
assets that you want to
replace in our scene, good
naming convention and an
organised scene will definitely
help here!

Just filter for the name of the

bricks in the outliner and you
should be good to go!

2. Select object to replace with

Now for the second step we're other things like liking modifiers,
going to select the mesh we etc...
want to replace it with, once
we select it we can see that it
also get's an orange outline,
but slightly brighter, indicating
that this object is the last
object selected.

This can also be helpful for

3. Make links menu

"CTRL + L" is going to give us It's good to know that this will
access to the "Make links" retain their transform, so all the
menu, this is where you can link scale rotation and
object data, modifiers, transformation data will be
collections, etc... together to retained, which is awesome!
other meshes in your scene.

For this little setup where going

to select "Object Data" this will
then replace all the object
date with from the asset we
selected last to the other ones.

4. Other options and benefits

This is a great way to quickly I also use the modifier option
duplicate date from one asset from this menu a lot, for
to the next, and it's good to example when you have a
know that this will retain their "bevel" modifier and a
transform, so all the scale "weighted normal" modifier
rotation and transformation setup you can quickly add this
data will be retained, which is to a large amount of assets in
awesome! your scene without having to
recreate them over and over.

Mass replace objects in Blender

Back to Table of Contents 75
 Making debris with particles

Introduction
Scattering objects is most of the time done in engine, but it can also be done in different ways inside of your favourite modelling
program, this weekly tip might be specific for Blender, but they can also apply to other modelling programs too.

1. Receiving Object
Our starting point, this can be For this example we will be
any mesh you can imagine, looking at a simplified rubble
I've been using this workflow pile for example. At this point it
myself for more hardsurface looks pretty basic, but it serves
objects but also for foliage. as a good point of reference.
You can let the normals of the
underlying mesh decide the
directionality of the meshes
scattered on them.

(More on how I use this for foliage can be

found in "Blog #69 - Blender Foliage with
particles")

2. Particle setup
First let's add a particle to our Control over the amount of
mesh: particles and seed it uses.
- Add a particle emitter Velocity:
- Set it to "Hair" Can influence the placement
- Tick the "advanced" box, this of particles, keep this in mind
gives you additional control Rotation:
Speaks for itself
Render:
Most important tabs and Controls over what we spawn,
setting to play with: see next section.

Emission:

3. "Objects" to scatter
Now let's move onto the If you only have one object
objects that you want to that you want to scatter, then
scatter, there are a couple of you would select the "Object"
ways that you can do this. But option instead.
my favorite way and the most
versatile way is to do this via The settings for the particles to
the "Collection" option, this spawn can be found in the
gives you the option to add Particle Settings > Render >
objects into this collection and "Render As". Here you have
it will update the particles that different options for what you
are getting spawned. want to render.

4. Weight painting
Now this is where we get into such as “Density”, “Length”,
the interesting stuff, we can “Clumping”, etc...
build an additional layer on
top of this setup by using These can all be found under
“Weight Painting” to influence the “Vertex Groups” dropdown
a parameter of these particles. in the particle settings.
The colors in this gradient is go Weight painting’s density and
from Blue (none) to Red (All). amount of control is affected
We can use this weight by vertices, so keep this in mind
painting to control a bunch of when working with it.
parameters off these particles,

Making debris with particles

Back to Table of Contents 76
 Tileables to geometry

Introduction
This time we're looking at a really simple trick if you don't want to use fancy vertex displacement or fancy shaders in your real time
environments.

1. Going from base shape to highpoly and lowpoly

We’ll be having a look at this Using the Heightmap Displacement modifier For these pillar for example I'm
little pillar as our test subject for getting close to 1000 to 2000
this workflow. polygons roughly, but this
Now that we have this Once we've done so we can depends on the details to the
heightmap we can then add a see that the heightmap is now texture and how close you are
The prerequisites “displacement modifier” to our influencing the mesh and going to add. Plus, the
pillar which takes our pushing the vertices outwards. decimation modifier makes it
heightmap we put in and offset (You might need to turn down
- Our textures that we applies to super easy to psh it lower if
the vertices based on the the strength of the modifier)
the mesh, giving us a needed.
values coming from the
representation of the final result heightmap. (Closer to white the
and making sure that we have When we add this method we
bigger the offset will be) Keeping this all non-destructive
both our textures and also need to make sure that the
heightmap aligned. modifier is set to do it's
But at this point the displacement on the UV space For this example I always
displacement alone doesn’t do instead of something else, this collapsed after the subdivision
- Model with a finalized unwrap, that much, because we don't will make them match up with + displacement pass, making
this workflow is destructible in have the vertices or resolution the texture that is already on the mesh a bit easier to work
the last stage, so make sure you on our mesh to give us a good the asset itself. with, but this is purely optional.
have representation of the
heightmap onto the vertex. Making it game-ready You can also just add the
- A Height map (the greyscale That’s why we’re going to be “decimate modifier” after all
texture shown in the image using a “Subdivision modifier” the modifiers mentioned before
below), we will be using this (or turbosmooth, etc...). Now we have a nice looking to have it non-destructive and
texture to drive our pillar that is nice and displaced you can adjust it on the fly if
displacement modifier and conforms to the texture,
This subdivides the mesh and needed.
gives us more topology to work but it's not really game ready
with, for the top and bottom we yet with all the subdivision
modifiers we added, so making
use an “Edge crease” in
blender to sharpen those edges it so we can use a decimation
modifier to push it back down.

Tileables to geometry
Back to Table of Contents 77
 Heightmap to Geometry

Introduction
This is a technique I've been using recently in my personal work recently, it's nothing revolutionary but a good tip nonetheless to
create really nice detailed geometry based on textures in a really quick manner.

As always I will be using Blender for this, but this can also be achieved in your modeling package in different ways.

1. Adding geometry
First off all we need to add modifier (or Turbosmooth for
geometry to our subject, we you Max lovers), depending on
need this to control the the geometry and how dense
resolution or how accurate the it was before you might want
heightmap will deform our to add two to create the
geometry. The denser our density you are looking for.
geometry the more accurate
the initial projection will be.

For this I just add a subdivision

2. Displacing the geometry

Now that we have nice dense White values will push them out
geometry, it's time to move it a fully where as Black values
bit. Add a "Displacement" won't push them out at all.
modifier next and make sure to Since my example is pretty
add your heightmap texture to simple, I use the "UV" projection
it so that it will use the values of method so the heightmap
them to deform them. texture is going to be applied
as a normal texture on the UV
space of the object.

3. Making it game-ready
That's looking nice, but it's also A good rule to follow here is to
waaaay too much geometry reduce it to the point where
to use in a game engine (Not the visuals of the mesh don't
every engine allows you to completely break. in my case
chuck everything in it and this
"Nanite it up", so keep things
optimized!) A simple way to do
it on this example would be by
adding a "Decimation"
modifier, this will reduce the
geometry based on a factor
you can put in.

4. Final remarks
This is a pretty quick but One of the main drawback is
demanding way to create that it will treat the surface as a
geometry based on your single mesh (as seen in my
textures, depending on the example) so if you want to
details and complexity of your have nice lose roof patterns
assets. It's demanding because with individual tiles it might not
you always need to feed it be your best way to go.
enough polygons to actually
displace the surface.

Heightmap to Geometry
Back to Table of Contents 78
 Face Weighted normals

Introduction
With the increasing popularity of the "mid poly" workflow (more on that in a previous tip) there is also an increase in the focus on
improved shading on their bevels. This time we dig into "Face Weighted normals" and their applications

1. What are face weighted normals?

Face weighted normals are On the image to the right you
called that way because the can see what the difference is
normals are weighted or flat when it comes to the normals of
towards the faces and have a the vertices and how this affects
smooth transition in between. the shading of the mesh. This
This means that if you have a shading will be different because
bevel it will smoothen the of the vertex normal coming
transition within the bevel, but from all the individual vertices, in
not outside of it, like it would the next step we'll have a look at
normally do on another bevel. the differences.

2. Visual Comparisons
let's look at some examples with If we we're to smooth all these
a little cube here. corners, then you can see that it
looks a little bit better, but the
shading still spills over to the main
If we we're to smooth all the surfaces. And if we apply hard
edges on this cube the shading edges, you guessed it, all these
will look like it's trying to mimic a surfaces will just be split.
sphere, and if want to
counteract this effect without
adding more geometry we need So, now if we want to get our
to either make some of the meshes to look really nice with
edges hard or use a normal map correct shading, that's where
to counteract this effect. Face Weighted Normals come
in. This cleans up the shading
and makes it so that the bevels
On the opposite spectrum, if we read really well, mimicking what
make all the edges hard then you would achieve with a
we just have a flat cube that normal map and less geometry.
doesn't look really nice either,
you can really distinguish all the
geometry by the shading.

But in the case where we don't

want to have a normal map we
need to add a little geometry for
some nice shading on the
edges. For this we just need to
add a little bevel on the edges
and then see how we can
approach this from here.

Face Weighted Normals

Back to Table of Contents 79
 UV Packing, optimize resources!

Introduction
UV packing is a really great way to optimize your texture resources and squeeze the most out of them by minimizing the lost space in
your UV space, packing the UV islands tighter together and reducing pixels we waste in out textures.

1. Optimizing resources
In games we work within tight The actual limitations here are
memory budgets and have usually decided by a bunch of
restrictions when it comes to factors such as: Target
disk space, these have platform, pipeline
become more lenient over optimizations, which workflow is
time but it's still a solid practice used and how much is reused,
to keep this in mind. etc... and with technology
shifting this will never be the
same one project to the next.

2. Padding between islands

The only thing that we need to This also means that padding
keep in mind when we pack size changes with the texture
our UV's is that we have resolution, as in bigger pixels on
padding between the different the texture will cause bigger
UV Islands. This padding allows color bleeds. Smaller pixel
for a little bit of a buffer (or (more pixels on the texture) will
bleed) for the colors from our minimize the distance it can
textures and thus will not cause spread.
them to bleed into the UV
Island that is next to it.

3. Straightening UV shells
A trick for good UV's but really resolution too, as you can get
applicable for packing is to more on one UV space and
straighten the UV shells as can thus increase texture size.
much as possible.

This for one will make it easier

for the packing algorithm to
pack things together, reduces
bleeding between UV shells
(Because we don't have any
slightly angled UV edges) and
is also better for texture

4. How do I get started?

Every program has it’s own Standalone tools such as
packing addons or functions. “Roadkill”, “UVLayout”,
So give these a try if you want “Ultimate Unwrap 3D” or
to get started or even test “Rizom UV” can be really great
standalone tools. programs, but I’ve personally
always tried to keep the
amount of programs I use
“UV-Packer” or down to a minimum, but I’ve
“UVPackmaster” are my heard great stuff about
recommendations here and roadkill.
can be used both in Blender
and in Max.

UV Packing, optimize resources

Back to Table of Contents 80
 Stylized Asset Design by Nikkita Racquel

Introduction
Making stylized art can be very exciting and freeing as an artist however as much freedom as stylized presents as an aesthetic, it
can be daunting to dive into for some. This is just a few tips and tricks that might aid those in their own creative process.

1. Knowing the rules

This term of "laws" in this case symmetry is pretty much a
speaks to the basic form/s of standard of manufactured
any asset an artist might make. products (furniture, electronics,
Knowing what something looks etc). Reference use is key is this
like or how you might construct stage of design. Real life
the real thing directly feeds references are great to inform
into how you might go about the artist of the base form while
then morphing those shapes. stylized references can be
This can be used with anything helpful in determining the
but tends to be most stylization the artist might want
noticeable in man made to create.
objects as straight angles and

2. Shapes and Silhouettes

With creating stylized art, the silhouette of the mesh as it is
ability to push and pull things is being made is very important.
in abundance compared to It informs the artist of how the
that of a realistic art style. object might be perceived by
Artists can utilize a wider someone who doesn't know
variety of shape language to what it is supposed to be
convey the style, setting and straight away, like someone
the type of asset that playing any game for the first
particular piece is. Overall time. A simplistic silhouette
shapes can get pretty weird gives the viewer an idea of
and wacky at times which is what something could be at
where paying attention to the first glance.

3. Imitation as flattery
There is absolutely nothing navigate.
wrong with copying another
game's art style to help you Techniques like this help to
learn. It tends to be one of the alleviate the pressure of
first suggestions to help artists constantly actively developing
gain an understanding of the skills as an artist and lets it
building blocks that make up happen more passively while
any given style. Those building the artist can enjoy creating,
blocks can then be used as taking the style cues of their
the foundation for the artist's chosen aesthetic.
development of their own style
which can be a tricky thing to

4. Find your own way

As much as you might hear to use as your own guidelines
there is a wrong and right way or just go wild! Have fun with it
to do things, reality is, there and find your own way to
really isn't. The spectrum of develop your unique stylization
stylized is so broad and ever :)
changing that there isn't one
way or even ten ways of doing
something, there's so many
more.

Everything merely serves as

advice that you could choose

Stylized Asset Design

Back to Table of Contents 81
 Batch exporting

Introduction
Exporting assets from a 3D software is usually done through manual exporting, going through the menus or pressing a hotkey. But
what if you are working on an entire modular set that contains 10 to 100’s of meshes, that’s where batch exporting comes in

1. Overview
Normally a batch exporter If you are working on a
takes all the selected assets in modular kit this is extremely
your scene, puts them to world useful because you don’t have
origin (this depends on the to manually update all the
software you use for Pivot assets one by one.
Placements) and then exports
each individual asset in your
selection as a different FBX file
for you to import into your
engine of choice.

2. Essentials for a batch exporter

Now if you are thinking about The addon also needs to allow
getting a batch exporter tool you to export the meshes you
for exporting, then the have selected as well, if you
following things you just NEED don’t have this and are
to have in that tool. working with a lot of assets then
you will need to export all of
them whenever you want to
Setting to world origin export even a single mesh.
Especially useful for having the
correct pivot placement, this
depends on the program you Collision exporter
use though, most tools now Collisions are also important if
have this embedded in their you are working with modular
default exporter, so might not kits, the ability to quickly export
be required in the addon all the corresponding collisions
perse. together with your assets is a
must.
Export Selected

3. Addon recommendations
Blender to Unreal Engine Batch Export/Import (Max)
(Blender) This older tool still gets the job
this is the one that I’ve been done it seems for Max, it might
using personally and has even be the same one I was
everything I need when it using when I was still using
come to my modular kits with Max?
collisions

GameExporter (Maya)
there is apparently a built in
tool for Maya, I haven’t
personally used it myself but it
seems to have all the options
that I would want out of a
batch exporter tool like it.

Batch Exporting
Back to Table of Contents 82
 Putting details in your Geometry

Introduction
As Environment or Prop Artists we’re constantly balancing the visuals versus the performance of the assets or environments we
create. So today we’re diving into how you can improve the visuals while also optimizing the performance a little at the same time,
saving you some geometry.

1. Silhouette comes first

The silhouette is the most With real here I’m not talking
important part of an asset about realism or stylized either,
since that’s where people get you can make a silhouette
to focus on first. And thus if we stand out in both styles in
make a silhouette that’s different ways and it’s
lacking in details it will more important in both. Small
easily stand out as something changes in the silhouette of a
that’s lacking the details to shape can have a big visual
make something feel “real”. impact.

2. Adding imperfections
These small changes on the You can easily do this by taking
silhouette can also be applied already existing geometry and
on the internal shapes too, just moving it around ever so
these Imperfections are what slightly. These imperfections
makes the world feel lived in can add a lot of life to
and more relateable to anything you do, just look at
players. If you see something this example on the right, and
that feels 3D it’s because most how all the clutter and
of the time it’s missing those imperfections make it feel lived
imperfections and feels too 3D in.
because of it.

3. Nothing is straight!
Everything that you see around It’s best to do this step fairly
you is always ever so slightly at close to the end, and do it as a
an angle, use this knowledge polish pass, again, using the
to your advantage and make existing geometry to really put
everything slightly crooked. some nice details on it.
Obviously how crooked
depends on the real world
techniques used to create the
asset in the first place. A hand
made medieval tool will feel
more unique and “Crooked”
than a modern day machined
piece of a gun for example.

4. Slight scale and rotation differences

Last one, add slight scale and This is perfect for things such as
rotation differences to bolts, nails, cables, etc… Just
repeating objects, this is a give each one the love it
perfect tactic to make deserves!
something feel handcrafted
and give your assets that little
love (just make sure to keep in
mind the rule of how’s it’s
made in the real world).

Putting details in your Geometry

Back to Table of Contents 83
 Creating woodpiles with simulations

Introduction
Creating wood piles has never been easier with little technique in blender, while I’m using this for wood piles you can use this on a
variation of different assets with a couple of simple adjustments.

1. The Setup
Let’s breakdown the little setup our collision and will remain
here first, you can see we have static. So in this case this will be
a a pretty large stack of added to the plane beneath
wooden floating pieces above the stack of wood.
a plane with a hole inside of
this and some thickness. The Active Rigid Body
simulation works on two rigid This we assign to all of the
body components. wooden pieces and has a
bunch of parameters that we
Passive Rigid Body can adjust, but more on that
We assigned this to the asset next.
that we want to use to act as

2. Parameter and simulation

Settings to adjust are the and press play. When done so,
“Mass” which controls the we can see that these pieces
weight of the object, “Friction” will start to move. And once it
which slows the object on has completed a full run on our
contact with others and both timeline we can stop and slide
“Damping Translation” and through the timeline and see
“Rotation” which will slowdown the entire simulation.
either quicker or slower over
time. Now we just need to look at
which “Frame” we want to
Now, let’s simulate, for this we convert and turn that into a
need to go to our “Timeline” static mesh.

3. Converting to static mesh

This asset still has simulation well through the rigid body
data attached to it, so to modifiers attached to it too, so
make it a static asset we first we need to remove them too
need to tell it to remember the by going to the same menu
transform. To do this you need and clicking “Remove” under
to go to “Object” > “Rigid the same menu under
Body” > “Apply “Object” > “Rigid Body”.
Transformation”
And that’s it, we now have a
Even with this offset converted static version of these wood
it still has a rigid body and piles!
animation data attached as

4. Other applications
With a little imagination you could be interesting to have a
can see a bunch of whole bunch of garbage
applications to this such as assets and then bake all the
random wood piles all we maps we needed from them
have to do is make a different and you have a tileable
capture device, change the garbage material, you just
meshes we want to scatter need to make sure the edges
and we’re good to go again. are correctly tiling as well.

We can also use this technique

for the base of tileables of
materials, I’m thinking that it

Blender Simulations for Asset Creation

Back to Table of Contents 84
 Geometry Node Roof tiles

Introduction
In this one we’ll be looking at the roof tiles I’m currently making for my medieval project. It was also the first time using Geometry
Nodes in Blender, so not everything works perfectly with the tool we’re going to be looking at, but it’s amazing to create some quick
rooftops for my scene.

1. Adding control via a mesh

We’re going to start with a be using as points to spawn our
plane (mesh) just to give us roof tiles on top of.
something to work with, we are
going to use this mesh to direct To give us control outside of
the surface area of where we the tool we can drag any pin
want to generate a roof. to the first group to expose
parameters in our modifier.
I added subdivision surface
(turbosmooth) to give me
additional control over how
dense the surface will be and
the amount of vertices we will

2. Scattering instances
Now that we have a surface just drag it straight from your
that we can work with we can outliner into the geometry
convert this mesh to the points nodes interface and it will add
we need to scatter instances an object info node for you.
on, first we get a “Mesh to
points” node and then we add We can then hook this up to
an “Instance on points” node the “Instance” on the
to do the actual scattering. “Instance on points” node and
we have things that are
For now, the thing we will be scattered on the object.
scattering on top of this mesh
can be anything, and you can

3. Sampling a collection
It’s time to get rid of the single drag the collection pin to the
object we are sampling and first group input to expose it to
replace it with a collection of the modifier stack. Now we
objects, this gives us more can switch collections on the
control over what object we fly and try multiple variations
want to spawn and allows us pretty quickly.
to spawn multiple meshes at
once.

To do this we can simply drag

in collection like we did before
with a single asset and then

4. Rotation and scale controls

Now we need to make sure we rotation of the roof shingles
also align all the instance to right first and then add
the normals of the surface we additional randomization on
are trying to control, again, this top of it to create some
works for the simple geometry variation.
that I have been using so far,
but testing on other meshes And the scale works in the
require some more thought. same way, where we use a
random value between two
My rotational controls work in values defined by us to sample
two layers, first I want to add a between.
base value so i can get the

Geometry nodes roof tiles

Back to Table of Contents 85
06 BAKING
 Baking theory for beginners

Introduction
The first major technical hurdle when it comes to gamedev (well now that I think of it that might be UVing...) But still a technical
hurdle by itself. For simplicity's sake, I am going to assume that you are baking inside of Substance Painter, as this will simplify the
process a bit, because there are specifics to keep in mind when baking in other programs. But that being said, let's dive straight in!

A little thing to mention though, this is a highly condensed artists overview of baking, so add your own research to this!

1. What is baking?
Baking is the act of projecting needs a set of UV's, if this
all the details from a higher doesn't have UV's then the
resolution mesh that we can't baking process can't project
use in game (for performance the details form the highpoly
reasons) to the lower poly onto the lowpoly mesh and
game-ready mesh. make a texture out of it.

For this we need a Highpoly Once we have all these things

mesh (The high resolution we can start the baking
mesh) and a Lowpoly mesh process, but before we do
(Where we project all the that, let’s dive into some of the
details onto). This lowpoly also theory.

2. Projection or casting rays

Baking works by sampling all the underlying lowpoly, the limit
the vertices from the lowpoly set and the way that the vertex
mesh and cast a number of normals are split up (more on
rays outwards until it hits the that in the next section).
limit on the length you set or
the cage. It will then bounce Cages are meshes (Duplicate
back with the information from mesh that encapsulated the
the highpoly back to the highpoly) that dictate when
lowpoly. the Rays will be bouncing back
inwards when they hit the
The result of this bake is cage.
dependent on the the flow of

3. Hard or soft edges?

Vertex normals are the normals With soft edges it average the
that are attached to individual normals coming from a vertex
vertices. The way that the between the two polygons it
normals coming out from them touches. Whereas with hard
behave is dependent on the edge it will split the normals
way that you split the edge coming from the vertex in two
information. essentially disconnecting the
smoothness of the transition.
So in Blender or Maya it would
be Sharp or Soft edges, where
in Max it would be defining
different smoothing groups.

4. The one rule that matters

All of this sounds super This will split up the vertex
complicated, but the simple normals and give the Baking
reason why this is important is software room to bake this
because of this one simple rule. texture between the UV Islands
Whenever you have a edge to prevent color bleeding
that is at an angle that is close between UV islands.
to or higher than 90 you just
turn this edge into a Hard edge
and split the UV's along that
seam and separate them a bit.

Baking theory for beginners

Back to Table of Contents 87
 Baking - Building the Lowpoly

Introduction
This time we will be looking into some tips that will help you build a better lowpoly mesh that can help you get the most out of your
lowpoly meshes specifically to get better bakes, let's dive in!

1. Add poly's where they matter

Adding poly’s where they apply some tricks to get it right.
matter is important for the
whole baking process (and for Another good thing to keep in
optimization!) Because baking mind that removing edge is
to a surface that doesn't easier than adding them and
support the highpoly shape where possible try work in
you are going to get artifacts. multiples of 4 on rounded
if you don't have the amount surfaces so you can safely
of edges on a complex round remove each other edge while
object for instance, this might keeping an equal number of
mean that the bake is going to edges.
suffer just because of that
reason and you will have to

2. Exclude details from the Lowpoly

If you want to build this into present in the lowpoly (flat
your lowpoly mesh make sure baking) or simplifying the
that you ask the question if it's shape just enough so you don't
really important to have this have to think about building
feature included in the shapes that go into the self for
lowpoly. instance.

Maybe there is some other As an example having some

way that you can have this unique text (like a brand or
shape, like baking this something) on a prop in your
information down onto the scene might be too much to
mesh without this shape being add into the lowpoly.

3. Thinking about reuse

Make the most out of your geometry and you don't mind
model by reusing as much as looking the same. This works
possible, you can do this in great for objects that you only
multiple ways, but the most want to model once and have
common one is using all over, like bolts for example.
symmetry in your mesh where
you assume that the other half You are only baking the
will be the mirrored version. information down to one of
these bolts and if you overlay
Another one could be reusing the UV's if the one you want to
parts of your mesh that are bake (Keeping in mind to offset
going to have the same the others on the UV's).

4. Focusing on the silhouette

Becoming more and more this needs to take the style and
important when the polycount polycount budget into
goes down or if the style is account.
more exaggerated.
Meaning a good balance
With this I mean it's not only between the amount of
talking about creating a nice polygons versus too many of
silhouette, but also talking them for super smooth surfaces
about all the things that don't for instance. Try and optimize
contribute to the silhouette your polycount and keep that
that can be heavily simplified polygons in check!
or even cut. Keep in mind that

Baking - building the lowpoly

Back to Table of Contents 88
 Baking - UV mapping Tips

Introduction
In continuing the baking series let's talk about how you can get the most out of your UV layouts and get the best possible texture
bake result. For this I assume you have an understanding of the base concept of unwrapping.

So these tips will be more generalized high level tips for baking specifically.

1. Edges and UV islands

The first solid tip here is about A rule to keep in mind is that
the use of hard/soft edges to every edge on your mesh that
define where the cuts in the UV is bigger or close to 90 degrees
are going to be, the reason for needs to be a hard edge and
this being is that the the vertex a cut in the UV's. This will greatly
normals change depending on help with baking issues on that
what type of edge (or part of the mesh. This is
smoothing group) you assign to probably also the most simple
it. It will split the Vertex normals and most useful tips that I can
if you set this to be a hard give you.
edge whereas it will try to
smoothen the Vertex normals if
you make the edge soft.

2. Straightening UV's
You have to make the most of unavoidable) you might want
your pixels in your texture to think about straightening
space that will eventually be these out and get a consistent
used to texture your model, straight edge.
you will have to try your best to
keep away from diagonal UV This is also used to get better
islands as much as possible bake because your edges will
especially for smaller textures. not have to deal with diagonal
You will want to align the UV's pixels and half pixels. There are
as much as you can with the some great tools that can help
grid of pixels on the texture. If you quad unwrap these
you have diagonals in your UV sections nice and easy.
shells (a lot of the time

3. Edge padding and Dilation

Now there is a caveat to using to avoid this we introduce a
the most of your UV space and little bit of space between the
pushing the UV shells as close different UV shells or islands
as possible to each other, this and account for this to
being that you need some happen.
edge padding to help
bleeding over of the bake. This The bigger the texture the
means that the further it goes bigger the space between the
away, the edge padding shells. As an example, for a 2k
become more visible and texture this needs to be 8 pixels,
bigger, so colors from other for a 1k this needs to be at
parts will bleed over into other least 4 pixels.
parts of they are too close. So

4. Overlapping UV Separation
For example one way to get space outside of the 0 to 1
more texture space is to use space. If you don’t the baker
symmetry so we can bake a will project all the information
texture for one half of the mesh from all the parts on top of
and use that same part of the each other, creating a mess.
texture on the symmetric part
of the mesh, we can also do This is perfect for shareable
the same for a reusable piece items like bolts, screws or other
of the mesh, like for example a items you have that can share
bolt. When we do this we need texture space.
to keep in mind that we need
to move one part of the
overlapping UV's exactly one

Baking - UV mapping tips

Back to Table of Contents 89
 Baking - Highpoly mesh tips

Introduction
Let's dive into some tips for building a highpoly mesh specifically to get better baking results. For this we are looking into how to add
thing like bevels, details, using floating geometry and making multiple highpoly meshes instead of one connected mesh.

1. Large Bevels
Bevels are the best way to Creating a consistent bevel
highlight those nice edges that width for similar parts of the
you get when lights hit the mesh is also something that
mesh, so making them bigger can help you create
will make the highlights hit consistency between them. So
those edges of the mesh for a for instance when modeling a
longer distance through all the gun, all the metal elements
MIP maps. So if you are going have tighter bevels than other
to bake all this valuable parts of the gun like the grip
information down to a normal that are made out of softer
map, you might as well get the materials.
most out of it and retain them
for as long as possible.

2. Details and sharp edges

When thinking about adding space.
surface details that will be
baked straight down onto a The reason why to avoid this is
surface there are some things because it will never capture
to keep in mind. The most the information, like seen in the
important thing building details example on the right.
like this is that you can't use a
90 degree angle for surfaces
that come straight (or follow Also think about what kind of
the vertex normal) up from the details you want to add, it's not
surface without either giving always necessary to build
them a bevel in the highpoly or meshes, you can use floaters or
dedicated lowpoly mesh add them in substance painter.

3. Seperate parts
This one might sound ridiculous is thinking about how it was
for some, but a highpoly constructed and separating
doesn’t need to be one mesh. these elements into separate
Building separate pieces of the parts of the bigger mesh. Like
highpoly mesh is a huge time for example if we think about a
saver, especially because table, it has the tabletop, the
some of the connections you supporting frame and the legs.
are trying to force when Separating the highpoly will
keeping it one mesh are make it way easier then doing
unnatural anyways. this all at once.

A good way to think about this Dmitrijs Lapins - Post-apocalyptic engine

4. Floating geometry
These are smaller meshes that the blending between the
float above the highpoly edges of the floating piece of
surface and then get baked geometry and the surface
onto the lowpoly together with projecting it onto,if these don’t
the base highpoly mesh. Some match perfectly, you will get
things need to be kept in mind. normal map artifacts.
First of all is that you need to
add these as close to the This is also why people stay
surface as possible so it can be away from trying to use them
factored into the baking on curved surfaces unless you
process, secondly there are have a plugin that matches
some limitations to this them to it.
because you need to factor in

Baking - Highpoly mesh tips

Back to Table of Contents 90
 Texture baking - part 1

Introduction
Let's dive into some tips for building a highpoly mesh specifically to get better baking results. For this we are looking into how to add
thing like bevels, details, using floating geometry and making multiple highpoly meshes instead of one connected mesh.

1. Aligning all the pieces

Let's start out with some of the this means that a piece of your
basics for starting our first bake mesh can't be on the same
and that is aligning all the position on ANY axis, or else it
pieces with each other, they will project details from
don't need to be at your scene different pieces on top of each
origin point but they need to other.
be aligned.
To avoid this really think about
Also if you are baking without a either using a cage or baking
cage, make sure that all the by mesh name (more on that
pieces you are trying to bake later)
don't project onto each other,

2. Bake Distance
First one being bake distances, An additional option is to
these are dependent on the check/uncheck the "relative to
deviation between the lowpoly bounding box", if we have this
and highpoly mesh, so the checked then the bounding
more your highpoly sticks out box will be normalized to a 0-1
the higher the frontal distance distance according to the
will be, same goes for the outer dimensions of the loaded
opposite direction for the rear asset. Testing this is easy
distance. This replaces what though, you can just pick a
you would normally do with a value and see if details are
cage, however a cage gives missing.
you a preview where this does
not.

3. Baking by mesh name

Probably the best thing you pieces (if you have multiple) a
can do when baking with name and give the
many pieces is baking by mesh accompanying lowpoly the
name, this will allow you to not same name but replace the hi
use the explosion or separating with low. For example
them manually method for Assetname_Low will match with
splitting up your individual Assetname_High, keep in mind
pieces so they don't interfere that there are case sensitive, so
with each other. make sure you are keeping
these things in check.
The way you need to set these
up is give all your highpoly

4. Picking your baker

Most of the things explained Lastly if you are really keen on
here are kind of specific for having as much options as
substance painter, however possible for your modelling
there are other options for package then baking inside of
baking software too, some of Blender, Maya or Max is also an
them are really nice actually. option too, the reason why
substance painter is such a
good option is because it
I personally used Knald for a integrates with the texture
while which has an awesome program itself really well,
3D preview of your meshes so allowing you to start texturing
you can easily debug them. really quick.

Texture baking - 01
Back to Table of Contents 91
 Texture baking - part 2

Introduction
In this second part we will be diving into more generic tips about baking. We will be diving into some more common issues that can
occur when working on baking your own props.

1. Name your exports properly

This might seem a little on the This will also help with using
nose, but naming your exports some of the more advanced
properly is crucial when features that you will be using
moving forward into the going forward, especially in
baking process. This is good just point 4 where we talk about
from an organization baking by mesh name.
perspective, because imagine
snapping through over a ton of
different assets that have
multiple multiple parts and are
complicated.

2. Creating a cage
So if you aren't using baking by cage as it will compare the
mesh name or want really vertices from the lowpoly to the
specific results we can make a cage.
cage for our bake setup which
will limit the range of the bake So when you create a cage by
between the lowpoly and the duplicating your lowpoly mesh
cage. and then exploding it, all you
are looking for is to
Which is also why in most cases encapsulate your highpoly.
and with most bakers the cage
cannot deviate from the
lowpoly when creating the

3. Skew maps
These are black and white mesh whereas the black will
maps that alter the way that leave the area unchanged.
the bake is going to transfer This can easily be flipped by
the details from the highpoly to toggling the option in the
the lowpoly. It will literally skew baker (in substance)
the details until they are baked
flat onto the mesh, making it However this can also be
perfect for floaters and smaller achieved in add more
details like nuts and bolts. geometry on a temporary basis
to affect the vertex normals
The white of the texture will too.
make it project flat onto the

4. Debugging errors
There are some specific things So getting used to how to solve
to watch out for when baking, these will be the most
because you should never important thing, but this will
hope for a perfect bake, take time and experience.
especially not the first time. Aligning your meshes or
Arguable this is the aspect of something being wrong with
baking that you will spend the transform is just one
most of your time in, because example so hopefully we will
there are a lot of small little dive into more concrete
errors that can pop up during examples as we go along.
the baking process.

Texture baking 02
Back to Table of Contents 92
 Baking troubleshooting - 1

As you might have already noticed, a lot of the time baking is just problem solving with a healthy dose of thinking ahead, so in this
entry we will look at some of the common issues with baking and how we can resolve them.

1. Projections from other pieces

When you notice that other multiple smaller parts you can
parts of your mesh are being also use baking by mesh name
projected onto the mesh you to get rid of this issue.
are trying to bake currently this
might be because you don't More on that topic can be
have a cage for this mesh or found in Blog #84.
have set a wrong baking
distance.

So adding a cage for this mesh

will definitely work if it is one big
mesh. If the assets consists of

2. No bake information at all

When there is no information issues.
for the bake at all the main
cause for this is that the So make sure to check your
Lowpoly and the Highpoly transforms, because if the
mesh are not in the same pivots are on the same spot
place, so double-check your these transforms should be the
pivots and locations for these same too.
meshes.

Clearing the ___location (or apply

transforms in Maya) can help
you get rid of weird transform

3. Floating decals not showing

You have floating decals that Also be sure to add the floating
won't bake? That might be decals to the right parts of the
because the distance of the highpoly when baking with
bake hasn't been set correctly different mesh groups.
or the cage doesn't
encompasses these details.

4. Split or wrong shading on edges

If you see edges that are not Doing this on edges that aren't
smoothly flowing into each split in the UV's will cause you to
other like you would expect, bake he wrong information
for example there is this harsh down onto these edges, more
line in the middle of these information on this topic can
edges then this might be be found in the earlier blog
because you have the wrong post about baking Blog #92.
edge type for example a hard
edge Maya, different
smoothing groups in Max or
Sharpe she's in Blender

Baking troubleshooting - 01
Back to Table of Contents 93
 Baking - Throubleshooting - 2

BeyondExtent

As you might have already noticed, a lot of the time baking is just problem solving with a healthy dose of thinking ahead, so in this
entry we will look at some of the common issues with baking and how we can resolve them.

1. Multiple surfaces projection

If you have this weird issue model, where we only want
where multiple faces are this once as the UV will take
projecting onto the same UV care of the other side.
shell and it looks all weird then
this is because you probably
forgot to move overlapping
pieces by one UV space.

Not doing this will basically try

to bake the information onto
the same space twice from
different surfaces on the

2. Skewed details
When you have tiny details like average normals (for all these
bolts for example on the details to be projected flat
highpoly and you want to onto the surface) and a bake
bake these down you can get without a cage or average
this weird stretched look on normals (for all the edges etc)
them, this is because the then combine these.
normals leading up to that
point are not pointing straight Now you don't have to play
down. around with that anymore and
you can just use marmoset with
The traditional way doing one a build in feature that allows
bake with a cage or non- you to paint these areas.

3. Crisper detail workaround

This is a really interesting trick to higher resolution and then
smoothen out some of the down-scaling this in an image
harder transitions that can editor, this will then compress
really help some specific bakes and interpolate these
that rely on more detail such as transitions in the normal map
weapons or highly detailed differently compared to the
pieces while also working raw bake and smoothen them
within more strict technical out a bit. Might be a bit
restrictions. specific, but it can be useful in
certain aspects.
The thing we do in this little step
is baking the normal map on a

4. Bake taking really long

When your bake is taking really significantly improve baking
long there are a couple of times especially on AO.
things you can do to optimize
the time that this takes, first one Once you are done with
is optimizing your highpoly by cleaning up errors hen you can
reducing the amount of polies. go and bake full resolution.
Another one is checking your
baking options, if you are just
doing initial test bakes, try and
bake on a lower resolution
without anti aliasing on, this will

Baking troubleshooting - 02
Back to Table of Contents 94
 Substance Painter Opacity Map Bake

Introduction
This entry will dive into a workaround way to get opacity maps by baking a normal map that has no dilation and then using a 2D
editor to turn this into an opacity map.

1. Baking the texture

Let’s dive straight into the the dilation. This will cause the
baker for this one, as I assume padding caused from the
you already have the meshes baking process to be
for it. completely removed.

For this little workaround we Now that we have this texture

are going to use this baker to (found in the “Shelf” under
bake a normal map and get “Project”) we can bring it into
an opacity map out of it. So photoshop or other 2D
disable all the other texture software where we go for the
maps in the baker and remove next step.
the diffusion and remove all

2. Flooding the shape

The next step is super simple, and the style to normal, we
the thing we want to do here is don’t need to do anything to
just fill the shape that we get the background of this image
from baking it in Substance as this will be recognized as
Painter with a white color, black because it doesn’t exist
making it visible for the anyway.
renderer and removing all the
black parts from being visible.

For this we can use a simple

color overlay inside of
photoshop that is set to white

3. Putting it back in the channel

I mean, you must know how to to a fill layer inside of the
do this if you got this far! “Opacity Layer” or disable all
the other texture channels
inside of the properties of the fill
The other thing we need to do itself.
is add an opacity channel in
the “Texture Set Settings”, we
can find this under the little plus Now that we have this you
symbol on the top right of this might see that nothing really
window. has changed at this point, so
we need to do one more thing!
Now that we have the channel
setup properly we can add this

4. Changing the shader

Lastly, we need to change the Now we can see the opacity
shader from the standard map in action!
shader used in Substance Hopefully this was helpful to all
Painter to the “pbr-metal- of you.
roughness-with-alpha-test” for
a black and white opacity
map.

Opacity mask in Substance painter

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 Baking - Floating geometry

BeyondExtent

Floaters are pieces of a model that are detached from the main model and float above the surface. This way we can avoid having
to model them directly into the main highpoly.

1. Intro to floaters
Floaters or floating geometry is realize them, think nuts and
great to add details for the bolts as good examples.
highpoly, these pieces of
geometry are detached from As we have them floating
the main highpoly mesh and above the surface we can
are thus not dependent on the easily test if this is the look that
polyflow of the underlying we are going for or not and
mesh either. remove them if we decide
against them and keeping the
Another benefit of this is that highpoly intact.
we can easily duplicate this to
another part of the asset to

2. Keeping in mind normals

Floating geometry you grab or normals of the floater, mostly
make will need to have an the edges need to correspond
area where you account for with the normals of the
the spilling over between the underlying mesh normals. If
meshes, this area will serve as they don't then you are going
the blend between the to notice this in the baked
normals of your floating down normals and texture you
geometry and the normal of are going to create using this
the underlying highpoly. information.

A big thing that we need to Flat surfaces are perfect for

keep in mind is that the this.

3. Baking these down

Now that we have these Now with this floating geometry
detailed floating geometry, it's we need to keep in mind that
time to bake them down. But there are going to be issues
what we need keep in mind with the ambient occlusion
with these details is that we bake if we don't separate the
need to make the cage or the floating decals from the normal
baking distance big enough so geometry.
that it fully encapsulates the
details fully.

4. Painting floaters
Additionally, and way quicker
is that we can also add these
later on, after we are done
baking. We can do this
through substance painter by
adding them as normal stamps
and if we then combine this
with the anchor points that we
can use.

Baking floating geometry

Back to Table of Contents 96
 Baking by “Mesh Name”

Introduction
So with this one we will dive into some the topics of building and designing your own portfolio and how this will help you with the next
job and how to grow towards what you want to achieve with your career.

1. Why do we need to do this?

When baking textures it will poly and make sure that other
project the highpoly detail assets don't project onto each
onto the lowpoly mesh, when other.
doing this if you have complex
meshes or meshes composed This is where Baking by mesh
out of multiple different meshes name comes into play, this will
we need to make sure that bake all these meshes in
these different meshes don't separate instances and then
project onto each other. combine them together,
Traditionally this was done by making it super easy for you.
"Exploding" these meshes, this
will then offset all the different
elements of the high and low

2. Correct mesh names

So for this to work, we need to and the Highpoly will be
make sure that we have setup named "Test_Highpoly". Once
all the meshes with the correct we start baking this will then
naming conventions. So to do look at the name and bake
this we need to give all the them as a group.
meshes that belong to the
same group the same name, Also important is that the
so as and example let's say we meshes need to keep the
name them "Test", then we same offset in the scene itself
need to add a suffix for both so that they remain
the Lowpoly and Highpoly. so overlapping if we export them
for our example the lowpoly
will be named "Test_Lowpoly"

3. Baking setup
So for this to work, we need to and the Highpoly will be
make sure that we have setup named "Test_Highpoly". Once
all the meshes with the correct we start baking this will then
naming conventions. So to do look at the name and bake
this we need to give all the them as a group.
meshes that belong to the
same group the same name, Also important is that the
so as and example let's say we meshes need to keep the
name them "Test", then we same offset in the scene itself
need to add a suffix for both so that they remain
the Lowpoly and Highpoly. so overlapping if we export them
for our example the lowpoly
will be named "Test_Lowpoly"

4. Test baking and troubleshooting

Now once we start baking It will also allow us to see if we
these maps we don't want to have some projection issues,
start baking the full textures at because if we do we need to
maximum resolution yet. So see if we have setup our
let's start out with doing a test naming conventions and our
bake on a smaller resolution meshes correctly.
like 512px. doing this allows us
to test our setting and get
some initial results.

Baking by “Mesh Name”

Back to Table of Contents 97
07 TEXTURING
 Texture maps explained - 1

Introduction
Now that we discussed Baking it's time to dive into the next step and start talking about Texturing, but first we need to take a look at
the different maps that are used in the texturing process, so here we go, let's dive in!

1. Normal Map
Normal maps are textures that This map is super important in
hold texture information that the challenge of adding more
bounce the light based on the details to a model without
value that is in the texture itself, adding more polygons and
this is also why this texture has most commonly acquired by
a weird colour. baking this information down
from a much higher detailed
mesh down to a lower detailed
The colours in the map reflect mesh.
the direction that the
bouncing light rays will get
adjusted by.

2. Basecolor/Diffuse/Albedo
These are the maps that are Then for Albedo, this is mostly
used for storing the base color used in the workflow that is no
values for the material itself, so longer the PBR standard and
why these different names will be used outside of PBR
then? There are a couple of rendering such as phong or
different workflows that are blinn shading for example in
used by engines, so to make it modelling packages. These
simple Basecolor is used in the textures are best seen as what
metalness workflow (eg Unreal you would normally see in daily
Engine) whereas Diffuse is used life with the lighting information
in the Specular Workflow (eg removed as seen in the
Cryengine). example on the right.

3. Roughness/Gloss
These maps are the You can think of these maps as
interchangeable they are just the micro surface of the
the inverse of each other. material, meaning that the
Where Roughness is used in the smoother the surface is the less
Metalness workflow and the altered the light bounces are
Gloss Workflow. These have a going to be and the more
big impact on how the smooth and reflective the light
material will react to the light is going to become because of
bounding off of it. this

4. Metalness
This map is more specific to the So for most (and if you want to
Metalness workflow, I mean it's be accurate) this map is either
in the name so it has to be black or white, so when the
right? map is white it's metal and
when it's black its going to be a
non-metal, simple as that!
This map controls if the material
is a Metal (and has colored
reflectivity) or a Non-Metal
(and the reflection is going to
be white).

Texture maps explained - 01

Back to Table of Contents 99
 Texture maps explained - 2

Introduction
Let’s take another look at some of the additional maps that are commonly used in texturing, here we go for round number two!

1. Ambient occlusion (AO) and Cavity

First up the ambient occlusion Now that I mention that word
texture, this texture will don't confuse this with cavity
simulates the shadows cause map, this is basically an
by surfaces or objects blocking ambient occlusion map that is
out the ambient light that is purely focused on the smaller
bounding around. So to details and will this be
simplify this the deeper the calculated into the shader in a
surface is between surrounding different way and will thus
surfaces the more shadow will affect your meshes differently,
be introduced inside of this so think of it as an AO map that
cavity. is baked at a shorter distance
and has more detail.

2. Opacity
The opacity map is where the All the values in between will
magic happens if you're control the opacity of the
looking to make stuff material unless you are using a
disappear, it's a super simple specific shader such as Alpha
one to understand, white on Clip which can only read black
the texture will be visible and and white values whereas
black will be invisible. Alpha Blend will allow you to
blend to in between values for
the opacity.

3. Curvature
A curvature map stores all the A curvature map can be
information of the mesh where depicted in multiple ways as
has peaks, valleys and pits. you can see on the right. The
You're probably familiar with most common one is the single
this map if you ever baked channel one where the edges
something in Substance Painter are represented as white and
or possibly some other the cavities are marked in
programs that use this to black. You can also see that is
generate masks and uses the full gradient with 50%
edgewear. grey being neutral.

4. Height map
Height map is another map Black will be the lowest point in
that is fairly common for us your terrain and white will be
Environment Artists especially the highest point. But this isn't
when it comes to terrain and only useful for Terrain, other
other forms of depth simulation programs like Substance
(for instance in materials). This Designer, Unreal Engine and
texture allows you to paint (or others use this texture to
author this in any other simulate depth in materials by
software and then bake this using this texture for example
information down) in black for parallax occlusion mapped
and white where you want textures.
your mountains and your
valleys to be.

Texture maps explained - 02

Back to Table of Contents 100
 Intro to tileable textures

Introduction
A thing that a lot of artist take for granted at this point but if you are a beginner it might be weird to understand the concept of
textures that seem to runs endlessly.

1. UV Spacing
First to understand the concept We want these textures to
of tileable textures we need to repeat, this gives us more pixels
talk a bit about UV's. Normally to work with on the texture.
when we unwrap stuff we keep
it in the 0-1 space of the UV's, For example, you have a
there's a good reason for that simple plane unwrapped to
because all the polygons we the full UV space, say 512x512
move outside the 0-1 space but if we double the size of the
will have the texture repeating UV's (Scale it up) This means
onto the mesh, but this can that the texture is now
play in our favor! repeating 4 times on this space
while the texture remains 512.

2. 1-way Tileable
These are textures that tile in strips or trims of textures on one
one way, so this means that if texture sheet, as seen in the
anything pokes outside of the example on the right.
0-1 space of the UV's to one of
the sides (horizontal or vertical) This topic onto itself is quite
it will tile. When we are talking worthy of more explanation, so
about these sorts of tileable these are the basics for now!
textures people also call them
trim sheets.

The reason why people call

them trim sheets is because
you can have many different

3. 2-way Tileable
The standard form of tileable multiple times.
textures. This means that the
texture will tile in all directions You can see an example of this
and that you can move your to the right, where you can
uv's around outside the UV clearly see the tileable nature
space and never destroy the of the texture because it has
tileable nature of the texture. A distinct patterns.
downside to this is that the
texture itself needs to tile well,
this means that if you have any
unique spots in the textures this
will become super obvious
when you tile the texture

4. Blending it up
The power of tileable textures You can do this in any program
lies within how you use them you want by using masks,
though, for example what you vertexpaint and other things...
could do or your personal
projects is buildup a personal Vertexpaint tips can be found
library of tileable materials and
then blend them two or more in my blog compilation and in
one of my previous blog posts!
of them with masks to get
some interesting results.

Intro to tileable textures

Back to Table of Contents 101
 Making tileable textures - Basics

Introduction
In this one we will have a look at tileable texture creation, this is more of a general overview on how to create them and not really
specific about which program to use. In the future we will be looking at program specific creation methods, but this one should give
you a good idea about how to start and what to keep in mind when thinking about creating Tileable textures.

1. Different workflows
When starting making tileable Zbrush to help you create
textures, there are multiple these, like making the viewport
different ways that we can go like things for you (flipped
about this. normals on YouTube has a
good video about this).
The most common way is using
Substance Designer to create The main difference to keep in
these but there are other mind here is that Substance
options too. You can also Designer might be more
create these with Zbrush or any difficult to get into, but it allows
other modeling program, there for endless options of variation
are some neat tricks inside of through it's procedural nature.

2. Building up from big to small

When building the shapes for When doing this its important to
your tileable texture the main really analyze the material that
thing you need to keep in mind you are trying to create and
is that building up the shapes really look at how its build up
for your textures needs to start and try to dissect the different
with the big shapes building layers.
more and more into details.

3. Keeping details tileable

When you get to the part Like in the example on the right
when you start adding smaller where you can really notice
details you need to make sure these details that really break
to keep testing your tile-ability the illusion of the tileable
of your texture, because most nature of the texture.
of these details will really make
it noticeable when you start
repeating it multiple times
across a plane.

4. Make it the right size

Another important aspect is to This changes once you get into
make your tileable texture the a company where the
right size, in most instances a restrictions are way more strict
texture above 1k is not even and you need to find tricks to
necessary to make it look optimize wherever you can,
good, we artist tend to try and and this starts with how big the
get the most fidelity out of our textures are, because the step
textures and assets we make from 1k to 2k in texture size
for our scenes and games with costs is an upscale of 4 times.
a disregard for optimization.

Making tileable textures - Basics

Back to Table of Contents 102
 Introduction to trimsheets

Introduction
Trimsheets is a texturing technique that is most used on modular pieces to reduce drawcalls and try to maximize reusability of one
material. We will be looking into how to set these up, in this short intro to trimsheets.

If you are looking for more information on this topic, Polygon Academy (youtube) has some great tutorials on this topic that are
great!

1. What are they?

Trimsheets are called that Environment artist use them to
because of how they are reduce the amount of
being used and how they are materials and textures they
laid out in the UV layout. They need to texture a large part of
are laid out as Trims (long the Environment by just using
sections) and will in most cases one texture for all the modular
tile on one axis (horizontal pieces this entire set will be
mostly) so if you have strips of textured with.
edges or trims you can use this
texture method to dress these
up.
Keegan Keene - Nautical Trimsheet

2. Planning ahead
Because you need to make a can cut new edges in the
texture that will got all the meshes and map a new piece
meshes you have now and the of texture to it.
meshes that you are planning
to make in the future. A good way approach this is
planning your chunks in a 2D
The nice thing about making a fashion. Either as a quick sketch
Trimsheet is that they are very or just blocking out some
versatile in the way you can chunks in 3D. Make sure to
use them, this means that you keep these chunks aligned to
are not really restricted in the the UV grid for easy
way you use it because you unwrapping too! Peter Nicolai - Trimsheet Planning

3. Setting up the texture

What we need to do next is and damage, but if you are
translate this planning into 3D just looking for surface details
form and bake this down onto that are pretty flat you can just
a plane. add these by painted them
using Substance Painter.
We can do this with multiple (A good reference is blog #50
options, by just modeling the for “using anchors in substance
highpoly in your favorite painter”, which will help you
modeling package, or doing embed these details onto the
an additional pass in a into the material.)
sculpting package like Zbrush
to add some more edge wear Ben Hale - Trimsheet Texturing

4. Practical uses
Trimsheets are super useful for that you use these trimsheets,
the texturing sections of even when you made the
modular buildings, adding texture yourself you could be
details to meshes that will give surprised by the way that you
you consistency among all of can use it.
them or just trying to optimize
your scene by using one And lastly, keep in mind how it
texture that gets used across looks, if the difference
all of them. between a really up-scaled bit
in your texture and a normal
The best tip I can give you here looking one are close to each
is to be creative in the way other, they might stand out! Ben Hale - Battlepots

Introduction to Trimsheets
Back to Table of Contents 103
 What is texel density?

Introduction
Texel density is something that most people recognize in games when they see two textures right beside each other and the one is
more blurry than the other. This discrepancy between the textures has to do with the Texel density of those textures on those assets.

1. What is it?
Texel density is the size of the 4m tall wall. then from this we
texture and how this will be know that if we were to make
displayed on the assets or a 4m by 2m tall wall using the
screen. For consistency we try same texture the UV space
and keep the size of all the needs to take up half of the
different textures or elements same (using 512pixels by 1024
you might use to the same pixels).
standard. With this we are aiming for
consistency between all the
elements within a scene or
So for a simple example let's
say we use a 1024pixel by section within assets as you can
see in the example.
1024pixel texture on a 4m by

2. Different use cases

The texel density being used is There are some exemptions to
does depend on the kind of this rule though, if the asset is
game or scene you are gameplay related (for example
making too. For example in a guns, objective assets, etc... )
first person game you can get than it will usually be higher
closer to the textures so that resolution and on the other side
means that they are usually assets that are only used in the
going to be higher resolution background (like mountains in
because of this reason. the distance) will be slightly
lower red.

3. How to measure it?

We take this 1024pixel by 1024 cases its build in like in Maya for
pixel texture that we have on example.
the 4m wall for this we need to
divide the texture size (1024) by In other cases like Blender, you
the size of the wall in cm (400) can find some sweet addons
giving us 1024 / 400 = 2.56px/ that do this trick for you, and
cm. example addon for this is
"Textools" that has a texel
There are a couple of tools density checker build in as well
that we can use to measure as other useful tools for
this inside of all the different unwrapping. This addon is
modeling packages, in some available for Max too.

4. Debugging and comparing

When working within Unreal A thing we could do is use
Engine you can’t really make a checker material for
measure the texel density each of the texture sizes we
directly using a viewmode or intend to use and then apply
something like that because those according to the texture
the texel density is going to be size onto the assets, we can
dependent on the size of the then check if there is any major
textures. So the way we get outlier within these textures and
visual consistency is by using then adjust these if needed.
the tools In your favorite
software before importing
them into the engine.

What is texel density?

Back to Table of Contents 104
 Anchor point normals

Introduction
Ever wondered why those normals that you add on top of your mesh never pick up the changes you add after the bake? Well this
entry will seek to rectify that straight away and let the smart materials pickup all the information that you add later on through the
use of anchor points.

1. What are they exactly

Anchor points allow you to paint into any smart materials
reference other layers inside of you have applied
substance painter.
So by adding an anchor point
A really useful use case for this to the layer that you use to
is adding normal details on top add details to the material it
of the mesh after you baked and linking this anchor to the
the normal map from a smart material it will have
highpoly onto a lowpoly mesh, access to all the wear and tear
because if you do this, it will information from that layer.
not factor in the elements you

2. Adding normal details

Next we will be adding some remove the alpha we are
normal details to the model, for going to get an alpha falloff.
this let’s go to the “shelf” and
look for “hard surfaces”. In Now we can start adding
here there are normal maps details to the mesh that we
that you can add. have, but the wear and tear is
To add these to your mesh you not going to show just yet.
need to add a new layer, go
to your brush and add it to the Which brings us to the Anchor
normal slot and disable the points!
alpha. Because if we don’t

3. Anchor point setup

First we will add the anchor the micro normal section and
point to a new layer that change the reference channel
contains the previous details. to normal for it to pickup the
In the anchor point we can see correct information.
that it is currently empty of any
references so let’s add one. Last thing to see the changes
For this example we will be in action is to put the Micro
using just a simple white fill Details “on” in the Generator
layer with a metal wear and if Parameters.
we go into that generator we
can add the anchor point in

4. Settings and remarks

Now once this is all setup, we that you have anchored.
can start digging into the
settings in the generator “micro Keep in mind that you can only
details” section of the metal reference things in the same
wear generator. texture set and can only be
used on fill layers, fill effects and
Inside this section we can substance filters.
change the a bunch of
different parameters to give
you more control over the
spreading of the actual effect

Anchor point normals

Back to Table of Contents 105
 Woven patterns in Substance Designer

Introduction
Something I've done recently for my own little scene I've been working on some materials and Jute was one of them, but you can
use this technique for anything with a woven pattern.

1. Base shapes
First off let's start with the base I also wanted to get a bit of a
shape that we will be using feel here that they are made
here, this will start from a simple of strands so we subtract some
square pattern that we then slightly blurred lines from it to
squeeze down, and then we make it feel as such.
multiply this with a gradient to
make it falloff at the top and
bottom (which we will use for
making the pattern later)

2. Woven Pattern
We have our base shapes Then we just have to repeat this
now, it's time to make a process for the other corners of
pattern out of them, for this we the pattern, all blending them
will be using a couple of simple together using a blend node
transforms and blend them with "Max lighten" and finishing
together. For this we want to it off with an auto levels to push
move the darker part of the the black and white values
shape into the corners and until they are maxed out.
then overlap the white part of
the next one with the dark
part, this will create the
overlapping nature we're
looking for.

3. Scattering the pattern

Let's scatter the pattern using a With the tile sampler we can
Tile sampler next, if you want to control the amount of tiles with
make a damaged pattern the "X" and "Y” amount, if we
then I did that by duplicating keep them at the same values
the setup we made before then we get a nice square
and cutting out one section of pattern, which is what we want
the pattern which makes it feel here.
like it's a little damaged, I
haven't refined this step for my
purposes as the scale I'm
aiming for is having a lot of
tiles, so you won't see that
detail up close anyways.

4. Random strands and colors

Now the material that I choose
here does have strands and
little tufts sticking out of the
material, so as a bonus step
I've added a simple step of
adding these with a scratches
generator that I then add this
on top of the previous by
again using the "Max" mode so
they only show up in the darker
regions, so we won't have
them spawning on top of the
white.

Woven Pattern in Substance Designer

Back to Table of Contents 106
 Anchor point color variation

Introduction
Anchor points are really useful in Substance Painter for linking information between different layers in your current scene, one of my
favorite ways to use these is to add them for color variation for trimsheets.

But can also be used in various other ways to add different colors on top of your favorite materials that need a little color variation.

1. What are anchor points?

They allow you to sample I've already written about this a
something from one layer and long time ago where we used
use it to another layer above it. these anchor points to make
Making it a really interesting sure that edge wear also
way of sharing information applies to normals. (which can
between different layers in be found under "Anchor Point
your current file. Normals")

2. Setting up an anchor point

First thing we need to do is to
create an anchor point itself
on the layer that we want to
sample, in this case for our
color variations we're going to
be using the "Basecolor" layer,
which will be serving as our
base color from which we will
be building the other layers.

3. Linked color layers

Then on the layer above that We just need to do this a
we can sample the basecolor couple of times for each color
from the anchor point and variation we want to have, but
then add a HSL adjustment once it's setup we can easily
later on top of it that allows go back and change the
you to change the color of the colors if needed.
anchor point we're
referencing.

4. Adjusting the color

Now that we have all the other Changing this layer will also
layers setup with an HSL affect the layers on top of it as
adjustment layer on it we can well, making it super easy to
go back to the base layer and change the color of everything
change the color of this instead of changing them all
"Basecolor" layer and change one by one.
the color of this specific layer.

Anchor point color variation

Back to Table of Contents 107
 Hand Painting tips by Nikkita Racquel

Introduction
A few tips to getting that little bit extra out of your hand painting using diffuse only.

1. Fake AO
As the Ambient Occlusion same level of impact. Of
information of a mesh comes course it goes without saying,
from the AO map that would there will normally be an
exist in a PBR setup, we need element of overall AO due to
to "fake it till we make it". post process, depending on
Because AO adds such a how the artist chooses to
large amount of depth and render their piece.
shape dimension, it's important
to make sure we include it or
However this overall AO while
the piece will appear much providing good depth to the
flatter and less vibrant than we piece as a whole, doesn't do
intend. as good of a job as a baked
AO map to provide detail
Well painted light does a lot of shading to each individual
great work for a piece but if it object. Making sure to paint in
doesn't have shadows to AO shadows not only help to
contrast against, the light falls communicate form but help to
short and doesn't have the push those textures further.

2. Consider Textures
Because traditional hand texturing workflow of course
painting doesn't utilize PBR but in another form with hand
maps to help portray the painting, all of this information
intended effects, considering needs to be included in the
the effects the texture may diffuse and convincingly
contain or even the texture carried across.
itself is vital to telling the right
story. When mentioning texture Let's use meat for example. If
in this sense however, it speaks cooked, the outside could be
to the material the artist is crispy in some places, glossy
emulating whether that be due to oil, the inside might also
wood, metal, glass, meat, be glossy due to juice, there
bone, etc. could be some areas that are
very matte due to how meat
Next step is now incorporating can be after being cooked.
story to consider what texture
effects carry that story. This is
something done in every

3. Incorporate Light
This tends to be used more in section of highlighting over a
personal projects by artists as it larger surface area.
just isn't feasible to use in-
game but it looks fantastic Second stronger highlights
when done well and still is a either laid over the top or used
very viable way to practice on their own come from either
how light might interact with the material itself very
certain shapes and colouring. reflective or the light is
The way of incorporating light catching the material at such
that is seen pretty much every an angle, it would create a
time hand painted work is harsher highlight. The second
encountered is of course, tends to be found a lot on
highlights. This tends to come metal, edges of grain like
two fold, depending on the wood, glass, water or high
look the artist is going for. A gloss materials.
much more diffused light or
diffused material but still
containing some sort of light
reflectively, will have a softer

Hand painting tips

Back to Table of Contents 108
 What is Ambient Occlusion

Introduction
There are multiple different implementation and use cases for ambient occlusion, we have the texture version and also the in engine
implementation.

1. What is it?
Ambient occlusion is a way to This was first introduced as a
simulate surfaces that are post processing effect by
close to each other and cast Crytek, but it can also be used
shadow a little shadow that as a texture to simulate the
really grounds elements same effect but more
together. Usually this small localized.
shadow is really tricky to render
(we are getting closer to get
good results tho!)

2. How do artists use it?

TEXTURES IN-ENGINE

Ambient Occlusion Textures This is usually a global or post

can be baked inside of processing setting that you can
Substance Painter, Marmoset adjust the size of the effect and
and other bakers... And then also the intensity of it.
you can use them in your
engine of choice to add this
additional shadowing to your
meshes.

3. Common Engine implementations

(SSAO) Screen Space Ambient where it needs Distance Fields
Occlusion to work (have a look at the
As in the name, this will only previous entry on this topic)
work for assets that are within
the field of view of the (RTAO) Ray Traced Ambient
camera, so assets outside of Occlusion
the screen will not have this Probably the most accurate
effect. and also most intensive solution
available to us at this time, and
(DFAO) Distance Field Ambient removes some of the flaws of
Occlusion SSAO but is still limited to screen
This is specific to Unreal Engine, space itself.

4. Texture implementations
If we have highly detailed All engines also come with
objects we can also bake material implementations
these Ambient Occlusion where you can add the
shadows down onto the Ambient occlusion into it
textures to replicate the effect should you want too.
within our textures. This is
especially useful for smaller
details that rely on fine
variations.

What is ambient occlusion?

Back to Table of Contents 109
08 MATERIALS
 World Aligned Materials

Introduction
Most of the time when we deal with textures we only see them when we apply them to textures, but we can also add them on a
world basis too if we want them too, allowing us not to have to worry about the texture lining up between different meshes that are
close to other. But there are also other great applications of this...

1. World space textures overview

Before diving into the stretching on the sides of our
examples, let's start with the little cube we've added.
basics.
We can then divide this by our
Let's open the material editor UV scale so we can control the
first and start by adding an tiling and then add this to our
"Absolute World Position" node, UV input slot on our textures.
which is going to make it so
that the textures we add are This is more for as a top down
now going to be added on
world position. Now you can projection, which can be very
useful for different grass colors,
quickly see that this is still modular floor meshes, etc...

2. World Aligned Texture Node

Now what if we want to add our material and we now have
the textures on walls for the texture applied to all sides
example? of our mesh.

This is where the Keep in mind that this doesn't

"WorldAlignedTexture" comes use your normal "Texture
into play, this more advanced Sampler" node but rather a
node let's us change choose "Texture Object" node, which
how it will be projected onto doesn't have all the inputs and
the meshes we add this outputs but you can still just
material onto, so in our case add your own texture in it like
we can add a XYZ texture to you normally would.

3. World Aligned Normal

Now, this works for everything For this we can add a "World
except for a normal map, Aligned Normal" node, which
because a normal map gives us a different looking
influences how light warps on node that's specifically for our
top of that mesh we need to normal textures, there are a
add in some extra math in bunch of options on these
there to make that work. We're nodes, but usually we can
not doing the math our self keep them pretty simple.
tho.

4. Some examples
Some example use cases Don’t let that limit your
where you can find these tricks imagination, you can use this
are when you want to have a for your textures but also for
nice gradient of color going your masks like in the grass
over your grass, have a bunch example, think outside of the
of cliffs or walls that you can box.
add onto a spline or over
multiple meshes without having
to worry about your tileable
textures or UV's linking between
different meshes.

World Aligned Materials

Back to Table of Contents 111
 Master Material Basics

Introduction
Master materials are a powerful way to create a reusable material for multiple assets in your scene. These are also more performant
and quicker to make then to setup a new material for every asset in your scene. So let's have a look at how we can set these up for
our scene.

1. What are master materials?

They allow us to reuse the could have a Master material
same graph over and over for your placeholders, which in
and change material it's most simple form is just a
parameters on the fly and Color, Roughness and
independently from each Metalness adjustment, if we
other through material turn these into parameters, we
Parameters. Allowing you to can then change them in the
change them on the fly Material instance,
through Material Instances (in independently from other
next episode). material instances or the
master material. And we can
always go back to the main
As a simple example, you material to do adjustments.

2. Creating parameters
We can create them by in pretty useful, allowing you to
most cases right clicking on the separate all the parameters in
node and selecting "Convert different sections. Trust me this
to Parameter". is going to be really useful
making more elaborate
materials.
Name: Pretty self explanatory,
just put the name of the
Parameter here, this is also how Values: Allows you to set the
it will show up in the Material default value and the min/max
Instance. values for the given parameter,
this limits the use of the
parameter.
Group settings: These are

3. Texture Parameters
Textures can also be turned Then once you have these
into parameters, opening up a different material instances, all
whole new side to this, you can you need to do is drag in your
have a master material that new texture maps slots and
allows you to control the you're good to go!
damage on your assets. Then
have different texture maps for
different assets, and so you
don't have to create new
material, just material
instances.

4. Other interesting nodes

Switches parameter itself but allows you
Allow you to switch on/off to hook up an "Alpha"
section of the material when parameter that goes from 0-1,
needed, so for example you allowing you to adjust a blend
could set this up where you of the inputs A and B.
don't want to adjust the
damage, switching it off, or Heightlerp
even add/remove additional The same as the lerp above
controls. but it uses a heightmap for
blending, making it more
Lerp detailed and interesting to use.
Technically not really a So give it a try!

Master Material Basics

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 Material instances and how to use them

Introduction
This is building on the previous Tip of the week on "Master material Basics" so check that one out before reading into this one.

Material instances are really useful for creating quick variations without making the same material over and over again, we can
setup parameters for everything that you don't want to make over and over again.

1. Material instances
Material instances allow you to parameter in the master
access all the parameters material this will automatically
setup in the master materials, propagate to these instances
they also act independently too.
from each other.
This allows for a ton of creative
This means you can have two freedom and ease of use in
material instances using the any scene. Cutting down on
same master material but have the boring redo work that you
completely different most of the time have to do
parameter values. And if you with any scene.
need to change any

2. How to use them?

If this is your first time setting new material instances for
something like this up, start with each new placeholder color.
a simple setup. An example of
this could be using a main Then you can set them up by
material for all your right clicking on the main
placeholder colors for your material and selecting "Make
different assets, so it's pretty material instance". Then we
easy just hold down "3" and can access all the parameters
click (this will create a vector3) we've setup.
and then we can convert this
to a Parameter, and then we
can adjust this color in our
material instances and create

3. Material per object/shader type

One thing I usually try to do is balancing and tweaking you
make one master material for have to do to make it work for
one type of setup, so for all your assets (Let alone the
example one shader for amount of instructions etc you
foliage and one shader for my need, making the material
typical assets that don't require really expensive).
Subsurface scattering and
alpha. However, you can also switch
the shader type in the material
You could setup a master instance if you need too in the
material for all the assets in general tab of the material
your scene but the amount of instance.

4. Using Switches to disable sections

To optimize the material more setup to both "On" and "Off" to
we can also use “Static control the nodes that will be
booleans” and “Switches” to activated when you have
disable parts of the material to either of them selected.
make the material cheaper to
render. However it's still cheaper to not
have any of these nodes in
We can add these by looking your material that you might
for "Static Bool Parameter" and not use anyways, so that's also
a "Switch" and hook the why I make Master Materials
Parameter to the Switch. Then per shader/object type.
you just need to add the node

Material Instances and how to use them

Back to Table of Contents 113
 Material hotkeys

Introduction
This entry will focus on some of the hotkeys that can be used inside of the Materials editor inside of Unreal Engine. This will really help
you speed up the material creation process inside of Unreal Engine.

1. Section 1
Parameter (S) Adds different vector values, so
Probably my most used hotkey, 1 is an integer and 2 to 4 are
this allows you to add a simple vector values going from a
integer value as a parameter. vector 2 to 4.

Linear Interpolate (Lerp - L) Panner (P)

Allows you to blend between A panner node allows you to
two values based on a 0 to 1 scroll different textures, this can
value. be used for things such as
rivers,etc...
Vector 1-4 (1 - 4)

2. Section 2
VectorParameter (V)
This is just a quick way to get Multiply (M)
access to a VectorParameter Quick access to the multiply
instead of making a vector first node, which allows you to
and then right-clicking to blend two values together.
convert it.
Power
TextureCoordinate (U) This will take the first input and
This allows you to link to a multiply it with the “Exp” input.
texture that you have in the
content browser.

3. Section 3
Add (A) A nice little comment box to
Blend between two values, but clean up your material graphs.
adding instead of just blending
them. Divide (D)
Takes the first input and then
BumpOffset (B) divides it by the second input.
Also known as Parallax
mapping, this is essential to
give a fake depth to your
material.
Comment (C)

4. Section 4
Oneminus (O) This is to call the Material
Inverts the given input so for a function that you might have
simple example if you feed this made previously, if you have
5 it is going to put out -5. added one.

If (I) Reroute node (Doubleclick on

Checks if the inputs are of a connection)
certain comparative value like Reroutes the connection,
“Smaller” ,”Equal” and makes it easy to clean up
“Greater” those material graphs.
MaterialFunctionCall (F)

Material Hotkeys
Back to Table of Contents 114
 Vertex Painting - 01

Introduction
Let’s have a look at vertex painting, this is one piece of a multiple edition talking about multiple aspects of vertex painting, this one
will talk about setting up the materials and some more general information.

1. Getting started
So, Let’s talk about vertex We can then use these color
painting, super useful for values to assign materials to
blending 2 or more materials them through the use of some
together, commonly used on nodes in the material editor.
terrain, but can be used on
meshes as well.

It allows you for blending of

values based on painted layers
that uses the vertices to store
it’s color value.

2. Basic material
So let’s dig into the material have the two colors as inputs in
itself, starting out with a simple the lerp, this will then allow us
blend. So let’s add two colors to blend between the two
and a “vertex color” node using the vertex painting
which will allow us to pick channel we chose (Red in the
we are going to use for example).
blending between the two
colors.

If we then use this as the alpha

value for a Lerp node and

3. More layers
Now what if we need to have control other material
more than two layers? We can attributes.
just add another Lerp with
another color as input. When we go back to test the
vertex painting we can now
Now that we have three colors see that we need to use both
and two lerps we need Red and Green channel
another channel from the instead of only the Red
vertex color node to allow us channel.
to blend between them all.
you can use these inputs to

4. More detailed control

The channels of the tool painting on, this then means
correspond to the channels of that if you need more control
the Vertex Color node inside of over the blending between
the material we have just materials you need to add
created. more vertices so that you get
more resolution.
Another good thing to know,
as you probably already Vertexpaint uses the vertices to
noticed is that when you are store data, vertices =
using vertexpaint, it uses the “Resolution”.
vertices of the mesh you are

Vertex painting - 01
Back to Table of Contents 115
 Vertex Painting - 02

Introduction
To continue this little multipager on vertex painting, we are going to continue with an example on how to use textures and blend
some puddles on the basic cobblestones, which should give you a good example to show what you can do with vertex painting.

The previous one can be found here

1. Continue on part 01
As discussed in the previous colors, and for this we are
section where we went going to use some of the
through the introduction on existing content already in
how to setup and use the Unreal Engine.
basics of Vertex Paint.

So to take this initial

introduction further, we are
now going to look at how to
expand on this with some
actual texture instead of

2. Material setup
Albedo: Lerp between the value using the Alpha map
normal version of the pebbles and a parameter for the
(“T-CobbleStone-Pebble-D”) roughness value for the water.
and a darkened version of the
pebbles (to give it a look that For the normal of the texture
they are under water) we are going to move to the
next section.
Metallic: Blend between 0 (no
input) and 0.5 for the water
value.
Roughness: This is a temporary

3. Flatten the water

Next we need to flatten the flattened using the
Normal, luckily for us there is a “FlattenNormal” as a
node that does all the heavy parameter (which I called
lifting, also we can let the Flatness) to control how flat the
height texture influence this as normal of the water is going to
well, but I didn’t do that. be, allowing you to fake the
depth of the puddles.
This part of the material is just a
blend between the normal of
the pebble texture and the
same texture but then

4. Parameters
So then to help with quick “VertexColor” node, we can
iteration, we can go through see that we can paint in
the material and change all puddles on the texture on the
the values to parameters mesh (make sure that the mesh
which will allow for quicker has enough vertices to work
iteration time if you instance with for the VertexPaint to
the material. work)

Now when we paint using

vertex paint with the selected
vertex color of the

Vertex painting -2 0
Back to Table of Contents 116
 Decals - 01

Introduction
In this entry we will take a look at decals, how to set them up and how to use them in your environment. Decals are a useful way of
adding unique details to modular sets that rely heavily on tileable textures and cannot have build in unique details.

1. Why do we use them?

Decals come in many forms floors, edge damage etc...
and shapes, there are a ton of
different usecases that we can But before diving into some of
use them for as well. In this these examples it is important
Mini-Series we will be going to start out with the basics first
through some of the major and see how they are setup in
usecases. Unreal Engine.

Some of the use-cases can be

adding damage to walls,
graffiti, smaller dirt cover on

2. Starting out
So let’s have a look on how we let’s get to fixing that, if you
can get these working in our click the dropdown menu you
projects, first we need to grab can see that there is a section
a “Deferred Decal” asset from that is called “Create New
the “Visual Effects” tab in the Asset” so let’s create a new
“Modes” menu. Material that we will use for this
reason.
If we drag this into our level and
we look into the details menu of
that Decal we can see that the
“Decal Material” is empty, so

3. The setup
For this particular basic “Blend Mode” to “Translucent”
example we are not going to (which is going to pop up
take a deep dive into when changing the material
materials, we are going to stick ___domain). I just added a quickly
to the basics for this one. made Alpha Mask Texture for
the opacity slot and a simple
When creating a Differed color for the Basecolor input.
Decal material, you will need
to change things like the
“Material Domain”
to “Deferred Decal” and the

4. Usage
Now you noticed something probably going to be bigger
else, that the Decal is basically than graffiti for instance.
is a projection inside of the
“Box”, so scaling this box To adjust this you can just scale
influences the way the decal is the decal like you normally
going to be drawn. would or you can change the
“decal size” inside of the decals
This means that if you have details menu.
blood splatters or any thing else
that splatters on the
environment the box is

Decals - 01
Back to Table of Contents 117
 Decals - 02

Introduction
In the second part of us looking at decals and how to use them Inside of Unreal Engine, this time we will look at an example use case
of decals.

1. Why do we use them?

Damage decals are a really In this example I will be using
nice way to add details to some textures that I have
some flat textures, that can found on the texture website
quickly become super tileable www.textures.com so the
looking or look flat otherwise. examples are going to be a bit
This is also a nice way to add different to what you would
some nice story or texture to normally do yourself as I only
the Environment. have the diffuse to work with
for these textures but the main
idea remains the same for
these.

2. Adding the decal

First off I added a texture to the So then let’s add a decal to
normal plane that is in the the scene like we did in the
default level when you load up base example from last time.
a new scene in Unreal Engine,
this will be the basis for a floor
texture which we can then
overlay a decal over.

3. Setup and options

As mentioned before, this is just This is the most important
the setup using the textures option, this dropdown allows
from www.textures.com. you to choose which material
outputs are going to be used
The roughness in the material is by the Decal in the level.
just the de-saturated version of
the basecolor and then So for this instance I used
inverted, and a quick normal “DBuffer
map, but just as examples. Translucent,Color,Normal,Roug
hness”. So it uses all your typical
“Decal blend mode”: inputs.

4. Usage & Experimentation

Once everything is plugged in Ofcourse for a better and more
you can now see that the result varied result you can use
is quiet nice, it had it’s own multiple different damage
Normal, Roughness and decals on one decal sheet to
Basecolor map. save memory and both make
We can then use the same them more useable.
decal in multiple ways to There are a lot of options in the
create some nice variation in decal section, for cheaper
the damage that has been decals you can only use the
done to the floor. normal blend mode, but feel
free to experiment yourself.

Decals - 02
Back to Table of Contents 118
 Master Material Creation - Part 1

Introduction
Let’s take a deeper dive into material creation in Unreal Engine, in this one we’re starting with a simple section of a master material
and then working our way up for it to be more complex.

Keep in mind that master materials and the nodes you use in them depend on the outcome you are working towards, so this is more
used as an example on how to set one up yourself and you should tweak it for yourself.

1. Texture samplers
Keeping it simple with this one, packing texture together to
we’re going to just grab all the optimism the sampler count of
textures and drag them into our materials. So instead of
the material editor, we can having a separate input for
then connect them to the metallic, roughness and
main material output, that Ambient Occlusion, since they
honestly the most basic for a are all black and white, we
material setup in Unreal. can pack them together in
one single texture. More on
that can be found in “RGBA -
Even in this most basic form,
we can already do some Channel Packing”.
optimizations, by channel

2. Making Parameters
At this point, our material texture samplers we added
doesn’t offer any options for before and then “Convert to
customization, this is where Parameter” give them a
parameters come in. suitable name. This will then
allow you to drag in
replacement textures in the
We can turn a lot of nodes into instance. Making this material
parameters, which makes usable for more than one
them adjustable once we instance. We just need to make
make a Material Instance from a new instance for each new
this Master Material. version of the material we
need.
So just simple right click on the

3. Change tiling option

Let’s add some additional control (Make this into a
power to the material by parameter) and then
allowing us to change the tiling connecting this into all the
of the material, which is useful inputs for each texture input.
for tileable materials.
This gives us both control over
To do this we need to add a the texture we can use and
couple of nodes before our also control the tiling of this
texture inputs, firs off a UV material.
node, to direct which UV we
want to adjust, then multiply
this with the value we want to

4. Adding a Tint
Now to round this section off multiply before it goes out
we can add one more bonus towards our main basecolor
thing to our material and that is output. And then we can use a
to add a tint to our material, Vector 3 (Which will just give us
this allows us to add a color) as a color on top of
differences between materials the main color.
even if they use the same
texture. However, this is a simple
approach and can look weird
For this we need to go to the because it affects the entire
basecolor section of the material, so best to keep this
material and simply add a subtle.

Master Material Creation - Part 1

Back to Table of Contents 119
 Master Material Creation - Part 2

Introduction
Let’s take a deeper dive into material creation in Unreal Engine, in this continuation of the series we’re going to be diving a little bit
deeper into the master material creation process by adding a hue slider, adding normal strength controls, detail normals and look
into switches which can help you optimize your materials.

1. Color Hue Shift

First Let’s correct something very useful to create additional
from last week. Go back to our color variation between assets
Basecolor sections of our if needed.
material we created last week
and start with a slight The node for this is actually
adjustment first, after Helder already built in and is called
Pinto mentioned to use Blend “Hue Shift” and we can just
overlay instead of a multiply. add this after the Blend overlay
node.
Once we’ve done that we can
also add the option to change
the hue of the material, this is

2. Normals Strength
Let’s move over to normals we turn this up too much then it
again and add two new things becomes weird, so let’s limit
to this section. First let’s add the range of this effect by
the option to reduce or limiting the inputs to -1 to 1 in
increase the strength of the the input.
normal map we’ve added.
Now we can’t go higher or
Look for “Flatten normal” node lower than these numbers.
and add this behind the Useful for limiting any effect
normal map we’ve added. you need to limit.

However, you can see that if

3. Detail Normals
A detail normal map is used to Instead of using a normal blend
add an additional normal map we looks for “Normal Blends”
to our mesh to give it the look for our case we’re going to be
of it being more detailed than using
it actually is by adding smaller “BlendAngleCorrectedNormals
details. If we’re blending ”, this combines the information
normals together we need to of the two different normals
be aware we can’t just use a together.
normal blend, as the colors
need to be accurately be
blending together to retain the
normal information the lighting
needs for it’s calculations.

4. Switches
They allow us to control detail normal combined as a
sections of our material by second input we then get
being able to set it to active or control over which section of
inactive through a checkbox code we want to use through
we control as a parameter. our new “Use detail normal?”
parameter.
So let’s take the previous
section for example, by adding Which also highlights that it’s
a “Static Switch Parameter” good to set these parameters
node here and then using the up as a question so you know
base normal map for the first what it will do if you tick the
input and then the base and checkbox.

Master Material Creation - Part 2

Back to Table of Contents 120
 Master Material Creation - Part 3

Introduction
Let’s take a deeper dive into material creation in Unreal Engine, in this continuation of the series we’re going to be diving a little bit
deeper into the master material creation process by more control for our roughness section, dive into material functions and apply
some parallax occlusion mapping.

1. Roughness Controls
I love to be able to control the want to add or subtract from
roughness with some manual them. Lastly, let’s make sure
inputs. these values stay within
reasonable bounds by
clamping the values between
So for this let’s go to our 0 and 1.
roughness section and add a
contrast node with a
parameter for control, this Making sure that no matter
gives us control over the how far we push the
contrast. Then we add an parameters they will be within
“Add” node, this gives us reasonable values.
control over the values if we

2. Material Functions
We can see that all of this function as an example.
becomes a little unwieldy, so fix
that with Material Functions. These material functions
These are groups of nodes that become a separate item in
we can reuse between your content browser which we
materials and condense mess. can drag into other materials if
needed. If you don’t want to
So for this example let’s take a reuse these material functions
look a the setup we just made you can also select all the
for example, we can combine nodes and “collapse nodes”
all the nodes we made for our turning all of them into one
roughness control into a node.

3. POM
I still had a parallax material OBJECT (These are different
function lying around so I can from normal textures). Then we
just easily drag that into this can control how “deep” we
material and connect it to the want to effect to be with the
UV’s for the object. Now all I Height Ratio and how
have to do is to change the accurate it needs to be with
input texture parameter to the min/max steps.
map I actually want to use and
I’m good to go. As for the More in-depth information can
parallax node itself, this effect be found in the tips and tricks
will fake depth bake on a PDF that has a page all about
heightmap, so you will need to this setup.
add a Heightmap TEXTURE

4. Organization
Two final things that I wanted And the last thing, This is a
to mention for this series is that good example of a generic
you can continue organizing case for a master material,
this materials and it’s however, you will probably
parameters into proper groups want to create other master
(seen on the left if you select a materials for different
node). This makes it way easier applications. Such as one for
to find all the parameters you Foliage, one for rocks, terrain
need by being able to look for and more. This is where you
the groups first. can pick and choose what you
need. So start building your
own!

Master Material Creation - Part 3

Back to Table of Contents 121
09 UNREAL ENGINE
 Unreal Camera Tricks

Introduction
Some great things can be done to improve the work you are doing inside of Unreal Engine, so for this little breakdown we will be
looking into the different things you can do to improve the camera. Set some really smart hotkeys and even help you out with your
compositions.

1. Locking the preview

When creating and selecting a An alternative to this can be
camera you can lock the creating a second viewport
preview screen using the little and setting that to a camera
pin in the left hand corner of you want.
the camera preview screen, so
it always shows that camera’s
perspective.

2. Pilot camera & Composition overlays

If you want to be really This is super useful for finding a
accurate about camera good camera angle,
movement there is always the especially with the camera in
option to control the camera cinematic mode and selecting
in your current viewport by one of the composition
right-clicking and selecting overlays in the top-right corner
“pilot camera” or Ctrl+Shift+P. of the viewport.

3. Locking the actor movement

When using camera’s and
always going back and forth it
may happen that you
incidentally move it from time
to time, to avoid this, right-click
on the camera, go to
“transform” and tick the box
“Lock Camera Movement”

4. Snapping objects to view

When you found the perfect
angle for a shot, and you don't
want to move out of it but you
need a camera, you can
create a camera and snap it
to the current view using “Snap
object to view” in the right-
click menu.

Unreal engine camera tricks

Back to Table of Contents 123
 Channel packed SRGB option

Introduction
Let’s have a look at a seemingly small little checkbox that might seem harmless, but this one cost me a couple of hours of balancing
and tweaking channel packed textures because they were looking different then I expected, let’s dive straight in!

1. Why is this important?

This is a tiny option that is really This is also an option that is often
important if you are working overlooked by a lot of people,
with channel packing textures including me for a certain while.
or masks that do not need
colors in their individual
channels to function.

2. The difference
So you can clearly see the A good rule of thumb is that
difference between this option whenever you have a texture
being on and off in the that doesn't need any color
comparison above. The image information at all, then you
on the left is with sRGB need to turn off sRGB or
“enabled” and the right is with change the texture
sRGB “disabled”. compression settings to
“Masks” (Which will do just the
The option is basically a tickbox same).
to make the texture gamma
corrected or not, and
obviously this is not
something you want on masks,
etc...

3. Changing settings
Knowing that we can store
useful materials and blueprints
in this manner I have found it
useful to create a mini-library
for bits of blueprints and
materials that I use often.

There are obvious advantages

for this ofcourse, but do keep in
mind that it will break all the
texture links that are
embedded in the project.

Channel packed SRGB option

Back to Table of Contents 124
 Bulk Edit via Property Matrix

Introduction
This is basically one of the first tips that I did but I never took the time to translate it to the new format as the format back then was so
different, but it remains a handy tool if you want to adjust multiple parameters on assets, so let’s dive in!

1. When to use this

The property matrix comes in different assets and change all
handy when trying to adjust of them on the go. Another
multiple setting on a bunch of example could be for instance
different assets that are changing the LOD group the
scattered around in your assets belong to.
scene.

So as an example this is really

helpful if you want to have a
quick overlook on the different
lightmap resolution settings for

2. Select multiple assets

The tool really works best when A nice little trick to help you
selecting multiple assets, you select the assets that you want
will have to select them in the to adjust using the matrix is
asset browser though, not in using (CTRL+B) to select the
the level. current asset or multiple assets.

3. Property matrix
Lets dive into the tool itself, you with a different normal
can see that the interface itself method, combine different
doesn’t look pretty, but it meshes and more...
doesn’t need to be because
it’s powerful the way it is. The thing that up until this point
I have found the most
Some of the things we can see interesting is the adjustments of
in here are options such as the lightmap resolutions.
Lodding groups, Lightmap
Resolutions, if you want to
import it with an offset, import it

4. Limitations
However, the thing that seems And there might be some other
to be the most interesting to more specific stuff that is
adjust is missing in this list and missing form this list but I
that is the material that the haven’t personally
assets are currently using. encountered others yet!

But I can see why that is not in

this list, because it might differ
greatly from asset to asset and
is probably hard to make easily
adjustable because of that.

Bulk edit via Property Matrix

Back to Table of Contents 125
 Material parameters

Introduction
An essential step in the production of environments in Unreal Engine is the use of quick iteration and reuseability.
Material parameters help in both aspects and will greatly allow you to speed up the iteration time of materials because you can
always see changes on the fly.

1. Converting a parameter
Go to the content browser and parameters,
create a new material. Once for instance if you do this for a
inside of the material, create texture input, you get a texture
an constant value (1 + left click) selection menu as a
and right click the node to parameters in the instanced
“convert to parameter”. material (see step 3 & 4)

This can obviously be done not

only to constant values, but
also to other values you want to
turn into parameters,

2. Names, groups and Values

You can also create a constant will allow you to
parameter through (S + Left divide them in groups and
Click). When selecting the make it easier to fin them in the
node you can go into the instance.
details panel and look at the
parameters to adjust such as
the name and different values.

Another handy tip when you

have multiple parameters is to
assign them to groups, which

3. Creating a material instance

Once you setup the material it’s main material nodes at all.
time to put it into action and it does do is that it just allows
test it, go back to the content you to adjust the parameters in
browser and create a material a stand-alone version of the
instance by right clicking on the material which will update in
material. real-time and thus speeds up
iteration.
Creating a material Instance is
not like creating a normal
material, it does not look the
same and doesn’t affect the

4. Finding your parameters

This material only stores the alpha value) node for instance.
values for the parameters you
have set in the main material. A really useful trick for a lot of
stuff, changing material
This can be used on more than parameters on the fly without
just constants though, you can going back into tha main
change a lot of things on the fly material, setting up variations of
if you think about it, such as a different colors, etc.
blend controlled through a
linear interpolate (blending
between 2 values using an

Material parameters
Back to Table of Contents 126
 Texture Tiling

Introduction
Texture tiling is something that is super simple to setup but allows you to adjust the tiling of tileable materials on the fly through the use
of this setup and exposing the values as parameters, let’s have a look!

1. Let’s get started

Let’s have a look at a simple
setup to increase the tiling of
some tileable textures, super
useful for Environment Art in
general.

This tip allows you to change

the tiling of a texture on the fly
and can be useful for a lot of
reasons.

2. The simple setup

Let’s have a look at a simple “TexCoordinates” node into the
setup to increase the tiling of UV’s input of the texture map as
some tileable textures, super seen in the picture, allowing us
useful for Environment Art in to change the tiling.
general.
This does feel a little bit
This tip allows you to change cumbersome and cannot be
the tiling of a texture on the fly quickly adjusted.
and can be useful for a lot of
reasons.
Next we need a

3. Uniform or stretched
As mentioned the previous though, if we just add the value
setup doesn’t allow for easy as before we get a uniform
access or adjustability. scale.

So what we are going to do is But if we add two values,

add a multiply node between append them to each other we
the Texturecoordinate and the can adjust them independently
texture sample itself, in this way of each other and have the
we can change the tiling if we texture stretch if we want.
adjust the value.
We can do this in multiple ways

4. Parameter setup
This setup is nice but still feels a we need to make a material
little bit of a burden and not instance so that we can get
that friendly in it’s use. access to these parameters.

So all the integer values that we

added before we can convert
them to Parameters, this will
allow us to change them on the
fly.

For this setup to work though,

Texture Tiling
Back to Table of Contents 127
 Parallax texture setup

Introduction
Let’s have a look at parallax textures and materials inside of unreal engine, these are really useful for simulating depth but do not
work all that well when used on assets you can see from all angles.

1. The difference
You can see the difference So let’s have a look at the
between a parallax texture (on material node breakdown.
the right) and a normal texure
(on the left). The main different
is going to be the added
depth that the texture has,
which is what a parallax
material does.

2. Parallax occlusion mapping node

Heightmap texture OBJECT The channel of the texture
Make sure that this is a TEXTURE object used in step 1.
OBJECT, we can’t convert this Pixel depth offset
later on. Will offset the pixels so it
accurately simulate the depth
Height ratio and intersection with other
The height ratio determines the meshes.
height of the Parallax offset Normal map adjustments.
itself. DDY and DDX nodes are
added to a normal map
Min/Max steps texture that is set to use
This is the layers the effect will “derivative” MipValueMode, so
have, more stepping means that the normals get
the layers are less visible. accurately displayed as well
Heightmap Channel on top of the parallax effect.

3. Performance and limitations

Knowing that we can store
useful materials and blueprints
in this manner I have found it
useful to create a mini-library
for bits of blueprints and
materials that I use often.

There are obvious advantages

for this ofcourse, but do keep in
mind that it will break all the
texture links that are
embedded in the project.

Parallax texture setup

Back to Table of Contents 128
 Unreal Engine Auto Screenshotter

Introduction
This week we are looking into a neat tool that will allow you to setup your own little automatic screenshot tool. I found this when I was
looking around for some cool tricks to share on a blog by Thomas Harle which can be found here and will be linked in the blog post
itself http://www.tharlevfx.com/unreal-tips-and-tricks/

1. Setting up camera’s
First, we need some camera’s by pressing (1 to 0).
to actually render out the
images and angles that we Once we have these setup, we
want. can then add camera’s to the
scene go to the angle you
What I always use is to save the want with the hotkey and then
different angles to different “snap object to view”.
presets that are available
through CTRL+(1 to 0) to save
the current viewport to that
hotkey, you can then recall this

2. Level sequencer
Time to put them into action by camera you would want to
adding a new level sequence, add. The camera is now in the
which is a timeline where you sequence, but we still need to
can add things like camera’s, add it to the track, do this by
animate their position and clicking the little plus in the
render out video’s. camera cut section.
Make sure that before you do
Then in the sequencer we can this that the red line is on the
add a track in the top left right frame because it will add
corner, select “actor to it here.
sequencer” and add the

3. Screenshot event
For this we need to add an event keyframe we can
event track first (top left corner rightclick, go to properties and
“+Track”), this will allow us to start adding our event (which
assign events to keyframes in are called endpoints).
the animation. Adding the
event can be done through This will open a new window, all
setting the current frame and we need to do here is link the
clicking the + in the event input node that’s there to an
track. “execute console command”
with “Shot” in the command.
Now that we have a little

4. Running the tool

Now all the things we need to the first screenshot, so you
do, is let the tool auto-play need to first screenshot, so you
when playing the game. This need to give the sequence
can be done, when selecting enough frames to render out
the sequencer and going to the different screenshots.
the details panel and ticking
the tick-box “autoplay”. And Also, make sure to enter
you should be good to go! fullscreen (F11) and remove all
game helpers (G).
Some notes, when I was trying
this out I had some issues with

Unreal Engine Auto-Screenshotter

Back to Table of Contents 129
 Snap & Transform tools

Introduction
This week we will have a look at some of the transformation and snapping tools that are available inside of Unreal Engine. This will
help you get the most out of making modular kits and speeding up building levels with them as well.

1. Moving the pivot

You can move the Pivot Point Only if it is temporary it is super
temporarily using Middle nice if you would want to snap
Mouse in the center of the this chair to another object in
Transformation widget. the scene.

This is only a temporary move

of the pivot point though, if
you want to adjust the pivot
point in a permanent matter
you need to adjust it in the 3D
package of your choice.

2. Custom snapping increments

You can add your own There was never a reason for
increments of snapping in the me personally to do this, but I
snapping options under: can see it being really useful if
Edit > Editor Preferences > the scene or game are making
Viewports under the requires some specific
“Snapping” section. snapping settings.

3. Vertex Snapping
We can also snap using To activate this option you can
“Vertex Snapping” which then simple hold “V” and then
shows up with blue dots across select the vertex you want to
the mesh, so vertices are snap to
needed to snap to.

4. Combining these options

If you need to be really This can be really useful if
accurate, you can use you really need the
previous tricks in combination, accuracy of snapping one
so set the pivot to a vertex and
vertex to another for
then “vertex snap” this to
another one of your choice.
instance, this is super useful
for modular buildings.

Snap & Transform tools

Back to Table of Contents 130
 Unreal Engine Hotkeys

Introduction
This entry will focus on some of the hotkeys that can be used inside of the Materials editor inside of Unreal Engine. This will really help
you speed up the material creation process inside of Unreal Engine.

1. Bookmarks
If you have that nice camera
angle and don’t want to lose
it, just press Ctrl + 1 (up until 0)
as your hotkeys to save the
current camera angle under
the current number you
selected.

2. Switching bookmarks
You want to switch between
them using the corresponding
keys to where you saved them
so that means 1-key is going to
correspond to the one you
saved using Ctrl + 1, etc...

3. Replacing actors
Having a nicely placed asset
but need that different mesh in
exactly the same place? Use
the “replace selected actor
with” function to swap out the
current asset to the new one,
the only thing is that it only has
the most recent assets in this
list.

4. Gameview and fullscreen

Fullscreen and Gameview
press “G” to hide all the editor
icons and then press “F11” to
go fullscreen and go and
explore without any
distractions in the scene and
get some nice screenshots!

Unreal Engine Hotkeys

Back to Table of Contents 131
 Foliage editor tool tips

Introduction
We will have a look at some of the Foliage tool tips that will be useful when using the tools to spread foliage or other smaller meshes
around in a scene, can also be really nice to spread other natural stuff around, like rocks and other stuff as well.

1. Foliage mode
Let’s have a look at the Unreal dragging and dropping an
Engine Foliage tool, which can asset from the content browser.
be accessed through the
“Modes” panel and then
clicking on the 4th tab.

One of the first things we want

to do before we can adjust
any of the values, is add a
piece of foliage.
This can be done just by

2. General settings
Now start to adjust all the
different pain settings, the filters Select and Select Lasso, which
specifically are really useful, allow you to select specific
allowing you to only paint on a areas of foliage.
certain type of mesh.
Paint bucket, which is really
You can also see that there are useful for laying the base level
other types of different modes, of foliage and then moving in
such as Reapply (allows you to to add specific kinds of foliage.
adjust parameters on the
already painted area.)

3. Individual Settings
Let’s have a look at the settings that can still be
specific settings, these can be adjusted, so experimentation is
accessed by clicking one of key in this step.
the assets that you added in
the little preview menu below. Additionally, you can influence
A good way to start is to give the performance of the foliage
each asset variation in scale by setting a cull distance and
(Scale X) and alignment removing dynamic and static
(Random Pitch Angle) but shadows.
keep it simple.
There are a ton of interesting

4. Reapply settings
Made yourself a nice little In this tab you can notice that
patch of foliage and want to you have the same settings as
adjust the scale or density? you had in the paint section,
Just use the “Reapply” tab. the nice thing about this
section is that it allows you to
isolate specific settings to
reapply.

Foliage editor tool tips

Back to Table of Contents 132
 Unreal Engine Contact Shadows

Introduction
Contact shadows have been here for a while now (since version 4.14), but not that much people know about it or use them. They
are a great way to add visual fidelity to a scene by adding a more accurate approximation to shadows with dynamic lights.

1. How and when to use?

There are some specific chunks of geometry to work
usecases that apply for with. So make sure that you
contact shadows, they are not have bigger chunks that the
going to do that much if you contact shadows really love to
have a lot of smaller, real fine use.
detail on a texture for instance.

It will need some slightly bigger

2. Usage and ___location

These contact shadows are slider for the length of the
available on all types of light, shadow.
except for skylights.
A quick way to find it is
Contact shadows and it's searching for it in the search
settings can be found inside bar.
the light panel's hidden drop
down menu.

There is no checkbox, it's just a

3. Shadow settings
The settings for these kinds of this is based on the screen, so
shadows are super simple meaning that putting this to 1 is
though, you can just set the going to cast a ray across the
distance of the shadows. The entire screen, where 0.5 only
only option that you have is half and so forth.
changed it from screen
spaced to world unit based.

The standard way of adjusting

4. Remarks
Contact shadows are really specific for people that use
nice visually, but as most dynamic lights because baking
people tend to use the static shadows will be accurate as
lightmaps that get baked long as the lightmap resolution
inside Unreal Engine which allows for it on static objects/
includes these more minor lights.
shadows.

So this is more something that is

Blender fracture addon

Back to Table of Contents 133
 Scattering objects in Unreal Engine

Introduction
This time we will look at an interesting way to scatter objects in your scene through the use of simulations inside of Unreal Engine.

1. Setting up the objects

Let's dive into this neat little scene.
trick that can really help you
dress up a scene in a more
natural way. We will make use
of simulation for this, but first we
need some objects that we
can scatter along the scene.

For this simple example we will

use some blockouts for some
rocks that I have in my current

2. Checking the box

Now that we have all the you depending on the size of
meshes that we want to the object, but we can adjust
scatter we need to select all of this to our liking to have it
them and go into the details simulate in different ways, but if
panel. In here we will find a you are looking for a quick
little checkbox under the scatter simulation, then these
“Physics” tab where we can default options to the job just
"Simulate physics" once that is fine!
ticked it will behave to physics
being simulated in the game
The mass will already be set for

3. Running the simulation

Next up is running the
simulation, in this example
what we expect is that all the
meshes fall down and thus get
scattered around in a natural
way. For this to feel more
natural we can start playing
around with different mass
settings, like seen in the first
step.

4. Converting to mesh
After the simulation is done, Once this is done, you can
and all the meshes are done enjoy the scattered meshes in
moving, it's time to convert your scene!
them to static meshes using the
"K" key or rightclick the assets Happy scattering!
and go to simulation > keep
simulation changes.

Scattering objects in Unreal Engine

Back to Table of Contents 134
 Thumbnails, Colors and favorites

Introduction
There are a lot to learn when it comes to Unreal Engine, and customizing the way you use the program is and should be a thing that
look at at a certain point. We will have a look at a smaller section of that today, talking about changing thumbnails, using colors,
searching through using syntax and favoring folders.

1. Changing folder colors

You might have noticed this We can set the color of folders
already, but all the assets in if we right click we can "Set
Unreal Engine are color coded color", this is more something
(with a little strip at the bottom) that is personal to you and is
so if we want to be consistent going to help you with quickly
we can adjust the folder to identifying where to look for
follow this color convention. your awesome assets.

2. Saving colors
When working with these colors You can even create your own
using the color picker, there is themes in the color picker to
a neat little trick that you can make it easier to pick them
do. Dragging and dropping going forward. To do this you
the color in a little bar on the need to click the little
top bar allows you to save the dropdown menu and either
color that you have selected. duplicate or make a new
theme, to add, remove or
move colors within this theme
you can just drag them to
where you want them to be.

3. Editing thumbnails
Another neat little thing you Doing this will give you access
can do is change the to rotate/move/zoom the
thumbnails from the assets. To thumbnails, giving you a better
access this you need to click view of certain assets.
the options menu and go into
thumbnail edit mode first.

4. Using filters/favorites
For making searching a little bit More commands can be
easier you can save your found under "Advanced
searches inside of the folder Search Syntax" on the Unreal
structure, so you can always Engine site.
go back to this filter. To do this
you need to fill in the stuff you
want to search for so for Another thing that is a good
trick to use is favorites, you can
example everything under a make any folder or even assets
certain triangle count for a favorite, doing this will make
example: Triangles >= 1500. these assets or folders always
pop up in the favorites tab!

Thumbnails, colors and favorites

Back to Table of Contents 135
 Unreal Engine Collections

Introduction
Collections are a feature that allows you to store whatever you have in your project in separate folders, making it super easy to find
those assets that you are looking for, especially on larger projects.

1. Collection Introductions
Collections are normally meant In bigger projects with multiple
to be used in collaboration on people you would put them on
big projects, especially on source control and share them
projects where you have a with other people, I can see
massive amount of assets to this being really useful even
work with. But I've found them though I haven't used it that
really valuable for finding much myself.
assets really quickly and you
don't want to change or go
through your folder layout.

2. Showing and Creating a collection

You can find collections in the locally, which is what most
"View options" so you will first people will use. Shared and
have to go into these options Private collections are both
and enable them before you collections saved in source
can start using them. control, where private being a
collection that is personal and
Shared being this respectively.
You can create the collection
by clicking the plus button in
the collection menu. We got
some different options here
though, Local Collections are
the ones that are stored

3.Adding Assets
When adding assets we can pretty great to further
just simple drag and drop the personalize them, or maybe
ones we want into the have collections of static
collection or we can add them meshes that have the same
by ticking the box on the left of color of something, you can be
your newly created collection, creative!
or adding them through the
right-click - Collection menu. You can check the status of
the collection by hovering over
Additionally we can recolour the small colour icon to the
the collection to any colour side of the collection and it's
that you would want. This is name.

4. Removing Assets
To delete assets you need to Again, if you want to remove
remove the assets through the them we can also click the
collection system menu tickbox left to the collections
instead of just normally system and this will do the
removing them. If you were to same as going through the
remove them like you would menu's
you will delete the asset.

Unreal engine collections

Back to Table of Contents 136
 Default maps in Unreal Engine

Introduction
As you might have already noticed, a lot of the time baking is just problem solving with a healthy dose of thinking ahead, so in this
entry we will look at some of the common issues with baking and how we can resolve them.

1. Tired of the standard scene?

If you have this weird issue model, where we only want
where multiple faces are this once as the UV will take
projecting onto the same UV care of the other side.
shell and it looks all weird then
this is because you probably
forgot to move overlapping
pieces by one UV space.

Not doing this will basically try

to bake the information onto
the same space twice from
different surfaces on the

2. Project Settings
This seems like a smaller
change to all the things you
need to worry about, but it's
more about the feeling you
get when working on a bigger
project, you just come home,
sit down open Unreal and then
you still have to load into a
different map before you can
get started. Let's remove this
annoying little step!

3. Picking the default map

Now for specifically changing The option below that will allow
the starting map you want to you to control the level or map
go to "Project" > "Maps & that's being loaded as soon as
Modes" and then under you run the game.
Default maps you can find the
option to change the "Editor
Startup Map" to the level or
map you actually want to load
on start-up.

4. Other interesting sections

Another interesting section as
mentioned before is the
Rendering part of the Engine
section, especially when trying
to push certain aspects of
looks in your level. Options such
as the type of Anti Aliasing, if
you want to use mesh distance
fields or light propagation
volumes can all be found here,
so make sure to check it out at
some point.

Default maps in Unreal Engine

Back to Table of Contents 137
 Saving materials to text

Introduction
This time we will look into this neat little trick that can help you send over some smaller files to people and speedup the iteration time
between people if you aren’t using any form of source control (like github for example allowing you to publish thing to a server and
then grab those changes).

1. Usefulness
This allows you to copy and same manner as well.
past bits or entire materials to a
text file. You can also do this
with blueprints as well, allowing
you to quickly save and share
important bits of materials and
code.

A really handy trick because it

is so simple in it’s use.

Alternatively you could also

save these materials as .uassets
in some place and then use
them where needed in the

2. Nodes to textfile
MODELING
Hard-surface: Organic:
3DS Max and Maya are When looking at making
probably the most know or organic models the first one
typical 3D softwares used in that comes to mind is Zbrush
most modelling pipelines in known for being an innovative
studios. Blender is good sculpting program and really
example for a really solid nice for retopping and
upcoming 3D package with optimizing your meshes. Some
integrated sculpting options other programs such as Blender
and an increasingly interesting and 3Dcoat, but as of writing
toolset with a strong supporting this, Zbrush is still the most
community offering a bunch of known program. There are
plugins. Other options can other programs like speedtree,
include Modo ,Sketchup ,etc... tree-it, etc... that are suited for

3. Making as assetlibrary
Knowing that we can store
useful materials and blueprints
in this manner I have found it
useful to create a mini-library
for bits of blueprints and
materials that I use often.

There are obvious advantages

for this ofcourse, but do keep in
mind that it will break all the
texture links that are
embedded in the project.

Saving materials to text

Back to Table of Contents 138
 Collision overview

Introduction
Collisions are those invisible things that define the rules when it comes to if that object will collide with another object or not. So
today we will be diving into some rules and a little on how to set them up too.

1. What is their purpose

As mentioned before their which footstep sound will be
purpose is to define the played depending on which
Collisions are invisible volumes sound cue is added to a
that get added to assets to collision all the way to
define whether an object will breakable or interactable
collide with another. But an objects in a game. This list can
"Object" here has a pretty get really expansive!
broad definition and touch
many aspects in game, such But for this entry we will be
as detecting where a player is keeping it to the basics and
allowed to walk, where a bullet maybe at some point we'll dive
hole must be spawned when a into some more details.
bullet collides with an object,

2. Different types of collision

Simple collisions are called Complex collision which as the
that because they can be a name implies is more complex,
rougher aproximation for this is because it's used for
objects colliding with it such as more simple collision checks,
for example moving object such as decal spawning of
such as players, ai, etc... These bullets. This collision needs to
collisions are simple be a bit more accurate for this
representation of the geometry reason specifically, as it will be
and should not be as detailed used to spawn decals and
because they are mostly used sounds of bullets hitting it.
for navigation purposes and
possibly footsteps sounds
affecting sound.

3. Different collision expenses

The reason why we can't just the way up to a full mesh.
duplicate the actual geometry
and just use those as collisions From cheapest to most
is because calculating expensive we get this list:
collisions on these shapes is Sphere, Capsule, Cylinder, Box,
expensive as it needs to hold Convex hull(up to 16 vertices
all the vertex information. per shape), Mesh

Think about it in terms of code,

so from the cheapest object is
a sphere (holding a central
point and a radius) going all

4. Implementation in Unreal
All the assets you import into But we can also do this by
Unreal Engine will come with setting it up in the modelling
their own collision already package you are using, by
setup, but for some assets this making a shape and then
might not work for your giving it a prefix based on the
purposes. So you can go into shape of the collision. Some
the asset and add your own different prefixes are UBX (box),
collisions to the asset (using UCP (Capsule), USP (Sphere),
"Collision" and selecting the UCX (Convex objects)
shape of the collision you
want).

Collision overview
Back to Table of Contents 139
 Light debugging viewmodes

Introduction
Today we're going to have a look at something that is more relevant to an actual prodcution environment where you need to keep
performance in mind, and that is what is relevant to look at when debugging lights in your own scenes.

1. Light influence viewmode

This is a neat one that I've only affecting it or not, just turn on
recently discover through Chris the "light influences" in the
Murphy on Twitter, sharing a "Viewmode" > "Advanced" tab,
ton of useful tips and tricks! This this will then show you lines
neat little viewmode let's you between the lightsources and
check which assets are being your selected mesh.
influences by the lights in your
scene.

So no more eyeballing if it is

2. Unlit and Detail lighting mode

One of the most useful ones for The other alternatives to
checking the lighting without double check if it's your
being influenced by all the materials that are causing the
other clutter that might make issue are the "Unlit" and
otherwise distract you, It fills the "Lighting only" mode, the first
entire scene with a neutral one will turn off all the lights
material, giving you a better allowing you to focus on the
look if something is either of materials more then in Detail
withing the values of the lighting. And the other one
materials or with the lighting focuses purely on the lighting
itself, plus it looks pretty sweet without any materials.
too.

3. light overlap and complexity

Another good way of breaking stronger red the more lights
down how many lights are overlap each other, making it
affecting a surface at any really easy to figure out where
moment is to look at both the you can optimise your lighting.
stationary light overlap if using
stationary lights, or also using
the light complexity viewmode.

this will show all the

overlapping lights in a general
area by defining the
overlapping sections as

4. Lightmap density
When working with static or For this you are aiming for a
stationary lights this is nice green across the board, if
something you will definitely be the colors go towards the blue
using to calculate and that means that the texel
doublecheck the scale of your density is on the low side, so
lightmaps, on which all the upping the lightmap resolution
lighting information will be for the asset would fix this. If the
bake down onto, so definitely colors go to the red, then you
need to check if they are might want to lower the
setup right. resolution of the lightmaps
instead, saving you those long
baking times and giving you
clean results!

Light debugging viewmodes

Back to Table of Contents 140
 Unreal Engine Panner Node

Introduction
The panner node is one of the most useful nodes in Unreal Engine when it comes to creating nice movement effects inside of some
materials, it's super versatile for a lot of different effects.

1. The panner node itself

The panner node is a really This panner node is really
useful node that can add powerful for creating some
movement to your materials interesting affects like glowing
with a really simple setup. The embers, scanning effects,
panner node allows you to holographics, you name it,
control the speed on the X and anything with a movement
Y access or both at the same effect attached to it.
time with the different "Speed
Coordinates". With a simple To add a panner node to you
setup you can also control material you can just hold "P"
these through parameters and click to add it to your
allowing you to change the graph.
speed on the fly.

2. Basic implementation
If we look to the graph on our connect them to an append
right you can see the panner node and then onto the
node directly connecting to panner node attached to the
the texture sample node, we speed connection.
can then open up this node
and change the speed of the More information can be found
panning effect itself. As in the material instances
mentioned in the previous step section in how to set them up.
we can add a couple of nodes Or looking at the weekly tip
to the setup to make it work from Blog #012
with Material instances and
control the speed in real time
by adding the two Parameters,

3. Example : Cloth movement

First one is an effect that I used This effect is pretty hard to see
on my last environment art with static images tho, I mean
piece “Last Bastion” it’s pretty this goes for all movement. In
subtle tho. I used it there to addition to this we can also
add a detail normal on top of make a black and white copy
the cloth coverings on the of the texture and use it to
fencing, so it’s combining the drive the world position offset,
base normal and then adding even simulating moving
this panning normal on top of it vertices.
to simulate the movement of
the wind blowing against the
tarp.

4.Example : Embers
Another different example If again, we want to push this
could be the usage of this effect further, you can use a
same sort of effect for glowing sine node to multiple this
embers, using a cloud texture panner emissive opacity with
(which you can simply to create some additional
generate in photoshop) if we flickering, obviously with some
then attach a panner node to adjustments.
this cloud texture and use it to
drive the intensity with a
multiple node attached to a
color like seen on the right we
can get some interesting
glowing ember effects.

Unreal Engine Panner Node

Back to Table of Contents 141
 Material linking on Import

Introduction
This week we're diving into something that will really speed up workflows in Unreal Engine, this being good import settings. Specifically
when it comes to materials, this is going to be a shorter one then some of the other ones, but it's a really important one none the less.

Plus, this more simple example also allows me to do shorter and still useful tips too :D

1. Before we start
Using FBX as our export format Consistent naming

Unreal Engine uses the FBX The main thing to check here is
pipeline, so this is what we will be doublechecking that the
using as our import format into naming of the materials is
the engine. Also make sure that consistent between the materials
it is FBX2018, other versions might that you have setup in your
cause incompatibilities. modeling package and how it's
called in Unreal, it will look for
that specific name.
Setting up materials first

For this to work, we need to

have materials that the importer
can pick up upon. So in this
project I already have some
materials setup.

2. Importer options
FBX Import options Search ___location

For this one we will be Now the last thing we need to

specifically looking at the define is the search ___location,
"Material" section. which defines where the
importer is going to look for
materials it can add to the
First off all, if we have all the meshes you are importing, for
materials setup already, we can ease of use I have this set to all
disable the option to "Import folder and might slow down the
Textures" and also set the searching process a little, but it's
"Material Import Method" to "Do barely noticeable on my end
not create materials" normally
this is on and always creates a
mess. And that's it, super quick setup to
really streamline your process
getting meshes into the Unreal
Engine.

Material linking on Import

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 Quick destructible meshes in Unreal

Introduction
Looking to get some quick destructible meshes inside of Unreal Engine, then let’s look into how you can use the fracture tool to
create some destructible pieces from the meshes you feed it.

1. Activate the plugin

Let’s talk about destructible corner.
meshes, normally this was an
option in mesh settings, but it You will probably need to
moved to it’s own separate restart the engine once you
plugin “Apex Destruction”. have done this, so that you
can use the newly activated
To activate this plugin, we need plugin.
to go to Settings > Plugins and
search for “Apex Destruction”
and tick the little activate
tickbox in the bottom left

2. Converting meshes
When restarting Unreal Engine Now if we want to convert a
we can can now see that the normal mesh to a destructible
plugin is active if we go back to mesh, we need to right click on
the plugin menu. the mesh we want to convert in
the content browser and click
“Create destructible mesh”.

3. Fracture settings
Once we click the “Create is because we need to process
destructible mesh” a new it first. We do this by pressing
menu will popup. “fracture mesh”.

Settings to note: Other settings such as

Cell site count (under voronoi importing your own chunks can
settings) This changes the be found right beside the
amount of debris chunks the fracture mesh button as
fracture mesh is going to have, “Import FBX chunks”
but you might notice that the
mesh itself doesn’t change, this

4. Need more control

This is a quick overview for FBX Chunks”.
creating some destructible
meshes for testing purposes, After you added your own
but if you need more control chunks, you get the option to
over the way you destroy your go into the “Chunk
mesh, that is where you need parameters” menu and adjust
to go into your favorite 3D all the separate values.
package and model it as
separate chunks and import
them through the previously
mentioned way with “Import

Quick destructible meshes in Unreal Engine

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 Mesh Distance Fields

Introduction
Mesh distance fields are becoming more important when creating bigger scenes where you want to have representation of
dynamic AO, Global illumination and Shadows on static meshes. And have become even more important with UE5 and Lumen. So
let's dive into what they do, how to get them and tweak them too.

1. How do they work?

First of all, I'm just a simple This is also why we're talking
artists, so don't expect a full about it now, with Unreal
technical explanation here. Engine 5 coming up it will be
important to understand these
a bit better as they are used for
In it's core and what matters for the dynamic reflection and
us is that these are a simplified shadowing system that's used
representation of your meshes by Lumen, and now replaces
that are particularly useful for SSGI and DFAO.
real time ambient occlusion
and shadowing for static
actors in your scenes.

2. How do I make them?

So first of all, how do we get going into the debug view in
them in the first place? your viewport [Show > Visualize
> Mesh DistanceFields.] and
also by checking per asset if
Check "Generate mesh there is now a little line on the
distance fields" in the project top left that mentions how
settings before you get started much memory they take up.
with generating them at all.
Then once you've restarted the
Engine it will automatically
generate them per asset basis.

You can double check this by

3. Tweaking them
The main tweaks we will be If you need a more specific
making here are by going into mesh in there tho, you can
the individual mesh settings always import your own. And
and then under "Build Settings" for smaller or thinner surfaces
we can find "Distance Field you can always tick on the
Resolution Scale" which is the "Two-Sided Distance Field
main thing we can adjust to Generation" on, but this goes
make the distance field more come at a significant
accurate, but there is a performance cost.
limitation of 8mb per asset or a
resolution of 128x128x128. But
for most usecases that should
be more then enough.

4. Other implementations
Foliage assets can also make Global Distance Fields are also
use of this, but they are usually something that gets generated
more expensive compared to with the initial generation of
normal assets because foliage Distance Fields which are a
relies on smaller and often thin cheaper version and thus
surfaces, so needs "double allowing you to use it for
sided field generation" and you everything, but I will leave this
can also enable this "Affect for the more technical minded.
Distance Field Lighting" on
individual instance setting in
the foliage tool too.

Mesh Distance Fields

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 Different collision types

Introduction
As an Environment artist you will also be in charge of creating collisions for your meshes too, but usually there are multiple purposes
for when we need to do them and they all have different or even multiple usecases.

1. Why we use different collisions?

So first off, why do we use the already, it's really about
different collisions in the first optimizing every aspect of the
place, can't we just use the game and complex collision
most complex collision and let detection can be really
it do all the interactions we demanding.
need them to do?
This is why we distinguish
Well, in theory we could, if we between simple and complex
had unlimited performance collisions and the meshes we
bandwidth, but with all the use for them as well.
complex calculations that are
happening every millisecond

2. Simple Collision (SCOL)

This one is the simple collision of shapes that are used
the shape we're creating, this is frequently are a box, sphere,
used for player and AI capsule up until a convex hull
navigation, so it doesn't need (with limited amount of vertices
to be super accurate as the in some cases)
player and AI are usually
bigger objects.

The simpler the shape the less

expensive the collision
detection calculation will be
for the object. Some simple
Splash Damage Mod Wiki

3. Complex Collision (CCOL)

These are used for more performance of the game you
accurate, complex and more would be working on, this is
expensive calculations, like the why we optimized version of
spawning of bullet decals, the art mesh for these.
sounds and more. You still
need to optimize them tho! The collision material will usually
be changed depending on the
A simple approach would be material, this controls which
to literally duplicate your visual decal and sound it will spawn
mesh and use that as collision too.
mesh, but this would quickly
cause issues with the Splash Damage Mod Wiki

4. Specific setups
Each game can deviate from detailed as a first person open
these settings and use collisions world game.
in a different way, depending
on how accurate they need to So make sure to always test
be and how close the camera your collisions in the game
will be compared to the assets
that will be colliding with each itself, to get a good idea on
how they will be used and
other. might need to be tweaked as
well.
For example in a top down
strategy game the collision
Planet Coaster in-game image
setup doesn’t need to be as

Different collision types

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 Importing & Exporting

Introduction
If you having issue with manually updating all the assets in your scene it’s time we look into the following options for optimizing the
workflow to allow you to do more and quicker iterations.

1. Maya game exporter

This is a feature I only started them into the current project.
using recently, and for that I
am a bit ashamed though I use Maya’s LT game exporter
because it feels that everyone for this feature but this can be
is using it and I was just lagging done with any exporter of your
behind. choice (so don’t mind the
The feature I am talking about screenshot too much, this is my
is setting up an import folder exporter popup), so I just set
where you export all the the folder path to a folder
meshes to and then Unreal inside of the Unreal Engine
Engine Automatically imports Project and export it.

2. Import settings
If you prefer doing it the old We can just use the reimport
fashioned way or have setup a feature, which just updates to
scene already, there are other the newest version of the
ways to speed up the exported fbx.
workflow, instead of going to
the folder or looking for the
asset.

3. Reimporting
When using the features above Normally when you have setup
it is important to have logical your Maya output folder for the
pivot placements for all the meshes, Unreal should
assets that you create, this automatically detect these
helps you greatly when changes and update the
updating a scene or updating assets accordingly.
a blockout.

4. Pivot setting
Another important thing is that A simple example is seen on
when you adjust your mesh in the right where you can clearly
your 3D program you don’t see the pivots being in the
change the name for the center at the bottom of the
assets, if you do so it is going to grass meshes.
create a new one instead of
overwriting the previous version
of the chosen asset.

Exporting & Importing

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 Depth of field in Unreal Engine

Introduction
Today we’re diving into depth of field, a really good way to pull attention and focus to a prop and give a nice sense of depth to
your scene in general, while specific to certain scenario’s it can really enhance the feel of your renders.

1. Overview
Depth of field is a good way of Foreground, Midground and
emphasizing the depth of your Background layer.
scenes, it will blur and reduce
the noise in the area’s that are It can also be used to give the
out of focus, which in turn pulls picture a different feel, like for
extra attention to the area that example if we look at tilt shift
is in focus. photography which gives the
impression that you’re looking
Which is also why I personally at a miniature world.
love to use it, it’s amazing for
dividing your artwork in But let’s dive into some of the
different layers. As in settings first

2. Focus point
Let’s start with the easy one focus and then also check the
first, the point of focus for the distance by pressing the “Draw
scene, in camera’s this is debug Focus plane” so you
usually done by focusing can check if the focal point is
manually or automatically in the right spot. To make it
depending on the camera or even easier you can also pick
lens you have. It’s way easier in the asset you want to focus on
Unreal Engine though. by clicking the little
eyedropper symbol by just
clicking it.
In Unreal Engine (or other 3D
programs) we can just set a
distance at which we want to

3. Aperture
The aperture on the camera means more camera blur (or
controls how strong the depth depth of field).
of field effect is, the camera’s
in Unreal Engine mimic the real However, compared to real life
world effects on camera’s, where you need to adjust your
where the aperture controls exposure values you don’t
how open or closed the shutter need to do that in Unreal
on a camera is, which controls Engine.
how much light can enter the
lens area.

Less light on the camera lens

4. Some issues
TRANSPARENCY ISSUE HALOING ARTEFACTS

You might have seen that There is a massive

there are issues with improvement that can be
transparency, well it’s because done by activating a simple
it renders transparency after console command
the depth of field pass. But the “r.TemporalAA.Upsampling 0”.
fix for this is super easy, just go But I have to thank William
into your transparent material Faucher on Youtube for sharing
and tick “Render after DOF”. this tip with each other.
Thanks @JustHannahGrace on
twitter for sharing this!

Depth of field in Unreal Engine

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 Adding content packs back in

Introduction
This allows you to copy and past bits or entire materials to a text file. You can also do this with blueprints as well, allowing you to
quickly save and share important bits of materials and code.

A really handy trick because it is so simple in it’s use.

1. Adding the content back in

You can add any additional This will then populate the folder
content back into unreal Engine with this content again and you
by pressing this green “Add now have this content available
Content” button. This will show again.
this new menu where you can
select what content you want to But you can see that if you try to
add to your current project. press “Play” it won’t do anything
just yet.

Making the Blueprint work again

To get these content packs to And you can either drag your
work again we need to link the BP_FirstPersonGameMode or
newly added blueprints back to BP_ThirdPersonGameMode in
the game editor logic of when here or select it from the list.
we start the game.
After this you are all setup and
These settings can be found in good to go!
the “World Settings” under
“Game Mode” > “Gamemode
Override”.

Adding content packs back in

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 Easy Procedural Foliage Scattering

Introduction
Painting foliage on a landscape is a time intensive thing to do, especially when you want to make changes on the fly once you’ve
carefully painted foliage already. So today we’re looking into using procedural spawning to help you scatter foliage quick.
IMPORTANT LIMITATION This functionality doesn’t support height field meshes, so it’s great for smaller assets that don’t need more
detailed lighting, but doesn’t work for larger meshes such as trees since they wont have correct Global illumination or Ambient
Occlusion.

1. Overview
This technique consists out of 3 the container that holds all the
elements working together to assets which will be spawned
add procedural spawning to with this system.
your landscapes.
“Landscape grass output” this
“Landscape Layer Sample” node acts as a link between
which will be the link to your the above, so it will take the
landscape layers, so if you landscape layer input and
paint the one you specify it will then spawn assets from within
add meshes to it. the selected “Type” on top of
it.
“Landscape Grass Type” this is

2. Setting up “Grass output” layers

Let’s go through the basics for We can add more layers to
this setup, we link the sample and technically set one
“Landscape Layer Sample” up for every variation we need,
into the “Landscape Grass just as an example you could
Output”. Make sure that the have a Forest floor that has
name of the “Landscape Layer dense vegetation, but create
Sample” is accurate to the another type that has only
name of your landscape layer rocks and spawn each type on
blend name, if these are a different landscape material
different then it won’t work. layer.

3. Adding meshes as grass output

Adding meshes to the customize it all in here.
“Landscape Grass Output” is
quiet easy, we can do this by Here we can change the
adding a new “Landscape “Grass Density” and the
Grass Type”. “Scaling”, the density controls
how frequent you will see the
A new interface will open mesh and the scaling controls
where we can add additional how large it comes in, I always
“Array elements”, each at least set the scaling to
element comes with it’s own something like MIN: 0.75 to
separate controls on density, MAX: 1.25, so you can see
variations, etc… so you can some nice variation.

4. Playing around with it

Now the fun can begin, we Sometimes it might take a bit to
can add more assets in each load in on project opening,
type and start populating them and you might need to refresh
as we want and tweak them the system trough either
on the fly. changing one parameter n
your “Grass Output Type”
slightly or by “Build Grass Maps
Only” in the build menu.

Easy Procedural Foliage Scattering

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10 LEVEL ART
 Blending shapes together (Rule of Three)

Introduction
Humans have this natural connection with the rule of thirds and nice transitions between elements, so this is where we come the the
rule of three's, a technique that I've been unconsciously using for a long time but have recently discovered the name for.

1. The rule of three's

A rule that can be applies and shapes, going down to
used in your own scenes and medium shapes for a nice
games to create more transition between big an
balanced compositions, from medium and then small shapes
the macro to the micro. This to bridge the final gap
rule tells you that you need between these shapes and the
three different sizes of volumes base terrain.
to create a nice and
balanced composition in your This creates for a really nice an
images. natural feeling flow from these
big to small elements.
Starting from big blocking

2. Where does it apply?

Let's take it one step lower gap between the really small
down where these shapes and the bigger shapes in your
come as the first step as environments. Most of these
blending the big shapes with come in the form of rocks or
the underlying base terrain. solid objects, as bushes and
These shapes can also be used plants can cause issues with AI
as objects of cover in a lot of still seeing you through them
games where as the big (and shooting through them as
shapes are a bit too big for well) in some games.
that.

They also help to bridge the

3. Medium shapes
Let's take it one step lower gap between the really small
down where these shapes and the bigger shapes in your
come as the first step as environments. Most of these
blending the big shapes with come in the form of rocks or
the underlying base terrain. solid objects, as bushes and
These shapes can also be used plants can cause issues with AI
as objects of cover in a lot of still seeing you through them
games where as the big (and shooting through them as
shapes are a bit too big for well) in some games.
that.

They also help to bridge the

4. Small shapes
Don't underestimate these! really help reinforce the story
They do make a huge telling.
difference in your
environments and not only in Tiretracks in the mud?
this example for the blending Someone must have been
with the terrain. here recently with a vehicle. A
trail of blood between crushed
These can range from small patched of grass? This is the
decals, to pebbles, smaller trail that my prey took on my
plants, etc.. They might seem hunt. These can add so much,
small, but they add a ton to so use them with good
the environment and can intentions.

Blending shapes together (Rule of three)

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 Blueprints for level art (OUTDATED)

Introduction
A good way of speeding up the process of being able to dress-up large spaces is by creating groups that can be reused. But how to
do so in a good way is something that might take a bit of practice.

1. Creating good groupings

First off all, what we need to do We have to be careful about
is gather some of the assets the combinations we make
that we want to start building and that we keep them
our prefabs with and start by generic enough so we try to
building bigger groups so we reduce the visibility of the reuse
can break these down later in as much as possible, which we
smaller groups as an option. can also do with some unique
This also allows us to see how elements later, but first, let's see
much we can get out of the how to make blueprints first.
current assets we have
created.

2. Converting to blueprints
Is actually pretty Components" will strip other
straightforward. Before digging blueprints into it's components
into that tho, we need to go to where the other options won't
the menu above on the do so.
toolbar under "Blueprints" and
then select "Convert to Once we have these blueprints
blueprints". is that once we do adjustments
in the blueprint these changes
Now this is where we get to will propagate live to other
option to where either we blueprints already in your
want to harvest the scene.
components or not, "Harvest

3. Adding variation
Once we got some base blueprints to create some
blueprints setup it's also super collections if needed too.
easy to just duplicate it and do
some changes to make it look However do be careful by not
different to the other ones. making to many of these
individual blueprints and keep
When making these groups try them usable for larger set
to think about them as dressing, smaller set dressing
modular pieces, where you can be done individually.
want to create small, medium
and large groups so that you
can combine these different

4. Add unique elements

So that's also exactly what we
will do once we have a nice
collection of these prefabs
ready. We can then just add
little touches of unique assets
to them to make them look
different from the prefabs.

Blueprints for speedy level art

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 LOD’s for trees in games

Introduction
Trees in games can be quite a technical and complex asset, since they are usually really dense in geometry, you usually have a
whole bunch of them and you need to keep it all within budget as well. So this time we’re going to be diving into a high level
overview on how we fit all of them in budget.

1. The detailed up close one (LOD0)

Let’s start up close, the main The main optimization we can
mesh we see is the one we get make here is centered around
to see up close *(Only the player’s viewpoint, keeping
environment artists really ever this in mind for a first person
look at them like this, but that’s game we know that people
beside the point)*. This mesh will mainly focus on the roots,
needs to look the best out of bottom trunk and the first one
all of them, so that’s also why or two layers of branches going
we dedicate a lot of geometry up. This means that we can
to them whenever we can. start to reduce all the other
sections like the upper part of
the trunk and upper branches
There are still opportunities for in a gradient going up from the
optimization though! most visible section of the tree,
without anyone even noticing
it.

2. Transition meshes (LOD 1-2-3)

We’re looking at the mesh at texture applied to them (think
Medium distance now, which is baked down onto a plane).
going to contain most of our
LOD’s (Level of Detail meshes). Now even with simple planes
These meshes are going to act we can still create the illusion of
as the bridge between our depth by being clever with the
most detailed and most geometry. X formations are s
expensive LOD towards the good examples of this and
cheapest to render one. provide decent coverage. But
the approach depends highly
The main change that is on the type of tree you’re
happening here is that we’re creating.
reducing the amount of
polygons on each branch or
even replacing them with
planes that have a
representation of that same
branch but in the form of a

3. Billboards (LOD 4)
Now we’re standing really far These 8 sides will then be
from the tree. At this distance baked onto one texture and
we can get away with some when you as a player walk
really magical stuff. around the tree it will sample
and blend between a different
section of the texture
At this range we usually bake depending the rotation of this
down the texture onto a plane plane is facing towards the
and let that follow the camera player.
of the player, but you might
think that it would look weird?
And you’re right, that’s we’re And if we want to make this
some of that magic comes in. more or less detailed we can
We don’t just bake one angle capture more or less angles of
of the tree down and add that a tree, it’s magic!
onto the plane but we take
multiple angles of the same
tree. Let’s say 8 for example.

LOD’s for trees in games

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 Level Of Detail Meshes

Introduction
LOD’s of (Level of Detail) are meshes that are used to improve the performance over distance by reducing the number of polygons,
materials and textures the further they are away from the main gameplay camera.

There are many different applications and ways of optimally doing LOD’s meshes, so we’ll keep it to a more wider overview of the
concept.

1.Geometry
The big change and most In most cases we don't have to
visually impacting if done do these by hand though, and
incorrectly is the change to the we can just run them through a
geometry, this meaning that if program like Simplygon that will
you can see the change in the do an automatic LOD creation
geometry happening that’s pass that is usually pretty
when your LOD’s need some decent, with addition control
tweaking, it needs to be as to change it per object basis,
seamless as possible. which is usually determined per
project.

2. Textures/Materials
Not only the geometry will get meshes to a simple color.
optimized over time though,
we also need to reduced the Since these meshes are only
textures/materials over visible from such a long
distance. So usually us artists distance we don’t need to
also need to take this into have expensive textures be
account (this might also be added to our memory pool
done automatically in cases). and can just replace them with
a color swatch and simple
But the way we optimize this materials, reducing their
step is by replacing the performance budget.
materials on the long distance

3. Switching between Meshes

There are different ways of Engine and this one will look at
transitioning between LOD’s. an object and determine how
The most common usecases of much space it takes on your
switching is either over screen and base the transition
distance or by screenspace. on that factor, with the
additional control of deciding
what the ideal screen
The first one speaks for itself, percentage is based on the
once you hit a certain distance type of object.
from the object the object will
then transition to the next LOD.

The other one is used in Unreal

4. Vista Meshes
An interesting case for LOD’s That’s where “Vista” meshes
are Vista meshes, these meshes come in, these are special
need to be visible from a larger meshes, usually generated by
distance to serve as a player an automated process, that
landmark. will take your final LOD and
then do a quick bake of your
first LOD to a new unique (but
This also means that we can’t really small) material that is
really rely on culling them once then used to fake the look of
they are behind another mesh, something intricate on the
so we need to look for a horizon. As you can see in this
different solution. example from Fallout: New
Vegas.

Level of Detail Meshes

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 Occlusion Culling

Introduction
This time around we’re having a look at what exactly Occlusion Culling is, being implemented by most engines by default to
optimize your scenes/games and remove unused assets and free up resource budget.

1. Visibility Culling
Often referred as “Frustum In unreal engine we can
Culling” as it’s specific to the change the dimensions of this
camera’s frustum do decide frustum by changing the max
which assets it will cull or not. (far clipping plane) and
minimum (near clipping plane)
depth of the frustum.
This type of culling happens
when the camera viewpoint is
rotated away from meshes We can also visualize this by
and they are outside of the going to the advanced drop-
viewable space (frustum) of down and “show camera
the camera. Removing all frustum”
these assets to lessen the
amount of geometry data it
needs to calculate on screen.

2. Object culling
Object culling is the second either so this by using the
most important one. It console command
depends on the visibility of “FreezeRendering” this stops
meshes based on other the culling in its current frame
meshes in the scene, so if one and let's you go around the
asset obscures another asset scene looking at what's culled
then it won’t render that asset or not.
that’s being hidden.
In addition to this you can also
Some engines can have a use
specific input mesh specifically “r.VisualizeOccludedPrimitives
for the culling to help get some 1” to show the green
more accurate results in bounding boxes of assets that
certain scenario’s. are occluded currently.

If you are looking to visualize

this type of culling you can

3. Changing dimensions
Unreal engine uses both a box a result that doesn’t align with
and a sphere to do these the mesh itself.
checks within the engine, a
quick check for the sphere and Also, we’ve been focusing on
a more accurate test for the Unreal Engine, but some other
box. But you can change engines offer the opportunity
these after the fact by either to change the asset culling
going into the details panel for volume to a specific mesh that
the asset and changing the can be used instead, giving
bounding box per instance in a you a more accurate culling
uniform way or going into the result where needed.
mesh settings and changing
the positive or negative
bounding box settings for the
mesh.

However this should mainly be

used for testing or very specific
cases where you actually want

Occlusion Culling
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 Hiding Parallax Limitations

Introduction
This is a small trick that is really useful for when you want to hide the restrictions of parallax occlusion materials, and maintain the illusion
that's it's not actual geometry.

1. Limitations of POM
When looking at glancing angles Examples of why you don’t want
at parallax you can really start to people be looking at the edges
notice the limitations of the fake or shallow angles of parallax
geometry effect you get when materials can be seen on the
adding POM to objects. right, that’s when you can start
to notice the stretching.
So games that use this technique
go through a lot of trouble to
hide these areas so that you
either never look at them. They
do this by either using it it in
places where you can really get
a good look at it at shallow
angles so it doesn’t break the
illusion or they hide it with other
meshes and always have the
parallax meshes obscured with
other ones that don’t use any
parallax.

The latter is also the example

that we’re diving into here.

2. Keeping the illusion going

Like mentioned before, games If we look at the example from
environment artists take great the last step we can cover up
care in putting meshes around the seam of the stones, as this
area’s where it might break the just looks plain bad.
illusion of it being a game.
For this example we just add a
And this is no exception, we add nice pillar in place surrounding
meshes made out of more the flat sections on the wall and
detailed geometry with that will be enough to keep the
interesting silhouettes to obscure illusion alive!
the fact that the flat walls use
the parallax effect.

The main goal here is to keep

the illusion going so that people
can’t notice which is real or
which thing is fakes.

Hiding Parallax Limitations

Back to Table of Contents 156
 TERRAIN
11 MANIPULATION
 Generic Landscape Tips

Introduction
When building environments and landscapes you will often see that landscape sculpting and worldbuilding will go hand in hand.
Let’s dive into some stuff that will make your environments, locations and landscapes better than they were before with some tips on
how to establish world logic, use scale references and more!

1. Building heightmaps
Let’s dive into some more World Machine, which allows
general tips on landscaped, you to use nodes to build a
first starting with ways to build terrain texture.
heightmaps (black and white
textures that indicate height) This program also allows you to
There are multiple different export all the color information
programs we can use to build which you can then use to
up these heightmaps, such as blend different textures
World Machine, Terragen, together in Unreal Engine for
Houdini, etc... instance.
The most well know off these is

2. Scale references
Keep testing your environment of scale (although erosion
and running through it. This will helps).
always give you the sense of
scale you require to keep Continuously test your levels by
building your environment to a running around or adding
believable scale, because if some scale reference assets to
you build your heightmap in your levels like trees, rocks or
World Machine (as seen in the houses for example, these will
example above for example) really help you with giving you
back that sense of scale.
you don’t really get that sense

3. Explore the real world and use it

This might speak for itself a little is that you can use the
bit but tools like Google Earth/ measure tool (ruler on the side)
Maps are super useful when it
comes to planning locations Lastly, use the streetview to
and spaces in your world. your advantage, this can give
you a quick view of the style of
The top down view gives you buildings, terrain elevation
the option to find some cool differences and general
locations or layouts that you building metrics.
can use to create your
own.Another thing that is useful

4. Building world logic

Think of it like a sculpt, you have what is the main source for
to start with the bigger shapes erosion of the landscape?how
and build up layer by layer. But has it changed over time?
before even starting your world What kind of structures would
you need to define the rule-set. people inhabiting this region
use?
With this I mean asking all the
questions that are needed to It all starts with asking these
create a living, believable questions and defining them.
world.
Where is your region based,

Generic Landscape Tips

Back to Table of Contents 158
 Terrain features for player leading

Introduction
As an environment artist you have a lot of tools to help people find their ways in your environment, most of these are coming from a
good composition and for this one we're going to see how we can reinforce this with some good terrain features. Let's dive into a
more general one first and then go into some specifics.

1. Big Terrain Shapes

Walls and cliffs for the top of them to the
mostly added as a first step bottom. So you can use this to
when blocking in your shapes. your advantage.
These are then used to prohibit
the player from going outside Use negative space
of the playable area. We have these big shapes
around our entire environment,
Terrain slopes if we want to lead to player to
Slopes can also be used to a specific point between them,
push the composition of your we can just create large gulley
environments, their natural on that section, creating
softness will often lead the eye negative space and contrast.

2. Points of Interest
Having bigger more unique lot of them in games you've
natural shapes in your played recently. These can
environment is also a good range from weird mountains, to
way of attracting the players/ stone arches, giant waterfalls,
viewers attention to a specific you name it!
point. Nature has some pretty
weird structures and shapes by
itself, so get inspired by it!

You might have even seen a

3. Empowering Exploration
Creating natural blockers Hiding and revealing locations
A trick that has been used in This trick can also be used on
countless games is to tease the vertical aspect by showing
something and increase a a large structure in the
sense of mystery by hiding it distance and then hiding it as
around the corner or blocking you go down into the foliage or
it by natural formations such as lower levels of the level. This
small slopes, rocks or foliage. has been used to great effect
Straight sections of road are especially by Naughty god in
just really boring to traverse, all their games.
especially for longer stretches
of time.

4. Micro Features
Paths in your environment Smaller ridges
Subtle details can really make Smaller elevation changes can
a big difference, pushing a also be used where the terrain
well worn path down a bit into allows for it, having smaller
the terrain will help lead the ridges can help guide the
player towards it. These paths player in a certain direction
by themself already create a with repeating shapes and
contrast between the textures again shape contrast.
used.

Terrain features for player leading

Back to Table of Contents 159
 Landscape introduction

Introduction
This first part of a multi-parter on landscapes in going to dive into some of the basics of creating landcsapes inside of Unreal engine.
We will have a look at some of the more important settings when creating it, where to find it and lastly how to import your own
heiahtmaps!

1. Landscape mode
This allows you to copy and same manner as well.
past bits or entire materials to a
text file. You can also do this
with blueprints as well, allowing
you to quickly save and share
important bits of materials and
code.

A really handy trick because it

is so simple in it’s use.

Alternatively you could also

save these materials as .uassets
in some place and then use
them where needed in the

2. Landscape settings
MODELING
Hard-surface: Organic:
3DS Max and Maya are When looking at making
probably the most know or organic models the first one
typical 3D softwares used in that comes to mind is Zbrush
most modelling pipelines in known for being an innovative
studios. Blender is good sculpting program and really
example for a really solid nice for retopping and
upcoming 3D package with optimizing your meshes. Some
integrated sculpting options other programs such as Blender
and an increasingly interesting and 3Dcoat, but as of writing
toolset with a strong supporting this, Zbrush is still the most
community offering a bunch of known program. There are
plugins. Other options can other programs like speedtree,
include Modo ,Sketchup ,etc... tree-it, etc... that are suited for

3. Importing heightmaps
Knowing that we can store
useful materials and blueprints
in this manner I have found it
useful to create a mini-library
for bits of blueprints and
materials that I use often.

There are obvious advantages

for this ofcourse, but do keep in
mind that it will break all the
texture links that are
embedded in the project.

Landscape introduction
Back to Table of Contents 160
 Landscape sculpting

Introduction
The second part on landscapes will look a bit deeper into some tips on how to sculpt landscapes, for this we will dive into some of
the settings of the brushes and more, so let’s have a look!

1. Sculpting mode
This time we will dive into specified in Unreal Units so 1 =
sculpting terrain inside of 1m.
Unreal Engine, there are some
great tools that let you sculpt Brush falloff
your own environments.These The brush falloff, depicted by a
tips will help you to know which number from 0 to 1 where 0 is a
sort of thing you need to use hard brush and 1 is a soft brush.
for the correct end result.
Each brush has it’s own
settings, but let’s dive into
some of the more generic
settings first.

Brush size
The general size of the brush,

2. Sculpting settings
Sculpt Ramp
The basic sculpting tool, can A really useful tool to create
be changed to other things paths us mountains or straight
than a circle using alpha’s, sections between two points
different falloffs, etc... Erosion
Smooth Best to use on contrasting
Will smoothen the transition edges, such as mountain
between all the height ridges, this will simulate the
variations. transfer of soil between the
Flatten highest point to the lowest
Really useful for making point of the brush.
platforms and flat sections, or Hydro Erosion
even make angled flat Erosion based on rainfall, is
sections using the “use slope going to create the feeling of
flatten” option. pools of water collecting.

3. Brushes and falloff settings

Brushes Falloff
Circle is just the basic circle All different options for different
brush kinds of falloff, allowing you to
specifically set it to your liking.
Alpha is used to import your
own alpha maps using the
importing menu and will allow
you to paint that alpha and it
will follow your cursor.

Pattern does the same as

alpha, only difference is that
this will be world spaced and
thus always uniformly applied.

Landscape sculpting
Back to Table of Contents 161
 Automatic grass spawning on Landscapes

Introduction
There's a way better way of adding grass to your landscape instead of painting it yourself, we can do so by also adding it
automatically based on the landscape layers that we will be painting like grass.

So we're going to be diving into the setup this time.

1. Adding meshes to scatter on top of the landscape

Landscape material Landscape Grass Output and Landscape Grass Output Happy Painting!
Landscape Layer Sample
First we need to start with the We still need to link the types of Now once we've set this up we
landscape material itself, while Now that we have this we need mesh we want to spawn inside can enjoy painting our grass
it might look like it's a lot but it's to start by adding a of the "LandscapeGrassOutput" material and it will spawn grass
fairly straight forward if we "LandscapeGrassOutput" node, but for this we need to create a on top of it dynamically, not
break it down. All the individual and a "Landscape Grass Type" this bad for this quick setup!
layers have been added as "LandscapeLayerSample" in our contains all the different assets
"Material Functions" which are Landscape material and make that we want to scatter through
basically smaller reusable sure that the name of the this system, this also allows us to
sections of Nodes, but in this "Parameter Name" in the add multiple different assets
case I made them to make the sample node matches the and change parameters for
material a little cleaner and less name of your layer you want to them all separately.
looking like a spaghetti. be sampling from so they are
linked together. If you are used to the foliage
You can also see that I already tool for the landscape itself you
have all the layers name setup will recognize most of these
in the "Layer Blend" node which options that we have in here
will be blending all the inputs already, they are a little more
together depending on the limited then the foliage tool, but
materials that are painted on it's great tool to have assets
the landscape. The name in spawn dynamically, plus we
particular is important for the can also change these
next step. parameters on the fly.

Automatic grass spawning on Landscapes

Back to Table of Contents 162
 Unreal Landscape Material Basics

Introduction
Landscapes in games are usually quite restrictive in how many layers and textures it can use and the material itself can become
quite complex really quickly, but in this one, we're sticking with the basics and making a base Landscape Material for you to use in
Unreal Engine.

1. Basic overview
The basic setup is something We can name each of these
alike Vertex Painting Material layers individually and select
setups you might have seen the type of blending we want
where we use a node to blend for them individually from each
the different textures together, other which is super nice for
but in this one we're actually some nice transitions.
using a "LandscapeLayerBlend"
which allows us to do so with
multiple different textures.

2. Layer blending and Information

The core of the material is Also, for these layers we need
going to be all about the to add some additional "Layer
"LandscapeLayerBlend" node, Information" which you can
which controls the blending add through clicking the little
between all the landscape plus icon next to each
layers that will be added to it, paintable material layer.
so we can add more layers as
we need to, and then additional tip: if you're
depending on the type of landscape material is black
blend (more on that in a bit) from the start, fill it with a
we can change how they random layer to give you a
interact with each other. base.

3. Different blend types

Alpha Blending a basic vertex paint, which
Is useful if you want a really works, but doesn't necessarily
specific layer order and need looks that good.
that control, this is the way to
go. Height Blending
My preferred way of blending
Weight Blending and allows for the most
Weight blending allow us to interesting look, this blends the
independently pain all the layers together based on a
different material layers we heightmap. Which makes it so
have, this does come with the you can have dirt build-up
standard way of blending, like between stone crevices.

4. Cleaning up the graph

A master material for the same material function it
landscape can become a would be controlled by the
mess of nodes and lines cris- same parameters, and we
crossing very quickly. This is want individual control over
where material functions come them). Then all we need to do
in and allow us to clean the is make a Material Instance
material graph up a little. and then assign that to our
landscape
In this case I've setup a new
Material Function for every
layer of the landscape
material (because if you use

Unreal Landscape Material Basics

Back to Table of Contents 163
 Details in landscape sculpting

Introduction
As an environment artists you might get in contact with landscapes at some point of your professional career or personal work, so
let's dive into it a little bit ad how you can make the most of your terrain sculpting ventures and how smaller additions can have a
big impact.

1. Kinks and blobs

Smaller irregularities can really So eve a straight road will some
add a lot to how landscapes smaller nicks in it, adding these
look and feel, so for our terrains will make them look so much
to feel natural we need to more natural then straight
make sure that we also focus ones. Same for the large fields,
on the smaller stuff. Such as add a little bump or dip here
avoiding straight lines and and there and it will make it
large flat spaces, these are feel so much better, but you
some things that are just got to be subtle with both of
unnatural looking and feel out them, making your terrain
of place. blobby is not great, make sure
to think about erosion and
water flow to add context.

2. Different height elevations

This applies to the micro and scout locations as an example.
the macro, we've already
talked about smaller Now, to take a step back slight
irregularities but we also need elevation changes can also
to apply this on the larger scale help, you can see this done in
too. We can use different Farcry 5 for example between
height elevations for great most fields, this is done so you
opportunities to elevate can still see across them and
gameplay spaces with more don't have your field of view
verticality and also just to put obstructed by wheat or other
extra emphasis on the crops.
important of certain locations
like hills where people can

3. Hide things behind corners

... or hidden paths, both are a obscure upcoming area's of
really great use of fueling a interest (and also help with
players creativity and usually optimization through culling, so
they don't need that much you can become better friends
work. Even a little trail in the with local technical artists) and
sand giving you an indication thus fuel your curiosity drive.
might be enough to already
pull you into a nice exploration
route.

And to come back to the title,

corners are also great to

4. Mesh and Terrain Blending

Knowing the limitation of your harsher landscape transitions,
landscape/terrain density, especially where you have
especially in production different height transitions over
environments you're not going short distances, these area's
to be able to crank everything you just need to fill up with rock
to the max so this means that or cliff meshes. Another good
you need to find creative example for this is the transition
solutions to some of these to a cave, where the
limitations. landscape just has a hole in it
and then transitions to a
different mesh (in most cases).
And that's where rocks come You will def need rocks there
into play to hide some of these too.

Details in landscape sculpting

Back to Table of Contents 164
 Landscape displacement in Unreal Engine 5

Introduction
We’re going to be looking into how to get displacement back into Unreal Engine 5, however, at the point of writing this is still an
experimental feature, so be careful when using this, it was pretty unstable when I tried first setting it up on my end. Let’s dive into it!

1. Project & Addon settings

The first step is to make sure PLUGINS MENU
that we’ve got all the plugins
and project settings enabled. Next we need to enable
“Virtual Heightfield Mesh” in the
PROJECT SETTINGS Plugins menu, this is an
experimental mesh renderer to
create a secondary terrain that
Look for “Virtual” in the top support virtual heightfields. But
search bar and make sure to more on that later in step 4.
check “Enable Virtual Texture
Support” to enable the support
for them.

2. Output from Landscape

With the basics out of the way, need the height but also the
we can now start putting it other texture layers too,
together, first we need a because this Virtual
landscape with a material that Heightmesh can’t sample the
we can then sample from. terrain material we use on the
landscape.
In the Landscape material we
can then also add a “Runtime Allright, so at this point the data
Virtual Texture Output” node gets outputted from the
and pass all the information we landscape, but it still doesn’t
want to use into it, so for our gets used anywhere else.
example here we don’t only

3. Virtual texture volumes

CAPTURE: For the capture STORE: With two new “Runtime
section we need 2 “Runtime Virtual Textures” you can find
Virtual Texture Volumes”. Add these in the Right-Click >
these from the content menu Texture > Runtime Virtual
and make sure to copy the Texture. We need to create
landscape bounds. We need one that stores “World Height”
one for the “Height” and one (displacement) and another
for the other texture maps one for the other textures to
“Basecolor, Normal, store the data for the material
Roughness, Specular” we will assign to our virtual
terrain.

4. Use data for Virtual Height Mesh

We can add this new mesh in out a “Min Max texture” which
the “Place Actors” menu and will dictate the look of
look for “Virtual heightfield displacement.
Mesh” and add this to the
world. Now add a simple material to
display our material on this
By default this mesh is hidden in mesh, just make a new
editor, so make sure you material, add a “Runtime
uncheck that tickbox. Then we Virtual Texture Sample” and
add the “Heightfield” Runtime use the “Material” Runtime
virtual texture we created Virtual Texture as it’s input and
before as it’s input and bake add this on the mesh.

Landscape Displacement in Unreal Engine 5

Back to Table of Contents 165
12 FOLIAGE
 SSS In unreal engine

Introduction
Crucial for getting good looking foliage but can also be used on different materials too, for example curtains or icicles are a really
good assets to use them on too. In this one we're going to look into how to set it up and make the shader as well as an example.

1. Subsurface overview
Subsurface scattering will effect we do this with a mask
immitate the colours bleeding (grey scale) to drive how much
through thin objects when hit of this effect will be coming
by light. This is most commonly through.
seen on foliage, so if you look
at plant leafs they let through Then we multiply this with the
light, so SSS will imitate this strength or amount of SSS so
effect. we can influence the
subsurface on the mesh.

Normally when adding this

2. A typical SSS Mask

So let's have a look at the of plant/foliage obviously.)
masks that we normally use for
the subsurface scattering, A really good start to generate
where the white of the mask SSS Masks is to start from a
will be full subsurface and the thickness map that is
black will not have any SSS. generated from the thickness
from the mesh and then use
So usually the leaves will have that as a base to start building
different values of BLACK/GREY your SSS map from.
where the stems are WHITE so
they don't let through light.
(This does depend on the type

3. Shader setup Unreal

Before we dive into the actual to use "Subsurface".
material we need to look at
the different shaders “Subsurface profile” is special in
depending on the type of the way that is uses reusable
object you will use either profiles for how the subsurface
shader model "Subsurface", reacts to light, so if you are
"Subsurface profile" or "Two working with different presets of
sided Foliage" which also has subsurface that you can reuse
SSS in it. on multiple assets, then this is
the shader you will want to use.
So if you're not making any
foliage you are probably best

4. Shader example
For the simplest shader setup strength of the effect, you can
we can just use the texture into see how this can effect the
the Opacity slot and light shining through multiple
Subsurface color multiplied by layers of a mesh. We can also
the color. multiply this with a masks to let
the mask influence it.
Subsurface Strength: stands for
how strong the overall
subsurface effect is.

Subsurface opacity: This

controls the opacity of the

Subsurface Scattering in Unreal Engine

Back to Table of Contents 167
 Alpha overdraw

Introduction
Since I have started doing some tips about foliage this is a topic that we can't avoid, so let's dive into a bottleneck when it comes to
making foliage for games, this can be a major issue on performance when you have a bunch of foliage on your screen that uses
alpha masks. Let's dive in!

1. What is it?
Alpha overdraw happens you have multiple layers of
when the camera has to large alpha (opacity) textures
render multiple overlapping like the example we are talking
sections of alpha (opacity) about, Foliage. Some other
textures. examples are VFX of any type
of asset that deals with a lot of
opacity.
Alpha mask by itself is more
expensive to render because
the camera has to calculate On the right is an example of
which pixel is behind the one Overdraw, the brighter the red
that is currently see through, the more overdraw (and more
and this only gets worse when costly it gets).

2. Optimize your opacity

For example for a hosta leaf it's possible because you have
better to spend bit of extra hundreds of them on a giant
Poly's to get as close to the tree and then you scatter that
shape as possible because it tree in your scene, so adding or
doesn't have that much of tiny removing a couple of polygons
details. can have a large impact.

Compare this to a branch full So it's a balancing act

of leaves and you cannot between getting the most out
make this entire branch into of your shape for your leaf
poly's. Keep in mind that while maintaining a
branches are the worst manageable polycount.

3. Plan your UV layout first

So if we are going to use a lot need to create all the different
of opacity say for instance on bushes/trees that we want.
branches, then it's not a bad
idea to plan your UV layout first So as an example on the right I
before you start modeling your have a couple of different ferns
branches. leaves to get all the shapes
and stages of the fern.
The way that I do this is looking Keep the overdraw in mind
at the shape of the tree/bush when doing this step and try
and see if I can extract the and reduce it as much as
main shapes from it and possible when making the
getting the variation that I Highpoly meshes.

4. Check it in the engine

So now you when you are out Hope this was helpful and will
there creating your nice let you run things smoother
foliage, that why you should than my foliage did in the
always check if you have this beginning!
going on and if it's an issue. To
be honest this is a bigger issue
when building a full game
instead of just your own scene,
but it's still good to know that
this could be an issue if you let
it get out of hand.

Alpha overdraw
Back to Table of Contents 168
 Blender foliage with particles

Introduction
Let's have a look at how you can use the particles inside of Blender to your strengths to quickly create foliage that behaves likes
ferns, hosta plants and other low bushlike foliage.

1. Base leaves and collection

So first off all, for this little different leaves what we need
example we need some leaves to do next is to put them in a
(with or without branches) that collection, (you can do this
we can use to scatter with the with the “m” key and then
particle system. create a new collection) this
will help the particle system
recognize what it needs to
For my example I have these scatter around and this will give
Hosts leaves that have stems us some nice variation.
that go all the way to the
ground.

So when we have all these

2. Particle spawning shape

Now that the we have all the meshes.
different leaves its time to have
a look at the bade shape that This is why we create a shape
we will use for the particles to that looks like a squashed
spawn onto. cylinder. This will give us a lower
angle the closer it comes to
You can spawn particles in a the ground plane.
number of different ways but
for this specific example we will
be using the normals from the
underlying base mesh to
define the direction of our

3. Particle settings
With that stuff in order, let's add one if you want to see
all this together, first we select something ;D )
the base shape that we just
created and add a particle Now let's add the collection as
system to it. our meshes to spawn. If this is
acting weird you might need
Next up we will change some to double check the rotation of
of the lifetime parameters to your leaf meshes and make
make sure that they generate sure that they are correct, for
on the right frame (1 for this this to work properly they need
example, this means that your to be aligned to Y+ (in my
timeline needs to be at frame case)

4. Final tweaks and conversion

Now, there is still a thing that's Now as the final thing, you are
missing here right? So all the all done setting this up, it time
leaves look really flat now, so to convert these to actual
let's make sure that we add a meshes, for this go into the
little more flare to them and modifier menu and press
add a little drag to them so convert under the particle
that it seems that gravity still system tab. These meshes will
effects these, the nice thing still be linked though! So make
about setting this up with a sure to un-link (or create
particle system is that you can another duplicate) them first
still adjust all the individual before joining them together.
leaves on the fly.

Blender foliage with particles

Back to Table of Contents 169
 Foliage in Blender using arrays

Introduction
So this time we are going to dig into making foliage that conforms to curves with the help of the curve modifier and the help of
arrays. This is super nice to work with hanging vines and other foliage that grows along vines or branches.

1. Pivot and settling up the array

Let's get straight into it, we will number of the amount of
need a single leaf or branch to meshes you want in the count
get started and double check section. Leaf Pivot Point Setup

that the pivot point is in the

correct place or else we might (We can also set this from
get some weird results. count to curve, but we are
going to do some additional
Then we will add the Array stuff to it later on, so it might
modifier to leaf/branch (this will look good now, but those
duplicate a mesh a number of changes will affect how it
times with an offset of your attaches to the curve)
choosing) then add the

2. Attach the curve

Next up, what we want to do is Next we can add a “curve
attach this array to the Curve. modifier” to our leaf/branch
and add this curve to the Add menu
SHIFT + A
modifier, and in this modifier
First let's add a “Curve” to our make sure to select the correct
scene and move this to the axis that the curve is on.
same position as our leaf mesh
and make sure that the pivot
points are in the same place. This will then snap the pivot
point of the leaf meshes to the
curve.

3. Manipulate using an empty

To do some of the additional So for example if we rotate this
transformations to the meshes on the Y axis then we get this
on the curve we can attach nice rotation along that axis Add menu
SHIFT + A
an empty to act as our dummy and is going to give you this
actor for our array modifier. We nice effect.
can just add an empty cube or
anything else in that category, Empty.000
Added in Array modifier
doing this will attach the offset,
scale and rotation from this
empty and will apply this to the
modifier.

4. Limitations
Link menu
CTRL + L
To do some of the additional So for example if we rotate this
transformations to the meshes on the Y axis then we get this
on the curve we can attach nice rotation along that axis
an empty to act as our dummy and is going to give you this
actor for our array modifier. We nice effect.
can just add an empty cube or
anything else in that category, Before linking modifiers
doing this will attach the offset,
scale and rotation from this After linking modifiers

empty and will apply this to the

modifier.

Foliage in Blender using Arrays

Back to Table of Contents 170
 Foliage creation - Starting out

Introduction
Let's dive into some basics for modeling foliage, we will be having look at stuff like planning your UV's in early stages, what foliage to
model and more. This will be useful for starting out to create foliage for any of your scenes.

1. Choosing the foliage

First up, let's have a look at make a separate texture to put
which piece of foliage we these on and allows for a basic
want to start modeling. shader or are you adding it into
your main material?
It's important to do this
because some foliage might These are all things that you
require some additional pieces might want to think of and is
like stems, branches etc... depending on the scene in
Because if for example your general. For personal work
foliage has stems sticking out examples its less important bit
from the floor up until the still good to know the
leaves, then are you going to optimization tricks.

2. Modeling within restrictions

When starting to model the this doesn't happen is by
individual leaves let's make adding a square plane
sure that we put the texture underneath to represent the
boundaries in place, we don't UV space that we will be
want to start modeling and baking it down onto. Then we
then have issues with baking always have a reference plane
them because they don't fit on underneath the models that
our texture sheet. we can refer too.

A good way to make sure that

3. Focus on the silhouette

For the actual modeling we Another important thing here is
need to keep it super simple at that we create a number of
this point, we need to be able foliage pieces that are varied
to adjust the shape quickly if enough to create a number of
we wanted to. This will also unique looking pieces with, we
help us to create more we want to aim for as much
variations more easily later on. reuse as possible and keeping
it visually interesting and
unique.

4. Adding refinements
To add some refinements we normal map texture through
can now start sculpting on top substance painter instead.
of the mesh we created. In this
step we want to focus on
adding small sections of
damage or larger additions like
an adjustment in silhouette.

Don't focus on all the smaller

details and folds though, we
want to add a lot of those
more micro details in the

Foliage creation - Starting out

Back to Table of Contents 171
 Grass creation - Part one (Highpoly)

Introduction
In this mini series I'll take you through the full creation process of creating grass for Unreal Engine, this is going to be a multi-parter. The
first section focused on getting good highpoly meshes that we can bake down onto a plane for our lowpoly meshes.

1. Things to keep in mind with grass

Density: The density of the to balance the amount of
grass clusters you need to alpha with optimized
make for convincing looking geometry.
grass. Having bigger clusters
can save on the amount of Cheap Geometry: For grass you
grass clusters you need. need to have a lot of clusters
for them to be convincing,
Alpha overdraw: Alpha is still especially in open world
pretty expensive when it scenario's. Keep the geometry
comes to rendering cost, as low as possible while
especially when stacking a lot reducing the alpha,you’re
of these alpha sections, so try spawning a lot of these assets.

2. Base grass strand creation

Allright, let's get into it. First off If you're unsure about this step,
we're going to be creating a have a look at some
base mesh for all of our grass references and investigate the
blades. This can just be a shape of grass.
simple rectangle at first. Add
some subdivisions to the mesh Always retain the initial straight
so we can control these later shape so we can easily
and also add a subdivision duplicate this one and create
modifier to make it a little new shapes from this base, you
smoother. We also want to always want to try and work as
tighten the base and the top non-destructive as possible.
of the blade of grass to give us
a nice shape.

3. Different scales and rotations

For this I'll be duplicating the different grass blades that we
base shape we just created can then use in the next step to
and then start adjusting the start clumping them together
shape with a soft selection and make some interesting
starting from the top, just collections out off.
rotating and moving the shape
around to create some I've found that creating a base
interesting shapes that we can collection of five-ish shapes
use later on. and then scaling /rotating
them works really well to
We're doing this step to give us create some variation.
a sample of a bunch of

4. Combining into clumps

Now that we have a lot of All of these assets are then laid
shapes it's time to puzzle them out on top of a plane so we
together into clumps that we can see how much space
ca then use to make each and every one of them
combinations out off. We're can take up, try and maximize
also doing to same with these this space as much as possible,
clumps, we don't want to have this will be a 1 to 1 translation of
uniform looking clumps of your texture.
grass. Give yourself some
variations to really play around
with, so in my example I have a
wide, tall, small and medium
section.

Grass creation - Part one (Highpoly)

Back to Table of Contents 172
 Grass creation - Part two (Lowpoly)

Introduction
In the last entry we made the highpoly grass collections that we will be using in these sections, so if you missed those look for "Grass
creation - Part One" in this collection. This time we're going to be working on creating the lowpoly meshes and preparing them to use
in a game engine.

1. Baking down to a plane

Last time we had a collection other sections about this so if
of our highpoly grass meshes, you need a refresher you can
one thing in addition to this, is find these in the full collection
that these meshes are now just under the "Baking" section. But
a little flat, so first step here. for this section it's super simple,
Let's add a "solidify" modifier to export both low and highpoly
the mesh to give it some meshes, get them in your baker
depth, helping it to give more of choice and then make sure
depth and also helping to that the baking distance is long
bake a thickness map too. enough.

Now for baking, we've written

2. Texture pass
Not going to spend much time individual grass strands.
on this pass to be honest, from
grass we can keep it pretty That should be more then
simple. The main things you enough for this section, you
need here are colors at the can take it as far as you
bottom that make sure they personally want. But also, don't
blend with the texture you will spent too much time here,
be putting underneath them throw something quick on
on the landscape. and then there first, we might be
maybe a slight gradient from adjusting the shapes later. Also
the bottom to the top of the make sure to export these
grass as well as slight color textures for the next step.
variations between the

3. Creating the Lowpoly

For this we just take our plane especially when these alpha
that we used for baking and sections of the textures overlap
apply the texture on there so with other alpha sections (Like
we can see where we need to when spawning a lot of grass).
make the cuts to follow our But we can't use too much geo
grass textures. for this either, we're literally
going to be spawning 100's if
not 1000's on screen.
Some things we need to keep
in mind, we need to reduce
the amount of alpha space as This is also why we made the
much as possible, rendering these in a rough triangle shape,
this is quite expensive, which helps with optimization.

4. Making combinations
We can't really use these flat make it as full as possible from
planes with a texture on it in every angle, also when looking
our final environment, we down on it, so make sure you
actually want them to feel as deform it along every angle.
three dimensional as possible.
So let's adjust them to make
nice little collections of grass
that are going to look nice.

In this step it's important to

Grass creation - Part two (Lowpoly)

Back to Table of Contents 173
 Grass creation - Part Three (Engine setup)

Introduction
In this last part of Grass creation, we're diving into the material setup inside of Unreal Engine. Making sure that our shading looks
correctly on large sections of grass as well as implementing wind and how to paint the foliage.

1. Base Material setup

We start simply by importing can also add a simple
our texture into the engine, parameter for the specular, I
which you can export from like to tweak this option visually,
Substance Painter. For a base especially for grass.
setup we can just set the
material to be "Double sided Last thing we need to do,
foliage" under the Shader specifically for grass is tick off
options, then we can drag in the "Tangent space normals",
all of our textures and link them this will give the grass a fuller
up. look then without it.
Aside from this basic setup, we

2. Adding some movement/variation

Look for the "Simple grass wind" mask in substance for this and
node, hookup all the inputs export it as a separate texture,
and set them up as this is usually a gradient from
parameters so you can tweak the bottom (black) to the top
them on the fly (more on this (white). Thus affecting the top
can be found in "Material vertices but no movement on
Parameters" in our the ones on the ground.
compilation). The main thing
you're controlling here are the Also, add some variation to the
weight and the intensity. color! check out "Speedtree
color variation node" in our
Make sure that you paint a compilation.

3. Painting foliage
For this we use the "Foliage" together, so larger patches
tool, which allows us to drag in should be less dense and
assets and then let's us paint smaller patches more dense.
with them with a brush, super
cool! Scale: If you have build your
foliage to scale something like
Every asset you drag into this Min: 0.75 to Max: 1.25 is always
tab will have it's own settings what I try first.
that you can tweak.
"Foliage tool tips" in our
Density: Controls how much compilation can help you out
foliage will be spawned close more with this.

4. Paint your foliage with love

Use randomness Reapply settings for different
Use the randomness in scale density settings
but also slight rotation to your Use the reapply settings tab to
advantage, this really helps increase/decrease the density
create a good chaotic feeling. of the foliage.

Different settings for different Clear up paths

assets If you have people walking
Different assets need different through this grass, make sure to
settings, use smaller assets to clear paths for them. This can
break up the repetition of also be used for player/viewer
larger ones. leading!

Grass creation - Part three (Engine Setup)

Back to Table of Contents 174
 Speedtree color variation node

Introduction
So today we're looking into how to create color variation within unreal engine with a handy node from Speedtree that allows for world
based color variation. But we will also be diving into how it's normally done with foliage, maybe not on a world basis but on a more
local level.

1. Easy mesh based color variation

Unreal has a pretty neat node The main thing to keep in mind
that allows you to have color when using this node is to keep is
variation, it's pretty simple but it's super subtle, for this example I
also a bit limited in terms of use a value of 0.015.
control too.

The node we're talking about is

called "Speedtree Color
Variation Node", as you can see
in the example it's pretty
straightforward. Like in the
example we add this between
the output of the basecolor and
the texture we feed into it.

2. Don't forget about SSS

Sometimes the end result when The example on the right is just
the light comes shining doesn't an example, again, the key to
look like you we're expecting getting a good result is about
looking at the basecolor so we zooming out and focusing on the
need to make sure that we add large scale instead of the small
this to the Subsurface Scattering scale.
too.

Speedtree color variation node

Back to Table of Contents 175
 Foliage Master Material Example

Introduction
Since we’ve been talking about master materials and material instances for a couple of entries, so let’s dive into an example I use at
the moment to do all my foliage for my current scene. There are some minor adjustments I might make to it on the fly depending on
the workflow and need, so keep it that in mind.

1. Foliage shader breakdown

Texture inputs Color variation Subsurface scattering Wind controls

All of the texture inputs are Then adding onto the For this example I'm using a Then lastly, let's get some wind
setup as parameters, this allows basecolor we can add world simple setup for the subsurface to affect the foliage as well, in
us to change the texture inputs ___location based color variation scattering, purely driven by the our case here this is driven by a
for different types of foliage, using the basecolor and some mask and then multiplied by
from grass to the ivy that I'm "SpeedtreeColorVariation" adjustment values. However, it's the vertex color. This gives us
using. The "Basecolor" used the node, allowing you to add nice to have a “thickness map” more specific control over
RGB channels for the actual more variation per instance in to help you give a more where the wind will impact the
color of the texture made in the world. For more information accurate representation on foliage. Then we multiply this
substance painter, the A(lpha) you can check out our how the subsurface would again with the control
channel is used for the opacity separate blog link on that topic. react to light. parameters for both the wind
map. Always try to lessen the "Weight" and "Intensity".
amount of texture samplers. Thinking about it now you could
We can add some additional A thickness map is something probably get away with only
control here if needed, like for that substance painter bakes doing the multiply on the
Then we have two texture example overlaying a new and if you have a good "Weight".
inputs one for Ambient color on top of the basecolor to highpoly with thinner and
Occlusion, Roughness and change it a little or even thicker pieces you can use that
Metalness. All channel packed desaturating it, but I choose to one straight out of the box, but Parameter recap
into one texture, technically to keep it pretty light here. you can also just make one
optimize it more I could add the based on masks too (or paint All off the above gives you a lot
wind influence map you see on one yourself). of control over the look and
the left to this texture but I feel of the bits of foliage you will
decided to make it a separate I like to built in some additional need for your scene. There are
input so we can toggle it on/off color control with a “Desat” a couple of expansion that you
easier. And another texture node.(you can go into the would do with adding more
input for the normal map, minus to push the saturation individual control over the color
which speaks for itself. too) And then finish it up with a for example with some
“multiply” to control the desaturation nodes if you want.
intensity of the subsurface
scattering.

Foliage Master Material Example

Back to Table of Contents 176
13 LIGHTING
 2 point lighting setup

Introduction
Let's dive into some of the basics when it comes to setting up your first lighting setup, which will usually be something like this simple 2
point lighting system.

The scene used in this example has more lights then two, but is still a good example for this kind of setup.

1. The basics of 2 point light

This is the most basic setup to opposing the subject, the key
get a good presentation in light and the rim light in this
terms of your props, but it's just case.
the start. So see this more as a
base to start working from and Usually when doing this sort of
adding your own bits to it a lighting you want to add
rather then the solution that some slight color variation into
always works by itself. the different lights as well, to
make sure there is a nice little
bit of contrast in the lights
themself.
It works with two lights

2. The main Light

This is the light that is going to nicely lit.
put the most light in the scene
and will pull the main focus of In the picture on the right you
the attention. probably notice that there are
multiple lights on the subject,
Like in portrait photography but let’s focus on the white
you want this light to fill the one, which lights up the scene.
scene the most and will be
along the same side of the This for our example is our Main
object as your camera will be, or Key light.
this will make sure that the side
you are focusing on will be

3. The rim light

This light serves the purpose to In our example on the right you
separate your subject from the can see the Rimlight on the left.
background, which is why it's Which is blue and nicely
places behind it as well. This will separates the subject from the
make sure that there is a nice black background.
"Rim" light that catches the
sides of your subject to make
sure it stand out from the
background itself.

4. Additional information
These setups are really And lastly to reiterate, use this
common in Portrait as a base rather then the final
Photography, so if you want to product, each prop
get more inspiration, you can presentation needs it's own
always start and break down setup.
how they setup studio’s for
specific lighting situations,
which is always a good
inspirational resource for your
own lighting setup.

2 point lighting setup

Back to Table of Contents 178
 "Light painting"

Introduction
This is probably my favorite way of talking about lighting, where you look at your object like a canvas and you deliberately start
painting with your light sources to make things stand out, so let's dive in!

1. What to highlight?
The first question you need to For most of your props this will
ask yourself when looking at be area's where you show off
your models or even your nice roughness variation or
environments is what do you spots where you have nice
want to highlight? Or in other transitions between textures,
words what are you as the those are always nice to
artist put focus on so people highlight.
will put extra attention to this.

Annie Nazoyan - Shotgun Basic Material / textures

2. Putting in a good base

Before we start adding in those But basically we build a setup
nice little spots that will pull the that fills the space with enough
attention, we will need to start light to make it visible to the
with the base itself, we did do viewer, which you can do
a tips like this one on a two through an HDRI image or add
point lighting setup that you in your light manually. The HDRI
can check out as well. has the added benefit of also
giving you a nice environment
to reflect your materials back
into.

Georgian Avasilcutei - Real time boots

3. How do we highlight it then?

So you kind of know what you Usually the main thing I try first is
need to highlight, but HOW do putting a light right across the
you go about this? other side of the object so that
your light will bounce of the
object and roughly in the
It will take some going back direction of the camera.
and forth to figure this step out
so make sure to experiment a
little.

Jared Lewin - Crypt of the Raven King

4. Don't go overboard
There is definitely a drop off So if you got your fill lights (or
point where the more lights HDRI) then try to stick to maybe
you add the less they one or two lights to really pull
contribute to the lighting, you the focus towards places
don't want to add so many where you want people to
lights to your environment that focus on.
it's completely filled with light.
You need some contrast in
there!

Ryzhkov 3D-Models - TSh-16 sight for tank T-34/85

“Light Painting”
Back to Table of Contents 179
 Tonal values

Introduction
Today's tip will dive into a little bit of an expansion onto the topic of your tonal values in your art, which are the black and white
values of a piece of art, really distilling the information down to the core and just focusing on how tonally different they are.

Another section on Tonal Values can be found in "different contrast uses"

1. Overview
Differences in values are an Tonal Values determine how
amazing tool in the artist's dark or how light something is,
toolkit that we can use to which also is a great way of
guide the player or the viewer separating different foreground
to points we intend to focus or midground an background
move towards. This usually layers.
works in tandem with other
types of contrast but for this
one we're focusing purely on
Values.

2. When do we check it?

These fundamental rules (of It's something that you will get
which tonal values are a part) more and more used to the
are usually something to keep more you apply these rules,
in mind at all points when you want to get to a point
working on any artistic piece. where you don't even think
But if you want to have some about it anymore and it
solid "Checkpoints" when it's becomes a part of your artistic
good to check on it are when habits.
you're doing the blockout of
your environment or more
towards the end once you are
preparing your final
presentation.

3. How do we check it?

The most used way is to check BUT the easier way to do it to
it in Photoshop and adding a go to your windows settings
black and white filter on top of and under "Colour Filters" you
it or removing all the saturation can find a Greyscale filter, you
in the image. An additional don't have to go to this menu
step to really help you see all the time, just enable the
things clear is to also add a hotkey for it and you can swap
blur to the image. it on the fly.

The standard hotkey is

WindowsButton + Ctrl + "C"

4. Some examples
Let's dive in and take a look at
and example here in how to
make things stand out. There
are multiple ways of doing so,
usually the lighter object is
surrounded by darker items,
but you can also flip this
comparison if you wanted to
as seen in these examples.

Tonal Values
Back to Table of Contents 180
 Fake lightshafts in Unreal Engine

Introduction
Now that we discussed Baking it's time to dive into the next step and start talking about Texturing, but first we need to take a look at
the different maps that are used in the texturing process, so here we go, let's dive in!

1.Combining noises
In this first step we take a cone there are volumetrics floating in
shape and then start the air, to add to this we also
combining a couple of noises want to simulate movement,
in Unreal engine material which we do with the panners
editor using an RGBA Noise that you can see in the
texture that I made, these are screenshots.
4 simple noises added in each
of the individual channels for The main thing that is important
this texture that we can then for this step is keeping it subtle!
use for multiple applications,
but for this one I added them
to create a little variation in the
light, giving the impression that

2. Fading by depth
The next step is all about distance where this will blend.
cleaning up the edges, fading
by camera distance and by Now this is more an optional
distance of the meshes that thing but it gives you a nice
intersect with the volume, results with extra added depth
there is a lot to unpack here so and this is the depth fade
I can't really do a deep dive node, this will allow you to
into all the topics here. The soften up the result when other
pixel depth will give you the meshes are within this mesh.
depth of the scene based on But before tweaking these
the camera ___location so we parameters we need to add
divide this by 1024 (at first) and some more stuff!
this will allow us to change the

3. Fading on the edges

Now let's look at smoothing this effect to do just the
these edges so we don't have opposite if we tweak the
this harsh volume in the middle values a little, so that's exactly
of our scene. We can use the what where doing here.
Fresnel node to achieve this
effect, you can see what this The exponent controls the
effect does in the little power and the base reflect
screenshot, but keep in mind controls the balance between
it's inverted with the 1-x node, the edges and the core of the
because normal the Fresnel materials, turning these into
node will "highlight" the edges parameters makes it easier to
and make the core somewhat play around with.
darker so we can perfectly use

4. Sun intensity and opacity

We are going to make the To create some variation to
opacity tweakable and add a showcase in the video I made
little fake sun intensity change of this scene in the end, which
to the material as a whole. is why I added a Sine function
Normally we would add the linked to the time of this scene
opacity control to the end of (with a little divider to control
the Opacity chain, but in my the speed of the sine function)
case I decided to add it to the and the clamp node at the
Basecolor for some reason, you end will allow us to control the
might want to stick to adding it min and max value for this
to the opacity chain. material (from 0.6 to 1.0 in my
case)

Fake lightshafts in Unreal Engine

Back to Table of Contents 181
 Unreal Engine light mobility

BeyondExtent

So when getting to lighting your environments inside of Unreal Engine there are some things you need to know about lighting itself,
because there are differences in the way that you will use and set them up, so let's dive into this.

1. Static lights
So first types of lights are usually Also, this information gets
used in types of environments baked down into lightmaps,
that need a bit more accuracy which is a just an additional UV
in lighting, shadows and Global (auto generated by Unreal,
Illumination. This increase in unless ticked off). So this is an
quality does come with the additional element you need
need to calculate where these to keep in mind, and need
lights will bounce around in the proper density for it to look
environment, which can take a good. But more on that in a
while with bigger future weekly tip.
environments.

2. Dynamic
Then we make the jump to lot of them in your scene.
Dynamic lights, these are the
opposite of static and can be Also there are some big
moved on the fly and the limitations on how the Global
"preview" is what you get. This illumination gets calculated
sounds great right? but hold on through a system called "Light
because these do some with Propagation Volumes" which
some downsides as well. First isn't the most accurate,
off all the limited amount of especially compared to static
them you can use because lights.
each overlap adds additional
costs, so this is where the red
cross comes from if you add a

3. Stationary
So now we get to the in However, this will only affect
between option, these the direct light and not the
apparently have the highest bounce light tho. Also this light
quality which is something that makes use of "Distance Field
I didn't really know either! But Shadows" which if enabled can
what makes these light special add to the resolution of the
is that like static lights they get lightmap and make this one
baked to the lightmaps. seem less blurry.
However, you can still change
the color and intensity of the
light on the fly.

4. Light parameters
So let's dive into some of the In addition to this on some
parameters we can adjust on types of light you can change
lights and add to some quick the source radius and length,
tips for this. Most of them really making it perfect for some sort
speak for themself, but the of tube lighting for example.
biggest impact on
performance will definitely be
the influence radius, the more
these overlap with other lights
the more expensive these get
either to render or to calculate.

Unreal Engine light mobility

Back to Table of Contents 182
 IES Profiles for lights in Unreal Engine

Introduction
IES profiles are based on real world examples for lights and are stuff crucial in pushing the believably of the lights inside of 3D spaces,
especially for architectural visualization.

1. IES Profiles
IES profiles are used to change light that has different falloffs
how a light affects an and spreads the light differently
environment, mostly used in than other standard lights.
Architectural Visualisation but
can be useful to change the These profiles are based on real
light on any light for any scene. world values by different
manufacturers of those lights.
What they basically do is
change the way that the light
behaves from a normal
uniform light to a more realistic

2. Where can you find them

You can download them for containing 58000 of them.
free on multiple sites and each https://renderman.pixar.com/
site offers different profiles to ies-profiles
pick from.
http://www.derekjenson.com/
Some examples of these 3d-blog/ies-light-profiles
Profiles can be found on sites
such as Philips or Pixar https://evermotion.org/articles/
Renderman site for instance show/10234/download-ies-
and Evermotion has a light-profile-collection
download link for a zip folder

3. Importing them
Once you got them your scene
downloaded you can import
them like you normally would That being said, you can
do into Unreal Engine. control the brightness for each
of the IES profiles separately in
If you have them inside of the the texture properties.
engine, I suggest that you
don’t modify them because
they are based onto real world
values, so using them as an
anchor for all the lighting in

4. Putting them to action

Then apply to a Pointlight Also, don’t forget to tick the
under the “light Profiles” “use IES Intensity” in the details
section, and look at your newly panel for the light itself.
adjusted lightsource!

You can also adjust the

brightness of the light like you
normally would for another
light in the light panel.

IES Profiles for lights in Unreal Engine

Back to Table of Contents 183
 Rectangular Lights

Introduction
Rectangular lights are perfect for certain use cases because they project light in a different way and are a bit more expensive
because of that. They are super useful for rectangular light frames, projector screens, tv screens etc...

1. Let’s get started

This week we have a look at a
new sort of light introduced to
Unreal Engine 4.20, the
rectangular light.

This light is perfect for square

lighting situations, such as TV
screens, projections, Lighting
fixtures, etc...

2. Comparison
Let’s look at the comparison
between a normal Point Light You need to be aware that the
and the Rectangular light on Rectangular light acts really
the right. different depending on the
type of mobility you set it to,
The first thing we can see is more on that in the last section.
that the rectangular light has a
softer falloff, but you will also
notice that it still uses a normal
round falloff as a normal Point
light does.

3. Settings
Let’s dive into the setting for be different compared to
the Rectangular lights, this is normal lights is the Source width
really familiar to other light and Source height.
sources.

You have things like your

normal
Intensity,color,attenuation
radius, etc...

The main thing that is going to

4. Light mobility
Static: Direct and indirect temperature is changeable.
illumination are both baked to
lightmaps when building Movable: With this setting, the
lighting. Fastest rendering, but light is totally dynamic. Most
no realtime adjustments. expensive to render, this allows
for correct shadows from
Stationary: Only the indirect moving objects in the game at
illumination from the light is runtime. every frame.
baked into lightmaps when
building lights. GI and Shadows
are static, but color and

Rectangular Lights
Back to Table of Contents 184
 Light propogation volumes (Outdated)

Introduction
If you are looking to boost your lighting and especially the bouncing of the lighting in the scene, you can do this by using static lights,
but what if you are looking for some options do do it realtime? There are some options such as Voxel based global Illumination
(VXGI) but today we will be having a look at Light Propagation Volumes.

EDIT: This is now replaced by Lumen in Unreal Engine 5

1. System overview
Allright, a lot of people have (C:\Program Files\Epic
been wondering about this Games\UE_4.16\Engine\Confi
feature which is in Unity as g) look for the
Enlighten and is better known “r.LightPropagationVolume ”
as Dynamic global illumination. and set this to 1 and restart the
So, if you go to your Unreal engine.
Engine folder and look for the
“ConsoleVariables.ini” file
which holds features which
can be enabled.
In this file at ___location

2. The settings
A couple of important settings the Light Propagation Volume,
that you need to keep in mind including the size, intensity,
is that you need to set the etc...
affecting Directional light’s
mobility to “movable” and also The Size and Intensity might be
tick the “Affect Dynamic the most useful settings here.
Indirect Lighting” tickbox
before you can see the Also, the LPV bias can be
changes affecting your level. adjusted per mesh under “LPV
Post processing volume holds Bias Multiplier”
more settings to further adjust

3. Performance and visuals

Due to the experimental
nature of the feature itself, it
can quickly become cost
heavy if not properly
balanced.

Firstly we need to disable the

Lightmass GI, because if we
are going to use them at the
same time, they result in a too
bright indirect lighting.

4. Debug and materials

Firstly we need to disable the “GIReplace” node in a
Lightmass GI, because if we “Material Expression”
are going to use them at the
same time, they result in a too
bright indirect lighting.

Additionally if we want to
change the color that the
global illumination is going to
bounce of one of the materials
we can switch this using the

Light propagation volumes

Back to Table of Contents 185
 POST
14 PROCESSING
 Color correction: LUT

Introduction
LUT’s are a great way to do color correction on your scene, you can add these to a post processing volume or multiple volumes in
your scene and control them all separately if you need. But for the most part I will talk about only using one post processing volume
with a LUT attached and setting this one to be unbound.

1. Getting the base LUT Texture

Download the base LUT from You can find this on the Unreal
the unreal engine site. Look for Engine documentation here:
“LUT Unreal engine” and save
the left image on the first

available link. Make sure to https://

“Save As” docs.unrealengine.com/en-us/
Engine/Rendering/
PostProcessEffects/UsingLUTs

2. Taking a render and prep

Take a screenshot from your
scene (using the high resolution
screenshot in the little drop
down in the left upper corner)
and overlay the downloaded
LUT texture in Photoshop.

Make sure that you overlay the

non-adjusted freshly
downloaded texture over the
screenshot that you took.

3. Adjustment layers
In this step you need to adjust step, this is not going to take
the screenshot as you would that much time but is going to
like it to look inside of Unreal make a big difference in the
Engine, we are going to do this final presentation.
using adjustment layers.

Some good examples are

Levels, Hue/Saturation, Photo
filters (for quick adjustments),
etc...
Feel free to experiment in this

4. Unreal Engine setup

Now to take it back into Unreal have it auto-import to your
Engine we need to isolate the current projects
LUT texture again, crop it to the
correct dimensions (Ctrl+Click On import make sure to put the
on the layer to select all the texture group settings to
pixels on that layer, then press “ColorLookupTable” and plug
C to crop it). it into the LUT slot in the post
processing volume.
Once you have done this save
it somewhere inside of the
Unreal Engine project folder to

Color correction: LUT

Back to Table of Contents 187
 What is anti-aliasing?

Introduction
Anti Aliasing is something that all engines use or have access to, and something we as artist usually not have to think about but it
can still impact your textures and visuals in a way, so let’s dive into it.

1. What it’s purpose?

Anti aliasing is a technique Also, this technique is also used
that’s used to break up the in baking to make bakes more
diagonal pixels that cause detailed and crisp especially
jagged edges that are caused where different parts of the
by pixels trying to create a mesh connect.
diagonal line but are limited by
the screen resolution.

Anti aliasing will soften these

sections in a variation of ways
depending on the technique
used.

2. Two types of Anti Aliasing

Super Sampling: realtime rendering. One
take a higher resolution image example is Fast Approximate
(super sampling) and then use Anti Aliasing (FXAA) that
that information to make the compared depth of adjacent
edges look better. Examples pixels and blends them
are SuperSamplingAA (SSAA) accordingly.
and MultiSamplingAA (MSAA)
Another example is Temporal
Post Processing: The others way Anti Aliasing (TXAA) combines
happens in post processing downsampling and blurring to
and will blur or contrast edges create nice smooth edges.
using the information already
available and are cheaper for

3. Impact on visuals
The impact on the visuals will One example you can see in
be depend on your method of the comparison on the right.
choice, but if you have no anti
aliasing on at the moment
jagged edges will be really
visible on the silhouette of
objects, alpha cutouts on
foliage, an also on busy
textures.

4. DLSS, FSR and TSR

These new techniques from But in the case of Deep
both NVIDIA and AMD are Learning Super Sampling (and
there to use new techniques FSR or TSR, the algorithm Unreal
such as AI to give you more Engine uses) is will take your
fidelity and make your image current resolution and sharpen
crisper than before. Which sort and upscale the image using
of leads us back to the first dedicated AI cores to be
example SSAA which uses rendered at a higher resolution.
super sampling. So you’re not losing precious
GPU power on rendering a
higher resolution natively.

What is anti aliasing

Back to Table of Contents 188
 PORTFOLIO
15 PRESENTATION
 Portfolio Thumbnail Tips

Introduction
Portfolio thumbnails are meant as the doors to your artwork, so the least we can do is make that door as exciting as possible to
open!

1. Catch attention in an artistic way

Your thumbnail is there to you want to be known then
stand out from the crowd and that’s fine) or just to attract
grab attention but to do so in a more attention or likes to your
way that aligns with your work when it doesn't align with
artistic "Brand" or beliefs, what your intentions.
do I mean by that?
I feel that as an artist you build
Don't put clickbait or female your own audience and
bodyparts on your thumbnails if clientbase, so you want people
it has nothing to do with the to honestly look at your work
work (this is important, if it and how that relates to you.
aligns with your work and how

2. Let your work to the talking

You have seen this before, I'm Having your own logo or name
sure of it. Some people or a personalisation that
(including myself ;P) thought it doesn't take away from the
would be a good idea to start picture is totally different and
adding logo's on top of your can be a way to curate your
thumbnails, but it doesn't really personal portfolio and make
add anything to the thumbnail, you stand out a bit
especially now that you have
the different filters (Unreal
Engine etc...) taking away the
only reason why you wanted
to add that logo on it in the first
place.

3. Making it pop
Contrast and intensity of colors This is obviously not the only
are a good thing to start thing that matters, there are
looking at for a good things like subject matter, if
thumbnail creation, especially there are faces or patters that
because we want your image people can relate with easily,
to jump out from the crowd. So etc... so it's an intricate subject
if your work already has really and really aligned with Art
popping colors it will jump out Fundamentals
of the crowd by itself.

4. Test it on the front-page

Which also brings us to the next Usually I have a separate file
point, to give your thumbnail a specifically for the thumbnail
quick test on the front-page where I can push the values a
between all the pieces of art little bit without deviating from
that other people have the original too much.
created, this gives you a good
indication if you need to push
the colors and contrast a bit.

Portfolio Thumbnail Tips

Back to Table of Contents 190
 Portfolio tips - Part 01

Introduction
So with this one we will dive into some the topics of building and designing your own portfolio and how this will help you with the next
job and how to grow towards what you want to achieve with your career.

1. Specify your focus

The first thing people want to world, the story and not just a
see when they visit is what you single element of it so that is
are good at, really focus on something that I love to do, so
the elements that sell you and this is something that I bring to
your skillset. So for my example the forefront.
this is making Environments in
their entirety, this means This doesn't mean that there is
making every aspect of it, so nothing else that can be on
that's why I put my personal show here that you are working
work on the frontpage on or that you are proud off,
because that shows off that but it's good to have your focus
there is a love and passion in the spotlight.
there to create the complete

2. Showing additional interests

There is no "Correct" way to do page the stuff you want to
this but I feel that a good way wow the viewer and then show
of doing is ,is to clearly mark it the additional stuff on an
in a way that makes other additional page.
people.
But eventually the choice is
A good way to do this for yours, it’s still your Portfolio and
example is to put stuff into your personal space to show
different folders or maps in a what you can do and how you
neat way to display your want to be seen, just keep it
different skills. Another could clean and simple.
be is making your main landing

3. Show what you want to do!

So you have been doing this showing what you want to as
thing for a while and you want this might differ from the thing
to transition into a new you are currently doing
discipline or role? Once you already.
have work to show that you
want to transition you might For me personally this means
want to look into making this putting full environments onto
the focus of your portfolio the forefront and including all
instead thing that seems to the aspects that come with
lean into the first point but is Environment Creation.
slightly different is that you
want to try and to is to give
your portfolio some direction,

4. Artstation or others?
So this is a highly discussed However, there is also the time
topic, this is because Artstation that is saves you and seems to
is so widely used and has be somewhat less discussed,
become the new standard for because if you need to go
portfolio's because interviewers through a more elaborate
and people from studios can process to upload your work
easily recognize where to look and do some minor coding you
and how to browse your might be spending time that
portfolio at a glance because you could spend on creating
they all use the same layout, art. The recruiter is not focused
which saves so much time on how well designed your
when browsing your work. portfolio is designed especially
when looking for gameart.

Portfolio tips - Part 01

Back to Table of Contents 191
 Portfolio tips - 02

Introduction
So with this one we will dive into some the topics of building and designing your own portfolio and how this will help you with the next
job and how to grow towards what you want to achieve with your career.

1. Let art do the talking

This might be the main thing be the best way to deal with
that is so straight forward and this.
you need to focus on. Which is
to let your art do all the talking Don’t overwhelm or obscure
instead of over explaining the thumbnails that are meant
yourself. to pull the attention and pull
people to your art, so the more
Opening up with your best shot you add to thumbnails that
and then doing all the makes it more difficult to see
breakdowns or even doing the the actual hard work that went
breakdown as a separate into the art itself.
entry on your portfolio might

2. Showing game art

An important thing if you want How you go about this is more
to make it into the game up to you but the main thing is
industry is showing off all the to keep the focus on the
more technical stuff that breakdowns itself instead of
comes with going through the again, trying to over explain,
entire pipeline, people that using bright distracting colors,
Interview you or have a look at weird typography, and so on...
your portfolio love these things
and will definitely get a better Take your time when
insight into how you think and presenting this, you will be
how you go about creating discussing this during the
your art. interview.

3. Adding too much?

There is a point that it can Make sure to pick a couple of
become too much and will good angles (if you have
add too much clutter. But multiple ones) and then try and
there obviously isn't a set make your showcase for
number that you can hold individual props as concise as
yourself too but I would say to possible.
in most cases keep it under 10,
if you are adding more than 10 I think a good format for this is
it will quickly become having one pager per asset or
overwhelming, pick and group of assets that hold all the
choose your best! information you need, make
sure to pick prime examples.

4. Take your time when presenting

This one sounds super easy but you are doing single assets with
it is going to sting if you are a slightly blurry or de-saturated
doing project that is super long colors.
and you have to push it those
final 5 percent. So make sure to Or in the case of environments
do some research and take
your time preparing the you need to pick a good angle
that has a great composition
presentation for your art. Make and lighting that makes it look
sure to keep it simple and once like the complete picture.
again keep the focus on the
art (or if you are doing a
breakdown, focus on that) you
can do this in multiple ways if

Portfolio tips - 02
Back to Table of Contents 192
 Optimizing your portfolio - 01

Introduction
You’re getting ready to finally send out your portfolio and get jobhunting for that position you have been keeping an eye on for
quiet a long time now, but are you ready? And more importantly, is your portfolio? Your portfolio is your ticket to that job so this entry
will focus on getting the most out of your portfolio as possible.

1. Define yourself
You really need to find the characters, don’t have 95% of
thing that you love, and this your portfolio being characters.
takes time.
For myself as an environment
Once you know what you artist I put the emphasis on my
want to do, it’s time to start personal work first.
looking at your portfolio and
make sure that it reflects that. Also, specializing now, doesn’t
mean specializing forever.
So for instance if the title says
Environment Artist but have

2. Present game art

Show breakdowns, there are have a look at all the
some nice examples out there information and details on your
of gifs comparing the lowpoly/ beautifully made assets.
highpoly for bakes, wireframes Ofcourse, this is a little bit
and polycounts are still useful trickier for full environments, but
to see as well. still take the time to present the
assets individually.
Another thing that is really
awesome to show (and to look
ot for recruiters) are marmoset
viewer files, allowing people to

3. Optimize over time

You have to be critical about thing that sells you as an artist
your own artwork. and if it’s not, then it’s time to
remove it!
The tricky thing is when to
remove stuff and there are no The best saying when it comes
real general rules when it to this is “your portfolio is as
comes to this. strong as your weakest piece”

The most important thing is to

really have a look at your
pieces and see if it’s really the

4. Old work
Doesn’t need to be removed, improvement you got out of
just make sure that it’s clear your older work.
you think it also old work?
You can make a separate It’s all about quality not
folder or entry for these types quantity.
of post.

This will then act as a roadmap

to see where you have come
from and can help people get
a grasp for the kind of

Optimizing your portfolio - 01

Back to Table of Contents 193
 Optimizing your portfolio - 02

Introduction
This time we will dive into some more tips about how to get a better more well-rounded and optimized portfolio, we will dive into
some topics as portfolio consistency, how to make your work stand out and more!

1. Consistency
A small one to really dot the I’s design a logo then consistency
and will help you standout in the type of font you use is
from the others, is creating also a nice one to create
consistency within the work. consistency and making with
This can obviously mean your work recognizable.
multiple things including the
consistency of the presentation You basically want people to
for the thumbnails or the know straight away that the
pieces of your work itself. artwork they just found is yours.
A great one to make use of is a
logo, or if you don’t want to

2. Make it yours
Not everything needs to be a example if you are doing a
shader sphere?! tutorial, do the tutorial first and
then take those lessons and
Look for things that can really make them yours. After a while
make you stand out from the it becomes clear that people
crowd and make you more just followed a tutorial step by
special. step because there are so
many of them out there.
Ofcourse it’s not just those
material spheres, this can be
applied to a lot of stuff. For

3. Not done by you?

Environments get really big people know that that
and doing all the aspect on particular part is not yours.
your own can be a real pain This way there is no confusion
and can cost you months! about the parts you were
responsible for and you help
This is why it makes sense to another artist out!
look for other thing that you
might use in your scenes, like
for instance lighting setup for
Unreal Engine, as long as you
mention it in the artwork so

4. Quality over quantity

This an old saying that is still
true! If people are coming over Obviously mastering this
to your portfolio they want to required you to know how to
be blown away by that killer balance your time and to
piece(s) that you’ve made.This make sure that you don’t burn
also counts for the amount of yourself out on this project,
screenshots that are inside a because the worst project is an
project, don’t add a ton of the unfinished one!
same angles, focus on making
the absolute best and keep
pushing it!

Optimizing your portfolio - 02

Back to Table of Contents 194
 Greenscreen Renders

Introduction
Let’s dive into a really great technique to show off those great assets you have made for your own scenes. This techniques makes it
super easy to make a consistant composition inside of photoshop as well.

1. Render custom depth pass

The first step into this neat little
trick, is setting all the different
assets that you want to render
to “Render CustomDepth Pass”
under the “Rendering” settings.

2. High resolution screenshots

The next step is taking the screenshots I do.
screenshot using the “High
resolution screenshot” tool
under the little arrow menu on
the top left of the view menu.

Keep in mind that higher size

multipliers can lead to a crash
when trying to capture it but it
does give you a cleaner result,
so I always use 2 for all the

3. Camera settings
This is an optional part of the content and look for the scene
process depending on how called “advanced_lightning”
you render your assets, so for map.
instance it is going to be Which just let’s you just swap
important if you are using HDRI the HDRI in that scene.
images for your background
because the reflections on the Some other options can be
mesh need to roughly match found under the little arrow
the HDRI image. menu in the top left corner.
As Elvis Posa mentioned at this
point you can use the starter

4. Composing
When you got all the assets layer which is blurred, with a
composed in the same simple adjustment layer for a
manner, and you got a tad more contrast.
background ready, you can
get to composing them in Thanks so much Elvis Posa for
Photoshop, I just used a blurred sharing this knowledge.
picture that I had lying around.

This is just the render seen on

the right with a field of view set
to 50, on top of a background

Greenscreen renders
Back to Table of Contents 195
 Improving your renders

Introduction
Let's talk a little about the tricks you can add to your finale image to push your presentation a bit further then usual, so let's dive into
some tips!

1. Greenscreen renders
So you have all your So achieve this effect you
presentation shots for your select your prop and in the
environment done, but now details panel you select
you want to show off that hard "Render CustomDepth Pass"
work you did for your props then in the screenshot tool you
too. This is where this section just select the "Use Custom
can help, you can use this trick Depth as Mask" and it will only
to make everything else then render out all the meshes that
the props you select into a have this checked.
greenscreen, without it
affecting the reflections etc. More information can be found
in a Previous Tip

2. Sharpening your images

Another smaller tip is adding a directly in Unreal for example,
little sharpness to really define for this there is a command
the edges and just make your that you can use
screenshots a lot sharper "r.Tonemapper.Sharpen X"
(hence the name), there are where "X" is the amount of
multiple ways to add this to sharpness that you want to
your work and the most used have from 0 to 4.
way is adding this directly on
the screenshots by adding a
sharpening filter.

However you can also add this

3. Adding a vignette
This is a trick that comes from However, this can easily be
photography but can easily be overdone too, so be careful
translated to your screenshots, that you don't overdo this
adding this darkened border effect, keep it subtle. My
on top of your image, this will recommendation would be a
have the effect of focusing the multiply layer in photoshop set
viewer on the center of the to 15%, but this depends on the
frame and the focal points that environment itself.
you have so carefully crafted.

4. Don’t skip post processing

This is more of a generic topic, However, you can also do a lot
but don't underestimate the of these changes inside of the
power that post processing has Engine itself, there are a ton of
on your environment, a lot of options inside of the "Post
people tend to skip over this Processing Volume"
step really quickly. You can
really finetune the mood using
the "LUT" for example, which
allow you to take a screenshot,
adjust the screenshot in
photoshop and then bring
those changes directly back
into Unreal Engine for example.

Improving your renders

Back to Table of Contents 196
 Vignette’s

Introduction
Vignette’s are another technique that comes from photography, which is a technique that helps you pull the focus towards the
center of the image.

1. What is a vignette?
A vignette is a border around border of the image.
the image that reduces the
brightness of these edges. It’s also a great way to add
some extra depth to your
This helps bring out the contrast thumbnails as well.
and brightness of the core of
the image, helping people
who are looking at your
amazing art to stay inside of
the image and not wonder
outside of it or get distracted
by things that are on the

ELDEN RING

2. Setting up a vignette
The easiest way of adding one “Post Processsing Volume” and
is by doing it after the fact, in look for “Vignette”
photoshop or any other
program you use for example. When I setup my personal
This also gives you more Vignette’s I usually setups a
flexibility on how intense or thick border around my image,
subtle you want to the vignette blur it a lot and then change
to be. the opacity to be around 15%,
but how strong depends on
However you can also set one your personal preference and
up directly in Unreal Engine. the colors of the image.
You can find this option in the

3. Keep it subtle
The most important thing with You need it to be subconscious
a vignette is always to be enough to guide people but
subtle, you don’t want it to be not something they notice.
really visible so people realize
you are trying to direct their
attention. You can kind of
compare it to what you want
to achieve with your
composition when making an
Environment.

4. Natural vignette’s
Vignette’s don’t always have built into the scene itself.
to be done in post or as an
afterthought. They can already Some examples can be seen
be a part of the scene your on the right, these don’t
constructing by default, necessarily need to have an
removing the need to add one
later on. additional vignette on top of
their natural vignette.

This can be done by placing

multiple layers of assets in such
a way that the vignette and
more directed focal point is

Vignette’s
Back to Table of Contents 197
 Crisp Unreal Engine Renders

Introduction
I’ve been diving into some personal work again over the last couple of weeks and have been having some fun with Unreal Engine,
and because of that I wanted to share some things you can do to make your Unreal Engine look better and more cinematic.

1. Sharpening your image

One of my personal pet r.Tonemapper.Sharpen “X”
peeves is that Unreal Engine (where X is the value you want
looks a little too soft for my to sharpen it by).
taste. So my first step is always
sharpening the engine screen Don’t overdo this setting either,
with a tonemapper or post because you can really
processing option. overdue this setting pretty
quick. I personally love to have
You can directly go into your this setting around 1.5 - 2.
Console Commands at the
bottom of your viewport and
then type in

2. Turning up the Screen Resolution

We can also increase the some of their textures too. Bake
number of pixels the viewport a 4k map, to then size it down
will render. This is called super to a 2k map to get more
sampling the image, where details out of the texture map.
you render the image at a
higher resolution than your You can find this option in
screen and then have it Unreal Engine by going into the
sampled down to your screen viewport menu and turning up
resolution again, giving you a the “Screen percentage” to a
more detailed image. value that is higher than 100 (as
100 is your screen resolution)
Artists do the same thing with

3. Depth of field
Often overlooked, but depth All these settings can be found
of field will emphasize the in the Camera menu or again,
focus on your subject matter in the post processing volume
by mimicking the aperture you as well.
get from a real world camera.
The lower this aperture is the I personally prefer to do this in
stronger this affect is and the the camera settings to have
more the area’s in front and them localized to that camera
after the main subject get instead of a general post
blurred. processing settings that effects
the entire scene.

4. Focal length
Again in lens settings we find However, there are limits to this
this other important section, and not every scene might be
the focal length or the angle of built for it, because the higher
view that’s going to be we put the focal length the
captured by the camera. It will further back we need to move
also add to the cinematic feel the camera to compensate
by condensing the depth of and not lose the framing we
the scene, thus putting more had before, so it’s a balancing
focus on the main subject act.
once again.

Crisp Unreal Engine Renders

Back to Table of Contents 198
 MINI
16 TUTORIALS
 Let’s create: a roof

Introduction
This one was inspired by the community, since I was focused on the roofs that I'm doing currently for my personal work and wanted
to highlight a couple of different ways to create a good looking roof and where they are used..

1. Texture only
Let's start with the basic Super simple easily adjustable
version, and that is just adding and quick on creation,
a simple texture to the probably used in projects or
geometry. This is the simplest project where you are
and most cost effective way of technically more restricted and
creating a roof by far, where the focus is not on
especially if it's a relatively rooftops.
small tileable texture that's
being used.

2. Texture with edges

Now let's spice it up and build Then on the interior of the roof
on the previous version with a you can optimize all this
small tweak that can really geometry and push it up and
make out roof pop a little more down a little bit just to add a
and it's actually a trick I little life to our little rooftop.
noticed when playing
Kingdom Come Deliverance.
for this trick we just cut in some
additional geometry and
make the silhouette pop a little
more.

3. Geometry + Additional pieces

Next up we take a big jump rooftop according to a texture,
and actually make the entire which can be expensive
thing out of geometry, you can depending on the complexity
do this the cheap way (in of the roof, so please take
terms of optimization) and just optimization into account.
add cuts for the entire roof and
offset them all. You can also sprinkle individual
roof panels on top as separate
Or we can go all in and use a geometry, usually we do this
technique described in my trick on the edges or around
other tip "Heightmap to damage, so the area's of
geometry" to offset the entire importance.

4. Technique matches workflow

The technique you will be using
depends heavily on the target
graphical fidelity you are
aiming for decided by the
hardware and the type of
game it is, but it's fun to see so
many different practices on
the same simple object and
how they impact the visuals of
games so much.

Let’s Create a Roof

Back to Table of Contents 200
 “The Breakdown” 01

Introduction
This week we'll breakdown a concept from Ruiyang Chen that looks really overwhelming from the get go but once we break it
down it makes it all a bit more manageable.

1. Modular chunks
I always love to start with the scales (if you wanted to do
biggest or the shapes that can them all unique) OR use a
be reused the most in the tileable map with a detail
scene so we can eliminate normal on top of it for extra
most of the scene from the get details.
go.
The floor pieces can also be
In this case it's the square approached in this way and
looking rocks that are all over then refined with some decals.
the scene, for these we can
block out a rough amount of
different blocks for different

2. Unique Meshes
Next up are the focal meshes of your geometry to add
which will all be unique, but damaged edges.
that doesn't mean that we will
texture them unique. Because The two assets I would do fully
of their scale we can't really unique are the rocks on top
afford to go with unique bakes. and underneath the pillar that
is closer to the camera if you
The textures will be tileable and want to really add all the nice
we can add some nice details in those.
damaged edges with "Edge
Decals", these are trims of
damage you can use on top

3. Foliage
It's a fairly small part of the But for the foliage we can
scene but it adds a nice pop keep it really simple and
of color, so we need to add straightforward by just making
them just for that. 2 maybe 3 meshes and reusing
them throughout the scene,
these would also be fully
unique.

4. Additional decals
Now we got to the stage We can also add some
where we can worry about the marking to add some
details of the picture, and storytelling in there and tie the
since most of will be around whole image together a little
the focal point (you want to more.
draw the player in) you can
add additional destroyed The damage decals are just
elements on top of the large deferred decals where the
meshes in the back to break marking could be either
them up. deferred decals or floating
geometry you add on top of
your geometry.

Concept art breakdown - Example 01

Back to Table of Contents 201
 Adjustable pipe material

Introduction
This time we will have a look at the material that I used in my personal work on the “Last Bastion”, there are some really cool tricks
that are embedded in the material, especially the world aligned blending which is great to use and easy to setup!

1. World space blending

The biggest part of this material “deep” the blend is according
is controlled through a super to world position and the
useful node called Sharpness speaks for itself, the
WorldAlignedBlend. Feeding end result is a world based
this 2 different parameters and alpha.
blending the blend sharpness
with the input mask (which is a
tri-planar projected cloud map
from painter to remove uv
artifacts).
The blend bias controls how

2. Instance color changes

On the painted metal pipes I parameter color value allows
opted to go for a color that I you to change the color on the
can change on the fly, so fly but still retain those dirt
again in Substance Painter I edges.
put everything to black except
for the painted metal parts
and export that as a separate
map.

Multiplying this map with a

3. Adjustable dirt color

This section is a crucial one the Dirt mask (which is a black
used in combination with the and white tri-planar projected
mask, as the damage color mask) and the Dirt color
and roughness value are really parameter, blending these 2 in
going to show through the a subtle way gives the dirt
usage of the some more depth instead of
WorldAlignedBlend mask. just being a flat color, and I
basically do the same for the
roughness which is a 0-1 value.

I also added in a Lerp between

4. Adding baked maps and damage

It’s time to put all of these items textures used in this material
together, I use the output from are also parameters which
the world aligned mask as Lerp allows me to pull my own maps
inputs to blend between the in for new sets of pipes, as well
color mask and the dirt color as create extra colors/dirt
for the Basecolor and I blend setups.
between the roughness map
that I got from Substance
Painter and the Roughness
value that I set as a parameter.
Additional notes: all the

Adjustable pipe material

Back to Table of Contents 202
 Fake wind effect using normals

Introduction
Let's dive into how to make things move in Unreal Engine, I personally always like to add some movement in my scenes, especially
when rendering them to a video at the end for the final presentation, so let's dive into how to add your own in an example with tarp.

1. Different approaches
We can get a long way with World Position offset
faking this effect without This will displace the vertices in
having to delve into proper world position making it really
animation for a lot of it. useful to create movement,
but this also means that for this
to work you would need to
Normals only add some additional vertices
The simplest way of doing this is so it can actually deform them.
by only manipulating the We can find this as an input in
normal, and sometimes simple the material graph in Unreal
is all you need, and it's also the
one we will be diving into here. Engine.

2. Creating a normal
First we need a normal map to Then convert this to a normal
start faking this effect. For this I map using the "Height to
just use a clouds texture I normal" node in Substance
generate either in Photoshop Painter. Now that we have our
(Filter > Render > Clouds) or little normal map we can move
Substance Designer. Any of the over to the material setup in
clouds textures with a blur Unreal Engine.
attached to it to soften it up.
(Designer might be easier as Don't throw away this file just
you can easily convert this to a yet though, we can use the
normal map). same height information for a
World position.

3. Setting up the material

Now that we have our normal We do have to make our
information we can start normal into a Material for this to
blending this on top of the tarp work tho, so for that we can
normal tat already exists, or use the
any other baked normal map "MakeMaterialAttributes".
really. For this we'll use the
"MatLayerBlend_BakedNormal_ It's not moving yet though, for
SimpleAdd" I know... it's a this we can use a panner node
mouthfull, but it's pretty simple as you see attached on the left
it allaws us to "Add" one normal side to our normal map we just
to the next. made.

4. Defining the effect zone

Now that we have a simple of the tarp on the same texture
setup going, we can always go that I mask them out with a
in and refine the result by using simple black and white texture.
a mask to mask out certain
sections of the effect itself, It's a pretty simple setup, but
most of the time I use a simple
mask for this but you can also can give you loads of
interesting results.
use vertex paint or other ways
of masking for this.

You can see that because I still

have some of the metal pieces

Fake wind effect using normals

Back to Table of Contents 203
 PERSONAL
17 DEVELOPMENT
 Building a good habit

Introduction
So let's dive into something more personal that a lot of people get sort of lots in, being how to build yourself a habit to make your
work more consistent with these little tricks.

1. The beginning is the hard part

I realized that even on days manageable easy wins that
that I don't really feel like it I allow you to get excited for the
get that feeling once I get other goals that you have for
started. your work.

The trick here is balanced Once you get the habit to stick
“Starting is the hard part...”
between making a schedule for 30mins a day for a
that works for YOU not for continued period, that’s when
someone else and also not to you can start looking to
overload yourself from the extending this time, build it up
start. The best way to do this is slowly.
starting small with some

2. Building some external pressure

A good way to keep yourself This really helped me by doing
accountable when you feel a weekly blog, forcing my work
that you are breaking your to be seen by a lot of people
own promise one time to many out there and holding myself
is by having external pressure accountable by having
by other people holding you something to show off every
accountable, especially by Thursday and now this blog has
pushing yourself out there turned into so much more then
among other artists. I ever imagined it to be.

3. Make a to do list
This is something that really There is something just so
helps me personally, and it satisfying about writing your
makes such a huge difference. stuff down and then crossing it
I've been trying out different off later, there is a nice
ways of to do lists, like digitally connection that happens
or manually. After doing it for there, so can definitely
so long, I can definitely say that recommend you to do the
writing stuff down in a little same.
notepad is the best way to go.

4. Plan your next day

Now you got your to-do list Also, it has been shown that if
ready but actually you can get you plan the day before your
the most benefit by planning
your day the day before you
mind will take this and churn
through those plans during your
“Day planning helps you to
are going to execute on them,
this will allow you to do all the
sleep, just like some of these
moments when you are stuck
resolve all the thinking
"boring" planning and you use
all your newly regained energy
on something and then you just
go to sleep and the next day
before you get to the doing...”
to just execute these tasks. you all of the sudden will find
the solution, the same stuff will
happen with your plan too.

Building a good habit

Back to Table of Contents 205
 Moving company or countries basics

Introduction
Something that is going to happen for a lot of people working in or getting into this industry is the fact that you will most likely move
from the place you live to another spot, maybe even another country. So in this one I want to shine a light onto some of the lessons
I’ve learned when moving companies.

1. Check the wages

Before you start applying to for when you are sitting at the
companies or at least when negotiation table with HR.
you get invited to a company There are a lot of sources that
for an interview it's always nice ca help you here, most of them
to check what the company are pretty ___location specific (So
can offer in terms of make sure to check your
compensation to see if it is ___location as well, you don't
competitive or not. want to be like me and get all
excited for 60k salaries if you're
not living in the US) but one
This will allow you to at least
get a rough idea of the that is always available all over
the place is Glassdoor.
bracket you need to be asking

2. Cost of living
Another thing to check is not There are amazing resources
only how much money you are out there to compare the cost
getting in, but also how much of living between cities, but
money is leaving your pocket always add a pinch of salt and
too, most people don't get to include a nice and healthy
this step before it's too late. buffer.
Make sure that if you get an
offer with a number attached One of these sources is
to take it home, do a little Numbeo.com, allowing you to
research before saying yes to compare different cities ad
it. countries to each other.

3. Ask for moving support

Especially when moving It doesn't always need to be for
countries, as about this during monetary support either, this
your interview. Some can also mean that HR will
companies have specific assist you with all the
budgets set aside to help you paperwork you need to enter a
with a fund called "Relocation new country for example, and
Assistance". This budget and so much more, so ask for it.
what it can be used for can
really help you out, I had the
option to make use of one
when moving from the UK to
Germany, and it made the trip
so much easier.

4. Make sure you plan enough time

I've had to rush most of my Do a lot of research into how
moves by doing apartment easy it is to find a flat, how long
viewing online (precovid), it takes to get registered, what
running from place to place for documentation you need,
viewings or even booking a last etc... there are a lot of factors
minute AirBNB to bridge one that come into play here, so
month. make sure to make the most of
it and prepare accordingly.

Moving company or countries

Back to Table of Contents 206
 Building a motivational system

Introduction
These are my personal favorites when building a routine for personal work, to help keep you on track and to keep you motivated for
when you need to. These tips will apply to a large majority of people, but might vary depending on your personal routine or
obligations.

1. Consistency is all
When it comes to personal then just these 30 minutes too.
work just block out a small
chunk of time (let's say 30 After a solid 30 days, you can
minutes) for each day. This up the amount of time, but
might seem small, but that by usually this happens
design, being an artist also organically. Just keep to the
means dealing with system and it will take care of
fluctuations in artistic you.
motivation, so you CAN do
more than those 30 minutes,
but you don't HAVE to. But you
will also notice that one some
days you will do way more

2. Writing things down

Another thing that has really And with writing I mean
helped me, an artist with way Physically writing them down,
too many ideas, is to write stuff this creates a better
down. Like all the time! There connection in our brain then
are times when you think of a typing it out on a notepad, plus
cool idea when researching, those post it's are always
just write these down. visible, where you can hide
your notes on your Computer.

3. Make a to do list
Sort of in the same line to the end of the day then just add
last one, is to make a To do list, them on the next post it.
again, taking my post it notes
in hand for this tip too. They are Cross them out to once your
just great to limit yourself in the done with a task, this gives your
amount of tasks. brain a good feeling and you
can see the progress you're
Make sure that if you write making in a visual way, which is
some tasks down that they are amazing on projects where the
small enough so you can visual feedback might be
actually do them each day, slower, to help you stay
and if you don't make it for the motivated.

4. Take time off

Last one for this week, but it's is the main driver for creativity!
an important one. There is this
current trend going on of Those moment that you take
maximizing your potential and some time off can inspire you
your own time, which I fully to do even crazier an
agree with. interesting stuff when you are
actually working, so see it all as
There should always be room recharging your batteries (Just
for stuff that relaxes you as don’t try to overcharge them,
well, so go read your favorite that’s not how this works ;P)
book, play some games and
do NOT sacrifice on sleep, this

Building a motivational system

Back to Table of Contents 207
 Motivational tips

Introduction
A lot of things going on at the same time often makes it hard to really stay into focus, so this entry will dive into some tips to keep
yourself motivated and push you through some of the harder times when working on full environments.

1. Staying in focus
To me this has always been proper mood for the one or the
more about your personal other, that’s where the real
strengths and weaknesses, for trick is. It all starts with being
example most of the times I honest to yourself and if you
work the best when listening to struggle to maintain focus,
music and can really focus, but maybe switch it up?
other times I listen to podcast
or even have a documentary
going on my second screen.

Finding when you are in the

2. Topic immersion
Immersing yourself is one that I You can also achieve this by
really love because it is so reading books, printing a
personal in how you do it, but reference material and
the basic principle is digging in hanging it on your walls
and learning about your surrounding your desk or just
current project topic in have a bunch of inspiring
whichever way you feel works wallpapers as background on
best for you. your pc, the possibilities are
endless.
I personally like to watch
documentaries on the topic.

3. Taking breaks
This will stop you from burning or adjusting a tiny detail, it
out on the project. might be time to leave it for the
day (or a couple of hours) and
What this also offer you is that just let the image leave your
you distance yourself from mind for a bit. But most
what you are working on and importantly finish it!
will give your brain and eyes a
rest.

So if you feel like you are doing

the same thing over and over

4. What do you enjoy?

You need to know what you know? Well a lot of this comes
like? what do you enjoy to work from experimenting, but the
on? shortcut lies in being true to
yourself. Really try to dig into
Because if you get a job in the your personality.
industry on a portfolio that is
build on setting you up for For me, I was always taking
something that you don’t really pictures wherever we went on
like working on, then what is the vacation from the buildings and
point? locations .
But how and when do you

Motivational Tips
Back to Table of Contents 208
 Avoiding art blindness

Introduction
Ever experienced doing a days of work or a whole bunch of small adjustments without that much changing or even worse, coming
back the next day and realizing that you took a step back instead of forward? This is what "Art blindness" is all about, so today we will
discuss some tips on how to avoid it.

1. Asking for feedback

The first big one might also be Be careful with this though, if
the one that is the most you want clear guidance then
obvious one, this being asking it might be better to ask it
for feedback. directly in a one to one

This will break your train of

though which at this point
conversation instead of
throwing it in a group, as you
might get overwhelmed by the
replies.
Ask Feedback
might even be focusing on the
wrong thing entirely, so asking
other people will help you to More tips on this topic can be
go in the right direction again. found on my blog (#55) or in
my Compilation.

2. Taking a break
If you are noticing these things Doing something else really
as mentioned in the intro, like refreshes the mind, especially if

Take breaks
doing small tasks to little this is something that take up
change or coming back after all the attention and doesn't
a time and realizing that you allow you to think about your
took a step back, it might be a art at all.
time for a small break.

3. Create a varied workload

A thing that I love to do on my Obviously there are moments
personal projects is working on that you will just have to bite
the things that I didn't work on the bullet and continue doing

Create variety
during the day at my what you are doing and is
professional job or even the more applicable to your
day before on my personal personal work, but still
work. So for example if I something that helps me
worked on some props I'll personally in a big way.
probably do some set dressing
or terrain sculpting.

4. Being honest with yourself

It might be obvious at this into this project and are no
point, but the most important longer motivated to see it
thing I can say is to find your through or already thinking
own way in tackling these
thing, try stuff and if it makes
you feel better or it helps your
art, then try and do this more
about the next thing?

So really be honest yourself

and push for something that
Be honest
often. you love to do, not something
that is temporarily interesting.
And if you are still struggling
with getting some art done, it
might be because you rushed

Avoiding art blindness

Back to Table of Contents 209
 Asking for feedback

Introduction
Asking for feedback is one of the more important things you do, but there are so many ways and places you can do so. So today
we will look into some tips and tricks that can help you into the feedback that you receive and the way that you reach out and ask
for it.

1. Where to ask
There are a lot of places to ask personally still the way to go
for feedback. when it comes to showing your
stuff to a crowd of people.
Some of the more typical
places to ask for 3D / These days it’s easier to find a
Environment Artists are dedicated Discord groups such
probably still some facebook as “The Dinusty Empire”,
groups such as “Ten thousand “Experience points” and our
hours” and still Polycount, if you community ofcourse!
are looking to get some good
feedback then Polycount is

2. What to take away

You decide what to take away Listen to everyone, but in the
from all the feedback you get. end you need to pick and
People will give you advice but choose which point to apply to
not all advice is equal. So how your project.
do you pick what to take on?
My thing has always been
looking at the background
that this person has and what
kind of work that they produce
and if they have any
professional experience.

3. Personal feedback
Asking for personal feedback that you interact with that
can be super daunting, but I person.
have to say, many developers
that I have met in the last Always be polite, Introduce
couple of years are super open yourself first and remain friendly
and love to talk to people and and patient.
are interesting in helping others
out.

This being said, getting a reply

will highly depend on the way

4. Things to factor in
Don’t feel discouraged if you like talking to you and helping
don’t get an instant reply, we you out.
all have things we do on the
side as well. Just give it some So whenever you have those
time and send a reminder in a thoughts about not reaching
week or two if you really want out because “you are not
their insight. good enough” or whatever,
push that thought back and
Lastly though, NEVER be afraid send them a message!
to reach out, we are just
people like you and most of us

Asking for feedback

Back to Table of Contents 210
 Self promotion for artists - part 1

Introduction
So you have got a project, some tutorials or a breakdown you want to show off. How do we go about promoting these thing? How
can you start building your own brand? Today we start delving into this!

1. Does your work speak?

This title might sound a bit This can be in any way you can
weird, but what I mean with think off but it all starts out with
this is that there is no reason for finding yourself and what you
people to listen if your work has want to do and expressing that
nothing to say. to the best of your abilities.

An artist personal expression So start expressing yourself

the reason why people will through your work and add
come to your work, it's the stories in them. Don’t worry,
power behind your work, it will finding your way in this takes
speak to people and will time.
attract their attention. Steven Cormann - Deathloop

2. Consistency is key
If you are looking to build a content from you or when will
following, consistency is an you share some new piece of
overgrowing factor when information.
building your personal
community, its not totally Another thing that this will do is
necessary but it will def boost building up a personal
it! schedule that will make you
work on a regular basis, this is
When I talk about this it's both great to build up a habit that
for creating an expectation for will help you boost your
people like when can they productivity.
expect a new piece of Stuz0r’s Instagram

3. Offering value
If you have something for you in the long run where
awesome that you have build people that want to hire you
or experimented with a cool saw this and know that you
new workflow? want to share knowledge with
others and this will play a big
role in becoming a solid team
Maybe break it down and fit.
people might get insight into a
whole new way of thinking and
see new possibilities. So get out there, start creating
and sharing.
You never know if this might
also open up some new doors

4. Focus on the projects

But still, we are artists and what Because a piece that isn't
matters most are these made well will almost never get
awesome projects that you get the attention it deserves (there
to create in your artistic are exceptions to this rule...). So
journey, if the piece itself is keep focusing on what makes
amazing more people will your art truly yours and keep
share it and more will see it. So hammering away at it until it's
all the time you take away the best that you can do.
from building great projects is
time you don't get to fulfill your
own passion, make sure to
constantly keep this balance in
check.

Self promotion for artists - part 01

Back to Table of Contents 211
 Self promotion for artists - part 02

Introduction
In the second part of self promotion for people we will look into some other steps that you can use to further market yourself and
your art.

1. Reaching out to people

If you are trying to get into the Maybe the only exception to
games industry reaching out this rule would be reaching out
and building genuine to people for business
connections can be crucial purposes, like working with
when you want to break into them, asking about their
the industry. Building these podcast or blog.
needs to come from a genuine
place though and building Just make sure to keep it polite,
these relationships takes time but don't let this hold you back
and effort, so don't expect any from reaching out because the
short term wins here. people you are reaching out to
love to have a chat!

2. Places in the community

A way to find a lot of like be very low maintenance from
minded people is to join servers my side with the help of pre-
like the Dinusty, Experience build PhotoShop templates. So
points or others if you’re this gave me more time to
looking for lively places. focus on my work instead of
doing touch-ups etc...
What really worked well for me
especially when I was purely So try different things, don't be
focusing on my personal work afraid to post your stuff and
was posting stuff on forms like find what works for you.
polycount or Unreal Engine
forums for example, this would

3. External promotion
So you are doing a lot of things for your breakdowns or even
to get you seen all over the more traditional ones like
place, but what if you start getting featured on Polycount
thinking about selling products if you share your work on there.
or tutorials that you want to get
seen by as many people as Personally the only stuff that
possible? This is where looking helped me at this point is doing
for people to help you with podcasts and articles/
getting your stuff out there breakdowns on 80.lv and it has
comes in. There are tons of helped me a lot!
options like looking for small
YouTubers, streamers that want
to promote you, sites like 80.lv

4. Social media outreach

The thing there is, social media on, people genuinely
platforms are more and more appreciate your work and it
catering their algorithms can get seen by people that
towards people that are more are directly in positions yo hire
active or towards outrage. you, making it even more
attractive.
So organic growth is getting
harder and harder to achieve But how you balance this is
as an artist just starting out. totally up to you, just don’t get
trapped in trying to be on all
the platforms all the time.
Which is also why Artstation is
really nice to build a following

Self promotion for artists - part 02

Back to Table of Contents 212
 Avoiding exposure work

Introduction
We have all heard the saying "working for exposure", but you can't survive on getting exposure and you need to get some actual
money on the table. Artists have the most difficult job when it comes to this because their passion for art gets seen as excessive and
something that is "just making pretty pictures"

1. Learn to say “NO”

Let's address the elephant in Learning to say "no" takes time,
the room first, we have all but it always starts in the same
heard people talking about way, a whole bunch of stress
their project and why you and not knowing what the
should join it and felt little other party will say, keep it
butterflies in your belly. professional and polite.

But that's also the time you

“...Learning to say “NO” takes time, give
need to take a step back and yourself that time ...”
see if you are still thinking
about the situation in a
detached way, without getting
hyped and excited till the point
where all logic flies out of the
window. That's the best way to
get taken advantage off and
get into stuff you wouldn't want
to get into.

2. Personal situation
Financial freedom has been a It doesn't matter when you do
big goal for me in recent years it, it matters if you do it. So
and I still have a long way to once you have gone through
go when it comes to achieving your journey and got your job it
that goal, but I have a might be worth looking at all
relatively stable situation so the stuff you created and see
yours may differ. what might get you an “...Evaluate your own personal situation
income. and work towards something that works
For example you might still be for you...”
looking for a job and be You might be surprised by the
working on portfolio pieces but result.
even in this situation you might
as well spend some extra time
thinking and finding ways to
get some money out of your
time you spend working on it.

3. Active versus Passive

Knowing that we can store
useful materials and blueprints
in this manner I have found it
useful to create a mini-library
for bits of blueprints and
materials that I use often.

There are obvious advantages

for this ofcourse, but do keep in
mind that it will break all the
texture links that are
embedded in the project.

Avoiding exposure work

Back to Table of Contents 213
 Earning on the side

Introduction
Let's dive into some tips and tricks how to start your journey from being a "Starving artist" and making your way into the space where
you can enjoy making art and getting some money from it too. Some options lend them self better to this balance than other
options though so keep this in mind when thinking about these options. And as with most things on these tip sections, there are
countless opportunities out there so explore these for yourself!

1. Selling prints
Probably the most easiest thing couple of extra clicks is
to look into is turning your amazing.
artwork into prints, this can be
easily done with Artstation This all means that this is one of
prints, you can just upload a the options that doesn't impact
high resolution version of your your workflow at all, because
work and then have them as a all it takes is making higher
sell-able print. Obviously there resolution screenshots and then
are other options that allow for adding them as prints if you are
this and might even give you using Artstation.
better results, but the possibility
to have it on the same ___location
as your portfolio for just a Artstation Prints

2. Mentorships/Teaching & Tutorials

The teaching realm is always selling these tutorials on a
the option to start doing platform like Gumroad,
mentorships or maybe start a Cubebrush or Artstation.
tutorial course that will allow
you to try and help/educate a Keep in mind that you need to
large portion of people. From invest a large portion of your
this point on you can decide own time into the people that
on whether you want to you mentor if you want to do it
release them on a platform like properly (and you should).
youtube, but as far as I know
this will not bring in that much if
that is what you are looking for, The Mentor Coalition
so you might be better off

3. Assets or Asset Packages

This is probably the first thing to Some sites you can have a look
think about when building your at are CG trader, Unreal
own environments, when you Engine Marketplace and
are going through all the Turbosquid. Every site has it's
trouble of making all those advantages, so make sure that
assets, why not try and make a you do some proper research
little bit of money out of it, it will before hand and pick the one
take you a little bit more time that suits your needs.
to clean them up, name them
correctly and address some of Make sure that making this
the minor issues for a doesn’t take away from your
potentially nice income. own creative output! The Unreal Engine Marketplace

4. Materials
This uses the same principles as help you boost the sales of
the previous section but take them.
way less time to create and
allows you to do more different This is a really fun option if you
things in the same time you are creating materials in
would take to make a model
and definitely less to make a Substance Designer anyways,
you might as well make them
full environment. There are available online for other
some people that really create people too, either through
some interesting looking Substance Source or any other
materials. This also open you platform of your choosing.
up for doing breakdowns and
Substance Source
tutorials of them too that can

Earning on the side

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 Switching to Blender - Quick Tips

Introduction
Switching programs, especially at this moment when blender becomes such a powerful, viable and most importantly, free option.
This weekly tip will be all about some of the lessons I've personally learned when switching to Blender.

1. Stick to the default keybinds

This was probably the biggest really starts to make sense in
mistake I made was when I terms of how to use it, it feels
tried to force Maya into really intuitive and much
Blender in the beginning, even quicker t use, at least it did in
making my own Pie menu's at my case.
a certain point.
So give it a fair chance and
At this to say that I would stick with it in the beginning, it
recommend learning blender does take a bit off time to fully
the way that it's to be used, it's switch. I think it took me a
super weird in the beginning, month or something to get a
but once you get used to it, it bit comfortable with it.

2. It's biggest flaw currently

The biggest hurdle is definitely Now, you've heard that
the UV tools that are pretty Blender is run on addons, but
basic at the point of writing my advice would be not to
this, so this is a good point to over-rely on them, especially
how you can make it work a the paid ones might be
little better with the use of unavailable to you once you
some addons, so for UV's join a company because the
specifically I use "UV Toolkit" license doesn't cover it, so
which I can recommend, it has once you get a job you might
all the tools I need, apart for a have to live without those shiny
Texel Density checker, which is addons.
my second recommendation.

3. Don't ignore the modifiers!

This is one of the bigger thing, files.
when coming from Maya
especially, these modifiers are The modifiers I use the most
amazing! really depend on the workflow I
use, but my favorites are the
Thy allow you to add "Bevel", (in combination with
operations in a non-destructive the "Edge bevel weight",see
way and give you way more more in "Blender Bevel
playing space. No more Modifier") “Decimate” (to
duplicate meshes that you use optimize meshes) and
as a backup or stacks of "Boolean" (To cut shapes out
irrelevant incremental save- quickly if I need too)

4. Searchbar, Hotkeys & quick access menu

This was a big gripe of me add it to the quick access
when working in older Maya menu, this menu is also
versions, is that you could contextual, which is amazing
never easily adjust or add a on itself, which is also why I use
new hotkey. But now it's so it so much myself.
easy to do so in Blender, it's just
a right-click away and you can "F3" brings up a little search
set your preferred hotkey. menu that is super useful, no
more looking through all the
However, if you are worried menu's to find something, let
about replacing a hotkey that Blender do the work for you.
is already taken you can also

Switching to Blender - Quick Tips

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 Resources - 01

Introduction
There are a ton of resources out there, the issue is finding it, a lot of these you might have heard of and are more aimed towards
beginners, but in future parts, we will be diving into some more specific stuff on the web to help you grow and expand your artistic
skill set and yourself.

1. Polycount
This was my home for a long concept and are an interesting
time, and it can still be yours way to inspire and get inspired
too, hosting an amazing by others.
number of threads full of
inspiration and feedback. So check them out if you are
looking to get feedback or just
There are also others things want a new way to push
such as challenge threads that yourself.
really allow you to push your
skill set together with other
people working on the same

2. The Dinusty Empire

Started by Jeremy Estrellado, portfolio reviews that Jeremy
this is a great community to does, they are super useful to
join if you are looking to get your portfolio ready to hit
improve your skillset and get the games industry hard.
feedback from other fellow
artists. With people dedicated There is also a podcast
to see both the community attached to this community
grow and help other people which interviews all kinds of
out this is place to go. people involved in the games
industry, check it out!
A really big thing are the

3. 80.lv
Another great resource for a insight on new workflows that
lot of cool tips, tools and might not know about and
inspiration! The reason why i explore different tools.
find this a great resource Also if you got something to
personally is because they show of yourself, you can share
don't just push the top of the it in the 80lv Facebook group
line work, they also share work/ and it might get picked up!
breakdowns from students or
people rather new to the
industry.
This makes it a cool tool to gain

4. The collective podcast

My personal favorite when it
comes to podcasts! Each episode usually covers a
wide range of subjects and
The strength of this podcast lies goes into something new and
in the guests that Ash Thorp exciting every time.
brings on, they are not limited
to a certain field but are all
really inspiring to listen to and
get inspired in a way that you is
not directly related to the field/
discipline you are working in.

Resources - 01
Back to Table of Contents 216
 Detaching from your work

Introduction
When working on art it’s not always about sitting down and actually doing it, it’s also about giving your brain a bit of rest to properly
detach from it so you can go back at it at a later stage. But what is a good replacement, how long should the break last and how
often?

1. When to take a rest?

Let’s get the tricky question out doing the work, but you feel
of the way first, making art can that you are getting
be hard especially in the continuously frustrated, or even
beginning when you are still feel like you are not seeing any
limited more by your technical meaningful progress anymore.
knowledge and also because
everyone’s limit for how long Then it might be a good time
you can focus and work is to take a little break and step
different. away from your work, so what
are the best ways of doing so?
However, one good indication
is that once you are actually

2. How to detach
GO OUT FOR A WALK: Go especially if doing hard
outside, no music, no phone, exercises, so there is no mental
get some sun, and leave any capacity left for any other
distractions at home. I love to thoughts.
let my brain wander by going
into a new direction and SLEEP: When working long hours
explore some unknown area’s. it might be time to just go to
bed earlier than usual. The
WORKING OUT/HOBBIES: an amount of times I’ve went to
alternative to walking is sleep and the following
working out. Because this morning when I wake up the
requires complete focus, problem seemed to solve itself.

3. Getting back into it

Still feeling like you need a Some other recommendations:
break even after a couple of
days? It might be time to try a - Rediscover yourself, try to go
different approach. back to what made you start
with art and explore.
For me what really helps me a - Starting up a second project
lot is surrounding myself with and work on it in tandem, once
people that are passionate you get bored of one, you
with what they do for their own switch to the other.
work. There is honestly nothing - Looking around on Artstation
better to spark passion than a is also a good way to get the
passionate person doing what spark going too.
they love.

4. Long term breaks

Not designed to give up on well.
your dreams but to ignite the
passion you once had. Making games and their art is
mentally exhausting, it takes up
Usually I try to go traveling at a lot of mental capacity to get
least once a year. Exploring a to a place where you can
new culture, discovering new execute what you have in your
influences and doing head, so don’t give up when
photography really drives em the going gets though, it’s
to want to create again once worth sticking with it!
we get home, plus it helps to
get away from the screen as

Detaching from your work

Back to Table of Contents 217
 Being Objective about your work

Introduction
Being objective about your work is important for artists, from shielding yourself from critique and turning defensive to improving how
you give feedback to yourself by looking it in a new way

1. Benefits of objectivity
Being objective is something So let’s break down those
that might be tricky especially barriers, starting with the
if your just starting out, you’re trickiest one.
heavily attached to your work
and it becomes who you are
for a long time. However, we
must also realize that this puts
up a wall that makes it harder
for people to give you honest
critique and help you grow
because you’re not willing to
genuinely listen.

2. Your work is not all you are

When spending hours, days, so make sure you let go of that
weeks or longer on your art, attachment and be ready to
trying to improve every aspect receive critique and feedback
of it and getting properly from others and start growing.
immersed in becoming a
better artist is that at a certain There is no real “Strategy” here
point you fade the borders either, at least not from my
between yourself and your side, it’s realizing that you are
work. becoming defensive and
choosing to not do so next time
Tying all of what you are to you (or currently)
projects sets you up for failure,

3. Third Person Perspective

If you don’t necessarily want to If you feel like this doesn’t work,
reach out to others at this point it might work to train giving
or don’t feel like doing so it’s feedback in Discord Groups or
time to train yourself to do. By to fellow artists. Seeing
thinking about your work in improvements comes with
Third person. experience, so the more you
expose yourself to others giving
you feedback or expose
This is a great way to partially yourself to giving it to others.
rid yourself from your own The better you will get at doing
biases and your own weight it to yourself.
attached to the project.

4. Critique is learning
This kind of relates to the Don’t interrupt them by trying
second topic and is also to defend your work, as much
important. It’s the realization as you want too. Just take all
that anyone out there giving the feedback in and put a
you feedback is not there to value on it during your own
bring you down (generally) but time. As we said in the first
is there to genuinely help you section, they are not there to
on your artistic journey. break your work down, and
trying to instantly defend
yourself will make it seem like
So allow people to give them you’re not listening and just
the feedback, listen carefully getting ready for battle.
and make sure to make notes.

Being Objective about your work

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 BREAKING INTO
18 THE INDUSTRY
 Art test tips - 01

Introduction
Something most of us will have to go through (unfortunately in most cases...) when looking for a job, especially in the beginning of
your career are art tests, making this the final challenge before you get your hard worked for job. In this we will discuss some tips on
how to not let these overwhelm you.

1. Understanding the brief

The first one might seem super So read through it carefully and
obvious bit there is a difference understand it before you dive
between reading and in, this will really help you get
understanding the Brief. the clearest path to your end
These Briefs are setup to test result.
specific skills and not only just
to make something look pretty.
The closer you can get your
work to match with the brief's
intend the more likely it is you
will get that job!

2. Planning it out
Now we know what the goal is The most important thing here
we need to make a proper is to break the brief down into
plan, with this I don't want to multiple chunks that you can
force you to write stuff down easily digest, helping you not to
and break it down into multiple get overwhelmed.
chunks in written form before
getting started (although this is
the best way to create a
meaningful link between you
and your task) everyone has
their own way of breaking
these down, so just use what
suits you best.

3. Execution time
When getting to work on your daunting the task itself is, those
tasks the focus needs to be on breaks will help you clear your
the tasks that are most head and look at things in a
important or will have the new way, I know that might be
biggest impact on your goals. difficult if you are in the zone,
Avoid doing the smaller less but don't burn yourself out on
important tasks. this, there might be other tests
that you have to do in the
same period.
Another thing to be aware of is
to give yourself some breaks,
stretch your legs and drink
water. No matter how

4. Don’t get overwhelmed

Most of the time these test are This is also why you can't be
really big in scope, sometimes paralyzed when you read a
even done on purpose tot see brief that is super daunting and
what you will focus on and seems like way to much to
how you manage your time. handle. Go back to step 2,
build a plan, prioritize and just
go through it step by step.

Keep taking it step by step and

keep pushing, you got this.

Art test tips - 01

Back to Table of Contents 220
 Art test tips - 02

Introduction
Something most of us will have to go through (unfortunately in most cases...) when looking for a job, especially in the beginning of
your career are art tests, making this the final challenge before you get your hard worked for job. In this we will discuss some tips on
how to not let these overwhelm you. (PS, enjoy the generic photos! :D)

1. Don’t doubt yourself

As you are working on your art your own work.
test and you are getting to the
end of this entire experience it Just give it all you got and send
might be easy to start it over on time.
doubting yourself and thinking
about all the stuff you would
do differently if you had more
time. Don't let this hold you
back from handing your test in
though, let others be the judge
of your work and how well you
performed, you are always
going to be extra critical about

2. Ask questions

?
Another important one, which unclear, just ask about it, it
a lot of people, including doesn't show lack of
myself, seem to forget is that if knowledge, but the willingness
there is something that's to learn.
unclear about the brief don't
be afraid to ask questions Additionally, asking the right
about it. questions is a large part of
game development with so
Especially when people set up many people involved, so see
briefs they use the wording it as another skill that can be
they would use in the industry, useful for working within a
if there are things that are team.

3. Add your own touch

You are an artist and that's also Keep focused and make sure
a thing that they want to see, that you focus on what the
so make sure that you add brief is trying to get you to
some personal bits of creativity focus on and what they want
doing this will make you stand to see is there and add this if
out from all the rest of the you have time left or want to
artists that are potentially spend extra time on it. (For
doing the same test. more look at Blog #85 or "Art
Test Tips - Part One").
However, make sure that you
treat this as an extra though
and don't kill yourself over this.

4. Be on time!
And finally, most important of you to miss that deadline, then
all, make sure that you are on just let them know and discuss
time, there is nothing worse if you can more the deadline
than getting a test that is really or do the test another time
good but isn't within the perhaps.
deadline.
Keep at it, you got this!
Deadlines are a big part of the
industry too, so respect them.
However, life comes first, if
there is something urgent or
personal that will be causing

Art test tips - 02

Back to Table of Contents 221
 What to expect from your first interview?

Introduction
So you're getting to that point where you are ready to get into the industry, but what can you expect from the interviews stage?
Let's dive into that today

1. There are multiple stages

Stages of the interview may to do a small test for the
vary and how many their are company, which is totally
might differ from company to normal and just indicates that
company but usually their are they are interested in your
at least two. work, but need to test specific
often workflow crucial items
First interview: this is more just
to get to know you and what Second Interview: Often time
person you are, at this point the final stage, where they
they are interested in our work. know all they need to know
about your hard skills
Art test: maybe you get asked

2. You will be discussing your work

Usually these interviews put you mentioned where you got
on the spot with an them from or what inspired
introduction yourself and your you, that's fine, just don't hide it.
work. So keep your portfolio at It can look really bad if you try
the ready. to hide or made stuff up, you
don’t have to have answers to
everything.
Also make sure that you
understand the things you
have done, you will be asked "How and what would you
questions about how you went improve about this project" is a
about your work. And if you frequently asked question here.
don't know about elements just

3. Difference between hard and soft skills

Hard skills: Technical skills such talk to other people, etc... This
as your program knowledge, dictates how you work within a
your artistic insight into art team, if you can manage
fundamentals and pipeline deadlines and stress.
knowledge. This is important to
how you will perform on Often even putting more focus
creating art. on the soft skills their final
decision because a mediocre
Soft skills: Personal skills, like artist who works well within a
how you deal with stress, your team is better then a rockstar
general demeanor, how open artist who doesn’t.
you are to sharing, how you

4. Difficult situation roleplay

We sort of mentioned it a little and sizes. So just be open and
before, but you will get a lot of honest if you such a question
questions, from how you have comes up, being honest about
done things to how you would these (Even if you don't know!)
tackle difficult situations and are totally fine, they can show
you will probably get put into you that you are open to learn
one of these situations yourself. new things and aren't afraid to
admit it either.
There is nothing you can do to
prepare for these types of
questions because they are so
varied and come in all shapes

What to expect from your first interview

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 Your first week in the industry

Introduction
So you've finally made it, you're starting your first position inside a studio now. But you're not really sure what to expect, let's go over
some things you might encounter in your first weeks at a games studio.

1. Getting a tour
First off all, when you're awesome gamerooms, you've
actually going to be allowed made it in, so enjoy this
into an office again (this was moment and if you've got any
written in 2021, during questions, just fire away!
Covid-19) you will be getting a
full tour with some other new Lastly you will be guided to
starters to get the full tour of your own desk, most
the premises. companies even provide you
with a nice welcome package
Getting a full tour of all the to get you started on your day
neat rooms for taking breaks, and celebrate you joining the
where to get lunch or industry.

2. Onboarding onto a project

Once the tour is over (this can can find on the internal wiki
take up the entire day, in some pages or by asking some of the
cases even more!) it's time to people around you.
get started.
You might also test the game
Starting with just familiarizing you will be working, most of the
yourself with your desk, time this comes with an art
changing passwords, creating bible as well as playing the
your account, double game in it's current state to see
checking if you have all the how it's currently looking and
software you need. For this, how you can fit in to make it
most of the information you even better!

3. Getting to know the team

Now while you are doing this initial meeting to allow all the
you're going to be surrounded newcomers to present them
by a ton of new people as self shortly, so this might be
well, so take this as an scary, but not all companies
opportunity to introduce do this, and I can tell you it was
yourself and get to know the also a surprise for me when
other members of your team. they told me. You will also be
introduced to your mentor and
or lead at a certain point, they
Some companies they add a will most likely be your point of
little treat into the mix and they contact, so make sure to ask
have larger company them questions if you have
gatherings and they have this them.

4. Discovering the pipeline

Now It's time to try your way ask any question about it to the
around the actual art pipeline people around you, they can
the company uses. You will definitely help you out with
highly likely get the time to test anything. Make sure to take
some stuff yourself, check out your time here, that time
some documentation on how invested now can save you
the engine works and how to massive amounts of time later
get started in it yourself. on.

If at any point there are some After this, you're all set for your
issues that you can't resolve on first task!
your own, don't be afraid to

Your first week in the industry

Back to Table of Contents 223
 Reaching out to professionals

Introduction
This is a bit of a different kind of tip, but it’s important for people to understand some ground rules when reaching out to professionals
and getting feedback on their work or some other sort of help.

1. Open the door yourself

It might feel like you need to to know them better and a
wait for permission to reach out stepping stone to create some
to professionals, but don’t wait connections too.
on that. Open that door
yourself. So don’t let that ever stop you
from reaching out, just follow
There are multiple benefits to the next couple of steps and
this, firs up really good practice you should be good to go.
to just get more comfortable
with reaching out to other
professionals first place. It’s also
a nice way to maybe even get

2. Be polite
I personally always felt that it’s we want to help.
always better to go with
something in the middle when Because at the end of the day,
it comes to your approach. that’s what this is. You are
reaching out for help and
Also, don’t complain about not advice, the more respectful
getting an answer and polite you do this the
immediately, don’t add “Bro” better the end result is to be
in your message, just introduce expected, because if you are
yourself in a pleasant way so respectful to others, they will
we get to relate with who you most of the time return the
are as a person. A person that favor.

3. Keep it simple
It’s no secret that game An example of this could be
developers can lead busy lives - Short personal introduction,
and I know a lot of them name, discipline (or interest),
personally that still do a lot of currently learning at a school?
work outside of their normal etc..
job, so think about this when - Your question, as specific as
reaching out to them. you can be
- Polite ending such as “Thanks
for your time”
Make it easy for them to read
your message and reply
without needing to write and
entire book.

4. Be as specific as you can

Do a little research before to give a reply to.
approaching anyone in the
field “How do I get into games, Specific questions get specific
I want to work on games”, just answers and can help you
doesn’t work as a question and more than a broad summary.
is probably better spent
googling.
And if you ever wanted to ask
a question, message me on
Try something like “... I want to Twitter (or Discord if you are
become and environment part of the Beyond Extent
artist, how do you suggest to community) I would love to
get started?” is just way better help whenever I can.

Reaching out to professionals

Back to Table of Contents 224
 Environment Art Tests

Introduction
Art tests are really common as the last big hurdle for you to get a job in the games industry, they are more prevalent when you don’t
that much professional experience just yet, but some companies let everyone do an art test as well, so what are they, and is there
anything you can do to prepare for them?

1. What are they?

During the course of your These tests can last from really
application process you might short ones of a couple of hours
be ask to do an Art test, these to multiple week tests.
usually done because during However, in my opinion the
your talks with the company multiple weeks ones should be
they found that there we’re still avoided, unless the company is
some questions in their head really well know and it would
that could be solved during be your personal goal to work
those talks. for them.

2. How can I prepare for them?

Anticipate the workflow used find out their workflow,maybe
or the subject matter you there is some podcast or
might be working on, and breakdown that you can track
what better way to check that down. Also check the
is by looking online if there are application for any details that
already test available that might help.
have been finished for the
company. IMPORTANT
This doesn’t mean that this is
If you cant find any, you can the test they will hand to you as
check the projects the well.
company did before and try to

3. Getting the briefing

Take your time to read the brief that’s totally up to you,
multiple times so you whether it’s mentally putting
completely understand the things in line, writing it on post it
criteria you’re working towards. notes or using an app. You
This is super important, need to be able to focus on
because that is your goal and the things that have the
you should make your plan biggest impact on your scene
based on this goal. first and then move down that
list.
Which brings us to the next
step, which is planning ahead.
Now how you do planning

4. During the test itself

Because we have build a plan Focus from big to small, the
in the previous step we can things that have the biggest
now use this as a foundation impact will be the most
for when we actually get to important, don’t get hung up
work on the test itself, this is with smaller things that have
important as a large section of minimal impact, keep them for
a test is also to see how you do when the bigger things are out
under stress. So whenever you of the way.
feel like your lost take a step
back and go back to the plan
you’ve created.

Environment Art Tests

Back to Table of Contents 225
 INDUSTRY
19 INSIGHT
 Your day as an Open world Environment Artist

Introduction
As an environment artist you might be responsible for a lot of aspects of the visuals for a game, and "Environment artist" is sort of the
catch all for a lot of stuff when it comes to environment creation in games. In this one we're diving into some responsibilities in your
daily work with a focus on open world games for this one.

1. Set dressing/Level art

Bigger and more dense, living, assets that are created and
worlds come people who are given to you over time
actually need to build that and when they come back from
tell the smaller stories that spark outsource or you are
the interest of the players. responsible for creating these
More specifically know as level levels/locations yourself.
artists, they are responsible for
dressing up the locations and This is also where your love for
level design blockouts within environmental storytelling
our worlds. comes in, using the assets
available to really make an
They achieve this by using interesting environment.

Lilian Chow

2. Landscape sculpting
As an environment artist you plates and how natural
might be responsible for elements like rivers and
chunks of terrain, both within waterfalls are formed, all
the locations your working on crucial knowledge in your
and between them in the shaping of a world.
open world.
Another aspect is to balance
A big thing you are keeping in the technical aspects (such as
mind for this is definitely how occlusion) and player direction
the flow or wind and water (with impressive vista's and
can shape terrain, same goes player leading in mind).
for the movement of tectonic
Stephane Guadette

3. Prop/asset modeling
Depending on the studio, this build upon with the help of
might be a part of the same briefs and concept art too.
banner (see my official title of
Environment/Prop artist) or a The creation process will
separate role. Even as a full happen either through the
time environment artist you high-to-lowpoly pipeline (less
might find yourself helping out frequent for open world
on the prop creation side. games, and reserved for
important assets, such as guns
One of these examples can be for example) or making assets
working with outsource to get with textures and materials
them blockouts that they can already available. Hannah Watts

4. Foliage and organic asset creation

A world also needs to be rocks for example too. When
populated with a lot of natural working on these you will have
assets as well (in a lot of cases). to be really strict in the amount
of poly's and alpha overdraw
because these assets will be
As a specialized foliage/ scattered all over the place in
vegetation artist that's where huge quantities.
you come in working in
programs like Speedtree to
create the tree's that are seen So you will be constantly testing
all over the place. These artists the foliage you make for
can also be responsible for performance.
other organic assets such as Adrien Paguet-Brunella

Your day as an Environment Artist

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 Disciplines within Environment art

Introduction
When it comes to environment art, there is a lot of confusion among people starting their environment art journey because they
think that Environment art is a singular thing, but it's actually split up into multiple different disciplines, so today we will dive into some
of the individual disciplines involved. Keep in mind that different studios might have different setups, and can change going into the
future with changing technology as well.

1. Prop art
Prop artist build the content to environment art, because
and assets for populating your everyone needs to get through
environments. They are the full High to Lowpoly
responsible for creating the pipeline.
smaller props all the way to big
buildings and hero props. The more standard programs
that are used in the pipeline
This discipline is more isolated are Maya, Max, or others for
But that doesn't make it less modeling, Substance Designer
crucial for environments in and Painter for baking/
total. This can also been seen texturing and a bunch of other
somewhat as the introduction programs for all various needs. Marta "Carabea" Niemczynska - Biohacker - Biochair prop

2. Terrain art
Responsible for building the the players to get immersed in.
foundations of the world taking
care of the underlying terrain. Depending on the stage of the
Other responsibilities include project they will use World
planning where mountain Machine, Terragen, Substance
ridges, valley, lakes, rivers and Designer or others for creating
more are going to be. They a good base that they then
focus mostly on sculpting can iterate on inside of the
terrain, creating natural Game Engine.
formations that look realistic,
using real world examples as
reference to create an Alexander Kolyasa - Terrain practice
immersive as possible/level for

3. Level/world art
These are the people setup by Narrative designers
responsible for the setdressing and use this to tell stories while
within the world and they take keeping in mind the gameplay
the props that the prop artists space that the Level Designers
make and in most cases have build.
combine them with blockouts
that Level designers have Some of the programs that
prepared. they use are Unreal Engine,
Unity or any other in-house
These are also the people that engine and embedded tools.
are responsible for introducing
the storytelling that has been Billy Matjiunis - Far Cry 5 F.A.N.G. Center

4. Foliage/Natural art
The people in charge of all the thousands of poly’s just
natural assets such as trees, because it's used so much. A
bushes, flowers ,rocks, etc... big factor when making foliage
is Quad overdraw, where
multiple layers of masked
It’s different because of the alpha are overlapping.
technical restrictions to other
props because they are used
way more in a level and are Programs used are Zbrush,
heavier to render. This means Speedtree, Houdini and other
that the artist that removes 3 programs that lend to a non-
poly's from a grass mesh can destructive workflow for more
have a large impact of iteration, variation and speed. Jobye-Kyle Karmaker - Middle-Earth: Shadow of War - Vegetation | Asset Shots

Disciplines in Environment Art

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 seniority levels in the games industry

Introduction
In the industry there are many different disciplines and levels of seniority, so in this one we're going to get into them and what they
actually mean for your career and responsibilities within the industry.

1. Differences in Seniority
Junior Intermediate Senior Lead/Principal

As a junior environment artists When it's time to move up the Full ownership over specific So this is usually where things
you will mostly be focusing on ladder you will see that you get sections of the game including diverge in most studios,
getting to grips with the tools more ownership over the props props and also more control focusing on either art (Principal/
and pipelines of the industry, or levels you will be working on. over the vision over the props Expert) or management (Lead).
learning from the senior This also means that you will and levels.
members of the team. have to become more A principal will dedicate their
proactive and trusting in your At this point you are also time define workflows,
skillset and be ready for a bit
Your responsibilities will be fairly becoming more and more of remaining on the cutting edge
more ownership.
minimal and will be supported an example and role model for with their art and really setting
and supervised by a mentor on other artists, maybe even the bar when it comes to the
the same project. You will also be moving more managing some of them full art.
into the role of supporting the time.
senior a bit more instead of
You will also slowly but surely be A lead on the other hand will
relying on their help to do
challenged with more complex You also become more dedicate most of their time to
things.
and bigger tasks the more involved in the pipelines and organizing the team, thinking
experience and time you build workflows and will also have about and planning the future
up working with the given tools. Later on you might get your first responsibilities in putting these of each person of the team,
This will also prepare you for the experiences with giving talks, together with other seniors of communicating with all the
next step. mentoring people occasionally different teams. seniors, and maybe
and also even managing your occasionally working on art
first person if you choose to go themself.
Giving talks to the art team,
that way if you want to go that organizing meeting and
route. leading them will also become
more and more part of your
responsibilities (if you choose to
do so in most companies)

seniority levels in the games industry

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