
Learn to create a dark, moody winter scene for games through planning, blocking, and modular asset work, using Substance, ZBrush, Blender, and Unreal Engine 5 with Lumen and Niagara.
Download and open the gas station project files in Unreal Engine 5 to inspect the final product, materials, alpha files, and stencil assets.
Use Gaia to generate a modular landscape for a gas station scene in Unreal Engine, with a gas pump hero prop, bare trees, and snowy night lighting.
Install Goya, export a height map, and import into Unreal Engine to craft a landscape using presets like snow and hill, then plan a gas station scene.
Create a rough block out of a gas station scene, adjust scale for the gas pump and roof, and set up a cinematic 16:9 camera to test composition.
Explore modular gas station scene creation by building reusable 1m grid kits in Blender and Unreal Engine, using pivot alignment, center transform, and a save-and-reimport workflow to iterate quickly.
Develop modular scene creation for a gas station by designing crown and roof tiling pieces in Blender, exporting to Unreal Engine, and validating a scalable modular workflow.
Blockout lighting creates a dark, snowy night mood in Unreal Engine by using a post process volume, skylight, HDR textures, and volumetric fog to shape the environment.
Master tiling textures and UV workflows to ensure seamless tiling of control room pieces in Blender and Unreal, using UV toolkit and packing to fix seams.
Finish the modular blockout by fixing tiling seams with shared UVs and the butterfly effect. Validate in Unreal with re-import and pivot alignment; build gas-station pathways and corner pieces.
Explore creating a plaster material blended with brick in Unreal Engine using vertex blending, Substance Designer, and height-based ambient occlusion for a triple-a look.
Create plaster height maps by using a tile sampler, randomizing position and rotation, then apply gradients, edge detection, and Perlin noise to carve detailed stone-like surfaces.
Create a plaster base color with layered masks and variations for PBR, then derive normal, ambient occlusion, and height maps and pack them via channel packing into a single texture.
Export plaster textures from Substance, adjust ambient occlusion, then import into Unreal Engine and configure the base color, normal, and mask textures with a flipped green channel for DirectX.
Learn to create a brick wall look in designer, with varied shapes, random placement, edge treatments, cracks, and per-brick damage using warp and noise, preparing for mortar.
Create brick and mortar textures using clouds noise, directional warps, and layered blends, then refine height and contrast to render dripping mortar lines that merge with bricks.
Create realistic brick base color by layering height maps, normal maps, grunge and gradient maps, and masking mortar. Adjust hue, saturation, and ambient occlusion to enhance detail and realism.
Craft a shop crown in Blender and Unreal Engine, export base color and normal maps, pack roughness, height, and ambient occlusion, and optimize UVs and bake for nanites.
Master the high- and low-poly workflow for game crowns by baking normals and ambient occlusion in Substance Painter, texturing with procedural concrete, and exporting OpenGL textures for Unreal Engine.
Design a rolling shutter with depth and texture, using Blender to model the shutter and railing, carve details with booleans, and prepare UVs for Unreal.
Master rolling shutter texture workflows in Painter, using stencils, black masks, and a height anchor to create worn metal surfaces with dirt and edge detail for Unreal.
Create the door and sun-blind window in Blender, carving the wall opening and detailing the frame with curves and edge loops; prepare for unwrap and texture work in Painter.
Unwrap and place seams on the door and window pieces, pack UVs for optimal texture space, and bake normals in Painter to create ready low-poly assets for Unreal.
Texture a door and window by organizing materials (plastic, wood, metal), masking precisely with black masks, and layering dirt, peeling paint, and directional noise to create realistic game-ready surfaces.
Export textures and import them into UE5 to build and randomize wall segment meshes. Apply window and door materials using base color, normal, and mask textures for a realistic scene.
Apply ZBrush to sculpt the walkway, adding detail to counter flat geometry, and blend with a hybrid workflow using Substance Designer and Unreal Engine, including triangulated geometry and alphas.
Master high-poly sculpting in ZBrush with height maps, alpha brushes, and non-destructive subdivisions to boost detail. Create crack and black and white alphas, then decimate for low poly export.
Learn to unwrap and bake walkway assets for games by aligning pivots, exporting high and low poly versions, and building a shared texture atlas for Unreal using Blender and Painter.
Apply a layered concrete texturing workflow with masks, procedural maps, color variation, and edge occlusion, export textures for Unreal, then assemble a modular gas station with emissive lighting.
Block out the gas station with modular, repeatable pieces and placeholders, deferring special elements. Model in Blender and Unreal, adding depth with bevels, extrusions, and emissive lighting.
Unwraps the station kit by marking seams and packing UVs, bakes high-poly to low-poly textures in Painter, and previews lighting in Unreal Engine to refine the setup.
Learn practical texturing for the station kit by layering metal and plastic paints, masks, and procedural textures, with instanced assets and Unreal and Substance workflows.
Create a snow material for the landscape using height and normal maps, blend with the master material, and adjust roughness, ambient occlusion, and a subtle blue tint.
Create a mud material height by blending clumpy mud, cracks, and stones with procedural noise and height, plus warp and blur tweaks.
Explore mud material color techniques by blending height maps, grunge textures, and gradient maps; refine stones, color, roughness, normals, and ambient occlusion for a cohesive game scene.
Create a road material by blending many stones with height, normal, and ambient occlusion maps, and applying oil to bind them together using Perlin noise and masks.
Create a realistic road material by balancing height variation, adding pebbles and road signs, and applying mask-driven colors to separate stones from oil.
Discover how to craft a believable road material color by refining height, adding oil and stone color variations with procedural noise, gradient maps, and masks for nuanced textures.
Create a master material for vertex blending in Unreal Engine using reroute nodes, material attributes, and material instances to control base color, roughness, ambient occlusion, and masks.
Explore advanced material creation: control brick tiling with texture coordinates, u/v tiling, and rotation, then blend a second plaster layer via height and vertex colors.
Master vertex blending for games by using a height map and vertex color masks to transition plaster and brick materials, then refine with texture tweaks and painting.
Master overall noise workflows to enrich game surfaces by vertex blending, creating layered textures in Substance Designer, and applying masks in Unreal for base color, roughness, and normals.
Create and optimize a prop master material for modular props, using tiling, masking for roughness, metallic, ambient occlusion, and height, then test on multiple assets.
Apply overall dirt to game props by editing a master material, using masking, world-aligned texture projection, and tiling to create mossy, dirt-covered surfaces across instances.
Explore creating high-quality Nanite landscape meshes by increasing tessellation with Blender, using height maps and UVs, baking materials in Substance Painter, and importing to Unreal Engine for seamless, tiled textures.
Create landscape materials from a base material with snow and mud instances, adjust normals and tiling, place nanite landscape measures with snapping for seamless detail, and add a spline road.
Rebuild the gas station yard using real geometry and tiled planes, reuse existing assets, and blend bricks and plaster through vertex painting for a cohesive, time-saving environment.
Explore modeling a modular pipe kit that uses grid-based snapping, texture optimization, and prefabs to expand environments efficiently in Unreal Engine.
Unwrap and texture pipes by building a connector, handle, and bolts, using modifiers to shape and duplicate parts, then bake textures in painter for Unreal Engine.
Export the pipe kit, import into Unreal Engine 5, and build blueprints with grid-snapped prefabs, connectors, and runtime material variations via the construction script.
Design a chain link fence as a background boundary for a gas station, using frames, chain links, and simple textures, with optional Nanite geometry and modular duplication.
Add motel gas station props to shift the scene from industrial to alive. Model neon signs and a propane tank in Blender, then prep UVs for texturing in Substance Painter.
Apply emissive materials with an unlit shading model, adjust emissive color and intensity, and export to Unreal to test two materials on a single mesh for glow effects.
Texture extra game props by beveling sharp edges, hardening normals, unwrapping with seams, packing and baking textures, and enabling emissive channels for Unreal Engine.
Learn to simulate plastic bags in Blender with cloth physics, UV mapping, sculpting, and collision settings. Create varied garbage props to enrich game environments.
Create cylindrical barrels with quad topology and collision, unwrap with a grid, then bake a soft body simulation using elastic, damping, plasticity, and bending for varied barrels in Unreal Engine.
Explore creating dynamic trash simulations in Blender using cloth physics, pin groups, gravity off, and pressure to sculpt realistic debris, then integrate Unreal Engine assets via export/import workflows.
Pack and unwrap trash bags and barrels into optimized texture sets. Apply scale properly, then bake high-poly details into low-poly models for Unreal Engine.
Texture trash meshes with smart materials, create color and dirt variations, export 2k textures, import to Unreal, build material instances, and arrange garbage in the scene using a composition camera.
Create a retro, rusted gas pump as the scene's hero prop in Blender, focusing on boundaries, modular props, and detailed paneling to enrich the environment and storytelling.
Master gas pump detailing by constructing a wall from a cylinder, extruding normals, refining with bevels, mirrors, and pipes, and planning nozzle integration and textures in a high/low poly workflow.
model a gas pump nozzle from a cube, extrude and bevel for curvature, use symmetry and loop tools for a smooth plastic finish, then spin for arc shaping.
Convert pieces to mesh, fix normals, and mirror to create the high-poly gas pump; apply bubble geometry, bevels, and subdivision, then unwrap the low-poly for baking.
unwrap and bake a gas pump prop by creating seams, unwrapping UVs, packing textures with the UV toolkit, and baking normal maps from high to low poly for Unreal.
Organize and texture a large game prop by building a layered folder structure, masking parts, and applying base color, metallic, and emissive textures with procedural details, UV planning, and blending.
learn how to texture medium shapes by creating paneling and height-based detail in Substance Painter using masks, anchor points, curvature maps, edge damage, and procedural filters.
Refine emissive textures by stamping stickers, creating alpha maps, and layering emissive and roughness details. Use projection and stencil tools in Substance Painter for LED signs and decals.
Export textures to Unreal, import base color, emissive, normal, and mask, then build a grime gas pump material and apply dirt with occlusion, micro details, and decals.
Explore creating and applying decals to game environments using Substance Designer and Unreal master decals; learn projection, opacity masking, boundary control, and crack textures to add weathered concrete details.
Create water and moisture decals in Unreal Engine, adjusting opacity and roughness for realistic ground moisture, blending base color with the environment, and leveraging Lumen reflections.
Master edge decals and mesh decals by sculpting, beveling, and baking details from ZBrush to Unreal Engine, with uv packing and opacity masks.
Set up scene lighting with fog, emissive light tubes, and strategically placed walls to create mood; explore volumetric fog, skylight, post-process color grading, and cinematic camera focus for depth.
Create a fog card material using exponential height fog and fog sheets on translucent planes. Animate cloud textures with non-proportional tiling, texture coordinates, and time-based controls for dynamic fog.
Finish fog cards by building masks and opacity maps with Perlin noise and blur, blend textures to form fog, and apply depth-based fade using pixel depth and camera vectors.
Create dynamic fog using a Niagara system with sprites that always face the camera, customize material properties, lifetimes, and spawn rate, and use depth fade to resolve seams.
Utilize the Niagara system to create wind-driven snow and clouds, layering and reusing templates to adjust wind direction and speed, curl noise, and particle size for realism.
Refine lighting with rim lights and rectangular lights, using post-processing and color grading to separate edges, improve readability, and create a cold snowy night atmosphere.
End the tutorial with thanks to viewers. Encourage applying the learned concepts from this game scene creation course and wishing them well.
Do you want to make a dark and moody scene using the new methods for games?
Then I welcome you to Nexttut education's Advanced Scene Creation for Games.
About Me:
My name is Arash Aref and I have been an Environment Art Instructor for a while. I have taught a lot of students how to make art for games; specially in the fields of environment art.
By the End Of This Course, You Will Be Able To:
Create a Dark and Moody environment for games using the new methods and workflows
Make an environment in a no-concept-art situation, by looking at references and mixing with your own ideas
Use Modularity, Vertex Blending, Decals for the most variety
Put a difference between hero props and secondary props, and learn where to sacrifice quality to save time and energy; and spending it on other places.
What You Will Learn:
How to plan for an Environment Art piece
Make a blockout to ensure that the ideas are working correctly
When to rush for a prop and where to put details
How to sculpt in Zbrush for environments
Making Master Materials for games
How to set to simple yet effective Niagara particles to add motion to the scene
Course Project Overview:
We will first start by taking a look at references, in this scenario we do not have an actual concept art. So we create a mood board by existing photos and then combine them in our mind to get a sense of the final product. Then to make sure that the idea is going to work, we will set up a blockout of the scene to get a feeling about the scale, composition and probability of the environment. Then we will start to generate art to replace the blcokout, and we do it in an iterative fashion, we do not make anything in one go; but rather we do it in multiple steps. We are going to create a lot of props and textures for this project, and we learn which props are more important and why? And of course where to sacrifice quality on some props to put that saved time and energy for another more important prop. We have a focus on material creation and how to reuse the same material and changing it in multiple scenarios for multiple use cases. We will learn about setting up a modular environment and how to clear the repetition by using vertex blending decals and set dressing props. And games are all about saving for performance, so we are going to learn some simple techniques to work more efficiently. Finally, there is going to be some content relative to the VFX and lighting.
Who is This Course For?
I have designed this course for intermediate 3d environment art students, who want to make beautiful looking environments, but they struggle to get it because they don't find a tutorial which is a step by step, no fast-forward, no skip.
The course is also for artists who want to speed up their workflow in Unreal Engine 5, Blender, Substance 3D Designer, Substance 3D Painter and Zbrush and improve their skill in creating an environment.
Who is Not The Ideal Student For This Course?
This course is not designed for absolute beginners.
What Are The Requirements Or Prerequisites For Taking This Course?
I expect you to have some sort of basic experience with these software packages.
You should have the software packages installed on your computer.
Join Me Now:
So if you want to make a realistic environment, then join me now, and take your skills to the next level. Don't forget that investing in yourself will pay for the rest of your life. Hope to see you in the course.