
Create a large post-apocalyptic game environment from modular assets, using blockouts, procedural materials and decals, and foliage placement, with Maya, Substance Designer and Painter, in Unreal Engine.
Explore reference gathering and planning for a post-apocalyptic game environment, emphasizing Photoshop planning, modular block-out workflow, reusable wall and window modules, and Maya modeling.
Scale and block out modular building pieces for a post-apocalyptic game environment using Blender, Maya, or 3ds Max. Learn grid snapping and pivots to create reusable door and window modules.
Develop block-out pieces for a post-apocalyptic environment by sizing in two stages, aligning pivots to zero zero zero, and exporting to Unreal Engine.
Set up a fresh Unreal Engine project. Organize folders, create a blockout level, establish basic real-time lighting, and import assets with grid snapping.
Create a post-apocalyptic blockout in Unreal Engine 4 by iteratively duplicating modular pieces, aligning windows and pillars, and refining silhouettes while tuning the camera and field of view.
Turn the blockout into final meshes by modeling windows with center pivots, exploring parallax mapping behind openings, and applying weight normals, bevels, and subtle warping for realism.
Turn your blockout into final meshes for a post-apocalyptic environment by adding trims, bevels, and modular windows and doors, while cleaning up geometry and exporting clean, game-ready assets.
Turn a blockout into final window meshes by detailing frames, beveling edges, refining geometry, and testing in Unreal Engine to prepare base frames for future variations.
Turn the blockout window into final meshes by extruding and beveling, creating a centered frame with glass planes, pivots, and optional door handles for Unreal and Maya workflows.
Turn a blockout into final window meshes by building modular frames, duplicating and aligning components, and exporting variants in Maya for consistent open and closed options.
Explore placing windows in a post-apocalyptic game environment using a timelapse approach, focusing on layout and environment design to create immersive settings.
Create a concrete master material in Substance Designer, producing tileable base textures with height, normal, and roughness maps; generate two variations, plain and noisy, and preview in the engine.
Create a concrete master material for post-apocalyptic game environments. Enhance texture realism using tiling, noise, and color variations, then apply masks and grayscale roughness for subtle, repeatable results.
Create a procedural concrete master material using heightmaps and parallax, blend tiles with bevels, noise, and normals, then add ambient occlusion and edge dirt for realism.
Expose height, color, and normal controls in a flexible concrete master material, using presets, gradient maps, grayscale switches, stone shapes, noise, and level masks to craft varied textures.
Create a versatile concrete master material by combining presets, grayscale switches, heightmaps, and displacement, then refine with grainy and tile variations for a post-apocalyptic environment.
Export and organize all material presets, create UV maps, manage output settings and naming to produce multiple material outputs for a post apocalyptic game environment.
Create and optimize uv maps for post-apocalyptic environments by unwrapping and laying out textures. Apply planar unwraps, 2x2 layouts, and uv toolkit techniques to ensure seamless concrete tile transitions across surfaces.
Create and apply detailed materials in Unreal Engine by building a master material with instances, exposing base color, normal maps, parallax options, and tiling controls for post-apocalyptic textures.
Improve your post-apocalyptic scene materials by refining tiling, UVs, and color, and prepare decals and lighting for seamless transitions.
Unwrap the windows, combine them into one uv map, create seams, lay out and pack with checkerboard to avoid stretching, and export selections for texturing in substance painter for unreal.
Create window textures for a post-apocalyptic environment by baking maps from low poly, painting base colors, and layering dirt, masks, and roughness on glass and window frames in Substance Painter.
Balance scene textures and materials, reduce dirt and roughness, re-export tiles, and dial in lighting and fog to create a more believable post-apocalyptic environment.
Create decals for a post-apocalyptic game environment using transparent planes to add leaks, dirt patches, and damage on building surfaces, balanced with textures, materials, and Unreal Engine decal systems.
Create and balance post-apocalyptic decals, including leaking textures and patches, using in-editor placement and Photoshop color overlays for cohesive batch workflows.
Watch a decals timelapse in part 3 to learn how to create decals for a post-apocalyptic game environment.
Balance the scene by adjusting directional light to a warm orange and tuning materials to counteract yellow, then prepare the foliage chapter with a prototype.
Design ground foliage for a post-apocalyptic game environment using Maya, SpeedTree, and photogrammetry textures. Build leaves, grass, bushes, and a tree, then optimize UVs and textures for real-time rendering.
Create organic ground foliage by scattering leaves on a plane with Maya MASH, randomizing position, rotation, and scale, then export as Unreal Engine foliage with materials and subsurface shading.
Create a bush for a post-apocalyptic environment by building and scaling foliage, exporting to SpeedTree, and refining leaf meshes and materials for believable scenes.
Create a dense bush for a post-apocalyptic game by shaping a semicircular trunk, refining leaves and noise, and exporting optimized foliage to Unreal Engine.
Add color to the bush by layering flowers and foliage, adjusting albedo, normal, roughness, and translucence textures. Duplicate and position blooms, and fine-tune colors and scale across the foliage.
Import leaf meshes and stock foliage, create a leaf material with opacity, normal, roughness, tessellation and two-sided shading, and adjust noise to curl and twist for varied plant parts.
Create plant scenes by adjusting randomized rotations, starting angles, and lengths, apply gravity and scaling, then export dense foliage with balanced shadows.
Learn to create quick grass fields for a post-apocalyptic game environment using simple planar foliage, texture mapping, randomization, and painting techniques for realistic ground cover.
Create a dense tall grass by bending leaves and mapping bamboo textures, adjusting curvature and rotation for a natural look. Export and refine scale and position for realism in foliage.
Create a textured post-apocalyptic tree by building branches, applying branch and leaf textures, and exporting maps with substance designer for distant foliage.
Export the tree with atlas textures and foliage, and adjust materials and maps for accurate opacity, roughness, and normal details. Prepare for placement and foliage variation in the next chapter.
Place foliage to craft a believable post-apocalyptic scene, starting with landscape sculpt, then position large trees and ground plants, adjust density and alignment, and plan painting in time-lapse.
Master foliage placement for a post-apocalyptic game environment with a timelapse walkthrough of part 2.
Do another lighting pass to balance foliage and lighting, refine materials, and explore skylight, HDR cube maps, and post-process LUT to achieve a cohesive post-apocalyptic scene.
Explore creating three ground textures: soil with stones, clean concrete, and broken plant terrain, and master texture painting and stone generation techniques for post-apocalyptic environments.
Create a realistic post-apocalyptic ground by modeling sand piling against stones, using non-uniform grayscale, heightmaps, normal maps, and masks for layered variation and texture detail.
Learn how to build a ground material by layering stones with gradient maps, masks, and occlusion, creating varied color, dirt, and noise, then merge multiple materials into one cohesive texture.
Craft a base concrete ground texture for a post-apocalyptic game by using a crack generator, gradient masks, and layered stones, then export and publish the SBSF for later integration.
Create a post-apocalyptic ground material by blending base concrete with dirt and masks, adjust heightmaps and displacement with gradient maps, and configure switches for multiple tile variations and exports.
Learn to set up terrain materials and paint textures for post-apocalyptic environments, using free landscape materials, hacking shaders, and precise painting for gravel, cliff, and grass layers.
Polish the post-apocalyptic scene by fixing bugs, tweaking lighting and shadows, refining textures and foliage, and plan parallax, ivy, decals, broken windows, Megascans assets, and final optimization and cleanup.
Polish your post-apocalyptic game environment by sculpting uneven terrain, painting soil, and adding decals and parallax textures, including heightmaps and parallax occlusion mapping, with practical Unreal Engine workflows.
Polishing our scene Part 3 guides hands-on refinements of window glass, translucency, roughness, and lighting using skylight, hdr capture, and post effects to elevate a post-apocalyptic environment.
Learn to finish a postapocalyptic scene by leveraging decals, modular props, and magazines, while exploring photogrammetry library use, level dressing, lighting, and foliage for realism.
Explore a bonus segment on adding broken windows and balancing decals to refine post-apocalyptic game environments and enhance visual fidelity.
Add Megascans to our scene in this bonus lesson to enhance the post-apocalyptic game environment.
Discover how to create generic corner damage decals for 3D assets in a post-apocalyptic game environment. Bake normals, set up UVs, and apply decals to achieve seamless, tiled damage effects.
Post-Apocalyptic Game Environment - In-Depth Tutorial Course
Learn how a professional environment artist works when creating environments for games. You’ll learn techniques like Modular Modeling, Procedural Texturing, Unique Texturing, Decal Creation, Composition, Level Art, Lighting – and much more!
MAYA, SUBSTANCE AND UNREAL ENGINE
All the modeling will be done in Maya, However, the techniques used are universal and can be replicated in any other 3d modeling package. The materials will be created using Substance Designer and Substance Painter, and they will be previewed in marmoset toolbag 4. The foliage will be created using a combination of Maya and Speedtree and the level will be built in Unreal Engine 4.
In this course, you will learn everything you need to know to create the final results that you see in the images and trailers. Next to this, the same techniques can be applied to almost any type of environment.
21 HOURS!
This course contains over 21 hours of content – You can follow along with every single step – The course does inclose a few small time lapses, this is just to speed up very repetitive tasks, the rest is done in real-time.
We will start by creating our blockout to make sure our modular pieces work and that the composition is correct. We will then turn these into final assets. Along with the final assets, we will create our procedural materials and unique textures. We will bring it all together in UE4 and start creating and placing our decals. we will finish things off with our first lighting pass and then draw focus to our foliage. where we will use Speedtree and Maya to create multiple types of foliage. We will bring the foliage in Unreal and place it, add general improvements to our scene and paint our terrain. Finally, we will finish off with some bonus chapters on how to use Megascans to push your level even more.
SKILL LEVEL
This game art tutorial is perfect for students who have some familiarity with a 3d Modeling tool like Maya, Substance Designer/Painter, Speedtree, and Unreal Engine 4– Everything in this tutorial will be explained in detail. However, if you have never touched any modeling or texturing tools before we recommend that you first watch an introduction tutorial of those programs (you can find many of these for free on Youtube or paid on this very website)
TOOLS USED
Maya 2020
Substance Designer and Substance Painter
Speedtree For UE4
Unreal Engine 4
Marmoset Toolbag 4
Photoshop
YOUR INSTRUCTOR
Emiel Sleegers is a senior environment artist currently working in the AAA Game Industry. He’s worked on games like The Division 2 + DLC at Ubisoft, Forza Horizon 3 at Playground Games, and as a Freelancer on multiple projects as an Environment Artist and Material Artist.
SOURCE FILES
Please note that this project does not come with any source files or extra content due to platform limitations. If you want all source files & extra content like un-timelapsed footage please look us up on ArtStation, Gumroad or FlippedNormals