ENVIRONMENT ART PROJECT
3D MODELING
INDIVIDUAL
DESCRIPTION
This section showcases my 3D modeling design, where I applied the PBR workflow, using items from Spirit of the Island as design references. I utilized a range of industry-standard software, including 3ds MAX, ZBrush, Substance Painter, Rizom UV, and Marmoset Toolbag, to achieve high-quality modeling and texture results.
YEAR
2023-2024
Tools
3ds MAX, ZBrush, Substance Painter, Rizom UV, and Marmoset Toolbag
3D MODELING
1st Step：
3ds Max to Build Model
3rd Step：
Adjust UV
5th Step：
Substance Painter to draw texture
2nd Step：
Zbursh to Sculpt Case Model
4th Step：
Marmoset Toolbag to bake Model
6th Step：
Output final Model
SHOWCASE
ENVIRONMENT ART
ENVIRONMENT ART
INDIVIDUAL
DESCRIPTION
This section showcases my environmental art portfolio, where I explored the foundational functions of Unreal Engine and learned how to integrate other related software for scene creation. The models used primarily come from Quixel Bridge and PBR MAX. Although this is not a complete pipeline for environmental art production, I am progressively advancing in this direction, consistently practicing and expanding my skills and knowledge. In the next phase, I plan to complete a full pipeline environmental art project and integrate it into this portfolio. I hope you enjoy what I’ve created so far.
YEAR
2023-2024
Tools
Unreal Engine, Quixel Bridge, Quixel Mixer, World Creator, Gaea, Marvelous Designer , SpeedTree, PBR MAX
Showcase
Still Life Realistic Environment
Stream Realistic Environment
Modern Realistic Environment
Forest Realistic Environment
Stylized Environment
Chinese Classical Realistic Environment
Environment Atmosphere
Working Progress
In this section, I will detail the skills and knowledge I acquired while working on this portfolio, as well as the experiences I gained during the creation process. Due to space limitations, I might not be able to present everything comprehensively. Instead, I will focus on a few key aspects while skipping some intricate processes. I hope you find it engaging.
Part 1: Start & Marvelous Design
In the first static object scene, I primarily used scanned models from PBR MAX, China’s largest scanning model marketplace, which offers a wide range of models with Chinese aesthetics. Through this project, I focused on mastering Unreal Engine’s basic operations, including post-processing volumes, adjusting lighting with Lumen, importing models, and arranging objects. Additionally, I used Marvelous Designer to simulate fabric, created corresponding models, and integrated them into the scene.
Part 2: Learning Texture
Subsequently, I delved into Unreal Engine’s material system, utilizing the built-in Blueprint system to combine various textures on a single model, creating more intricate visual effects. Unreal Engine’s user-friendly interface made it especially accessible for beginners. I also learned to create water effects, including rivers and waterfalls. Combining these techniques, I designed a larger stream scene compared to the initial static scene, using scanned models from Quixel Bridge’s online 3D asset library.
Part 3: Learning more Texture & Mixer
I further explored Unreal Engine’s material and texture systems, incorporating Quixel Mixer for advanced material editing to produce more layered and detailed models. By blending two or more materials in Mixer, I created highly complex textures that significantly enhanced the realism of my scenes. Additionally, I improved my scene-building skills by integrating 3D scanned models from PBR MAX and Bridge to craft a modern-styled environment.
Part 4: Gaea & World Creator & SpeedTree
In this section, I focused on terrain creation tools commonly used in game environment design, such as Gaea and World Creator. I also learned how to seamlessly import terrain from these tools into Unreal Engine, which is crucial for creating distant landscapes in maps. Additionally, I explored SpeedTree, using scanned textures from Bridge to create custom trees and vegetation for games. SpeedTree is widely used in modern game development, making it a significant addition to my environmental art toolkit.
Part 5: Learning more Texture & Nanite
This section allowed me to refine my material processing skills by leveraging Mixer to create complex materials more efficiently. Additionally, I utilized 3DS MAX for model adjustments and integrated Nanite technology to achieve richer ground material effects with optimized performance. This made the scenes more realistic and credible. Most of the models used were sourced from PBR MAX and Bridge.
Part 6: Learning Stylized Texture
In this section, I focused on creating stylized materials in Unreal Engine and designing a large-scale environment, including stylized water, grass, and trees. Stylized games are increasingly popular among Chinese developers, and Unreal Engine effectively brings out the potential of such scenes. By utilizing materials from Bridge, mixing color channels, and adjusting hues, I created vibrant, cartoon-like grass and trees. I also designed water materials, resulting in a cohesive and complete stylized environment.
Part 7: Chinese Style Practice
In this section, I applied previously learned skills to a scene-building exercise focused on realism with elements of Chinese aesthetics. Special thanks to PBR MAX for providing scanned models of traditional Chinese architecture and objects, which added a distinctly classical charm to the scene.
Part 8: Atmosphere Practice
In this section, I built a simple realistic scene to practice expressing different atmospheric effects. By continuously refining the level, I created four distinct atmospheres, adjusting parameters such as exponential height fog, skylight settings, and post-processing volumes to achieve varied environmental moods.
