Clara Tan has shared an enormous breakdown of her Abandoned Bar project, explaining the creation of modular assets, the texturing process in Substance, and assembling the scene in UE4.
Max Bedulenko has returned to tell us about his new project called Velvet Road and share the working process behind the Nogroth environment, inspired by old Russia.
Xander Clerckx and Wim Reygaert from Oisoi Studio discussed the development of their app Painting VR and explained the tricky techniques that were used to create the app's features.
Nathan Alderson discussed merging the Old with the New in the latest City at the Gates project, talked about blocking out the environment, and shared some thoughts on texturing in both Substance Painter and Designer.
A Solution Consultant at Adobe Substance 3D Cino Lai discussed the Stylized Parametrized Forest project, talked about parametric assets, and explained the nuances of Substance Designer's procedural modeling workflow.
Leon Fotevski comments on the challenges of finding the right references for designing military vehicles in 3D, explains how Tunguska was modeled in 3ds Max, and discusses the neverending dilemma of choosing between an artistically correct and a believable, true-to-life look.
Silke Van Der Smissen shared an extensive breakdown of the Stylized Medieval Village project, showed us the Unreal workflow, and explained how it is possible to create a good-looking environment on a time constraint.
Viktor Colpaert told us about creating the Sinking Temple environment inspired by the Legend of Zelda fanwork, talked about modeling the scene, and shared various useful tutorials.
Fady Kadry talks about how an insanely unrealistic bet turned into more than a year of hard work using a home studio equipped with industry-standard software and explains how the Rivendell project went from a bunch of references to a stunning picturesque animation step by step.
An Environment Artist from the PUBG team Carlos Sánchez talked about creating buildings for the game's ninth season and taught us how to add personality to each building.
Vincent Boichut talks about the process of creating a 3D landscape using Maya, Unreal Engine, and Substance Painter and shares his favorite tutorials and tool packs that helped him design the breathtaking French countryside-inspired piece.
Jaume Rovira shared a breakdown of the Watchmaker House the artist recreated from a 2D concept, talked about how to make more than 40 unique props by reusing the same materials.
Vincent Barbe shared a detailed breakdown of his organic UE4 scene Giant's End Village: modeling assets and trees in Blender, setting up textures and subtle animation, working on the storytelling aspect, and more.