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 Environment Art in the Game Industry: A Guide to Rich and
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Henry Kelly

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Environment Art in the
Game Industry
 Environment Art in the
Game Industry
A Guide to Rich and Realistic
Environments Using Substance Designer

Henry Kelly
First edition published 2022
by CRC Press
6000 Broken Sound Parkway NW, Suite 300, Boca Raton, FL 33487-2742

and by CRC Press

2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

© 2022 Taylor & Francis Group, LLC

CRC Press is an imprint of Taylor & Francis Group, LLC

Reasonable eforts have been made to publish reliable data and information, but the author and
publisher cannot assume responsibility for the validity of all materials or the consequences of
their use. Te authors and publishers have attempted to trace the copyright holders of all material
reproduced in this publication and apologize to copyright holders if permission to publish in this
form has not been obtained. If any copyright material has not been acknowledged please write
and let us know so we may rectify in any future reprint.

Except as permitted under U.S. Copyright Law, no part of this book may be reprinted, reproduced,
transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying, microflming, and recording, or in any information
storage or retrieval system, without written permission from the publishers.

For permission to photocopy or use material electronically from this work, access
www.copyright.com or contact the Copyright Clearance Center, Inc. (CCC), 222 Rosewood
Drive, Danvers, MA 01923, 978-750-8400. For works that are not available on CCC please
contact [email protected]

Trademark notice: Product or corporate names may be trademarks or registered trademarks and
are used only for identifcation and explanation without intent to infringe.

ISBN: 9780367706791 (hbk)

ISBN: 9780367706760 (pbk)
ISBN: 9781003147497 (ebk)

DOI: 10.1201/9781003147497

Typeset in Minion
by codeMantra
 In Loving Memory

Gillian Richards
26–04–1954 to 01–07–2019
 I want to dedicate this book to:
My late Mother-in-Law
Gillian Richards,
My Father-in-Law
Eddie Richards

Nothing has made me work harder and opened my eyes up to

family and what it means to want to work towards something.
You never gave up on me and are always impressed
and proud of my artistic achievements.
My wife, Louise Kelly, for sticking with me
through this journey and supporting my dreams of
becoming an artist within the game industry.
And to my children, Amarah, Alexander, and Rosaura.
And my stepchildren, Faith, Isabella, and Toby.
Daddy loves you.
Contents

Acknowledgements, xi
Author, xiii

CHAPTER 1 ◾ Introduction 1
1.1 MY PROFESSIONAL CLIMB 1
1.2 WHAT IS AN ENVIRONMENT ARTIST? 2
1.3 WHAT IS SET DRESSING? 3

CHAPTER 2 ◾ What Is PBR? 7

2.1 WHAT IS PBR (PHYSICALLY-BASED RENDERING)? 7
2.2 DIFFUSION AND REFLECTION 8
2.3 TRANSLUCENCY AND TRANSPARENCY 9
2.4 ENERGY CONSERVATION 9
2.5 METALS 10
2.6 FRESNEL 10
2.7 MICROSURFACE 12
2.8 ENERGY CONSERVATION (AGAIN) 13

CHAPTER 3 ◾ A Deeper Look into PBR 15

3.1 A DEEPER LOOK INTO PBR (PHYSICALLY-BASED
RENDERING) 15
3.2 WHAT IS PHYSICALLY-BASED RENDERING? 15
3.3 WHY DO WE USE PBR? 15
3.4 MATERIAL AESTHETICS 17

ix
x ◾ Contents

3.5 WHAT IS sRGB? 17

3.6 SUBSTANCE DESIGNER: PBR VALIDATE 20
3.6.1 How It Works 20
3.7 WHAT IS ROUGHNESS? 21
3.8 WHAT IS METALLIC? 22
3.9 NORMAL TEXTURE MAP 25
3.10 HEIGHT TEXTURE MAP 25
3.11 ROUGHNESS TEXTURE MAP 26
3.12 ALBEDO TEXTURE MAP 27

CHAPTER 4 ◾ Substance Designer 29

4.1 SUBSTANCE DESIGNER 29
4.2 UNDERSTANDING THE UI 29
4.3 CREATING A BRICK WALL PATTERN 31
4.3.1 Instance Parameters 33
4.4 WHAT ARE TRIM SHEETS? 47
4.5 WHAT ABOUT FOLIAGE? 53
4.6 CREATING A ROCK MATERIAL 59
4.7 CREATING A 3D MATERIAL 73
4.8 LAVA 90
4.9 FABRIC 100

CHAPTER 5 ◾ Rendering and Foliage 113

5.1 RENDERING IN MARMOSET 113
5.2 A LOOK AT FOLIAGE 119
5.3 DETAIL BENDING FOLIAGE 161
5.4 CONCLUSION 177

INDEX, 179
Acknowledgements

A big thanks to the Marmoset team for allowing me to use and adapt
their ‘Basic Theory of Physically-Based Rendering’ by Jeff Russel: https://
marmoset.co/posts/basic-theory-of-physically-based-rendering/.
Chris Peyton at Rebellion Developments for allowing me to use Mark
Witts’s ‘Portfolio Pieces of Multiple-Level Blockouts to Final Dressing’.
Mark Witts for allowing me to use his Portfolio Pieces of Multiple Level
Block outs to Final Dressing. Mark Witts’ portfolio can be found at https://
www.artstation.com/markwitts.
Luke Ahearn for his guidance throughout the journey of writing my
first book and being honest!

xi
Author

Henry Kelly has worked within the 3D Industry, part-time, from the age
of 18, creating 3D models, improving his techniques and learning new
material. After leaving the military, he took up 3D art full-time and began
a career as a freelance Environment Artist, where he worked for indepen-
dent and AAA game studios such as Crytek, Rebellion, Offworld industries
amongst other smaller studios. Through the years, he climbed the ranks
from a freelancer to a lead artist, maintaining his focus on Environment
Art. He has contributed to new and exciting methods that speed up work-
flow and produce higher-quality artwork for games. Henry is an instructor
for Master’s and Bachelor’s degree programs, and is responsible for writing
the curriculum for both. In his spare time, he occasionally serves as an
instructor for Ryan Kingslien, a renowned art sculptor and a major con-
tributor to the game industry.

xiii
 CHAPTER 1

Introduction

1.1 MY PROFESSIONAL CLIMB

I set myself one goal in life, to work in the game industry; over the years,
I have developed and learned new skills regarding game development and
art. I started out 3D modelling when I was just 14 years old for a virtual
chat room/game called There (www.there.com). I then moved my skills
over to another virtual chat room after around a year called Second Life,
www.secondlife.com (which is still very booming). Over the years, I devel-
oped my ability to create 3D models and textures, it also helped that I sold
my assets in Several Games and Websites. After a few years, whilst I was in
the British Army, I decided to keep honing my skills as a 3D artist utilizing
any chance that I had. I started Developing and Producing assets to sell on
websites such as www.turbosquid.com and www.cgtrader.com.
I started freelancing for Small Indie studios around the age of 18, free-
lancing for a small team creating a game called Dinosaur Battlegrounds,
which was quite fun. I then started working side by side with a Lead
Producer at a Microsoft studio; whilst this was not directly involved with
Microsoft, we were developing new techniques for creating 3D foliage and
assets with Photogrammetry. (This was before Photogrammetry was as
big in the industry.) Because I worked heavily on Photogrammetry with
Andrew, I eventually started building my portfolio, which gained my foot
into the game industry where I started at my first AA Studio at Gymcraft
where I worked on the VR Title, FreeDriverVR, which was a VR fitness
game now used across gyms all over China and Japan.
I then moved into AAA studio work at Rebellion Developments (www.
rebellion.com).
DOI: 10.1201/9781003147497-1 1
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