This document discusses Carlos Casals' process for environment creation using modular systems. It begins with an introduction to Carlos and his background. It then outlines the overall process, which involves specifying location needs, creating concept art, and combining these elements in 3D. Key aspects of the modular process discussed include using consistent module sizes, testing modules, and building higher detail "hero assets." Texturing techniques like standard texturing, tileable textures, and vertex painting are explained. The implementation process involves adding main and extra modular systems, hero assets, and final details like lighting.

1. Environment
creation using
a modular
approach

2. Who am I?
My name’s Carlos Casals,
I am Environment Artist in Undead Clash team at TSG!
I used to work as a financial auditor for a few years until
I realized making video games is significantly more fun.
I have worked on some small indie projects as
Environment artist/ VFX Artist.
I have spent the last 2 years working as an environment
artist for Undead Clash.

3. Overview
Today i'm gonna talk about the
modular process benefits and how
I implement it for best results

4. Environment
Creation Process
Specify needs and
theme of a location.
Based on the theme
creates concept
art.
Combines needs and
concept to create a
location in 3D.
Design
Team
Concept Artist 3d Environment Artist

5. Design Team
Greyboxing
■ Design Greyboxes should be clear
NOT pretty.
■ Greyboxes should be approved by
design and given to art only when
there are no more changes to be
made.

6. CONCEPT
ART

7. Mood Concept
■ Should Transmit
the vibe and mood
of the scene.
■ Is not intended to
be a 1 to 1 guide to
the environment.

9. Close up
concepts

10. BUilding
Modular
systems

11. Module
SIzes
■ Keep consistent module
grid sizes.
■ Ensure pieces fit
together to generate
“endless” combinations.

12. Module
Testing

17. Building
hero assets

18. Building
hero assets
Hero assets are often the main focus of the scene and are a key
element of the scene composition.
They are usually the main focus in both composition and
storytelling for the scene

19. Hero assets
■ Higher detail than normal assets
■ Designed to be the focal point of attention of the scene
■ Important to focus on storytelling when
modeling/texturing the assets.

20. Hero
assets

21. Texturing Modules
These are methods I use for texturing modules
■ Standard texturing where each module is textured traditionally using a
texturing program such as Photoshop or Substance Painter.
■ Tileable textures (such as bricks or moss) used to cover the modules.
■ Tileable textures combined with vertex painting.

22. Standard
Texturing
■ Many assets will be very unique with
little chance of repetition for
themselves.
■ Key assets sometimes have to have
standard texturing as they carry a lot of
storytelling and we need to add a lot of
information.

23. Standard
Texturing

24. Tileable Textures
■ Tileable textures are a
powerful tool that costs less
time and resources than
usual texturing
■ Tileable textures work best
when combined with non-
tileable elements in order to
break up the repetition.

25. Vertex Paint
■ Vertex Painting is a powerful tool that allows you to break
repetition in conventional Tileable textures or Repeated modules.
■ You can add any other texture (eg Moss) to a normal wall module
creating unique patterns that will hide from the players the fact that
the wall they are seeing its the same module repeated 5 times.
■ Use Height based Vertex painting for extra blending effects.

26. Vertex
Paint
INSERT pic of vertex paint graph

27. Implementing
assets to motor
And Set dressing
steps

28. 1. Implement main modular system

29. 2. Add Extra Systems

30. 3. Add Hero Assets

31. 4. Add extra Assets

32. 5. Final Details

33. Lighting

39. CONCLUSION
BULLET POINTS
■ Combine modular systems
■ Set dressing is key
■ Texturing is a very powerful tool
especially vertex paint

40. THANK YOU