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翻译+润色：元素大使瓜克丝——转载请注明出处
Technical and Art Tips for Environment Artists
Sam Gao talked about the stylized art direction of one of his projects
with a Ghibli style and shared several tips for environment artists.
Sam Gao分享了他的一个吉卜力风格项目的美术设计风格化的过程，
并分享了一些技巧提示给场景美术们。
关于更多风格化实时渲染的案例分享
https://www.element3ds.com/forum.php?mod=collection&action=view&ctid=1729&fromop=my
About the Project
Tactics Empire is a short adventure third-person shooter created by Erisa Liu, Ken
Visudharomn, and me. The idea and direction of this project were born from both the
things we loved growing up and the skills each member of the team had.
关于项目
Tactics Empire是由Erisa Liu，Ken Visudharomn和我开发的短冒险第三人称射击游戏。这个
项目的创意和方向来自于我们成长过程中所热爱的事物和团队成员所拥有的技能。
In this article I will be mainly focusing on the art direction and some environment
art tips that helped in terms of efficiency and performance when I dealing with a
large environment in a limited amount of time.
这篇文章我将主要集中在美术设计和一些场景美术技巧上，这些技巧让我在有限时间内去处理
一个大场景时，在效率和表现方面很有帮助。
Art Direction
I wanted the style to be able to support the gameplay and the narrative setting. It
is a blend between Zelda Breath of the Wild, Studio Ghibli, and Grand Blue Fantasy
Relink.
美术设计
我希望美术风格能够与游戏玩法和叙事背景相得益彰。它融合了塞尔达：荒野之息，吉卜力工作室和碧蓝幻想的风格。
做这类风格的画面，我们需要非常多的参考资料，深刻理解这种艺术风格的前世今生。
微元素一直在此类风格上多有收集，随本文一同推荐给大家
塞尔达-荒野之息的全套截图欣赏
https://www.element3ds.com/tietui.php?199449.165858
进一步感受塞尔达大世界场景风范
大师宫崎骏珍藏多年的画稿+插件150G资源
https://www.element3ds.com/tietui.php?187016.165858
宫崎骏+吉卜力所有作品都在这里，部部经典
https://www.element3ds.com/tietui.php?129617.165858
吉卜力画风的游戏二之国 亡灵国度 原画概念设定集-宫崎骏风格
https://www.element3ds.com/tietui.php?182819.165858
However, Europa Game by Helde Pinto has been the “proof of the concept” for the
art direction, and we are fortunate to have him as our environment art advisor on
the project.
然而,Helde Pinto打造的游戏《Europa》却成为了美术设计里的“概念证明”，我们有幸邀请到他作为我们项目的场景美术顾问。
Europa UE制作的卡通风格场景欣赏展示-云海-瀑布-海浪-遗迹
https://www.element3ds.com/tietui.php?198197.165858
Pre-Production Design
The enemies in this game came from a more modern style of Japanese mecha animes such
as Evangelion, from design to texturing and VFX. It is contrasting with the rest of
the environment which is an old school Ghibli style. Spiderman Into the Spider-Verse
proved that the style jumps can create a level of impact to the visual.
Pre-Production 设计
这款游戏中敌人从设计到材质贴图参考和特效参考，都来源于一部更现代风格的日本机甲动画，如《新世纪福音战士》。
它与环境的其余部分形成了鲜明的对比，这是一种传统的吉卜力风格。
《蜘蛛侠：平行宇宙》证明了这种风格的跳跃可以给视觉带来一定程度的冲击。
A side note about animation: Animation is quite new for me, yet I found a tip for
the game animation: treat it as a GIF or emoji creating as much impact as possible
within a couple of seconds to grab tension instead of thinking too much about
readability and acting.
关于动画的补充说明:动画制作对我来说还是很新鲜的，但我发现了一个制作游戏动画的小窍门:
把它当作是在制作GIF或表情包，在几秒钟内创造出尽可能多的冲击力画面来抓住注意力，而不是过多地去考虑如何使动画易于理解和动画的表现上。
Level Design
I tried to use a linear path as much as possible because it makes the level overall
easier to manage and creates a heroic experience for the character with defined
single-point composition.
关卡设计
我尝试尽可能多的使用线性路径，因为它使关卡整体更容易管理，并且可以通过单点构图给角色创造了一种英雄式的体验。
This was reversed in the final level The Town of Noir leaving the playable area
empty and surrounded by high-frequency details which gave an arena feeling.
这种设计在最后一关The Town of Noir（暂译“黑色小镇”）就颠倒过来，让可游玩区域变空，周围空间则是用大量的细节环绕，给玩家一种竞技场的感觉。
Designing a level with art in mind saves a lot of time down the road.
在设计一个关卡时，带着美术思维去做，这将会节省很多时间。
Modeling
Here is a sheet of our modeling style I established.
建模
这是我写的关于我们模型风格样式的简要记录。
Environment Art tips: For a fantasy environment it is nice to break down the concept
into a couple of elements, then build a kit for each element. “Kitbashing” is
based on the limited pallet. It is much faster and most importantly, maintains
consistency throughout the design.
场景美术提示:对于一个幻想风格的场景，最好将设计概念分解成多个元素，然后为每个元素构建一个模块化工具包。
“Kitbashing”是基于有限调色板原理的【译者注：很多大师的油画人像只用了仅仅四到五种颜色就能够完成，意仅需使用少数的物件就能组合出多数的成品】。
这样进行场景建模将要快得多，而且最重要的是，在整个设计中保持了美术的一致性。
For the town, we were heavily inspired by the vibe in Howl’s Moving Castle which
took place in Europe of the early 19th century. We combined that with magical fuel
that enhanced steampunk tech parts. The windmill was the testament to the style, and
I used it as a guide for all the architecture.
对于小镇的设计，我们深深地被【19世纪在欧洲的】《哈尔的移动城堡》一书中关于环境氛围的描写而启发。
【译者注：1986年英国女作家Diana Wynne Jones的畅销小说《Howl’s Moving Castle》】
我们将其与魔法燃料要素相结合，增强了蒸汽朋克的科技元素。下面的风车就是这种风格的证明，我把它作为所有建筑的设计指导。
Most of the knowledge on the modular environment building was gained from Giovanni
Martinez and Trey Mcnair while I was interning at Insomniac Games.
关于模块化环境构建的大部分知识是在我在Insomniac Games实习时，从Giovanni Martinez和Trey Mcnair那里获得的。
The modular kit also handled 90% of my props.
模块化工具包还解决了我90%的道具需求。
更多机械硬表面的kitbash组件可以点击下方链接获取：
Andrew Averkin发布的Hard Surface Kitbash Pack 01【1.04G】以及部分作品
https://www.element3ds.com/tietui.php?145040.165858
FREE Hard Surface Kitbash Vol. 1
https://www.element3ds.com/tietui.php?162082.165858
硬表面 Kitbash Vol.3
https://www.element3ds.com/tietui.php?174284.165858
Texturing Style and Approach
Studio Ghibli paintings are a library of the references. I wanted the materials to
have a certain level of PBR properties that allow the light to bounce around nicely
balanced with traditional media handcrafted flavor.
纹理贴图风格和方法
吉卜力工作室的画作是一个参考图书馆。我希望这些材质具有一定程度的PBR特性，使光线能够在周围反弹，
然后又能很好地与传统手绘贴图的味道保持平衡。
Most of the textures were done in Substance Designer, then received final touches in
Photoshop with a set of brushes I created for the project. I treat it as the signature of an artist.
大部分的纹理贴图都是在Substance Designer中完成的，然后在Photoshop中使用我为这个项目创建的一组画笔进行最后的润色。
我把它当作艺术家的签名看待。
SD软件2018免费版本从下面链接这里可以获取，还有更多其它不可思议的CG小工具哦
https://www.element3ds.com/tietui.php?197597.165858
SD作品分享交流区，获取各种工具
https://www.element3ds.com/forum.php?mod=forumdisplay&fid=361
大量的SD的教程可以从下方链接获取
https://www.element3ds.com/plugi ... =Substance+Designer
Note: I added many variations to the color map based on the reference, however, with
PBR lighting I found it was easier to do the opposite. Keep the base material cool
and simple. Use decals and world position to add the gradient.
注:基于参考，我在颜色地图上添加了很多变化，但是，在使用PBR照明时，我发现做下面这种相反的事情会让我更容易操作。
保持基本材质的单调。使用贴花和位置的变换来添加变化。
Substance Designer is amazing for creating variations for one texture, and I have
two versions of every texture. Blending between low and high intensity of details is
based on the composition.
当使用Substance Designer软件对一张贴图添加变化时，它表现出了惊人的优异效果，
每种材质我都制作了两个版本。基于作品的需要，可以混合低强度细节和高强度细节来使用。
Another important thing is that I stylized the heightmap with the same brush set for
the vertex blend.
另一件重要的事情，是我使用了在顶点混合步骤中相同的笔刷，风格化了高度贴图。
Environment Art tips:
- For a big project, is it worth to take some time and build a system based on what
the style needs avoiding 1-1 textures as much as possible, even for the props. It
makes the integration process much easier. - Keep the tiling textures under the same grid so you will only need to UV them once.
场景美术提示：
- 对于一个大的项目，它值得花费一些时间去构建一个基于风格需求的系统，尽可能避免使用1-1纹理贴图，【译者注，即 建议多使用混合贴图】
即使对于道具也是如此。它会使集成过程更加容易。 - 保持在同一个网格下平铺所有纹理贴图，这样你只需要给它们分一次UV就可以了。
For the master material:
- Trim the edge for different types of bevels + world position + overlay gradient with
a 3-way vertex blend.
对于主要材料:
- 整理布线变成不同类型的斜面+世界位置+覆盖梯度与3路顶点混合。
Upon those, I also have mesh decals and Slope material to add variety.
在这些基础上，我还有网格贴花和斜面材料来增加更多变化。
Shader
该场景为UE4开发的画面，Unity用户也能通过插件ASE获得如同UE4一样的可视化Shader工具
https://www.element3ds.com/tietui.php?183327.165858
For Mesh decal and cutting sheets, I found that using Masked material with
DitherTemporaAA (to control the opacity) works better than using decal material.
对于网格贴花和裁片，我发现使用带有DitherTemporaAA(控制不透明度)的蒙版材料比使用贴花材料效果更好。
Vegetation
The best way to think of vegetation in this style is to treat it like a painting,
from the base color, slowly building up the details and layers.
植物
在这种风格下思考植物制作最好的方法是把它当作一幅画，从底色开始，慢慢地建立细节和层次。
World position color is the best way to achieve these washes of color.
世界定位色是实现这些洗色效果的最佳方法。
Workflow: The vegetation in the Studio Ghibli style tends to have a huge range of
level of details, so I created a highly-detailed version for each sample, then
created low-fidelity versions through materials.
工作流程:吉卜力工作室风格的植被往往有大量的细节，所以我为每个样本创建了一个高细节的版本，
然后通过材质又创建了低细节的版本。
Environment Art tips: ZBrush to Substance Designer is still my favorite workflow for
vegetation. Creating custom functions inside Substance makes the whole process much
faster. I learned the techniques from Jeremy Huxley. Peyton Varney also has similar
tutorials.
场景美术提示:ZBrush to Substance Designer仍然是我最喜欢的植物制作工作流程。
在Substance内部创建自定义函数可以使整个过程更快。我从Jeremy Huxley那里学到了这些技巧。
Peyton Varney也有类似的教程。
Clouds
I tried the volumetric clouds but ultimately went back to hand-painting them. A
trick I found is to paint a subsurface mask with the clouds and use it to fake the
scattering effect.
云
我尝试了使用体积云，但最终还是手工绘制了它们。我发现的一个技巧是可以用云层绘制一个地面遮罩，并用它来假装光散射效果。
更多云的制作方法，可以看下面这个链接：
https://www.element3ds.com/tietui.php?192028.165858
Lighting
Lighting was a tricky task because it is not “perfect” in terms of realism. I used
both gradient and point light to stylize the lighting structure, both in value and
color temperature. One trick I use to increase the contrast in a soft-lit situation
was to shift the highlight to a cooler color.
照明
照明是一个棘手的任务，因为它不是“完美”的现实主义。我同时使用渐变和点光源使照明结构风格化，无论是在数值还是色温上。
我在柔和灯光下增加对比度的一个技巧是把高光调到较冷的颜色。
Final Advice
I strongly suggest that environment artists get into some basic VFX or animation
because dynamic vibrancy adds a lot to the overall feeling. You don’t need much,
Zelda Breath of The Wild is a really good example.
最后的建议
我强烈建议场景美术们学习一些基本的视觉特效或动画，因为生机勃勃、充满生命气息的画面可以增强对整体的感觉。
你不需要太多，塞尔达：荒野之息就是一个很好的例子。
Conclusion
I think art appears at its best when the personality of the artist emerges through
the visuals.
总结
我认为当美术将他的个性通过视觉表现出来的时候，艺术才会呈现出最好的一面。
A more practical suggestion would be to have a tight and clear blueprint and plan
before the project but stay loose until the polish phase.
一个更实际的建议是，在项目开始之前就有一个紧凑而清晰的蓝图和计划，但在改进阶段之前保持宽松。
Thank you for reading! I hope you found something helpful here.
感谢您的阅读!我希望你能在这里学习到一些有用的东西。
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