Retro Telephone – Prop Breakdown – Vitaliy Ivanov

复古电话 – 故障道具 – 维塔利·伊万诺夫

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Introduction

介绍

Hello readers!

读者们好！

My name is  and I come from Russia however I now live in Ukraine. I am self-taught, I used to do modding (modification for GTA VC).

When I was 15 years old, I started creating my own scripts for GTA Vice City. Since 2019 I have been doing 3D  graphics, and I have been involved in programming for more than 10 years. I am fond of developing various props, and in the near future, I plan to start creating modular environments.

I am inspired by different games. I plan to develop my own game eventually. All this drives me to become a better developer. I didn’t plan to work in studios, but I have released my assets to stores. I am both a sponsor and my own employer. Even if you take away all the money in the world – it would not stop me. I would still do 3D graphics, programming and everything related to computer games development.

我的名字是，我来自俄罗斯，但我现在住在乌克兰。我是自学成才的，我曾经做过模组（GTA VC的修改）。

当我15岁的时候，我开始为GTA Vice City创建自己的脚本。自2019年以来，我一直在做3D图形，并且已经从事编程超过10年。我喜欢开发各种道具，在不久的将来，我计划开始创建模块化环境。

我受到不同游戏的启发。我计划最终开发自己的游戏。所有这些都驱使我成为一名更好的开发人员。我不打算在工作室工作，但我已经将我的资产发布到商店。我既是担保人，也是我自己的雇主。即使你拿走了世界上所有的钱-它也不会阻止我。我仍然会做3D图形，编程以及与计算机游戏开发相关的一切。

Education

教育

As mentioned above, I am a self-taught artist. Step by step. I read articles, watch videos, but I have never created a full game asset according to tutorials, I have only taken tips and techniques that I’ve needed.

Over time, I began to develop my own approaches, because I like to experiment and discover new things.

如上所述，我是一个自学成才的艺术家。一步一步。我阅读文章，观看视频，但我从来没有根据教程创建过完整的游戏资产，我只采取了我需要的提示和技术。

随着时间的推移，我开始开发自己的方法，因为我喜欢尝试和发现新事物。

References

引用

I usually look for references (auxiliary images) in Google, Yandex or picclick, I use various sites for searching.

我通常在Google，Yandex或picclick中寻找参考资料（辅助图像），我使用各种网站进行搜索。

References are very important! The more information you have about prop, the better you can develop it.

参考文献非常重要！你拥有的关于道具的信息越多，你就越能更好地开发它。

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Telephone_Links

I divide my references into two groups:

shape references;

texture references.

我将我的参考文献分为两组：

形状引用;

纹理引用。

封锁

My working process starts from the moment I do my blockout in Blender. At this stage, I make the simplest shape, whilst carefully studying the reference, and comparing all the shapes as realistically as possible. The beginning looks like this:

我的工作过程从我在Blender中进行封锁的那一刻开始。在这个阶段，我制作最简单的形状，同时仔细研究参考，并尽可能逼真地比较所有形状。开头如下所示：

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At first, I adjust the general shapes and also match the elements. For example, a telephone receiver. Temporary cutout for numbers or, in other words, a kind of draft, over which I can slowly create more information and topology on.

首先，我调整了一般形状，并匹配了元素。例如，电话接收器。数字的临时剪切，或者换句话说，一种草稿，我可以慢慢地创建更多的信息和拓扑。

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The second draft stage is making detailed shapes. At this stage, I do not think much about the topology, I can use freely Boolean operations and ngons. Please also pay attention to the fact that I have a triangulation modifier set on each element. It will prevent the shape from deformation and only in some cases, I triangulate in my own way.

第二个草稿阶段是制作详细的形状。在这个阶段，我不怎么考虑拓扑，我可以自由使用布尔运算和 ngons。另请注意，我在每个元素上都设置了三角测量修饰符。它可以防止形状变形，只有在某些情况下，我才能以自己的方式进行三角测量。

When creating the telephone receiver, I simply used the simplest shape with the Subdivision modifier and marked the edges with the Crease function, whilst using symmetry – the Mirror modifier.

在创建电话接收器时，我只是使用带有细分修饰符的最简单的形状，并使用折痕功能标记边缘，同时使用对称性 - 镜像修饰符。

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This makes it easy to create streamlined shapes and manage them easily.

这使得创建流线型形状并轻松管理它们变得容易。

Advice:

建议：

The fewer vertices, the easier it is to manage the shape.

顶点越少，管理形状就越容易。

Identical model sections are a possible “candidate” for symmetry and workflow acceleration.

相同的模型部分是对称性和工作流加速的可能"候选者"。

I can tell you in general terms about the creation of a telephone cable, that is, what I was guided by. Firstly, I created a regular circle of edges:

我可以笼统地告诉你关于电话线的创建，也就是我所遵循的。首先，我创建了一个规则的边缘圆圈：

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Then, I rotated the hexangular circle 90 degrees and shifted along the X-axis, got the needed radius, added the Screw modifier:

然后，我将六角形圆圈旋转90度并沿X轴移动，获得所需的半径，添加螺丝修饰符：

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After I selected the edge in such a way:

在我以这种方式选择边缘之后：

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And created it as a separate object, then converted it to a curve and got the following result:

并将其创建为单独的对象，然后将其转换为曲线并得到以下结果：

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Here I have complete control, so I can adjust the thickness, sections’ number and among other things, this technique does not change the radius.

在这里，我完全可以控制，因此我可以调整厚度，截面数，除此之外，这种技术不会改变半径。

Now we have a variety of warp modifiers, or we can bind to another curve.

现在我们有了各种翘曲修饰符，或者我们可以绑定到另一条曲线。

I use a variety of techniques, but I will clearly show what result we can achieve using Mesh Deform:

我使用各种技术，但我会清楚地展示使用网格变形可以达到的结果：

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To do this, I created a box with several sections and turned on the Display As: Bounds setting. Also, I set the curves’ radius. Here is our result:

为此，我创建了一个包含多个部分的框，并打开了"显示为：边界"设置。此外，我还设置了曲线的半径。这是我们的结果：

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Using various methods, I got the telephone cable as I wanted.

使用各种方法，我得到了我想要的电话线。

Modelling

造型

I do a large stage of asset development in the early stages.

我在早期阶段做了一个大阶段的资产开发。

At the modeling stage, I work on finalizing the shapes and also think about the future textures I will make. In addition, I adapt the camera for the mesh, add and delete polygons where needed. I also set suffixes for the future low poly model _LP.

在建模阶段，我致力于最终确定形状，并考虑我将来要制作的纹理。此外，我针对网格调整相机，并在需要时添加和删除多边形。我还为未来的低多边形模型_LP设置了后缀。

Amongst other things, I used sharp edges in advance, then selected them and quickly made UV seams, and in some cases added seams manually. For example, for cutting cylindrical shapes.

除此之外，我提前使用了锋利的边缘，然后选择它们并迅速制作了UV接缝，在某些情况下还手动添加了接缝。例如，用于切割圆柱形。

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Advice:

建议：

To make a clear model, just start thinking in terms of vertices – if a vertex does not give shape, it does not help with shading or UV mapping, do we need that vertex?

要制作一个清晰的模型，只需开始考虑顶点 - 如果顶点没有给出形状，它对阴影或UV映射没有帮助，我们是否需要该顶点？

High Poly creation does not take long, I polish it in Zbrush by just duplicating the Low Poly and naming the suffixes _HP, and some elements I do not polish in Zbrush. For example, cable. After I do the UV mapping for the polygroups like this:

高多边形创建不会花费很长时间，我只是通过复制低多边形并将后缀命名为_HP，并在Zbrush中不抛光一些元素来抛光它。例如，电缆。在我为多边组执行 UV 映射后，如下所示：

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At first glance, it may seem that the UV looks wrong here, but it is not. We need it in order to maintain the silhouette during polishing, this is necessary for Zbrush. And before polishing, I move the low poly and high poly elements, but only those that should not give shading when Ambient Occlusion baking. In our case, this is a telephone receiver.

乍一看，似乎紫外线在这里看起来不对，但事实并非如此。我们需要它，以便在抛光过程中保持轮廓，这对Zbrush是必要的。在抛光之前，我会移动低多边形和高多边形元素，但只移动那些在环境光遮蔽烘焙时不应该产生阴影的元素。在我们的例子中，这是一个电话接收器。

Advice:

建议：

Where there is a chamfer, there is a seam on UV for polygroups.

如果有倒角，则UV上有多聚群的接缝。

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I also use a custom UI to focus on polishing and speed up the process.

我还使用自定义 UI 来专注于抛光并加快流程。

My sequence of actions.

我的操作顺序

First, I select the element in the subtool and then click on Auto Groups With UV. Then, I use DynaMesh and adjust the approximate density. Unfortunately, there is no universal way here. The topology should not be too dense, and not low. It is important to choose something in between. After that, I use Polish by Features only for those elements where there are faces, for example, to smooth spheres, cylinders, and so on.

首先，我在子工具中选择元素，然后单击"使用UV自动分组"。然后，我使用 DynaMesh 并调整近似密度。不幸的是，这里没有通用的方法。拓扑不应太密集，也不应太低。在两者之间选择一些东西很重要。之后，我只对那些有面的元素使用"按特征抛光"，例如，平滑球体、圆柱体等。

My options look like this:

我的选项如下所示：

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And the last step is where I use Polish. Thus, I create chamfers.

最后一步是我使用波兰语的地方。因此，我创建了倒角。

I do not create details in High Poly, we will talk about them later.

我不会在High Poly中创建细节，我们稍后会讨论它们。

After I have finished polishing, I can sometimes use the Decimation Master, which makes it easier to lighten the size of the model.

完成抛光后，我有时可以使用抽取母版，这样可以更轻松地减轻模型的大小。

UV Mapping

紫外线贴图

For UV mapping I use RizomUV, UVPackmaster аddon for blender, and RizomUV bridge.

对于UV映射，我使用RizomUV，UVPackmaster аddon用于搅拌机和RizomUV桥

My sequence is as follows:

After I did the UV mapping in the blender, I sent the model to RizomUV, now I can work with some islands. For example, straightening and optimizing them. In the next step, I return to Blender, select all the islands and use the Average Islands Scale. This is in order to evenly locate them over texel density.

我的顺序如下：

在搅拌机中进行UV映射后，我将模型发送到RizomUV，现在我可以处理一些岛屿。例如，拉直和优化它们。在下一步中，我返回Blender，选择所有岛屿并使用平均岛屿比例。这是为了在纹素密度上均匀地定位它们。

Some parts I can scale down by hand. For example, the bottom of the phone is 30% lower than the main islands. Such savings can increase texel density for other islands.

有些部分我可以手动缩小。例如，手机的底部比主要岛屿低30%。这种节省可以增加其他岛屿的纹素密度。

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I made the telephone cord with a very small square:

我用一个非常小的正方形制作了电话线：

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As a result, it takes up very little space. We can give it one color and general roughness. However, in this way, we lose the history in texturing.

因此，它占用的空间非常小。我们可以给它一种颜色和一般的粗糙度。但是，通过这种方式，我们失去了纹理的历史。

Baking

烘焙

I use Substance Painter for baking, and if necessary, Marmoset can also be used. Before baking, I check the low poly model for mapping, test the most different moments.

我使用Substance Painter进行烘焙，如有必要，也可以使用Marmoset。在烘焙之前，我检查低多边形模型的映射，测试最不同的时刻。

Here I check texel density:

在这里我检查纹素密度：

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And here I look over the checker map:

在这里，我查看了棋子地图：

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In addition, I can install random smart materials to ensure the quality of future textures. And if I don’t like something, I just change the UV again. To tell the truth, such cases in my practice happened rarely.

此外，我可以安装随机的智能材质，以确保未来纹理的质量。如果我不喜欢某些东西，我只需再次更改紫外线。说实话，在我的实践中，这种情况很少发生。

Before baking and texturing, I do a control test.

在烘焙和纹理加工之前，我做了一个对照测试。

Before baking, I usually make settings like this:

在烘焙之前，我通常会进行如下设置：

Even if I work with an asset that has a 2048×2048 texture, I still bake at 4096×4096.

即使我使用具有 2048×2048 纹理的资产，我仍然以 4096×4096 进行烘焙。

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Ambient Occlusion and Curvature – I set the maximum rays. And for normal maps, I set baking by suffixes to avoid intersections.

环境光遮蔽和曲率 – 我设置了最大光线。对于法线贴图，我设置了后缀烘焙以避免交叉。

For this, I set the suffixes _LP, _HP, which were mentioned earlier.

为此，我将后缀设置为_LP，_HP，这在前面已经提到过。

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In this iteration, I bake all maps except for Position.

在此迭代中，我烘焙了除位置之外的所有地图。

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Now I am loading the Low Poly, which should be the final. And I start making edits.

现在我正在加载低多边形，这应该是最终的。我开始做编辑。

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I just transfer maps to layers that have white masks. I add paint to the mask and select part of the mesh, filling in the problem areas with black.

我只是将地图传输到具有白色蒙版的图层。我向蒙版添加油漆并选择网格的一部分，用黑色填充问题区域。

And finally, I bake the Position map:

最后，我烘焙位置图：

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This map can be very useful for generators. Now, I can either save textures and attach them to slots, or continue like this.

此地图对于生成器非常有用。现在，我可以保存纹理并将其附加到插槽中，也可以继续这样。

Finally, the baking process is over.

最后，烘焙过程结束了。

Texturing

纹理

The texturing process is one of the most creative processes, and, in my opinion, it is especially important in creating assets. I prepared a duplicated LP model for texturing. Its difference is that the handset is turned upside down on the second model and there is space for texturing under the handset.

纹理加工过程是最具创造性的过程之一，在我看来，它在创建资源时尤为重要。我准备了一个复制的LP模型用于纹理。它的区别在于，手机在第二种型号上是颠倒的，并且在手机下方有纹理的空间。

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In my opinion, this is very convenient, since we cannot rotate the model or turn the HDRI map.

在我看来，这非常方便，因为我们不能旋转模型或转动HDRI地图。

Before I start texturing, I go through the project settings.

在开始纹理之前，我会检查项目设置。

First, I set the HDRI quality, like this and higher. In order to avoid errors in visualization:

首先，我设置了HDRI质量，就像这样甚至更高。为了避免可视化中的错误：

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If the value is too low, then the assets may look more matte.

如果值太低，则资产可能看起来更模糊。

Second, I am looking for HDRI. For example, on the HDRI Haven website. I select and choose the necessary HDRI, similar to the environment in the reference, which allows me to develop assets more accurately. So, I think the selection of HDRI is extremely important.

其次，我正在寻找HDRI。 例如，在HDRI Haven网站上。我选择并选择了必要的HDRI，类似于参考中的环境，这使我能够更准确地开发资源。所以，我认为HDRI的选择非常重要。

I chose something like this:

我选择了这样的东西：

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After carefully studying the reference we talked about above, I created basic colors for each element and assigned a roughness level, visually similar to plastic:

在仔细研究了我们上面讨论的参考之后，我为每个元素创建了基本颜色，并分配了一个粗糙度级别，在视觉上类似于塑料：

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Then, I started creating the screen using different shapes, working with blur and levels, as well as Height, using green, metallicity and noise.

然后，我开始使用不同的形状创建屏幕，使用模糊和级别，以及使用绿色，金属量和噪点的高度。

I created such a dial element:

我创建了这样一个拨号元素：

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Black slots I usually create using black albedo that is equal to 0 and metallicity 1 and roughness 1. Due to this, I achieve slots that are more realistic. The frame of the dial is also slightly changed in albedo, it is darker. That is why I intentionally fail to comply with PBR in order to achieve a better look. It is important to remember that PBR is an extremely cheap shader, so you have to over color.

我通常使用黑色反照率创建黑色插槽，该反照率等于0，金属量为1，粗糙度为1。因此，我实现了更逼真的插槽。表盘的框架在反照率方面也略有变化，它更暗。这就是为什么我故意不遵守PBR以获得更好的外观。重要的是要记住，PBR是一种非常便宜的着色器，因此您必须过度着色。

Then I wanted to insert the text by stages. I used Substance Designer and found a suitable font:

然后我想分阶段插入文本。我使用了 Substance Designer，并找到了一个合适的字体：

Then, I copied the settings and exported them to Substance Painter as a procedure texture.

然后，我复制了设置，并将它们作为过程纹理导出到 Substance Painter。

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The peculiarity was that I could enter various characters and easily place elements in the mask.

特点是我可以输入各种角色，并轻松地将元素放置在面具中。

The light elements are the usual metallic, dark albedo. For the lower gray body I used the Planar Projection, a notebook, colored lines and added a noise Height to slightly crumple:

光元素是通常的金属，深色反照率。对于较低的灰色机身，我使用了平面投影，一个笔记本，彩色线条，并添加了一个噪声高度以略微皱巴巴：

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I created all the details in Substance Painter. Holes, slots, stripes and so on.

我在Substance Painter中创建了所有细节。孔，插槽，条纹等。

The anchor point is my main tool and I often use it. For example, if I painted the bottom part using Planar Projection, I can easily get the edges thanks to the anchor and fill them with a black stripe, making deepenings in the Height.

锚点是我的主要工具，我经常使用它。例如，如果我使用Planar Projection绘制底部，由于锚点，我可以很容易地获得边缘，并用黑色条纹填充它们，从而在高度中加深。

Next, I did a trick for generators:

接下来，我为发电机做了一个技巧：

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I collected the anchor data from the Height layer in Passthrough mode. Provided that all the created parts were below.

我在直通模式下从高度图层收集了锚点数据。前提是所有创建的部件都在下面。

The last step is to create history to the texture.

最后一步是为纹理创建历史记录。

I apply a light roughness without changing the color. I use the grunge maps that are in Substance Painter and combine them to achieve a variety of results.

在不改变颜色的情况下涂抹淡淡的粗糙度。我使用 Substance Painter 中的垃圾乐地图，并将它们组合在一起，以获得各种效果。

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I noticed yellowness in the reference and decided to recreate it:

我注意到引用中的黄色，并决定重新创建它：

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I am using the Metal Edge Wear generator and loading the details information from my HEIGHT_MAIN anchor to grab the edges and details. To do this I changed its parameters, and ended up using this combination:

我正在使用金属边缘磨损发生器，并从我的HEIGHT_MAIN锚点加载详细信息，以抓取边缘和细节。为此，我更改了它的参数，并最终使用了以下组合：

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Paint was used for manual edits, and Subtract modification for the basic color, this gives an interesting yellowing effect. This gives the effect that the phone is old.

油漆用于手动编辑，并减去基本颜色的修改，这给出了一个有趣的泛黄效果。这给人的效果是手机是旧的。

Using various combinations, I created the effect of dust, spots and other important details:

使用各种组合，我创建了灰尘，斑点和其他重要细节的效果：

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Later, I created the shapes around the buttons using black albedo and metallic. In order to give the impression that there is space under the buttons:

后来，我使用黑色反照率和金属色创建了按钮周围的形状。为了给人一种按钮下有空间的印象：

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I then created layers for the basic color and separated them for the roughness, which allowed me to adjust the texture sharpness:

然后，我为基本颜色创建了图层，并将它们分开以获得粗糙度，这使我能够调整纹理清晰度：

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Finally, we get this look for the asset:

最后，我们得到资产的这个外观：

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Advice:

建议：

There are no perfect textures – there is always a measure. If you want to create interesting assets, try to interpret the reference as accurately as possible.

没有完美的纹理 - 总有一个措施。如果要创建有趣的资源，请尝试尽可能准确地解释引用。

Match the colors, the spots, the roughness as accurately as possible.

尽可能准确地匹配颜色，斑点，粗糙度。

In my opinion, the basic color and roughness are the most important textures. Also, never rush. If you are tired, have a rest, and then go back to texturing. The more accurately you create an asset according to reference, the better your work will be. In some cases, you can overcolor in order to raise the “readability”, but moderately.

在我看来，基本的颜色和粗糙度是最重要的纹理。另外，永远不要着急。如果你累了，休息一下，然后回到纹理。您根据参考创建资产越准确，您的工作就越好。在某些情况下，您可以过度着色以提高"可读性"，但要适度。

Rendering

渲染

I use the Marmoset Toolbag for rendering. I usually use the same HDRI I used in Substance Painter.

我使用Marmoset工具包进行渲染。我通常使用与Substance Painter相同的HDRI。

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When I am working with the light, I imagine that I am texturing again, only with light. I try to catch the lighting level, the angle, to create the appropriate atmosphere. In other words, creating light is the “sibling of texturing”.

当我使用灯光时，我想象我再次使用纹理，只有光线。我试着捕捉照明水平，角度，以营造适当的氛围。换句话说，创造光是"纹理的兄弟"。

My settings look like this:

我的设置如下所示：

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Please note that I rarely use post effects.

请注意，我很少使用后期效果。

I use the Use Ray Tracing option just to get shadows and reflections. Without this option, my asset would look like this:

我使用"使用光线追踪"选项只是为了获取阴影和反射。如果没有此选项，我的资产将如下所示：

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Advice:

建议：

Creating light is like painting with light. I advise you to use exactly the same technique as with texturing. This gives the opportunity to match the light as realistically as possible with the reference, and at the same time convey all the details. In my opinion, studio light is artificial light, and real light is when there is a feeling that our props are in a real room.

创造光就像用光绘画。我建议您使用与纹理完全相同的技术。这提供了尽可能逼真地将光线与参考相匹配的机会，同时传达所有细节。在我看来，演播室的灯光就是人造光，而真正的灯光就是当有一种感觉，我们的道具是在真实的房间里。

Conclusion

结论

In conclusion, creating an asset is not only creative work but also a mental one. An example, if you created the most accurate work (when compared with the reference), but few people know about this prop, such an asset will most likely not arouse increased interest. If you create something that people have seen before in real life, in films, in games, and you have created a product of good quality, then such an asset can delight viewers.

总之，创造资产不仅是创造性的工作，也是一种精神工作。举个例子，如果你创作了最准确的作品（与参考文献相比），但很少有人知道这个道具，这样的资产很可能不会引起更多的兴趣。如果你创造了人们以前在现实生活中，在电影中，在游戏中看到的东西，并且你已经创造了一种高质量的产品，那么这样的资产可以取悦观众。

All credibility is based on our personal experience, what we have seen in life, in films, computer games and so on, it is stored somewhere in our subconscious.

所有的可信度都是基于我们的个人经验，我们在生活中，在电影，电脑游戏等等中看到的东西，它都存储在我们潜意识的某个地方。

Thus, you can always follow this in your work.

因此，您始终可以在工作中遵循这一点。

Practice as often as possible, create different approaches, develop new techniques, experiment with each new work, and thoughtfully create amazing works of art. Then your skills will only progress, improve and move forward.

尽可能多地练习，创造不同的方法，开发新技术，尝试每一件新作品，并深思熟虑地创造令人惊叹的艺术作品。然后，你的技能只会进步，改进和前进。

I wish you lots of success and luck!

祝你成功，祝你好运！

够复古

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