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本帖最后由 七月纪旅。 于 2022-8-6 11:42 编辑
Introduction
介绍
Hi, my name is Yuri, I am 27 years old, and I am a 3D artist. I've always been attracted to games, stylized visuals, and fantastic worlds. In April 2021, I began to deepen into 3D and independently studied the software I needed.
大家好，我叫 Yuri，今年 27 岁，是一名 3D 艺术家。我一直被游戏、程式化的视觉效果和奇妙的世界所吸引。2021年4月，开始深入3D，自主学习自己需要的软件。
References
参考
I spent a lot of time scrolling through Pinterest in search of the perfect concept, collecting texture references along the way. In the end, I found the concept to my liking, thanks to Tanta V. Since I was trying to translate the concept into 3D, there weren't many specific links that I could work with, compared to realistic props, for example.
我花了很多时间浏览 Pinterest 以寻找完美的概念，并在此过程中收集纹理参考。最后，感谢Tanta V ，我找到了我喜欢的概念。由于我试图将概念转换为 3D，因此与现实道具相比，我可以使用的特定链接并不多。
To facilitate the texturing process, I tried to find images of assets with materials similar to the one I was going to create. I've also put together a few links to specific details that will come in handy later. Given that brass and wood make up the bulk of the props, I was particularly focused on finding good references for this material.
为了促进纹理处理过程，我试图找到具有与我将要创建的材料相似的材料的资产图像。我还整理了一些指向特定细节的链接，这些链接稍后会派上用场。鉴于黄铜和木材构成了大部分道具，我特别专注于为这种材料寻找好的参考。
I highly recommend using PureRef to collect your images. This is a great tool that allows you to have all your links in one place. It also allows you to place them on top of your 3D application or texturing software.
我强烈建议使用 PureRef 来收集您的图像。这是一个很棒的工具，可让您将所有链接放在一个地方。它还允许您将它们放置在您的 3D 应用程序或纹理软件之上。
Blockout/Modeling
封锁/建模
The cash register was made to be completely ready to play. Trying to keep a clean topology and a small number of polygons was never an obstacle for me, but rather a fun task. I model in Blender. During the modeling process, I got carried away and made an almost ready-made low poly model, but left all the hidden polygons in place, for ZBrush.
收银机完全可以玩。尝试保持干净的拓扑结构和少量多边形对我来说从来都不是障碍，而是一项有趣的任务。我在 Blender 中建模。在建模过程中，我得意忘形并制作了一个几乎现成的低多边形模型，但将所有隐藏的多边形留在原位，用于 ZBrush。
High Poly
高聚
In ZBrush, I set Crease on all meshes to level 2 and added a Dynamic Subdiv to level 5 to get smooth chamfers.
在 ZBrush 中，我将所有网格上的 Crease 设置为 2 级，并将 Dynamic Subdiv 添加到 5 级以获得平滑的倒角。
In creating the cash register, I used standard brushes and "Orb Brushes" by Michael Vicentes. The wood was redone from scratch many times and each time, it looked different. I discovered a new feature of the Orb_Cracks brush, you can use it by inverting it with "alt" to add volume, and then go over it with a TrimDynamic or hPolish brush. The sculpture went through five stages of acceptance:
在创建收银机时，我使用了标准刷子和Michael Vicentes 的“Orb Brushes”。木头从头开始重做很多次，每次看起来都不一样。我发现了 Orb_Cracks 笔刷的一个新功能，您可以通过使用“alt”反转它来增加音量，然后使用 TrimDynamic 或 hPolish 笔刷对其进行处理。雕塑经历了五个验收阶段:
Once I finished sculpting I made a Dynamation and loaded high poly into Blender to make a low poly model.
完成雕刻后，我制作了一个 Dynamation 并将高多边形加载到 Blender 中以制作一个低多边形模型。
Low Poly
低聚
I decided not to save on polygons, since the work goes into a portfolio, and not into a real game, I also didn’t make checks and a note through alpha. I added money, moved the polygons a little, because at the draft stage I did most of the work and removed all unnecessary polygons.
我决定不保存多边形，因为这项工作进入了投资组合，而不是真正的游戏，我也没有通过 alpha 进行检查和记录。我加了钱，稍微移动了多边形，因为在草稿阶段我做了大部分工作并删除了所有不必要的多边形。
I deployed according to the principle "every sharp edge = seam, but not every seam= sharp edge".
我按照“每条锋利的边缘=接缝，但不是每条接缝=锋利的边缘”的原则进行部署。
Following the unwrapping process, I used an add-on called "UVPackmaster". It allows you to pack your UV Islands with the click of a button and covers a lot more space than a manual UV layout could. I highly recommend using it, given it saves a lot of time and makes baking easier if you have to adjust your UVs later on.
在展开过程之后，我使用了一个名为“UVPackmaster”的附加组件。它允许您通过单击按钮来打包您的 UV 岛，并且比手动 UV 布局可以覆盖更多的空间。我强烈建议使用它，因为它可以节省大量时间，并且如果您以后必须调整 UV，它会使烘焙变得更容易。
Baking
烘烤
Once I started working at Marmoset Toolbag, it became my favourite tool in terms of card baking. It also offers the option to adjust the baking cage directly and has a painting tool that accounts for skewing. Therefore, you don’t need to jump back and forth between applications or change the geometry for most fixes. I baked textures in 2K.
一旦我开始在 Marmoset Toolbag 工作，它就成为我最喜欢的卡片烘焙工具。它还提供直接调整烤笼的选项，并有一个可以解决倾斜的绘画工具。因此，您无需在应用程序之间来回跳转或更改几何图形以进行大多数修复。我在 2K 中烘焙纹理。
Texturing
纹理
At this stage, I tried to get one Albedo card, so I worked exclusively in the Base color layer.
Initially, I applied the base color to all materials. Next, I made several variations of grunge with the Blur Slope filter and used them to achieve the appearance of handpaint textures, but the chips and scuffs themselves were achieved using a tablet and a pen, but added to them a small effect of the same Blue Slope filter. And in general, I finished everything with a brush.
在这个阶段，我试图获得一张 Albedo 卡，所以我专门在 Base color 层工作。
最初，我将基色应用于所有材料。接下来，我使用 Blur Slope 滤镜制作了几个变种的垃圾，并使用它们来实现手绘纹理的外观，但碎片和磨损本身是使用平板电脑和笔实现的，但添加了相同蓝色的小效果斜率过滤器。总的来说，我用刷子完成了一切。
To achieve the final result, I had to go a long way through folders, and I also had to pay special attention to working with highlights and shadows in Base color, for this I used the Bake light stylized filter, which I assigned to different meshes through a black mask so that highlights and shadows were logical.
为了达到最终的效果，我不得不在文件夹中走很长一段路，而且我还必须特别注意处理 Base color 中的高光和阴影，为此我使用了 Bake light 风格化滤镜，我将它分配给了不同的网格通过黑色蒙版，使高光和阴影合乎逻辑。
When I uploaded the Base color and Normal map, I wanted to slightly modify some places on the Base color in Photoshop (just a little bit).
当我上传基础颜色和法线贴图时，我想在 Photoshop 中稍微修改基础颜色上的一些地方（只是一点点）。
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Rendering
渲染
I rendered in Marmoset Toolbag and added Shadow Cather and Turntable. I put on HDRI "Mountains Roadside" and took some shots. Looking at other people’s artworks on ArtStation can also help get some inspiration on how to best present your assets.
我在 Marmoset Toolbag 中渲染并添加了 Shadow Cather 和 Turntable。我穿上HDRI“Mountains Roadside”并拍了一些照片。在 ArtStation 上查看其他人的艺术作品也有助于获得一些关于如何最好地展示您的资产的灵感。
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Polishing
抛光
To improve the quality of the image, I made one last pass in Photoshop. The pictures I export from Marmoset tend to be a little less saturated. Using an adjustment layer in Photoshop, I increased the saturation again. I just slightly increased the texture and definition values. Most importantly, don't go overboard with the values, as they should only support your image. If you apply strong settings, your final product may not end up looking its best. I also made a preview for ArtStation and checked how it will look among others through Photoshop.
为了提高图像的质量，我在 Photoshop 中进行了最后一次处理。我从 Marmoset 导出的图片往往不太饱和。在 Photoshop 中使用调整图层，我再次增加了饱和度。我只是稍微增加了纹理和定义值。最重要的是，不要过度使用价值观，因为它们应该只支持你的形象。如果您应用强大的设置，您的最终产品可能最终不会看起来最好。我还对 ArtStation 进行了预览，并通过 Photoshop 检查了它的外观。
Afterword
后记
Many thanks to 80 Level for approaching me about writing this article and for the opportunity to share my art with the community. If you are interested in specific parts of my workflow or have any questions, please do not hesitate to contact me. I am always happy to help you!
非常感谢 80 Level 找我写这篇文章，并有机会与社区分享我的艺术。如果您对我的工作流程的特定部分感兴趣或有任何疑问，请随时与我联系。我总是很乐意帮助你！
You can find me on ArtStation and Linkedin.
你可以在ArtStation和Linkedin上找到我。
Thank you for reading to the end. I hope that this article was useful to you, or at least interesting!
感谢您阅读到最后。我希望这篇文章对你有用，或者至少很有趣！
P.S: Special thanks to Anastasiya, Anton Kudryashov, Kirill Danilchenko, and of course my wife for feedback and support at every stage of work <3
PS：特别感谢 Anastasiya、Anton Kudryashov、Kirill Danilchenko，当然还有我的妻子在每个工作阶段的反馈和支持<3
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