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Introduction
Hi! I’m Emily and I’m a 3D Environment Artist. I studied Computer Animation at Teesside University. While growing up, I thought about pursuing a path in concept art, but when I got to university I learned 3D modeling and fell in love with it! It was an unexpected change but after university, I landed a job as a 3D Artist and I absolutely love what I do.
介绍
你好！我是Emily，我是一名3D环境艺术家。我在蒂赛德大学学习计算机动画。在成长过程中，我想过在概念艺术中追求一条道路，但是当我上大学时，我学习了3D建模并爱上了它！这是一个意想不到的变化，但大学毕业后，我找到了一份3D艺术家的工作，我非常喜欢我的工作。
I started off in a generalist role, where I got to work on all kinds of projects, from project mapping animation to buildings, museum exhibits, and augmented reality mobile games. I then went on to specialize as an environment artist at a VR company making therapy treatments for mental health. It’s been quite a varied career so far! But at the end of the day, the games industry has always had a special place in my heart.
我最初是一个通才角色，在那里我从事各种项目，从项目映射动画到建筑物，博物馆展览和增强现实手机游戏。然后，我继续在一家VR公司担任环境艺术家，为心理健康提供治疗。到目前为止，这是一个非常多样化的职业生涯！但归根结底，游戏行业在我心中一直占有特殊的位置。
I’ve had more experience using Unity in my career, but Unreal is so commonly used, that it’s definitely worth having knowledge of both. As a 3D artist, it's important to have the willingness to learn different software and the more technical aspects of development, and of course, when you know one engine, there are certain commonalities across others.
在我的职业生涯中，我有过更多使用Unity的经验，但虚幻引擎非常常用，因此绝对值得了解这两者。作为一名3D艺术家，重要的是要愿意学习不同的软件和开发中更技术性的各个方面，当然，当你知道一个引擎时，其他引擎之间有一定的共性。
Interestingly, by accident, I’ve been lucky to work with emerging immersive technologies during my career and most recently worked on projects for Oculus Rift and Quest. As the Quest is untethered, it has significantly more limitations which has its challenges. When working on environments for the Quest, it’s always about keeping the draw calls down and optimizing as much as possible, and you have to sacrifice a lot. This meant minimal materials and textures, LOD-ing, keeping poly counts low, considering draw distance, and clever occlusion culling. It was really important to keep communicating with the programming team to check the budget and where we could optimize.
有趣的是，在我的职业生涯中，我很幸运地使用新兴的沉浸式技术，最近还为Oculus Rift和Quest做过项目。由于Quest是不受束缚的，它有更多限制，这些限制有其挑战。在为任务处理环境时，它始终是关于保持绘制调用并尽可能多地优化，你必须牺牲很多。这意味着最少的材料和纹理，LOD-ing，保持低多边形计数，考虑绘制距离以及巧妙的遮挡剔除。与编程团队保持沟通以检查预算以及我们可以优化的地方非常重要。
The Cosy Studio Apartment Project
My thought behind this project was simply that I wanted to work on something for fun. I’ve always liked cozy and colorful environments and wanted to create something inviting that I’d enjoy if it were real life. I was inspired by miniature model DIY kits, particularly Japanese ones. I feel that they capture so much personality in a small space. I’ll usually start by collecting references into a Pinterest board, or Miro is a great tool for brainstorming and keeping ideas all in one place.
舒适一室公寓项目
这个项目背后的想法很简单，我想做一些有趣的事情。我一直喜欢舒适多彩的环境，并希望创造一些吸引人的东西，如果它是现实生活，我会喜欢。我的灵感来自微型模型DIY套件，尤其是日本的。我觉得他们在一个小空间里捕捉到了如此多的个性。我通常会从将参考资料收集到Pinterest板中开始，或者Miro是集思广益和将想法保存在一个地方的好工具。
Modeling
Layout-wise, I had a pretty strong idea of what I wanted, I knew I wanted a mezzanine to the bedroom and I also wanted it to have an outdoor space, so I added a balcony and small yard so I could have some greenery. Because it was a small studio, my natural thought process was to use a spiral staircase to go from the living space to the bedroom.
建 模
在布局方面，我对我想要的东西有一个非常强烈的想法，我知道我想要一个卧室的夹层，我也希望它有一个户外空间，所以我增加了一个阳台和小院子，这样我就可以有一些绿色植物。因为这是一个小工作室，我的自然思维过程是用螺旋楼梯从生活空间到卧室。
I blocked out the space in Maya, most assets were pretty straightforward and started off as primitives. There were a couple of assets that required other Maya tools, like for the spiral staircase I used a cylinder extruded along CV Curve, and for the bed and the kitchen towel, I used simple nCloths so that they could have slightly more realistic fabric folds.
我屏蔽了Maya中的空间，大多数资源都非常简单，并且从基元开始。有几个资产需要其他Maya工具，例如对于螺旋楼梯，我使用沿着CV曲线挤压的圆柱体，对于床和厨房毛巾，我使用简单的nCloths，以便它们可以具有稍微更逼真的织物褶皱。
I knew that the way to add personality and character to this space was through all the small details to make it feel lived-in. I quite enjoyed thinking about things that could fill the space as if it were my real home, like books, soft furnishings, wall decoration, and plants, and I even thought about making the kitchen appliances cute by choosing a colorful retro theme. For the cat, I knew it wouldn’t move, so I modeled it specifically in a sleeping position knowing it wouldn’t be animated.
我知道，为这个空间增添个性和个性的方法是通过所有小细节来让它感觉像住家一样。我非常喜欢思考那些可以填满空间的东西，就好像它是我真正的家一样，比如书籍，软装饰，墙壁装饰和植物，我甚至想过通过选择丰富多彩的复古主题来使厨房用具变得可爱。对于猫，我知道它不会移动，所以我专门在睡觉姿势下对它进行了建模，知道它不会动画化。
Texturing
I wanted to render this scene in Unity, so I would jump back and forth from Maya to Unity quite often to check how I might layout and light the space. I also generally like to model and place assets before UV unwrapping in Maya. In this case, because I knew that the assets would be in fixed positions and the environment wouldn’t change once finalized, I grouped assets together by room and created texture atlases wherever I could in Maya before taking them to Substance 3D Painter to texture. During the unwrapping phase, I also usually create the second UV channel for light mapping, as it will be helpful in reducing errors and artifacts when baking lighting in the engine.
纹理
我想在 Unity 中渲染这个场景，所以我会经常从 Maya 跳到 Unity，以检查如何布局和照亮空间。我通常还喜欢在 Maya 中 UV 展开之前对资源进行建模和放置。在本例中，因为我知道资源将处于固定位置，并且环境在最终确定后不会更改，因此我将资源按房间组合在一起，并在 Maya 中尽可能创建纹理图集，然后再将它们带到 Substance 3D Painter 到纹理。在展开阶段，我通常还会创建第二个UV通道用于光映射，因为它有助于在引擎中烘焙照明时减少错误和伪影。
Where possible, I wanted to use my own materials, so for some of the larger surfaces in this scene, I created the materials in Substance 3D Designer. For the brick and wood planks, they started off with Tile Generators with layers of grunge, dirt, and grain. For the kitchen and bathroom tiles, I knew I wanted colorful patterns, the kitchen tiles in particular were inspired by Portuguese tiles. They also started off with a Tile Generator, and then I made the pattern in Photoshop, which I then imported into Substance 3D Painter so that it could fit into the tile and I could add color. Then I published them as .sbsar files so that I could bring them over to Substance 3D Painter.
在可能的情况下，我想使用自己的材质，因此对于此场景中的一些较大表面，我在 Substance 3D Designer 中创建了材质。对于砖和木板，他们从瓷砖生成器开始，这些瓷砖生成器具有垃圾，污垢和谷物层。对于厨房和浴室瓷砖，我知道我想要五颜六色的图案，特别是厨房瓷砖的灵感来自葡萄牙瓷砖。他们还从瓷砖生成器开始，然后我在Photoshop中制作了图案，然后将其导入到Substance 3D Painter中，以便它可以放入瓷砖中并添加颜色。然后我将它们发布为.sbsar文件，以便我可以将它们带到Substance 3D Painter。
Because there were a lot of small details throughout this whole environment, I didn’t do anything too elaborate with the textures. For the props, I would start with a simple smart material as a base and alter the colors to suit my scene, and then layer different textures such as dirt, scratches, and damage. My style always leans slightly more towards stylized, so for a subtle extra depth, I overlayed gradients to most assets by using a darker color with a Position Generator.
因为整个环境中有很多小细节，所以我没有对纹理做任何太精细的事情。对于道具，我会从一个简单的智能材料作为基础开始，并改变颜色以适应我的场景，然后分层不同的纹理，如污垢，划痕和损坏。我的风格总是稍微倾向于风格化，因此为了获得微妙的额外深度，我通过在位置生成器中使用较深的颜色来叠加渐变到大多数资源。
For the plants, I ended up going super simple and old-school and painting them in Photoshop. I wanted them to look flat in a stylized way, and they would be more in the background, so I didn’t even add normal maps for them in this scene.
对于植物，我最终选择了超级简单和老派的东西，并在Photoshop中绘制它们。我希望它们以风格化的方式看起来很平坦，并且它们会在背景中更多，所以我甚至没有在这个场景中为它们添加法线贴图。
Lighting
As soon as I bring the assets into Unity, I like to set up baked lighting and, very importantly, a skybox to suit the atmosphere of the scene. In this case, I used Customizable Skybox by Key Mouse Studio, it came with a lot of pre-made skyboxes for different times of day, but I ended up creating my own for a soft peachy background to get a similar vibe to the Japanese dollhouses.
照明
一旦我将资源引入Unity，我就喜欢设置烘焙照明，而且非常重要的还有一个适合场景氛围的天空盒。在这种情况下，我使用了Key Mouse Studio的可定制Skybox，它附带了许多预制的天空盒，用于一天中的不同时间，但我最终为柔和的桃色背景创建了自己的天空盒，以获得与日本玩具屋相似的氛围。
I always start with deciding the time of day and the direction of the sun, and therefore where the shadows will fall. I went with a yellow/orange tint to continue the warm tone. Then I usually like to add an additional Fill Directional Light in a contrasting color to bump up the darker areas, in this case, I went for pale blue. Then I added in a couple of extra Area Lights to light up specific areas, like the kitchen and the bathroom. I knew I wanted some kind of fairy lights in the scene, so for the bulbs, I applied a white emissive material.
我总是从决定一天中的时间和太阳的方向开始，因此阴影会落在哪里。我用黄色/橙色色调继续温暖的色调。然后，我通常喜欢添加一个对比色的额外填充定向光，以凸起较暗的区域，在这种情况下，我选择了淡蓝色。然后，我添加了几个额外的区域灯来照亮特定区域，如厨房和浴室。我知道我想要在场景中出现某种童话般的灯光，所以对于灯泡，我应用了一种白色的发光材料。
Rendering
Adding post-processing can be a lot of fun, but in this particular scene, I didn’t go too crazy. I bumped up the Saturation and Contrast and added some Bloom to give the fairy lights a little glow, and just a little grain.
渲染
添加后期处理可能会很有趣，但在这个特定的场景中，我没有太疯狂。我提高了饱和度和对比度，并添加了一些绽放，让仙女的灯光有点发光，只有一点点颗粒。
Conclusion
I had a lot of fun with this environment because I love home decor and making my real home the coziest place possible. I wanted to create an environment where people could look at it and think “I’d be quite happy living there”. I’m by no means a minimalist, and, I’m sure like most people, have a lot of memorabilia, items collected from over the years, things that just look pretty, and things that hold memories, and I believe these are what make a home. For me, it’s the small details that really sell a scene.
结论
我对这个环境玩得很开心，因为我喜欢家居装饰，让我真正的家成为最舒适的地方。我想创造一个环境，让人们可以看着它，并认为“我住在那里会很开心”。我绝不是一个极简主义者，而且，我敢肯定，像大多数人一样，有很多纪念品，多年来收集的物品，看起来很漂亮的东西，以及记忆的东西，我相信这些都是一个家。对我来说，真正卖出一幕的小细节。
I had a fairly clear idea of what I wanted in this scene, and sectioning off each room made thinking about all of the smaller props more manageable. One of the most important things I’ve found when working on personal projects is planning. While I’ll be the first to admit I could do this part better at the beginning of a project, organizing references and keeping a list of assets is so useful in maintaining vision and traction, and not getting overwhelmed when it feels like there’s a lot to do. It can be easy to get overexcited and get too ambitious when you feel inspired, so it's good to take a step back occasionally and make sure the scope is within reason and the project doesn’t turn into a chore.
我对这个场景中我想要的东西有了一个相当清晰的想法，并且将每个房间分开，使思考所有较小的道具更易于管理。在从事个人项目时，我发现的最重要的事情之一就是规划。虽然我是第一个承认我可以在项目开始时更好地完成这一部分的人，但组织参考并保留资产列表对于保持愿景和牵引力非常有用，并且在感觉有很多事情要做时不会感到不知所措。当你感到受到启发时，很容易变得过于兴奋和过于雄心勃勃，所以偶尔退后一步，确保范围在合理范围内，项目不会变成一件苦差事。
My biggest piece of advice when working on personal projects is to do something that you will personally enjoy, without thinking too much about what needs to be on your portfolio, what skills you need to show, or who you want to impress. If you love the project you’re working on, you’ll naturally feel motivated and have fun while you hone your craft, and it will show in the final product.
在从事个人项目时，我最大的建议是做一些你个人会喜欢的事情，不要过多地考虑你的投资组合中需要什么，你需要展示什么技能，或者你想给谁留下深刻的印象。如果你喜欢你正在做的项目，你自然会感到有动力，并在你磨练你的手艺时玩得开心，它会在最终产品中表现出来。
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