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Introduction
Hey there. My name is Antijn van der Gun, I am 23 years old and currently studying game graphics production at Digital Arts and Entertainment Howest. I am in the 2nd year and before that, I have studied at Grafisch Lyceum Utrecht for 4 years.
My background is a lot more focused on stylized design but because of the Game Asset Pipeline course, I have been really digging the PBR workflow.
I hope to give you some insight into how I make cool props!
介绍
嘿，你好。我的名字是Antijn van der Gun，我今年23岁，目前在Digital Arts and Entertainment Howest学习游戏图形制作。我是第二年，在此之前，我已经在乌得勒支格拉菲施中学学习了4年。
我的背景更专注于风格化设计，但由于游戏资产管道课程，我一直在挖掘PBR工作流程。
我希望能让你了解一下我是如何制作很酷的道具的！
Goals
The prop was made for my third game asset pipeline assignment, we had to create a prop with sufficient complexity and it had to fall within the theme: optics. This could be anything from scopes, cameras and even monitors.
A personal goal of mine was to learn to work more with substance painter’s generators. For a previous assignment I chose to make a skateboard and because of its shape generators were often a bit lacking. So I wanted an object that had a lot of interesting curvature and ambient occlusion for generators to work with.
目标
这个道具是为我的第三个游戏资产管道分配制作的，我们必须创建一个具有足够复杂性的道具，它必须属于主题：光学。这可以是示波器，相机甚至监视器的任何东西。
我的个人目标是学会更多地使用物质画家的发电机。对于之前的任务，我选择制作滑板，因为它的形状生成器通常有点缺乏。所以我想要一个有很多有趣的曲率和环境光遮蔽的物体，供发生器使用。
Reference
I use Pureref to organize my reference when I use a combination of pictures and links. Having front, backside and top shots helps a lot. A bottom shot is handy to have but often hard to find. When I have a hard time finding specific reference angles I often look at review videos as they often show uncommon angles when handling a prop.
参考
当我使用图片和链接的组合时，我使用Pureref来组织我的参考。拥有前场，后场和上场的投篮有很大帮助。底部镜头很方便，但通常很难找到。当我很难找到特定的参考角度时，我经常看评论视频，因为它们在处理道具时经常显示不常见的角度。
Modelling
When I start modeling, I always start with a quick and dirt block out. Just to get a feel for the object and the different parts. I don’t worry too much about the exact shapes.
造型
当我开始建模时，我总是从快速和污垢块开始。只是为了感受物体和不同的部分。我不太担心确切的形状。
After the quick and dirt blockout is done I choose a part of my model I wish to start with. I prefer starting with the easier sections, in this case, the tubes that hold the lenses.
I like Subd modeling a lot, I use it for everything in this prop but I am sure some things could be done easier in Zbrush. I start by better defining the shapes, I look at my blockout for the initial shape but be sure to keep looking at your reference. Often the side, front and top planes can look okay but in perspective, they look off. Don’t be to leave your initial blockout behind if you can make it look better while in perspective.
在快速和污垢阻挡完成后，我选择了我希望开始的模型的一部分。我更喜欢从较简单的部分开始，在这种情况下，从固定镜片的管子开始。
我非常喜欢Subd建模，我用它来做这个道具中的所有事情，但我相信有些事情在Zbrush中可以更容易地完成。我从更好地定义形状开始，我查看初始形状的块，但一定要继续查看您的参考。通常，侧面，前部和顶部平面看起来还不错，但从角度来看，它们看起来不对劲。不要把你最初的封锁抛在脑后，如果你能让它看起来更好。
Using Subd modeling I add edges and try to make it look nice smoothed. I try to keep my topology good but if something is giving me trouble, I will just focus on making it look good smoothed.
I am still experimenting with how soft edges should be, as a rule, I try to keep them a bit softer than they actually are as that look better in the bake.
使用Subd建模，我添加了边缘，并尝试使其看起来很漂亮。我试图保持我的拓扑结构良好，但如果有什么东西给我带来麻烦，我会专注于让它看起来不错。
我仍在尝试边缘应该如何柔软，通常，我试图让它们比实际更柔软一些，因为在烘烤中看起来更好。
When I have my subD highpoly I delete edges and modify edge flow until I get my low poly, I try to avoid bevelled edges where possible. I think its always worth to make round shapes actually round.
当我拥有我的子D高聚时，我会删除边缘并修改边缘流，直到我得到我的低多边形，我尽量避免斜边。我认为使圆形实际上圆圆总是值得的。
Pre-Baking
Before the whole model is complete, I bake the separate high and lowpoly parts onto each other. I like doing this because the workflow makes the workflow flexible. For me, most problems appear at the baking stage and this way I don’t get all my problems at once. I can iron out all problems and save the lowpoly and high poly in a separate folder ready to be used when the model is completed.
预烘烤
在整个模型完成之前，我将单独的高聚和低聚部分相互烘烤。我喜欢这样做，因为工作流使工作流变得灵活。对我来说，大多数问题都出现在烘焙阶段，这样我就不会一下子得到所有的问题。我可以解决所有问题，并将低聚和高多边形保存在一个单独的文件夹中，以便在模型完成后使用。
When baking, always use match by name. This is a little extra work, but it’s work you often should probably do anyway just to keep projects organised. It also just prevents like 80% of bake issues so yeah. The fastest way to find issues is by looking through the different mesh maps using ‘B’. Applying generator also often show potential issues.
烘焙时，请始终使用按名称匹配。这是一项额外的工作，但这是你经常应该做的工作，只是为了保持项目的井井有条。它也只是防止了80%的烘焙问题，所以是的。查找问题的最快方法是使用“B”查看不同的网格贴图。应用生成器也经常显示潜在问题。
Above, is a baked lowpoly with an automatic unwrap.
I repeat these steps of modeling – baking until all parts are completed.
上面，是一个烤低聚与自动开包。
我重复这些建模步骤-烘烤，直到所有零件都完成。
UV’s
Up until now, I haven’t covered my UV’s yet even though I have some bakes. For the earlier mentioned bakes, I just use Maya automatic UV. It’s not perfect but it’s fast and gives a good idea. If the bake gives problems because of bad UV’s I might UV it beforehand and keep parts of that UV but most of the time I just leave it
紫外线
到目前为止，我还没有覆盖我的紫外线，即使我有一些烘焙。对于前面提到的烘焙，我只使用Maya自动UV。它并不完美，但它很快，给出了一个好主意。如果烘烤由于紫外线不好而出现问题，我可能会事先将其紫外线并保留紫外线的一部分，但大多数时候我只是离开它
The first thing I do is look where symmetry can be used. In this model both tubes could symmetrize and some of the screws. I look for simple shapes like cylinders and flat surfaces. Unwrapped these are often long strips that fit next to each other. This will usually form a kind of rectangle shape that I will put in one of the corners of the UV tile. From there it’s often just a puzzle.
我做的第一件事是看看在哪里可以使用对称性。在这个模型中，两个管子都可以对称，一些螺钉可以对称。我寻找简单的形状，如圆柱体和平坦的表面。未包装的这些通常是彼此相邻的长条。这通常会形成一种矩形形状，我将把它放在UV瓷砖的一个角落里。从那里开始，它通常只是一个难题。
Texel density is important but, in my experience, it’s okay to have small bits of difference as long as it’s not noticeable or in hidden areas of the model. When this Is done remember where these areas are though and are sure to triple check these when making textures.
Texel密度很重要，但根据我的经验，只要不明显或在模型的隐藏区域，就可以有一小段差异。完成此操作后，请记住这些区域的位置，并确保在制作纹理时对这些区域进行三重检查。
Baking
Now it’s time for the real bake. We combine the testing we did with prebaking with our proper UV’s. This gives me more often than not a great bake first try, none the less, I still inspect my model for artifacts. Paying extra close attention to places that were trouble during the pre-bake.
烘
现在是时候进行真正的烘焙了。我们将我们所做的预烘烤测试与我们适当的紫外线相结合。这给了我更多的第一次尝试，无论如何，我仍然检查我的模型是否有伪影。特别注意在预烘烤期间遇到麻烦的地方。
Materials
Materials are my favorite. First, we define the materials we will need. For this prop, we needed a: metal, plastic for buttons, a rubberlike material, plastic, glass, and a bit of cloth.
The best way I found for making good PBR materials is by using multiple layers to create depth. I start by making the base material, Just the grain and approximate roughness.
材料
材料是我的最爱。首先，我们定义我们需要的材料。对于这个道具，我们需要一个：金属，按钮塑料，类似橡胶的材料，塑料，玻璃和一点布。
我发现制作优质PBR材料的最佳方法是使用多层来创建深度。我从制作基础材料开始，只是颗粒和近似粗糙度。
I add more layers, focusing on making the base colour and roughness interesting. I use C to look trough the different channels.
我添加更多图层，专注于使基色和粗糙度变得有趣。我使用C来查看不同的通道。
I like to use the passthrough channel to make tweaks. I often use it to edit my roughness and give my basecolour some extra pop.
我喜欢使用直通通道进行调整。我经常用它来编辑我的粗糙度，并为我的基础颜色提供一些额外的流行。
While doing all that I add height information, it gives the materials a more interesting specular and can also be used with anchor points. Anchor points are ridiculously powerful and if you don’t use them yet you should look into how to incorporate them into your workflow.
在做所有这些工作时，我添加了高度信息，它为材质提供了更有趣的镜面反射，并且还可以与锚点一起使用。锚点非常强大，如果您还没有使用它们，则应研究如何将它们合并到您的工作流程中。
I add the last pass focusing on the roughness.
我添加了最后一遍，重点是粗糙度。
Presentation
It can be tempting to rush this as it’s the last bit and sometimes you get bored of a project and want to start something new. But it is also the step where you show what you really did. Making cool stuff and showing cool stuff are different things and that’s where presentation comes in.
For the goggles I made a small blueprint in Unreal because I wanted to be able to adjust the lenses their angle quick and easily for posing the prop.
介绍
匆忙这样做可能很诱人，因为这是最后一点，有时你会对一个项目感到厌倦，想要开始新的东西。但这也是你展示你真正做了什么的步骤。制作很酷的东西和展示很酷的东西是不同的东西，这就是演示的用武之地。
对于护目镜，我在虚幻中制作了一个小蓝图，因为我希望能够快速轻松地调整镜头的角度，以便摆出道具。
I light the prop with the skylight, directional and spotlights. I make sure to tilt the prop a bit so it gets more interesting reflections and the composition is nicer.
我用天窗，定向和聚光灯照亮道具。我确保将道具倾斜一点，这样它就能得到更有趣的反射，构图也更好。
For me, it’s important to show my props in real-time as I want to work for games and the optimization is important that’s why I use Unreal Engine to render my work. turntables are nice as it shows light playing with the prop but also make plenty of stills.
I also like to include a Sketchfab viewport at the bottom of my posts because when I see cool work I often wish I could inspect it further and sometimes even reverse engineer it a bit.
对我来说，实时展示我的道具很重要，因为我想为游戏工作，优化也很重要，这就是我使用虚幻引擎渲染我的作品的原因。转盘很好，因为它显示了光与道具的玩法，但也制作了大量的静止图像。
我也喜欢在我的帖子底部包含一个Sketchfab视口，因为当我看到很酷的工作时，我经常希望我能进一步检查它，有时甚至会对它进行一些逆向工程。
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