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Introduction
Hello, my name is Rasmus Kristensen, I am currently a Senior Environment Artist at Starbreeze, previous Hexworks and Ubisoft.
I like creating scenes with a story often multiple stories scattered around, big and small.
介绍
您好，我的名字是Rasmus Kristensen，我目前是Starbreeze，以前的Hexworks和Ubisoft的高级环境艺术家。
我喜欢用一个故事来创作场景，这个故事通常分散在各处，大大小小的。
Project & Goals
At the moment I’m really into darker eerie scenes though this preference changes with time.
With my latest project , I wanted to create a scene with fairly extreme depth and composition in a dark fantasy world.
项目与目标
目前，我真的很喜欢更黑暗的怪异场景，尽管这种偏好会随着时间的推移而变化。
在我的最新项目，我想在黑暗的幻想世界中创造一个相当具有极致深度和构图的场景。
This project is mainly inspired by my love for Souls-like games, at the time Bloodborne (which I recommend playing, a very wholesome and pleasant game).
Before deciding on what new project to make, I figure out what areas (theme, subject, workflow) that I want to improve, I usually stick to a few learning subjects since trying to improve many subjects either takes too long or decreases the learning of the subjects as you will need to focus on too much.
这个项目的灵感来自我对类似Souls的游戏的热爱，当时Bloodborne（我建议玩，这是一个非常健康和愉快的游戏）。
在决定要制作什么新项目之前，我会弄清楚我想改进哪些领域（主题，主题，工作流程），我通常会坚持一些学习科目，因为试图改进许多科目要么需要太长时间，要么会减少科目的学习，因为你需要关注太多。
References
For this scene I started out with finding 1 main reference with 2-3 secondary references, this allows me to have a solid base idea with the secondary ref giving smaller ideas.
was the main inspiration, with 2 concepts from Bloodborne being secondaries.
引用
对于这个场景，我首先找到了1个主要参考和2-3个次要参考，这使我有一个坚实的基础想法，次要参考给出了更小的想法。
https://www.artstation.com/artwork/oNZgL 是主要的灵感来源，《Bloodborne》中的2个概念是次要的。
https://bloodborne.fandom.com/de/wiki/Hemwick-Knochenstra%C3%9Fe?file=Hemwick-Knochenstra%25C3%259Fe.jpg
https://2.bp.blogspot.com/-VcfXk9b7Qyw/VQ08rr1-RaI/AAAAAAAAD2g/IFwje13H2-s/s1600/BB_TGSconcept_6_full.jpg
These concepts gave a solid base for the mood, style and general art inspiration.
这些概念为情绪，风格和一般艺术灵感奠定了坚实的基础。
After that I added my own ideas, art style and composition, I knew I wanted a larger scene with a small Chapel and background buildings to give a nice depth.
Doing your own world-building is incredibly fun but also challenging, you will have to create your own composition, story, designs and more, I really recommend having 1 or multiple concepts to take ideas from, it doesn’t have to be straight-up copying but simply getting inspired and letting the ideas flow, which leads us into blockout stage.
在那之后，我添加了自己的想法，艺术风格和构图，我知道我想要一个更大的场景，有一个小教堂和背景建筑，以提供一个很好的深度。
做你自己的世界构建非常有趣，但也具有挑战性，你必须创建自己的构图，故事，设计等等，我真的建议有1个或多个概念来获取想法，它不必是直接复制，而只是获得灵感并让想法流动，这导致我们进入封锁阶段。
Blockout
In this case, the composition was the main goal, with lighting being secondary. I used a month or so on the base composition idea, adding in the major landmarks, chapel, road, and backdrop buildings.
Adding the default UE mannequin early on is a good idea to make sure the scale is fitting, same with starting out with the third-person player controller, again to see if the scale is good.
封锁
在这种情况下，构图是主要目标，照明是次要的。我在基本构图上用了一个月左右的时间，增加了主要的地标，教堂，道路和背景建筑。
尽早添加默认的UE人体模型是一个好主意，以确保比例合适，与从第三人称播放器控制器开始一样，再次查看比例是否良好。
While this looks somewhat decent in terms of world design, the composition was flat, in-direct and generally not readable, it was missing the height and depth of the final version
as well.
虽然在世界设计方面看起来有些不错，但构图是平坦的，直接的，通常不可读，但它也缺少最终版本
的高度和深度。
About 2 months into the scene creation I received some great feedback from which made me rework the composition of the scene, I wanted to push the dark and warped feel of the world much more, taking inspiration from Dark souls 3 Dreg Heap with its gorgeous collapsed area, Tim Burtons Nightmare before Christmas with it’s warped and curvy shapes.
The result is a much more guided composition with the depth I was looking for, the scene did change after this but the main landmarks were in place.
在场景创作大约2个月后，我从https://www.artstation.com/jud那里得到了一些很好的反馈，这让我重新制作了场景的构图，我想更多地推动世界的黑暗和扭曲的感觉，从Dark souls 3 Dreg Heap中汲取灵感，其华丽的崩溃区域，圣诞节前的Tim Burtons Nightmare，它的扭曲和弯曲的形状。
结果是一个更具指导性的构图，具有我一直在寻找的深度，场景在此之后确实发生了变化，但主要地标已经到位。
While the rework did take some time it was without a doubt the best thing done during the scene creation, it only goes to show how important feedback is to the environment creation process, be it personal or professional work.
虽然返工确实花了一些时间，但毫无疑问，这是在场景创建过程中完成的最好的事情，它只是表明反馈对环境创建过程的重要性，无论是个人工作还是专业工作。
Modelling Workflow
My main modelling software is Blender with all the sculpting done in ZBrush.
I will showcase a few different ways I approach creating the statues, trim sheets and modular construction.
建模工作流程
我的主要建模软件是Blender，所有雕刻都是在ZBrush中完成的。
我将展示我创建雕像，装饰板和模块化结构的几种不同方法。
Statue Blockout
I started out with a very simple ZBrush sculpt (white one) to get the size and pose figured out, later on, I did a more advanced blockout, using a female base mesh and adding wings but in the end, I decided not to go with wings as it added too much silhouette. I knew she would hold something, it was initially a lantern but I decided to go with a water bath instead as it read better.
雕像街区
我从一个非常简单的ZBrush雕刻（白色）开始，以弄清楚尺寸和姿势，后来，我做了一个更高级的阻挡，使用女性基础网格并添加翅膀，但最终，我决定不使用翅膀，因为它增加了太多的轮廓。我知道她会拿着什么东西，最初是一盏灯笼，但我决定去洗个水浴，因为它读起来更好。
I used a Female Basemesh from Vincent Ménier which was then crudely deformed into the pose I wanted, I added some simple wings and a robe to figure out the silhouette, this is the stage where I found out the wings weren’t going to work, it both conflicted with the story and made the statue feel too bulky, especially since they would be used extensively through the scene.
我使用了文森特·梅尼尔（Vincent Ménier）的一个女性基本网格，然后将其粗暴地变形为我想要的姿势，我添加了一些简单的翅膀和长袍来弄清楚轮廓，这是我发现翅膀不起作用的阶段，它既与故事相冲突，又使雕像感觉太笨重， 特别是因为它们将在整个场景中广泛使用。
The robe was fully sculpted with, a move brush, standard brush and clay build-up, I could have used the build-in Zbrush cloth system or Marvelous designer but I wanted to try and hand sculpt fabric.
For the water bath, I used radial symmetry for the base shape and JRO Ornate brushes as alpha brushes for the detailing.
长袍完全雕刻了，移动刷，标准刷子和粘土堆积，我可以使用内置的Zbrush布料系统或Marvelous设计师，但我想尝试手工雕刻织物。
对于水浴，我使用径向对称作为基础形状，并使用JRO华丽画笔作为alpha刷子进行细节设计。
Low poly
For the robe and female statue, I used decimation as I didn’t want to use too much time on retopologizing while the water bath was a mix of hand modelling and ZRemesher, the bottom part was hand modelled since it was a simple shape and I wanted to have the ornate details to bake properly, while the top part was Z-Remeshed then attached on the bottom part.
低聚
对于长袍和女性雕像，我使用了大量使用，因为我不想花太多时间重新拓扑，而水浴是手工建模和ZRemesher的混合体，底部是手工建模的，因为它是一个简单的形状，我想有华丽的细节来正确烘烤，而顶部是Z-Remeshed，然后附在底部。
Modular Construction, Trim Sheets and Height Displacement
Let’s talk about modular construction assets. These asset types are using a mix of:
模块化结构、装饰板和高度位移
我们来谈谈模块化建筑资产。这些资产类型混合使用：
1. Custom baked details.
2. Trimsheet either a flat surface, using Parallax occlusion or using the heightmap to displace the mesh.
3. Tileable texture, either a flat surface, using Parallax Occlusion or Heightmap displacement.
Let’s first go over how the timesheets are created. I have 2 trim sheets, we will call them Trim 01 and Trim 02 (because I’m exiting like that)
1.定制烘焙细节。
2. 使用视差遮挡或使用高度图置换网格来修剪平面。
3. 可平铺纹理，平面，使用视差遮挡或高度贴图位移。
让我们首先回顾一下时间表的创建方式。我有2张装饰纸，我们将它们称为Trim 01和Trim 02（因为我就这样退出了）
Trim 01 is used for flat or larger detailing areas and roofs since I had space.
Trim 02 is used as ornate detailing trim.
修剪01用于平坦或更大的细节区域和屋顶，因为我有空间。
修剪 02 被用作华丽的细节修剪。
I recommend having some decently large flat surfaces and I should have either added more of those or created a third trim that had more flat surfaces since I sometimes was forced to add detail where I might have preferred non-detailed surfaces instead.
我建议有一些相当大的平坦表面，我应该添加更多的平面，或者创建具有更多平坦表面的第三个修剪，因为我有时被迫添加细节，而我可能更喜欢非细节表面。
I created the main shapes in Blender, I knew I needed a mix of flat surfaces, linear trim details, curving round shapes with strong height (since I wanted to use the heightmap as displacement), roof tiles (top part of Trim 01).
我在Blender中创建了主要形状，我知道我需要平坦的表面，线性修剪细节，具有强烈高度的弯曲圆形形状（因为我想使用高度图作为位移），屋顶瓦片（Trim 01的顶部）。的组合。
ZBrush
This is the stage where I add the ornate details (JRO Ornament Kitbash Vol1), medium and small damage and general surface deformation, this could be done in Designer but I find this part fun so I did it in Zbrush.
ZBrush
这是我添加华丽细节（JRO装饰Kitbash Vol1），中小损坏和一般表面变形的阶段，这可以在设计器中完成，但我发现这部分很有趣，所以我在Zbrush中做到了。
I recommend avoiding adding too many unique details since the trim will be used on multiple assets and unique details will be easy to spot when the assets are repeated. Having large sloped shapes is also great since your normal map and in my case, the height map will displace mesh better with less stepping and errors.
我建议避免添加太多独特的细节，因为修剪将用于多个资产，并且当资产重复时，很容易发现独特的细节。拥有大的倾斜形状也很棒，因为您的法线贴图，在我的情况下，高度贴图将以更少的步进和错误更好地取代网格。
Substance Designer
In Designer, I add micro detailing, dirt in crevices and of course the needed texture maps. The graph is very small, here are the nodes for micro detailing.
物质设计师
在 Designer 中，我添加了微细节、缝隙中的污垢，当然还有所需的纹理贴图。图形非常小，这是用于微细节的节点。
The diffuse map is mainly made with solid color, HSL for color variation which is masked with histogram select, BW Color Variation, masking basic noises for random color marks.
漫反射贴图主要采用纯色，HSL用于颜色变化，并用直方图选择，BW颜色变化，掩盖随机颜色标记的基本噪声。
As you can see there’s not that much color information, this was mainly because I wanted to keep the textures cleaner as they already have a lot of height detail and wanted to use vertex painting for the material breakup.
正如你所看到的，没有太多的颜色信息，这主要是因为我想保持纹理更清晰，因为它们已经有很多高度细节，并希望使用顶点绘画进行材料分解。
Displacement Workflow
Now it’s time to create the modular assets, lets’s go over one of the walls. First, you model your asset, then align the UVs to the trim details (I highly recommend getting Ultimate Trim UV), then you get this, pretty cool but a bit too flat, especially the ornate details, let’s fix that.
置换工作流
现在是时候创建模块化资产了，让我们翻过其中一堵墙。首先，你对你的资产进行建模，然后将UV与修剪细节对齐（我强烈建议你获得Ultimate Trim UV），然后你得到这个，很酷，但有点太平坦了，特别是华丽的细节，让我们解决这个问题。
Also below are the modifiers I use.
下面还有我使用的修饰符。
First Subdivision to get very dense mesh (I recommend making your faces as square as possible before subdividing to get the best result).
Then a Displace the heightmap assigned. Decimate to make a less dense mesh that can be used in the engine. Triangulate since Decimate can cause odd mesh which can cause flipped faces when Unreal engine triangulates.
Weighted Normals to get nicer shading.
首先细分以获得非常密集的网格（我建议在细分以获得最佳结果之前使脸尽可能正方形）。
然后置换分配的高度图。抽取以制作可在引擎中使用的密度较低的网格。由于Decimate会产生奇怪的网格，当虚幻引擎进行三角测量时，这可能会导致翻转面。
加权法线以获得更好的阴影。
The final result looks like this in the engine. I used this method for most modular assets, including the chapel, it saved me a lot of time and it’s easier to create a modular set, different wall heights, curved, rounded and many more types of assets.
最终结果在引擎中如下所示。我将这种方法用于大多数模块化资产，包括教堂，它为我节省了大量时间，并且更容易创建模块化集，不同的墙壁高度，弯曲，圆形和更多类型的资产。
Polish/Final pass
The polish pass was longer than expected, the main workload came when I started to record the cinematic.
I realized that there needed to be more points of interest throughout the scene, this was either done by modifying what was already placed in the scene or adding new storytelling areas.
Choosing where to place the new “stories” was mainly up to if there were enough space and how the camera path was laid out.
波兰/最终通行证
抛光通行证比预期的要长，当我开始录制电影时，主要工作量就来了。
我意识到整个场景中需要更多的兴趣点，这可以通过修改场景中已经放置的内容或添加新的讲故事区域来完成。
选择放置新“故事”的位置主要取决于是否有足够的空间以及相机路径的布局方式。
Lighting
Lighting was one of the key areas I wanted to improve on, I always had an idea of how it should look, the large stretching volumetrics from the direction of the moon, and red light from the chapel being the main dominant colors.
照明
照明是我想改进的关键领域之一，我总是知道它应该是什么样子，从月亮方向延伸的大体积，以及来自教堂的红光是主要的主要颜色。
There were a few challenges with lighting the scene, mainly that I was unable to use real-time time light and raytracing features like reflection, AO and GI.
场景照明存在一些挑战，主要是我无法使用实时光和光线追踪功能，如反射、AO和GI。
This came down to the scene being fairly large which made my performance too low to work with.
I then resorted to using baked light with the GPU Lightmass which I highly recommend using as it’s very fast and gives good results. One of the larger changes was switching the Red moon to blue, I really wanted to keep the red moon as a homage to Moon Presence from Bloodborne, but it detracted from the main focal point which is the chapel entrance and it conflicted with the blue light from the sky, it did not make sense.
这归结为场景相当大，这使得我的表现太低而无法使用。
然后，我求助于将烘焙光与GPU Lightmass一起使用，我强烈建议使用，因为它非常快并且给出了良好的效果。其中一个更大的变化是将红月亮切换为蓝色，我真的很想保留红月亮作为对Bloodborne的Moon Presence的致敬，但它减损了主要焦点，即教堂入口，它与来自天空的蓝光相冲突，这没有意义。
Scene Light Breakdown
The light is split into these categories.
场景光线分解
灯光分为这些类别。
Light Primary:
This is for directional and skylight both are Stationary to give nice reflections and allow for volumetric shadows.
光源主：
这是用于定向和天窗的，两者都是静止的，以提供漂亮的反射并允许体积阴影。
Light Chapel
The Chapel light is simple and relies on strong red colors, it uses the main entrance and door as shadow casters to give a nice directional light emitting from it, only the light inside the door is Stationary to give nice red reflections.
I made sure the chapel was the only area where strong red was used to maintain the strong focus, having it in other places might detract from its importance.
光教堂
教堂的灯光很简单，依靠强烈的红色，它使用主入口和门作为阴影投射器，从中发出漂亮的定向光，只有门内的光是静止的，才能产生漂亮的红色反射。
我确保教堂是唯一一个使用强烈红色来保持强烈焦点的区域，在其他地方使用它可能会降低其重要性。
Light Fill
Fill lights to give extra light where needed, I tried to keep their Attenuation Radius somewhat small, avoiding too many odd shadows if the lights are shadow casters or simply having more control with shadow and lit areas.
轻盈填充
填充光源以在需要时提供额外的光线，我试图保持它们的衰减半径有点小，如果灯光是阴影投射器，或者只是对阴影和照明区域有更多的控制，则可以避免太多奇怪的阴影。
Light Candles
The candles were used for either secondary storytelling areas, like the scattered graves, or as guiding lights going towards the chapel. Note that not all of them are on and it’s often only a single light lighting the area, to avoid too many shadows and have a more concentrated light zone.
点燃蜡烛
蜡烛用于次要讲故事的区域，如分散的坟墓，或作为通往教堂的指路明灯。请注意，并非所有它们都处于打开状态，并且通常只有一盏灯照亮该区域，以避免过多的阴影并具有更集中的光区。
Light Background
These are background fill lights, all static light since their range is very large. The background areas would be almost black without them, I tried to angle them to give a nice look from the main camera angle.
浅色背景
这些是背景补光灯，所有静态光，因为它们的范围非常大。如果没有它们，背景区域几乎是黑色的，我试图将它们倾斜，以便从主相机的角度看出去。
Light Advice
I would recommend starting small, setting up your directional light and skylight, figure out the best angle for the scene you are making, in my case I wanted to have nice light rays and reflections and the red glow from the chapel.
光建议
我建议从小处着手，设置你的定向光和天窗，找出你正在制作的场景的最佳角度，在我的情况下，我希望有很好的光线和反射以及来自教堂的红色光芒。
Then start placing fill lights, and secondary lights (candles in my case). Another cool trick is to use Post process materials, I have a sharpening material assigned. has a great tutorial for this.
然后开始放置补光灯和辅助灯（在我的情况下是蜡烛）。另一个很酷的技巧是使用后期处理材料，我分配了一个锐化材料。https://www.artstation.com/marketplace/p/6go7/tutorial-crisp ... gn=homepage&utm_term=marketplace为此提供了一个很棒的教程。
Pettles, clouds and fog
The scene relies heavily on different particles and effects to give extra depth and character, from the clouds in the sky, the fog on the ground and the petals flying in the wind.
蝴蝶、云和雾
该场景在很大程度上依赖于不同的粒子和效果来提供额外的深度和特征，从天空中的云层，地面上的雾气和风中飞翔的花瓣。
Ground fog
The ground planes use noises to mask out certain areas, it has depth so it reacts to the surrounding geometry and panner tiling animation.
地面雾
接地层使用噪声来遮盖某些区域，它具有深度，因此它会对周围的几何图形和平移平移动画做出反应。
Clouds
The cloud shader is very similar to the ground fog but with an additional Parralax Occlusion effect to give it more depth as the clouds would feel too flat without it.
云
云着色器与地面雾非常相似，但具有额外的Parralax遮挡效果，以使其具有更大的深度，因为如果没有它，云层会感觉太平坦。
Outro
I hope you found the article informative, if I had to give final advice it would be to take enough time for the composition/Blockout stage, really nail it down and continuously ask for feedback from other artists, some great communities include.
奥特罗
我希望你觉得这篇文章内容丰富，如果我必须给出最终的建议，那就是花足够的时间为作曲/Blockout阶段，真正确定它并不断向其他艺术家寻求反馈，包括一些伟大的社区。
The , , . I sometimes hang around in the voice chats so if we meet and you have any questions just ask away.
https://www.dinustyempire.com/，https://www.beyondextent.com/，https://www.exp-points.com/。我有时会在语音聊天中闲逛，所以如果我们见面，你有任何问题，就问走了。
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