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本帖最后由 qq_微愿_kzk 于 2022-8-11 10:27 编辑
文章下链接：https://www.element3ds.com/thread-457767-1-1.html
Introduction
Hello, my name is Roman Agieiev and I'm a Senior Environment Artist from Kyiv, Ukraine.
介绍
你好，我的名字是Roman Agieiev，我是来自乌克兰基辅的高级环境艺术家。
Project & Goals
It all started small, I wanted to practice creating tiled textures using the ZBrush + Substance Designer approach.
I made a tiled brick texture using ZBrush and I really like the result. Immediately I wanted to go ahead and turn it into something more.
After consulting with our Team Leader, we decided that we could try to make a small diorama of a destroyed house or part of it. Having received the approval, I started looking for references and ideas.
项目与目标
这一切都从小事做起，我想练习使用ZBrush + Substance Designer方法创建平铺纹理。
我使用ZBrush制作了一个瓷砖砖纹理，我真的很喜欢这个结果。我立刻想继续前进，把它变成更多的东西。
在咨询了我们的团队负责人后，我们决定可以尝试制作一个被摧毁的房子或部分房屋的小立体模型。获得批准后，我开始寻找参考资料和想法。
References & Ideas
参考和想法
Having picked up suitable references, I began to form an idea of ​​the scope of the task and the approximate pipeline.
在选择了合适的参考资料后，我开始对任务的范围和大致的管道形成一个想法。
Since I had no experience in creating such assets before, I started looking for inspiration from the already implemented works.
I saw Ruins of the Reich talk at . I was very impressed by what I saw.usedThe result and the way the Machinegames studio team created these props was amazing.
由于我以前没有创建此类资产的经验，因此我开始从已经实现的作品中寻找灵感。
我在https://www.artstation.com/artwork/5LlzO上看到了https://www.artstation.com/benwilson的Reinse's Ruins of the Reich演讲。我所看到的印象深刻.used结果和Machinegames工作室团队创建这些道具的方式令人惊叹。
After watching, I immediately started planning, as Ben answered many of my questions in his report.
看完后，我立即开始计划，因为Ben在他的报告中回答了我的许多问题。
Planning
规划
I sketched a small plan, but of course, I moved away from it closer to the final.
Initially, the plan included creating more materials, but with limited time, I settled on four: a brick wall, broken brick, paving slabs and plaster.
Also, I needed to make some unique elements of the broken wall that would be combined with the tiled texture of the bricks and the pile of construction debris.
For reference, I took all the same works from Wolfenstein.
我画了一个小计划，但当然，我离开了它，接近决赛。
最初，该计划包括创造更多的材料，但在有限的时间内，我确定了四种：砖墙，碎砖，铺路板和石膏。
此外，我需要制作一些破碎墙的独特元素，这些元素将与砖块的瓷砖纹理和建筑碎片堆相结合。
作为参考，我从沃尔芬斯坦那里拿走了所有相同的作品。
Creating a Tiled Brick Wall Texture in ZBrush
在 ZBrush 中创建平铺砖墙纹理
I started the brick wall by modeling a simple blockout. To do this quickly, I used the plugin for 3Ds Max.
With its help, in just a few clicks, I created a brick wall with the masonry I needed. I didn’t want to make the wall too big so I decided it would be 1m by 1m.
Texel Density I decided to use 1024 pixels by 1m.
我通过对一个简单的块进行建模来开始砖墙。为了快速完成此操作，我使用了http://www.debrismaker.aarondabelow.com/v1/ 插件。
在它的帮助下，只需点击几下，我就用我需要的砖石砌成一堵砖墙。我不想让墙太大，所以我决定用1m×1m.Texel
密度我决定使用1024像素×1m。
Then I exported it all to ZBrush.
1. I applied the DynaMesh tool to make the mesh more dense and uniform.
2. Then I worked in more detail on the edges of the bricks. For this, I used the aj_polis brush which I found on .
然后我把它全部导出到ZBrush。
1. 我应用了 DynaMesh 工具，使网格更加密集和均匀。
2.然后我在砖的边缘上更详细地工作。为此，我使用了我在https://polycount.com/discussion ... rush-costom-brushes上找到的aj_polis画笔。
3. Using the Transform tool, I placed the bricks in such a way as to give the masonry a more natural look. I twisted the bricks a little so as to give a broken silhouette.
3.使用变换工具，我以这样的方式放置砖块，以使砖石看起来更自然。我把砖头扭了一下，好好折一个剪影。
4. This is necessary for a more voluminous and picturesque normal map.
4.这对于更庞大，风景如画的法线地图是必要的。
5. From the height map downloaded from , I made unique alphas for working with bricks. They gave the bricks a more worn look.
5.从https://quixel.com/megascans/home下载的高度图中，我制作了用于处理砖块的独特alpha。他们给砖块一个更破旧的外观。
6. Using the TrimSmoothBorder brush, I worked on the edges, making the bumps. For this brush, it is better to use a square alpha and a Focal Shift of at least 80.
6.使用TrimSmoothBorder刷子，我在边缘工作，使凸起。对于此画笔，最好使用正方形 Alpha 和至少 80 的焦点平移。
Next, I added some cement between the bricks.
接下来，我在砖块之间加了一些水泥。
7. Using the same TrimSmoothBorder brush, I showed the effect of the spatula marks.
8. The Morph brush served as an eraser, bringing back the original shape.
9. With the ClayBuildup brush set to Spray I made a noise effect on the cement.
10. Well, I sketched the very shape of the cement with the same ClayBuildup brush, but with standard settings.
7.使用相同的TrimSmoothBorder刷子，我展示了刮刀痕迹的效果。
8.变形刷用作橡皮擦，带回原始形状。
9.将ClayBuildup刷子设置为Spray时，我对水泥产生了噪音效果。
10.嗯，我用相同的ClayBuildup刷子绘制了水泥的形状，但使用标准设置。
11. After painting the bricks and cement in different colors, this is done to create a color id. Using the Color tab and selecting the desired Subtool, I selected a color and clicked on the FillObject button.
12. The selected Subtool has become colored in the desired color.
11.将砖块和水泥涂成不同颜色后，这样做是为了创建颜色ID。使用“颜色”选项卡并选择所需的子工具，我选择了一种颜色，然后单击“填充对象”按钮。
12. 所选的子工具已变为所需颜色。
13. After the highpoly brick wall was done, I needed a heightmap for texturing. I made it inside ZBrush, but first I need the canvas to be the size of the future texture. Using the Document tab, I set the desired size and clicked the Resize button.
14. Clicked Ok and the canvas became 2048×2048. This texture size was enough for me to work with. The final texture will have a size of 1k.
15. After resizing, put the canvas in a comfortable position.
16. Don’t forget to disable Perspective.
17. To align the bricks with respect to the texture, you need to add plates that exactly match the size of the baked area. Selecting the play n and pressing the F key aligned the bricks with the canvas.
13.高砖墙完成后，我需要一个高度图来纹理化。我在ZBrush中制作了它，但首先我需要画布的大小与未来的纹理一样。使用“文档”选项卡，我设置了所需的大小并单击了“调整大小”按钮。
14. 单击“确定”，画布变为 2048×2048。这个纹理大小足以让我使用。最终纹理的大小为 1k。
为 15。调整大小后，将画布放在舒适的位置。
16.不要忘记禁用透视。
17.要使砖相对于纹理对齐，您需要添加与烘焙区域大小完全匹配的板。选择播放 n 并按 F 键可将砖块与画布对齐。
18. By clicking the GrabDoc button in the BrushAlpha window, I got a beautiful height map.
通过点击GrabDoc按钮 刷阿尔法 窗口中，我得到了一个漂亮的高度图。
19. In the same way, I checked what the future normal map would look like (finally I got it in SubstanceDesigner). You need to select the NormalRGBMat material and click the GrabDoc button in the
Texture window.
19.以同样的方式，我检查了未来的法线图会是什么样子（最后我在SubstanceDesigner中得到了它）。您需要选择 NormalRGBMat 材质，然后单击“纹理”窗口中的
GrabDoc 按钮。
20. I got the Material Id in the same way as the normal map, only I chose the FlatColor material.
20. 我以与法线贴图相同的方式获得了材质 ID，只是我选择了 FlatColor 材质。
Creating unique Broken Wall elements
创建独特的破壁元素
To reuse future assets, it was important that the brick pattern matched all elements. I used a primitive blockout with a brick texture assigned and sliced ​​the silhouette I needed on top. I thought in advance about which elements I need.
为了重用未来的资产，砖块图案必须匹配所有元素。我使用了一个原始的块状结构，并分配了砖块纹理，并在顶部切开了我需要的轮廓。我提前想到了我需要哪些元素。
Having chosen the necessary elements of the future destroyed wall, I laid out the destroyed wall from the previously prepared bricks. I carefully checked that on all elements the pattern of bricks was joined by a tiled texture. It is important.
在选择了未来被毁墙的必要元素之后，我从以前准备好的砖块上布置了被毁坏的墙。我仔细检查了一下，在所有元素上，砖块的图案都由平铺纹理连接。这很重要。
After, having a clear understanding of all parts of the future constructor, I started sculpting.
I used all the same brushes as for the tiled brick wall.
之后，我对未来构造器的所有部分有了清晰的了解，开始雕刻。
我使用了与瓷砖砖墙相同的刷子。
For the cement, I mainly used the ClayBuildup brush with different settings.
对于水泥，我主要使用具有不同设置的ClayBuildup刷子。
I made the rest of the walls in a similar way.
我以类似的方式制作了其余的墙壁。
Low Poly, UV Mapping & Bake
I didn’t have a polycount limit, so I didn’t worry about the number of triangles. But I still tried to keep the density of the topology within reasonable limits. Lighter geometry is easier to work with.
低聚，UV映射和烘焙
我没有多边形计数限制，所以我不担心三角形的数量。但我仍然试图将拓扑的密度保持在合理的范围内。更轻的几何体更易于使用。
I made a tile texture of a brick wall with a size of 1×1 meter, a pixel density of 1024.
我制作了一个砖墙的瓷砖纹理，尺寸为1×1米，像素密度为1024。
I packed all the unique elements of the broken wall into a general atlas sized 4096×2048. It is very important that the pattern of the brick of the tile texture coincides with the pattern of the unique parts in the SE. This made it easier for me to build modules.
I baked all the cards in . I will not stay here for a long time, since you can find all the necessary information on baking on the official website.
我把断墙的所有独特元素打包成一个4096×2048大小的通用地图集。瓷砖纹理的砖块的图案与SE中独特部分的图案一致，这一点非常重要。这使我更容易构建模块。
我烤了https://marmoset.co/toolbag/baking/中的所有卡片。我不会在这里呆很长时间，因为您可以在官方网站上找到有关烘焙的所有必要信息。
Texturing (Brick tile, unique bricks)
纹理（砖瓦，独特的砖块）
The texture for the bricks was made in Substance Designer, at that time I didn’t know much about it and it was a good reason to practice.
From ZBrush, I got a base height map and the result was fine, but I needed to add additional detail, such as small cracks, noise and texture.
I also had to work on the cement mortar, making it looser and noisier.
砖块的纹理是在Substance Designer中制作的，当时我对它知之甚少，这是一个很好的练习理由。
从ZBrush中，我得到了一个基本高度贴图，结果很好，但我需要添加额外的细节，例如小裂缝，噪点和纹理。
我还不得不在水泥砂浆上工作，使其更松，更嘈杂。
Having received the desired result, I moved on to working with color. The GIF image looks simple, but I had to tinker to get the desired result. I experimented with basic nodes for a long time and some things had to be redone.
收到所需的结果后，我继续使用颜色。GIF图像看起来很简单，但我不得不修补才能获得所需的结果。我对基本节点进行了长时间的实验，有些事情必须重做。
Below is an example of the first version of the texture and after feedback and improvements.
下面是纹理的第一个版本以及反馈和改进后的示例。
Then, having the brick wall material ready in Substance Designer, I created a smart material for Substance Painter, in which I had to load the necessary incoming maps to work.
I overdid it a little and added a lot of settings to it, in the end, I only needed a few. But then it seemed to me that it was cool.
然后，在 Substance Designer 中准备好砖墙材质后，我为 Substance Painter 创建了一个智能材质，我必须在其中加载必要的传入映射才能工作。
我稍微夸大了一点，并添加了很多设置，最后，我只需要几个。但后来在我看来，这很酷。
The very hierarchy of layers in Substance Painter was not very complicated.
Substance Painter中层的层次结构并不是很复杂。
Making Broken Brick
I saw the workflow of creating a broken brick material in the same report by Ben Wilson “Ruins of the Reichs”, which he delivered at . Ben explained the process of creating such assets step by step.
制作碎砖
我在Ben Wilson在https://www.artstation.com/artwork/5LlzO上发表的同一份报告“废墟帝国”中看到了创建碎砖材料的工作流程。Ben 逐步解释了创建此类资产的过程。
The essence of this approach was to achieve maximum realism.
这种方法的本质是实现最大的现实主义。
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