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Introduction
Hello, my name is Joi Saito. I am currently majoring in Game Design and Production at Drexel University. I began my 3D modeling journey around 3 years ago during my freshman year. I’m slowly working towards the goal of becoming an environment artist.
介绍
你好，我叫斋藤乔伊。我目前在德雷塞尔大学主修游戏设计和制作。大约3年前，在我大一的时候，我开始了我的3D建模之旅。我正在慢慢地朝着成为一名环境艺术家的目标努力。
Project & Goals
For the hero props of my second environment, the “Coffee Shop” I had clear intentions, goals, and obstacles before starting to model. For this case, it was having to surpass the texture quality of my last portfolio piece on three objects with more material variations. When you are working on a portfolio piece you should always have at least one to two goals or learning objectives. After being done with the previous portfolio piece, I wanted to further cement my modeling and texturing skills as well as push myself further.
项目与目标
对于我的第二个环境的英雄道具，“咖啡店”，我在开始建模之前就有明确的意图，目标和障碍。对于这种情况，它必须超过我上一个投资组合作品的纹理质量，在三个具有更多材料变化的对象上。当你在做一个投资组合时，你应该总是至少有一到两个目标或学习目标。在完成上一个投资组合之后，我想进一步巩固我的建模和纹理技能，并进一步推动自己。
References, References, References!
参考文献，参考文献，参考文献！
I’m sure at this point you have already heard the significance of having good references. Keep in mind that you want to have either lots of references or a few really great ones, so you can surpass the references.
For the props, I chose it was especially difficult to find images online. I had to go through hundreds of Instagram posts and Google keywords in different languages to increase the odds of finding the image from a certain angle.
我相信在这一点上，你已经听说过拥有良好参考的重要性。请记住，您希望拥有大量引用或一些非常棒的引用，以便您可以超越引用。
对于道具，我选择了在网上找到图像特别困难。我不得不浏览数百个不同语言的Instagram帖子和Google关键字，以增加从某个角度找到图像的几率。
Therefore, for the entire duration of making the props and texturing, I was constantly finding references. It also helped me significantly to add believable storytelling elements, such as the stickers for the cash register.
They were added solely because one of the images had them on. I mainly used the following sites to gather as many images as possible including Google, YouTube, Yahoo Auction JP (for non-native Japanese speakers I suggest using Buyee to look up Japanese items), Instagram, Twitter, and films!
(You can see that they aren’t all the same type, and have an minor differences)
因此，在制作道具和纹理的整个过程中，我不断寻找参考资料。它还极大地帮助我添加了可信的故事元素，例如收银机的贴纸。
添加它们仅仅是因为其中一个图像上有它们。我主要使用以下网站来收集尽可能多的图像，包括Google，YouTube，Yahoo Auction JP（对于非日语母语人士，我建议使用Buyee查找日语项目），Instagram，Twitter和电影！
（您可以看到它们并不都是同一类型，并且有细微的差异）
Modelling
造型
For modeling software, I utilized the boolean workflow from Maya and Zbrush. This helped me as I could keep tweaking the high poly mesh until I was able to get it “right”, in terms of the proportions and all the small details such as the paneling work.
对于建模软件，我使用了 Maya 和 Zbrush 的布尔工作流。这帮助我，因为我可以不断调整高多边形网格，直到我能够“正确”地对待它，在比例和所有小细节（如镶板工作）方面。
I often find myself in a texturing stage having to come back to my high-poly mesh to add more details I missed or note things I want to add later on. Using this pipeline I can quickly make changes even in later stages.
我经常发现自己处于纹理化阶段，不得不回到我的高多边形网格，以添加更多我错过的细节或记下我以后想要添加的内容。使用此管道，即使在后期阶段，我也可以快速进行更改。
Therefore in the blockout stage, I find it very important to account for every small detail and component. By doing so, you can simply copy the mesh as a base for your high-poly and low-poly. After finishing your blockout, if you are planning to make an environment, I strongly suggest bringing it inside the environment and comparing the model side by side with the Unreal Engine 4 mannequin to check the proportions.
因此，在封锁阶段，我发现考虑每个小细节和组件非常重要。通过这样做，您可以简单地复制网格作为高多边形和低多边形的基础。完成遮挡后，如果您打算创建一个环境，我强烈建议您将其带入环境，并将模型与虚幻引擎4人体模型并排比较，以检查比例。
For example, I couldn’t really grasp the size of my Arcade table since all I could find were images without being able to compare them to a human scale. However, when I placed it inside UE4 and compared it to a reference I immediately knew I needed to fix it.
(Initially I have overestimated length and width by a long shot)
例如，我无法真正掌握我的Arcade桌子的大小，因为我能找到的只是图像，而无法将它们与人类规模进行比较。但是，当我把它放在UE4中并将其与参考进行比较时，我立即知道我需要修复它。
（最初，我用长镜头高估了长度和宽度）
In Zbrush, I mostly use “polish” and “polish by feature”. One thing to do is to UV the boolean mesh so that you can use the auto group with the UV and have an easy time with masking inside Zbrush.
在Zbrush中，我主要使用“抛光”和“按功能抛光”。要做的一件事是UV布尔网格，以便您可以将自动组与UV一起使用，并在Zbrush中轻松进行遮罩。
Images in order below:
(Pre-auto group with UV)
(Post-auto group with UV)
(Select the group by control left click to isolate and mask the selected group with drag)
Side note: I usually use polish by feature without the dot in the circle to polish round edges.
图片按以下顺序排列：
（带紫外线的预自动分组）
（带紫外线的后自动组）
（通过按住控制左键选择组，以通过拖动来隔离和遮罩所选组）
附注：我通常使用不带圆点的特征抛光来抛光圆形边缘。
After I’m satisfied with the details, I decimate the mesh and bring it back to Maya to create a low-poly mesh and for UVing. This part is pretty straightforward. First I copy my blockout meshes, then boolean the parts depending on whether it makes a huge difference to the silhouette, and leave the rest of the information out for the baking process.
Lastly, I work on optimizing the mesh and removing unnecessary edges. This will depend on how close the camera will be to the object. Since this was supposed to be my “hero” prop, I didn’t go to an extreme extent on optimization.
在我对细节感到满意后，我会抽取网格并将其带回Maya以创建低多边形网格并用于UVing。这部分非常简单。首先，我复制我的块状网格，然后根据它是否对轮廓产生巨大影响来布尔零件，并将其余信息留给烘焙过程。
最后，我致力于优化网格并删除不必要的边缘。这将取决于相机与物体的距离。由于这应该是我的“英雄”道具，所以我在优化方面并没有达到极端的程度。
UVing
For UVing I start off by selecting all of the hard edges on my low-poly mesh and cutting along them. From there: standard planar projection → unfold UV → unfold along U → Unfold along V. Make sure to not have obviously distorted or stretched UVs since it will affect your bakes significantly. If your UVs aren’t straight then it will look significantly worse. Remember, straight pixels will always look better than diagonal pixels.
电动
对于UVing，我首先选择低聚网格上的所有硬边并沿着它们进行切割。从那里：标准平面投影→展开UV→沿U展开→沿V展开，确保没有明显的扭曲或拉伸UV，因为它会显着影响您的烘焙。如果你的UV不是直的，那么它看起来会更糟。请记住，直像素看起来总是比对角线像素好。
Baking
For baking, Marmoset toolbag is the best software I know. It just does everything perfectly. Troubleshooting and fine-tuning the bake is very intuitive. I was introduced to the software by Rick Greeve when I did a quick crash course with him last year.
I needed to bake an Alpha cutout for my display fridge, from a cylindrical tray (expensive in tris count) onto a basic plane (cheaper). To do this I enabled Alpha cutout to get a grayscale map. The result was pretty decent though I had to do some clean-ups in Substance Painter.
烘
对于烘焙，狨猴工具箱是我所知道的最好的软件。它只是完美地完成了一切。故障排除和微调烘焙非常直观。Rick Greeve去年和他一起做了一个快速速成课程，我向我介绍了这个软件。
我需要为我的展示冰箱烘烤一个Alpha切口，从圆柱形托盘（昂贵的三倍计数）到基本的平面（更便宜）。为此，我启用了 Alpha 剪切图以获得灰度地图。结果相当不错，尽管我不得不在Substance Painter中做一些清理。
Lastly, I baked in the highest resolution (8K, 64x samples, 4096 rays for AO) and downsample it in Substance Painter to get the highest quality possible from the baking process.
Below is an early test bake result.
最后，我以最高分辨率（8K，64x样品，AO的4096射线）进行烘焙，并在Substance Painter中对其进行下采样，以从烘焙过程中获得最高的质量。
以下是早期测试烘焙结果。
Texturing
For texturing, I always tackle all of the base materials first. I know some people like to go straight into adding roughness variations and other details on one material, but I prefer to start simpler. What I’ve found by doing so is that by the end of it, you run out of motivation if you go all out working on one material on a mesh. I find that going through each pass on all of the materials can give an equal amount of love and care, making the mesh look better altogether.
纹理
对于纹理，我总是首先处理所有基础材料。我知道有些人喜欢直接在一种材料上添加粗糙度变化和其他细节，但我更喜欢从更简单开始。我这样做的发现是，到最后，如果你全力以赴地在网格上处理一种材料，你就会失去动力。我发现，在所有材料上通过每一次传递都可以给予同等程度的爱和关怀，使网格看起来更好。
Decals/Stickers
贴花/贴纸
The cash register was the most enjoyable prop to texture since I had great references and ideas I wanted to add. One of the elements was the stickers. In portfolio pieces, I usually grab real-life logos from the references using software, as opposed to creating a graphic design from scratch.
收银机是最令人愉快的纹理道具，因为我有很棒的参考和想法，我想添加。其中一个元素是贴纸。在作品集作品中，我通常使用软件从参考文献中获取现实生活中的徽标，而不是从头开始创建图形设计。
Sometimes the reference images you gathered aren’t in the best resolution to grab logos, so usually I use an AI image upscaler such as BigJpg.com or another open-source AI solution. This helps to increase the image resolution by 16 times.
有时，您收集的参考图像不是获取徽标的最佳分辨率，因此通常我使用AI图像放大器，例如 BigJpg.com 或其他开源AI解决方案。这有助于将图像分辨率提高16倍。
Then in Adobe Photoshop I downsample the image to 2~4K and use the software called “Shoebox” to extract the logo from the reference directly. Then I go into Photoshop to create a decal sheet or alpha mask which I can directly stamp onto my mesh in Substance Painter.
然后在Adobe Photoshop中，我将图像采样为2~4K，并使用名为“Shoebox”的软件直接从引用中提取徽标。然后，我进入Photoshop创建一个贴花表或alpha蒙版，我可以直接在Substance Painter中将其标记到我的网格上。
If the above method doesn’t work then I would simply recreate the logos in Photoshop quickly with an alpha mask. This also helped me a lot when I had to re-create some of the stickers in Photoshop. I was able to make out the texts using the Upscaling method.
如果上述方法不起作用，那么我将简单地使用Alpha掩码在Photoshop中快速重新创建徽标。当我不得不在Photoshop中重新创建一些贴纸时，这也对我帮助很大。我能够使用升级方法辨认出文本。
The link to shoebox (http://renderhjs.net/shoebox/textureRipper.htm)
鞋盒的链接 （http://renderhjs.net/shoebox/textureRipper.htm)
The alternative is to use Photoshop tools to remove distortion, however, I prefer using Shoebox for its simplicity and intuitive nature.
I spent a lot of time texturing since during this process I never felt that it was quite hitting the bar I set up for myself. I kept repeating the process of Substance Painter to Marmoset Toolbag render, back to looking at reference images and seeking feedback.
另一种方法是使用Photoshop工具来消除失真，但是，我更喜欢使用Shoebox，因为它的简单性和直观性。
我花了很多时间做纹理，因为在这个过程中，我从来不觉得它完全击中了我为自己设置的标准。我不断重复物质画家到狨猴工具袋渲染的过程，回到查看参考图像并寻求反馈。
Sticker Wear n’ Tear
贴纸磨损
For the Cash Register Stickers added contrast to the prop, since the Cash Register itself is pretty old, from the 1950s. The stickers range from the early 1960s to the 2000s, which implied that it was used with lots of care over the years.
对于收银机贴纸，由于收银机本身已经很旧，从20世纪50年代开始，因此增加了与道具的对比度。贴纸的范围从20世纪60年代初到2000年代，这意味着多年来它被非常小心地使用。
I tackled the stickers first by adding a few HSL adjustment layers and overlaying an orangish color on top to achieve the worn-off look. To further push the wear of the stickers I used a random brush and set it to a very low scale with the flow set to 1, and chipped away the edges. Oftentimes I prefer to use stencils and hand paint a lot, instead of relying heavily on procedural masks. I would strongly encourage you to also use stencils when texturing to get a unique look and tell stories if the asset you are working on is a hero prop.
我首先通过添加一些HSL调整层并在顶部覆盖橙色来处理贴纸，以实现破旧的外观。为了进一步推动贴纸的磨损，我使用了一个随机的刷子，并将其设置为非常低的比例，并将流量设置为1，并切掉了边缘。通常，我更喜欢大量使用模板和手绘，而不是严重依赖程序蒙版。我强烈建议您在纹理制作时也使用模板来获得独特的外观，并讲述您正在处理的资产是英雄道具的故事。
Rick Greeve has a great tutorial on Artstation learning for free now, going over extensively using stencils.
Rick Greeve现在有一个关于Artstation学习的很棒的教程，广泛使用模板。https://www.artstation.com/learn ... chapters/O5Zx/intro
Glass
Glass can be quite tricky even in Marmoset Toolbag render, I found myself experimenting with different material setups within it. Creating a glass material from scratch didn’t allow me to get the result I was looking for, so I ended up using the pre-made glass material as a base for the display fridge glass. I replaced the roughness map and tweaked these values.
玻璃
即使在狨猴工具袋渲染中，玻璃也可能非常棘手，我发现自己在其中尝试了不同的材质设置。从头开始创建玻璃材料并不能让我得到我想要的结果，所以我最终使用预制的玻璃材料作为显示冰箱玻璃的基础。我替换了粗糙度图并调整了这些值。
For the glass textures used for the arcade table and cash register, I simply duplicated the base material and reduced opacity to 0.45 and messed with a few parameters until I got the result I was looking for.
对于用于街机桌和收银机的玻璃纹理，我只是复制了基础材料并将不透明度降低到0.45，并弄乱了一些参数，直到我得到我想要的结果。
Polishing
For the final pass of the textures, I usually ask three or four times for critiques and feedback. By the time I address the third or fourth critiques, I do one last round of polishing on my own and ask myself, “How else can I elevate the quality?” I did this and noticed that the thumbnail shot didn’t quite look right, so I went back and added a few small components to my cash register which ultimately I was satisfied with.
抛光
对于纹理的最后一遍，我通常会问三到四次批评和反馈。当我处理第三或第四个批评时，我自己做了最后一轮的润色，并问自己，“我还能如何提高质量？我这样做了，注意到缩略图看起来不太对劲，所以我回去在我的收银机上添加了一些小组件，最终我很满意。
Below: First and Second pass.
下图：第一遍和第二遍。
At this point, I played around with the placement of the props in Marmoset and render settings. For most of the part, this was going to be my thumbnail for my piece, the reason why I changed it to the final thumbnail is because of advice I received from an artist at Rockstar games.
在这一点上，我尝试了道具在狨猴和渲染设置中的放置。在大部分时间里，这将是我的作品的缩略图，我之所以把它改成最终的缩略图，是因为我从Rockstar games的一位艺术家那里得到了建议。
The advice was about the importance of thumbnails and how thumbnail flow is very critical before getting caught by anything else.
Myself, I am still trying to master this element and I try to approach this problem similar to posting photography on my Instagram account. If you go on Instagram and look at the majority of the photographer I noticed that they have a consistent element, not only take a great photo but when viewed in a 3×3 grid their “portfolio” has its own character thus making it very unique.
建议是关于缩略图的重要性，以及在被其他任何东西捕获之前缩略图流如何非常关键。
就我自己而言，我仍然试图掌握这个元素，我试图解决这个问题，类似于在我的Instagram帐户上发布摄影。如果你在Instagram上看看大多数摄影师，我注意到他们有一个一致的元素，不仅拍了一张很棒的照片，而且在3×3网格中观看时，他们的“投资组合”有自己的特点，因此非常独特。
Lighting
Lighting is something I’m not really strong with; what I usually do with lighting for props is to use Tomoco studio HDRI and drag in a bunch of lights from it. For the display fridge, the lights at the top didn’t seem to pass through each tray in the renders. Therefore I had to manually place a rect light in the Marmoset Toolbag with each layer, lowering the light intensity to get the correct look.
照明
照明是我不太擅长的东西。我通常对道具的照明所做的是使用Tomoco工作室HDRI并从中拖动一堆灯光。对于显示冰箱，顶部的灯光似乎没有穿过渲染中的每个托盘。因此，我必须在每层手动将直立灯放在狨猴工具袋中，降低光强度以获得正确的外观。
Rendering
I spend the same amount of time in the rendering stage as I do in the texturing stage, preferably longer. The presentation can make or break your work and I try my best to compose a dynamic frame. I usually look at films for inspiration such as Christopher Nolan’s work, and the work of cinematographer Hoyte Van Hoytema. Therefore I prefer to stick to a 65mm lens for rendering thumbnails and key shots.
渲染
我在渲染阶段花费的时间与在纹理阶段花费的时间相同，最好是更长的时间。演示文稿可以成就或破坏您的工作，我尽力创作一个动态框架。我通常会从电影中寻找灵感，比如克里斯托弗·诺兰（Christopher Nolan）的作品，以及电影摄影师霍伊特·范·霍伊特马（Hoyte Van Hoytema）的作品。因此，我更喜欢使用65mm镜头来渲染缩略图和关键镜头。
Conclusion
结论
Key takeaways:
Be sure to include all details and small components in the blockout, keep it simple so you can have an easier time going from High to Low.
Put your props in context and double-check with your reference.
Continue to look for more references (can do this away from PC, during a commute, etc)
Take a day off and come back to the presentation stage with fresh eyes.
Always seek feedback.
关键要点：
确保在块中包含所有细节和小组件，保持简单，以便您可以更轻松地从高到低。
把你的道具放在上下文中，并仔细检查你的参考。
继续寻找更多参考资料（可以在远离PC，通勤期间等地方执行此操作）
休息一天，以全新的眼光回到演示舞台。
始终寻求反馈。
Thank you for your time, I hope some of the processes I shared today were meaningful to you. Also huge thanks to Games Artist for giving me such an opportunity to write the process and share my knowledge.
感谢您抽出宝贵时间，我希望我今天分享的一些过程对您有意义。也非常感谢Games Artist给我这样一个机会来编写流程并分享我的知识。
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