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Introduction
Hello! My name is John Enderle, I’m a 3D Environment Artist in the United States. My introduction to 3D art was essentially just my overwhelming curiosity and urge to know how games are made! Being an artist and a gamer, I had always been curious about how these amazing worlds that I immerse myself in are created. Back in 2017, after some searching, I realized how feasible it was to gain the creative knowledge I wanted, and my 3D journey began! Starting off, I dabbled in most areas of 3D, from prop and character art to animation and environment art. Eventually, I found my passion for environment art and lately material creation almost exclusively.
介绍
你好！我的名字是John Enderle，我是美国的3D环境艺术家。我对3D艺术的介绍基本上只是我压倒性的好奇心和渴望知道游戏是如何制作的！作为一名艺术家和游戏玩家，我一直很好奇这些我沉浸在其中的惊人世界是如何创造的。早在2017年，经过一些搜索，我意识到获得我想要的创意知识是多么可行，我的3D之旅开始了！一开始，我涉足了3D的大多数领域，从道具和角色艺术到动画和环境艺术。最终，我发现了自己对环境艺术的热情，最近几乎完全是物质创作。
As for how I got the skills I have, with all the learning resources out there today, such as YouTube, 80 Level, ArtStation, Gumroad, as well as the dedicated software sites with helpful forums and discord servers, there’s always been little in the way of learning whatever it is I’ve set my mind to.
至于我是如何获得我所拥有的技能的，今天所有的学习资源，如YouTube，80 Level，ArtStation，Gumroad，以及带有有用论坛和不和谐服务器的专用软件网站，在学习我设定的任何东西方面总是很少。
Becoming a Material Artist
Before I started putting most of my creative focus into material creation, I was always blown away and inspired by the materials I would see shared on social media. Artists such as Daniel Thiger, Chris Hodgson, and Abderrezak Bouhedda putting out seemingly unimaginable materials was a huge inspiration and a big factor in my deciding to push myself into this field of 3D art more and discovering my passion for it.
As for what tools I use, at the moment it's only Substance 3D Designer for material creation. In my opinion and to my knowledge, there’s nothing that quite compares. Getting accustomed to it can be challenging, but like any program, practice, tutorials, and repetition are paramount. For rendering, I tend to use either Marmoset Toolbag or Unreal Engine. Marmoset's speed and ease of use are great for material rendering, in my experience. The rendering options, lighting, post-processing, and quality of output are fantastic. Unreal Engine, on the other hand, is amazing for larger scenes and displaying materials in full environments in real-time.
成为材料艺术家
在我开始将大部分创意重点放在材料创作中之前，我总是被社交媒体上看到的分享材料所震撼和启发。Daniel Thiger，Chris Hodgson和Abderrezak Bouhedda等艺术家推出看似难以想象的材料是一个巨大的灵感，也是我决定更多地将自己推向这个3D艺术领域并发现我对它的热情的重要因素。
至于我使用什么工具，目前只有Substance 3D Designer用于材料创建。在我看来，据我所知，没有什么能比得上。习惯它可能具有挑战性，但像任何程序一样，练习，教程和重复是最重要的。对于渲染，我倾向于使用Marmoset Toolbag或虚幻引擎。根据我的经验，Marmoset的速度和易用性非常适合材质渲染。渲染选项、光照、后期处理和输出质量都非常棒。另一方面，虚幻引擎对于较大的场景和在完整环境中实时显示材质来说非常棒。
The Sci-Fi Material Generator Project
The Sci-Fi Material Generator was somewhat of an extension to the previous sci-fi material I had done. The idea was to essentially recreate that style of sci-fi paneling but with more functionality. The Procedural Sci-Fi Material Generator, as the name implies, has that functionality with over 80 exposed parameters to customize and generate endless results. I took a lot of inspiration from the previous material as well as Marcel Deneuve and Paul Chadeisson, who do fantastic sci-fi-themed work, and a cyberpunk-themed game called The Ascent by Neon Digital. Something that has always appealed to me is that greebly, noisy, micro detail style in regards to sci-fi art, which was one of many things I wanted to feature in the material while also having the ability to scale things back and have a more clean and tidy sci-fi aesthetic using the parameters of the material.
科幻材料生成器项目
科幻材料生成器在某种程度上是我之前完成的科幻材料的延伸。这个想法基本上是重新创造这种科幻镶板风格，但具有更多的功能。顾名思义，程序科幻材质生成器具有该功能，具有80多个公开参数的功能，可自定义并生成无穷无尽的结果。我从之前的材料中汲取了很多灵感，还有Marcel Deneuve和Paul Chadeisson，他们做了很棒的科幻主题工作，以及Neon Digital的赛博朋克主题游戏The Ascent。一直吸引我的是，关于科幻艺术的贪婪，嘈杂，微观细节风格，这是我想在材料中出现的许多东西之一，同时还具有缩小尺寸的能力，并且能够使用材料的参数获得更干净整洁的科幻美学。
Substance 3D Designer
Planning
The first step with this material was deciding on the basic structure. I knew I wanted to have a chain effect or hierarchy of sorts where if I changed something at the beginning of the material, it would determine how the following parts reacted with the next and so on. Once I determined what the first link of the chain would be, the following links were much easier to place. For this material, the chain links are the “Panels”. Primary Panels, Secondary Panels, Panels 1, 2, 3. Each is determined by the previous in a very linear path, which helps loads with the organization as well.
物质 3D 设计器
规划
使用这种材料的第一步是确定基本结构。我知道我想要一种连锁效应或某种等级制度，如果我在材料开始时改变了一些东西，它将决定以下部分如何与下一个部分做出反应，依此类推。一旦我确定了链条的第一个环节是什么，下面的链接就更容易放置了。对于这种材料，链节是“面板”。主要面板，次要面板，面板1，2，3。每个都是由前一个在非常线性的路径中确定的，这也有助于组织的负载。
Following that, I start adding to my reference board in PureRef, create a new graph using a custom template that I picked up from Daniel Thiger, and add an ORMH output as well.
之后，我开始在PureRef中添加我的参考板，使用我从Daniel Thiger那里获取的自定义模板创建一个新图形，并添加一个ORMH输出。
Height Map
Once most of the planning was figured out, it was onto the Height map. This is what I always tend to start with as it gives a clear path through your graph to branch off of and do the Base Color, Roughness, etc. To me, it’s the core of most materials I do and typically what I spend the most time on.
高度图
一旦大部分计划被弄清楚，它就会出现在高度地图上。这就是我总是倾向于开始的，因为它通过你的图表给出了一条清晰的路径，可以分支并做基色，粗糙度等。对我来说，这是我做的大多数材料的核心，通常是我花最多时间的东西。
One of the first challenges I faced was visually understanding where the various panels were on the material. To help with this, at the beginning of the height process, I added a Material ID option so I could clearly see where each panel was by color and text. Originally just to help create the material, it ended up staying as it makes the initial setup of the panels much clearer.
我面临的第一个挑战是视觉上理解各种面板在材料上的位置。为了帮助解决这个问题，在高度过程开始时，我添加了一个材质ID选项，以便我可以清楚地看到每个面板的颜色和文本的位置。最初只是为了帮助创建材料，它最终留下来，因为它使面板的初始设置更加清晰。
Base Color
Normally after the Height map, I would just move onto the base color, but I’ve found with metallic materials the colors can change quite a bit depending on Roughness and Metallic maps. So, to get a better idea of how the color will translate once finished, I make everything full metallic and add a temporary dirt generator node using info I get from the finished Height map for the Roughness one as well as a color and blend node for a base.
基色
通常，在高度贴图之后，我会移动到基色上，但是我发现使用金属材质时，颜色可能会根据粗糙度和金属贴图而变化很大。因此，为了更好地了解完成后颜色将如何平移，我将所有内容全部全部制成金属色，并使用我从粗糙度一个的成品高度图中获得的信息以及基础的颜色和混合节点添加一个临时污垢发生器节点。
Once that was set up and I had the color and blend node down as a base, I just moved along the height section of the graph, masking each layer of color as I went and adding to the base, which, as I mentioned before, was pretty straightforward with the Height map already laid out. I tried to keep the color palette pretty simple, using basic shades of metals, such as grays and browns for the panels with spots of copper for details, but later adding the option to change the luminosity and contrast of the panels because of how drastic metallics can change depending on environments. I also added an option to remove all color from the metal and use strictly shades of gray, and of course, the paint can be any color you want!
一旦设置好了，我把颜色和混合节点作为基础，我只是沿着图表的高度部分移动，在我去的时候遮罩每一层颜色并添加到基础中，正如我之前提到的，这对于已经布局的高度贴图来说非常简单。我试图保持调色板非常简单，使用基本的金属阴影，例如灰色和棕色的面板，以及铜色斑点的细节，但后来添加了更改面板亮度和对比度的选项，因为金属会根据环境而变化。我还添加了一个选项，可以从金属中删除所有颜色，并严格使用灰色阴影，当然，油漆可以是您想要的任何颜色！
After getting a rough idea down as far as color goes for each panel, I moved on to the finer details such as paint, dirt, leaks, rust, edge wear, etc. For this material, I ended up using a few of the default generators that come with Substance 3D Designer. Using a Linear Gradient 1 for the position and the obvious inputs for the rest, they were perfect in this case.
在对每个面板的颜色有了大致的了解之后，我转向了更精细的细节，例如油漆，污垢，泄漏，生锈，边缘磨损等。对于这种材质，我最终使用了Substance 3D Designer附带的一些默认生成器。使用线性梯度1作为位置，使用明显的输入作为其余的，在这种情况下，它们是完美的。
The biggest challenge involving each of those generators was masking and having them work regardless of how the custom parameters were set up and having to call back to earlier parts of the graph. It can get confusing, but between framing, cable rerouting, and keeping your graph organized and linear as you go, it can make a world of difference in how readable your graph is.
涉及这些生成器中每个生成器的最大挑战是屏蔽并让它们工作，而不管自定义参数是如何设置的，并且必须回调到图形的早期部分。它可能会令人困惑，但是在成帧，电缆重新布线以及保持图形的组织和线性之间，它可以使您的图形的可读性产生天壤之别。
Roughness/Metallic Maps
The Roughness and Metallic maps were fairly straightforward to set up. Metallic being strictly white or black, it was as simple as subtracting the paint, emissive lights, and anything else that wasn’t metal. As for the Roughness, again it fell on masking specific areas and blending in as I made my way through the graph.
粗糙度/金属贴图
粗糙度和金属贴图的设置相当简单。金属是严格的白色或黑色，就像减去油漆，发光光和其他任何不是金属的东西一样简单。至于粗糙度，它再次落在遮盖特定区域并在我浏览图表时融入其中。
Normal/AO/Emissive Maps
Similar to the Roughness and Metallic maps, the Normal, Ambient Occlusion, and Emissive maps were pretty simple. All of the Normal and AO detail is from the final Height map. There are some instances where you don’t want Height data to show up in the Normal or vice versa, but in this case, the Height map had all the detail I needed. As for the Emissive, all the lights were already worked into the Base Color, so adding them in was as simple as branching off the Base Color and blending and masking them all together.
法线/AO/发射图
与粗糙度和金属贴图类似，法线、环境光遮蔽和自发光贴图也非常简单。所有法线和AO细节都来自最终的高度贴图。在某些情况下，您不希望高度数据显示在“法线”中，反之亦然，但在本例中，“高度”地图具有我需要的所有详细信息。至于Emissive，所有的灯光都已经工作到基色中，所以添加它们就像分支基色并将它们混合和遮罩在一起一样简单。
Setting Up the Generator
Setting up the generator was definitely a learning experience as this was the first time I tried my hand at a fully customizable material. My working process was basically just building the material as normal but exposing parameters as I went. A better method may have been to complete the material with no functionality and then go back over it, exposing certain parameters and adding features where you want.
A challenge that I didn’t anticipate was exposing too many parameters. I’d say having realistic expectations of what one material can do is definitely something to keep in mind. I didn’t think too much functionality could be a problem, but it is! Over-exposing can lead to clutter and confusion and be basically endless if you don’t know when to call it done. As mentioned before, I decided to call it with around 80 parameters exposed, depending on what features are enabled. In addition to adding too many parameters, knowing when to stop adding details is just as important. Setting limits early on in the material generator creation process is a must.
设置生成器
设置生成器绝对是一种学习体验，因为这是我第一次尝试完全可定制的材料。我的工作过程基本上只是像往常一样构建材料，但随着我的去向而暴露参数。更好的方法可能是在没有功能的情况下完成材料，然后返回它，公开某些参数并在所需的位置添加功能。
我没有预料到的一个挑战是暴露了太多的参数。我想说的是，对一种材料可以做什么有现实的期望绝对是需要记住的。我不认为太多的功能可能是一个问题，但它是！过度暴露会导致混乱和混乱，如果你不知道什么时候完成，基本上是无穷无尽的。如前所述，我决定在公开大约80个参数的情况下调用它，具体取决于启用的功能。除了添加太多参数之外，知道何时停止添加详细信息也同样重要。在材料生成器创建过程的早期设置限制是必须的。
Getting feedback through the creation process is super helpful in that regard, not just aesthetically but functionality as well. Since I planned on other people using this generator, I made sure to share the .sbsar file periodically and get feedback on ease of use and in general how easy it was to understand. The Substance 3D Designer feature that helped massively with that was the “visible if” option, which will hide certain parameters, depending on if other parameters are in use.
在这方面，通过创建过程获得反馈是非常有帮助的，不仅在美学上，而且在功能上也是如此。由于我计划让其他人使用此生成器，因此我确保定期共享.sbsar文件并获得有关易用性以及一般而言易于理解的反馈。Substance 3D Designer功能对此有很大的帮助，那就是“可见的如果”选项，它将隐藏某些参数，具体取决于是否正在使用其他参数。
Final Renders
Once all 20 of the presets were made in the generator, I exported them out of Substance Player to be used in the various renders. To try and save on memory, I only used the Base Color, Normal, Emissive, and a packed ORMH (Occlusion, Roughness, Metallic, Height). I settled on breaking it up into 4 scenes: spheres, cubes, panels, and animation.
最终渲染
在生成器中完成所有20个预设后，我将它们从Substance Player中导出以用于各种渲染。为了节省内存，我只使用了基色，正常，发光和压缩的ORMH（遮挡，粗糙度，金属，高度）。我决定把它分成4个场景：球体，立方体，面板和动画。
Spheres and Cubes
For the spheres and cubes renders, as well as most of the others, I wanted to have a warm/cold aesthetic which was done with one or two directional lights and an HDRI. Given the reflective properties of metallic materials, the HDRI was essential as I found most of the materials show up nearly black without one.
球体和立方体
对于球体和立方体渲染，以及大多数其他渲染，我希望有一个暖/冷的美学，这是用一个或两个定向光源和一个HDRI完成的。鉴于金属材料的反射特性，HDRI是必不可少的，因为我发现大多数材料在没有HDRI的情况下几乎显示为黑色。
Panels
The panel renders were definitely the most fun and satisfying to set up. I quickly made a random panel mesh in Blender and tested out multiple presets that I had exported previously, eventually settling on 6 to use between the two different lighting setups. Rather than directional or point lights that I normally use, I opted for omni lights using the square shape option and playing with the size, and they really helped accentuate the finer details and add some interesting highlights. I wanted to have quite a bit of contrast in terms of lighting, so I had some fun with both variations.
板
面板渲染绝对是最有趣和最令人满意的设置。我很快在Blender中制作了一个随机面板网格，并测试了我之前导出的多个预设，最终确定了6个在两种不同的照明设置之间使用。我没有像往常一样使用定向或点光源，而是选择了使用方形选项的全向光源，并调整了尺寸，它们确实有助于突出更精细的细节并添加一些有趣的亮点。我想在照明方面有相当多的对比度，所以我对这两种变化都玩得很开心。
Animation
The animation render started in Blender, having 3 rows of offset cubes, each cut roughly in half to save on poly count once in Marmoset Toolbag and tessellated. I used 19 of the presets from the generator, 6 on the top and middle rows and 7 on the bottom to have a speed variation as they would each be going in a different direction. With the cubes textured and keyframed in Toolbag, I started playing with lighting, and once again omni lights were used.
动画
动画渲染从Blender开始，有3行偏移立方体，每行大约切成两半，以节省一次在Marmoset Toolbag中和镶嵌的多边形计数。我使用了生成器中的 19 个预设，顶部和中间行有 6 个，底部有 7 个，因为它们各自朝着不同的方向变化。随着立方体在Toolbag中进行纹理和关键帧，我开始玩照明，并再次使用全向光源。
Post-processing and Choosing Marmoset Toolbag
I tried to keep post-processing minimal to not take too much away from what the materials naturally look like. Across all renders, I pretty much only adjusted sharpness, vignetting, and very little bloom. Marmosets lighting, post-processing, render speed, tessellation abilities, animation tools, and general ease of use are the main reasons I chose it. It allows me to work efficiently and see results quickly, which I love.
后处理和选择狨猴工具包
我试图将后期处理保持在最低限度，以免从材料的自然外观中带走太多东西。在所有渲染中，我几乎只调整了清晰度、渐晕和很少的绽放。狨猴照明，后期处理，渲染速度，曲面细分功能，动画工具和一般的易用性是我选择它的主要原因。它使我能够高效地工作并快速看到结果，我喜欢这一点。
Mastering Substance 3D Designer
Mastering, or rather being the best you can be at Substance 3D Designer comes down to a few major factors for me: learning, organization, memorizing nodes and how they react with each other, and experimenting.
For learning, there are so many great resources out there now to get you started if you have never used Substance 3D Designer before as well as if you’re experienced and you just want to improve your knowledge. The Adobe Substance 3D YouTube channel, ArtStation, and 80 Level are some fantastic places to begin your journey into Substance 3D Designer without spending any money.
掌握物质3D设计师
掌握，或者更确切地说，成为Substance 3D Designer最好的你，对我来说归结为几个主要因素：学习，组织，记忆节点以及它们如何相互反应和实验。
对于学习，如果你以前从未使用过Substance 3D Designer，以及你有经验，你只是想提高你的知识，那么现在有很多很棒的资源可以让你入门。Adobe Substance 3D YouTube頻道，ArtStation和80 Level是一些絕佳的地方，可以開始您開始Substance 3D Designer的旅程，而无需花任何錢。
As for paid, I can’t speak highly enough about Daniel Thiger's fundamental series and his courses in general. LevelUp Digital also has some great beginner and intermediate courses to buy. Not so much tutorials, but if you have access to the Adobe Substance 3D Assets Library, downloading .SBS files and poking around in them is another way to learn new methods and pick up some tricks from some of the most talented material artists out there.
至于付费，我对丹尼尔·蒂格（Daniel Thiger）的基础系列和他的一般课程赞不绝口。LevelUp Digital也有一些很棒的初学者和中级课程可供购买。不是那么多教程，但是如果您可以访问Adobe Substance 3D Assets Library，请下载.SBS文件和戳戳它们是另一种学习新方法并从一些最有才华的材料艺术家那里学习技巧的方法。
Organization is crucial. Graphs can get messy fast and the harder they are to read, the less efficient you’ll be. Keeping it organized as you go is a good habit to get into early. As I mentioned previously, I like to work in a linear fashion, which, from my experience, doesn’t really put a cap on the graph. Massive or tiny, it tends to stay readable and clean.
Lastly, attempting to create your first nice-looking material can be overwhelming, and I definitely struggled starting out, but with patience, you’ll get familiar with more nodes and as you memorize them, it’ll become second nature. As for experimenting, I’d encourage that from the start. So many of the patterns and reactions I’ve used in materials have been by just messing around, plus it’s fun!
组织至关重要。图表可能会很快变得凌乱，阅读起来越难，效率就越低。保持井井有条是尽早进入的好习惯。正如我之前提到的，我喜欢以线性方式工作，根据我的经验，这并没有真正限制图表。无论大小，它往往保持可读性和干净性。
最后，尝试创建你的第一个好看的材料可能会让人不知所措，我一开始肯定很难受，但是有了耐心，你会熟悉更多的节点，当你记住它们时，它将成为第二天性。至于实验，我从一开始就鼓励这样做。我在材料中使用的许多模式和反应都是通过弄乱而来的，而且这很有趣！
To see additional renders, be sure to check out my ArtStation, and if you’d like to purchase the Procedural Sci-if Material Generator, the Substance 3D Designer .SBS file, .SBSAR, and Marmoset Toolbag scenes are available in my ArtStation store.
I’d also like to thank 80 Level for the opportunity to share my work and answer some questions. It was a pleasure, much appreciated!
要查看其他渲染，请务必查看我的ArtStation，如果您想购买Propergment Sci-if Material Generator，Substance 3D Designer。SBS 文件， .SBSAR 和 Marmoset Toolbag 场景可在我的 ArtStation 商店中找到。
我还要感谢80 Level给我机会分享我的工作并回答一些问题。很愉快，非常感谢！
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