Introduction
Hello, my name is Andrei Egorov and at the moment I live and work in Portugal in Saber Interactive Porto. I started my journey in the 3D sphere as a Prop and Vehicle Artist. But my desire to do something big and atmospheric was seething in me.

Everything I know, I learned by watching YouTube, analyzing the works of other people, or asking more experienced artists.  I made a big step in 3D thanks to a small Indie team called TALLBOYS, they are really tall...
介绍
你好，我的名字是安德烈·叶戈罗夫，目前我在葡萄牙的Saber Interactive Porto生活和工作。我以道具和车辆艺术家的身份开始了我在3D领域的旅程。但是我想要做一些大而大气的事情的愿望在我心中激荡不定。

我所知道的一切，都是通过观看YouTube，分析其他人的作品或询问更有经验的艺术家来学习的。多亏了一个名为TALLBOYS的小型独立团队，我在3D领域迈出了一大步，他们真的很高......



Planning
The idea to create an abandoned city sat in me for a long time. There were several reasons for this. I wanted to improve my modular modeling skills, a city always looks cool, and most importantly, I wanted to try to make an entire scene using only tiles and trims.

So where does every scene start? Right, references. On the internet, I found the work of the artist Devins Lee and I used it as a base. Of course, I’ve checked a lot of references from TLOU and Uncharted.

Then I began to analyze what I need to create a city – like buildings, cars, broken asphalt, vegetation, and some props to fill the scene.
规划
创建一个废弃城市的想法在我心中停留了很长时间。这有几个原因。我想提高我的模块化建模技能，一个城市总是看起来很酷，最重要的是，我想尝试只用瓷砖和装饰来制作整个场景。

那么每个场景从哪里开始呢？对，参考文献。在互联网上，我找到了艺术家Devins Lee的作品，我用它作为基础。当然，我已经检查了很多来自TLOU和Uncharted的参考资料。

然后我开始分析创建城市所需的东西 - 例如建筑物，汽车，破碎的沥青，植被和一些道具来填充场景。



Modeling and Texturing Workflow
One of my goals was to work with modules. Buildings are great for this. The task is simple, we go to the Internet, look for buildings, and split them into modules. Each of my modules equals 2. 2,6,8,10... meters. Below you can see examples of my modules.
建模和纹理工作流程
我的目标之一是使用模块。建筑物非常适合此。任务很简单，我们去互联网，寻找建筑物，并将它们分成模块。我的每个模块等于 2。2，6，8，10...米。下面你可以看到我的模块的例子。

更多精彩图片 请登录

For building creation, I used mid poly with weighted normals. For Maya, I used this script. For 3d Max, the script is here. In Blender, you can use the FWN modifier. In order to use vertex paint, I added some loops for every module.
对于建筑创作，我使用了带有加权法线的中多边形。对于 Maya，我使用了这个脚本。对于3d Max，脚本在这里。在Blender中，您可以使用FWN修改器。为了使用顶点绘制，我为每个模块添加了一些循环。

更多精彩图片 请登录

I took the majority of textures from Megascans and mixed them into Quixel Mixer. For texture packing, I used BR and NOH methods (watch from 20:00).
我从Megascans中取出了大部分纹理，并将它们混合到Quixel Mixer中。对于纹理包装，我使用了BR和NOH方法（从20：00开始观看）。

更多精彩图片 请登录

There are a lot of cars in the city. If I textured each car uniquely, it would take a lot of time. So I decided to create one car, one truck, and one bus, but use masks to create variations. For the correct normals, I used normal transfer. In short, I created proxy models for cars, from which I copied the normals for my cars. In the picture below, I showed how to fix the normals on the object in Maya on a simple model. If you use 3d Max you can use this script.
这个城市有很多汽车。如果我对每辆车进行独特的纹理处理，则需要花费大量时间。所以我决定创造一辆汽车，一辆卡车和一辆公共汽车，但使用面具来创造变化。对于正确的法线，我使用了正常转移。简而言之，我为汽车创建了代理模型，从中我复制了汽车的法线。在下图中，我展示了如何在一个简单的模型上修复Maya中对象的法线。如果使用 3d Max，则可以使用此脚本。

更多精彩图片 请登录

I followed the same process with cars. Using one car and two masks we can create many cars with different colors and damage.
我对汽车也遵循了同样的过程。使用一辆汽车和两个面具，我们可以制造出许多具有不同颜色和损坏的汽车。

更多精彩图片 请登录

For texturing cars, I used layered materials. This allowed me to add as many layers as I wanted. The shader does not exceed 200 instructions. You can learn more here.
对于纹理汽车，我使用了分层材料。这使我能够根据需要添加任意数量的图层。着色器不超过 200 条指令。您可以在此处了解更多信息。

更多精彩图片 请登录

Creating props was not much different from cars – the first channel is for tiles and the second is for masks. Usually, I use the red channel for rust, blue – for scratch, and green – for dirt.
制作道具与汽车没有太大区别 - 第一个通道用于瓷砖，第二个通道用于面具。通常，我使用红色通道表示生锈，蓝色 - 用于划痕，绿色 - 用于污垢。

更多精彩图片 请登录

I modeled some leaves using ZBrush, put together some variations for ivy, and baked it into a tiled and unique texture. The rest of the grass was taken from Megascans.
我使用ZBrush对一些叶子进行了建模，将常春藤的一些变体放在一起，并将其烘焙成平铺和独特的纹理。其余的草是从Megascans取来的。

更多精彩图片 请登录

Lighting, Composition, and Colors
Composition

I chose leading lines and rules of thirds as the main types of composition. The main focus was on the bank building and on the building in the background. For the foreground, I used cars. Also, I added water towers and antennas on the roofs to diversify the silhouette.
照明、构图和颜色
组成

我选择了前导线和三分法则作为构图的主要类型。主要焦点是银行大楼和背景中的建筑。对于前景，我用了汽车。此外，我还在屋顶上添加了水塔和天线，以使轮廓多样化。

更多精彩图片 请登录

Lighting

Everyone said that the new UE5 is cool and Lumen is a super tool and I decided to try it. Indeed, with Lumen, it has become easier to adjust the light. For my scene, I chose the type of lighting in shadow-light-shadow. Classic scheme: cold shadows and warm light source. In my mood, I wanted to get something similar to The Last of Us.
照明

每个人都说新的UE5很酷，Lumen是一个超级工具，我决定尝试一下。事实上，有了流明，调整光线变得更加容易。对于我的场景，我选择了阴影-光-阴影中的照明类型。经典方案：冷阴影和暖光源。在我的心情下，我想得到一些类似于《最后生还者》的东西。

更多精彩图片 请登录

Then I added a few additional spotlights to add accents. God rays on the right, in front of the bank are fake, I made a cylinder and applied a transparent texture to it. You can check how to adjust this here.

I wanted to get a clean picture, without a lot of post-effect interference. Therefore, I only played with exposure settings, colors, and white balance.
然后，我添加了一些额外的聚光灯来添加重音符号。右边的神光，在银行前面是假的，我做了一个圆柱体，并在上面涂上了透明的纹理。您可以在此处查看如何调整。

我想得到一张干净的图片，没有太多的后期效果干扰。因此，我只玩了曝光设置，颜色和白平衡。

更多精彩图片 请登录

Conclusion
I really liked the pipeline without baking normals. Thanks to this, I saved a lot of time. Especially now, with the Nanite technology, we can chamfer geometry as much as we want and forget about baking. Another thing that I thought about all the time is "Whatever we do should be art". Every prop, every light source, everything is art.

Thank you for reading this article and 80 Level for the opportunity to share my idea. If you have any questions, just send me a message on ArtStation or LinkedIn.
结论
我真的很喜欢没有烘焙法线的管道。多亏了这一点，我节省了很多时间。特别是现在，使用Nanite技术，我们可以随心所欲地倒角几何形状，而不必再烘焙了。我一直在思考的另一件事是“无论我们做什么都应该是艺术”。每一道具，每一个光源，一切都是艺术。

感谢您阅读本文和80 Level，让您有机会分享我的想法。如果您有任何疑问，只需在ArtStation上向我发送消息或LinkedIn。

更多精彩图片 请登录

Introduction
Hello, my name is Andrei Egorov and at the moment I live and work in Portugal in Saber Interactive Porto. I started my journey in the 3D sphere as a Prop and Vehicle Artist. But my desire to do something big and atmospheric was seething in me.

Everything I know, I learned by watching YouTube, analyzing the works of other people, or asking more experienced artists.  I made a big step in 3D thanks to a small Indie team called TALLBOYS, they are really tall...
介绍
你好，我的名字是安德烈·叶戈罗夫，目前我在葡萄牙的Saber Interactive Porto生活和工作。我以道具和车辆艺术家的身份开始了我在3D领域的旅程。但是我想要做一些大而大气的事情的愿望在我心中激荡不定。

我所知道的一切，都是通过观看YouTube，分析其他人的作品或询问更有经验的艺术家来学习的。多亏了一个名为TALLBOYS的小型独立团队，我在3D领域迈出了一大步，他们真的很高......



Planning
The idea to create an abandoned city sat in me for a long time. There were several reasons for this. I wanted to improve my modular modeling skills, a city always looks cool, and most importantly, I wanted to try to make an entire scene using only tiles and trims.

So where does every scene start? Right, references. On the internet, I found the work of the artist Devins Lee and I used it as a base. Of course, I’ve checked a lot of references from TLOU and Uncharted.

Then I began to analyze what I need to create a city – like buildings, cars, broken asphalt, vegetation, and some props to fill the scene.
规划
创建一个废弃城市的想法在我心中停留了很长时间。这有几个原因。我想提高我的模块化建模技能，一个城市总是看起来很酷，最重要的是，我想尝试只用瓷砖和装饰来制作整个场景。

那么每个场景从哪里开始呢？对，参考文献。在互联网上，我找到了艺术家Devins Lee的作品，我用它作为基础。当然，我已经检查了很多来自TLOU和Uncharted的参考资料。

然后我开始分析创建城市所需的东西 - 例如建筑物，汽车，破碎的沥青，植被和一些道具来填充场景。



Modeling and Texturing Workflow
One of my goals was to work with modules. Buildings are great for this. The task is simple, we go to the Internet, look for buildings, and split them into modules. Each of my modules equals 2. 2,6,8,10... meters. Below you can see examples of my modules.
建模和纹理工作流程
我的目标之一是使用模块。建筑物非常适合此。任务很简单，我们去互联网，寻找建筑物，并将它们分成模块。我的每个模块等于 2。2，6，8，10...米。下面你可以看到我的模块的例子。

更多精彩图片 请登录

For building creation, I used mid poly with weighted normals. For Maya, I used this script. For 3d Max, the script is here. In Blender, you can use the FWN modifier. In order to use vertex paint, I added some loops for every module.
对于建筑创作，我使用了带有加权法线的中多边形。对于 Maya，我使用了这个脚本。对于3d Max，脚本在这里。在Blender中，您可以使用FWN修改器。为了使用顶点绘制，我为每个模块添加了一些循环。

更多精彩图片 请登录

I took the majority of textures from Megascans and mixed them into Quixel Mixer. For texture packing, I used BR and NOH methods (watch from 20:00).
我从Megascans中取出了大部分纹理，并将它们混合到Quixel Mixer中。对于纹理包装，我使用了BR和NOH方法（从20：00开始观看）。

更多精彩图片 请登录

There are a lot of cars in the city. If I textured each car uniquely, it would take a lot of time. So I decided to create one car, one truck, and one bus, but use masks to create variations. For the correct normals, I used normal transfer. In short, I created proxy models for cars, from which I copied the normals for my cars. In the picture below, I showed how to fix the normals on the object in Maya on a simple model. If you use 3d Max you can use this script.
这个城市有很多汽车。如果我对每辆车进行独特的纹理处理，则需要花费大量时间。所以我决定创造一辆汽车，一辆卡车和一辆公共汽车，但使用面具来创造变化。对于正确的法线，我使用了正常转移。简而言之，我为汽车创建了代理模型，从中我复制了汽车的法线。在下图中，我展示了如何在一个简单的模型上修复Maya中对象的法线。如果使用 3d Max，则可以使用此脚本。

更多精彩图片 请登录

I followed the same process with cars. Using one car and two masks we can create many cars with different colors and damage.
我对汽车也遵循了同样的过程。使用一辆汽车和两个面具，我们可以制造出许多具有不同颜色和损坏的汽车。

更多精彩图片 请登录

For texturing cars, I used layered materials. This allowed me to add as many layers as I wanted. The shader does not exceed 200 instructions. You can learn more here.
对于纹理汽车，我使用了分层材料。这使我能够根据需要添加任意数量的图层。着色器不超过 200 条指令。您可以在此处了解更多信息。

更多精彩图片 请登录

Creating props was not much different from cars – the first channel is for tiles and the second is for masks. Usually, I use the red channel for rust, blue – for scratch, and green – for dirt.
制作道具与汽车没有太大区别 - 第一个通道用于瓷砖，第二个通道用于面具。通常，我使用红色通道表示生锈，蓝色 - 用于划痕，绿色 - 用于污垢。

更多精彩图片 请登录

I modeled some leaves using ZBrush, put together some variations for ivy, and baked it into a tiled and unique texture. The rest of the grass was taken from Megascans.
我使用ZBrush对一些叶子进行了建模，将常春藤的一些变体放在一起，并将其烘焙成平铺和独特的纹理。其余的草是从Megascans取来的。

更多精彩图片 请登录

Lighting, Composition, and Colors
Composition

I chose leading lines and rules of thirds as the main types of composition. The main focus was on the bank building and on the building in the background. For the foreground, I used cars. Also, I added water towers and antennas on the roofs to diversify the silhouette.
照明、构图和颜色
组成

我选择了前导线和三分法则作为构图的主要类型。主要焦点是银行大楼和背景中的建筑。对于前景，我用了汽车。此外，我还在屋顶上添加了水塔和天线，以使轮廓多样化。

更多精彩图片 请登录

Lighting

Everyone said that the new UE5 is cool and Lumen is a super tool and I decided to try it. Indeed, with Lumen, it has become easier to adjust the light. For my scene, I chose the type of lighting in shadow-light-shadow. Classic scheme: cold shadows and warm light source. In my mood, I wanted to get something similar to The Last of Us.
照明

每个人都说新的UE5很酷，Lumen是一个超级工具，我决定尝试一下。事实上，有了流明，调整光线变得更加容易。对于我的场景，我选择了阴影-光-阴影中的照明类型。经典方案：冷阴影和暖光源。在我的心情下，我想得到一些类似于《最后生还者》的东西。

更多精彩图片 请登录

Then I added a few additional spotlights to add accents. God rays on the right, in front of the bank are fake, I made a cylinder and applied a transparent texture to it. You can check how to adjust this here.

I wanted to get a clean picture, without a lot of post-effect interference. Therefore, I only played with exposure settings, colors, and white balance.
然后，我添加了一些额外的聚光灯来添加重音符号。右边的神光，在银行前面是假的，我做了一个圆柱体，并在上面涂上了透明的纹理。您可以在此处查看如何调整。

我想得到一张干净的图片，没有太多的后期效果干扰。因此，我只玩了曝光设置，颜色和白平衡。

更多精彩图片 请登录

Conclusion
I really liked the pipeline without baking normals. Thanks to this, I saved a lot of time. Especially now, with the Nanite technology, we can chamfer geometry as much as we want and forget about baking. Another thing that I thought about all the time is "Whatever we do should be art". Every prop, every light source, everything is art.

Thank you for reading this article and 80 Level for the opportunity to share my idea. If you have any questions, just send me a message on ArtStation or LinkedIn.
结论
我真的很喜欢没有烘焙法线的管道。多亏了这一点，我节省了很多时间。特别是现在，使用Nanite技术，我们可以随心所欲地倒角几何形状，而不必再烘焙了。我一直在思考的另一件事是“无论我们做什么都应该是艺术”。每一道具，每一个光源，一切都是艺术。

感谢您阅读本文和80 Level，让您有机会分享我的想法。如果您有任何疑问，只需在ArtStation上向我发送消息或LinkedIn。

更多精彩图片 请登录