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Introduction
介绍
I'm Mika Kuwilsky and I got interested in Environment Art while I was studying Media Informatics and Interactive Entertainment at the University of Mittweida. Before that, I only had experience with oil painting and stone sculpting, so digital art was quite new to me, but while doing group projects and game jams, I started working on the art aspects and realized that I enjoy it quite a lot and started some personal projects.
我是 Mika Kuwilsky，在米特韦达大学学习媒体信息学和互动娱乐时，我对环境艺术产生了兴趣。在那之前，我只有油画和石雕的经验，所以数字艺术对我来说还是很陌生，但是在做小组项目和游戏 Jam一些个人项目。
Since my studies were more based on programming than art, I used a lot of online tutorials to learn the workflows and I asked experienced artists for advice whenever I was stuck.
由于我的学习更多地基于编程而不是艺术，因此我使用了很多在线教程来学习工作流程，并且每当遇到困难时，我都会向经验丰富的艺术家寻求建议。
After that, I joined Ubisoft, first as an intern and then working as an Environment Artist on a couple of VR games. Whenever I am motivated, I work on some more personal projects in my spare time, trying new tools I am curious about and generally picking my favorite topics.
之后，我加入了育碧，先是实习生，然后是几款 VR 游戏的环境美术师。每当我有动力时，我都会在业余时间从事一些更多的个人项目，尝试我感兴趣的新工具，并且通常会选择我最喜欢的主题。
So, this kit is the most recent one.
所以，这个套件是最新的。
The Modular Kit
模块化套件
Gothic architecture is one of my favorite styles that I simply can't get enough of, and I wanted to build a modular kit that I could use in various future projects.
哥特式建筑是我最喜欢的风格之一，我根本无法获得足够的，我想构建一个模块化套件，我可以在未来的各种项目中使用。
I visited some gothic cathedrals and smaller buildings while I went on some city trips and vacations and took lots of reference references from the Cologne Cathedral in particular since it is very close to where I currently live.
在进行一些城市旅行和度假时，我参观了一些哥特式大教堂和较小的建筑，并从科隆大教堂获得了很多参考资料，特别是因为它离我目前居住的地方非常近。
I found it especially helpful to visit the area where people were working on the restoration of pieces that are usually too far away to see in detail, like some roof ornaments and gargoyles. Here are some example reference pictures:
我发现参观人们正在修复通常太远而无法看到细节的区域特别有帮助，例如一些屋顶装饰品和石像鬼。以下是一些示例参考图片：
However, since most gothic cathedrals have more detail than I needed for my purposes, I reduced them to the most characteristic elements. This way I was able to use a smaller number of individually baked assets and reduce the total amount of kit parts. This allowed me to keep the number of materials low as well, which allowed for faster iterations and material changes.
然而，由于大多数哥特式大教堂的细节超出了我的目的，我将它们简化为最具特色的元素。通过这种方式，我能够使用较少数量的单独烘焙资产并减少套件零件的总量。这也让我可以将材质数量保持在较低水平，从而实现更快的迭代和材质更改。
I was also very curious about Lumen, the new lighting system in Unreal Engine 5, so I also used this project to try it out and build some scenes with the kit.
我也对虚幻引擎 5 中的新光照系统 Lumen 非常好奇，所以我也使用这个项目进行了尝试，并使用套件构建了一些场景。
The Assets
资产
To make sure everything would fit together, I started with a blockout version of the kit pieces that I could easily iterate on to figure out the dimensions.
为了确保所有东西都能组合在一起，我从套件的封闭版本开始，我可以轻松地对其进行迭代以确定尺寸。
I started with the traceries, using my own references as well as cross sections and breakdowns I found online. My goal was to build typical ornaments from a small set of baked assets, all on one texture for easier iterations.
我从窗饰开始，使用我自己的参考资料以及我在网上找到的横截面和故障。我的目标是从一小组烘焙资产中构建典型的装饰品，所有这些都在一个纹理上，以便于迭代。
I created simple shapes with curves in Blender, then sculpted some details and baked them in Substance 3D Painter.
我在 Blender 中用曲线创建了简单的形状，然后雕刻了一些细节并在 Substance 3D Painter 中烘焙它们。
Then I used these parts to build the actual kit pieces:
然后我使用这些部件来构建实际的套件：
I made a tileable material for the walls and added some protruding stones, especially at the corners to create nice silhouettes and added ornament variations I could place on them.
我为墙壁制作了一种可平铺的材料，并添加了一些突出的石头，尤其是在角落处，以创造出漂亮的轮廓，并添加了我可以放置在它们上面的装饰变化。
The transitions between the wall parts are covered by an extruded part at the top of each piece, and on the sides, I used the square and round columns to cover the transitions. These overlapping covers help hide LOD transitions and allow some freedom with the wall angles.
墙壁部分之间的过渡由每个部分顶部的挤压部分覆盖，在侧面，我使用方形和圆形柱来覆盖过渡。这些重叠的覆盖物有助于隐藏 LOD 过渡，并允许墙壁角度有一些自由度。
I planned some parts to be combinable with multiple other parts. This ornament for example works with windows or gates and blends into the side parts of all exterior column types.
我计划了一些部分可以与多个其他部分组合。例如，这种装饰品适用于窗户或大门，并融入所有外部柱类型的侧面部分。
I sculpted the gargoyles in ZBrush, used the decimation master plugin, did some manual mesh cleanup, then baked them in Substance 3D Painter.
我在 ZBrush 中雕刻了石像鬼，使用了抽取大师插件，进行了一些手动网格清理，然后在 Substance 3D Painter 中烘焙它们。
The Texturing Process
纹理过程
I used Substance 3D Designer to make the wall and floor materials, and Substance 3D Painter for the roof, window ornaments, and gargoyles.
我使用 Substance 3D Designer 制作墙壁和地板材质，并使用 Substance 3D Painter 制作屋顶、窗饰和石像鬼。
While making the tileable base material for the wall, I took some iterations to try out different colors, stone types, and damage variations.
在为墙壁制作可平铺的基础材料时，我进行了一些迭代来尝试不同的颜色、石头类型和损坏变化。
In the end, I went for a slightly less dirty version and exported a variation without the gaps to Substance 3D Painter so I could use it as the base material for the baked assets.
最后，我选择了一个稍微不那么脏的版本，并将没有间隙的变体导出到 Substance 3D Painter，这样我就可以将它用作烘焙资产的基础材料。
I made two glass materials for the windows, an opaque, very reflective one for the exterior and a translucent one for the interior. I initially tried making one that works for both sides, but I did not get it to look nice, so I am using these two for now and will try it again in future Unreal Engine versions.
我为窗户制作了两种玻璃材料，一种用于外部的不透明、非常反光的材料，一种用于内部的半透明。我最初尝试制作一个对双方都有效的，但我没有让它看起来很好，所以我现在使用这两个，并将在未来的虚幻引擎版本中再次尝试。
The Composition
组成
I looked at a number of real gothic cathedral floor plans and decided to use a typical cross shape with two towers for my example scene. However, other variations are also possible.
我查看了一些真正的哥特式大教堂平面图，并决定在我的示例场景中使用带有两座塔的典型十字形。然而，其他变化也是可能的。
I broke it down into segments I could copy throughout the scene. Then I used the kit pieces to build these sections in the engine as blueprint actors so I could easily iterate on them.
我把它分解成可以在整个场景中复制的片段。然后我使用套件在引擎中构建这些部分作为蓝图演员，这样我就可以轻松地对它们进行迭代。
I modeled a low poly house cluster and a hill for the background and placed them in the scene to get some landscape and fog layering into the horizon.
我为背景建模了一个低多边形房屋群和一座小山，并将它们放置在场景中，以获得一些景观和雾层进入地平线。
I also wanted to populate the foreground of the scene a bit and since this type of architecture needs a lot of maintenance in real life, I went for scaffolding and construction work props for the scene.
我还想稍微填充场景的前景，因为这种类型的建筑在现实生活中需要大量维护，所以我为场景选择了脚手架和建筑工作道具。
The Lighting Setup
照明设置
I used HDRI skies from Poly Haven for the backdrop and sky light and modified them a little to fit better with my scenes. For example, this is the image I used for the main scene.
我使用Poly Haven的 HDRI 天空作为背景和天光，并对其进行了一些修改以更好地适应我的场景。例如，这是我用于主要场景的图像。
I edited the visible area to have more clouds so it looked like it had just rained. This allowed me to add some puddles on the ground texture and get some sky reflections.
我编辑了可见区域以获得更多云，所以看起来就像刚刚下过雨。这让我可以在地面纹理上添加一些水坑并获得一些天空反射。
Here I used an HDRI sky with more vibrant sunset colors:
在这里，我使用了具有更鲜艳日落色彩的 HDRI 天空：
This is the first project in which I used Lumen real-time lighting from Unreal Engine 5. I tried using BP_Lightstudio first but encountered some crashes, most likely due to my hardware being below the recommended specs, so I used the HDRI Backdrop instead and made sure to match its texture and transforms with the sky light manually.
这是我第一个使用 Unreal Engine 5 的 Lumen 实时光照的项目。我首先尝试使用 BP_Lightstudio，但遇到了一些崩溃，很可能是由于我的硬件低于推荐的规格，所以我改用了HDRI 背景并制作了确保手动匹配其纹理并与天光进行变换。
I used a directional light in the color of the sun in the HDRI and the picture itself as a sky light. I increased the indirect sunlight intensity a bit until I was happy with the shadows and placed two fake bounce point lights in the towers because they still looked a bit too dark to me.
我在 HDRI 中使用了太阳颜色的定向光，并将图片本身用作天光。我稍微增加了间接阳光强度，直到我对阴影感到满意，并在塔中放置了两个假反射点灯，因为它们对我来说仍然看起来有点太暗。
Sky Light：
天空之光：
Directional Light：
定向光：
Fog：
雾：
I used the default post-processing settings and turned off the adaptive brightness.
我使用了默认的后处理设置并关闭了自适应亮度。
Conclusion
结论
The project took me about 70 hours, starting last autumn. However, I already took some of the reference photos on earlier vacations. In the beginning, I worked on it every second Saturday (the others are reserved for playing tabletop RPGs) and in the last weeks, I worked on it on a couple of evenings. Productive sessions varied between 2 and 5 hours.
从去年秋天开始，这个项目花了我大约 70 个小时。但是，我已经在早些时候的假期中拍摄了一些参考照片。一开始，我每两个星期六都在开发它（其他的都是为玩桌面角色扮演游戏而保留的），在过去的几周里，我在几个晚上都在开发它。富有成效的会议在 2 到 5 小时之间变化。
The time is roughly split into the following:
时间大致分为以下几点：
10 hours for collecting references, taking photos, blocking out, and testing the dimensions in the engine.
10 小时用于收集参考资料、拍照、遮挡和测试引擎中的尺寸。
15 hours for making the tracery pieces, details, and sculpted assets.
制作窗饰件、细节和雕刻资产需要 15 个小时。
15 hours for assembling the kit pieces out of the baked elements and tracery pieces.
用烘焙的元素和窗饰件组装套件件需要 15 个小时。
30 hours for materials, other scene assets, and working in the engine.
材料、其他场景资产和在引擎中工作的时间为 30 小时。
I think if it was another style than gothic architecture, the research and blockout phase would have taken a while longer, but since I already made similar projects before, it did not take as long as usual.
我想如果它是哥特式建筑以外的另一种风格，研究和封锁阶段会花费一段时间，但由于我之前已经做过类似的项目，所以没有像往常那样花时间。
The biggest challenges were making fitting kit pieces for the rounded areas and getting large wall sections to not look repetitive.
最大的挑战是为圆形区域制作合适的套件，并使大墙部分看起来不重复。
I decided to only add rounded kit pieces for one specific angle, however, that limits the variety of round buildings I can build with the kit. I needed two new vault and roof pieces and larger/shorter variations of the windows and railings, some of which I am still planning to make.
我决定只为一个特定的角度添加圆形套件，但是，这限制了我可以使用套件构建的圆形建筑物的种类。我需要两个新的拱顶和屋顶部件以及更大/更短的窗户和栏杆变化，其中一些我仍在计划制作。
The repetitiveness of the walls is a bit easier to solve by making additional kit pieces to place between some of the existing ones and adding some buttresses and support pillars, especially for larger structures, it helps break up the shape and give it a more stable look.
墙壁的重复性更容易解决，方法是在一些现有的墙壁之间放置额外的套件并添加一些扶壁和支撑柱，特别是对于较大的结构，它有助于打破形状并使其看起来更稳定.
My main advice for new artists approaching similar projects would be to take enough time for research and blockout versions until the pieces work well together for their purposes.
对于接近类似项目的新艺术家，我的主要建议是花足够的时间进行研究和屏蔽版本，直到这些作品很好地结合在一起达到他们的目的。
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