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Introduction
My name is Anouk Donkers, I am a Technical Artist originally from the Netherlands. I studied Design there for 4 years, and after that, I felt like I wanted to specialize in tech art for games, so I decided to continue my studies at Digital Arts and Entertainment in Belgium. Next to my school, I also help develop virtual reality games for physical therapy at inMotion VR. Here, I mostly work on Corpus VR, a virtual reality platform focused on helping patients have a better and more fun treatment.
介绍
我的名字是Anouk Donkers，我是一名来自荷兰的技术艺术家。我在那里学习了4年的设计，之后，我觉得我想专攻游戏技术艺术，所以我决定继续在比利时的数字艺术和娱乐学习。在我的学校旁边，我还帮助开发用于inMotion VR物理治疗的虚拟现实游戏。在这里，我主要研究Corpus VR，这是一个虚拟现实平台，专注于帮助患者获得更好，更有趣的治疗。
At my school, I learn a variety of different topics, but I have always been really interested in environment, tech, and procedural art. I love solving problems and making processes easier and more optimized.
在我的学校里，我学习了各种不同的主题，但我一直对环境、技术和程序艺术非常感兴趣。我喜欢解决问题，让过程更容易、更优化。
The Cauldron Swamp Ruins Project
I knew I wanted to create a ruins scene that gave an ominous mood. Elden Ring was a big inspiration, I just love the environment, the buildings, and, of course, the amazing bosses you fight!
大锅沼泽遗址项目
我知道我想创造一个废墟场景，给人一种不祥的情绪。Elden Ring是一个很大的灵感，我只是喜欢环境，建筑，当然还有你战斗的惊人老板！
I found this amazing concept by Jef Wu, and it already gave me a good idea of how I could do the composition and lighting. I really liked the use of colors in his scene and knew I wanted to capture that element in mine too.
我发现了Jef Wu的这个惊人的概念，它已经让我很好地了解了如何进行构图和照明。我真的很喜欢在他的场景中使用颜色，并且知道我也想在我的场景中捕捉到这个元素。
Lots of references are always important, having concept art is good, but real-life reference is just as important to have. For example, think about what plants would grow there or how a building would look after it has been there for a while. Real-life pictures can answer these questions and help flesh out these details.
大量的参考总是重要的，拥有概念艺术是好的，但现实生活中的参考同样重要。例如，想想那里的植物会长出来，或者一座建筑物在那里存在一段时间后会如何照顾。现实生活中的图片可以回答这些问题，并帮助充实这些细节。
I also have a lot of material references: I like to look up pictures of the materials I will use in the scene. I looked up images of old stone, what materials the pots could possibly be made out of, how moss would look, it was important to have a convincing result in the end.
我也有很多材料参考：我喜欢查找我将在场景中使用的材料的图片。我查了一下旧石头的图片，这些罐子可以用什么材料制成，苔藓会是什么样子，最后有一个令人信服的结果很重要。
Some other big inspirations were various YouTube tutorials, I love having them play in the background, picking something new every now and then. One of the videos that really helped me is this tutorial on Quixel’s YouTube channel. It explains how to set up a scene so well, try out different ways of lighting, and how you can really make your scene stand out.
其他一些重要的灵感来自各种YouTube教程，我喜欢让他们在后台播放，不时地选择新的东西。真正帮助我的视频之一是 Quixel的YouTube频道上的本教程。它解释了如何很好地设置场景，尝试不同的照明方式，以及如何真正使您的场景脱颖而出。
Assets & Architecture
I knew the most challenging parts of putting the scene together would be the ground, the way the moss flowed and led to my big focal point, and the leaning tower in the background. I always like to start with a blockout as it is the most crucial part of the progress. It sets all the fundamentals of the scene and it can already give you a rough feeling of how the scene is going to be, it's also a good time to play around with some lighting setups.
资产与建筑
我知道将场景放在一起最具挑战性的部分是地面，苔藓流动并通向我的大焦点的方式，以及背景中的斜塔。我总是喜欢从封锁开始，因为这是进展中最关键的部分。它设置了场景的所有基本要素，它已经可以让你大致了解场景将如何，这也是一个玩一些照明设置的好时机。
The blockout is fully created in Unreal Engine, sometimes I like to use the BSP brushes for modeling the more detailed parts instead of just the regular cubes, they give a bit more freedom to try out different shapes.
I also already placed all the pots in the positions I wanted to see if I could create the nice guiding lines that I was looking for, then, when starting the asset phase, I could easily replace the cylinders with the pots.
该块是完全在虚幻引擎中创建的，有时我喜欢使用BSP画笔来建模更详细的部分，而不仅仅是常规的立方体，它们为尝试不同的形状提供了更多的自由度。
我也已经把所有的花盆都放在了我想看的位置，看看我是否可以创建我正在寻找的漂亮的导向线，然后，在开始资产阶段时，我可以很容易地用花盆替换气缸。
After I get the blockout set up in the way I want, I start to experiment with different lighting setups. I knew the focal point of my scene would be the tower, so I tried to light it from the side and make it contrast with the back of my tower so it would really stand out in the scene. The fog was a big help for this, I used Unreal’s Height Fog to create the contrast between the tower and the background.
在以我想要的方式设置遮挡后，我开始尝试不同的照明设置。我知道我场景的焦点将是塔，所以我试图从侧面照亮它，让它与塔的背面形成对比，这样它就会在场景中真正脱颖而出。雾对此有很大的帮助，我使用虚幻的高度雾来创建塔和背景之间的对比。
When the blockout and first lighting pass were finished, I slowly started adding assets. I used a lot of Megascans assets and materials, it has a really nice library full of amazing assets.
当遮挡和第一个照明通道完成后，我慢慢地开始添加资源。我使用了很多Megascans资源和材料，它有一个非常好的库，里面装满了惊人的资源。
The biggest challenge here was that my buildings were quite detailed, so I worked with a modular approach. I downloaded separate blocks and created the buildings myself using these assets:
这里最大的挑战是我的建筑非常详细，所以我采用了模块化的方法。我下载了单独的块，并使用这些资源自己创建了建筑物：
After I had all the models in place, it was time for a vegetation pass. Here all the details really start to come out.
在我准备好所有模型后，是时候进行植被通行证了。在这里，所有的细节都真正开始出来了。
Vegetation
I love creating vegetation, I think it's so fun to create little plants that I can later scatter around the environment.
There is already a large library of vegetation on Megascans, so it was nice that I could use a lot from there. I knew I was still missing a smaller plant that I could scatter around in my scene, and while I was walking to my class one morning, I saw a lot of tiny plants along the side of the road. So after a long internet search, I found some reference pictures and started working on remaking the plants I saw that morning.
植被
我喜欢创造植被，我认为创造小植物非常有趣，以后我可以分散在环境中。
Megascans上已经有一个大型的植被库，所以我可以从那里使用很多东西，这很好。我知道我仍然缺少一种较小的植物，我可以在场景中散布，一天早上我走在上课的路上，我看到路边有很多小植物。因此，经过长时间的互联网搜索，我找到了一些参考图片，并开始重新制作我那天早上看到的植物。
I started with making a texture in Photoshop, from the images. I cut out some leaves and stems, color graded them, and then created a Normal map, also in Photoshop.
我开始在Photoshop中从图像中制作纹理。我剪掉了一些叶子和茎，对它们进行了颜色分级，然后在Photoshop中创建了一个法线贴图。
Then I used Autodesk Maya to model the plant together, I tried to optimize it to have as little overdraw as possible.
然后，我使用Autodesk Maya一起对工厂进行建模，我试图对其进行优化，使其尽可能少地过度绘制。
After that, I put the model in Substance 3D Painter. I loaded the textures I made into Photoshop, then added a Roughness map, and started painting in some variety and gradients. It's always nice to have a dark gradient from the bottom to the top of the plants so they blend in nicely with the environment.
之后，我将模型放在Substance 3D Painter中。我将我制作的纹理加载到Photoshop中，然后添加了一个粗糙度贴图，并开始以一些变化和渐变进行绘画。从植物的底部到顶部有一个黑暗的渐变总是很好的，这样它们就可以很好地融入环境。
I created a pretty straightforward custom shader in Unreal Engine. In the material editor, you can set the shading model to use two-sided foliage, this will make it so that light goes through your foliage a bit, and that gives a really nice and realistic effect.
我在虚幻引擎中创建了一个非常简单的自定义着色器。在材质编辑器中，您可以将着色模型设置为使用双面树叶，这将使光线稍微穿过您的树叶，从而产生非常漂亮和逼真的效果。
And now the fun part begins! I can finally import my plant and add it to UE's amazing foliage painter. I just drag it in and use the brush to paint my new plant everywhere I want!
现在，有趣的部分开始了！我终于可以导入我的植物并将其添加到UE令人惊叹的树叶画家中。我只是把它拖进去，用刷子把我的新植物画到我想要的任何地方！
Texturing
Most of the materials I used are from Megascans, the assets come with so much possibility to adjust, so I would often adjust the saturation and brightness so it would fit better into my scene. The shaders of the models also often have a lot of extra options to make the materials blend in with everything else.
纹理
我使用的大多数材质都来自Megascans，这些资源具有很大的调整可能性，因此我经常会调整饱和度和亮度，以便更好地适应我的场景。模型的着色器通常还有很多额外的选项，以使材质与其他所有内容融为一体。
Megascans also has an amazing decal library, I would often use decals to blend in foliage with their background, for example, to make the ivy look a bit thicker, I would use a green foliage decal behind them. Decals are amazing to add that last bit of personality to your scene!
Megascans还有一个惊人的贴花库，我经常使用贴花将树叶与它们的背景混合在一起，例如，为了使常春藤看起来更厚一些，我会在它们后面使用绿色的树叶贴花。贴花是惊人的，为您的场景增添最后一点个性！
Assemble the Final Scene
Detailing is always one of the most fun parts for me, it is really where the story comes in and the scene gets its own feeling.
组装最终场景
对我来说，细节总是最有趣的部分之一，它真的是故事的由来，场景有自己的感觉。
A big part of detailing was placing all the pots in the right places, I wanted the pots to naturally lead your eyes to the tower. They also had vegetation growing inside them. I set up a couple of assets together, and Unreal Engine has an amazing setting where you can make one asset from a group of assets, so to organize and reuse elements, I used that function a lot. And that's how I placed all the grass inside every pot in the scene.
细节的很大一部分是将所有花盆放在正确的位置，我希望花盆能自然地将你的眼睛引向塔楼。它们内部还生长着植被。我一起设置了几个资源，虚幻引擎有一个惊人的设置，你可以从一组资源中制作一个资源，所以为了组织和重用元素，我经常使用这个功能。这就是我把所有草都放在场景中每个花盆里的方式。
When all the vegetation was in place, it was time for the last detailing pass, where I added custom fog and some particles.
I love creating shaders, so getting to play with the fog cards was really fun! I tried to paint a nice cloud in Photoshop, and then let the shader do the rest. The most important part of the shader is the Depth Fade, so it would blend in nicely with the environment.
当所有植被都到位时，是时候进行最后一次细节处理了，在那里我添加了自定义雾和一些颗粒。
我喜欢创建着色器，所以玩雾卡真的很有趣！我试图在Photoshop中画一朵漂亮的云，然后让着色器完成剩下的工作。着色器最重要的部分是深度淡入淡出，因此它可以很好地融入环境。
Then I placed the fog to add extra contrast in certain places. The fog cards were also used to create subtle god rays in front of the tower.
然后我放置了雾，在某些地方增加了额外的对比度。 雾卡也被用来在塔前创造微妙的神光。
Composition is something I try to get right in the first step of the process. I tried following some of the basic composition rules: having nice leading lines towards your focal point and having good contrast between your focal point and the background.
I knew I would create the guiding lines mostly with the pots, the buildings, and the lighting; everything should point towards the tilted tower in the middle.
作文是我在这个过程的第一步中试图正确的东西。我尝试遵循一些基本的构图规则：在焦点上有漂亮的前导线，并在焦点和背景之间形成良好的对比度。
我知道我会主要用花盆，建筑物和照明来创建指导线;一切都应该指向中间倾斜的塔楼。
Framing was the thing that I still changed later, in the beginning, I had the camera more to the right, but then the building on the side would take a bit too much space, so I decided to move it around a bit later in the process.
取景是我后来仍然改变的东西，一开始，我把相机放在右边，但后来侧面的建筑物会占用太多的空间，所以我决定在这个过程中稍微移动一下。
Final Rendering
The main light source for the scene was definitely my directional light. The new Lumen in Unreal Engine 5 works amazingly well and gives such a nice feeling to the scene almost instantly.
最终渲染
场景的主要光源绝对是我的定向光。虚幻引擎5中的新Lumen效果非常好，几乎立即给场景带来了如此美好的感觉。
To add a bit more depth, I also used a lot of spotlights. I like placing spotlights on foliage to make it stand out a bit more.
为了增加更多的深度，我还使用了很多聚光灯。我喜欢在树叶上放置聚光灯，以使其更加突出。
To create nice light gradients on the buildings, I placed some shadow cubes in the background. I wanted the tower to be lit, but at the top, it should be covered in shadows.
Then, when all the lighting was done, I looked at the Post Processing Volume in Unreal Engine. I tried to get the colors exactly the way I wanted with the color adjustment sliders. With this scene, I had two color setups I really liked, so it was difficult to pick one, but I decided to stick to the original concept and go for bluer color tones.
为了在建筑物上创建漂亮的光线渐变，我在背景中放置了一些阴影立方体。我希望塔楼被照亮，但在顶部，它应该被阴影覆盖。
然后，当所有的光照都完成后，我查看了虚幻引擎中的后期处理体积。我试图用颜色调整滑块完全按照我想要的方式获得颜色。在这个场景中，我有两种我真正喜欢的颜色设置，所以很难选择一种，但我决定坚持原始概念，选择更蓝的色调。
I love Unreal Engine 5’s Lumen, it is amazing to see how easy it is to use and how fun it is to create a realistic environment in a relatively easy way.
我喜欢虚幻引擎5的Lumen，看到它是多么容易使用，以及以相对简单的方式创建逼真的环境是多么有趣，真是太神奇了。
It's also great that Megascans is now integrated, however, using your own assets is always a good choice too. Unreal Engine 5 has a lot of nice features that really help speed up the process of creating an environment, for example, the foliage painter was definitely a big help! It is easy to quickly place a lot of different tiny assets and give them a different scale and rotation, it just adds the variation you want very fast into your scene.
Megascans现在已经集成了，这也很棒，但是，使用自己的资产也始终是一个不错的选择。虚幻引擎5有很多不错的功能，确实有助于加快创建环境的过程，例如，树叶画家绝对是一个很大的帮助！很容易快速放置许多不同的微小资源，并给它们一个不同的比例和旋转，它只是将你想要的变化非常快速地添加到你的场景中。
Overall, Unreal Engine 5 is the go-to program for creating realistic environments!
总体而言，虚幻引擎5是创建逼真环境的首选程序！
The Souls Atmosphere
Getting the right atmosphere was definitely the hardest challenge, making the scene gloomy but not too dark and still having a lot of color. That’s why having a good concept and realistic references is key! There is so much material out there to draw inspiration from.
灵魂氛围
获得正确的氛围绝对是最困难的挑战，使场景阴沉但又不太暗，仍然有很多色彩。这就是为什么有一个好的概念和现实的参考是关键！有太多的材料可以从中汲取灵感。
Dark Souls and Elden Ring are amazing games, and because I knew I wanted to get that same feeling, it was important for me to really dive into the visualization of these games and see how they approached creating their environments.
Dark Souls和Elden Ring是非常棒的游戏，因为我知道我想获得同样的感觉，所以对我来说，真正深入研究这些游戏的可视化并了解它们如何创建环境非常重要。
It is always difficult for me to say that I am done with an environment, I always want to add more, or try out more variations. I worked on this environment for around 4 days, with the blockout and initial asset creation taking the longest. So that for me is also the biggest challenge, I want to feel good about my blockout and first setup before I continue the detailing. It is sometimes hard to not get lost in always wanting to iterate everything; giving yourself a deadline and comparing different setups always makes sure you stay on track!
我总是很难说我已经完成了一个环境，我总是想添加更多，或者尝试更多的变化。我在这个环境中工作了大约4天，其中封锁和初始资产创建花费的时间最长。所以对我来说也是最大的挑战，我想在继续细节之前对我的封锁和第一次设置感觉良好。有时很难不迷失在总是想要迭代一切的中;给自己一个截止日期并比较不同的设置总是能确保您保持在正轨上！
Conclusion
It was so fun to create an environment inspired by one of my favorite games! Next time, I would love to create some procedural asset and material tools around the environment to make the process even more optimal.
I am happy with the result and can’t wait to start on my next projects!
结论
创造一个受我最喜欢的游戏之一启发的环境真是太有趣了！下次，我很想围绕环境创建一些程序性资产和材料工具，以使该过程更加优化。
我对结果感到满意，迫不及待地想开始我的下一个项目！
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