您需要 登录 才可以下载或查看，没有账号？注册
x
Introduction
Hello, I'm Shyamsagar S, Team Lead for the Assets department at Technicolor Games India. I have been in the industry since 2011 when I left my job as a software engineer to work as a full-time 3D artist. I have always been passionate about art and I love telling stories. I am a self-taught artist and learned 3D/2D with the help of online resources as well as some of my friends and colleagues.
My computer science engineering background has helped me a lot with the analytical mind and problem-solving skills required for 3D art. I have worked on modeling & texture creation, and look development for assets both for production and games, with a more emphasized career in game art moving forward.
Since past few years, I have been involved in making textures and materials for a few popular AAA games. This is when I was introduced to Substance Designer, realized the power of procedural material creation and how fast we can create beautiful materials and supporting textures with quick iterations without affecting artistic freedom.
介绍
您好，我是Shyamsagar S，Technicolor Games India资产部门的团队负责人。自2011年以来，我一直在这个行业工作，当时我辞去了软件工程师的工作，成为一名全职3D艺术家。我一直对艺术充满热情，我喜欢讲故事。我是一名自学成才的艺术家，在在线资源以及我的一些朋友和同事的帮助下学习了3D / 2D。
我的计算机科学工程背景在3D艺术所需的分析思维和解决问题的技能方面给了我很大的帮助。我从事建模和纹理创建，并为生产和游戏寻找资产的开发，在游戏艺术方面更加重视。
自过去几年以来，我一直参与制作一些流行的AAA游戏的纹理和材料。这时，我被介绍给Substance Designer，意识到程序化材质创建的力量，以及我们可以通过快速迭代创建美丽的材质和支持纹理的速度，而不会影响艺术自由度。
Inspiration
The idea of doing a material-driven personal project came to my mind. While looking for a reference, my girlfriend suggested the intricately designed Peacock room of Castello di Sammenzzano in Italy. I really like the idea and found it challenging. Instead of replicating the whole room, I decided to use my imagination to recreate my version of the Peacock room. In this article, I will walk you through the process of texture and material creation from my personal project, “The Peacock Room”.
灵感
做一个物质驱动的个人项目的想法浮现在我的脑海中。在寻找参考时，我的女朋友推荐了意大利Castello di Sammenzzano设计精美的孔雀室。我真的很喜欢这个想法，并发现它具有挑战性。我没有复制整个房间，而是决定用我的想象力来重现我的孔雀房间版本。在本文中，我将向您介绍我个人项目“孔雀室”中的纹理和材料创作过程。
Reference
The key to any good art is observing what’s around us, as most of the good ideas and decisions comes from it. This makes collecting reference really an important part of the process, the more the better. We should also make sure to filter organize and be precise to our requirements. Eventually all this will also help us in building a mental library for future designs.
Here are some of the references I collected and I usually categorize it into primary and secondary.
参考
任何一门好艺术的关键是观察我们周围的事物，因为大多数好的想法和决定都来自它。这使得收集参考确实是该过程的重要组成部分，越多越好。我们还应该确保过滤组织并精确到我们的要求。最终，所有这些都将有助于我们为未来的设计建立一个心理图书馆。
以下是我收集的一些参考资料，我通常将其分为主要和次要。
Material Creation
材料创建
There are a lot of materials involved in the entire scene, I will be going through few of them. You can find an overall break down of the other materials here https://www.artstation.com/artwork/eJzlvZ
As I mentioned before, reference is the king. Collect as much reference as possible, get inspiration from any art resources at your disposal. I start my material creation by thinking in large and small shapes, sculpting out the volume, adding in reflection (Roughness/specular/metallic) to get the initial material properties. Then I move into adding the Color/albedo and giving it the final polish, which includes macro and micro details. Always make sure not to introduce noticeable or obvious repeating patterns when you deal with tile and trim materials. Also keep exporting and checking in your final render engine at each stage, in my case it is Unreal engine for this project.
整个场景中涉及很多材料，我将介绍其中的一小部分。您可以在此处找到其他材料的整体细分 https://www.artstation.com/artwork/eJzlvZ
正如我之前提到的，参考是王者。收集尽可能多的参考资料，从您拥有的任何艺术资源中获取灵感。我通过思考大大小小的形状开始我的材料创作，雕刻出体积，添加反射（粗糙度/镜面反射/金属）以获得初始材料属性。然后，我开始添加颜色/反照率并对其进行最终润色，其中包括宏观和微观细节。始终确保在处理瓷砖和装饰材料时不要引入明显或明显的重复图案。在每个阶段也要继续导出并检查最终的渲染引擎，在我的例子中，它是这个项目的虚幻引擎。
Planning a Material
This environment is mostly planned for tile and trim textures, so planning from the initial stages is crucial. A simple block out of how the tile or trim texture maps would turn out, what resolution to go with, how many materials, and finalizing on a Texel ratio are a few things to begin with. This will give an initial idea to start with.
规划材质
此环境主要针对平铺和修剪纹理进行规划，因此从初始阶段开始规划至关重要。一个简单的块，说明瓷砖或修剪纹理贴图的结果，要使用的分辨率，多少材料以及以Texel比率完成是一些要开始的事情。这将给出一个初步的想法。
Wood Trim Material
All the wood details in the scene is done through a wood trim and wood tile material. Here I will go through how the wood trim is made.
木质饰件材料
场景中的所有木材细节都是通过木材装饰和木瓦材料完成的。在这里，我将介绍木饰是如何制作的。https://www.artstation.com/artwork/kDW8Zl
I start with the shapes for the heightmap for each trim mostly using the shape nodes, mirror, bevel, edge detect, Curve etc. There are always multiple methods to approach a shape. I would suggest going with the simplest ones. For complex shapes, I went for the SVG node and drew in the base shapes with a color so I can also use it as an ID mask.
This is the complete graph. Breaking down the graph into parts makes it easy to understand. Try to name and organize the graphs as much as possible, this would help in revisiting, reusing making changes, etc.
我从每个修剪的高度图的形状开始，主要使用形状节点，镜子，斜面，边缘检测，曲线等。始终有多种方法可以接近形状。我建议使用最简单的。对于复杂的形状，我选择了SVG节点，并用颜色绘制了基本形状，因此我也可以将其用作ID蒙版。
这是完整的图表。将图形分解为多个部分使其易于理解。尝试尽可能多地命名和组织图表，这将有助于重新访问，重用进行更改等。
Each trim I planned to use in different wood assets within the scene. This initial planning is done so that with one trim we can cover all the required details for the scene as per reference and we can use it in different ways to give more uniqueness and variation to the models. That is the trim intended to use on a door can be used on any other parts which can use a similar detail.
Here you can see the shapes created for the painted etching designs used for the doors
我计划在场景中的不同木材资源中使用每个修剪。完成此初始规划是为了通过一次修剪，我们可以根据参考涵盖场景所需的所有细节，并且我们可以以不同的方式使用它，为模型提供更多的独特性和变化。也就是说，用于门的装饰可以用于可以使用类似细节的任何其他部件。
在这里，您可以看到为用于门的彩绘蚀刻设计创建的形状
Door Trim Shapes.
门饰形状。
Creating the Flowers and leafs for the vine design.
为藤蔓设计创造花朵和叶子。
Trims for the tables, shelves, etc. Here a simple horizontal rectangle shape is used with bevel and curves to carve out wood ledge.
桌子、搁板等的装饰在这里，一个简单的水平矩形形状与斜面和曲线一起使用，以雕刻出木壁架。
Making the trim that would be used for window frames.
制作将用于窗框的修剪。
Other unique and specific ornamental designs that aren’t tileable.
其他独特而特定的装饰设计，不可平铺。
Here I’m adding in edge breaks and other macro and micro details like wood grain, dents, etc. Here mostly noise, slope blur and directional warp is used to break the shapes and make them look more natural. The histogram range node is added to get a range for the heightmap. Mostly, I go for the default base value of .5. Pushing the white value above or below .5 will give different heights for the shapes as required. Then convert it into a normal map. This is an iterative process till we get the desired output.
在这里，我添加了边缘断裂和其他宏观和微观细节，如木纹，凹痕等。这里大多是噪声，坡度模糊和定向翘曲用于打破形状并使其看起来更自然。添加直方图范围节点以获取高度图的范围。大多数情况下，我选择默认基值.5。将白色值推到 .5 以上或以下将根据需要为形状提供不同的高度。然后将其转换为法线地图。这是一个迭代过程，直到我们得到所需的输出。
For the albedo/color, it’s about finding the right gradients and using noise, grunge and the base masks derived from the shapes, height map, curvature, etc. Then layering one over the other to get an accurate output according to the artistic direction we are looking for.
对于反照率/颜色，它是关于找到正确的渐变，并使用从形状，高度贴图，曲率等派生的噪点，垃圾和基本蒙版。然后将一个分层到另一个之上，以根据我们正在寻找的艺术方向获得准确的输出。
Creating the Roughness map.
创建粗糙度贴图。
Then it’s about exporting all the required output nodes. Since am using a composite texture/packed -p (Red channel – Roughness, Green – Height, Blue – Metallic, Alpha – AO) in Unreal engine an RGBA merge node is used to merge the maps into the RGBA channels. Also, it’s a good practice to set a proper export preset through the output nodes so that it’s easy to export and check in external render engines. You can also use the PBR validator node for a PBR sanity check.
然后，它是关于导出所有必需的输出节点。由于我在虚幻引擎中使用了复合纹理/打包-p（红色通道 - 粗糙度，绿色 - 高度，蓝色 - 金属色，Alpha - AO），因此使用RGBA合并节点将贴图合并到RGBA通道中。此外，最好通过输出节点设置适当的导出预设，以便轻松导出和签入外部渲染引擎。还可以使用 PBR 验证程序节点进行 PBR 健全性检查。
Texture map 2048×2048.
纹理贴图 2048×2048。
An example of how the material is mapped to a model.
如何将材料映射到模型的示例。
Stained glass material
I wanted a stained glass of a peacock in the scene so I decided to make one for the glass of the door. This was a fun material to make.
彩色玻璃材料
我想要一个彩色的孔雀玻璃在场景中，所以我决定为门的玻璃做一个。这是一个有趣的材料。https://www.artstation.com/artwork/WKDdnX
In order to keep the graph less cluttered and for better control I made two subgraphs. One for the background “Stained_Glass_BG” and the other for the peacock foreground with the final merge “Stained_Glass_01”. Splitting graphs would also be good for better memory management as you would not need to load all the nodes at once and can avoid crashes.
为了保持图表不那么混乱并更好地控制，我制作了两个子图。一个用于背景“Stained_Glass_BG”，另一个用于孔雀前景，最终合并“Stained_Glass_01”。拆分图形也有利于更好的内存管理，因为您不需要一次加载所有节点，并且可以避免崩溃。
For creating the vine, I started with a simple cell node and derived the result using some warp and edge detection techniques.
为了创建藤蔓，我从一个简单的细胞节点开始，并使用一些翘曲和边缘检测技术得出结果。
In creating the flower, here I started by making a shape by drawing it into an SVG node. Using different color ids will help in isolating and controlling the shapes along the process.
在创建花朵时，我首先通过将形状绘制到SVG节点中来制作形状。使用不同的颜色 ID 将有助于隔离和控制整个过程中的形状。
Albedo creation. Here I was looking for bright and vibrant colors and gradients.
反照率创造。在这里，我正在寻找明亮鲜艳的色彩和渐变。
Roughness and metallic.
粗糙度和金属性。
The peacock is a complex shape, planning your designs early on is quite important here. To achieve a good result, the easiest way is to draw in the glass pattern using the SVG node with a color ID. Then mask is derived for inner glass, edge borders etc. and the desired output is achieved. It’s better to stay with large to medium shapes for better readability and control.
孔雀是一个复杂的形状，在这里尽早规划你的设计非常重要。要获得良好的效果，最简单的方法是使用具有颜色 ID 的 SVG 节点绘制玻璃图案。然后为内部玻璃，边缘边界等派生掩模，并实现所需的输出。最好保持大到中等形状，以获得更好的可读性和控制力。
Then finally the Background and foreground material is combined. Here I just used a simple blend node with cut masks then tweaked accordingly till I was satisfied with the result.
最后，背景和前景材质组合在一起。在这里，我只是使用了一个简单的混合节点，带有切割蒙版，然后相应地进行调整，直到我对结果感到满意。
Final Texture 2048×2048.
最终纹理 2048×2048。
Pillar Trim
Making the pillar trim was another creative task. Here I was trying to completely map the details of a pillar though one material.
支柱饰件
制作支柱修剪是另一项创造性的任务。在这里，我试图通过一种材料完全映射支柱的细节。https://www.artstation.com/artwork/d8XEy1
Here again, the material is divided into two tiles and 1 trim subgraph and then all combined together. Here you can see a general breakdown of how this material is built up.
在这里，材料再次被分成两个瓷砖和1个修剪子图，然后全部组合在一起。在这里，您可以看到这种材料如何构建的一般细分。
Here the fish scale design is made by making an id mask then creating the height from it.
在这里，鱼鳞设计是通过制作一个id面具，然后从中创建高度来制作的。
What we are trying to achieve here is painted designs on the pillar with some peel off and damage.
我们在这里试图实现的是柱子上的绘画设计，带有一些剥离和损坏。
This is all the horizontal trim textures for the material. As always starting from simple shapes, ID mask and then adding in all other macro and micro details.
这是材质的所有水平修剪纹理。一如既往地从简单的形状开始，ID蒙版，然后添加所有其他宏观和微观细节。
Finally, all the materials are combined “Pillar_trim_01”. I used a material transform to get the proper tile for the square tileable materials and a multi-material blend node to merge them all together.
With the final texture 2048×2048.
最后，将所有材料“Pillar_trim_01”组合在一起。我使用材质变换为方形可拼贴材质获取适当的拼贴，并使用多材质混合节点将它们全部合并在一起。
最终纹理为2048×2048。
Pillar model and mapping the texture.
支柱模型和映射纹理。
Vertex paint Shader (Maya to Unreal)
To add extra details to the trim and thje tile materials like color variation, dirt, dust and drip I created a vertex paint (VP) shader in Unreal. I wanted to do the vertex painting in Maya because I had more control on selecting vertices, faces etc. To add and mix the vertex colors, I also created a vertex paint shader using Sting ray PBR in Maya.
顶点绘画着色器（玛雅到虚幻）
为了向修剪和瓷砖材质添加额外的细节，如颜色变化、污垢、灰尘和滴水，我在虚幻中创建了一个顶点绘画（VP）着色器。我想在Maya中进行顶点绘制，因为我在选择顶点，面等方面有更多的控制权。为了添加和混合顶点颜色，我还在 Maya 中使用 Sting ray PBR 创建了一个顶点绘画着色器。
The parameters are similar to the unreal VP shader. 80 to 90 % of the vertex color pass is done in Maya i and the final touch in unreal. This also helped in adding, moving, removing vertex and adjusting UVs as per our vertex paint requirements to the model. I would advise planning the model from the beginning with the required vertex at the required places if using a vertex paint shader, keeping in mind the asset should be also optimized so it works smoothly in the engine.
Vertex paint shader in Unreal. Here you can see the bronze trim material
这些参数类似于虚幻的 VP 着色器。80%到90%的顶点颜色传递是在Maya i中完成的，最后一次是在虚幻中完成的。这也有助于根据我们对模型的顶点绘制要求添加，移动，删除顶点和调整UV。如果使用顶点绘制着色器，我建议从一开始就在所需位置使用所需顶点来规划模型，请记住，资产也应进行优化，以便它在引擎中平稳运行。
虚幻中的顶点绘画着色器。在这里你可以看到青铜装饰材料
Vertex paint shader created in Maya with Stingray PBS similar to unreal parameters.
在玛雅使用Stingray PBS创建的顶点绘画着色器类似于虚幻参数。
Here you can see the vertex paint process from Maya to Unreal.
在这里，您可以看到从Maya到虚幻的顶点绘制过程。
I created the vertex paint mask in substance designer. Here you can see an example of the masks used. Any type masks can be used in the channels to get the desired output.
我在物质设计器中创建了顶点油漆蒙版。在这里，您可以看到所用口罩的示例。可以在通道中使用任何类型的掩码来获得所需的输出。
Statue Texturing
For the peacock room, I wanted to add a human presence. I designed a statue and built it from the scratch as a study for character design, anatomy and trying out different material creations in Substance Painter. I named it the Peacock King.
雕像纹理
对于孔雀房间，我想添加一个人类的存在。我设计了一座雕像，并从头开始建造它，作为角色设计，解剖学和尝试物质画家中不同材料创作的研究。我把它命名为孔雀王。https://www.artstation.com/artwork/klQkRK
Below I also have images of the ZBrush sculpt & Digital sculpt to game-ready.
下面我还有ZBrush雕刻和数字雕刻的图像，以准备游戏。
Texturing in substance painter was quite fun and satisfying. I made three variants bronze, marble and wood. Here is a breakdown of the bronze variant in substance painter.
物质画家的纹理非常有趣和令人满意。我做了三种变体，青铜，大理石和木材。以下是物质画家中青铜变体的细分。
Props Texturing
Now comes the props for set dressing. The designs chosen were to reflect the character of the king, enthusiastic and an explorer. I also wanted it to look ancient and royal.
道具纹理
现在是布景穿搭的道具。选择的设计反映了国王，热情和探险家的性格。我也想让它看起来古老而皇家。https://www.artstation.com/artwork/4X6qgY
The process was quite straight-forward.
First, all the props were planned in such a way that a set of props can share the same texture page. This reduces the number of texture maps and memory usage in the engine. For example, here you can see the book back binders vary but the side binders for a few are the same and overlapping.
这个过程非常简单。
首先，所有道具都是以这样的方式计划的，即一组道具可以共享相同的纹理页面。这减少了引擎中纹理贴图的数量和内存使用量。例如，在这里你可以看到书背活页夹各不相同，但少数人的侧装订机是相同且重叠的。
Each part checked for model/UV cleanup is named properly with prefix so we won’t get any artifacts while baking in substance.
I then started creating the textures.
检查模型/UV清理的每个部件都以前缀正确命名，因此我们在烘焙物质时不会得到任何伪影。
然后我开始创建纹理。
Here also for subastance painter an export preset is setup to export out the albedo, normal and packed (Red channel – Roughness, Green – Height, Blue – Metallic, Alpha – AO) texture
这里也适用于子资产画家，设置导出预设以导出反照率，正常和压缩（红色通道 - 粗糙度，绿色 - 高度，蓝色 - 金属，阿尔法 - AO）纹理
Afterword
I hope this has given some insight into texture and material creation. It was quite a challenging project which taught me a lot and helped me to improve my skills. I enjoyed experimenting, learning from failures and keeping a positive mind. I want to say huge thanks to wonderful artists such as Danial Thiger, Vincent Derozier, Pauline B, Ognyan Z, Scott Eaton, Dorien Iten, Raf Grassetti, Pablo Muñoz Gómez, Sandis Kondrats and Uldis Zarins and many others for sharing their knowledge and providing excellent study resources. I guess that’s it until next time, be safe and keep creating art!
后记
我希望这能给一些关于纹理和材料创作的见解。这是一个非常具有挑战性的项目，教会了我很多东西，并帮助我提高了技能。我喜欢尝试，从失败中学习，并保持积极的心态。我要非常感谢Danial Thiger，Vincent Derozier，Pauline B，Ognyan Z，Scott Eaton，Dorien Iten，Raf Grassetti，Pablo Muñoz Gómez，Sandis Kondrats和Uldis Zarins等优秀艺术家分享他们的知识并提供出色的学习资源。我想就是这样，直到下次，安全并继续创作艺术！
|
评分
![[3D]-女性-三视图](https://pic.element3ds.com/WK_Cover/1360/thumb_1360.jpg)
