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本帖最后由 DiGiToTo 于 2022-4-7 15:17 编辑
Gloria Stamova shared the workflow behind the Revendreth-inspired Diorama project, talked about its challenges, and explained why Marmoset Toolbag 3 was used for lighting. Gloria Stamova分享了Revendreth启发的立体模型项目背后的工作流程，谈到了它的挑战，并解释了为什么狨猴工具包3用于照明。
Introduction 介绍
Hello everyone! My name is Gloria Stamova and I’m a Stylized Environment/Prop Artist. I first started doing 3D when I was 15 and was absolutely fascinated by all the possibilities it gave me! Initially, I was dabbling into some interior design and created my dream house in Maya. But one day, I was introduced to World of Warcraft, and the art of the game completely blew my mind. I knew I had to find a way to be one of the people behind all these beautiful props and environments. I graduated University of South Wales (Cardiff, UK) in 2018 and got a diploma in Game Art. I was specializing in realistic character art at the time, but it never felt right. It wasn’t allowing me to express myself the way I wanted to and I was absolutely dreading the anatomy studies. So I decided to give environment art a try and never looked back. 大家好！我叫Gloria Stamova，我是一名风格化环境/道具艺术家。我第一次开始做3D是在15岁的时候，我完全被它给我的所有可能性迷住了！最初，我涉足一些室内设计，并在Maya中创建了我梦想中的房子。但是有一天，我接触到了魔兽世界，这个游戏的艺术完全让我大吃一惊。我知道我必须想办法成为所有这些美丽的道具和环境背后的一员。 我2018年从南威尔士大学(英国卡迪夫)毕业，拿到了游戏艺术的文凭，当时是专攻现实人物艺术的，但一直觉得不对劲。它不允许我以我想要的方式表达自己，我非常害怕解剖研究。所以我决定尝试一下环境艺术，并再也没有回头。
As a die-hard Blizzard fan, it was only natural that I started tailoring my art and portfolio towards the World of Warcraft style. There are many artists on the team that inspire me, and one of them is Ashleigh Warner. I quickly signed up for her CGMA Stylized Assets for Games class, which helped me improve tremendously. 作为一个暴雪的铁杆粉丝，很自然的，我开始按照魔兽世界的风格裁剪我的作品和作品集。团队中有很多艺术家激励着我，阿什丽·华纳就是其中之一。我很快报名参加了她的CGMA游戏风格化资产课程，这帮助我取得了巨大的进步。
In this article, I’m going to present some of the things I learned and applied to my personal projects afterward as well as talk about some frequently made mistakes when it comes to hand-painted 在这篇文章中，我将介绍一些我学到的东西，并在之后应用到我的个人项目中，同时也谈谈一些手绘纹理时经常犯的错误。
Inspiration and Mood Boards 灵感和情绪板 My main inspiration behind this project was the atmosphere and shape language of Revendreth in World of Warcraft. At first, it’s quite monotonous, but when you look closer, you can see the richness of the textures and interesting shapes everywhere. 我这个项目背后的主要灵感是魔兽世界里Revendreth的氛围和外形语言。一开始还挺单调的，但是走近一看，到处都能看到纹理的丰富和有趣的造型。
For my scene, I wanted to create a small interior diorama with the emblematic red stained glass of Revendreth and really give it that pop of color. But I also wanted something that doesn’t exist in the game yet. After some research and endless walks in the zone, I decided to give the vampires something they are not supposed to have – a baby vampire. Or at least its crib and teddy. 对于我的场景，我想用瑞文德斯标志性的红色彩色玻璃创建一个小的室内立体模型，并真正赋予它那种流行的色彩。但我也想创造一些游戏中还不存在的东西。在做了一些研究并在这个区域走了无数次之后，我决定给吸血鬼一些他们不应该有的东西——一个小吸血鬼。或者至少是它的婴儿床和泰迪熊。
I collected some references in-game and from ArtStation and started modeling! 我在游戏中和ArtStation上收集了一些参考资料，开始建模！
Modeling 建模
I used Maya to model everything except for the candles. I sculpted them in ZBrush and baked them as this allowed for better control over the wax drips and shape. 我用Maya来建模除了蜡烛以外的所有东西。我用ZBrush雕刻并烘烤它们，这样可以更好地控制蜡滴和形状。
The diorama went through a lot of changes since the initial concept and blockout. I started with creating the base, columns, windows, and walls based on my concept. I added 2 lanterns often seen all around Revendreth on each of the side columns. I then realized that the windows and walls needed to be way taller in order to convey that majestic feeling. 自从最初的概念和封闭以来，立体模型经历了许多变化。我开始根据我的理解来创建底座、柱子、窗户和墙壁。我在每个边柱上添加了两个经常在雷文德里斯周围看到的灯笼。然后，我意识到窗户和墙壁需要更高，才能传达那种雄伟的感觉。 Once I had fixed that, I started adding smaller details like the candles and began modeling the hero prop which was going to be a baby crib. 当我解决了上一个问题，我开始添加一些小的细节，比如蜡烛，并开始制作一个婴儿床的英雄道具。
I already had quite a strong idea for the crib in my head. It was going to have the distinctive Revendreth/Gothic pointy shape with a red mattress and a banner hanging on one side. I wanted to add as many different props as I could without overdoing it. It’s important to display the ability to texture various materials like cloth, metal, stone, etc., in one scene. 我已经对婴儿床有了很好的想法。它将有独特的revend reth/哥特式尖形，有一个红色的床垫，一面挂着横幅。我想在不过分的情况下尽可能多地添加不同的道具。在一个场景中展示对各种材料如布料、金属、石头等进行纹理处理的能力是很重要的。。 Texturing纹理
For the texturing, I was mainly sticking to Photoshop. I still used 3DCoat to bake the AO, create the Top/Down Gradient, and erase some seams, but that’s about it. This diorama went through a couple of texture iterations. I was done with the first one relatively quickly as I was impatient to finish the project. However, thanks to some feedback from friends and looking at more and more references, I started to realize that my texturing was not at the level it needed to be for Blizzard. It needed more flavor and color variation and less contrast. 对于纹理，我主要使用Photoshop。我仍然使用3DCoat来烘烤AO，创建上下渐变，并擦除一些接缝，但仅此而已。这个立体模型经过了几次纹理迭代。我很快就完成了第一个项目，因为我等不及要完成这个项目。然而，多亏了一些来自朋友的反馈以及越来越多的参考资料，我开始意识到自己的纹理并没有达到暴雪所需要的水平。它需要更多的味道和颜色变化，减少对比。 I started gathering some extra references from Blizzard artists on ArtStation and tried analyzing them more in-depth. I wanted to figure out what gave them that rich feel and how the artist painted every stroke of the texture, how they made the cracks, and how they gave the metal that nice hammered look. It was a much slower process than the first one but was definitely worth it. 我开始在ArtStation上从暴雪美工那里收集一些额外的参考资料，并尝试着更深入地分析它们。我想弄清楚是什么给了它们丰富的感觉，艺术家是如何画出每一笔纹理的，他们是如何产生裂缝的，他们是如何给金属一个漂亮的锤击外观。这个过程比第一个慢得多，但绝对值得。 Next in line for retexturing were the windows. It was my first time trying to paint stained glass, and it’s safe to say it wasn’t a very successful attempt. I made some new concepts and I’m happy to say they turned out much better in the end! 下一个需要重新制作的是窗户。这是我第一次尝试画彩色玻璃，可以肯定地说，这不是一次非常成功的尝试。我提出了一些新的概念，我很高兴地说，它们最终变得更好了！ It was much faster and easier to remake the windows from scratch than to try and fix what I already had. For the metal on the windows, I followed the exact same process as explained earlier. Make sure there is consistency in your scene and everything looks like it belongs together. 重做窗户要比修补已有的窗户快得多，也容易得多。对于窗户上的金属，我遵循了之前解释的完全相同的过程。确保在你的场景中有一致性，所有的东西看起来都是同款的。 The next thing I had to fix was the stone. If I have to be honest, that was the hardest and most tedious material to paint. It looks easy, but it’s actually way harder. 接下来我要修的是石头。老实说，那是最难也最乏味的绘画材料。看起来很简单，但实际上很难。 I textured the metal parts the same way I did the metal in the rest of the diorama. I made sure there’s enough color variation in the form of material reflections, rust, and corrosiveness. 我对金属部分进行了纹理处理，就像我对其他部分的金属进行纹理处理一样。我确保有足够的颜色变化，以材料反射、生锈和腐蚀的形式。
It was quite hard to find many references for plush toys in WoW, but the ones that existed had some stitches and buttons for eyes which I thought would be fitting for my teddy as well. 在WoW中很难找到很多毛绒玩具的参考资料，但那些存在的玩具有一些缝线和眼睛按钮，我认为也适合我的泰迪熊。 Lighting 照明
The lighting was possibly the hardest part of the process. I used Marmoset Toolbag 3 to set up the scene because in my opinion the interface is very user-friendly and it allows you to create high-quality renders and videos of your projects. I changed the lighting set up quite a lot. I wanted to mimic that dark, cold and grim feeling of Revendreth without washing out my texture work. In the beginning, it was looking way too dark and the glass was contrasting too much. 灯光可能是整个过程中最困难的部分。我使用Marmoset Toolbag 3来设置场景，因为在我看来，界面非常友好，它允许你创建高质量的渲染和项目的视频。我改变了很多灯光设置。我想模仿《荒野猎人》中那种黑暗、寒冷和冷酷的感觉，但又不想破坏我的纹理作品。刚开始的时候，它看起来太黑了，玻璃的对比度也太大了。 I scrapped that setup and started again. Don’t be afraid to start again as many times as you need to because most of the time you do a lot better in the second or even third attempt. 我取消了这个设置，重新开始。不要害怕重新开始，只要你需要，因为大多数时候你在第二次甚至第三次尝试时会做得更好。
I decided to stick to three lights as a start. I added a directional warm light, a cool Omni one for the shadows, and a slight rim light on the stairs. I then added some extra lights to enhance the candle glow and make some red light bouncing from the window on the crib. I also added the window light on the floor using the Gel function with a spotlight in Marmoset. I just imported the glass texture from the windows and played with the light position and the tiling. Last but not least, I added a blue-ish fog in Marmoset to blend everything together and give that Revendreth feel. 我决定从三盏灯开始。我添加了一个方向的暖光，一个阴凉的泛光灯用于阴影，以及楼梯上的轻微边缘光。然后我添加了一些额外的灯光来增强蜡烛的光芒，并使一些红光从窗口反射到婴儿床上。我还在地板上添加了一盏带聚光灯的凝胶功能的窗户灯。我只是从窗户导入玻璃纹理，调整灯光位置和贴图。最后但并非最不重要的是，我在《Marmoset》中添加了蓝色雾气，将所有元素混合在一起，给人以《荒野猎人》的感觉。
This was the final result! 这就是最终的结果!
Conclusion 结论 This scene was the biggest learning experience for me as a 3D artist. It took some extra time to get to the end result, but I’m extremely happy I persevered and had the patience to see it through because the difference in quality is huge. It was really important for me to understand what makes the WoW textures what they are and how exactly these artists paint various materials. 这个场景是我作为3D艺术家最大的学习经历。虽然花了一些额外的时间来达到最终的结果，但我非常高兴我坚持下来并有耐心看到它通过，因为质量的差异是巨大的。对我来说，理解是什么让WoW纹理成为现在的样子，以及这些艺术家到底是如何描绘各种材料的，这真的很重要。
The biggest challenge was probably the desire to finally be done with this project and settle for less when it came to quality, but it helped me get used to the fact that when working in a studio, you are often going to be asked to change parts of your textures and there’s always going to be feedback. So it’s important you learn how to take constructive criticism because, at the end of the day, that’s what helps us grow as artists. 最大的挑战可能是你希望上面不要要求太高，能很快地完成项目。但你得习惯了这样一个事实：即，在工作室工作时，你经常会被要求改变部分纹理，而且总是会有反馈。所以，学会如何接受建设性的批评很重要，因为归根结底，这有助于我们作为艺术家的成长。
Hope this gave you some useful tips and helps you with your future hand-painted projects. 希望这给了你一些有用的提示，对你未来的手绘项目有所帮助。
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