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本帖最后由 大西几 于 2021-8-31 11:06 编辑
3d artistVincent Déroziercreated a detailed breakdown of the amazing setup, which allows creating fantastic stained glass, using various images as a base. You can even download the source file!
3d 艺术家 Vincent Dérozier对令人惊叹的设置进行了详细分解，使用各种图像作为基础，可以创建梦幻般的彩色玻璃。您甚至可以下载源文件！
This Stained Glass Material is a work I made for a personal scene, The Hero’s Tomb. It’s basically an excuse to avoid creating random textures I will never put to good use afterward.
这种彩色玻璃材料是我为个人场景《英雄之墓》制作的作品。这基本上是避免创建随机纹理的借口，我以后将永远不会很好地使用它。
This way I can focus on each asset or material like an exciting challenge and ends up with a complete 3d scene.
通过这种方式，我可以专注于每个资产或材料，就像一个令人兴奋的挑战，最终得到一个完整的 3d 场景。
To have a lot of freedom I chose to go for some kind of forgotten shrine and to avoid having too much freedom I chose a specific franchise, Zelda. Zelda is a wide, colorful and deep universe that contains a lot of thematics, visual codes or symbols I can use and transform.
为了获得更多的自由，我选择去某种被遗忘的神殿，为了避免过多的自由，我选择了一个特定的系列，塞尔达。塞尔达是一个广阔、多彩和深邃的宇宙，其中包含许多我可以使用和转换的主题、视觉代码或符号。
With that in mind I start making a simple concept art. Nothing fancy or too precise, I just wanted to identify the main visual Guidelines and amount of work I will put in my scene.
考虑到这一点，我开始制作一个简单的概念艺术。没有什么花哨或太精确，我只是想确定主要的视觉指南和我将在我的场景中投入的工作量。
Personal Projects can rapidly be abandoned because of the amount of work or slow updates. That’s why I chose a license like Zelda and start with the Hero pieces like the Hero Statue,
由于工作量大或更新缓慢，个人项目可能会很快被放弃。这就是为什么我选择了像塞尔达这样的许可证并从像英雄雕像这样的英雄作品开始，
Floor recipe or Stained Glasses, just in order to stay motivated.
地板食谱或彩色眼镜，只是为了保持动力。
With the Configuration of my room I only have two spots for Stained Glasses, with the Statue in the center which means that I have to find two subjects. I rapidly thought about Zelda and Ganondorf, like the Saints or Angels representations you have in churches. It can work well with Link in the middle in term of composition and in term of symbolism as well.
根据我房间的配置，我只有两个位置可以放置彩色眼镜，雕像位于中心，这意味着我必须找到两个主题。我很快想到了塞尔达和加农多夫，就像你在教堂里的圣徒或天使形象。在构图和象征意义方面，它可以很好地与中间的 Link 配合使用。
During the design process I choose to go with a “front” position to give a more solemn look to my “Saints” representation but I rapidly decide to turn their head, that way they will look to the Link在设计过程中，我选择了“正面”的位置，让我的“圣徒”形象看起来更庄严，但我很快决定转过头，这样他们就会看向林克
statue once in the 3d scene.
雕像曾经在 3d 场景中。
I knew that I was going to use this texture as an Atlas which is different than Baked Textured. In this case, the texture layout came at the same time than the 3d asset to be sure to optimize the
我知道我将使用此纹理作为与烘焙纹理不同的 Atlas。在这种情况下，纹理布局与 3d 资产同时出现，以确保优化
placements. By playing with your Uv mesh you can create different kind of scenario or 3d Design, unlike baked materials. This step is a continuous back and forth between 3DSMAX and Photoshop to nail my design and texture Layout.
展示位置。与烘焙材料不同，通过使用 Uv 网格，您可以创建不同类型的场景或 3d 设计。这一步是在3DSMAX和 Photoshop之间不断来回确定我的设计和纹理布局。
When I’m happy with my Design I can move to the Substance Designer Part where I will create the “sculpt” of my Stained Glasses and the surfaces I will use in Painter on that “sculpt”. For that I export separately all the Drawing Layers I cleaned in Photoshop.当我对我的设计感到满意时，我可以转到 Substance Designer 部分，在那里我将创建我的彩色眼镜的“造型”以及我将在 Painter 中在该“造型”上使用的表面。为此，我单独导出了我在 Photoshop 中清理过的所有绘图层。
Then I create an SBS where I import my exported maps and start shaping my surfaces. In Designer, I keep in mind that this SBS will not be my final material but just a step where I will sculpt my volumes and export some mandatory Painter textures like Curvature, Normal, AO, etc.
然后我创建一个 SBS，在其中导入我导出的地图并开始塑造我的表面。在 Designer 中，我记住这个 SBS 不会是我的最终材质，而只是一个步骤，我将雕刻我的体积并导出一些强制性的 Painter 纹理，如曲率、法线、AO 等。
In order to stay efficient, I break down every parts in separate Graphs when it’s interesting. For example I planned to have several Lead layers, so I create a Lead Surface Graph where all the Lead为了保持效率，我会在有趣的时候将每个部分分解为单独的图表。例如，我计划有几个 Lead 层，所以我创建了一个 Lead Surface Graph，其中所有的 Lead
Sculpt happen. Kind of scripting that leads sculpt process.
雕刻发生。一种引导雕刻过程的脚本。
hat way, I can just duplicate that Graph into my master graph and apply it to every Lead section. It really help keep consistency, win time and keep the Master graph Light and Clean.那样的话，我可以将该图表复制到我的主图表中，并将其应用于每个潜在客户部分。它确实有助于保持一致性，赢得时间并保持主图的简洁明了。
Something important to do when you are creating Sub-graph like that is to put the Output Computation Option at No. Only keep that option to Yes on the Master graph, that way if you export当您创建这样的子图时，重要的是将输出计算选项放在否。仅在主图上将该选项保留为是，这样如果您导出
your SBS as an SBSAR, only the Master Graph Outputs will be exposed.
将您的 SBS 作为 SBSAR，则只会公开主图输出。
If you want to keep your Master Graph clean put the visible if the option of your Sub Graphs to false or 0. That way your Sub Graphs work when you are editing them but only the output you didn’t如果您想保持主图清洁，请将子图选项设为 false 或 0 时可见。这样子图在您编辑时可以工作，但只有您没有的输出
flag will be accessible in the Master Graph. Creating Sub Graph and instancing them in other graphs is one of the most powerful feature of Substance Designer. It can be done for patterns, effects, surfaces, sculpts, etc.
标志将可在主图中访问。创建子图并在其他图中实例化它们是 Substance Designer 最强大的功能之一。它可以用于图案、效果、表面、雕刻等。
When you want to create simple handmade shapes or masks, SVGs can be of a good help. They lack a lot of basic settings or feature but are complete enough to make you win a lot of time.当您想创建简单的手工形状或蒙版时，SVG 会很有帮助。它们缺乏很多基本设置或功能，但足够完整，可以让您赢得很多时间。
Sometimes procedural spawning is not accurate enough depending on what you are looking for, in those situations, SVGs can come in handy. Here I use it to draw my Tin Welds and to Mask some selection parts. When using it do not forget to put the quality to High, and click inside the SVG to refresh it.
有时程序生成不够准确，具体取决于您要查找的内容，在这些情况下，SVG 可以派上用场。在这里，我用它来绘制我的锡焊缝并掩盖一些选择部分。使用时不要忘记将质量设置为高，然后在 SVG 内部单击以刷新它。
Some of those Masks are not accurate enough and I don’t want to spend too much time cleaning them with edge detect, slope blurs and all so I just subtract in them with SVGs. Take few minutes to其中一些遮罩不够准确，我不想花太多时间用边缘检测、斜率模糊等清洁它们，所以我只是用 SVG 减去它们。花几分钟时间
create the Masks I need.
创建我需要的遮罩。
To finish with my Master Graph I create an output for every Mask or Maps I will need later on in Painter.为了完成我的主图，我为稍后在 Painter 中需要的每个蒙版或贴图创建了一个输出。
I create several basic Surfaces in different SBS and export them as SBSAR to be used in Painter. When it makes sense I expose parameters to play with.我在不同的 SBS 中创建了几个基本曲面，并将它们导出为 SBSAR 以在 Painter 中使用。当有意义时，我会公开参数以供使用。
Once in Painter I import the Masks and Maps I exported from my Master Graph. I put my Maps in the texture Set Slots and will use the Mask later on. In order to see what I’m doing, I import a simple 3d plane. It could be the mesh I made earlier.
进入 Painter 后，我会导入从 Master Graph 导出的遮罩和贴图。我将我的贴图放在纹理 Set Slots 中，稍后将使用遮罩。为了看看我在做什么，我导入了一个简单的 3d 平面。它可能是我之前制作的网格。
Now it’s time for Magic, I simply stack my surfaces, creating folder for each. It helps me to be fast and efficient when it comes to masking and effects. Like in photoshop you work from bottom to top, from the core surfaces to the external ones like Patina or Dust. The main difference here is that you work on every startas at the same time in a non-destructive way.
现在是 Magic 的时候了，我只是简单地堆叠我的曲面，为每个曲面创建文件夹。在遮罩和效果方面，它帮助我快速高效。就像在 Photoshop 中一样，您从底部到顶部工作，从核心表面到外部表面，如 Patina 或 Dust。这里的主要区别在于您以破损性的方式同时处理每个 startas。
I almost work on every Surface the same way, bottom, middle and top settings. I just add filters or extra fill layer from time to time to tweak some parts or create specific effects.
我几乎以相同的方式在每个 Surface 上工作，底部、中间和顶部设置。我只是不时添加过滤器或额外的填充层来调整某些部分或创建特定的效果。
According to the way I want to use this Stained Glass material, I didn’t need a complex Glass Material with Alpha. On the contrary, I don’t want to be able to see through it, so I worked it like an opaque surface in Designer and the same way afterward in Painter.
根据我想要使用这种彩色玻璃材质的方式，我不需要带有 Alpha 的复杂玻璃材质。相反，我不想看透它，所以我在 Designer 中像不透明的表面一样工作，然后在 Painter 中以同样的方式工作。
According to the way I want to use this Stained Glass material, I didn’t need a complex Glass Material with Alpha. On the contrary, I don’t want to be able to see through it, so I worked it like an opaque surface in Designer and the same way afterward in Painter. I create a specific Emissive folder. Even if Light is not a surface it helps me to focus on this strata of my material. I can activate it in the Viewer Setting / Common Parameters.
根据我想要使用这种彩色玻璃材质的方式，我不需要带有 Alpha 的复杂玻璃材质。相反，我不想看透它，所以我在 Designer 中像不透明的表面一样工作，然后在 Painter 中以同样的方式工作。我创建了一个特定的 Emissive 文件夹。即使光不是一个表面，它也能帮助我将注意力集中在我材料的这一层上。我可以在查看器设置/通用参数中激活它。
Some extra parts like the painted element need not only to be in the emissive but in the material when the light is off. In order to do that I exported separately my paint layer and add it on top of my glass, pushing a little bit my height in order to have some kind of extra volume on it.
一些额外的部分，如涂漆元素，不仅需要在发光中，而且在灯光关闭时需要在材质中。为了做到这一点，我单独导出了我的油漆层并将其添加到我的玻璃顶部，稍微推高了我的高度以便在上面有某种额外的体积。
When I’m happy with the result I just made the renders in Iray, settings are really simple and it give you the final touch of a good render without going in an another engine. The only annoying thing about Iray, in this case, is that the emissive value is clamped to 10, you will maybe need to tweak this strata to obtain a very shiny result. Simple IBLs with enough contrast and color variations can be a good choice for this kind of materials.
当我对我刚刚在Iray 中进行渲染的结果感到满意时，设置非常简单，它为您提供了良好渲染的最终效果，而无需进入另一个引擎。在这种情况下，Iray 唯一令人讨厌的事情是发射值被限制为 10，您可能需要调整此层以获得非常闪亮的结果。具有足够对比度和颜色变化的简单 IBL 可能是此类材料的不错选择。
To finish my renders I create particles Layers in Designer I put on top of everything in Photoshop. It creates some interesting volumetric particles to ground a little bit more your render. In order to create that I simply create an SBS where I splattered Noises and shapes. Yes, you can even use Designer for post effects. Even if it can seam a little bit longer to do, this kind of process is not that expensive if you want to use it in a real production. Overall this Material took me 4 days. It’s up to your requirements and pipeline of course, but this workflow could really come in handy,
为了完成我的渲染，我在 Designer 中创建了粒子图层，然后将其放在 Photoshop 中的所有内容之上。它创建了一些有趣的体积粒子，以进一步增强渲染效果。为了创建它，我只是创建了一个 SBS，在其中散布了噪声和形状。是的，您甚至可以将 Designer 用于后期效果。就算能缝得再长一点，这种工艺如果要在实际生产中使用，也不会那么贵。总的来说，这个材料花了我 4 天。这当然取决于您的要求和管道，但是这个工作流程真的可以派上用场，
especially if you have a lot of Stained Glasses to do.
特别是如果你有很多彩色眼镜要做。
To test this recipe, I spent less than an hour drawing the 80lvl logo and updating my material. At this point my SBS became a Stained Glass factory.
为了测试这个配方，我花了不到一个小时来绘制 80lvl 徽标并更新我的材料。在这一点上，我的 SBS 变成了一家彩色玻璃工厂。
You can download all the sources of this 80lvl Stained Glass here: https://gumroad.com/vincentderozierart
您可以在此处下载此 80lvl 彩色玻璃的所有来源：https ://gumroad.com/vincentderozierart
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