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Hello there! My name is Gary Roberts. I am currently working as a 3D Environment Artist at Tiny Talisman Games. I live in Mexico City and have been working in the games industry for 3 years now.
I had my first approach into the 3D world studying at an institute called INAAD here in Mexico City and then I moved to my first studio, Marango EC. I don’t see myself doing anything else in life, other than making art for video games with a delicious cup of coffee in the morning. I have really loved stylized art ever since I started making some props and little dioramas in my free time. And I’m pretty sure you will ask yourself “Is there a video game industry in Mexico?” And I will reply “Something like that haha”. We have some indie studios and a lot of events, that try to grow the industry. I am really happy to have worked for Kokonut Studios as a 3D Artist in the IP of “Chavo 8”, which is pretty popular here in Mexico. It has been a road with great challenges, sweat, blood, and pixels haha but always with the goal of learning more and more, meanwhile I work at Tiny Talisman Games making beautiful art for both AAA and indies game companies and have learned a huge amount from there!
你好呀！我叫加里·罗伯茨。 我目前在 Tiny Talisman Games 担任 3D 环境艺术家。我住在墨西哥城，现在已经在游戏行业工作了 3 年。
我第一次接触 3D 世界是在墨西哥城的 INAAD 学院学习的，然后我搬到了我的第一个工作室 Marango EC。 我不认为自己在生活中做任何其他事情，除了早上用一杯美味的咖啡为电子游戏制作艺术。自从我开始在空闲时间制作一些道具和小立体模型以来，我就非常喜欢程式化的艺术。 我很确定你会问自己“墨西哥有电子游戏产业吗？” 我会回答“类似的东西哈哈”。我们有一些独立工作室和许多活动，试图发展这个行业。我很高兴能在 Kokonut Studios 担任 3D 艺术家的“Chavo 8”IP，这在墨西哥很受欢迎。 这是一条充满挑战的道路，汗水，鲜血和像素哈哈，但始终以不断学习为目标，同时我在Tiny Talisman Games工作，为AAA和独立游戏公司制作精美的艺术并学到了很多从那里！
About the Project
The way I find good concepts is to spend hours on Pinterest, Artstation or Polycount. I have a folder, I am not lying, of 600 concepts that I frequently use to try new ideas.
But in this project, I found a very nice concept from Hearthstone I really liked it because I was watching Lord of the Rings last week and it inspired me to start this project. (Mines of Moria).
关于该项目
我找到好的概念的方法是在 Pinterest、Artstation 或 Polycount 上花费数小时。我有一个文件夹，我没有说谎，里面有 600 个我经常用来尝试新想法的概念。
但是在这个项目中，我从炉石传说中发现了一个非常好的概念，我真的很喜欢它，因为我上周在看指环王，它激发了我开始这个项目的灵感。（莫里亚矿山）。
I start off by making a block out in 3DS Max, this helps me to work out the position of things. I did not want to copy the concept exactly, I wanted to have a Spyro style with a little bit of Heroes of storm style too. So I started making my Pureref to find good references.
我首先在 3DS Max 中制作一个块，这有助于我确定事物的位置。我不想完全复制这个概念，我也想有一个带有一点风暴英雄风格的 Spyro 风格。所以我开始制作我的 Pureref 以找到好的参考。
The next step was to create the wall and floor materials before starting the rest. I used a box with the flip normals to fix the ceiling and floor plan. 下一步是在开始休息之前创建墙壁和地板材料。我使用了一个带有翻转法线的盒子来固定天花板和平面图。
I highly recommend watching 3dEx tutorials, they show super good stuff to make stylized environments. I also asked people in Tiny Talisman and they helped too. In this case, I jumped to Substance Designer to make my materials. 我强烈推荐观看 3dEx 教程，它们展示了制作风格化环境的超级好东西。我也问过 Tiny Talisman 的人，他们也帮了我。在这种情况下，我跳到 Substance Designer 来制作我的材料。
Something important to know is that if you are going to add a heightmap to your materials, your walls need to have more tris. I made some UE4 shader controls to control the heightmap or in other words tessellation.
需要知道的重要一点是，如果您要为材质添加高度图，则您的墙壁需要有更多的三角形。我制作了一些 UE4 着色器控件来控制高度图，也就是镶嵌。
Sculpting
After making the block out here comes the fun part, which is sculpting, the magic of the stylized art is to avoid 90-degree angles and always make chunkier objects I recommend the Orb and Aj brushes that are free and are excellent for sculpting Stylized props. Another trick is to use the lazy mouse option to have variations in the cuts in the wood.
雕刻
在制作块之后，有趣的部分是雕刻，风格化艺术的魔力是避免 90 度角并始终制作更厚实的物体 我推荐免费的 Orb 和 Aj 画笔，非常适合雕刻风格化道具。另一个技巧是使用懒惰的鼠标选项来改变木材的切割。
Texturing
Something we must learn when making stylized textures is color theory, gradients are generally always used to do this. I highly recommend the materials that Zack Maxwell created to use as a base. In my case, I like to use a gradient with complementary colors and then an EdgeSubtleHighlights for the edges.
A nice layer of overlay can work to highlight more or add more color variation. 纹理
在制作风格化纹理时我们必须学习的东西是颜色理论，通常总是使用渐变来做到这一点。我强烈推荐 Zack Maxwell创建的材料用作基础。就我而言，我喜欢使用带有互补色的渐变，然后使用 EdgeSubtleHighlights 作为边缘。
一层漂亮的叠加层可以突出显示更多或添加更多颜色变化。 Asset Placement and Setting the Scene
When we talk about accommodating things inside the engine we must always think about what is going to be seen and what is not, in this case, close everything around with boxes so that no light can enter around.
物件放置和场景设置
当我们谈论容纳引擎内部的东西时，我们必须始终考虑将要看到的内容和不可见的内容，在这种情况下，用盒子将周围的一切都封闭起来，以免光线进入周围。
Then I added lights in the lamps and a red light at the end of the tunnel to simulate that it was the mine exit. I highly recommend using the camera’s post-processing to correct colors or saturation.
然后我在灯里加了灯，在隧道尽头加了一个红灯来模拟这是矿井出口。我强烈建议使用相机的后期处理来校正颜色或饱和度。
Playing with the fog and skylight values ​​is important when creating these scenes. I hope you liked it and have learned a little about the process I use to make these scenes.
创建这些场景时，使用雾和天光值很重要。 我希望你喜欢它，并且对我用来制作这些场景的过程有所了解。
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