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Introduction
Hey guys, I am Sarvesh Shashank, an Environment Artist from Ranchi, India. I am 22 and currently working at Technicolor Games with an experience of 3 years in this industry.
My interest in choosing this career came from my school days. I was always interested in fine arts like sketching and drawing. I also enjoy watching animated movies and playing games. These things inspired me to make a career where I can have the opportunity to pursue my artistic passion and get to work on games.
介绍
嘿，伙计们，我是Sarvesh Shashank，来自印度兰契的环境艺术家。我今年22岁，目前在Technicolor Games工作，在这个行业有3年的经验。
我对选择这个职业的兴趣来自我的学生时代。我一直对素描和绘画等美术感兴趣。我也喜欢看动画电影和玩游戏。这些事情激励我成为一份职业，在那里我有机会追求我的艺术激情并开始从事游戏工作。
I have a diploma in 3D Game Art from Arena Animations, which taught me the basics of different software used to make game art, and the rest is from the internet. After this, I was lucky enough to get my first job at Sumo Digital, India, as a Trainee Artist and was promoted to Junior Artist in 3 months, I had a good experience working on some cool unannounced titles there.
Some of my recent achievements include getting featured on Unreal Spotlight and I feel very joyful to share this video:
我拥有Arena Animations的3D游戏艺术文凭，它教会了我用于制作游戏艺术的不同软件的基础知识，其余的来自互联网。在此之后，我很幸运地在印度Sumo Digital获得了我的第一份工作，作为一名实习艺术家，并在3个月内晋升为初级艺术家，我在那里工作了一些很酷的未宣布的作品。
我最近的一些成就包括在虚幻聚光灯上亮相，我很高兴分享这个视频：
Creating game environments has always been my passion as I enjoy making fictional worlds where even the sky is not the limit and imagination is everything. In addition to being a gaming buff, my hobbies include sketching, photography, and traveling.
创造游戏环境一直是我的激情所在，因为我喜欢制作虚构的世界，在那里，即使是天空也不是极限，想象力就是一切。除了成为一名游戏爱好者之外，我的爱好还包括素描，摄影和旅行。
The Viking Hut Project
This project started as an inspiration after playing Assassin's Creed Valhalla. I was very inspired by how Ubisoft represented medieval England. They almost looked like paintings: the colors, the lighting, and every detail appeared magical and beautiful.
维京小屋项目
这个项目是在玩《刺客信条：瓦尔哈拉》之后开始的灵感来源。育碧如何代表中世纪的英国，给了我很大的启发。它们几乎看起来像绘画：颜色，灯光和每个细节都显得神奇而美丽。
I wanted a similar scene for my portfolio and was lucky enough to find this great concept by Zimmy.
I took his concept Rune’s Camp for the basic structure of the house, the rest I followed were mostly screenshots from games like The Witcher 3, AC Valhalla, and some real-life pictures.
While creating any artwork, I try to implement some of my creativity and thoughts beside the original concept. Hence I planned to approach this building differently while keeping the concept art in mind. I wanted the scene to be a bit more vibrant and have a colorful vibe to it while making sure not to overdo it at the same time.
我想要一个类似的场景来为我的作品集，并且很幸运地找到了Zimmy的这个伟大概念。
我把他的概念Rune's Camp作为房子的基本结构，其余的我关注的大多是《巫师3》，AC Valhalla等游戏的截图，以及一些现实生活中的图片。
在创作任何艺术作品时，我都试图在原始概念之外实现我的一些创造力和想法。因此，我计划以不同的方式处理这座建筑，同时牢记概念艺术。我希望这个场景更有活力，有一个丰富多彩的氛围，同时确保不要过度使用。
I wanted to add a happy morning vibe to the scene, hence I decided on a color palette with a similar feel. I took some screenshots from the game and tried to follow the same color palette with a bit of adjustment in a few places. It was more of an inspiration than just copying.
我想为场景增添一种快乐的早晨氛围，因此我决定使用具有类似感觉的调色板。我从游戏中截取了一些屏幕截图，并尝试遵循相同的调色板，并在一些地方进行一些调整。这不仅仅是一种灵感，而不仅仅是复制。
Through this project, I wanted to stress the storytelling part a lot, and all of it started with the building. I wanted to make a Viking hut, not the one from Scandinavia but the home of the Vikings who moved to England in search of a new life other than raiding and looting.
Vikings mostly made their houses from wood (at least from what I have seen on Netflix and games), but in this project, the architecture combines Saxon and Viking architecture. I also planned the landscape to resemble the English landscape during summer.
通过这个项目，我想强调讲故事的部分，所有这些都是从建筑开始的。我想做一个维京小屋，不是来自斯堪的纳维亚半岛的小屋，而是维京人的家，他们搬到英国寻找新的生活，而不是袭击和抢劫。
维京人大多用木头建造房屋（至少从我在Netflix和游戏上看到的），但在这个项目中，建筑结合了撒克逊和维京建筑。我还计划了景观，使其类似于夏天的英国景观。
This guy is a master of creating things, be it woodwork, weapons, or buildings, they all look great. He is highly skilled in wood sculpting and has a forge where he creates weapons with perfection.
这个家伙是创造东西的大师，无论是木制品，武器还是建筑物，它们看起来都很棒。他在木雕方面非常熟练，并拥有锻造厂，在那里他可以完美地制造武器。
He is also very popular in the market since he has already packed numerous carton boxes full of shipments ready to be sold. The paths connecting to the house show that it is a busy place where people visit for trades.
他在市场上也很受欢迎，因为他已经包装了许多纸箱，里面装满了准备出售的货物。连接到房子的路径表明，这是一个繁忙的地方，人们来这里进行交易。
Modeling
The Whitebox
I started with the basic blockout of the entire building first and gradually kept on adding definition to it. During this phase, I mostly wanted to get the proper silhouette and scale of the building and assets.
建 模
白匣子
我首先从整个建筑的基本街区开始，并逐渐不断添加定义。在这个阶段，我主要想获得建筑物和资产的适当轮廓和规模。
I spent a fair amount of time just planning things at this stage as once you have a well-laid plan, everything goes seamlessly.
After I had the whitebox ready, I used those basic shapes of different props in the whitebox as proxies and modeled them separately. I used those shapes as scale references and added details to them gradually.
在这个阶段，我花了相当多的时间计划事情，因为一旦你有了一个精心制定的计划，一切都会无缝进行。
准备好白盒后，我使用白盒中不同道具的基本形状作为代理，并分别对它们进行建模。我使用这些形状作为比例参考，并逐渐向它们添加细节。
The Assets
I modeled almost all the assets and props for this project and to save time, I needed proper planning beforehand to make sure I didn't get overwhelmed.
资产
我为这个项目建模了几乎所有的资产和道具，为了节省时间，我需要事先进行适当的规划，以确保我不会不知所措。
I tried distinguishing between different assets and props. I separated a few assets which I wanted to make with good detailing and regarded others as simple generic assets where I wouldn't be putting much time into creating them.
Simple Assets
我试图区分不同的资产和道具。我分离了一些我想用好的细节制作的资源，并将其他资源视为简单的通用资源，我不会花太多时间来创建它们。
简单资产
For the generic props, I used the Weighted Normals workflow. I created game-ready models for these props with enough edges and bevels and applied Weighted Normals over them.
Hero Assets
对于通用道具，我使用了加权法线工作流程。我为这些道具创建了游戏就绪模型，具有足够的边缘和斜角，并在其上应用了加权法线。
英雄资产
For detailed assets, I wanted to practice some environment sculpting in ZBrush.
I got inspired by artists like Ivanna Littschwager and Dannie Carlone, who are great artists of sculpting environments. I wanted to do something similar in my project.
对于详细的资源，我想在ZBrush中练习一些环境雕刻。
我受到伊万娜·利特施瓦格（Ivanna Littschwager）和丹尼·卡隆（Dannie Carlone） 等艺术家的启发，他们是伟大的雕塑环境艺术家。我想在我的项目中做类似的事情。
In order to model these assets, I created basic meshes in Maya by only focusing on their overall shape. After that, I DynaMeshed them in ZBrush and did the rest of the sculpting using brushes like the Orb brush, Trim Smooth Border, Trim Dynamics, and Mallet Fast. For the micro details of the wood, I created some alphas in Photoshop and applied them using a Displacement brush.
为了对这些资源进行建模，我在 Maya 中创建了基本网格，只关注它们的整体形状。之后，我在ZBrush中对它们进行了DynaMeshed，并使用Orb brush，Trim Smooth Border，Trim Dynamics和Mallet Fast等画笔进行了其余的雕刻。对于木材的微观细节，我在Photoshop中创建了一些alpha，并使用置换画笔应用它们。
Additional Tips
While creating detailed assets, I focused on making the workflow faster and more
effective. While doing this, I found a great trick to create high detailed assets in no time. Using this technique, we can produce some highly detailed assets without spending too much time. Here is what I did to create the stone base of the pillar:
其他提示
在创建详细的资源时，我专注于使工作流程更快、更有效
。在这样做的时候，我发现了一个很好的技巧，可以立即创建高细节的资源。使用这种技术，我们可以在不花费太多时间的情况下生成一些非常详细的资产。以下是我为创建柱子的石基所做的工作：
If you are facing trouble while sculpting because of the mesh topology, I suggest duplicating the SubTool, DynaMesh it (which will remove the poly paint), and then project the original mesh over the DynaMeshed one to get the poly paint back.
We can use this technique to create assets and could get high detailed outputs without spending too much manual work.
如果您在雕刻时由于网格拓扑而遇到麻烦，我建议复制SubTool，DynaMesh它（这将删除聚乙烯油漆），然后将原始网格投影到DynaMeshed网格上以取回聚乙烯油漆。
我们可以使用这种技术来创建资产，并且可以在不花费太多手动工作的情况下获得高详细的输出。
The Buildings
建筑物
The building and its large parts were mostly game-ready meshes with all the bevels and large details modeled to them. Although the base structure of the building was not modular, I tried to use modularity on all the smaller assets, like the windows, fences, and planks.
All the shape deformations and damages in the building were directly modeled into it; while modeling it, I made sure to add enough vertices to support a good vertex painting in the engine.
该建筑及其大部分部件大多是游戏就绪的网格，所有斜面和大型细节都针对它们进行了建模。虽然建筑物的基础结构不是模块化的，但我试图在所有较小的资产（如窗户，围栏和木板）上使用模块化。
建筑物中的所有形状变形和损坏都直接建模到其中;在建模时，我确保添加足够的顶点以支持引擎中良好的顶点绘制。
Quixel Megascans
Quixel Megascans
Creating an entire environment from scratch can sometimes be overwhelming and time-consuming. To overcome this, I used some Megascans assets in my scene, majorly for the filler background props like the stones in the background and some ground details. I also used Megascans for the foliage and trees.
从头开始创建整个环境有时可能会令人不知所措且耗时。为了克服这一点，我在场景中使用了一些Megascans资源，主要用于填充背景道具，如背景中的石头和一些地面细节。我还使用Megascans来制作树叶和树木。
Texturing
Texturing is the important storytelling element of the scene. It is the texture that defines how old something is, what material it is made of, etc. I used different approaches for texturing different types of assets.
纹理
纹理是场景中重要的叙事元素。它是定义事物的年龄，它由什么材料制成的纹理等。我使用不同的方法来对不同类型的资源进行纹理处理。
I gathered tons of references for the texturing before starting the scene as concept arts don't define much material. In most cases, you have to do your research to understand the textures.
在开始这个场景之前，我收集了大量的纹理参考，因为概念艺术并没有定义太多的材料。在大多数情况下，您必须进行研究才能了解纹理。
The Assets
Simple Assets
For the simple assets, I didn't use anything fancy. It was just basic texturing in Substance 3D Painter with lots of surface variations, which I created using layers and masks.
资产
简单资产
对于简单的资产，我没有使用任何花哨的东西。这只是Substance 3D Painter中的基本纹理，具有许多表面变化，我使用图层和蒙版创建了这些纹理。
While I was texturing wood, I used software called Materialize to create tileable textures out of photo textures. It's free and works great for me. Here's the link for more information:
当我在纹理化木材时，我使用名为Materialize的软件从照片纹理中创建可平铺纹理。它是免费的，对我来说效果很好。以下是详细信息的链接：
While most of the simple assets were textured uniquely, a few were textured in the engine using tillable textures like with the planks.
Hero Assets
For the detailed assets, I always used unique textures as they all had baked maps and
expected to have some cool unique details. I will share the texturing process of my door as I used the same technique for all other unique assets.
For the door, I created a primary wood tileable texture in Substance 3D Designer because I couldn't find any suitable photo texture on the internet.
虽然大多数简单资源都是独特的纹理，但有些资源在引擎中使用可耕种纹理（如木板）进行纹理处理。
英雄资产
对于详细的资源，我总是使用独特的纹理，因为它们都有烘焙的地图，并
期望有一些很酷的独特细节。我将分享我的门的纹理化过程，因为我对所有其他独特的资产都使用了相同的技术。
对于门，我在Substance 3D Designer中创建了一个主要的木制可平铺纹理，因为我在互联网上找不到任何合适的照片纹理。
I used that tileable wood texture as the base material for the wooden parts. I duplicated that wood texture layer and applied some filters to change its color and hue.
I later used some masks to apply that edited texture on top of the base material, which helped me to create color variations in the wood. I continued the same process for the entire thing.
Using different generators and grunges was very helpful in adding dirt and roughness variations. The curvature and AO maps were very useful in making the details stand out. It's always better to add large sculpting details in ZBrush that we can later utilize as curvature maps.
During this time, I took a lot of feedback from friends and seniors. I thank Vamsi Kalangi and Anshul Sharma for providing me with great feedback while texturing these assets.
我使用可平铺的木材纹理作为木制部件的基础材料。我复制了木材纹理层，并应用了一些滤镜来改变它的颜色和色调。
后来，我使用了一些蒙版，在基材的顶部应用了经过编辑的纹理，这有助于我在木材中创造颜色变化。我在整个过程中继续相同的过程。
使用不同的发生器和垃圾乐对增加污垢和粗糙度变化非常有帮助。曲率和AO贴图在使细节脱颖而出方面非常有用。最好在ZBrush中添加大型雕刻细节，以便以后将其用作曲率贴图。
在这段时间里，我从朋友和老年人那里得到了很多反馈。我感谢Vamsi Kalangi和Anshul Sharma在对这些资产进行纹理处理时为我提供了很好的反馈。
Once the assets were done, I created a simple shader for them in Unreal Engine 4 with some parameters to control a few things like roughness, albedo color, emissive, etc.
完成资源后，我在虚幻引擎4中为它们创建了一个简单的着色器，其中包含一些参数来控制粗糙度、反照率颜色、发光等一些因素。
The Building
I have acquired most tileable textures of my scenes from Textures.com or the Megascans library. In many cases, I also used Quixel Mixer to blend different textures to create a new one.
While texturing the building, I created some base materials in Quixel Mixer. I blended the height map of the bricks over the cobb wall texture to make it look like painted bricks, which made the textures look more interesting than the simple plain painted wall texture as it was before. Blending bricks on top of the painted wall gave the depth to the textures that I was looking for.
大楼
我从 Textures.com 或Megascans库中获得了场景的大多数可平铺纹理。在许多情况下，我还使用Quixel Mixer来混合不同的纹理以创建新的纹理。
在对建筑进行纹理处理时，我在Quixel Mixer中创建了一些基础材料。我将砖的高度图混合在cobb墙纹理上，使其看起来像彩绘砖，这使得纹理看起来比以前简单的普通彩绘墙纹理更有趣。在彩绘墙壁上混合砖块，使我正在寻找的纹理具有深度。
After creating the base material, I used the Megascans plugin to create a blend material of cobb wall, bricks, and stones, which I blended in the engine using vertex color painting.
创建基础材质后，我使用Megascans插件创建了cobb墙，砖块和石头的混合材质，我使用顶点彩色绘画将其混合在引擎中。
Here’s a simple way to create a good blending material using Megascans plugin:
以下是使用Megascans插件创建良好混合材料的简单方法：
After creating the primary vertex blending, I later improvised the building texture using decals. I used leaks and cracks in various places to break the feel of the tileable textures to make it look natural.
The Roofs
For the roofs, at first, I wanted to use just a tileable texture, but it was not giving the desired output, it looked very flat and fake. To fix this, I created some roof shingle meshes and placed their UVs over a tileable roof texture.
在创建主顶点混合后，我后来使用贴花即兴创作了建筑纹理。我在各个地方使用了泄漏和裂缝来打破可平铺纹理的感觉，使其看起来很自然。
屋顶
对于屋顶，起初，我只想使用可平铺纹理，但它没有给出所需的输出，它看起来非常平坦和假。为了解决这个问题，我创建了一些屋顶瓦片网格，并将其UV放置在可瓷砖屋顶纹理上。
I later used this same tileable texture in UE4 to texture these roofs. This way, I got a few roof shingle meshes, which I later placed over the roof manually in the engine. It was a tedious job but was worth it.
The Landscape
I used height maps to create some primary mountains in the engine, which I used in the background. They made the scene look massive and infinite, like the real world.
后来，我在UE4中使用了同样的可拼贴纹理来纹理这些屋顶。通过这种方式，我得到了一些车顶瓦片网格，后来我在发动机中手动将其放置在车顶上。这是一项繁琐的工作，但值得。
景观
我使用高度图在引擎中创建一些主要山脉，并在背景中使用。他们让场景看起来巨大而无限，就像现实世界一样。
While texturing the mountains, I created an automatic landscape shader that works according to the slope of the landscape. It changes the texture according to its slope angle. For the sharp cliffs, I used the stone texture, while on the soft areas I used grass.
I also used distance blending to hide the repetition of textures when seen from a long distance just by adding a blend of lesser tiling values of the same texture, which will show up when looked at from afar.
在对山脉进行纹理处理时，我创建了一个自动景观着色器，该着色器根据景观的坡度工作。它根据其斜率角度更改纹理。对于尖锐的悬崖，我使用了石头纹理，而在柔软的区域，我使用了草。
我还使用距离混合来隐藏从远距离看到的纹理的重复，只需添加相同纹理的较小平铺值的混合，当从远处看时，这些值将显示出来。
I used material functions to organize the shaders and added nodes to allow me to manually paint the landscape, which came in handy for texturing the landscape around the house. I used multiple variations of grass and mud to get a realistic feel of the landscape. I added parameters in the master material to edit the colors of the textures whenever needed.
我使用材质函数来组织着色器，并添加了节点以允许我手动绘制景观，这对于对房屋周围的景观进行纹理处理非常方便。我使用了多种草和泥浆来获得景观的真实感。我在主材质中添加了参数，以便在需要时编辑纹理的颜色。
You can learn how to create this shader by watching this video:
您可以通过观看此视频来了解如何创建此着色器：
https://youtu.be/mP8eHwVEA0o
Set Dressing & Storytelling
I believe the placement of assets in a scene helps to tell the story behind it. The way we put things together defines the personality of the person who lives there. It helps us connect to the scene and compels the player to feel immersed in the level.
It was a never-ending process as anytime I could feel the necessity of adding one more asset to the scene.
During the set dressing, I first worked on the basic details of the landscape as it was the largest part of my scene. Once completed, it acted as a sandbox where I could experiment.
布景着装和讲故事
我相信在场景中放置资产有助于讲述其背后的故事。我们把事情放在一起的方式定义了住在那里的人的个性。它帮助我们连接到场景，并迫使玩家沉浸在关卡中。
这是一个永无止境的过程，因为每当我能感觉到有必要在场景中再添加一个资产时。
在布景打扮期间，我首先处理了风景的基本细节，因为它是我场景中最大的部分。一旦完成，它就充当了一个沙箱，我可以在其中进行实验。
I created a simple landscape in UE4, which I then sculpted using the engine's sculpting tools. I also painted some generic foliage at this point to get the overall look of the landscape. While painting the foliage, I made sure to use only the types of grasses and plants which suited the house. I changed foliage colors to define the feel and season.
I also did a simple sky setup. For the sky texture, I used an HDRI map as it gave me more customization when it came to clouds and the overall look of the sky. I created a simple sky shader with few controls like the sky rotation and brightness.
我在UE4中创建了一个简单的景观，然后使用引擎的雕刻工具对其进行了雕刻。在这一点上，我还画了一些通用的树叶，以获得景观的整体外观。在画树叶时，我确保只使用适合房子的草和植物类型。我改变了树叶的颜色来定义感觉和季节。
我还做了一个简单的天空设置。对于天空纹理，我使用了HDRI贴图，因为它在云层和天空的整体外观方面给了我更多的自定义。我创建了一个简单的天空着色器，几乎没有像天空旋转和亮度这样的控件。
After completing the landscape, I started replacing the building blockout with a detailed version of it. Adding the building first helped me understand what directions I was heading as it was the most necessary scene element.
I followed the concept art for the basic house structure but tried to implement some of my ideas while making some parts of it. Like in the back area, I replaced the well with a forge to add better storytelling to the scene. Now I can see the character of this house and the one who lives in it.
Thank you, Akshay Raj, who provided some great ideas for the storytelling.
完成景观后，我开始用它的详细版本替换构建块。首先添加建筑物有助于我了解我前进的方向，因为它是最必要的场景元素。
我遵循基本房屋结构的概念艺术，但试图在制作某些部分时实现我的一些想法。就像在后部一样，我用锻造代替了井，以增加更好的场景故事。现在我可以看到这所房子的性格和住在里面的人。
谢谢你，Akshay Raj，他为讲故事提供了一些很好的想法。
While placing the props, I tried to do it in a way that they look more natural and real. One of the best ways to get this feeling is to make sure never to place any props perfectly aligned to the grid. It allows things to look imperfect and natural.
在放置道具时，我试图以一种看起来更自然和真实的方式做到这一点。获得这种感觉的最好方法之一是确保永远不要放置任何与网格完美对齐的道具。它允许事物看起来不完美和自然。
I scattered some objects to make it look like little accidents that helped make the scene look alive and lived-in, like the apples scattered on the ground, tools falling around, axes stuck on the bench, bricks not being arranged in proper order, and so on.
These are small things that add life to the scene. Humans always make a mess wherever they go, so making the scene look messy makes it relatable.
I tried to fill up most of the negative spaces with something that looked natural and relatable. Like, for the building walls near the forge, I added a torch to make the wall area not look blank.
While adding details, I was also careful not to overdo it and made sure to add some areas for the eyes to rest. It's necessary to maintain a balance between the clustered and less clustered areas while creating a scene.
我分散了一些物体，使它看起来像一些小事故，帮助使场景看起来生动活生生，就像散落在地上的苹果，工具掉落，斧头卡在长凳上，砖块没有按正确的顺序排列，等等。
这些都是为场景增添生机的小事。人类无论走到哪里总是一团糟，所以让场景看起来很乱，让它变得有共鸣。
我试图用一些看起来自然和相关的东西来填充大部分的负空间。例如，对于锻造厂附近的建筑墙壁，我添加了一个火炬，以使墙壁区域看起来不是空白的。
在添加细节时，我也小心翼翼地避免过度使用，并确保添加一些区域供眼睛休息。在创建场景时，有必要在聚类区域和较少聚类区域之间保持平衡。
I also tried to make the world look massive and without any boundaries. And for this, I placed lots of trees and some mountains in the background. These helped me block the eyes but in a way that looks real, adding paths between the trees also helped me to establish that there’s more world behind those woods.
Lighting
Before starting to light the scene, I gathered tons of references with different moods and then decided which one I wanted to go with. I also took a lot of ideas from my friends and seniors at this point.
我还试图让世界看起来巨大而没有任何界限。为此，我在背景中放置了很多树木和一些山脉。这些帮助我挡住了眼睛，但以一种看起来很真实的方式，在树木之间添加路径也帮助我确定这些树林背后还有更多的世界。
照明
在开始照亮场景之前，我收集了大量不同情绪的参考资料，然后决定我想选择哪一个。在这一点上，我也从我的朋友和老年人那里学到了很多想法。
I decided to go with a bright summer morning vibe for this level. I wanted an environment with a chill and happy morning feel, the same as the first Kaer Moren scene in The Witcher 3 game.
我决定在这个级别上以明亮的夏日早晨氛围去。我想要一个凉爽和快乐的早晨感觉的环境，就像《巫师3》游戏中的第一个Kaer Moren场景一样。
Screenshots from games were also helpful while doing the lighting setup.
在进行照明设置时，游戏的屏幕截图也很有帮助。
The lighting process is quite simple. I just used a directional light with a sky light, and the rest were fake lights to lighten up the dark areas. All the lights I used for this scene are dynamic and so I didn't need to do any light bakes. I also used many point lights at areas like the door and the forge.
Directional light is my key light for the scene. While placing it, I made sure that it hits the main door, which will help in guiding the viewer's attention toward it.
I used a custom HDRI for the sky light that I took from Texture Haven. It helped me to get the well-diffused fill light all around the scene.
照明过程非常简单。我只是用定向光和天光，其余的都是假灯，照亮了黑暗区域。我用于此场景的所有光源都是动态的，因此我不需要进行任何光照烘焙。我还在门和锻造厂等区域使用了许多点灯。
定向光是我拍摄场景的关键光。在放置它时，我确保它撞上了正门，这将有助于引导观众的注意力。
我为从Texture Haven拍摄的天光使用了自定义HDRI。它帮助我在场景周围获得了漫射良好的补光。
I placed many fake lights around the scene to mimic light bounces and brighten the dark areas. I also used shadows to make the scene look interesting. Shadows help us to add contrast to the lighting. The balance between bright and dark areas is the one that makes the lightings look interesting, so I placed a tree in front of the house that cast some cool-looking shadows on the walls.
While lighting the scene, I made sure to keep the composition in mind. Games always use lighting for level design and place them in a way that guides the player towards the focus points.
我在场景周围放置了许多假灯，以模仿光线反弹并照亮黑暗区域。我还使用阴影使场景看起来很有趣。阴影帮助我们为照明增加对比度。明亮和黑暗区域之间的平衡是使照明看起来有趣的因素，所以我在房子前面放了一棵树，在墙上投下了一些看起来很酷的阴影。
在为场景点亮时，我确保牢记构图。游戏始终使用光照进行关卡设计，并以引导玩家走向对焦点的方式放置它们。
I took advantage of Unreal's SSGI to lighten up the dark areas. Here you can see the difference it added to the scene. To enable SSGI, go to Project Settings, enable Screen Space Global Illumination (Beta), and then use the console command r.SSGI.Enable 01.
我利用虚幻引擎的SSGI来照亮黑暗区域。在这里，您可以看到它添加到场景中的差异。若要启用 SSGI，请转到“项目设置”，启用“屏幕空间全局照明（测试版）”，然后使用控制台命令 r.SSGI。启用 01.
Composition & Post-Processing
Composition is one of the necessary elements of any artwork. If not done correctly, the whole time and effort spent on modeling, texturing, lighting, and everything can go to waste.
How things are put together helps us define the composition. A well-composed scene looks more appealing and compelling to the eyes than a scene not composed well, which can sometimes be irritating to look at.
I kept the composition of this scene in mind in every phase of its creation. From lighting to set-dressing, I always made sure to make the scene look better composed.
For this environment, the house was a major attraction and I wanted to make sure it attracted the viewer's attention instantly and should not be competing with anything else for focus.
I spent some time watching tutorials about composition, and one of the best I found was this:
构图和后期处理
构图是任何艺术品的必要元素之一。如果做得不正确，在建模、纹理、照明和一切方面花费的所有时间和精力都可能付诸东流。
如何将事物放在一起有助于我们定义组成。一个构图良好的场景看起来比一个构图不好的场景更具吸引力和吸引力，有时看起来会很烦人。
在创作的每个阶段，我都牢记了这个场景的构图。从灯光到布景，我总是确保让场景看起来更构图。
对于这种环境，房子是一个主要的吸引力，我想确保它立即吸引了观众的注意力，不应该与其他任何东西竞争焦点。
我花了一些时间观看有关构图的教程，我发现最好的教程之一就是这个：
Adding guiding lines in the scene is necessary to focus the viewer on the interesting elements. Otherwise, they can get lost wondering what to look at and will end up disliking the artwork.
One of the best and easiest ways to add guiding lines is to use paths. They are the easiest and the most efficient thing anyone can use. Also, placing scene elements in such a way that they form a line helped me establish those guiding lines even more.
在场景中添加指导线是必要的，以便将观众集中在有趣的元素上。否则，他们可能会迷失在不知道该看什么的地方，最终会不喜欢艺术品。
添加引导线的最好和最简单的方法之一是使用路径。它们是任何人都可以使用的最简单，最有效的东西。此外，以一种形成线条的方式放置场景元素，帮助我进一步建立了这些指导线。
Depth is also a necessary factor in any composition. Artists use depth very often to separate the foreground from the background. Adding mountains and small forests in the background helped me to establish depth. Apart from that, they also helped me fill out some negative spaces. Without those distant objects, the scene would have looked very small and empty.
While creating the background, I had to make sure they should not appear very detailed as that would cause them to compete with the foreground for attention, and I didn't want that to happen.
深度也是任何构图中的必要因素。艺术家经常使用深度将前景与背景分开。在背景中添加山脉和小森林有助于我建立深度。除此之外，他们还帮助我填补了一些负空格。如果没有这些遥远的物体，场景看起来会非常小而空旷。
在创建背景时，我必须确保它们不应该看起来非常详细，因为这会导致它们与前景竞争注意力，我不希望这种情况发生。
I created a shader that made the distant objects look less saturated and helped me hide their details. It made them distinguishable from the foreground. Volumetric fog also helped me establish depth.
我创建了一个着色器，使远处的物体看起来不那么饱和，并帮助我隐藏它们的细节。它使它们与前景区分开来。体积雾也帮助我建立了深度。
In some screenshots, I used trees and props silhouettes as vignettes combined with adding some lighting at the points of interest. The statues at the house entrance were also very useful to help me in the composition, eyes are always drawn toward human faces. I used that as an advantage.
在一些截图中，我使用树木和道具剪影作为小插图，并在兴趣点添加一些照明。房子入口处的雕像也对我构图很有帮助，眼睛总是吸引到人脸。我利用这一点作为优势。
I also used more contrasting and bright colors for the interesting spots of the building. I made sure to have a proper balance between appealing and less appealing points.
我还为建筑物的有趣景点使用了更具对比度和鲜艳的色彩。我确保在吸引力和不那么吸引人的点之间取得适当的平衡。
For the window, for example, I wanted to make it look like a focal point. Hence I used brighter colors compared to the planks beside it. Using colors in proper harmony is very important for composition.
例如，对于窗口，我想让它看起来像一个焦点。因此，与旁边的木板相比，我使用了更明亮的颜色。使用适当和谐的颜色对于构图非常重要。
Lighting also played an essential role in the composition. I made sure the directional light fell on doors and stairs to make the house feel more welcoming and appealing.
After completing the scene setup, I took a screenshot and created a color-graded LUT in Photoshop using that picture. Later, I used that LUT in UE4 in the post-processing volume. Color grading helped me a lot with defining the mood of the scene, like here, I increased the blue tone for this environment to make the scene look less warm than it looked before, and so on.
For getting more information about how to use LUT go through this link:
照明在构图中也发挥了至关重要的作用。我确保定向光落在门和楼梯上，使房子感觉更温馨和吸引人。
完成场景设置后，我截取了屏幕截图，并使用该图片在Photoshop中创建了一个颜色分级的LUT。后来，我在UE4的后期处理卷中使用了LUT。调色在定义场景的情绪方面帮助了我很多，就像这里一样，我增加了这个环境的蓝色调，使场景看起来不如以前那么温暖，等等。
有关如何使用LUT的更多信息，请通过以下链接：
https://youtu.be/jYxgnSGybNU
After finishing everything, I used the rule of thirds to take screenshots. I also used Photoshop and Premiere to edit the final videos and screenshots to increase the overall quality.
完成所有内容后，我使用三分法则截取屏幕截图。我还使用Photoshop和Premiere来编辑最终的视频和屏幕截图，以提高整体质量。
Conclusion
I think the major challenge while working on this project was consistency. It sometimes gets difficult to continue working on a single artwork for a long time. Working on this project every day after office hours was difficult for me sometimes.
结论
我认为这个项目的主要挑战是一致性。有时很难长时间继续处理单个艺术品。每天下班后从事这个项目有时对我来说很困难。
It's common for artists to abandon previous projects to start a new one. I have also done that in the past. There are many works that I never completed or published and are left abandoned to this day.
During this project, I had similar feelings, but I committed myself to finish it. I always tried at least to spend an hour per day on this project, whether planning or working on the production. This way, I was able to finish this project in about 3 months.
艺术家放弃以前的项目来开始一个新的项目是很常见的。我过去也这样做过。有许多作品我从未完成或出版过，直到今天才被遗弃。
在这个项目中，我有类似的感受，但我承诺要完成它。我总是尝试每天至少花一个小时在这个项目上，无论是计划还是工作。这样，我就能够在大约3个月内完成这个项目。
Apart from consistency, the other challenge I faced was maintaining the same style all around the level. The best solution I came up with for this problem was not to overdo one asset specifically but instead focus on the entire scene as one thing. It's overwhelming to create the complete scene from scratch and it is significant not to get lost in every micro detail and instead focus on the bigger picture.
Feedback played a key role while working on this level, it provided me with different perspectives on my artwork. It helped me to stay on track when I was out of ideas.
My advice to the artists planning to make an environment will be to stay consistent and have proper planning before starting any project. Having a plan is the best time-saving strategy. It also makes the work look possible and easier.
除了一致性之外，我面临的另一个挑战是在关卡中保持相同的风格。针对这个问题，我想出的最好的解决方案不是专门过度使用一个资产，而是将整个场景作为一件事来关注。从头开始创建完整的场景是压倒性的，重要的是不要迷失在每个微观细节中，而是专注于更大的画面。
在这个层面上，反馈起到了关键作用，它为我的作品提供了不同的观点。当我没有想法时，它帮助我保持在正轨上。
我对计划制作环境的艺术家的建议是，在开始任何项目之前，要保持一致并进行适当的规划。制定计划是最好的节省时间的策略。它还使工作看起来可能且更容易。
I am indebted to all my friends and seniors who helped me with this project. It could not have been possible without them. Special thanks to Netraraj Pun, Vivek Kumar Thakur, and Neel Parekh, who helped me with the technical and artistic difficulties and provided valuable feedback.
我非常感谢所有帮助我完成这个项目的朋友和老年人。没有他们，这是不可能的。特别感谢Netraraj Pun，Vivek Kumar Thakur和Neel Parekh，他们帮助我解决了技术和艺术困难，并提供了宝贵的反馈。
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