PS：中文源于机翻，已经尽量还原作者说的话。

Intro / Goals
介绍/目标

Hello! My name is Bryan Lozano and I am currently a freelance 3D artist.

你好！我叫 Bryan Lozano，目前是一名自由 3D 艺术家。

I graduated with a Bachelor of Animation and 3D, and I currently work in the video game industry, with a focus on characters and environments.

我毕业于动画和 3D 学士学位，目前在视频游戏行业工作，专注于角色和环境。

After playing Genshin Impact, I wanted to create an environmental project with this artistic direction. At the beginning, I wanted to create an environment for a personal game project. Then, I finally decided to create a specific stage and render it for my portfolio.

在玩了 Genshin Impact 之后，我想用这个艺术方向来创建一个环境项目。一开始，我想为个人游戏项目创建一个环境。然后，我最终决定创建一个特定的舞台并为我的作品集进行渲染。

The main objective of this project was to create an environment in Unreal, learn how to use blueprints, and include it in my portfolio.

这个项目的主要目标是在 Unreal 中创建一个环境，学习如何使用蓝图，并将其包含在我的作品集中。

Reference / Moodboard
参考资料/情绪板

As I said, I was inspired by Genshin Impact’s art style. I wanted to create a composition around 2 assets: A vending machine and a kiosk.

正如我所说，我的灵感来自于 Genshin Impact 的艺术风格。我想围绕 2 个资产创建一个组合：自动售货机和售货亭。

I collected pictures from a variety places : Pinterest, Artstation, in-game screenshots and photos in real life

我从各种地方收集了图片：Pinterest、Artstation、游戏内截图和现实生活中的照片

For the vending machine, I was inspired by one of Nathalia Tsy’s works. Seeing her vending machine gave me an idea, merge a vending machine and a Candy Up. I also added a poster with a cat on it (because it’s cute). I took the design of an internet meme. I also used a reference of a vending machine in the movie “Your name” for the colors and the logo on the side.

对于自动售货机，我的灵感来自Nathalia Tsy 的一件作品。看到她的自动售货机给了我一个想法，将自动售货机和 Candy Up 合并。我还添加了一张海报，上面有一只猫（因为它很可爱）。我设计了一个网络模因。我还参考了电影“你的名字”中自动售货机的颜色和侧面的标志。

For the kiosk, I took the design of a kiosk not far from my home, I found it nice. I reworked it a little bit and I added some foliage to make it better.

对于售货亭，我在离家不远的地方设计了一个售货亭，我觉得很好。我对它进行了一些修改，并添加了一些树叶以使其更好。

Blockout
阻挡

I started building my scene with an idea of the composition. I used the compositional rule of thirds to position my main assets. On one side, we have the vending machine in the foreground, on the other side, the kiosk in the background. I imagined a path from the vending machine to the kiosk tracing a diagonal from one bottom end of the picture.

我开始用构图的想法来构建我的场景。我使用三分法来定位我的主要资产。一方面，我们在前台有自动售货机，另一方面，在后台有售货亭。我想象了一条从自动售货机到售货亭的路径，从图片的一个底端沿着对角线绘制。

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This composition looked good to me and the feedback I got from it was pretty positive, so I kept this layout for the final composition.

这个构图对我来说看起来不错，我从中得到的反馈非常积极，所以我为最终构图保留了这个布局。

Modeling / Sculpting
建模/雕刻

During this project, my workflow looked like this : 3DSMax for the base modeling, Zbrush for the Sculpt / High poly, Substance Painter for textures, Photoshop for alpha creation, and Unreal for level assembly, material creation and VFX.

在这个项目中，我的工作流程是这样的：3DSMax 用于基础建模，Zbrush 用于雕刻/高多边形，Substance Painter 用于纹理，Photoshop 用于 alpha 创建，以及 Unreal 用于关卡组装、材质创建和 VFX。

In this project I didn’t sculpt many assets, including the rocks and woods. I prefer to use Zbrush for organic assets and 3DSMax for HardSurface assets.

在这个项目中，我没有雕刻很多资产，包括岩石和树林。我更喜欢对有机资产使用 Zbrush，对 HardSurface 资产使用 3DSMax。

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To do that, I created volumes with Move and Claybuildup, and sometimes the DamStandard to make hollows. Edge damage is made with hpolish or TrimDynamic, depending on the situation. For stone and wood elements, I use Orb_Cracks and Orb_Slash01 to add cracks and crevices. I also use other brushes, but these are the main brushes I use when producing an asset on Zbrush. With the artistic direction, I didn’t need to make very complex assets.

为此，我使用 Move 和 Claybuildup 创建了体积，有时还使用 DamStandard 创建了空洞。根据情况使用 hpolish 或 TrimDynamic 进行边缘损坏。对于石头和木头元素，我使用 Orb_Cracks 和 Orb_Slash01 添加裂缝和裂缝。我也使用其他画笔，但这些是我在 Zbrush 上制作资产时使用的主要画笔。有了艺术指导，我不需要制作非常复杂的资产。

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After that, I did manual retopo on the different organic assets made in Zbrush before sending them back to 3DSMax for UV.

之后，我对 Zbrush 中制作的不同有机资产进行了手动重新拓扑，然后将它们发送回 3DSMax 进行 UV。

Texturing / Foliage
纹理/叶子

I created my textures in Substance Painter. I created a SmartBaseMaterial which I reused on several objects. I used the 3Dex smart material available on his store and improved

我在 Substance Painter 中创建了我的纹理。我创建了一个 SmartBaseMaterial，我在几个对象上重用了它。我使用了他商店中提供的 3Dex 智能材料，并以我自己的方式对其进行了一些改进以获得我想要的外观。 it a bit in my own way to get the aspect I wanted.

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For the foliage, I created alphas and masks in Photoshop.

对于树叶，我在 Photoshop 中创建了 alpha 和蒙版。

I created masks on the flowers so that I can define the colors directly on UE4. This is much more convenient if you want to quickly change one of the colors.

我在花朵上创建了蒙版，以便我可以直接在 UE4 上定义颜色。如果您想快速更改其中一种颜色，这会方便得多。

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Material / Blueprint
材质/蓝图

I also created a floor texture in Substance Designer. I combined the normal map of the ground texture with the landscape material on the brown parts of the ground, which allows me to have a little more relief on the path from the distributor to the kiosk.

我还在 Substance Designer 中创建了地板纹理。我将地面纹理的法线贴图与地面棕色部分的景观材料相结合，这让我在从分配器到售货亭的路径上有更多的缓解。

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For the grass material, I researched how to correctly use “blueprints” in order to have a render that I wanted. I wanted to have a degrade on the grass, but also the grass should take the color of the landscape. Somes tutorials on the internet allowed me to build the material I wanted.

对于草材质，我研究了如何正确使用“蓝图”以获得我想要的渲染。我想在草地上进行降级，但草地也应该采用景观的颜色。互联网上的一些教程使我能够构建我想要的材料。

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For the rocks, I also wanted to have a degrade with the ground so that the rock is encrusted more naturally. I also use a “deter temporal aa ue4” node for blending rocks meshes with landscape.

对于岩石，我还想与地面进行降解，使岩石更自然地结壳。我还使用“阻止时间 aa ue4”节点将岩石网格与景观混合。

Lighting
灯光

The lighting of my scene is quite simple. It is composed of a SkyLight and 2 DirectionalLight. One of the DirectionalLights simulates sunlight. The others have a purple color and provide better shading. The second DirectionalLight has a much lower intensity than that which simulates sunlight and has an opposite direction to it to give a better color to the shading on the stage.

我的场景的照明非常简单。它由一个 SkyLight 和 2 个 DirectionalLight 组成。DirectionalLights 之一模拟阳光。其他颜色为紫色并提供更好的阴影。第二个 DirectionalLight 的强度比模拟阳光的强度低得多，并且方向相反，以便为舞台上的阴影提供更好的颜色。

I also added an Atmospheric Fog and an ExponentialHeightFog to have a better feeling of the atmospheric pressure.

我还添加了一个大气雾和一个 ExponentialHeightFog 以更好地感受大气压力。

Challenges and Solutions
挑战与解决方案


I had two main challenges with this work. The first challenge was blueprints. Since I had never really used blueprints on UE4, I had to learn how to use it for the environment (foliage, rocks and other …). The second challenge concerned the normals of my mesh, and particularly for trees. The normals weren’t oriented correctly, resulting in different shadow renders than I wanted. But, as with blueprints, a little bit of internet documentation and tutorials helped me achieve my goals.

我在这项工作中遇到了两个主要挑战。第一个挑战是蓝图。由于我从未真正在 UE4 上使用过蓝图，因此我必须学习如何将其用于环境（树叶、岩石等……）。第二个挑战涉及我的网格的法线，尤其是树木的法线。法线方向不正确，导致阴影渲染与我想要的不同。但是，与蓝图一样，一些互联网文档和教程帮助我实现了目标。

Feedback
回馈
During this project, I showed my WIP to friends who work in video games or through Discord channels like Stylized Station. I received feedback concerning the composition of the picture (adding assets like bushes in certain places or a panel in the background) or even adding material in post-processing to have a more sharpened render.

在这个项目中，我向从事电子游戏或通过 Discord 频道（如 Stylized Station）工作的朋友展示了我的 WIP。我收到了有关图片构图的反馈（在某些地方添加灌木丛等资产或在背景中添加面板），甚至在后期处理中添加材料以获得更清晰的渲染。

感谢分享

喜欢

千点万点，不如微元素指点。