INTRODUCTION
Hi, my name is Stuti Verma and I am a 3D artist from Gurgaon, India. I have recently finished my course in Game Asset Design from Frameboxx Institute Jaipur after completing my graduation in B.sc Animation and Multimedia.
介绍
大家好，我叫 Stuti Verma，是一名来自印度古尔冈的 3D 艺术家。在完成 B.sc 动画和多媒体专业毕业后，我最近完成了 Frameboxx Institute Jaipur 的游戏资产设计课程。
ABOUT THIS PROJECT
The main purpose of doing this asset was to practice different materials along with sculpting. So, my teacher assigned me this project and my next step was to collect references as many as I can for modelling as well as for texturing. I mainly use PureRef for collecting all the reference images.
关于这个项目
做这个项目的主要目的是在雕刻的同时练习不同的材料。所以，我的老师给我分配了这个项目，我的下一步是尽可能多地收集参考资料，用于建模和纹理制作。我主要使用 PureRef 来收集所有参考图像。
The steps I went through while working on this asset are Blockout, Sculpting, building the Low Poly, UV/Baking, Texturing and Rendering.
BLOCKOUT/MODELLING
Blockout is a important stage in the process as it ia mainly useful for proportions. I modelled blockout to get a rough estimate of its proportions in Maya.
Afer the blockout process in the same software, I made the final shapes of the asset keeping in mind the poly density.
定型/建模
定型 是过程中的一个重要阶段，因为它主要用于比例。我对阻塞进行了建模，以粗略估计它在 Maya 中的比例。
在同一个软件中的定型过程之后，我在记住多边形密度的情况下制作了资产的最终形状。
The next step after creating the mid poly is to move towards high poly and sculpting.
创建中多边形后的下一步是转向高多边形和雕刻。
SCULPTING
I mainly use Zbrush for sculpting assets. While doing Zbrush, I keep in mind the prop’s texture and surface. Having a well thought out plan for the sculpt as to what details are needed for sculpt helps one figure out what details you can add in at the texturing stage.
As per the project requirement, I prefer doing surface details in texture and rest details and damages in Zbrush sculpt. It automatically gives your asset an organic and more realistic feel!
In this project I decided to add damages and welding details of metal in sculpt.
My Final sculpt looked as the following image-
雕刻
我主要使用 Zbrush 来雕刻资产。在做 Zbrush 时，我会记住道具的纹理和表面。有一个经过深思熟虑的雕刻计划，知道雕刻需要哪些细节，这有助于确定在纹理阶段可以添加哪些细节。
根据项目要求，我更喜欢在纹理中处理表面细节，并在 Zbrush 雕刻中处理其余细节和损坏。它会自动为您的资产提供有机且更逼真的感觉！
在这个项目中，我决定在雕刻中添加金属的损坏和焊接细节。
我的最终造型如下图-
LOW POLY
Lowpoly is one the important part because this will be the mesh which will go in the engine. Silhouette is one of the most important parts of this.
Immediately, after the sculpting process, the next step is to create a low poly for the baking of the details. As this was my portfolio asset I did not have any tri count limit for this although I kept minimum tris as I could. And along with low poly I unwrapped it in 2k texture map size.
Try to merge different parts of low poly in a single mesh to get more high-quality pixel density.
UV- To create good UVs is very important as this part connects your low poly with the texture. Also, this part will decide the texture density or quality of the final texture.
低模
低模 是一个重要的部分，因为这将是将进入引擎的网格。剪影是其中最重要的部分之一。
立即，在雕刻过程之后，下一步是为细节的烘焙创建一个低多边形。由于这是我的投资组合资产，因此尽管我尽可能保持最低次数，但我对此没有任何次数限制。和低多边形一起，我将它展开为 2k 纹理贴图大小。
尝试在单个网格中合并低多边形的不同部分以获得更高质量的像素密度。
UV- 创建好的 UV 非常重要，因为这部分将低多边形与纹理连接起来。此外，这部分将决定最终纹理的纹理密度或质量。
Low_poly around 8k tris with UV layout
Knowing your final texture resolution and where you can save on texture space is important, but since this was a personal project it wasn’t such a huge consideration.
8k个三角面的低模和UV 摆放
了解您的最终纹理分辨率以及可以节省纹理空间的位置很重要，但由于这是一个个人项目，因此并不是一个重要的考虑因素。
BAKING
The next step is to bake the details. This is where the clean UV unwrap plays a vital role for crisp bake. The more clean the bake is, the more good texture quality is expected. I used xNormal for baking.
This is what the normal map and final baked blow torch looked like:
烘焙
下一步是烤的细节。这就是干净的紫外线展开对脆烤起着至关重要的作用。烘焙越干净，预期质地质量越好。我使用 xNormal 进行烘焙。
这是法线贴图和最终烘烤的喷灯的样子：
TEXTURING
Texturing is the part to which I wait for! As far as my learning, I think for becoming a good texture artist, one needs to be a good observant to objects and materials around you. This helps to create more realistic assets. For instance I divided my base materials of wood, brass, copper, and beated metal as making good base materials covers around 60% of the texture procedure. I generally approach texturing by building a material in layers, starting with base values.
I usually divide my texturing process in two parts first is to create materials and second, its treatments.
I used substance painter for texturing this asset along with Quixel Suite for creating masks.
It is good if In Marmoset, you can check your texture with the final output software with its default basic lighting setup if you have one. You need to do this process, double check your texture in Marmoset whenever you do any big changes in Painter with your texture.
纹理
纹理是我等待的部分！就我的学习而言，我认为要成为一名优秀的纹理艺术家，需要善于观察周围的物体和材料。这有助于创建更逼真的资产。例如，我将我的基材分为木材、黄铜、铜和敲打金属，因为制作良好的基材涵盖了大约 60% 的纹理过程。我通常通过分层构建材质来处理纹理，从基础值开始。
我通常将我的纹理过程分为两部分，首先是创建材料，其次是其处理。
我使用 Substance Paint 来为这个资产制作纹理，并使用 Quixel Suite 来创建蒙版。
如果在 Marmoset 中，您可以使用具有默认基本照明设置的最终输出软件检查您的纹理（如果您有的话）。您需要执行此过程，每当您在 Painter 中对纹理进行任何重大更改时，都要在 Marmoset 中仔细检查您的纹理。
RENDERING
The last and final step is the rendering process. It is the most important part as this step gives you the final outlook of the asset. I use Marmoset Toolbag for rendering. It’s light, intuitive and generates some great results without having to worry too much with settings and focus on lightings.
In this asset I used 4 point light-setup.
One needs to be very flexible with the lighting system to what suits your asset requirement. Accordingly you can apply key, fill and back lights.
The following images are the final renders and the final look of this blow torch.
渲染
最后一步也是最后一步是渲染过程。这是最重要的部分，因为这一步为您提供了资产的最终前景。我使用 Marmoset Toolbag 进行渲染。它轻便、直观并能产生一些很好的效果，而不必担心设置和灯光。
在这个资产中，我使用了 4 点灯光设置。
人们需要非常灵活地使用适合您资产要求的照明系统。因此，您可以应用主光、补光和背光。
以下图像是此喷灯的最终渲染和最终外观。
​Hopefully, I’ve managed to give a clear outline of my processes here and how I went about creating this asset. Thanks for reading my article and I hope this helps other people to make some cool stuff!
Special thanks to Games artist team for this amazing opportunity.
希望我能在这里清晰地概述我的流程以及我是如何创建这个资产的。感谢您阅读我的文章，我希望这能帮助其他人制作一些很酷的东西！
特别感谢 Games 美工团队提供这个难得的机会。
