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Introduction
Hello everyone! I’m Chun Wei Ong from Singapore. I’m currently working as a Texture Artist in Ubisoft Singapore. Ever since young, I have always been the kid that loves video games, and always feels immersed in all these meticulously created worlds. Today, I’m happy to be making these worlds alongside many talented people to inspire more people like me.
介绍
大家好！我是来自新加坡的Chun Wei Ong。我目前在育碧新加坡担任纹理艺术家。从小，我就一直是一个热爱电子游戏的孩子，总是沉浸在所有这些精心创造的世界中。今天，我很高兴能与许多有才华的人一起创造这些世界，以激励更多像我这样的人。
Thanks to the good folks at Games Artist, here I am, to share some breakdowns and tips from my latest personal project, Closed Bicycle Rental.
感谢Games Artist的好人，我在这里，分享我最新的个人项目封闭式自行车租赁中的一些细分和技巧。
Inspiration & Goals
For my past few projects, I have been making environments that inspired me in other countries. But I have actually never made an environment from Singapore, where I am from.
We are a really young nation, with not as much history and heritage, so everyone that knows Singapore, only knows us as the modern metropolis. And then I came across this news of bicycle rental in Pulau Ubin that is going out of business. The photographs by Wan’s Ubin
灵感与目标
在过去的几个项目中，我一直在创造在其他国家激励我的环境。但实际上，我从来没有在新加坡创造过一个环境，而我来自新加坡。
我们是一个非常年轻的国家，没有那么多的历史和遗产，所以每个了解新加坡的人，只知道我们作为现代大都市。然后我偶然发现了乌敏岛自行车租赁的消息，该消息即将倒闭。万的乌敏的照片
Journal showed a derelict shophouse but it had a beauty to it. It had history and storytelling in its structure and materials so I decided to make it.
《日记》展示了一个废弃的店屋，但它有一个美丽。它的结构和材料都有历史和讲故事，所以我决定制作它。
Softwares
Modelling and UV: Maya and Marvelous Designer (for fabric)
Detailing: ZBrush
Texturing: Substance Designer and Painter
Rendering: Unreal Engine 5
软件
建模和UV：玛雅和奇妙设计师（用于织物）
细节：ZBrush
纹理：物质设计师和画家
渲染：虚幻引擎5
References
The main reference for me came from Wan’s Ubin Journal’s photographs of a closed bicycle rental shophouse. Because I couldn’t find the higher resolution version, I treated it like a concept art made from photo bashing and tried to figure out some of the details myself.
Gathering other references for me meant that I would be taking a lot of them from Google Maps as I was basing it on a real place. And then the rest of the reference gathering was for the materials, weathering, props and quality benchmark.
引用
我的主要参考资料来自万的《乌敏日报》上一张封闭的自行车租赁店的照片。因为我找不到更高分辨率的版本，所以我把它当作一个由照片抨击制作的概念艺术，并试图自己弄清楚一些细节。
为我收集其他参考资料意味着我将从谷歌地图中获取很多参考资料，因为我将其建立在真实的地方。然后，其余的参考收集是材料，风化，道具和质量基准。
下图来源：https://www.facebook.com/photo/?fbid=673268849892449&set=pcb.673268946559106
The quality benchmark references came from Metro Exodus Enhanced Edition. The game is just remarkably beautiful with and without raytracing. The lighting reference came from mid 2000s Japanese commercials where there is some usage of bloom and high exposure.
质量基准参考来自Metro Exodus Enhanced Edition。该游戏非常美丽，有射线跟踪和没有光线追踪。照明参考来自2000年代中期的日本商业广告，其中有一些绽放和高曝光的使用。
Blockout
To start off, I want to bring up a level of quality system that we use in production. Of course,this image is made after the production has been completed, but I just want to show some high-level expectations for each level of quality.
封锁
首先，我想提出一个我们在生产中使用的质量体系水平。当然，这个形象是在制作完成后制作的，但我只想对每个质量水平表现出一些高层次的期望。
Kicking off L0, I started off the block out in Maya, modelling the entire block out, not worrying anything about modules or anything technical, just focusing on shapes and composition.
从L0开始，我从Maya开始，对整个块进行建模，不担心模块或任何技术问题，只关注形状和构图。
Modelling
Following the blockout, I start to plan out some of the modules that I need and model the modules in a gray box quality akin to L1 quality, where there are some shapes and big details to the model but it is not polished.
造型
在封锁之后，我开始计划一些我需要的模块，并以类似于L1质量的灰色盒子质量对模块进行建模，其中模型有一些形状和大细节，但它没有被抛光。
Texture Planning
Planning out trim textures would be my next step. I usually write it down in PureRef since I have all of my references in it, and it’s also easier to start working and know what I am going to do for the day just by looking at my pure ref board.
纹理规划
计划修剪纹理将是我的下一步。我通常把它写在PureRef中，因为我有我所有的参考资料，而且通过查看我的纯参考板，开始工作并知道我当天要做什么也更容易。
But admittedly, planning a texture list just by looking at a reference requires some practice and experience.
I would recommend beginners and students to do this exercise below where you do a basic paintover to see what kind of textures you need.
This will also help even more advanced people to visualize and also if you take a break from the project, coming back to a nicely planned paintover would help a lot in getting back your momentum.
但不可否认，仅通过查看参考来规划纹理列表需要一些实践和经验。
我建议初学者和学生在下面做这个练习，你做一个基本的绘画，看看你需要什么样的纹理。
这也将帮助更高级的人可视化，而且如果你从项目中休息一下，回到一个精心策划的油漆将有很大帮助恢复你的动力。
Texturing
The majority of the textures are done in Substance Designer. Nothing too fancy if you are already familiar with the software. Here are some tips I can give to anyone trying to get their texture to look richer with details.
纹理
大多数纹理都是在 Substance Designer 中完成的。如果您已经熟悉该软件，则没什么大不了的。以下是我可以给任何试图让纹理看起来更丰富的细节的人的一些提示。
This is a trim sheet for the shutter doors of the shophouse that I made in Substance Designer.
Now let’s look at some tips and common mistakes.
这是我在Substance Designer制作的店屋卷帘门的装饰板。
现在让我们来看看一些提示和常见错误。
You can pack several of your props in one texture map by packing their UV shells together and exporting them together, as long as they are named properly in their _low and _high mesh groups (e.g. fan_low, fan_high).
This is extremely helpful in reducing draw calls and even optimizing the texture space. Only needing 1 texture set and 1 material, instead of 6 texture sets and 6 materials.
你可以将多个道具打包在一个纹理贴图中，方法是将它们的UV外壳打包在一起并导出，只要它们在_low中正确命名，并_high网格组（例如fan_low，fan_high）。
这对于减少绘制调用甚至优化纹理空间非常有帮助。只需要 1 个纹理集和 1 个材质，而不是 6 个纹理集和 6 个材质。
UVing
I just want to touch on some tricks to easily do UVs using trim textures. Mostly revolves around stacking the shells and using Randomise Shells to get fast results so you can focus on polishing.
Many of you might already be familiar with this workflow but I want to share it because I think the students and beginners would appreciate it.
电动
我只想谈谈一些技巧，以使用修剪纹理轻松制作UV。主要围绕堆叠贝壳和使用随机化贝壳来获得快速结果，以便您可以专注于抛光。
你们中的许多人可能已经熟悉这个工作流程，但我想分享它，因为我认为学生和初学者会喜欢它。
Here’s a GIF below to show this entire process on a very simple window model.
下面是一个GIF，用于在非常简单的窗口模型上显示整个过程。
Shaders
As for the shaders set up, one of the things I wanted to try and avoid on this project is to spam material blends on everything. Because full material blends are generally considered quite expensive by Technical Artists. So here is one of my master material setups that I use for the majority of the project.
着色
至于着色器设置，我想在这个项目上尝试避免的一件事就是在所有东西上发送垃圾材料混合。因为技术艺术家通常认为全材料混合物非常昂贵。这是我用于大部分项目的主材质设置之一。
What this setup does is allow you to have a singular solid color that you can paint on vertex channel R, to break up materials and create variation. Additionally, there is a switch to allow you to randomize how the mask will show up based on the object’s position in the world.
此设置的作用是允许您在顶点通道R上绘制单一的纯色，以分解材质并创建变化。此外，还有一个开关，允许您根据对象在世界中的位置随机化蒙版的显示方式。
And the technical wizards amongst you might have realised that I inverted the vertex paint before passing it through, this is because the default vertex colour on any mesh is white, and
I don’t want the full effect to show on every mesh by default so I simply inverted it. That means I have to hold down Shift while painting (because shift inverts the paint value), which is totally cool because that’s what we have in production and it prevents accidental painting.
你们中的技术向导可能已经意识到，我在通过顶点画之前将其反转，这是因为任何网格上的默认顶点颜色都是白色的，并且
默认情况下，我不希望完整的效果显示在每个网格上，所以我只是将其反转。这意味着我必须在绘画时按住Shift（因为Shift会反转油漆价值），这非常酷，因为这是我们在生产中所拥有的，它可以防止意外绘画。
Decals
I used Dbuffer mesh decals for my decals. In hindsight now, I probably should have built everything to work with Deferred Decals as they are much easier to work with.
One small tip for anyone who might be scratching their heads while working with decals/masked materials with Raytraced Ambient Occlusion turned on, you might need to activate this command line to get proper shadowing.
贴花
我使用Dbuffer网格贴花作为我的贴花。事后看来，我现在可能应该构建所有东西来使用延期贴花，因为它们更容易使用。
对于在打开光线追踪环境光遮蔽的情况下使用贴花/蒙版材质时可能挠头的任何人，您可能需要激活此命令行才能获得正确的阴影。
(r.RayTracing.AmbientOcclusion.EnableMaterials 1)
Lighting
On the technical side, I used Nvidia’s RTXGI plugin for my global illumination solution, mainly because Lumen still has some bugs and limitations to iron out. I still used lighting bake to get all the larger shadow casting to prevent major light leakage.
照明
在技术方面，我使用Nvidia的RTXGI插件作为我的全局照明解决方案，主要是因为Lumen仍然有一些错误和限制需要解决。我仍然使用光照烘烤来获得所有较大的阴影投射，以防止严重的漏光。
Even though I think RTAO is better than Lumen AO, and some bugs with Lumen not casting the right shadows on masked or SSS materials, I think it still comes down to what you prefer.
尽管我认为RTAO比Lumen AO更好，并且Lumen的一些错误没有在蒙版或SSS材料上投射正确的阴影，但我认为它仍然归结为您喜欢的内容。
As mentioned previously in the lighting reference, I wanted to create a feeling of nostalgia in the lighting through the usage of bloom and higher exposure. And one of the mistakes I made in the early part of the lighting process was using a light intensity value that was a bit too low. We have to remember that sunlight is the most powerful light source.
如前所述，在照明参考中，我想通过使用绽放和更高的曝光度来创造一种怀旧感。我在照明过程的早期所犯的一个错误是使用了一个有点太低的光强度值。我们必须记住，阳光是最强大的光源。
As you can see in the image above, it looks a little off as daylight is supposed to look very strong. So I worked on the post-processing, exposure, bloom, chromatic aberration etc. Most importantly raising both the intensity of the sunlight (default is 10 lumens, I used 6 lumens) and the exposure of the camera to fit into what is closer to real-life values.
正如您在上图中看到的，它看起来有点不对劲，因为日光应该看起来非常强烈。所以我做了后期处理，曝光，绽放，色差等。最重要的是提高阳光的强度（默认为10流明，我使用6流明）和相机的曝光度，以适应更接近现实生活中的值。
For anyone that is unfamiliar with post-processing or cameras in general, I highly brecommend William Faucher’s video. It’s a short 30 minutes video that goes in-depth into cameras and post-processing with fantastic examples.
对于任何不熟悉后期处理或相机的人来说，我强烈推荐William Faucher的视频。这是一个30分钟的短片，通过精彩的例子深入到相机和后期处理中。
For this colour grading, I used the offset to lift the values a little bit so that the shadows will nnever be pitched black in the darkest areas. As well as some tweaks to the gain and gamma to make the shadows feel a bit warmer.
对于此颜色分级，我使用偏移量稍微提升一下值，以便阴影在最暗的区域中始终呈黑色。以及对增益和伽玛的一些调整，使阴影感觉更温暖。
And using Lighting Scenarios in Unreal meant that I can create separate lighting in my level without having to duplicate everything as a separate level.
在虚幻中使用光照场景意味着我可以在关卡中创建单独的光照，而不必将所有内容复制为单独的关卡。
Conclusion
First off, thank you to the folks at GamesArtist, Alfred, Conor and Raphael for giving me this platform and opportunity to share my work! This is my first ever article so I’m incredibly excited to share it with everyone. Also shout out to my team in Ubisoft Singapore, Nathan and Russell!
结论
首先，感谢GamesArtist，Alfred，Conor和Raphael的人们为我提供了这个分享我的作品的平台和机会！这是我的第一篇文章，所以我很高兴能与大家分享。还要向我在育碧新加坡的团队呐喊，Nathan和Russell！
This entire project took about 5 months from mockup to “completion”. It was an on-off process definitely to keep myself from burning out, mainly because my full-time job is already making textures. It did help a lot that I played many games (especially Elden Ring) during these 5 months to feel inspired and want to work on my own things.
整个项目从模型到“完成”大约需要5个月的时间。这是一个断断续续的过程，绝对是为了防止自己筋疲力尽，主要是因为我的全职工作已经在制作纹理。在这5个月里，我玩了很多游戏（尤其是Elden Ring），这让我感到受到启发，并想自己做一些事情，这确实很有帮助。
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