打造布达佩斯大酒店风格的温泉浴场

Ana Marian Rivera Peñate，3D 环境艺术家

一位 3D 环境艺术家 Ana Marian Rivera 分享了温泉场景的广泛细分，彻底解释了纹理处理过程，并向我们展示了如何在虚幻引擎中组装场景。

Introduction

介绍

Hi everyone, my name is Ana Marian Rivera, I am 25 years old and I live in Spain. I am currently a Game Environment student taking the Advanced term at Think Tank Training Centre (Online). Prior to Think Tank, I got a degree in Audiovisual Communication back in 2018 at Universitat Pompeu Fabra (Barcelona), where I discovered 3D modeling for the first time. I then took a 2-year course at CEV (Barcelona) in 3D modeling and game development, which taught me the basics of it.

大家好，我叫安娜·玛丽安·里维拉，今年 25 岁，住在西班牙。我目前是一名在智囊团培训中心（在线）学习高级学期的游戏环境学生。在加入 Think Tank 之前，我于 2018 年在 Universitat Pompeu Fabra（巴塞罗那）获得了视听传播学位，在那里我第一次发现了 3D 建模。然后我在 CEV（巴塞罗那）学习了 2 年的 3D 建模和游戏开发课程，这教了我它的基础知识。

I knew I wanted to work in video games after playing The Last Of Us. I was fascinated by the details and how beautiful the environments were, so I decided I wanted to have a part in creating art and hopefully inspire others someday.

在玩了《最后生还者》之后，我知道我想从事电子游戏工作。我对细节和环境的美丽着迷，所以我决定要参与艺术创作，并希望有一天能激励他人。

The Thermal Baths Project

温泉浴项目

The Thermal Baths scene started as my final project for the Intermediate-Term at Think Tank Online. This assignment consisted of creating a small environment in Unreal Engine 4 during a period of 4-5 weeks. During the first 10 weeks of the term, we were introduced to modularity, creating tileable textures, setting up simple master materials, among other concepts. My goal for this project was to practice all these different techniques and learn more during the process.

温泉浴场是我在 Think Tank Online 的中期项目的最后一个项目。这项任务包括在 4-5 周内在虚幻引擎 4 中创建一个小环境。在学期的前 10 周，我们学习了模块化、创建平铺纹理、设置简单的主材料等概念。我对这个项目的目标是练习所有这些不同的技术并在这个过程中学到更多。

References

参考

The first step was, of course, finding the right concept and gathering all the references necessary to organize them in a job sheet.

当然，第一步是找到正确的概念并收集所有必要的参考资料，以便在工作表中组织它们。

I had recently re-watched The Grand Budapest Hotel (2014) by Wes Anderson and I thought it would be perfect for this project. Not only did it already have most of the storytelling components I needed to make the environment interesting, but it also had a pretty strong and unique cinematic mood, very characteristic of Anderson’s films.

我最近重看了韦斯·安德森的《布达佩斯大饭店》（2014 年），我认为它非常适合这个项目。它不仅已经具备了让环境变得有趣所需的大部分讲故事元素，而且还具有非常强烈和独特的电影氛围，这是安德森电影的特色。

I was also drawn to the idea that this scene was shot at the former bathing establishment of Freisebad in Görlitz, Germany. The building has been abandoned for a while and that shows even in the film, where you can clearly see the damaged plaster, the chipped wood paint, rusty metals, etc… There is something incredibly magical in this type of environment where the weathering and deterioration are present throughout the place and that is why I incorporated as much of it to my scene either with decals, vertex painting, or the textures themselves.

我也被这个场景所吸引，这个场景是在德国格尔利茨的前弗莱塞巴德浴场拍摄的。这座建筑已经废弃了一段时间，甚至在电影中也能看到，在那里你可以清楚地看到损坏的石膏、剥落的木头油漆、生锈的金属等……在这种风化和退化的环境中，有一种不可思议的神奇存在于整个地方，这就是为什么我将尽可能多的它与贴花、顶点绘画或纹理本身结合到我的场景中。

The references I gathered from the real-life location were essential to the making of this project for several reasons:

由于以下几个原因，我从现实生活中收集到的参考资料对制作这个项目至关重要：

• A better understanding of the real dimensions of the building.
• 更好地了解建筑物的真实尺寸。
  

• Visualizing additional details, otherwise hard to perceive in the film
• 可视化额外的细节，否则很难在电影中感知
  

• Appreciating the materials with more clarity
• 更清晰地欣赏材料
  

A good recommendation when it comes to real locations is to look for a 360o view so it is easier to visualize what you’re trying to recreate.

当涉及到真实位置时，一个很好的建议是寻找 360o 视图，以便更容易地可视化您要重新创建的内容。

Once I gathered all the initial references, I created a PureRef file to organize them into categories and define the list of props and modules I needed to create as well as establish the different materials and a general idea of how I would tackle them.

收集完所有初始参考资料后，我创建了一个 PureRef 文件，将它们分类并定义了我需要创建的道具和模块的列表，并建立了不同的材料以及我将如何处理它们的总体思路。

Modeling Workflow

建模工作流程

For this project, I used Maya as my modeling software. The first step I took was making sure my units were set up correctly in the Grid Options.

对于这个项目，我使用 Maya 作为我的建模软件。我采取的第一步是确保我的单位在网格选项中正确设置。

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Setting the grid lines every 100 units and the subdivisions to 1 will mean that every square is 100 cm = 1 meter. This made it easier to control the dimensions of every module of my scene and have a correct scale inside Unreal.

每 100 个单位设置网格线并将细分设置为 1 意味着每个正方形是 100 厘米 = 1 米。这使得控制场景中每个模块的尺寸变得更容易，并在 Unreal 中拥有正确的比例。

For further scale reference, I imported a 180 cm human model to my scene, which I highly recommend doing because it is so easy to make mistakes in scale and then things start to look off. Having that visual reference will definitely help. I also like to keep a measuring tape next to me when I’m starting a project, so I can compare what a meter looks like in real life, and, most of the time I find it extremely helpful when I can’t understand the dimensions of a certain place or object. And, of course, Google is always your best friend!

为了进一步参考比例，我将一个 180 厘米的人体模型导入到我的场景中，我强烈建议您这样做，因为在比例上很容易出错，然后事情开始变得不正常。拥有该视觉参考肯定会有所帮助。当我开始一个项目时，我也喜欢在我身边放一个卷尺，这样我就可以比较现实生活中的仪表，而且，大多数时候，当我无法理解时，我发现它非常有帮助某个地方或物体的尺寸。当然，Google 永远是您最好的朋友！

I started by blocking out the different modules in my scene, always keeping my references in my second screen where I had established the size of most modules: walls, columns, ceiling, and the rest of the pieces.

我首先在我的场景中屏蔽了不同的模块，始终将我的参考保留在我已经确定大多数模块大小的第二个屏幕中：墙壁、柱子、天花板和其余部分。

First modeling/blockout pass:

第一个建模/阻塞通道：

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After modeling the main modules and making sure they all snapped together seamlessly, I merged them and imported them into unreal to verify the dimensions were working in the engine as well. I realized my front walls were too wide in comparison to the reference and I was missing a module in between, so I made the necessary adjustments and continued on to blocking out the props and extra modular pieces for the backdrop.

在对主要模块进行建模并确保它们都无缝贴合在一起后，我将它们合并并将它们导入到虚幻中，以验证尺寸是否也在引擎中起作用。我意识到与参考相比，我的前墙太宽了，而且中间缺少一个模块，因此我进行了必要的调整，并继续为背景遮挡了道具和额外的模块部件。

Once the block out was finished, I polished my modules, added bevels where needed, and started modeling the props in my scene.

砌块完成后，我打磨了我的模块，在需要的地方添加了斜面，并开始为场景中的道具建模。

Modeling progress:

建模进展：

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Backdrop Modules:

背景模块：

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Assets

资产

My asset workflow for this project was fairly straightforward. I started blocking out the main shapes for my props and then created a mid poly adding the right amount of bevels. I had no organic shapes so I didn’t use ZBrush for this particular project, as I already knew my next project would be ZBrush heavy and I wanted to focus on simple hard-surface props and adding all the necessary details through textures.

我在这个项目中的资产工作流程相当简单。我开始为我的道具挡住主要形状，然后创建一个添加适量斜角的中间多边形。我没有有机形状，所以我没有在这个特定项目中使用 ZBrush，因为我已经知道我的下一个项目将是 ZBrush 重型，我想专注于简单的硬表面道具并通过纹理添加所有必要的细节。

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Modular kit and props result:

模块化套件和道具结果：

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Modeling the Curtains

窗帘造型

I used Marvelous Designer to create and simulate three different curtain sets as well as four different towels. The workflow was always the same:

我使用 Marvelous Designer 来创建和模拟三种不同的窗帘套装以及四种不同的毛巾。工作流程始终相同：

• Create the planes and stitch the corresponding parts together, then simulate.
• 创建平面并将相应的部分缝合在一起，然后进行模拟。
  

• Change the workspace from Simulator to UV editor and layout the UVs in the UDIMs.
• 将工作区从模拟器更改为 UV 编辑器并在 UDIM 中布局 UV。
  

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• Export the curtains as high poly .obj or .fbx
• 将窗帘导出为高多边形 .obj 或 .fbx
  

• Increase the particle distance in the cloth options (in case it was lowered to have more tessellation for the simulation and high poly version)
• 增加布料选项中的粒子距离（如果它被降低为模拟和高多边形版本有更多的细分）
  

• Flatten the cloth (Reset 2D arrangement option/button) to export as low poly .obj or .fbx (This will make it easier to retopologize later)
• 展平布料（重置 2D 排列选项/按钮）以导出为低多边形 .obj 或 .fbx（这将使以后更容易重新拓扑）
  

• Import the high poly and the flattened version. Retopologize the flattened version using the Quad Draw option in the Modeling Toolkit tab.
• 导入高多边形和扁平版本。使用 Modeling Toolkit 选项卡中的 Quad Draw 选项重新拓扑扁平版本。
  

• Once Retopology is done, transfer the UV attributes from the flattened version to the retopologized one. (This can be found in the Mesh menu -> Transfer attributes)
• 重新拓扑完成后，将 UV 属性从扁平版本转移到重新拓扑的版本。（这可以在 Mesh 菜单 -> Transfer attributes 中找到）
  

• Now that the retopologized one has UVs, transfer vertex position attributes so that the retopologized version moves to the high poly position and acquires the shape (You might need to add SubDivisions to get a good result)
• 既然retopologized 有UVs，转移顶点位置属性，retopologized 版本移动到high poly 位置并获得形状（您可能需要添加SubDivisions 以获得良好的结果）
  

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Texturing

纹理

One of the goals for this project was to have as few unique textures as possible, so most props in my scene use tileable textures with some sort of adjustment (tinting, decals, etc.) to break up the repetitiveness. However, I did establish from the beginning which props would be textured separately, taking into account their size and their importance in the scene.

这个项目的目标之一是尽可能少地使用独特的纹理，所以我场景中的大多数道具都使用可平铺的纹理和某种调整（着色、贴花等）来打破重复性。然而，我确实从一开始就确定了哪些道具将被单独纹理化，考虑到它们的大小和它们在场景中的重要性。

For example, I knew the bathtubs were my hero props so I textured 2 variations of them in Substance 3D Painter. For one of the variations, I created a mask (packed in the Alpha channel of my ROM+A Map (Roughness, Ambient Occlusion, Metallic + Alpha) to control vertex painting inside Unreal and be able to have a third version of a bathtub that matched my reference.

例如，我知道浴缸是我的英雄道具，所以我在 Substance 3D Painter 中对它们的 2 个变体进行了纹理处理。对于其中一个变体，我创建了一个蒙版（打包在我的 ROM+A 贴图（粗糙度、环境光遮蔽、金属 + Alpha）的 Alpha 通道中）来控制 Unreal 中的顶点绘制，并且能够拥有第三个版本的浴缸符合我的参考。

Bathtub with mask for vertex painting:

带顶点涂装面罩的浴缸：

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Mask (Alpha Channel):

蒙版（Alpha 通道）：

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For tinting and vertex color painting of the bathtub and other assets, I created a very simple Master Material:

对于浴缸和其他资产的着色和顶点颜色绘制，我创建了一个非常简单的主材质：

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Tileable Textures

图块纹理

Since this was my first time working with tileable textures and I have a special interest in material creation, I decided to focus on using Substance Designer as my primary texturing software. I created most of the tiling textures and decals in this software, with the exception of unique textures and some other tileables like brass and iron (for which I used Substance 3D Painter).

由于这是我第一次使用可平铺纹理并且我对材质创建特别感兴趣，因此我决定专注于使用 Substance Designer 作为我的主要纹理软件。我在这个软件中创建了大部分平铺纹理和贴花，除了独特的纹理和一些其他的平铺材料，如黄铜和铁（我使用了 Substance 3D Painter）。

Towel Material Example:

毛巾材质示例：

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I started by creating the cloth noise using the mesh 2 pattern, which I tiled using Safe Transform Grayscale. This was used as a background height in the Shape Splatter node. The two shapes below were my pattern 1 and pattern 2. The result of this node is the grayscale value seen in the image. After that, I created different patterns for the 3 variations of towels (in this case the squared one). Like all my other materials, I exported the base color, normal, and a packed map (Roughness, AO, Metallic, and an Alpha mask with the square pattern to tint its color in Unreal).

我首先使用网格 2 图案创建布料噪声，并使用安全变换灰度平铺。这在 Shape Splatter 节点中用作背景高度。下面的两个形状是我的图案 1 和图案 2。这个节点的结果是图像中看到的灰度值。之后，我为 3 种不同的毛巾（在本例中为方形）创建了不同的图案。像我的所有其他材质一样，我导出了基色、法线和打包贴图（粗糙度、AO、金属和带有方形图案的 Alpha 蒙版，以在 Unreal 中为其颜色着色）

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Floor Tiles Example:

地砖示例：

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First, I generated an octagon with the Polygon 1 tool, which I then transformed and beveled. I used the tile sampler for the original pattern and another one for an inverted version, which I blended together using an Add (linear dodge) to achieve the tile pattern. I warped and blended some grunges to create the floor stains and the small cracks.

首先，我使用 Polygon 1 工具生成了一个八边形，然后对其进行了变换和斜切。我将瓷砖采样器用于原始图案，另一个用于倒置版本，我使用添加（线性减淡）将它们混合在一起以实现瓷砖图案。我扭曲并混合了一些垃圾以创造地板污渍和小裂缝。

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For the base color, I used Flood Fill to have a bit of color variation in the tiles. By using the Flood Fill to Grayscale I could control where the variation was being applied and how much contrast I wanted. Then I blended the result with another Gradient Map which contained the rest of the color information.

对于基色，我使用 Flood Fill 使瓷砖有一些颜色变化。通过使用 Flood Fill to Grayscale，我可以控制应用变化的位置以及我想要的对比度。然后我将结果与另一个包含其余颜色信息的渐变映射混合。

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Materials created:

创建的材料：

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For my tileable modules, I used a 10.24 texel density and 2K texture. This is how I set up my UVs for different modules:

对于我的 tileable 模块，我使用了 10.24 texel 密度和 2K 纹理。这是我为不同模块设置 UV 的方式：

1.5 x 3-meter wall modules:

1.5 x 3 米壁挂模块：

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4 x 4-meter floor modules:

4 x 4 米地板模块：

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Arch set UVs (Ceiling 1.5 x 2 meters):

拱形设置 UV（天花板 1.5 x 2 米）：

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Assembling the Scene

组装场景

Before assembling my scene, I made sure to position the pivot in the right places and move each module/prop to the center of the grid before exporting. I also named them using the prefix SM_ (the module’s name)_1a, and imported them into their corresponding folders, in order to have an organized project.

在组装我的场景之前，我确保将枢轴定位在正确的位置并将每个模块/道具在导出之前移动到网格的中心。我还使用前缀 SM_（模块名称）_1a 命名它们，并将它们导入到相应的文件夹中，以便有一个有组织的项目。

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I first assembled the modular kits (walls, ceiling, arches, etc..) in a blueprint actor to have all the different modules ”merged” in the actual scene. With the modules assembled, I could then move on to placing the props and making changes as I progressed.

我首先在蓝图演员中组装模块化套件（墙壁、天花板、拱门等），以便在实际场景中“合并”所有不同的模块。随着模块的组装，我可以继续放置道具并随着我的进展进行更改。

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NB: Always apply the materials to the prefabs in the content folder so that they already have the textures before placing them in the scene.

注意：始终将材质应用于内容文件夹中的预制件，以便在将它们放入场景之前它们已经拥有纹理。

Storytelling

评书

The fact that my scene was based on a film, made it easier to have storytelling elements all over which I just recreated as much as possible to keep the identity of the scene. For example, the scene would not be the same without the black and white posters on the walls, so I did my best to include them and also add extra details on them.

事实上，我的场景是基于电影的，这使得我尽可能多地重新创建讲故事元素以保持场景的特性。例如，如果墙上没有黑白海报，场景将不一样，所以我尽力将它们包括在内，并在它们上面添加了额外的细节。

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Another way of adding more life to the scene was through decals and vertex painting. I wanted to achieve the old and deteriorated look appreciated in the film, so it was important to make sure the walls and props reflected that through the textures. Towards the final weeks, I focused on creating my own decals, such as rust, dirt, peeled plaster, and so on. I used Photoshop to design some decals (mainly texts for the posters) and Substance 3D Designer for more details and generating the final outputs.

另一种为场景增添更多活力的方法是通过贴花和顶点绘画。我想实现电影中欣赏的陈旧和恶化的外观，因此确保墙壁和道具通过纹理反映这一点很重要。在最后几周，我专注于创建自己的贴花，例如铁锈、污垢、剥落的石膏等。我使用 Photoshop 设计了一些贴花（主要是海报的文本）和 Substance 3D Designer 以获取更多细节并生成最终输出。

Example of a poster decal:

海报贴花示例：

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Dust Decal:

灰尘贴花：

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To blend different materials together using vertex painting, I created a master material that used the Height Lerp node with a height contrast set to 0.5:

为了使用顶点绘制将不同的材质混合在一起，我创建了一个主材质，该材质使用了高度对比度设置为 0.5 的 Height Lerp 节点：

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Material Instance for arch vertex painting example:

拱顶绘制示例的材质实例：

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Glass and Water Shaders

玻璃和水着色器

I created a very simple glass master material and then instanced it for different props in my scene. I used the following tutorial as a guide:

我创建了一个非常简单的玻璃主材质，然后在我的场景中为不同的道具实例化它。我使用以下教程作为指导：

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For the water in the bathtub, I downloaded the free Water Plane project in Epic Games Marketplace, which has some useful shaders and textures. I created some instances of the Lake shader and tweaked the parameters to achieve the look I wanted for each bathtub.

对于浴缸里的水，我在 Epic Games Marketplace 下载了免费的 Water Plane 项目，其中有一些有用的着色器和纹理。我创建了 Lake 着色器的一些实例并调整了参数以获得我想要的每个浴缸的外观。

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In order to get an accurate reflection, I enabled the Planar Reflection, which is turned off by default. You can find it inside the project settings by typing "planar" in the search box:

为了获得准确的反射，我启用了默认情况下关闭的平面反射。您可以通过在搜索框中键入“平面”在项目设置中找到它：

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Visual Effects

视觉效果

Lastly, I would like to mention that I created particles to give a more atmospheric feel to the scene. On one hand, I generated larger particles to simulate the steam that would emerge from hot water, and, on the other hand, I added some dust particles floating around. I created both using the particle system in Unreal.

最后，我想提一下，我创建了粒子来给场景带来更大气的感觉。一方面，我生成了更大的颗粒来模拟从热水中冒出的蒸汽，另一方面，我添加了一些漂浮的灰尘颗粒。我使用 Unreal 中的粒子系统创建了两者。

Lighting

灯光

Lighting was definitely the most challenging part of the whole project. My reference has both exterior light coming through the arches and interior lighting from the ceiling lamps.

照明绝对是整个项目中最具挑战性的部分。我的参考资料既有通过拱门的外部光线，也有来自天花板灯的内部照明。

Throughout the project, I worked with a basic lighting setup, which consisted of my Sky Light, Directional Light, some Dynamic Point Lights, and a post-process volume to control the exposure (min and max brightness set to 1) and the Ambient Occlusion (I used a 0,75 intensity for a radius of 100).

在整个项目中，我使用了一个基本的照明设置，其中包括我的天光、定向光、一些动态点光源和一个用于控制曝光的后期处理量（最小和最大亮度设置为 1）和环境光遮挡（我对半径 100 使用了 0.75 强度）。

When it came to the actual lighting in week 4-5, I added a lightmass importance volume to my scene and lightmass portals in the openings of every column arch. This should tell Unreal where the light rays should be prioritized and have more quality.

当谈到第 4-5 周的实际照明时，我在我的场景中添加了一个 Lightmass 重要体积，并在每个柱拱的开口处添加了 Lightmass 门户。这应该告诉 Unreal 应该优先考虑光线的位置并具有更高的质量。

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In order to achieve the appearance of my scene, I set my skylight intensity scale to 0,2 and gave the directional light intensity of 10 and a warmer color temperature of 4400. Here are some of the settings I changed:

为了实现我的场景的外观，我将天光强度比例设置为 0,2，并将定向光强度设置为 10，将暖色温设置为 4400。以下是我更改的一些设置：

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For my interior lightings, I used mostly Spotlights set to static for the main lights (ceiling lamps) and dynamic point lights for some ambient lighting where I saw fit.

对于我的室内照明，我主要使用设置为静态的聚光灯作为主灯（吸顶灯）和动态点光源用于我认为合适的一些环境照明。

It’s worth noting that inside World Settings, I decreased the static lighting level scale to 0.8, this increases the quality of the lighting but will also increase the build times, so use it carefully.

值得注意的是，在 World Settings 中，我将静态光照级别比例降低到 0.8，这会提高光照质量但也会增加构建时间，因此请谨慎使用。

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Some detail lighting shots:

一些细节照明拍摄：

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Post-Processing

后期处理

To finalize my scene, I added a bloom effect, some subtle lens flare, as well as a Vignette effect for the edges of the camera, and some grain jitter to imitate the noise seen in the scene from the movie. I also applied a dirt mask texture to add another level of detail with a smudge/dirty effect on the lens when the light hits the camera.

为了完成我的场景，我添加了绽放效果、一些微妙的镜头光晕以及相机边缘的晕影效果，以及一些颗粒抖动来模仿电影场景中的噪点。当光线照射到相机时，我还应用了一个污垢蒙版纹理来添加另一个细节层次，并在镜头上产生污迹/脏污效果。

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I was quite happy with the result I achieved with the lighting in the end, so for color grading, I only played with the gain in the shadows and mid-tones and added slope and toe for a more cinematic look:

我对最终通过照明获得的结果感到非常满意，因此对于颜色分级，我只使用阴影和中间色调的增益，并添加了斜率和脚趾以获得更电影化的外观：

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Rendering

渲染

I wanted to be as accurate as possible with my camera settings so I did a quick google search on the type of camera and lens used in the film and used that information to set most of my cameras to 35 mm VistaVision and universal zoom or custom lens settings depending on the shot. For my final renders, I set the screen percentage to 200% and took high-resolution screenshots with a screenshot size multiplier set to 3. You can do this in the viewport drop-down menu next to perspective.

我希望我的相机设置尽可能准确，所以我对电影中使用的相机和镜头类型进行了快速谷歌搜索，并使用该信息将我的大部分相机设置为 35 毫米 VistaVision 和通用变焦或自定义镜头设置取决于拍摄。对于我的最终渲染，我将屏幕百分比设置为 200%，并使用屏幕截图大小乘数设置为 3 的高分辨率屏幕截图。您可以在透视旁边的视口下拉菜单中执行此操作。

Finally, I created a Sequencer with 10 cameras to create 10 different shots for the cinematic. I exported it as a .avi, 60 FPS, and 1920x1080 resolution, which I then edited in Premiere Pro and added the soundtrack.

最后，我创建了一个带有 10 个摄像机的 Sequencer 来为电影创建 10 个不同的镜头。我将其导出为 .avi、60 FPS 和 1920x1080 分辨率，然后在 Premiere Pro 中进行编辑并添加配乐。

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Conclusion

结论

I finished this project in 5 weeks. The last week was all about adding more details and especially getting the lighting and mood right, which proved to be challenging. This was my first ever real-time environment in Unreal Engine and even though I am still learning, I’m quite happy with the result I achieved. It was definitely challenging to always keep 100% focused and some weeks were harder than others but I tried to push myself as much as I could. One particular aspect I struggled with was creating master materials and understanding texel density. Some concepts were completely new to me and this project was a good practice to get the basics of it, but I definitely would like to focus on achieving more complex results in my upcoming project. I would like to thank Think Tank and its community of awesome artists and people, as well as my supervisor, Sergei Panin.

我在 5 周内完成了这个项目。上周是关于添加更多细节，尤其是让灯光和气氛正确，这被证明是具有挑战性的。这是我在虚幻引擎中的第一个实时环境，尽管我仍在学习，但我对自己取得的结果感到非常满意。始终保持 100% 专注绝对是一项挑战，有些星期比其他星期更难，但我尽可能地推动自己。我挣扎的一个特殊方面是创建主材料和理解纹素密度。有些概念对我来说是全新的，这个项目是获得它的基础知识的一个很好的做法，但我绝对想专注于在我即将到来的项目中实现更复杂的结果。我要感谢 Think Tank 及其令人敬畏的艺术家和人们的社区，

One piece of advice I would like to give other artists and myself is to take breaks to avoid burnout and stretch out from time to time. Taking small breaks is also good to get back to work with more ideas and a clear mind. Another piece of advice I once heard: Frustration means you’re learning something new. Art takes time to master, so don’t compare yourself to more experienced artists and keep practicing!

我想给其他艺术家和我自己的一条建议是休息一下，以避免倦怠和不时伸展。稍事休息也有助于带着更多的想法和清晰的头脑重新开始工作。我曾经听到的另一条建议：挫折意味着你正在学习新东西。艺术需要时间来掌握，所以不要把自己和更有经验的艺术家比较，继续练习！

Huge thanks to 80 Level for taking an interest in my project and I hope this will be of interest to anyone who is reading.

非常感谢 80 Level 对我的项目感兴趣，我希望任何正在阅读的人都会对此感兴趣。非常感谢 80 Level 对我的项目感兴趣，我希望任何正在阅读的人都会对此感兴趣。

Ana Marian Rivera Peñate, 3D Environment Artist

Ana Marian Rivera Peñate，3D 环境艺术家

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