Cyberpunk Alleyway – Environment Breakdown – Nixon Poon
赛博朋克小巷 – 环境崩溃 – 潘尼克松

Introduction
Hello, my name is Nixon Poon. I’m a 3D Environment/Technical artist who recently graduated from Gnomon School of
Visual Effects in California. I was raised in Hong Kong until I came to the United States to pursue college. Since
young, I play a lot of video games but the climate in Asia is very academic heavy. I did well academically, and
games are my pass time. I never thought I would become a 3D artist at the end. I found my passion for environments
and coding, but I found it hard for me to not be curious about everything. This is why I decided that I should be
heavily equipped with technical ability but as an artist specializes in Environment.
I love shooters and MMORPGs. I stare at trees while playing WoW and miss target playing COD, Destiny, Battlefield…
etc. It is a medium I fall in love with. It is in the back of my head that one day I shall help bringing those
vision alive.
介绍
你好，我叫潘尼克松。我是一名3D环境/技术艺术家，最近毕业于加利福尼亚州的Gnomon视觉效果学院。我在香港长大，直到我来到
美国上大学。从年轻时起，我就玩很多电子游戏，但亚洲的气候非常学术繁重。我在学业上做得很好，游戏是我的消磨时间。我从没
想过自己最终会成为一名3D艺术家。我找到了自己对环境和编码的热情，但我发现我很难不对一切感到好奇。这就是为什么我决定我
应该具备大量的技术能力，但作为一名艺术家，我专门研究环境。
我喜欢射击游戏和MMORPG。我在玩《魔兽世界》时盯着树，错过了玩COD，命运，战场的目标......等。这是我爱上的一种媒介。正
是在我的脑海里，有一天我将帮助实现这些愿景。

Importance of preparation and design visuals
准备和设计视觉效果的重要性

I did not design the scene; I saw this work, without questioning where it is, I went right into the action. I took
creative liberty mostly on the lighting. I have always loved the Cyberpunk theme environment and when Cyberpunk 2077
came out, despite the state of the game, it is undeniable that the Environment team has done a fantastic job
bringing the vision.
我没有设计场景;我看了这部作品，没有质疑它在哪里，我直接进入了行动。我主要在灯光上发挥了创造性的自由。我一直很喜欢《
赛博朋克》的主题环境，当《赛博朋克2077》问世时，尽管游戏的状态如何，但不可否认的是，环境团队在带来愿景方面做得非常出
色。
My former teacher Bobby Rice showed me an environment and fell in love with it by Stanislav Verbitsky (). I was
surprised to find that it is a 3D scene, but I already started and therefore decided to challenge myself to improve
upon his amazing design and vision.
我以前的老师鲍比·赖斯（Bobby Rice）向我展示了一个环境，并爱上了斯坦尼斯拉夫·韦尔比茨基（ Verbitsky）
（https://www.artstation.com/artwork/e01D5D）。我很驚訝地發現這是一個3D場景，但我已經開始了，因此決定挑戰自己，以改
善他驚人的設計和願景。
Cyberpunk gives a dystopian feeling because it creates a juxtaposition between advanced to primitive. This effect
looms over the unexpected audience through their beauty. Everything is a comparison, from bright saturated color to
contrasting light and shadow, cybernetic technology over a simple bike, or architecture versus a place full of
trash.
赛博朋克给人一种反乌托邦的感觉，因为它创造了高级和原始之间的并置。这种效果通过他们的美丽笼罩着意想不到的观众。一切都
是比较，从明亮的饱和色彩到对比鲜明的光影，简单的自行车上的控制论技术，或者建筑与充满垃圾的地方。

Thinking of a Design element
考虑设计元素
Since Cyberpunk theme gives a feeling that you are being watched in the environment. I wanted to make sure I
emphasize this feeling in my work. Originally, I have no idea what I could do, but I remember a lecture about EYES
once and it talks about our natural perception towards this subject matter. In fact, I took it literally and add
EYES into the environment to give this uneasy feeling. I added Graffiti on the wall, notice that they are human-
looking directly at you. It really helps to enhance this feeling.
由于赛博朋克主题给人一种在环境中被监视的感觉。我想确保我在工作中强调这种感觉。最初，我不知道我能做些什么，但我记得有
一次关于眼睛的讲座，它谈到了我们对这个主题的自然感知。事实上，我从字面上理解它，并将EYES添加到环境中，以给人这种不安
的感觉。我在墙上添加了涂鸦，请注意它们是直接看着你的人。它确实有助于增强这种感觉。
Design element comes from everywhere, think about their significance and make a motif out of it. These motifs drive
the mood of an environment. It gives a subconscious feeling and is effective. I encourage everyone when thinking
about design, think about their symbolism and meaning, there is always a way to sneak in these aspects.
设计元素无处不在，思考其意义，并以此为主题。这些图案驱动着环境的情绪。它给人一种潜意识的感觉，是有效的。我鼓励每个人
在思考设计时，想想它们的象征意义和意义，总有办法潜入这些方面。

Lighting Blockout
照明遮光

Description: The first stage of Block out is simple geometry, and drop a light in there, it clearly identify
important parts of the scene. I made my material in substance designer and test out their reflectivity. a basic
Roughness pass is also a good idea to test how lights are interacting.
描述： Block out的第一阶段是简单的几何图形，并在那里放置一盏灯，它清楚地识别场景的重要部分。我把我的材料做成物质设计
师，并测试它们的反射率。基本的粗糙度通关也是测试灯光如何相互作用的好主意。

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Blockout is where I spend a lot of time. It is because this stage is not just about having the basic idea but
exposing more depth to the environment. I think that we should take this stage seriously as it allows us to see
designs and upcoming problems. There isn’t much that I can say about blocking out other than making it simple and
fast. It is in my opinion that block out can change and are only with basic shapes.
Blockout是我花很多时间的地方。这是因为这个阶段不仅仅是要有基本的想法，而是要向环境展示更多的深度。我认为我们应该认真
对待这个阶段，因为它使我们能够看到设计和即将出现的问题。关于屏蔽，我能说的不多，除了让它变得简单和快速。在我看来，块
可以改变，只有基本的形状。
I highly suggest starting lighting the scene immediately. Drop a directional light in it and watch closely on the
shadow the scene has created and find the spot your eyes immediately draw into. Base on my observation with both
works I put out, I realize my eyes draw directly into the mid-tone area between the highlight and Shadow core. This
is to give you an idea of where objects need to be prioritized as you should create more interest in this area. The
lighting changes a lot of quality. Put a light there and observe what matters and focus on those first.
我强烈建议立即开始为场景点亮。在其中放置一个定向光，仔细观察场景产生的阴影，并找到你的眼睛立即吸引到的地方。根据我对
我推出的两件作品的观察，我意识到我的眼睛直接进入了高光和阴影核心之间的中间色调区域。这是为了让您了解对象需要优先处理
的位置，因为您应该对此领域产生更多兴趣。照明质量变化很大。在那里放一盏灯，观察什么是重要的，并首先关注那些。
Let me share a secret, there are a lot of props on the screen that is a texture overlay on top, and they have 0
quality to them. We should seek to make everything beautiful, but prioritizing those important areas is more
efficient. I not only make you a better artist but a better designer.
让我分享一个秘密，屏幕上有很多道具，上面是纹理覆盖，它们的质量为0。我们应该努力使一切都变得美丽，但优先考虑这些重要
领域更有效率。我不仅让你成为一个更好的艺术家，而且是一个更好的设计师。

Technical/Shader techniques
技术/着色器技术
I want to focus this article on shaders and lighting. It is because there isn’t anything unique about modeling and
UV, in this situation, they are extremely basic. Obviously, it is encouraged that we have amazing UV and models. It
is once again lighting will change everything, as it will cover up a ton of work you may be doing. It is smarter to
put it in amazing lighting, spot those weird models that don’t look right, and then go back to change them
accordingly. This not only helps the artist to focus on their task, but it also cut time by so much.
As you don’t want to lose that fire from the concept, dragging a project too long has been a major killer for great
potential environments.
我想将本文的重点放在着色器和光照上。这是因为建模和UV没有任何独特之处，在这种情况下，它们非常基本。显然，我们鼓励我们
拥有惊人的紫外线和模型。照明将再次改变一切，因为它将掩盖您可能正在做的大量工作。更聪明的做法是把它放在惊人的灯光下，
发现那些看起来不对劲的奇怪模型，然后回去相应地改变它们。这不仅有助于艺术家专注于他们的任务，而且还减少了大量时间。
由于您不想从概念中失去这种激情，因此将项目拖得太久一直是巨大潜在环境的主要杀手。
Anyway, Unreal Engine has an extremely easy-to-learn shader system. For an artist, we should take full advantage of
it and have them work for us. At Gnomon we have a few classes that learn shader and Forrest Stephan taught me how to
make good use of our node graph. I would like to show you how to take advantage of Material Functions.
无论如何，虚幻引擎有一个非常容易学习的着色器系统。对于艺术家来说，我们应该充分利用它，让他们为我们工作。在 Gnomon，
我们有几个学习着色器的课程，Forrest Stephan 教我如何充分利用我们的节点图。我想向您展示如何利用材质函数。
Description: Here you see, all the blue nodes are material functions. This is a simple example of a material
Function that consists of texture maps inside, I get the Attribute out and blend it using Vertex paint.
描述： 在这里，你看到，所有的蓝色节点都是材质函数。这是一个由内部纹理贴图组成的材质函数的简单示例，我获取属性并使用
顶点绘画进行混合。

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They are a group of nodes that does things. I take advantage of this to make a clean graph. For my scene, I know
that there is a RainFX that is an overlay effect. I suggest following this tutorial on youtube for the rain shader .
I use Break Material Attribute to do the minor adjustment and then recombine them. This is easy to read and
efficient by utilizing Material Attribute for all blending simply because it replaces many parameters into one.
它们是一组执行操作的节点。我利用这一点来制作一个干净的图表。对于我的场景，我知道有一个RainFX是一种叠加效果。我建议在
youtube上遵循本教程，了解雨着色器https://www.youtube.com/watch?v=tUemJLSaFxw 。我使用"中断材质属性"进行微小的调整，
然后重新组合它们。通过对所有混合使用材质属性，这易于阅读且高效，因为它将许多参数替换为一个参数。

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Description: Here is how I connect my material. Instead of connecting it to a material that can only work once. I
put it in a function so I can put different input in them to change their properties.
描述： 以下是我连接材料的方式。而不是将其连接到只能工作一次的材料。我把它放在一个函数中，这样我就可以在它们中放入不
同的输入来改变它们的属性。
The greatest advantage of this organization is that I can expose whatever I want. I can flatten my normal, increase
displacement, increase contrast for Roughness, and adjust UVSize, and all is driven inside the node. It keeps
everything small.
这个组织的最大优势是我可以暴露任何我想要的东西。我可以平展我的法线，增加位移，增加粗糙度的对比度，并调整UVSize，所有
这些都在节点内驱动。它使一切都保持小。

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Description: Outside of the seemingly complex node, it was displayed like this. I can put whatever I need to adjust
the texture. And everything is done inside of the function. All I need to do is make a parameter so I can adjust it
as an instance. This is simply a clean way to organize your Texture Maps, however, I have no idea how to reorganize
the order of the input or output.
描述：在看似复杂的节点之外，它像这样显示。我可以把任何我需要的东西来调整纹理。一切都在函数内部完成。我需要做的就是创
建一个参数，以便我可以将其调整为实例。这只是组织纹理贴图的干净方法，但是，我不知道如何重新组织输入或输出的顺序。

Shader blending is a simple and powerful thing Unreal 4 made it very easy to do, the height lerp for example. They
function like Substance Designer and can calculate the Max value between 2 height maps. When you think about the
shader, it takes every pixel on the texture map, compares and returns the one with a more intense value. Max
function is the most important mathematical function for designers as it allows the combination between 2 textures
maps without the actual blending.
着色器混合是虚幻4让它变得非常简单而强大的一件事情，例如高度lerp。它们的功能类似于物质设计器，可以计算2个高度贴图之间
的最大值。当您考虑着色器时，它会获取纹理贴图上的每个像素，进行比较并返回具有更强烈值的像素。对于设计人员来说，最大函
数是最重要的数学函数，因为它允许在2个纹理贴图之间组合，而无需实际混合。
However, the Heigh Lerp node only accepts one texture map for blending. It is all it needs because it is supposed to
return a mask for you to blend with. However, I think it is easier to just modify the function itself. Since
Heightlerp is only a type of texture to blend with, we can change those inputs to a material attribute instead.
但是，Heigh Lerp 节点只接受一个纹理贴图进行混合。这就是它所需要的一切，因为它应该返回一个面具供您混合。但是，我认为
修改函数本身更容易。由于 Heightlerp 只是一种要混合的纹理类型，因此我们可以将这些输入更改为材质属性。
I went into the Function and modified it to take in a material Attribute, instead of a Vector 3.
我进入了函数并对其进行了修改，以采用材质属性，而不是矢量3。

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Description: these nodes here, change them to material Attribute
描述：此处为这些节点，将其更改为材质属性
From that on, you can do lerping by simply layer then on top of each other. Think steps, what comes next and what
can be the last. For mine, I have the materials, and then I have a layer of water, and then water droplets. You can
see from the diagram below of my graph.
从那时起，你可以通过简单地分层然后彼此叠加来做lerping。想想步骤，接下来会发生什么，最后一步可能是什么。对于我来说，
我有材料，然后我有一层水，然后是水滴。你可以从我的图表下面的图表中看到。

Here is my material setup.
Using instance value to control the material function. Makes value easily adjustable, and also makes function short
and easily readable.
这是我的材料设置。
使用实例值控制材质函数。使值易于调整，并且还使功能简短且易于读取。

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Lighting
照明
There are 3 things that I will always do as soon as I want to light:
1. Put Exponential Fog in the scene, turn on Volumetric to make basic depth.
2. Cast a Directional light, set it Stationary and play with volumetric Scattering value.
3. Make a post Processing, set unbound extend true, and Exposure > Min/Max Brightness to 1.
有3件事，只要我有想法，我就会一直做：
1.将指数雾放入场景中，打开体积以制作基本深度。
2.投射定向光，将其设置为静止并播放体积散射值。
3. 进行后期处理，将未绑定的扩展设置为 true，并将"曝光">最小/最大亮度设置为 1。
Description: Lighting aspect, how I build an artifical scene.
描述： 照明方面，我如何构建人造场景。

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Description: The purple/pink color flood the front, the concept uses analog color for the light. I use those colors
as rim lights and sidelight. The building on the back is a big example. Using different colors to convey shape and
add variation. 2nd photo is the actual color of the object. They change based on light very heavily.
描述： 紫色/粉红色充斥着前部，概念使用模拟颜色作为光。我使用这些颜色作为边缘灯和侧光。后面的建筑就是一个很好的例子。
使用不同的颜色来传达形状并添加变化。第二张照片是物体的实际颜色。它们根据光的变化非常大。
Lighting is very creative and we should think color by means of artificially placing them. It is not real, but if a
point light can light up an area that is too dark, it is a fast way to adjust it to the maximum quality. Static
lights can cast light that is invisible to volumetric fog, while Stationary light gives more depth having control on
Volumetric scattering.
Pay good attention to any rim light effects, these effects, volumetric or not, add depth and dimension to your
piece. Rim Light highlights a silhouette and sometimes it makes sense, it sometimes helps with the visual.
照明非常有创意，我们应该通过人为地放置它们来思考颜色。它不是真实的，但是如果点光灯可以照亮太暗的区域，则可以将其调整
为最大质量的快速方法。静态光可以投射出体积雾不可见的光，而静止光可以控制体积散射，从而提供更多深度。
注意任何边缘光线效果，这些效果，无论是否体积，都会为您的作品增加深度和尺寸。边缘光照亮了一个轮廓，有时它有意义，有时
它有助于视觉效果。
Once you bake and find it very dark, it is not the end of the world. Remember you can adjust INDIRECT LIGHT
INTENSITY in post-processing. You can also add in Ambient occlusion/another layer of reflection capture, etc.
一旦你烘烤并发现它非常黑暗，它就不是世界末日。请记住，您可以在后期处理中调整间接光强度。您还可以添加环境光遮蔽/另一
层反射捕获等。

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Description: Here are the most important thing to adjust in a post processing.
描述： 这是在后期处理中要调整的最重要的事情。
Make your work stands out, is unique and alive.
让你的作品脱颖而出，独一无二，充满活力
When a recruiter looks at a portfolio, although they have different specifications, your environment can distinguish
itself from others by making one thing look amazing: life. Consider adding something that moves, simple animation
that cast moving shadows or some sort of hidden easter eggs. It sounds like a waste of time but it is a good
conversation starter. I believe this is what makes art fun. Add your own personality and randomness and show that to
the audience.
当招聘人员查看投资组合时，尽管它们具有不同的规格，但您的环境可以通过使一件事看起来很棒来将自己与其他环境区分开来：生
活。考虑添加一些移动的东西，投射移动阴影的简单动画或某种隐藏的复活节彩蛋。这听起来像是在浪费时间，但它是一个很好的对
话开始者。我相信这就是让艺术变得有趣的原因。添加你自己的个性和随机性，并向观众展示出来。
I will never forget that from our game lead Anton Napierala. “If there is a story, we see less of the mistakes, but
when there isn’t, the only thing we see is rough-edges.”
我永远不会忘记我们比赛的领头羊安东·纳皮耶拉拉。"如果有故事，我们看到的错误就会少一些，但当没有错误时，我们唯一看到
的就是粗糙的边缘。

Final Thoughts
最后的思考
For people who haven’t found success in the industry, think about why. I think there is an aspect of luck, however,
you can increase your chance by doing something as simple as making your artwork thumbnail looks amazing.
On the otherhand, the best quality is to not give up. I came out rough as well. It is how you finish those matters,
how you start, or the mistake you made along the way is expected. Please take me as an example, as I am exactly that
person.
I want to give a special shout-out to my mentors that help me on my journey into the game industry, Anton Napierala,
Bobby Rice, Jean Khalife, Max Dayan, Beau Janzen, and especially Parrish Baker from SCAD for never giving up on me.
对于那些在这个行业没有取得成功的人来说，想想为什么。我认为运气有一个方面，但是，您可以通过做一些简单的事情来增加机会
，例如使您的艺术品缩略图看起来很棒。
另一方面，最好的品质就是不放弃。我也粗暴地出来了。这是你如何完成这些事情，你如何开始，或者你一路上犯的错误是意料之中
的。请以我为例，因为我正是那个人。
我想特别感谢那些帮助我进入游戏行业的导师，他们帮助我进入游戏行业，Anton Napierala，Bobby Rice，Jean Khalife，Max
Dayan，Beau Janzen，特别是来自SCAD的Parrish Baker，他们从未放弃过我。

Cyberpunk Alleyway – Environment Breakdown – Nixon Poon
赛博朋克小巷 – 环境崩溃 – 潘尼克松

Introduction
Hello, my name is Nixon Poon. I’m a 3D Environment/Technical artist who recently graduated from Gnomon School of
Visual Effects in California. I was raised in Hong Kong until I came to the United States to pursue college. Since
young, I play a lot of video games but the climate in Asia is very academic heavy. I did well academically, and
games are my pass time. I never thought I would become a 3D artist at the end. I found my passion for environments
and coding, but I found it hard for me to not be curious about everything. This is why I decided that I should be
heavily equipped with technical ability but as an artist specializes in Environment.
I love shooters and MMORPGs. I stare at trees while playing WoW and miss target playing COD, Destiny, Battlefield…
etc. It is a medium I fall in love with. It is in the back of my head that one day I shall help bringing those
vision alive.
介绍
你好，我叫潘尼克松。我是一名3D环境/技术艺术家，最近毕业于加利福尼亚州的Gnomon视觉效果学院。我在香港长大，直到我来到
美国上大学。从年轻时起，我就玩很多电子游戏，但亚洲的气候非常学术繁重。我在学业上做得很好，游戏是我的消磨时间。我从没
想过自己最终会成为一名3D艺术家。我找到了自己对环境和编码的热情，但我发现我很难不对一切感到好奇。这就是为什么我决定我
应该具备大量的技术能力，但作为一名艺术家，我专门研究环境。
我喜欢射击游戏和MMORPG。我在玩《魔兽世界》时盯着树，错过了玩COD，命运，战场的目标......等。这是我爱上的一种媒介。正
是在我的脑海里，有一天我将帮助实现这些愿景。

Importance of preparation and design visuals
准备和设计视觉效果的重要性

I did not design the scene; I saw this work, without questioning where it is, I went right into the action. I took
creative liberty mostly on the lighting. I have always loved the Cyberpunk theme environment and when Cyberpunk 2077
came out, despite the state of the game, it is undeniable that the Environment team has done a fantastic job
bringing the vision.
我没有设计场景;我看了这部作品，没有质疑它在哪里，我直接进入了行动。我主要在灯光上发挥了创造性的自由。我一直很喜欢《
赛博朋克》的主题环境，当《赛博朋克2077》问世时，尽管游戏的状态如何，但不可否认的是，环境团队在带来愿景方面做得非常出
色。
My former teacher Bobby Rice showed me an environment and fell in love with it by Stanislav Verbitsky (). I was
surprised to find that it is a 3D scene, but I already started and therefore decided to challenge myself to improve
upon his amazing design and vision.
我以前的老师鲍比·赖斯（Bobby Rice）向我展示了一个环境，并爱上了斯坦尼斯拉夫·韦尔比茨基（ Verbitsky）
（https://www.artstation.com/artwork/e01D5D）。我很驚訝地發現這是一個3D場景，但我已經開始了，因此決定挑戰自己，以改
善他驚人的設計和願景。
Cyberpunk gives a dystopian feeling because it creates a juxtaposition between advanced to primitive. This effect
looms over the unexpected audience through their beauty. Everything is a comparison, from bright saturated color to
contrasting light and shadow, cybernetic technology over a simple bike, or architecture versus a place full of
trash.
赛博朋克给人一种反乌托邦的感觉，因为它创造了高级和原始之间的并置。这种效果通过他们的美丽笼罩着意想不到的观众。一切都
是比较，从明亮的饱和色彩到对比鲜明的光影，简单的自行车上的控制论技术，或者建筑与充满垃圾的地方。

Thinking of a Design element
考虑设计元素
Since Cyberpunk theme gives a feeling that you are being watched in the environment. I wanted to make sure I
emphasize this feeling in my work. Originally, I have no idea what I could do, but I remember a lecture about EYES
once and it talks about our natural perception towards this subject matter. In fact, I took it literally and add
EYES into the environment to give this uneasy feeling. I added Graffiti on the wall, notice that they are human-
looking directly at you. It really helps to enhance this feeling.
由于赛博朋克主题给人一种在环境中被监视的感觉。我想确保我在工作中强调这种感觉。最初，我不知道我能做些什么，但我记得有
一次关于眼睛的讲座，它谈到了我们对这个主题的自然感知。事实上，我从字面上理解它，并将EYES添加到环境中，以给人这种不安
的感觉。我在墙上添加了涂鸦，请注意它们是直接看着你的人。它确实有助于增强这种感觉。
Design element comes from everywhere, think about their significance and make a motif out of it. These motifs drive
the mood of an environment. It gives a subconscious feeling and is effective. I encourage everyone when thinking
about design, think about their symbolism and meaning, there is always a way to sneak in these aspects.
设计元素无处不在，思考其意义，并以此为主题。这些图案驱动着环境的情绪。它给人一种潜意识的感觉，是有效的。我鼓励每个人
在思考设计时，想想它们的象征意义和意义，总有办法潜入这些方面。

Lighting Blockout
照明遮光

Description: The first stage of Block out is simple geometry, and drop a light in there, it clearly identify
important parts of the scene. I made my material in substance designer and test out their reflectivity. a basic
Roughness pass is also a good idea to test how lights are interacting.
描述： Block out的第一阶段是简单的几何图形，并在那里放置一盏灯，它清楚地识别场景的重要部分。我把我的材料做成物质设计
师，并测试它们的反射率。基本的粗糙度通关也是测试灯光如何相互作用的好主意。

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Blockout is where I spend a lot of time. It is because this stage is not just about having the basic idea but
exposing more depth to the environment. I think that we should take this stage seriously as it allows us to see
designs and upcoming problems. There isn’t much that I can say about blocking out other than making it simple and
fast. It is in my opinion that block out can change and are only with basic shapes.
Blockout是我花很多时间的地方。这是因为这个阶段不仅仅是要有基本的想法，而是要向环境展示更多的深度。我认为我们应该认真
对待这个阶段，因为它使我们能够看到设计和即将出现的问题。关于屏蔽，我能说的不多，除了让它变得简单和快速。在我看来，块
可以改变，只有基本的形状。
I highly suggest starting lighting the scene immediately. Drop a directional light in it and watch closely on the
shadow the scene has created and find the spot your eyes immediately draw into. Base on my observation with both
works I put out, I realize my eyes draw directly into the mid-tone area between the highlight and Shadow core. This
is to give you an idea of where objects need to be prioritized as you should create more interest in this area. The
lighting changes a lot of quality. Put a light there and observe what matters and focus on those first.
我强烈建议立即开始为场景点亮。在其中放置一个定向光，仔细观察场景产生的阴影，并找到你的眼睛立即吸引到的地方。根据我对
我推出的两件作品的观察，我意识到我的眼睛直接进入了高光和阴影核心之间的中间色调区域。这是为了让您了解对象需要优先处理
的位置，因为您应该对此领域产生更多兴趣。照明质量变化很大。在那里放一盏灯，观察什么是重要的，并首先关注那些。
Let me share a secret, there are a lot of props on the screen that is a texture overlay on top, and they have 0
quality to them. We should seek to make everything beautiful, but prioritizing those important areas is more
efficient. I not only make you a better artist but a better designer.
让我分享一个秘密，屏幕上有很多道具，上面是纹理覆盖，它们的质量为0。我们应该努力使一切都变得美丽，但优先考虑这些重要
领域更有效率。我不仅让你成为一个更好的艺术家，而且是一个更好的设计师。

Technical/Shader techniques
技术/着色器技术
I want to focus this article on shaders and lighting. It is because there isn’t anything unique about modeling and
UV, in this situation, they are extremely basic. Obviously, it is encouraged that we have amazing UV and models. It
is once again lighting will change everything, as it will cover up a ton of work you may be doing. It is smarter to
put it in amazing lighting, spot those weird models that don’t look right, and then go back to change them
accordingly. This not only helps the artist to focus on their task, but it also cut time by so much.
As you don’t want to lose that fire from the concept, dragging a project too long has been a major killer for great
potential environments.
我想将本文的重点放在着色器和光照上。这是因为建模和UV没有任何独特之处，在这种情况下，它们非常基本。显然，我们鼓励我们
拥有惊人的紫外线和模型。照明将再次改变一切，因为它将掩盖您可能正在做的大量工作。更聪明的做法是把它放在惊人的灯光下，
发现那些看起来不对劲的奇怪模型，然后回去相应地改变它们。这不仅有助于艺术家专注于他们的任务，而且还减少了大量时间。
由于您不想从概念中失去这种激情，因此将项目拖得太久一直是巨大潜在环境的主要杀手。
Anyway, Unreal Engine has an extremely easy-to-learn shader system. For an artist, we should take full advantage of
it and have them work for us. At Gnomon we have a few classes that learn shader and Forrest Stephan taught me how to
make good use of our node graph. I would like to show you how to take advantage of Material Functions.
无论如何，虚幻引擎有一个非常容易学习的着色器系统。对于艺术家来说，我们应该充分利用它，让他们为我们工作。在 Gnomon，
我们有几个学习着色器的课程，Forrest Stephan 教我如何充分利用我们的节点图。我想向您展示如何利用材质函数。
Description: Here you see, all the blue nodes are material functions. This is a simple example of a material
Function that consists of texture maps inside, I get the Attribute out and blend it using Vertex paint.
描述： 在这里，你看到，所有的蓝色节点都是材质函数。这是一个由内部纹理贴图组成的材质函数的简单示例，我获取属性并使用
顶点绘画进行混合。

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They are a group of nodes that does things. I take advantage of this to make a clean graph. For my scene, I know
that there is a RainFX that is an overlay effect. I suggest following this tutorial on youtube for the rain shader .
I use Break Material Attribute to do the minor adjustment and then recombine them. This is easy to read and
efficient by utilizing Material Attribute for all blending simply because it replaces many parameters into one.
它们是一组执行操作的节点。我利用这一点来制作一个干净的图表。对于我的场景，我知道有一个RainFX是一种叠加效果。我建议在
youtube上遵循本教程，了解雨着色器https://www.youtube.com/watch?v=tUemJLSaFxw 。我使用"中断材质属性"进行微小的调整，
然后重新组合它们。通过对所有混合使用材质属性，这易于阅读且高效，因为它将许多参数替换为一个参数。

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Description: Here is how I connect my material. Instead of connecting it to a material that can only work once. I
put it in a function so I can put different input in them to change their properties.
描述： 以下是我连接材料的方式。而不是将其连接到只能工作一次的材料。我把它放在一个函数中，这样我就可以在它们中放入不
同的输入来改变它们的属性。
The greatest advantage of this organization is that I can expose whatever I want. I can flatten my normal, increase
displacement, increase contrast for Roughness, and adjust UVSize, and all is driven inside the node. It keeps
everything small.
这个组织的最大优势是我可以暴露任何我想要的东西。我可以平展我的法线，增加位移，增加粗糙度的对比度，并调整UVSize，所有
这些都在节点内驱动。它使一切都保持小。

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Description: Outside of the seemingly complex node, it was displayed like this. I can put whatever I need to adjust
the texture. And everything is done inside of the function. All I need to do is make a parameter so I can adjust it
as an instance. This is simply a clean way to organize your Texture Maps, however, I have no idea how to reorganize
the order of the input or output.
描述：在看似复杂的节点之外，它像这样显示。我可以把任何我需要的东西来调整纹理。一切都在函数内部完成。我需要做的就是创
建一个参数，以便我可以将其调整为实例。这只是组织纹理贴图的干净方法，但是，我不知道如何重新组织输入或输出的顺序。

Shader blending is a simple and powerful thing Unreal 4 made it very easy to do, the height lerp for example. They
function like Substance Designer and can calculate the Max value between 2 height maps. When you think about the
shader, it takes every pixel on the texture map, compares and returns the one with a more intense value. Max
function is the most important mathematical function for designers as it allows the combination between 2 textures
maps without the actual blending.
着色器混合是虚幻4让它变得非常简单而强大的一件事情，例如高度lerp。它们的功能类似于物质设计器，可以计算2个高度贴图之间
的最大值。当您考虑着色器时，它会获取纹理贴图上的每个像素，进行比较并返回具有更强烈值的像素。对于设计人员来说，最大函
数是最重要的数学函数，因为它允许在2个纹理贴图之间组合，而无需实际混合。
However, the Heigh Lerp node only accepts one texture map for blending. It is all it needs because it is supposed to
return a mask for you to blend with. However, I think it is easier to just modify the function itself. Since
Heightlerp is only a type of texture to blend with, we can change those inputs to a material attribute instead.
但是，Heigh Lerp 节点只接受一个纹理贴图进行混合。这就是它所需要的一切，因为它应该返回一个面具供您混合。但是，我认为
修改函数本身更容易。由于 Heightlerp 只是一种要混合的纹理类型，因此我们可以将这些输入更改为材质属性。
I went into the Function and modified it to take in a material Attribute, instead of a Vector 3.
我进入了函数并对其进行了修改，以采用材质属性，而不是矢量3。

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Description: these nodes here, change them to material Attribute
描述：此处为这些节点，将其更改为材质属性
From that on, you can do lerping by simply layer then on top of each other. Think steps, what comes next and what
can be the last. For mine, I have the materials, and then I have a layer of water, and then water droplets. You can
see from the diagram below of my graph.
从那时起，你可以通过简单地分层然后彼此叠加来做lerping。想想步骤，接下来会发生什么，最后一步可能是什么。对于我来说，
我有材料，然后我有一层水，然后是水滴。你可以从我的图表下面的图表中看到。

Here is my material setup.
Using instance value to control the material function. Makes value easily adjustable, and also makes function short
and easily readable.
这是我的材料设置。
使用实例值控制材质函数。使值易于调整，并且还使功能简短且易于读取。

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Lighting
照明
There are 3 things that I will always do as soon as I want to light:
1. Put Exponential Fog in the scene, turn on Volumetric to make basic depth.
2. Cast a Directional light, set it Stationary and play with volumetric Scattering value.
3. Make a post Processing, set unbound extend true, and Exposure > Min/Max Brightness to 1.
有3件事，只要我有想法，我就会一直做：
1.将指数雾放入场景中，打开体积以制作基本深度。
2.投射定向光，将其设置为静止并播放体积散射值。
3. 进行后期处理，将未绑定的扩展设置为 true，并将"曝光">最小/最大亮度设置为 1。
Description: Lighting aspect, how I build an artifical scene.
描述： 照明方面，我如何构建人造场景。

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Description: The purple/pink color flood the front, the concept uses analog color for the light. I use those colors
as rim lights and sidelight. The building on the back is a big example. Using different colors to convey shape and
add variation. 2nd photo is the actual color of the object. They change based on light very heavily.
描述： 紫色/粉红色充斥着前部，概念使用模拟颜色作为光。我使用这些颜色作为边缘灯和侧光。后面的建筑就是一个很好的例子。
使用不同的颜色来传达形状并添加变化。第二张照片是物体的实际颜色。它们根据光的变化非常大。
Lighting is very creative and we should think color by means of artificially placing them. It is not real, but if a
point light can light up an area that is too dark, it is a fast way to adjust it to the maximum quality. Static
lights can cast light that is invisible to volumetric fog, while Stationary light gives more depth having control on
Volumetric scattering.
Pay good attention to any rim light effects, these effects, volumetric or not, add depth and dimension to your
piece. Rim Light highlights a silhouette and sometimes it makes sense, it sometimes helps with the visual.
照明非常有创意，我们应该通过人为地放置它们来思考颜色。它不是真实的，但是如果点光灯可以照亮太暗的区域，则可以将其调整
为最大质量的快速方法。静态光可以投射出体积雾不可见的光，而静止光可以控制体积散射，从而提供更多深度。
注意任何边缘光线效果，这些效果，无论是否体积，都会为您的作品增加深度和尺寸。边缘光照亮了一个轮廓，有时它有意义，有时
它有助于视觉效果。
Once you bake and find it very dark, it is not the end of the world. Remember you can adjust INDIRECT LIGHT
INTENSITY in post-processing. You can also add in Ambient occlusion/another layer of reflection capture, etc.
一旦你烘烤并发现它非常黑暗，它就不是世界末日。请记住，您可以在后期处理中调整间接光强度。您还可以添加环境光遮蔽/另一
层反射捕获等。

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Description: Here are the most important thing to adjust in a post processing.
描述： 这是在后期处理中要调整的最重要的事情。
Make your work stands out, is unique and alive.
让你的作品脱颖而出，独一无二，充满活力
When a recruiter looks at a portfolio, although they have different specifications, your environment can distinguish
itself from others by making one thing look amazing: life. Consider adding something that moves, simple animation
that cast moving shadows or some sort of hidden easter eggs. It sounds like a waste of time but it is a good
conversation starter. I believe this is what makes art fun. Add your own personality and randomness and show that to
the audience.
当招聘人员查看投资组合时，尽管它们具有不同的规格，但您的环境可以通过使一件事看起来很棒来将自己与其他环境区分开来：生
活。考虑添加一些移动的东西，投射移动阴影的简单动画或某种隐藏的复活节彩蛋。这听起来像是在浪费时间，但它是一个很好的对
话开始者。我相信这就是让艺术变得有趣的原因。添加你自己的个性和随机性，并向观众展示出来。
I will never forget that from our game lead Anton Napierala. “If there is a story, we see less of the mistakes, but
when there isn’t, the only thing we see is rough-edges.”
我永远不会忘记我们比赛的领头羊安东·纳皮耶拉拉。"如果有故事，我们看到的错误就会少一些，但当没有错误时，我们唯一看到
的就是粗糙的边缘。

Final Thoughts
最后的思考
For people who haven’t found success in the industry, think about why. I think there is an aspect of luck, however,
you can increase your chance by doing something as simple as making your artwork thumbnail looks amazing.
On the otherhand, the best quality is to not give up. I came out rough as well. It is how you finish those matters,
how you start, or the mistake you made along the way is expected. Please take me as an example, as I am exactly that
person.
I want to give a special shout-out to my mentors that help me on my journey into the game industry, Anton Napierala,
Bobby Rice, Jean Khalife, Max Dayan, Beau Janzen, and especially Parrish Baker from SCAD for never giving up on me.
对于那些在这个行业没有取得成功的人来说，想想为什么。我认为运气有一个方面，但是，您可以通过做一些简单的事情来增加机会
，例如使您的艺术品缩略图看起来很棒。
另一方面，最好的品质就是不放弃。我也粗暴地出来了。这是你如何完成这些事情，你如何开始，或者你一路上犯的错误是意料之中
的。请以我为例，因为我正是那个人。
我想特别感谢那些帮助我进入游戏行业的导师，他们帮助我进入游戏行业，Anton Napierala，Bobby Rice，Jean Khalife，Max
Dayan，Beau Janzen，特别是来自SCAD的Parrish Baker，他们从未放弃过我。