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Making a Sci-Fi Tank from Scratch in Maya & Substance 3D Painter
在Maya和Substance 3D Painter中从头开始制作一个科幻坦克
Mohamed Abdelbaki has told us about the workflow behind the Sci-Fi Tank project, talked about the challenges of combining different machines, and emphasized the importance of orthographs.
Mohamed Abdelbaki向我们讲述了科幻坦克项目背后的工作流程，谈到了组合不同机器的挑战，并强调了正投影图的重要性。
Introduction
介绍
Mohamed Abdelbaki is an exceptional, multitalented Environment and 3D Artist who has made contributions to the biggest game titles of recent years. These globally recognized releases include Call of Duty: Vanguard (2021), Marvel’s Avengers (2020) and its expansion pack Marvel’s Avengers: Black Panther – War for Wakanda (2021), and War to the Core. Mr. Abdelbaki stands out as one of the few artists capable of diversifying his work across a broad range of subject matter while also keeping the quality bar of work very high. His skillset includes High/Low Poly Modeling, Digital Sculpting, Hard-Surface Modeling, Texturing & Shading, Material Creation, Optimization, Lighting, and Photogrammetry.
Mohamed Abdelbaki是一位杰出的、多才多艺的环境和3D艺术家，他为近年来许多大型游戏作出了贡献。这些全球公认的发行版包括《使命召唤:先锋》(2021)、《漫威的复仇者联盟》(2020)及其资料片《漫威的复仇者联盟:黑豹——瓦坎达之战》(2021)和《核心之战》。Abdelbaki先生是为数不多的能够在保持作品高质量的同时将作品多元化的艺术家之一。他的技能包括高/低多边形建模、数字雕刻、硬表面建模、纹理和阴影、材质创建、优化、照明和摄影测量。
Mr. Abdelbaki was highly sought after on these blockbuster projects because of his skills and technical abilities. He has worked with leading artists in the field. Among them, Damon Wilson-Hart, Lead Environment Artist at High Moon Studios with over 20 years of experience in the games industry and multiple Call of Duty titles shipped; Marquis Houghton, Senior Environment Artist at High Moon Studios with nearly 12 years of experience in the games industry; and Jeremy Hollingsworth, Lead Hard Surface Artist at Osso VR whose experience spans several industries including film, games, and technology. Mohamed has also supported the next generation of artists: he was a guest speaker at Gnomon School of Visual Effects & Games during the Environment for Games class, where he shared his industry experience in the game development field, experience working in AAA games as an Environment Artist, his personal Art work and advice on getting a job in the industry.
由于他的技能和技术能力，阿卜杜勒巴基先生在这些轰动的项目中备受追捧。他曾与该领域的顶尖艺术家合作。其中，达蒙·威尔逊·哈特(Damon Wilson-Hart)是High Moon Studios的首席环境艺术家，在游戏行业拥有超过20年的经验，发行了多种使命召唤游戏；侯爵霍顿，High Moon Studios的资深环境艺术家，在游戏行业有近12年的经验；Jeremy Hollingsworth是奥索虚拟现实公司的首席硬面艺术家，他的经验涉及电影、游戏和技术等多个行业。Mohamed对下一代艺术家也很支持:他是Gnomon视觉效果和游戏学校游戏环境课程的客座演讲人，在那里他分享了他在游戏开发领域的行业经验，作为环境艺术家在AAA游戏中工作的经验，他的个人艺术作品和在行业中找到工作的建议。
This project is a high poly 3D Model of a futuristic sci-fi tank I designed a few years ago back when my specialization was geared towards concept art. High poly means a high polygonal count of a 3D model, while low poly is the opposite. High poly contains a lot more details in the model but will render more slowly. It is therefore used in films, cinematics and is also used as a detailed version of a game asset.
这个项目是一个未来科幻坦克的高多边形3D模型，我在几年前设计的时候，我的专业是面向概念艺术。高多边形意味着三维模型的高多边形数，而低多边形则相反。高多边形在模型中包含了更多的细节，但是渲染速度会比较慢。因此，它被用于电影、电影艺术，也被用作游戏资产的详细版本。
I’ve found that my background in concept art has given me a strong sense of form, design, color, and composition and expanded my skills as a modeler. It’s been useful in being able to refine a concept as I model, fleshing out the design, and finding solutions in 3D to design problems that might not always arise in 2D. I was responsible for all aspects of the project including concept design, modeling, texturing, shading, and lighting, which I will be covering in this article.
我发现我的概念艺术背景给了我对形式、设计、色彩和构图的强烈感觉，并拓展了我作为建模师的技能。在我做模型的时候，能够提炼一个概念，充实设计，找到3D解决方案来解决在2D可能不会经常出现的设计问题，这是很有用的。我负责这个项目的所有方面，包括概念设计、建模、纹理、阴影和照明，这些我将在本文中介绍。
Concept
概念
With any good design, we first start from a 2D silhouette trying to establish an iconic shape. The main purpose of this design was to visualize some kind of futuristic tank. It would be similar to the M1 Abrams but larger in size and utilizing 3 turrets, one primary and two secondary ones. Think it of like having a battleship cannon mounted on top of a tank. I started by looking at a mixture of references ranging from tanks, battleships, ATVs, and construction vehicles. Any good design will have a good balance of big, medium, and small shapes while also having primarily two shapes dominate the design. In this case, they are mostly squares with some triangles in certain areas, circles are only used for the wheels. After the silhouettes, I did several thumbnail drawings trying to get some kind of 3D interpretation of the main silhouette.
对于任何好的设计，我们首先从2D的剪影开始，试图建立一个标志性的形状。这个设计的主要目的是设想某种未来的坦克。它类似于M1艾布拉姆斯，但尺寸更大，使用3个炮塔，一个主炮塔和两个副炮塔。想象一下在坦克顶上安装一门战舰大炮。我首先查看了各种参考资料，包括坦克、战列舰、全地形车和工程车。任何好的设计都会在大、中、小形状之间有一个很好的平衡，同时主要有两种形状主导设计。在这种情况下，它们大多是正方形，在某些区域有一些三角形，圆形仅用于轮子。在剪影之后，我画了一些缩略图，为一些主要的3D剪影做参考。
Variation is key in establishing a good design, sometimes you hit the mark within the first 2-3 sketches, other times it takes a few iterations before you find the one you like. Eventually, I did a proper perspective drawing of the chosen design followed by a paintover. I initially kept the design on the shelf for quite some time. After getting some feedback on it, I went back and did a revised version, editing the proportions and making the design more streamlined.
变化是建立优秀设计的关键，有时你画2-3个草图就能达到目标，有时你需要多次迭代才能找到自己喜欢的设计。最后，我做了一个正确的透视图选择的设计，然后进行了绘画。我最初把设计搁置了很长一段时间。在得到别人的一些建议后，我回去做了一个修改版本，编辑比例，使设计更精简。
Modeling
建模
During the modeling process, you will start with your main concept and expand your reference to more and more subject matter.
在建模过程中，你将从你的主要概念开始，并扩展到越来越多的主题。
For modeling vehicles, it’s usually helpful to have orthographs. Since it’s a concept image, I drew a top and side view orthos and began to block in the design trying to keep the same proportions and figuring out what the 3D form actually is based on the concept painting. Once the blockout is done, I then begin to properly model each area piece by piece. The tank is fairly geometric in shape, so for modeling, I mostly start with either a box or cylinder for most parts. In this stage, it’s important to be continuously looking at everything: the photo ref to model realistic-looking parts, the orthos as a proportion guide, and the concept making sure that as you model, you don’t lose the overall feeling that was in the concept.
对车辆建模来说，使用正字法通常是有帮助的。因为这是一个概念图像，我画了一个顶视图和侧视图，并开始在设计中尝试保持相同的比例，并找出3D形式实际上是基于概念图。一旦完成了划分，我就开始一点一点地为每个区域建模。坦克在形状上是相当几何的，所以对于建模来说，我大部分是从一个盒子或者圆柱体开始的。在这一阶段，重要的是不断地观察一切:照片指的是模型逼真的部分，orthos作为比例指南，概念确保当你建模时，你不会失去概念中的整体感觉。
I’d say the most challenging part of the design was probably figuring out how the tank connects to the front wheels and tracks. In my concept, it was merely an indication of some kind of cylindrical piece that works in 2D but not in 3D. The color-coded illustration represents what I’m thinking about as I model. I understand that I need to have something that connects the body to the wheels and treads which move forward in addition to having something to hold up the tread armor over that. Neither of these was really explained in my original painting.
我要说设计中最具挑战性的部分可能是弄清楚坦克如何连接前轮和履带。在我以往的2D概念中，它仅仅是某种圆柱形的平面的图形，但在3D中不行。彩色编码的插图代表了我建模时的想法。我认识到我需要一些东西将坦克的身体连接到能向前移动的车轮和履带上，此外还需要一些东西支撑履带装甲。这些在我的原画中都没有明确写出来。
Again, this is where looking at references is key. Eventually, I combined the suspension system and front arms of an ATV which then connect to a side bracket piece of a SnowTrax ATV. These are similar to regular ATV-type vehicles but are designed for snow hence they have tracks on the side instead of wheels. Looking at this type of reference was very useful as it really helped fill in all the gaps on how the pieces can connect together and how the side bracket piece, for example, connects to each of the large tank wheels.
同样，这也是查看参考文献的关键所在。最终，我将ATV的悬挂系统和前臂结合起来，然后连接到SnowTrax ATV的侧支架上。这些类似于普通的ATV型车辆，但是是为雪地设计的，因此它们在侧面有履带而不是车轮。查看这种类型的参考非常有用，因为它真的有助于填补所有关于零件如何连接在一起以及侧支架零件如何连接到每个大型坦克车轮的空白。
On a side note, it’s also important to convey a sense of scale to the viewer, you do that by adding a human element to the vehicle. In this case, it would be the handlebars soldiers would use to pull themselves up to the top of the tank and reach the hatch.
另一方面，向观众传达一种规模感也很重要，你可以通过给车辆添加人的因素来做到这一点。在这种情况下，士兵会使用把手将自己拉到坦克顶部并到达舱口。
Glass Materials
玻璃材料
For glass materials, I set up each V-Ray glass material with a slight difference between the reflection and refraction color. This is to try and get a similar look to the reference where the glass has a slight shift in color.
对于玻璃材质，我为每个V-Ray玻璃材质设置了反射色和折射色的细微差别。这是为了尝试获得与参考相似的外观，其中玻璃颜色略有变化。
In my reference, there’s some kind of electronic sensors behind the glass plate. To achieve this look, I simply used an image texture of some electronics projected onto a simple geo plane behind the glass plate. Since the material for the glass is somewhat opaque, you mostly need to indicate something is inside with a texture rather than model everything.
在我看来，玻璃板后面有某种电子传感器。为了达到这种效果，我简单地使用了一些电子设备的图像纹理投射到玻璃板后面的一个简单的地理平面上。由于玻璃的材质有些不透明，你通常需要用纹理来表示里面的东西，而不是对所有东西建模。
Finally, using a V-Ray blend material I have the purple glass as the base and blend over a sand-colored fairly flat material using a hand-painted alpha mask to create the effect of dust around the corners of the glass.
最后，使用V-Ray混合材质，我将紫色玻璃作为基础，并在沙色平坦的材质上混合，使用手绘alpha蒙版来创建玻璃角落的灰尘效果。
Texturing
纹理
For texturing, the main challenge was to achieve the same visual look as the tank’s painted surface. It’s a bit tricky as the paint is fairly matt in general, yet depending on how the light hits it there’s a lot of roughness variation. I started with a steel tank smart material from Substance 3D Painter as a base that already had a grunge-like roughness pattern. From there, I overlay some fill layers each with a slightly different tan color and roughness value to create both color and roughness variation.
对于纹理，主要的挑战是获得与坦克表面相同的视觉效果。这有点棘手，因为油漆一般来说相当粗糙，但根据光线照射的方式，会有很多粗糙度的变化。我开始用Substance 3D Painter的钢罐智能材料作为基础，它已经有了垃圾一样的粗糙图案。从那里，我覆盖了一些填充层，每一层都有稍微不同的棕褐色和粗糙度值，以创造颜色和粗糙度的变化。
Once the first pass was done, I decided the surface looked too clean. Using a single texture image of a scuffed up and dirty tank surface that had a lot of rust in it, I did some projection painting on the main body of the tank to give it a much more weathered and used look.
第一遍完成后，我觉得表面看起来太干净了。使用一个磨损和肮脏的坦克表面有很多铁锈的单一纹理图像，我在坦克的主体上做了一些投影绘画，给它一个更加风化和使用的外观。
The remainder of the texturing process is fairly straightforward: adding metal edge wear in areas that make sense, adding markings and graphics to create visual interest and give the design more character. I also made sure to add a grease effect where the hinge joints are for the mechanical arms referencing the way it looks on construction vehicles where a lot of grease and dirt accumulate in the hinges of the vehicle’s arm.
纹理处理过程的其余部分相当简单:在有意义的区域添加金属边缘磨损，添加标记和图形以创造视觉兴趣并赋予设计更多特征。我还确保在机械臂的铰链关节处添加了油脂效果，参考了工程车辆上的外观，在那里大量的油脂和灰尘堆积在车辆臂的铰链上。
Conclusion
总结
Overall, this was a very useful project to complete. I realized that my initial concept while having a generally good silhouette also lacked clarity in certain areas. Working in 3D has definitely resulted in me learning to take a more analytical approach to my designs. As always, the two go hand in hand: art direction and 3D production modeling are both as important when making any asset. Finding good references whether online or taking pictures yourself is always key while modeling and will usually answer a lot of questions that may arise. I always like to think that a concept is there just for the overall idea/shape and then it’s grounded in reality by you trying to match the reference you have. I hope you enjoyed this breakdown and found some useful tips on either design or 3D techniques.
总的来说，这是一个非常有用的项目。我意识到我最初的概念虽然拥有一个不错的轮廓，但在某些领域却缺乏清晰度。在3D领域的工作让我学会了在我的设计中采用更具有分析性的方法。这两者总是密不可分:美术指导和3D制作模型在制作任何资产时都很重要。无论是在网上还是自己拍照，找到好的参考资料总是建模时的关键，通常会解决很多可能出现的问题。我总是喜欢认为，一个概念只是为了整体的想法/形状而存在，依托你找到的参考，通过你的手制作出来。我希望你喜欢这个分类，并获得一些关于设计或3D技术的有用的东西。
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