Carriage – Prop Breakdown – Camilla Pontiggia

马车 – 道具分解 – 卡米拉·庞蒂贾

Intro

My name is Camilla and I’ve been working as an Environment Artist for a couple of years in a AA game studio in Milan, Italy.

With this piece I wanted to challenge myself modelling a very ornate hero prop and explore the potential of UE5’s Nanite.

介绍

我的名字是Camilla，我已经在意大利米兰的AA游戏工作室担任环境艺术家几年了。

通过这件作品，我想挑战自己，塑造一个非常华丽的英雄道具，并探索UE5的Nanite的潜力。

The plan was to create a carriage inspired by both gothic architecture and victorian furniture/ cabinets (and a bit of Bloodborne of course). Online I found a few references that were interesting but none fit the concept I had in mind of making a decorated carriage holding some kind of relic inside.

该计划是创造一辆受哥特式建筑和维多利亚式家具/橱柜启发的马车（当然还有一点Bloodborne）。在网上，我找到了一些有趣的参考资料，但没有一个符合我的想法，即制作一个装饰好的马车，里面有某种遗物。

So I decided to develop the design as I modeled which proved to be a great challenge and a way to improve both my technical skillset and design work.

因此，我决定在建模时开发设计，这被证明是一个巨大的挑战，也是提高我的技术技能和设计工作的一种方式。

The blocking phase had a lot of back and forth of ideas that kept changing the design. After a while I settled with the screenshots you can see below:

阻塞阶段有很多来回的想法，不断改变设计。过了一会儿，我用截图解决了，你可以在下面看到：

Most of the elements were blocked out and refined as I went, adding textures and materials helped for sure to see which direction was the best for this model.

大多数元素都被屏蔽并随着我的前进而进行了改进，添加纹理和材料有助于确保哪个方向最适合此模型。

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Modelling, Material, Sculpting

建模， 材料， 雕刻

Most of the elements were blocked out and redefined as I went, adding textures and materials helped for sure to see which direction was the best for this model.

大多数元素都被屏蔽了，并在我去的时候重新定义了，添加纹理和材质有助于确保哪个方向最适合这个模型。

In the end, the carriage was split into parts so I could easily tweak proportions and try different combinations and solutions to get the result I liked best.

最后，车厢被分成几个部分，所以我可以轻松调整比例，尝试不同的组合和解决方案，以获得我最喜欢的结果。

This proved to be a good way to keep the work agile and allowed me to experiment freely without sacricing too much of the work that I was already satisfied by.

事实证明，这是保持工作敏捷性的好方法，并允许我自由地进行实验，而不会对我已经满意的太多工作进行评判。

更多精彩图片 请登录

更多精彩图片 请登录

In terms of geometry, I managed to keep the structure of the carriage pretty optimized and lean by modeling it fully in 3dsMax.

在几何形状方面，我设法通过在3dsMax中对其进行完全建模来保持滑块的结构非常优化和精益。

Given the size and complexity of the different modules, I decided to give it a go at texturing the whole model using just a trim sheet. To achieve that I made a high poly model of the different ornaments and baked them into a plane. Smaller designs were made in Substance Designer and then merged with the rest of the texture.

考虑到不同模块的大小和复杂性，我决定尝试仅使用修剪板来纹理化整个模型。为了实现这一目标，我制作了不同装饰品的高聚乙烯模型，并将它们烘烤成平面。较小的设计是在物质设计器中制作的，然后与纹理的其余部分合并。

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Metal and wood surfaces were made in Substance Painter.

While the structural parts were created entirely in 3dsMax with polygonal modeling, most of the ornaments were sculpted from scratch in Zbrush or started from a base mesh to be tweaked later on. I focused particularly on the design of the main window and the capitals.

金属和木材表面是在物质画家中制作的。

虽然结构部件完全是在3dsMax中通过多边形建模创建的，但大多数装饰品都是在Zbrush中从头开始雕刻的，或者从基础网格开始，以便以后进行调整。我特别关注主窗口和首都的设计。

Most details sculpted elements started either from a base mesh made in 3dsMax using Turbosmooth and rened in ZBrush while others (like the main rose window) were sculpted from scratch starting from spheres.

大多数细节雕刻元素要么从使用Turbosmooth的3dsMax制作的基本网格开始，要么在ZBrush中重新雕刻，而其他元素（如主玫瑰窗）则从球体开始从头开始雕刻。

In this case, I used a lot of snake hook and Sculptris pro to define and find shapes that worked. All the remaining processes of modeling and texturing (like Retopo and UVs) were made within ZBrush using Decimation Master and UV Master.

在这种情况下，我使用了很多蛇钩和Sculptris pro来定义和找到有效的形状。所有剩余的建模和纹理处理过程（如Retopo和UV）都是使用Deccimation Master和UV Master在ZBrush中完成的。

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The capital was approached a bit differently. I had fun in Zbrush creating a design that worked with the rest of the ornaments and then optimized it by hand in 3dsMax in order to get a clean topology that would make mapping the trim easier.

对首都的态度略有不同。我在Zbrush中玩得很开心，创建了一个与其他装饰品一起使用的设计，然后在3dsMax中手动优化了它，以获得一个干净的拓扑结构，使映射修剪更容易。

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更多精彩图片 请登录

Cloth Simulation

For the statues, I started from a base female model that was posed and tweaked. Most of the work concerned the cloth was simulated in Marvelous Designer.

布料模拟

对于雕像，我从一个基本的女性模特开始，这个模特被摆好姿势并进行了调整。大部分与布料有关的工作都是在《了不起的设计师》中模拟的。

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Most of the fabric parts for the scene consisted of curtains and drapes inside and out of the carriage.

场景的大部分织物部件由车厢内外的窗帘和窗帘组成。

Curtains you can spot from inside the carriage were fairly simple: I created stripes of cloth that got frozen to emulate the window perimeter and worked as a good help to keep the curtains in place with stitching. To get the dramatic draping effect I created an internal line and made it elastic to gather the fabric in place.

从车厢内可以看到窗帘相当简单：我创造了一些布条，这些布条被冻结以模仿窗户周边，并通过缝合很好地帮助将窗帘保持在适当的位置。为了获得戏剧性的悬垂效果，我创建了一个内部线条，并使其具有弹性，以将织物聚集到位。

Exterior drapes on the other hand were a bit more elaborate as I wanted to create a cover for the niche in the front, so I created smaller panels to give it a more elegant look than simple curtains draping from the roof.

另一方面，外部窗帘更加精致，因为我想为前面的壁龛创建一个盖子，所以我创建了较小的面板，使其看起来比从屋顶垂下来的简单窗帘更优雅。

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The seat ended up being fully made in marvelous, then retoppoed in Max using the SkinWrap method and textured in Substance Painter. I wanted to achieve a more decorated look by inserting small golden stripes and a small geometric pattern that would recall the ornaments found in the rest of the model.

座椅最终完全以奇妙的方式制作，然后使用SkinWrap方法在Max中重新定位，并在Substance Painter中纹理化。我想通过插入金色小条纹和小几何图案来实现更具装饰性的外观，这些图案会让人回想起模型其余部分的装饰品。

These details were added to the height and roughness maps, in order to give the seat a nice shine.

这些细节被添加到高度和粗糙度图中，以使座椅具有良好的光泽。

更多精彩图片 请登录

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Conclusion

After final details to the scene like the candles (that were sculpted and textured in Zbrush and Substance Painter), I brought the whole carriage into Marmoset where I got my rst lighting setup ready and started to work on shaders.

Most of the work required at this point had to do with glass.

结论

在蜡烛（在Zbrush和Substance Painter中雕刻和纹理）等场景的最终细节之后，我将整个车厢带入Marmoset，在那里我准备好了我的rst照明设置并开始处理着色器。

此时所需的大部分工作都与玻璃有关。

All images are real-time shots from Marmoset with little to no post-process.

所有图像都是来自Marmoset的实时拍摄，几乎没有后期处理。

更多精彩图片 请登录

Thank you for reading through the article. It has been a lot of fun designing and creating my model without a concept or a precise reference even though it often caused me to spend a bit of time in trial and error.

Still, I have learned a lot during this project, redefining and trying out different workflows and being able to assess which was the best course of action; it has been a great teaching experience and I’m quite happy with the result.

感谢您通读本文。在没有概念或精确参考的情况下设计和创建我的模型非常有趣，尽管它经常导致我花一些时间在试验和错误上。

尽管如此，我在这个项目中学到了很多东西，重新定义和尝试了不同的工作流程，并能够评估哪个是最好的行动方案。这是一次很棒的教学经历，我对结果非常满意。

更多精彩图片 请登录

Carriage – Prop Breakdown – Camilla Pontiggia

马车 – 道具分解 – 卡米拉·庞蒂贾

Intro

My name is Camilla and I’ve been working as an Environment Artist for a couple of years in a AA game studio in Milan, Italy.

With this piece I wanted to challenge myself modelling a very ornate hero prop and explore the potential of UE5’s Nanite.

介绍

我的名字是Camilla，我已经在意大利米兰的AA游戏工作室担任环境艺术家几年了。

通过这件作品，我想挑战自己，塑造一个非常华丽的英雄道具，并探索UE5的Nanite的潜力。

The plan was to create a carriage inspired by both gothic architecture and victorian furniture/ cabinets (and a bit of Bloodborne of course). Online I found a few references that were interesting but none fit the concept I had in mind of making a decorated carriage holding some kind of relic inside.

该计划是创造一辆受哥特式建筑和维多利亚式家具/橱柜启发的马车（当然还有一点Bloodborne）。在网上，我找到了一些有趣的参考资料，但没有一个符合我的想法，即制作一个装饰好的马车，里面有某种遗物。

So I decided to develop the design as I modeled which proved to be a great challenge and a way to improve both my technical skillset and design work.

因此，我决定在建模时开发设计，这被证明是一个巨大的挑战，也是提高我的技术技能和设计工作的一种方式。

The blocking phase had a lot of back and forth of ideas that kept changing the design. After a while I settled with the screenshots you can see below:

阻塞阶段有很多来回的想法，不断改变设计。过了一会儿，我用截图解决了，你可以在下面看到：

Most of the elements were blocked out and refined as I went, adding textures and materials helped for sure to see which direction was the best for this model.

大多数元素都被屏蔽并随着我的前进而进行了改进，添加纹理和材料有助于确保哪个方向最适合此模型。

更多精彩图片 请登录

Modelling, Material, Sculpting

建模， 材料， 雕刻

Most of the elements were blocked out and redefined as I went, adding textures and materials helped for sure to see which direction was the best for this model.

大多数元素都被屏蔽了，并在我去的时候重新定义了，添加纹理和材质有助于确保哪个方向最适合这个模型。

In the end, the carriage was split into parts so I could easily tweak proportions and try different combinations and solutions to get the result I liked best.

最后，车厢被分成几个部分，所以我可以轻松调整比例，尝试不同的组合和解决方案，以获得我最喜欢的结果。

This proved to be a good way to keep the work agile and allowed me to experiment freely without sacricing too much of the work that I was already satisfied by.

事实证明，这是保持工作敏捷性的好方法，并允许我自由地进行实验，而不会对我已经满意的太多工作进行评判。

更多精彩图片 请登录

更多精彩图片 请登录

In terms of geometry, I managed to keep the structure of the carriage pretty optimized and lean by modeling it fully in 3dsMax.

在几何形状方面，我设法通过在3dsMax中对其进行完全建模来保持滑块的结构非常优化和精益。

Given the size and complexity of the different modules, I decided to give it a go at texturing the whole model using just a trim sheet. To achieve that I made a high poly model of the different ornaments and baked them into a plane. Smaller designs were made in Substance Designer and then merged with the rest of the texture.

考虑到不同模块的大小和复杂性，我决定尝试仅使用修剪板来纹理化整个模型。为了实现这一目标，我制作了不同装饰品的高聚乙烯模型，并将它们烘烤成平面。较小的设计是在物质设计器中制作的，然后与纹理的其余部分合并。

更多精彩图片 请登录

Metal and wood surfaces were made in Substance Painter.

While the structural parts were created entirely in 3dsMax with polygonal modeling, most of the ornaments were sculpted from scratch in Zbrush or started from a base mesh to be tweaked later on. I focused particularly on the design of the main window and the capitals.

金属和木材表面是在物质画家中制作的。

虽然结构部件完全是在3dsMax中通过多边形建模创建的，但大多数装饰品都是在Zbrush中从头开始雕刻的，或者从基础网格开始，以便以后进行调整。我特别关注主窗口和首都的设计。

Most details sculpted elements started either from a base mesh made in 3dsMax using Turbosmooth and rened in ZBrush while others (like the main rose window) were sculpted from scratch starting from spheres.

大多数细节雕刻元素要么从使用Turbosmooth的3dsMax制作的基本网格开始，要么在ZBrush中重新雕刻，而其他元素（如主玫瑰窗）则从球体开始从头开始雕刻。

In this case, I used a lot of snake hook and Sculptris pro to define and find shapes that worked. All the remaining processes of modeling and texturing (like Retopo and UVs) were made within ZBrush using Decimation Master and UV Master.

在这种情况下，我使用了很多蛇钩和Sculptris pro来定义和找到有效的形状。所有剩余的建模和纹理处理过程（如Retopo和UV）都是使用Deccimation Master和UV Master在ZBrush中完成的。

更多精彩图片 请登录

The capital was approached a bit differently. I had fun in Zbrush creating a design that worked with the rest of the ornaments and then optimized it by hand in 3dsMax in order to get a clean topology that would make mapping the trim easier.

对首都的态度略有不同。我在Zbrush中玩得很开心，创建了一个与其他装饰品一起使用的设计，然后在3dsMax中手动优化了它，以获得一个干净的拓扑结构，使映射修剪更容易。

更多精彩图片 请登录

更多精彩图片 请登录

Cloth Simulation

For the statues, I started from a base female model that was posed and tweaked. Most of the work concerned the cloth was simulated in Marvelous Designer.

布料模拟

对于雕像，我从一个基本的女性模特开始，这个模特被摆好姿势并进行了调整。大部分与布料有关的工作都是在《了不起的设计师》中模拟的。

更多精彩图片 请登录

更多精彩图片 请登录

Most of the fabric parts for the scene consisted of curtains and drapes inside and out of the carriage.

场景的大部分织物部件由车厢内外的窗帘和窗帘组成。

Curtains you can spot from inside the carriage were fairly simple: I created stripes of cloth that got frozen to emulate the window perimeter and worked as a good help to keep the curtains in place with stitching. To get the dramatic draping effect I created an internal line and made it elastic to gather the fabric in place.

从车厢内可以看到窗帘相当简单：我创造了一些布条，这些布条被冻结以模仿窗户周边，并通过缝合很好地帮助将窗帘保持在适当的位置。为了获得戏剧性的悬垂效果，我创建了一个内部线条，并使其具有弹性，以将织物聚集到位。

Exterior drapes on the other hand were a bit more elaborate as I wanted to create a cover for the niche in the front, so I created smaller panels to give it a more elegant look than simple curtains draping from the roof.

另一方面，外部窗帘更加精致，因为我想为前面的壁龛创建一个盖子，所以我创建了较小的面板，使其看起来比从屋顶垂下来的简单窗帘更优雅。

更多精彩图片 请登录

The seat ended up being fully made in marvelous, then retoppoed in Max using the SkinWrap method and textured in Substance Painter. I wanted to achieve a more decorated look by inserting small golden stripes and a small geometric pattern that would recall the ornaments found in the rest of the model.

座椅最终完全以奇妙的方式制作，然后使用SkinWrap方法在Max中重新定位，并在Substance Painter中纹理化。我想通过插入金色小条纹和小几何图案来实现更具装饰性的外观，这些图案会让人回想起模型其余部分的装饰品。

These details were added to the height and roughness maps, in order to give the seat a nice shine.

这些细节被添加到高度和粗糙度图中，以使座椅具有良好的光泽。

更多精彩图片 请登录

更多精彩图片 请登录

Conclusion

After final details to the scene like the candles (that were sculpted and textured in Zbrush and Substance Painter), I brought the whole carriage into Marmoset where I got my rst lighting setup ready and started to work on shaders.

Most of the work required at this point had to do with glass.

结论

在蜡烛（在Zbrush和Substance Painter中雕刻和纹理）等场景的最终细节之后，我将整个车厢带入Marmoset，在那里我准备好了我的rst照明设置并开始处理着色器。

此时所需的大部分工作都与玻璃有关。

All images are real-time shots from Marmoset with little to no post-process.

所有图像都是来自Marmoset的实时拍摄，几乎没有后期处理。

更多精彩图片 请登录

Thank you for reading through the article. It has been a lot of fun designing and creating my model without a concept or a precise reference even though it often caused me to spend a bit of time in trial and error.

Still, I have learned a lot during this project, redefining and trying out different workflows and being able to assess which was the best course of action; it has been a great teaching experience and I’m quite happy with the result.

感谢您通读本文。在没有概念或精确参考的情况下设计和创建我的模型非常有趣，尽管它经常导致我花一些时间在试验和错误上。

尽管如此，我在这个项目中学到了很多东西，重新定义和尝试了不同的工作流程，并能够评估哪个是最好的行动方案。这是一次很棒的教学经历，我对结果非常满意。

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