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本帖最后由 秋令6689 于 2022-5-17 12:03 编辑
City – Environment Breakdown – Sherman Waffle 老旧城市建筑-九龙寨城-环境分解-谢尔曼华夫饼干
ntroduction 介绍 Hello, my name is Sherman Waffle and I’m a self-taught 3D environment artist starting three years ago. I’ve always been obsessed with building things artistically, either through sandbox video games or LEGO, and when I found environment art as an output, I knew it was right for me. Urban architecture specifically interests me, so that’s what I’ve mainly pursued thus far. I recently published my “Kowloon Walled City” project, split into several posts, on . 你好，我的名字是Sherman Waffle，我是一个自学成才的3D环境艺术家，从三年前开始。我一直痴迷于通过沙盒视频游戏或乐高来艺术地构建事物，当我发现环境艺术作为输出时，我知道它适合我。我对城市建筑特别感兴趣，所以这是我迄今为止主要追求的。我最近在上发表了我的“九龙寨城”项目，分成几个帖子。 Concept 概念 Five months ago, I challenged myself to recreate the exterior, alleys, and interiors of Kowloon Walled City in Unity, while still taking certain artistic liberties through lighting and storytelling. I wanted to push my modularity, materials, composition, and lighting as far as possible. 五个月前，我挑战自己，在团结中重现九龙寨城的外观、小巷和内部，同时仍然通过灯光和讲故事来发挥一定的艺术自由。我想尽可能地推动我的模块化、材料、构图和照明。 Kowloon Walled City was a densely populated, largely ungoverned enclave known for its dentists, salons, butchers, and drug trafficking. I especially like this picture. The angle and barren ground reveal much of the exterior. 九龙寨城是一个人口稠密，基本上不受管制的飞地，以其牙医，沙龙，屠夫和贩毒而闻名。我特别喜欢这张照片。角度和贫瘠的地面揭示了大部分外观。
Planning & Inspiration 规划与灵感 I started to gather references as well as determine the quality control and art direction of the project. Although there are a lot of blueprints in the bottom left, I hardly ended up using them. This is my Pureref board: 我开始收集参考资料，并确定项目的质量控制和艺术方向。虽然左下角有很多蓝图，但我几乎没有最终使用它们。这是我的Pureref板：
For the exterior, many of my inspirations were bright, detailed, captivating artworks from extraordinary artists. I love the lighting and contrast in these. 对于外观，我的许多灵感都是来自非凡艺术家的明亮，详细，迷人的艺术品。我喜欢这些中的照明和对比度。
For the alleys, my inspirations were neon-night, dystopian-cyberpunk underground. After following the development of Stray for years, I couldn’t help but indulge in color when I had the chance. I wanted to explore colorful lighting. 对于小巷，我的灵感来自霓虹之夜，反乌托邦的地下赛博朋克。在跟随Stray的发展多年之后，我一有机会就忍不住沉迷于色彩。我想探索丰富多彩的灯光。 Blockout 封锁 After mentally deconstructing the environment to its most fundamental features, I began to model some modular pieces with a 10cm grid in Blender. The wall and window dimensions are 4m high, 3m wide, and 20cm thick. I personally think a 3:4 width-height ratio is more realistic and interior-friendly than a 1:1 width-height ratio. 在精神上解构了环境最基本的特征之后，我开始在Blender中用10厘米的网格对一些模块化部件进行建模。墙壁和窗户尺寸为高4米，宽3米，厚20厘米。我个人认为3：4的宽高比比1：1的宽高比更现实，更适合内部。 I also began work on a modular concrete set, intended for the alleys and corridors. These are 3x4m, 30cm thick, with some variations in width. 我还开始研究一个模块化的混凝土布景，用于小巷和走廊。这些是3x4m，30厘米厚，宽度有一些变化。 From these pieces, I could build most of the exterior early on. I also applied some prototype world-space tiling materials using free textures online. Due to their world-space projection, I forewent UV unwrapping entirely. 从这些作品中，我可以尽早构建大部分外观。我还在线使用免费纹理应用了一些原型世界空间切片材料。由于它们的世界空间投影，我放弃了紫外线完全展开。 Asset Production 资产生产 My modeling usually consists of face-weighted bevels and tiling textures/trims. For props, I uniquely unwrap to bake in Substance Painter. Face-weighted normals are an excellent way to smooth sharp edges without a unique bake, especially for modular pieces. 我的建模通常由面加权斜角和平铺纹理/修剪组成。对于道具，我以独特的方式打开包装以在物质画家中烘烤。面加权法线是平滑锋利边缘的绝佳方法，无需独特的烘烤，特别是对于模块化件。 Interiors 内部 This is the interior kit. They’re 2.4m tall with no backface since I can just duplicate them around 180 degrees in Unity. 这是内饰套件。它们高2.4米，没有背面，因为我可以在Unity中复制它们大约180度。 Stairs 楼梯 While straight, on-the-grid walls and windows work well, variety can always help, especially for tricky interior spaces. 虽然笔直的网格墙和窗户效果很好，但多样性总是可以提供帮助，特别是对于棘手的内部空间。 For the staircases, I modeled four unique meshes, two of which are based on photographic reference. The entrances/exits are on the grid so they line up with my other pieces. I decorated these stair meshes with pipes, wires, and decals in Unity, all of which I will break down later on. 对于楼梯，我建模了四个独特的网格，其中两个基于摄影参考。入口/出口在网格上，因此它们与我的其他作品对齐。我在 Unity 中用管道、电线和贴花装饰了这些楼梯网格，稍后我将分解所有这些网格。 I ended up changing the lighting from what’s shown below, but these are better for the comparison. 我最终改变了下面显示的照明，但这些更适合比较。 Balconies 阳台 The balconies use face-weighted normals with a metal trim sheet. I recommend the “Textools” add-on for quick trimsheet UV unwrapping. The corrugated metal roof is a tileable material applied to some raised geometry. 阳台使用带有金属装饰板的面重法线。我推荐“Textools”附加组件，用于快速修剪薄片UV包装。波纹金属屋顶是一种可瓦材料，适用于某些凸起的几何形状。 I created the metal trim sheet in Substance Painter with some simple brushstrokes, grunge maps, and curvature information. Justin Lazzaro’s “Ultimate Trim Generator” saved me a lot of time generating the normal, from which I baked a curvature, ambient occlusion, and heightmap. 我在 Substance Painter 中使用一些简单的笔触、垃圾图和曲率信息创建了金属装饰板。Justin Lazzaro的“Ultimate Trim Generator”为我节省了大量生成法线的时间，我从中烘焙了曲率，环境光遮蔽和高度图。 Pipes 管道 For the pipes, I first looked at real-world references. 对于管道，我首先查看了现实世界的参考资料。 Using simple cylinder geometry, bevels, and subdivision, I created four different pipe kits. I wasn’t too strict with the height/length of these, just as long as they were on the grid. 使用简单的圆柱体几何形状、斜角和细分，我创建了四个不同的管道套件。我对它们的高度/长度不太严格，只要它们在网格上。 After baking from high-poly to low-poly in Substance Painter, I began the texturing process. I like to layer grunge maps, smart masks, hand-painting, base materials, smart materials, and custom Substance Designer materials. Most of the layers contribute color, roughness, height, and metalness information, even if just slightly. 在Substance Painter中从高聚烘焙到低聚后，我开始了纹理加工过程。我喜欢对垃圾乐地图、智能面具、手绘、基础材料、智能材料和自定义物质设计器材料进行分层。大多数图层都提供颜色、粗糙度、高度和金属性信息，即使只是轻微的。 Here are some of my favorite grungemaps: 以下是一些我最喜欢的垃圾： After repeating this process and sourcing more reference images, I ended up with these: 在重复此过程并获取更多参考图像后，我最终得到了这些： Cloth 布 For the tarp awnings, I simulated some cloth in Blender and baked the result in Substance Painter. Cloth simulations in Blender can be unpredictable, particularly self-collisions. However, simply scaling the cloth up can really help resolve glitchy behavior. 对于防水布遮阳篷，我在Blender中模拟了一些布料，并在Substance Painter中烘烤了结果。Blender 中的布料模拟可能是不可预测的，尤其是自碰撞。 但是，简单地放大布料确实可以帮助解决故障行为。 For the windy cloth, I used Unity’s cloth component and pinned some vertices. It’s just a subdivided plane with a tileable fabric material. 对于风布，我使用了Unity的布料组件并固定了一些顶点。它只是一个带有可瓷砖织物材料的细分平面。
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