Civilization VI 100% Substance Designer-Fan Art-原创TA/Shader

作品展示-关注大佬

Introduction

Working in Substance Designer

I discovered Substance Designer in the second year by listening to students from the upper years, who told me that it was a magical software, so I decided to try it out with YouTube tutorials like many other people. Since I am not very comfortable with 2D graphics, this kind of software was a universe where I could express myself. The Substance Designer community is special to me because it is very easy to share your work, your workflow, all you need is a screen of your graph, a "node combo" to explain how to add small veins on leaves or how this brick can change its shape, for example. So everyone quickly shares their work, and this project is an example of it. I’ve been inspired by many artists, looking at their Arstation profiles, breakdowns, buying and analyzing materials, reading articles... this is what allowed me to progress, and make the project interesting! So if I have some advice for everyone who wants to get into Substance Designer: get inspired by the work of others, their workflows and combine these to create your own workflow and fully express yourself!

Working on the Elements

This was the first and one of the biggest challenges of this project.

I found a YouTube video that explains this problem and shows how to solve it by creating a function in the tiling parameter of the tile generator and in the interface parameters x/y of the tile generator.

I could now create a hexagonal tiling and change the number of tiles without any deformation.

For the mountains, which have been a big challenge, I first thought of creating unique shapes that I will place on the hexagonal tiles, but the Civilization 6 mountains extend over several squares and create a mountain range.

更多精彩图片 请登录

正如我之前所说，我直接受到埃姆雷坎·丘布克苏（Emrecan Çubukçu）作品的启发，因为他的山脚非常有趣。

But it didn't fit perfectly to me because the mountains of Civilization 6 are stylized, so I modified them accordingly.

Then, I use a similar method to as Emrecan Cubukcu for the mountains, he explains it very well in the following article.

Finally, I mix the two and then I mix it again on itself with ambient occlusion to reinforce the sharp effect of the mountains.

更多精彩图片 请登录

It is very important to work permanently with references: open on the PuRef and keep it open right next to your graph.

So, I started from a simple shape that I shrunk and juxtaposed to create the heightmap, then, thanks to a simple parameter I was able to create 4 variations that I added in a tile generator. The whole thing is colored with a simple gradient map.

Thanks to the basic mask of the trees, which I subtract the trees, I can easily place stones and add the ground.

更多精彩图片 请登录

Before I talk about water, I would first like to talk about the Fog of War, which was a big challenge and was important to me.

For the mask of the fog, I created a simple noise with a base shape and a warp that I tile in a sample, I then contrast it to the maximum and, finally, I vector it and then morph it to a flow map to give the worn, burnt effect of the map.

更多精彩图片 请登录

因此，对于雾的颜色，我只需根据云遮罩改变颜色，然后通过输入地图的颜色添加低不透明度。

更多精彩图片 请登录

然后，为了获得旧地图的追踪效果，我创建了高度图的输入并进行了环境光遮蔽。我在量化节点中设置了高度图，然后我取出了一个环境光遮蔽并合并了两个环境光遮蔽，我有一个很好的基础！

更多精彩图片 请登录

然后对于雾中的水，我拿出我用作两种颜色之间的蒙版的水的高度图，然后将其添加到基色中，因此无论地图的配置是什么，雾总是会自我适应。

更多精彩图片 请登录

我还创建了波浪图案，这些图案被放置在水面罩中，以添加文明6中也呈现的旧地图效果：

更多精彩图片 请登录

对于水，我的灵感来自一篇80级的文章，由出色的Zahar Scherbov撰写，他对他的地中海水材料进行了分解。

I based myself entirely on his material because I had no idea how to make convincing water, and I invite you to go and see this article, which is very interesting. I then adapted it to my project by integrating my water mask, it was necessary that the foam is deposited on the edges of the coasts, and for that, I simply invert the mask that I subtracted from it to create a border that I then warp and which serves as a mask for the foam.

更多精彩图片 请登录

我迅速在正常水面上添加波浪，以打破海洋瓷砖的重复。

I also recovered the mask of the foam that I enlarged to obtain the mask for the sand surrounding the water.

更多精彩图片 请登录

Customization

For the basic biomes, most of the parameters come from the random masks of the tile generators, which themselves generate the biome masks, the biome masks are then added one on top of the other, so that the biomes do not overlap, and the water mask takes priority over all the other masks to make it easier.

更多精彩图片 请登录

主要问题是：“如何使蒙版根据六边形平铺来理解和定义自己？”这就是我最好的朋友在这个项目中干预的地方：FloodFill和灰度洪水填充，例如，它允许我输入噪声，灰度洪水填充会将此噪声解释为掩码，但根据六边形平铺。

Then, thanks to a simple parameter like the disorder of noise, I could generate the water mask, which is at the base a simple Perlin noise with a histogram scan.

I had a lot of trouble organizing myself, given the complexity of the project.

For the city:

更多精彩图片 请登录

For the colors, I used one of the basic set. In order to make the windows appear, I use the technique of Emrecan Çubukçu, which consists in simply making a line of pixels on the wall, with the tesselation, the window will appear on the wall.

我从一个简单的形状开始生成了两个小建筑，我混合了

对于颜色，我使用了一个基本的集合。为了使窗户出现，我使用了Emrecan Çubukçu的技术，它包括简单地在墙上制作一行像素，随着镶嵌，窗户将出现在墙上。

更多精彩图片 请登录

更多精彩图片 请登录

对于主楼，有相同的原则：这个任务非常重复，因为我放置了每座建筑，每座建筑都是用变换和混合手工着色的，事后看来，我本可以做得更好。

Then for the fields, I generated squares that surround the city with tile samplers, I then created an edge to detect that I use as a mask to add trees between fields to make it more convincing.

For the borders, I reuse the flood fill technique to generate a line, the color of which I can change to create the borders.

然后，对于字段，我生成了用瓷砖采样器包围城市的正方形，然后我创建了一个边缘来检测，我将其用作遮罩，在字段之间添加树木，使其更具说服力。

我公开了参数，以便能够调整字段的大小等，然后我将它们与城市混合在一起，我们就在这里。

更多精彩图片 请登录

更多精彩图片 请登录

对于边框，我重用泛洪填充技术来生成一条线，我可以更改该线的颜色以创建边框。

I decided to place it a little reluctantly with a transformed material, where I blend the height of the city with that of the map, and the same for the color, I add the mask of the water, so that the fields or the city can not appear in the water, and the trick is done!

起初，我想在程序上添加主城市，但我很快意识到它太复杂了，所以我转而手动添加它。

我决定用一个变形的材料稍微不情愿地放置它，在那里我将城市的高度与地图的高度混合在一起，对于颜色，我添加了水的面具，使田野或城市不能出现在水中，并且技巧就完成了！

更多精彩图片 请登录

最后，我拒绝在Photoshop中做任何事情（甚至是界面），所以我在Substance Designer中制作了城市标题和资源图标。

齿轮：

Corn:

更多精彩图片 请登录

资源图表：

Graph of the titles:

更多精彩图片 请登录

结果：

The Biggest Challenges

I would have liked to improve a lot of things. If I hadn't listened to my friends, I would have tried to integrate the whole game, but it was honestly impossible: for example, I added the tundra when I was already rendering in Marmoset, which wasn't very wise.

Also, I would have liked to tidy up from the beginning of the project, rename each frame, comment everything... because in this kind of project and in general, it is imperative and essential to tidy up for you and for your colleagues who can potentially retouch your files!

I learned one thing it is to set limits in projects and not to over scope, otherwise you get lost quickly in details and waste a lot of time.

我学到了一件事，那就是在项目中设置限制，不要超出范围，否则你会很快迷失在细节上，浪费很多时间。

666666666