Introduction
介绍
Hello and welcome, everyone. Let me introduce myself, I am Mohamed Hadiri, a 3D Environment Artist from Tunisia. I studied Game Art at the Institut International de l'Image et du Son 3is in France from 2016 to 2018 and I got my start as a prop artist in 2018 when I joined Realiz3D in Paris. I worked there for almost a year and since then, I have focused more on my personal projects and developing my skills as an artist.
大家好，欢迎。自我介绍一下，我是来自突尼斯的 3D 环境艺术家 Mohamed Hadiri。2016 年至 2018 年，我在法国 Institut International de l'Image et du Son 3is 学习游戏艺术，并于 2018 年在巴黎加入 Realiz3D 时开始担任道具艺术家。我在那里工作了将近一年，从那时起，我更加专注于我的个人项目和发展我作为艺术家的技能。

For this article, I will try to make a tutorial and give fellow artists all the resources to inspire them to create a beautiful stylized scene.
对于这篇文章，我将尝试制作一个教程，并为其他艺术家提供所有资源，以激发他们创造一个美丽的风格化场景。



The Minshan Grove Project
岷山林项目
I've always liked stylized art. I grew up with Crash Bandicoot, World of Warcraft, and many other stylized art games which I hold dear to my heart. So I had the idea to challenge myself and create my own stylized scene. I had some references in mind like the Vale of Eternal Blossoms in World of Warcraft and some arts I found on ArtStation like the Bird House made by incredible artist Jasmin Habezai-Fekri.
我一直喜欢风格化的艺术。我在 Crash Bandicoot、魔兽世界和许多其他我珍视的风格化艺术游戏中长大。所以我有了挑战自己的想法，创造自己的风格化场景。我想到了一些参考资料，例如魔兽世界中的锦绣谷，以及我在 ArtStation 上找到的一些艺术作品，例如由令人难以置信的艺术家Jasmin Habezai-Fekri制作的鸟屋。

Once I had a solid idea of what I'm probably going to build in Unreal Engine, I asked my friend and fellow artist Matthieu Limozin to create an environment concept art based on my idea so I could properly visualize everything and make it easier for me to focus on building the assets.
一旦我对我可能要在虚幻引擎中构建什么有了一个明确的想法，我就请我的朋友和同事艺术家Matthieu Limozin根据我的想法创建一个环境概念艺术，这样我就可以正确地可视化所有内容并让我更容易专注于建设资产。



Modeling and Texturing
建模和纹理
For the modeling part, I mainly used 3ds Max for the low poly models. I went with really basic forms like cylinders and rectangles and tried to twist them around as I did for the trees, the windmill, and the fans. Then, I added some slight details in ZBrush, like wood details, some cracks, and slashes.
对于建模部分，我主要使用 3ds Max 来制作低多边形模型。我使用了非常基本的形状，例如圆柱体和矩形，并尝试将它们扭曲，就像我对树木、风车和风扇所做的那样。然后，我在 ZBrush 中添加了一些细微的细节，比如木头细节、一些裂缝和斜线。

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I used SpeedTree to really block out the tree trunk’s shape and make something really quickly with stylized twisted forms, and SpeedTree was the best tool for that. Then, I added more details using ZBrush.
我使用 SpeedTree 真正阻挡了树干的形状，并使用风格化的扭曲形式非常快速地制作了一些东西，而 SpeedTree 是最好的工具。然后，我使用 ZBrush 添加了更多细节。

I used Maya's retopology tools for the tree trunks and the rocks/cliffs to have clean topology and make it easier to unwrap and texture later.
我为树干和岩石/悬崖使用了 Maya 的重新拓扑工具来获得干净的拓扑，并使其更容易在以后展开和纹理化。

For the textures, I used Substance 3D Painter and for the more complicated tileable textures – Substance 3D Designer.
对于纹理，我使用了 Substance 3D Painter 和更复杂的可平铺纹理 - Substance 3D Designer。

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If you are new, check out 3dEx YouTube channel. It has a lot of videos that demonstrate how to do stylized art from scratch, both for models and textures.
如果您是新手，请查看3dEx YouTube 频道。它有很多视频展示了如何从头开始制作风格化的艺术，包括模型和纹理。

Unreal Engine
虚幻引擎
On the Stylized Station YouTube channel, I found a lot of people who shared their knowledge and methods on how to create stylized scenes, and what caught my attention was a tutorial made on their platform by amazing artist André Felipe, he called it The Environment Artist's Survival Kit, and it was essential for the start of my adventure. I've been doing 3D art for some years now, so I just needed a push in the right direction and a style I could take inspiration from, especially since this was my second project on Unreal Engine and I hadn’t mastered the basics of the software yet.
在Stylized Station YouTube 频道上，我发现很多人分享了他们关于如何创建风格化场景的知识和方法，而引起我注意的是由惊人的艺术家André Felipe在他们的平台上制作的教程， 他称之为环境艺术家的生存工具包，这对于我的冒险开始至关重要。我从事 3D 艺术工作已经有几年了，所以我只需要朝着正确的方向前进，并且需要一种我可以从中汲取灵感的风格，尤其是因为这是我在虚幻引擎上的第二个项目，而且我还没有掌握软件呢。

In this tutorial, I mainly followed the tree creation pipeline. I watched the rock creation episodes to see his work and way of thinking while creating stylized assets. The first episode helps a lot, so you can properly use Runtime Virtual Texturing: this technique helps a lot to blend the textures of the landscape with the assets so they don't look too clean and actually feel like they've been there for a long time.
在本教程中，我主要遵循树创建管道。我观看了摇滚创作剧集，以了解他在创作风格化资产时的工作和思维方式。第一集有很大帮助，因此您可以正确使用运行时虚拟纹理：这种技术有助于将景观的纹理与资产混合，因此它们看起来不会太干净，并且实际上感觉它们已经存在了一段时间很久。

The course has so much more to it, like the grass, wind stripes, and more, so I invite you to check it out as it's a good tutorial and will help you a lot to start your journey.
该课程还有更多内容，例如草地、风条纹等，因此我邀请您查看它，因为它是一个很好的教程，将帮助您开始您的旅程。

Now, to the Marpetak Dev YouTube channel, this is one of the best stylized channels that you could find, and here's why.
现在，对于Marpetak Dev YouTube频道，这是您能找到的最好的风格化频道之一，这就是原因。

First things first, the stylized grass. For my scene, the grass plays a huge part as it gives life to the environment, and the video made by Marpetak called How to make Stylized Grass in Unreal Engine 4/Blender will show you step by step how to create beautiful grass that changes colors when the wind passes through it. The actual grass is animated, meaning when the wind passes through it, you feel like each blade of the grass moves as if it straightens up. I found the effect really awesome and I wanted to implement it in my scene.
首先，程式化的草。对于我的场景，草在赋予环境生命的过程中扮演着重要的角色，Marpetak 制作的名为How to make Stylized Grass in Unreal Engine 4/Blender的视频将逐步向您展示如何创建可以改变颜色的美丽草当风穿过它时。实际的草是动画的，这意味着当风穿过它时，你会感觉每片草叶都在移动，就好像它伸直了一样。我发现效果真的很棒，我想在我的场景中实现它。

Secondly, I wanted to control the gradients in my assets and create a lot of variations and fake shadows or lights when needed. I got inspiration from the video Upgrade Your Graphics With Gradients on the Marpetak Dev channel, which helped me reach what I wanted.
其次，我想控制资产中的渐变，并在需要时创建大量变化和假阴影或灯光。我从Marpetak Dev 频道上的使用渐变升级您的图形的视频中获得灵感，它帮助我实现了我想要的。

Lastly, I needed to create some foam in the river, and the video Water Foam (Unreal Engine Tutorial) helped me a lot.
最后，我需要在河流中创建一些泡沫，视频水泡沫（虚幻引擎教程） 对我帮助很大。

Of course, you can find a lot more that can help you in your journey, so please subscribe to Marpetak’s channel and check out his content.
当然，您可以在旅途中找到更多可以帮助您的内容，因此请订阅 Marpetak 的频道并查看他的内容。

I used some Vertex Color painting for the assets so I could blend them better with the environment and give them more stories as if they were so old that they started building moss inside the curves and around the edges.
我为资产使用了一些顶点颜色绘画，这样我可以将它们与环境更好地融合在一起，并赋予它们更多的故事，就好像它们太老了，以至于它们开始在曲线内和边缘周围形成苔藓。

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Now, to the effects I used for my scene. For the wind stripes, I found a beautiful tutorial that has some awesome wind stripes found on the Rimaye YouTube channel in the video Niagara: How to Create a Stylized Wind Effect with Leaves - UE4 tutorials [Gradient - Static Mesh]. This video has a complete guide from start to finish on how to create wind stripes accompanied by some falling leaves. The artist behind it really takes the time to explain things and really shows what each node or task does, which is really helpful if you're a beginner.
现在，到我用于场景的效果。对于风条纹，我在Rimaye YouTube 频道的视频Niagara: How to Create a Stylized Wind Effect with Leaves - UE4 tutorials [Gradient - Static Mesh]中找到了一个漂亮的教程，其中包含一些很棒的风条纹。该视频从头到尾都有完整的指南，介绍如何创建风条纹并伴有一些落叶。它背后的艺术家真的很花时间去解释事物，并且真实地展示了每个节点或任务的作用，如果你是一个初学者，这真的很有帮助。

The video is in French but has English subtitles, so you can follow along easily and later modify things as you like.
该视频是法语的，但有英文字幕，因此您可以轻松地跟随，然后根据需要进行修改。

For the falling leaves, I was inspired by the video made by a famous YouTube channel Dean Ashford, the video UE4 -Tutorial - Falling Leaves Particles has a very clear and straightforward explanation of how to create a falling leaves particle system, and he explains everything he does in detail.
对于落叶，我的灵感来自著名 YouTube 频道Dean Ashford制作的视频，视频UE4 -Tutorial - Falling Leaves Particles对如何创建落叶粒子系统有非常清晰和直接的解释，他解释了一切他做的很详细。

For the fireflies effect I did, I found a video on YouTube from gameDev Outpost that shows how to do the effect quite extensively. I had to tweak it a bit so that the fireflies only spawn above the river. To do that, I went to 3ds Max, added a shell modifier to my river asset, and then in the Niagara parameters, changed the spawn location from a box to a specific mesh which is the shelled river mesh.
对于我所做的萤火虫效果，我在 YouTube 上找到了来自gameDev Outpost的视频，该视频展示了如何非常广泛地制作效果。我不得不稍微调整一下，让萤火虫只在河面上产卵。为此，我使用了 3ds Max，为我的河流资源添加了一个壳修改器，然后在 Niagara 参数中，将生成位置从一个盒子更改为一个特定的网格，即带壳的河流网格。

For the water shader, an awesome artist Johannes Burström, whom you can find on YouTube, has a good video called Stylized water tutorial UE4 which can give you a really good base that you can use to create your water shader and you can add some details later as I did. I will show you a screenshot from my actual water shader so you can have an idea of how I did the middle foam that goes from the windmill to the camera.
对于水着色器，你可以在 YouTube 上找到一个很棒的艺术家Johannes Burström，他有一个很好的视频，叫做Stylized water tutorial UE4，它可以为你提供一个非常好的基础，你可以使用它来创建你的水着色器，你可以添加一些细节后来和我一样。我将向您展示我的实际水着色器的屏幕截图，以便您了解我是如何制作从风车到相机的中间泡沫的。

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For inspiration, I highly recommend checking out Georg Klein, Jasmin Habezai-Fekri, Silke Van Der Smissen, Jonatan Ersarp, Johannes Burström and Carlos Perfume. They create really awesome stylized art, and you can find their guides on 80.lv, which is really helpful.
为了获得灵感，我强烈建议您查看Georg Klein、Jasmin Habezai-Fekri、Silke Van Der Smissen、Jonatan Ersarp、Johannes Burström和Carlos Perfume。他们创造了非常棒的风格化艺术，你可以在 80.lv 上找到他们的指南，这真的很有帮助。

You need to check them out because it can be helpful to get an idea about lighting and composition, which are the hardest parts I faced while working on my scene.
您需要检查它们，因为它有助于了解照明和构图，这是我在处理场景时遇到的最困难的部分。

To really have a solid idea and teach myself about composition and lighting, I took a look at the YouTube channel and the tutorial made by one of the best lighting artists in the industry Karim Abou Shousha. I need to mention that the tutorial is in Arabic. He explains his way of thinking when he starts a scene, the way he approaches his compositions, and how he collects references from real life and various other places, like Pixar movies. It really helped me as a beginner in Unreal Engine and in lighting/composition to get a grip on how to approach my scene.
为了真正有一个扎实的想法并自学构图和灯光，我查看了YouTube 频道和由业内最好的灯光艺术家之一Karim Abou Shousha制作的教程。我需要提一下，该教程是用阿拉伯语编写的。他解释了他开始一个场景时的思维方式，他处理作品的方式，以及他如何从现实生活和其他各种地方收集参考资料，比如皮克斯电影。作为虚幻引擎和照明/构图的初学者，它确实帮助我掌握了如何处理我的场景。

It's essential to check out other people explaining their thought processes while making their scenes and especially the lighting section, so I recommend you to check the Stylized Station YouTube channel, where you will find a lot of people doing so. These two videos are one of the best you could find because they go in depth explaining how they did their scenes:
在制作场景，尤其是灯光部分时，请务必查看其他人解释他们的思维过程，因此我建议您查看 Stylized Station YouTube 频道，您会发现很多人都在这样做。这两个视频是你能找到的最好的视频之一，因为它们深入解释了他们是如何制作场景的：

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At the start, I wanted to create a morning scene, with a light/vibrant blue sky like most people do, but step by step with each time I added a new asset to the scene, the morning scene didn't satisfy me for some reason, and when I was struggling to fix the scene, my mentor and good friend Georg Klein suggested to make it a sunset one. The sunset gave the scene so much more depth and mystery, it complemented the scene and gave it a warm feeling that went hand in hand with the windmill and it gave me more room to manipulate the colors. But with new big decisions come new big challenges: how to create a stylized sunset in Unreal? To answer that, I will show you how to do it in the following screenshots:
一开始，我想创建一个早晨场景，像大多数人一样，拥有明亮/充满活力的蓝天，但是每次我向场景中添加新资产时，早上的场景并没有让我满意原因，当我在努力修复场景时，我的导师和好朋友Georg Klein建议将其制作为日落场景。夕阳给了场景更多的深度和神秘感，它与场景相得益彰，给它一种与风车齐头并进的温暖感觉，它给了我更多的空间来操纵颜色。但是随着新的重大决策而来的是新的重大挑战：如何在虚幻中创建风格化的日落？为了回答这个问题，我将在以下屏幕截图中向您展示如何做到这一点：

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First of all, I changed the skybox and then added stylized clouds, which I can control and rotate slowly. To do that, I took the base Unreal skybox with all its related assets (Materials, instances, etc.) and then started tweaking them. I created a new gradient for the sky going from yellow up to purple then created the stylized clouds (mclelun's’s video Photoshop Cloud Painting is a good reference) and then I modified the basic Unreal sky material and changed the clouds.
首先，我改变了天空盒，然后添加了风格化的云，我可以控制和缓慢旋转。为此，我使用了基础虚幻天空盒及其所有相关资产（材质、实例等），然后开始调整它们。我为天空创建了一个从黄色到紫色的新渐变，然后创建了风格化的云彩（mclelun 的视频 Photoshop Cloud Painting 是一个很好的参考），然后我修改了基本的虚幻天空材质并更改了云彩。

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Lighting
灯光
When I started working on the project, I went with static light mode then when I added the fans for the windmill and animated them in sequencer, I noticed that the shadows didn't show up since they are moving objects, so I went with the stationary light mode for the scene and later decided to go with full moveable light mode because I found that it yields some decent results and it was a faster working process.
当我开始做这个项目时，我使用了静态光模式，然后当我为风车添加风扇并在音序器中为它们设置动画时，我注意到阴影没有出现，因为它们是移动的物体，所以我选择了场景的固定光模式，后来决定使用完全可移动的光模式，因为我发现它产生了一些不错的结果，而且它是一个更快的工作过程。

I reduced the shadows' intensity since it's a stylized scene and strong shadows just hid a lot of details and made it feel a bit darker and depressing. I changed the light's color to orange so it matched the sky color and made the scene a bit more vibrant.
我降低了阴影的强度，因为它是一个风格化的场景，而强烈的阴影只是隐藏了很多细节，让它感觉有点暗和令人沮丧。我将灯光的颜色更改为橙​​色，使其与天空颜色相匹配，并使场景更加生动。

For the skylight, I went with a sunset HDRI with blue and purple so I could replicate the sunset lighting and give the whole scene some blue/purple colors to add some better color harmony.
对于天窗，我使用了带有蓝色和紫色的日落 HDRI，这样我就可以复制日落照明，并为整个场景添加一些蓝色/紫色，以增加更好的色彩和谐度。

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I highly recommend using the fog cards that you can find in the Blueprints lesson provided by Unreal (in the Epic Games Launcher). These assets are just beyond helpful. The Fog Cards blueprint helped me add fog to specific areas.
我强烈推荐使用虚幻提供的蓝图课程中的雾卡（在 Epic Games Launcher 中）。这些资产无济于事。雾卡蓝图帮助我将雾添加到特定区域。

I modified my own so that when the camera gets close to a fog card, it fades away and they all have an animated material, so the fog effect moves a bit to give them more life. I added a lot of them in my scene so I could blend the colors and assets together in the foreground.
我修改了我自己的，这样当相机靠近雾卡时，它会逐渐消失，并且它们都有动画材质，所以雾效果会移动一点，以赋予它们更多的生命。我在我的场景中添加了很多，这样我就可以在前景中将颜色和资产混合在一起。

I blocked the viewer's eye with some fog cards on the assets I didn't want them to focus on to try and direct their vision towards the windmill. Then I added Exponential Height Fog in my scene to fade the background, giving the scene more depth.
我在我不想让他们集中注意力的资产上用一些雾卡挡住了观众的眼睛，试图将他们的视线引向风车。然后我在我的场景中添加了指数高度雾来淡化背景，让场景更有深度。

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The Camera
相机
For the camera, I created a basic Cinema Camera Actor which I animated in the Sequencer, and it was a straightforward movement toward the center of the scene.
对于摄影机，我创建了一个基本的 Cinema Camera Actor，我在 Sequencer 中制作了动画，它是朝着场景中心的直接移动。

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Conclusion
结论
This is the second project I did in Unreal Engine. It was quite difficult to get into it at first as it was so overwhelming and I didn't have a lot of fun, but step by step, once I started building things up and noticed that there was potential in the project, I just couldn't stop working on it or thinking about it.
这是我在虚幻引擎中做的第二个项目。一开始很难进入它，因为它太压倒了，我没有很多乐趣，但是一步一步地，一旦我开始构建东西并注意到这个项目有潜力，我就无法不要停止工作或思考它。

I spent most of my time learning Unreal Engine and trying to understand how to make proper lighting for my scene.
我大部分时间都在学习虚幻引擎，并试图了解如何为我的场景制作适当的照明。

Getting feedback from other artists helped me a lot, even though sometimes it was a bit frustrating when I had to redo models or textures, but that helped me progress and I'm really proud of the end result.
从其他艺术家那里获得反馈对我帮助很大，尽管有时当我不得不重做模型或纹理时有点令人沮丧，但这帮助我取得了进步，我为最终结果感到非常自豪。

My best advice for fellow artists is to:
我对其他艺术家的最佳建议是：

1.Properly finish your concept before starting to build things in Unreal. Creating an original concept is fun, but I highly recommend you to do extensive research on references and get some feedback on the concept you make so you can be sure that once it gets into Unreal, you won't waste your time fixing its issues and getting frustrated and redoing things from the start.
1.在开始在 Unreal 中构建事物之前正确完成您的概念。创建一个原创概念很有趣，但我强烈建议您对参考资料进行广泛研究，并就您所做的概念获得一些反馈，这样您就可以确定一旦它进入虚幻引擎，您就不会浪费时间修复它的问题和从一开始就感到沮丧和重做事情。

2.The blocking phase in Unreal is really important. Please don't ignore it. Just take your time, create some simple geometry to block out your shapes and lights so it can help you better imagine your scene and rapidly start adding details later in the process.
2.虚幻中的阻塞阶段非常重要。请不要忽视它。慢慢来，创建一些简单的几何图形来遮挡您的形状和灯光，这样它就可以帮助您更好地想象您的场景并在此过程的后期快速开始添加细节。

3.Feedback: join Unreal or stylized art discords and don't hesitate to show what you're doing even if it's just an idea or a simple blocking in Unreal. People will get to know your project and help you throughout its process. So don't be shy, trust me. Having a fresh set of eyes on your project can help you improve the scene and boost your skills.
3.反馈：加入虚幻或风格化的艺术不和谐，毫不犹豫地展示你在做什么，即使这只是虚幻中的一个想法或一个简单的障碍。人们将了解您的项目并在整个过程中为您提供帮助。所以不要害羞，相信我。对您的项目有新的认识可以帮助您改善场景并提高您的技能。

I take this moment to thank my mentor and awesome friend Georg Klein who I met during this project. He gave me a lot of feedback, answered all my questions, and helped me every step of the way.
我借此机会感谢我在这个项目中遇到的导师和很棒的朋友Georg Klein 。他给了我很多反馈，回答了我所有的问题，并帮助了我的每一步。

I also thank my Mom, Iyadh Touzri, Lina Touzri, and all my friends for their support and for keeping me focused during this awesome journey.
我还要感谢我的妈妈 Iyadh Touzri、Lina Touzri 和我所有的朋友，感谢他们的支持，让我在这段美妙的旅程中保持专注。

And this is the end, thank you all for reading this article, I hope you find something useful that can help you in your future awesome projects. If you have any questions, please feel free to message me on ArtStation, don't be shy.
到此结束，感谢大家阅读这篇文章，我希望你能找到一些有用的东西，可以在你未来的精彩项目中帮助你。如果您有任何问题，请随时在ArtStation上给我留言，不要害羞。

Lastly, a huge thank you to the 80.lv team for reaching out to me and giving me the opportunity to talk about my project. Peace!
最后，非常感谢 80.lv 团队与我联系并让我有机会谈论我的项目。和平！