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本帖最后由 七月纪旅。 于 2022-8-9 14:17 编辑
Introduction
Hey everyone! My name is Nina. I’m an Associate Technical Artist at DR studios also working with the environment team on an unannounced title. I finished my bachelor's in 2021, and I will have been working in the industry for a year this upcoming May. I like making colorful living work, especially in combination with my second passion – fish!
介绍
大家好！我的名字是妮娜。我是DR工作室的副技术艺术家，还与环境团队合作制作了一个未宣布的标题。我在2021年完成了我的学士学位，今年五月我将在这个行业工作一年。我喜欢制作丰富多彩的生活作品，特别是与我的第二个激情 - 鱼相结合！
The Koi Pond Project
The Koi Pond came about from the need to make art. My anxiety flared up badly again during January, I found that making something peaceful brought me the needed distraction and peace. I haven’t explored many freshwater fish in my art yet, so I thought a pond was a perfect place to start. I used a loose reference image from Aquascape for the composition. The main aims of this project were to push my environment skills, learn better foliage, and explore more shader techniques. Mainly, I just wanted to have fun and make something pretty.
锦鲤池塘项目
锦鲤池塘源于艺术创作的需要。在一月份，我的焦虑再次严重爆发，我发现做一些和平的事情会给我带来必要的分心和平静。我还没有在我的艺术中探索过很多淡水鱼，所以我认为池塘是一个完美的起点。我使用了Aquascape的松散参考图像来构图。这个项目的主要目的是提高我的环境技能，学习更好的树叶，并探索更多的着色器技术。主要是，我只是想玩得开心，做一些漂亮的东西。
The Bridge
The bulk of the scene was rocks, foliage, and a large bridge. The bridge started off as 3 boxes put together with two separate material IDs (base and planks). Once I had the blueprint spline working (there are a few simple tutorials on it, so I won't go into detail,) I tested the offset texture. It’s based on each plank position, meaning each one will tile randomly to create a new wood grain pattern every single time, and they will move slightly to the left or right using WPO. In addition, it’s also giving them a random color, brighter or lighter to break up the bridge more.
大桥
场景的大部分是岩石，树叶和一座大桥。这座桥最初是3个盒子，用两个独立的材料ID（底座和木板）放在一起。一旦我让蓝图样条工作（有一些简单的教程，所以我不会详细介绍），我测试了偏移纹理。它基于每个木板位置，这意味着每个板块每次都会随机平铺以创建新的木纹图案，并且它们将使用WPO稍微向左或向右移动。此外，它还给了他们一个随机的颜色，更亮或更亮，以打破桥梁更多。
The wood grain was created in Substance 3D Designer. Once finished, I simply dragged out the spline to create my curved spline bridge and added some moss/dirt decals to further break it up.
木纹是在Substance 3D Designer中创建的。完成后，我只需拖出花键即可创建弯曲的花键桥，并添加一些苔藓/泥土贴花以进一步分解它。
The Fish
The fish were low poly I created in 3ds Max. I created a custom scale texture in Substance 3D Designer and I applied it to the fish in Substance 3D Painter, using anchor points to control their position and scale. After positioning, I handpainted the rest of the fish details directly with some transparency on the fin edges. I used Masked and DitherTemporalAA in the shader for the fins to save on performance.
鱼
这些鱼是我在3ds Max中创建的低聚。我在 Substance 3D Designer 中创建了一个自定义比例纹理，并将其应用于 Substance 3D Painter 中的鱼，使用锚点来控制它们的位置和比例。定位后，我直接手绘了其余的鱼细节，鳍边缘有一些透明度。我在着色器中使用了遮罩和抖动时间AA，以节省鳍片的性能。
As for the shader, I developed it over the years from various fish attempts. It simply pans across the mesh in a sine wave, with a random wiggle timing based on particle instance. In addition, I have a random color (yellow, red, and white) also based on random particle instances.
至于着色器，多年来我从各种鱼类尝试中开发了它。它只是在正弦波中平移网格，并根据粒子实例进行随机摆动计时。此外，我还有一个随机颜色（黄色，红色和白色），也是基于随机粒子实例。
Finally, I added these fish to the Niagara particle, using gravity to make them go in one direction, added some Curl noise, and locked them to the Z-axis.
最后，我把这些鱼添加到尼亚加拉粒子中，利用重力让它们朝一个方向移动，添加一些卷曲噪声，并将它们锁定在Z轴上。
The Water
I’ve done a few iterations of water, but this was my first time using Single Layer Water, which allows you to create transparent water that is actually opaque and add more effects to it, like caustics and depth through the custom outputs.
水
我已经对水进行了几次迭代，但这是我第一次使用单层水，它允许您创建实际上不透明的透明水，并为其添加更多效果，例如通过自定义输出的焦散和深度。
The basis is quite simple, just Normal maps panned together. On top of that, I added a Flow map to break up the repetition and a fake sky reflection to add some blue shades and clouds. There is also a bit of foam that floats by, more visible in the waterfalls, and of course, a bit of refraction. The edges around rocks are also highlighted using Scene Depth Without Water to get the same effect as in DepthFade but working on opaque material.
基础很简单，只是法线贴图平移在一起。最重要的是，我添加了一个Flow地图来打破重复，并添加了一个假的天空反射来添加一些蓝色阴影和云彩。还有一点泡沫漂浮在一起，在瀑布中更明显，当然还有一点折射。岩石周围的边缘也会使用“无水场景深度”进行加亮，以获得与“深度淡入淡出”中相同的效果，但适用于不透明材质。
I also added some multi-colored caustics by simply dragging out the color channels in Photoshop and using that texture panning both ways in the ColourScaleBehindWater output. As the rock floor is quite detailed already and the water Normals are pretty strong, I wasn't too concerned about how simple this caustic was.
我还添加了一些多色焦散，只需在 Photoshop 中拖出颜色通道，然后在 ColorScaleBehindWater 输出中双向使用该纹理平移。由于岩石底已经非常详细，水的法线非常强烈，我并不太担心这种腐蚀性物质有多简单。
The waterfall FX was created using Niagara. The waterfall splash is a panning sine half-cylinder mesh with the UVs moving down vertically. Not sure how many people noticed, but I also added a small flickering rainbow here!
瀑布FX是使用Niagara创建的。瀑布飞溅是一个平移正弦半圆柱网格，UV垂直向下移动。不知道有多少人注意到了，但我也在这里加了一道小小的闪烁的彩虹！
The Rocks & Vegetation
I initially started with a set of rocks for the scene, building out the main shape. The rocks all have world position shaders on them meaning I could make them any shape I liked, and they’d still have the texture wrapped correctly from top to bottom. Like the bridge, they also have a random color but are based on a random instance to work with the foliage system. I also added a global wetness line based on the same idea as the color in my Kelp Forest project. It adds a shine to the rocks making them look wet and dark closer to the water. Lastly, they have a bit of moss added in the intersections, which is created using distance fields.
岩石与植被
我最初从场景的一组岩石开始，构建出主要形状。这些岩石上都有世界位置着色器，这意味着我可以让它们成为我喜欢的任何形状，并且它们仍然可以从上到下正确包裹纹理。像桥梁一样，它们也具有随机颜色，但基于随机实例以与树叶系统配合使用。我还根据与海带森林项目中的颜色相同的想法添加了一个全局湿度线。它为岩石增添了光泽，使它们在靠近水的地方看起来又湿又黑。最后，他们在交叉点添加了一些苔藓，这是使用距离字段创建的。
I created all the foliage inside 3ds Max and baked it all down in Substance 3D Painter onto a single sheet, colored them, then repositioned the planes into shrubs/flowers back in 3ds Max.
我在3ds Max中创建了所有树叶，并将其全部烘焙到Substance 3D Painter中，将其烤到一张纸上，对它们进行着色，然后在3ds Max中将平面重新定位为灌木/花朵。
Final Renders
The final setup was just a lot of tweaking and little things added. One was creating the light shafts, which is actually the exact same way I made the caustics, even the same texture. It’s a light function shader applied to a point light that creates some nice movement.
最终渲染
最终的设置只是大量的调整和添加的小东西。一个是创建光轴，这实际上与我制作焦散的方式完全相同，甚至是相同的纹理。它是一个应用于点光源的光照函数着色器，可创建一些漂亮的运动。
Post-processing effects were added: some depth of field, bloom, color tweaks, AO, and lens flares.
Things like the plants, water, and fish were tweaked a few times, and I asked for feedback from some friends to help see things I missed. The scene was very dark and orange before, and the rocks were too low poly, they all went through a polishing process. It’s good to not rush and give yourself some time to fix little pieces. I ended up with a 26-line list that I just worked on over a weekend.
添加了后期处理效果：一些景深、绽放、颜色调整、AO 和镜头眩光。
像植物，水和鱼这样的东西被调整了几次，我要求一些朋友提供反馈，以帮助看到我错过的东西。之前的场景非常黑暗和橙色，岩石太低的聚，它们都经过了抛光过程。最好不要急于求成，给自己一些时间来修复小块。我最终得到了一个26行的清单，我刚刚在一个周末工作过。
The very last thing I added was the little butterflies. It’s a texture I photographed at a local museum and made a little WPO animation of, then stuck them into Niagara to make them fly around. I also placed a few butterflies chilling on rocks and lily pads.
我添加的最后一件事是小蝴蝶。这是我在当地博物馆拍摄的纹理，并制作了一个小的WPO动画，然后将它们插入尼亚加拉，让它们飞来飞去。我还在岩石和睡莲垫上放了几只蝴蝶。
Conclusion
In total, this project took me about 1.5 months, but I only worked on it on weekends. It was small enough that I could take time off if I wasn’t feeling well and still hit the deadline I set myself: I started in January and I wanted to finish it by the end of March.
结论
总的来说，这个项目花了我大约1.5个月的时间，但我只在周末工作。它足够小，如果我感觉不舒服，我仍然赶上我为自己设定的最后期限，我可以抽出时间：我从一月份开始，我想在三月底之前完成它。
As this was very much a comfort piece, most of the shader work was quite simple. I think the bigger challenges came from getting the environment to look right and realistic. In my previous pieces, I’ve gone down quite a stylized route, so adding that extra layer of detail really brought this one to life and made the art very fun to work on. Nothing was difficult, it was just time-consuming to push myself a bit further than before. I try to improve on every single piece, even if just incrementally.
由于这是一件非常舒适的作品，因此大多数着色器工作都非常简单。我认为更大的挑战来自让环境看起来正确和现实。在我之前的作品中，我走了一条风格化的路线，所以添加额外的细节层确实使这一层栩栩如生，并使艺术非常有趣。没有什么困难，只是把自己推得比以前更远一点很耗时。我试图改进每一件作品，即使只是渐进式的。
The biggest advice I can give to younger artists is to keep your project small to not overwork yourself. This allowed me time to polish and improve my work. I would also say try to make something that hasn’t been done before, in your own style. It’s good to learn what others have done, but having your own voice in your art will make it stand out from the rest. Even if you don't like what it looks like now, if you repeat it and keep practicing, you'll learn quicker than you think.
我能给年轻艺术家的最大建议是保持你的项目很小，以免自己过度劳累。这使我有时间完善和改进我的工作。我还想说，试着用你自己的风格做一些以前没有做过的事情。了解别人做了什么是件好事，但是在你的艺术中拥有自己的声音会让它脱颖而出。即使你不喜欢它现在的样子，如果你重复它并继续练习，你会学得比你想象的要快。
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