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Introduction
Hello! My name is Brandon Ray and I am a Stylized 3D environment artist. I’m currently at LCAD and I love the hand-painted style.
I’m really happy to share my process with this piece and I would like to thank the people at Game Artist for letting me do so.
介绍
你好！我的名字是Brandon Ray，我是一名程式化的3D环境艺术家。我目前在LCAD，我喜欢手绘风格。
我真的很高兴分享我对这篇文章的过程，我要感谢Game Artist的人让我这样做。
Software
1. Maya
2. 3D Coat
3. Adobe Photoshop
4. Marmoset
软件
1. 玛雅
2.3D外套
3.Adobe Photoshop
4.狨猴
Reference & Inspiration
For this project, I wanted to tackle a bigger scene than my previous one and delve into a more fantastical feeling. I found the work of , and absolutely loved their piece.
From there I started breaking down the concept into smaller pieces to make painting the house and scene a bit easier. Stylistically I was very inspired by the Riots TFT, Ruined King and Blizzard’s WOW. I wanted to make this feel like It could fit in a side scroller or an RPG game.
参考和灵感
对于这个项目，我想处理一个比我之前的场景更大的场景，并深入研究一种更奇幻的感觉。我找到了Vsevolod Slavutych的作品，并且绝对喜欢他们的Adventure Inn作品。
从那时起，我开始将概念分解成更小的部分，以使绘制房屋和场景变得更加容易。在风格上，我非常受到Riots TFT，Ruined King和Blizzard的WOW的启发。我想让它感觉像可以放在侧面滚动条或RPG游戏中。
Blockout & Modelling
I start blocking in the major proportions and trying to get the overall shape to match the concept. After getting a majority of the scene modeled out I start cutting and adding edge loops to rough in some secondary shapes; however, I wait to add the secondary shapes until I have a color block out of the texture in the scene.
Blockout & Modelling
我开始在主要比例上阻挡，并试图让整体形状与概念相匹配。在对大部分场景进行建模后，我开始切割并添加边缘环以一些次要形状的粗糙;但是，我等待添加次要形状，直到我在场景中的纹理中具有颜色块。
UVing
For this project I wanted to make sure that everything had the same texel density, so I divided the scene into separate sections and into four different textures. Some areas have less texture density than others, but I tried to give more texture space for the focal points of the piece.
This method feels very natural since it’s all unique textures, but that comes at a sacrifice as it isn’t built from a modular kit found in most “game-ready” scenes.
电动
对于这个项目，我想确保所有内容都具有相同的纹理密度，因此我将场景划分为单独的部分和四个不同的纹理。有些区域的纹理密度比其他区域要低，但我试图为作品的焦点提供更多的纹理空间。
这种方法感觉非常自然，因为它都是独特的纹理，但这是有牺牲的，因为它不是由大多数“游戏就绪”场景中的模块化工具包构建的。
Painting Process
I do a majority of my early production painting in 3D Coat. I’ve tried using Substance Painter for hand-painted textures, but, in my opinion, the color-picking system feels a bit clunky at the moment.
涂装工艺
我大部分的早期制作绘画都是用3D外套完成的。我尝试过使用Substance Painter进行手绘纹理，但是，在我看来，颜色选择系统目前感觉有点笨拙。
I start off blocking the base colors on everything within the scene. These would act as my flat colors before adding light or shadow. Before blocking in the shadows, I try to decide on a lighting angle for the scene.
我开始在场景中的所有内容上阻挡基色。这些将在添加光或阴影之前充当我的平面颜色。在阴影中遮挡之前，我尝试确定场景的照明角度。
Without a consistent lighting angle, it can become tough and confusing to paint the rest of your scene. Once I had my lighting angle decided, I created a new multiply layer and started to block in my shadow values.
I usually use a dark saturated blue on top of my colors. Later in the process, I had to darken my shadows because I felt that the scene as a whole, felt a bit flat. I also add in a soft light or overlay layer to paint in a light value.
I try to keep the light layer subtle to not make the scene feel blown out. I also add a multiply layer for AO to solidify the objects in the scene and add to the believability of the lighting.
如果没有一致的照明角度，绘制场景的其余部分可能会变得困难和混乱。确定光照角度后，我创建了一个新的乘法图层，并开始阻挡阴影值。
我通常在颜色上使用深饱和的蓝色。在这个过程的后期，我不得不使我的阴影变暗，因为我觉得整个场景感觉有点平坦。我还添加了柔和的光线或叠加层来绘制光照值。
我试图保持光线层的微妙，以免让场景感觉被吹走了。我还为AO添加了一个乘法层，以固化场景中的对象并增加照明的可信度。
For environments, I generally want to clamp my values between 80% white and 20% black. This gives the scene the right exposure and I’m given more room in the mid-range values to add more subtle details.
对于环境，我通常希望将值固定在 80% 的白色和 20% 的黑色之间。这为场景提供了正确的曝光度，并且在中档值中为我提供了更多的空间来添加更微妙的细节。
During the first pass, I paint the basic colors, lighting and textures on everything in my scene – then I take a couple of screenshots of my scene. I take these screenshots and paint over one of them for around 20 to 30 minutes to add any changes that I would like to make to the scene.
在第一遍中，我在场景中的所有内容上绘制基本颜色，照明和纹理 - 然后我拍摄了几个场景的屏幕截图。我拍摄了这些屏幕截图，并在其中一个屏幕截图上绘制了大约20到30分钟，以添加我想对场景进行的任何更改。
Doing a paint-over of your project is an easy way to create drastic changes with no real consequences to your scene.
对项目进行绘制是创建剧烈更改的简单方法，不会对场景产生实际影响。
While doing paint overs I also make sure that my values are where I want them to be. In this scene, I gave the house a larger range of value than the background, reserving highlights and higher ranges of value for focal points like the eye.
After painting for a while I would go back into my Maya Scene and start cutting in more shapes on my painted meshes to give them more of an interesting silhouette. While you are doing this make sure that you have Preserve UVs on.
在做油漆时，我还确保我的价值观是我想要的。在这个场景中，我给了房子比背景更大的价值范围，为眼睛等焦点保留了高光和更高的价值范围。
画了一会儿后，我会回到我的玛雅场景，开始在我画的网格上切割成更多的形状，给它们一个更有趣的轮廓。执行此操作时，请确保已打开“保留 UV”。
Paint-over example below:
下面的画图示例：
Color and Material
As I’m painting my scene, I’m thinking about the material I’m painting on each part- what kind of color and specularity does it have in the context of the scene. I follow a general guideline of if the shadows are generally cooler then I make my cooler colors will also be darker in value.
If it’s in the light, then I go towards a warmer color and a lighter value. This helps the object feel grounded and solid. A great resource for painting tips is and Scott Robertson’s book, How To Render.
颜色和材质
当我画我的场景时，我在想我在每个部分上画的材料 - 它在场景的背景下具有什么样的颜色和镜面反射。我遵循一个一般准则，如果阴影通常较冷，那么我使较冷的颜色也会更暗。
如果它在光线下，那么我会走向更温暖的颜色和更轻的值。这有助于物体感觉接地和坚固。绘画技巧的一个很好的资源是https://gurneyjourney.blogspot.com/2013/03/highlights-and-specularity-part-1.html和Scott Robertson的书《How To Render》。
Plants
A good tip for making plants in a 3D scene is to keep the contrast very low – otherwise, they might feel too noisy when the meshes are all in a group. Gradients can get you pretty far. With the grass in this scene.
植物
在3D场景中制作植物的一个很好的技巧是保持非常低的对比度 - 否则，当网格全部在一个组中时，它们可能会感到太吵。渐变可以让你走得很远。在这个场景中有草。
I tried keeping each shape pretty unique. I did a paint-over of a screenshot to decide where I wanted the grass, and I put those grass blade shapes onto an alpha sheet, but in this case, I thought making more unique grass shapes would help the scene feel more alive.
I also use the grass blade alpha cards to cover up any sharp edges that rocks were creating.
我试图保持每个形状都非常独特。我做了一个截图的上图，以决定我想要草的位置，我把这些草叶形状放在一个alpha片上，但在这种情况下，我认为制作更独特的草形状会帮助场景感觉更有活力。
我还使用草叶阿尔法卡来掩盖岩石正在创造的任何锋利边缘。
3D Coat Tips
Painting in a 3D coat is great for getting all of your base shapes into your texture but it can be a bit hard to paint in those details. We can paint in those details on the raw texture sheet using, Edit All Layers in Ext. Editor.
You can also use the Edit Projections in Ext. Editor to see more context in the scene while you’re painting. It feels a bit more natural to paint in this way. You can also bake some textures like Occlusion or Curvature to use as a good base for props and small environment pieces.
3D外套头
在3D外套中绘画非常适合将所有基本形状融入纹理中，但是在这些细节中绘画可能有点困难。我们可以在原始纹理页面上绘制这些细节，方法是在Ext. Editor中编辑所有图层。
您还可以使用“在 Ext. 编辑器中编辑投影”在绘画时查看场景中的更多上下文。以这种方式绘画感觉更自然。您还可以烘焙一些纹理，如遮挡或曲率，以用作道具和小环境件的良好基础。
Conclusion
I’d like to thank the people at GamesArtist for letting me talk about my process and sharing my work with the community. If there are any questions about my process please feel free to contact me!
I’d also like to thank my mentor Phillip Zhang, my friends and the students of LCAD for giving their critique and their encouragement when I was creating this piece.
Thank you for reading, I hope you found something useful in this article!
You can find me on: , .
结论
我要感谢GamesArtist的人让我谈论我的流程，并与社区分享我的工作。如果我的流程有任何疑问，请随时与我联系！
我还要感谢我的导师Phillip Zhang，我的朋友和LCAD的学生，他们在我创作这件作品时给予了他们的批评和鼓励。
感谢您的阅读，我希望您在本文中找到一些有用的东西！
你可以在：https://www.artstation.com/brandon-ray，https://www.linkedin.com/in/brandon-ray-36228a192/上找到我。
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