Introduction
Hello, my name is Hossein Mohaghegh 22 years old and I am a 3d Environment Artist from Tehran, Iran. I started making Environment Art about 3 years ago. I always get excited to see lights, colors and composition, etc.
So Environment Art was the best choice for me in this industry because I can use every aspect of the art spectrum in unlimited ways and themes in my projects.
介绍
你好，我的名字是侯赛因·莫哈盖（Hossein Mohaghegh），22岁，我是来自伊朗德黑兰的3D环境艺术家。大约3年前，我开始制作环境艺术。我总是很高兴看到灯光，颜色和构图等，
所以环境艺术是我在这个行业的最佳选择，因为我可以在我的项目中以无限的方式和主题使用艺术光谱的各个方面。

Project & Goals

This year I had the chance to join  3D Environment mentorship class, Ehsan is a Senior Environment Artist at Arkane Austin. The goal of this project was to apply everything I learned through this class to my final project. I had to choose a concept to challenge me in every aspect of the environment pipeline like trim sheets, tile materials, mesh trims, etc.
项目与目标

今年，我有机会加入https://www.artstation.com/neo_eb3D环境指导班，Ehsan是Arkane Austin的高级环境艺术家。这个项目的目标是将我从这门课学到的一切应用到我的最终项目中。我必须选择一个概念，在环境管道的各个方面挑战我，如装饰板，瓷砖材料，网格装饰等。

Refrences & Inspiration

At the beginning of my course, I decided to choose  concept because of the colors and the lighting me make excited to transfer it to the 3D world.
折射与灵感

在我的课程开始时，我决定选择https://www.artstation.com/mvn78概念，因为颜色和照明让我兴奋地将其转移到3D世界。



I decided to start the project with fewer reference and keep it simple as possible because I had everything I wanted from the concept so I don’t want to fill my pureref with nonsense references.
我决定以更少的引用开始这个项目，并尽可能保持简单，因为我从这个概念中得到了我想要的一切，所以我不想用无意义的引用来填充我的pureref。

Blockout

As we know the grey box is the foundation of the environment so we should build it carefully and accurately as possible. and grey box pipeline is dependent on the project we work on. some projects require much more detail and some projects need a very rough and simple grey box. at this point, I decided to add more details to my grey box.

If we look at the concept we see aggressive and tall buildings and this was my main challenge in this project to transfer this feeling to the 3D world. And for measurement, I used a character to get a good sense of scale in my environment and of course, I used centimeters units for my grey box.
封锁

众所周知，灰色盒子是环境的基础，因此我们应该尽可能仔细准确地构建它。灰盒管道取决于我们从事的项目。有些项目需要更多的细节，有些项目需要一个非常粗糙和简单的灰色框。在这一点上，我决定在我的灰色框中添加更多细节。

如果我们看一下这个概念，我们会看到激进和高大的建筑，这是我在这个项目中将这种感觉转移到3D世界中的主要挑战。为了进行测量，我使用一个字符在我的环境中获得良好的比例感，当然，我用厘米为单位来制作我的灰色盒子。

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Modeling Workflow

I used Maya to create my meshes. The pipeline is different in every project for example in open-world games we use modular assets but in this project, I decided to create every building with fewer modular assets to get a unique feeling.
建模工作流程

我使用 Maya 来创建我的网格。每个项目中的管道都是不同的，例如在开放世界游戏中，我们使用模块化资源，但在这个项目中，我决定用更少的模块化资源创建每个建筑，以获得独特的感觉。

Mesh Trims

For this project, I had to create two mesh trims for my woods. one of them for wood planks and pillars and the other one for wooden windows.

Below we have:

Windows Mesh Trims (Sculpted and Textured) & Wood Trims(Sculpted and Textured) (Sculpted and Textured).
网眼饰边

对于这个项目，我必须为我的树林创建两个网格装饰。其中一个用于木板和柱子，另一个用于木窗。

下面我们有：

Windows Mesh Trims （Sculpted and Textured） & Wood Trims （Sculpted and Textured） （Sculpted and Textured）。

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Using Mesh Trims

After I finished my mesh trims I had to use them to create my windows. I enabled preserve UV to create the scale I want.
使用网格修剪

在我完成网格修剪后，我不得不使用它们来创建我的窗户。我启用了保留 UV 以创建我想要的比例。

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And after that, I created my windows with the mirror method in Maya.
之后，我用Maya中的镜像方法创建了我的窗口。

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Snow Placement

If we look at the concept we will see how snow impacted the environment and give the vibe to viewers so I decided to create external meshes for snow and use it on the buildings. For the ground and landscape, I used this technique to fill my ground with snow.
雪地放置

如果我们看一下这个概念，我们会看到雪如何影响环境，并为观众带来氛围，所以我决定为雪创建外部网格并将其用于建筑物。对于地面和景观，我用这种技术用雪填满我的地面。

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Shader and Material

At the start of the project, I wanted to create a material that combine two materials with a height mask so I can use it in every building in the scene and after a couple of tests, I got what I needed for the surfaces. I used the HeightLerp node to combine my base colors with each other then I repeated this action for ORM and Normal maps
着色器和材质

在项目开始时，我想创建一种将两种材质与高度遮罩相结合的材料，这样我就可以在场景中的每个建筑物中使用它，经过几次测试，我得到了表面所需的材料。我使用 HeightLerp 节点将我的基色相互组合，然后对 ORM 和法线贴图重复此操作

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Dirt

After the first step, I realized my building needs some depths in texture like dirt to give a better feeling so I upgraded my material to take Ao Texture ( Baked at the second UV channel ) and then multiply it with a noise texture to get a realistic result.
污垢

在第一步之后，我意识到我的建筑需要像泥土一样在纹理上有一些深度才能提供更好的感觉，所以我升级了我的材质，以采用Ao Texture（在第二个UV通道烘烤），然后用噪声纹理乘以它以获得逼真的结果。

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Color Variation

For color variation, I used the mask I got for the blending process and used it as an alpha in the lerp node so I got the power to change the background and foreground color.
颜色变化

对于颜色变化，我使用我在混合过程中获得的蒙版，并将其用作lerp节点中的alpha，因此我能够更改背景和前景色。

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Windows Color

For the windows, I used roughness texture as an emissive mask to get the surface details.
窗户颜色

对于窗口，我使用粗糙纹理作为发射蒙版来获得表面细节。

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Lighting

So we reached the point I had a very hard time achieving what I need for lighting. if you look at the concept you will see the concept cut into two pieces between warm and cool colors so smoothly. the blend of warm and cool colors was really important to me and I need that value in my color to achieve semi stylized look I was looking for in it.
照明

因此，我们达到了我很难实现照明需求的地步。如果你看看这个概念，你会看到这个概念在暖色和冷色之间切割成两部分，如此平滑。暖色和冷色的混合对我来说非常重要，我需要在我的颜色中具有这种价值，以实现我一直在寻找的半风格化外观。

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For the technical side, I used a combination of a spotlight and direction light to achieve the warm colors.
对于技术方面，我使用了聚光灯和方向灯的组合来实现暖色。

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Sky

For the sky, I used the old-school method. I used a sphere mesh with HDRI texture to get a sky that fit the concept.
天空

对于天空，我使用了老式的方法。我使用具有 HDRI 纹理的球体网格来获得符合该概念的天空。

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Conclusion

Creating a 3D Environment is tough and it can be frustrating in long projects so getting feedback and showing the project to fresh eyes can be helpful to avoid pitfalls and get really good results in a short time.
结论

创建3D环境很困难，在长期项目中可能会令人沮丧，因此获得反馈并将项目展示给新的眼睛可以帮助避免陷阱并在短时间内获得非常好的结果。

Thanks to GamesArtist and thank you for reading this article, I hope this article is useful for any Environmental Artist in this industry.
感谢GamesArtist，感谢您阅读本文，我希望本文对这个行业的任何环境艺术家都有用。

学到！