Introduction
Hi! My name is Bradley Siegert, I’m a 3D Artist from Canberra, Australia. Art has always been a part of my life and from early on I was sketching characters and worlds from my favorite games and movies.
I first discovered 3D art after playing The Last Of Us and being in awe of the insanely detailed world the team at Naughty Dog had created.

Since then I have studied at the Academy of Interactive Entertainment and I have been steadily building up my skills and portfolio to land my first job in the industry.
介绍
你好！我的名字是Bradley Siegert，我是来自澳大利亚堪培拉的3D艺术家。艺术一直是我生活的一部分，从早期开始，我就从我最喜欢的游戏和电影中勾勒出角色和世界。
我第一次发现3D艺术是在玩完《最后生还者》之后，我对Naughty Dog的团队创造的疯狂细节世界感到敬畏。

从那时起，我一直在互动娱乐学院学习，我一直在稳步建立自己的技能和投资组合，以找到我在该行业的第一份工作。

更多精彩图片 请登录

更多精彩图片 请登录

Inspiration and Goals

My main inspiration came while playing Elden Ring and God of War. I fell in love with the sculpted fantasy art that I saw in their worlds, especially the sculpted rocks and fantasy architecture. This motivated me to create a ZBrush heavy environment in UE5 with the goal of furthering my skills and familiarizing myself with the new engine.

When gathering references I collected screenshots from Elden Ring, God of War and the Demon Souls Remake and looked at the breakdowns of other artists who worked on these titles. The final design is a result of combining the direct inspiration artworks with various elements from other references.
灵感和目标

我的主要灵感来自扮演Elden Ring和God of War的时候。我爱上了我在他们的世界里看到的雕刻的幻想艺术，尤其是雕刻的岩石和幻想建筑。这促使我在UE5中创建一个ZBrush繁重的环境，目的是进一步提高我的技能并熟悉新引擎。

在收集参考资料时，我收集了Elden Ring，God of War和Demon Souls Remake的屏幕截图，并查看了参与这些标题的其他艺术家的细分。最终的设计是将直接灵感艺术品与其他参考的各种元素相结合的结果。

更多精彩图片 请登录

Blockout

The first thing I do when blocking a scene out is to study the reference or concept and highlight the different modular pieces I need to make. I then create low poly proxy versions to use when blocking out the environment, this way I can iterate quickly when changes are needed. I also use a mannequin to help me visualize the scale of my world.
封锁

在阻止场景时，我做的第一件事就是研究参考或概念，并突出显示我需要制作的不同模块化部分。然后，我创建低多边形代理版本以在阻止环境时使用，这样我就可以在需要更改时快速迭代。我还使用人体模型来帮助我想象我的世界的规模。

Modelling

Once I’ve finished my blockout I’ll start modelling. For this project, all my modelling was done in ZBrush. I usually work from large forms to small forms, so I tackled the rocks first, then the architecture, hero props and finally the smaller set dressing pieces.
造型

一旦我完成了我的封锁，我就会开始建模。对于这个项目，我所有的建模都是在ZBrush中完成的。我通常从大形式到小形式工作，所以我首先处理岩石，然后是建筑，英雄道具，最后是较小的布景敷料。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

Technical

Since one of my main goals on this project was to get more familiar with UE5 I decided to utilize Nanite and work with fairly dense geometry throughout. I then optimised this to manage the file size of the project. Every model was retopologized with Zbrush’s Decimation Master. I highly recommend watching Dylan Abernethy’s tutorial series as it provides some great tips for working with Nanite Geometry.
专门的

由于我在这个项目中的主要目标之一是更熟悉UE5，我决定使用Nanite并在整个过程中使用相当密集的几何体。然后，我对其进行了优化以管理项目的文件大小。每个模型都使用Zbrush的Decamation Master进行了重新拓扑。我强烈建议您观看Dylan Abernethy的教程系列，因为它为使用Nanite Geometry提供了一些很好的提示。

更多精彩图片 请登录

更多精彩图片 请登录

Unwrapping

Everything was unwrapped in RizomUV as the point-to-point selection makes creating seams on dense geometry much faster than in other software. I also utilized Rizom’s packing tools to optimize my texel density for consistency in my textures and to manage memory usage at the level.

Once the unwrapping is done, I move on to Substance Painter for baking and texturing.
展开

一切都在RizomUV中展开，因为点对点选择使得在密集的几何形状上创建接缝的速度比其他软件快得多。我还利用Rizom的打包工具来优化我的纹理密度，以确保纹理的一致性，并在级别上管理内存使用。

一旦展开完成，我就会转到Substance Painter进行烘焙和纹理处理。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Rizom_PointToPointSelection.gif

Texturing

I created a few custom smart materials in Substance Painter to help speed up the texturing of my assets. I always make sure to texture in a neutral lighting environment as a good texture should work in all lighting conditions and this helps me to maintain consistency in my textures.
纹理

我在 Substance Painter 中创建了一些自定义智能材质，以帮助加快资源的纹理处理。我总是确保在中性照明环境中进行纹理处理，因为良好的纹理应该在所有照明条件下都有效，这有助于我保持纹理的一致性。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Rock_Material.gif

Materials

My master material has a fairly basic setup using base maps exported from Substance Painter with some extra functions like colour tinting, detail normals and world align moss.
材料

我的主材质使用从Substance Painter导出的基本贴图进行了相当基本的设置，并具有一些额外的功能，例如颜色着色，细节法线和世界对齐苔藓。

更多精彩图片 请登录

Foliage

For the trees, I followed an amazing tutorial from Simon Barle. The leaves were modelled based on photos, then assembled into various branch arrangements for baking into an atlas in Substance Designer. The atlas was then used to populate the final branch variations. Trunks were sculpted in ZBrush and then brought back to Maya for the final assembly.

To save on time I decided to borrow some grasses and weeds from Megascans and perform some minor tweaks to values in the shaders to better fit the mood.
树叶

对于树木，我遵循了西蒙·巴勒（Simon Barle）的一个惊人的教程。叶子是根据照片建模的，然后组装成各种分支排列，以便在Substance Designer中烘焙成地图集。然后使用地图集来填充最终的分支变体。树干在ZBrush中雕刻，然后带回玛雅进行最终组装。

为了节省时间，我决定从Megascans中借用一些草和杂草，并对着色器中的值进行一些小的调整，以更好地适应情绪。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

Clouds

I really wanted to make an epic Cumulonimbus Cloud sell the fantasy mountaintop setting. I had previously watched Tyler Smith’s amazing guide on creating clouds by extracting textures from photos and merging them together to create unique designs. I used this method to create the cards and layered them together to create large cloud forms.
云

我真的很想做一个史诗般的积雨云，卖掉奇幻的山顶设置。我以前看过泰勒·史密斯（Tyler Smith）关于通过从照片中提取纹理并将它们合并在一起以创建独特设计的云的惊人指南。我使用此方法创建卡片，并将它们分层在一起以创建大型云表单。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Clouds_01.gif

更多精彩图片 请登录

Lighting

Lighting this scene was a very iterative process. As you may have noticed in the blockout video the lighting changes quite a lot while I experimented with the sky atmosphere, fog, post-process and camera settings. Technically the setup was all movable and heavily relied on UE5’s new Lumen lighting system.
照明

照亮这个场景是一个非常迭代的过程。您可能已经注意到，在遮挡视频中，当我尝试天空氛围，雾气，后期处理和相机设置时，照明变化很大。从技术上讲，该设置都是可移动的，并且严重依赖于UE5的新Lumen照明系统。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Lighting_01.gif

更多精彩图片 请登录

更多精彩图片 请登录

Conclusion

Thanks a lot for reading and if you want to see more of my work check out my Artstation:https://www.artstation.com/bradleysiegert
结论

非常感谢您的阅读，如果您想查看更多我的作品，请查看我的Artstation：https://www.artstation.com/bradleysiegert

更多精彩图片 请登录

Introduction
Hi! My name is Bradley Siegert, I’m a 3D Artist from Canberra, Australia. Art has always been a part of my life and from early on I was sketching characters and worlds from my favorite games and movies.
I first discovered 3D art after playing The Last Of Us and being in awe of the insanely detailed world the team at Naughty Dog had created.

Since then I have studied at the Academy of Interactive Entertainment and I have been steadily building up my skills and portfolio to land my first job in the industry.
介绍
你好！我的名字是Bradley Siegert，我是来自澳大利亚堪培拉的3D艺术家。艺术一直是我生活的一部分，从早期开始，我就从我最喜欢的游戏和电影中勾勒出角色和世界。
我第一次发现3D艺术是在玩完《最后生还者》之后，我对Naughty Dog的团队创造的疯狂细节世界感到敬畏。

从那时起，我一直在互动娱乐学院学习，我一直在稳步建立自己的技能和投资组合，以找到我在该行业的第一份工作。

更多精彩图片 请登录

更多精彩图片 请登录

Inspiration and Goals

My main inspiration came while playing Elden Ring and God of War. I fell in love with the sculpted fantasy art that I saw in their worlds, especially the sculpted rocks and fantasy architecture. This motivated me to create a ZBrush heavy environment in UE5 with the goal of furthering my skills and familiarizing myself with the new engine.

When gathering references I collected screenshots from Elden Ring, God of War and the Demon Souls Remake and looked at the breakdowns of other artists who worked on these titles. The final design is a result of combining the direct inspiration artworks with various elements from other references.
灵感和目标

我的主要灵感来自扮演Elden Ring和God of War的时候。我爱上了我在他们的世界里看到的雕刻的幻想艺术，尤其是雕刻的岩石和幻想建筑。这促使我在UE5中创建一个ZBrush繁重的环境，目的是进一步提高我的技能并熟悉新引擎。

在收集参考资料时，我收集了Elden Ring，God of War和Demon Souls Remake的屏幕截图，并查看了参与这些标题的其他艺术家的细分。最终的设计是将直接灵感艺术品与其他参考的各种元素相结合的结果。

更多精彩图片 请登录

Blockout

The first thing I do when blocking a scene out is to study the reference or concept and highlight the different modular pieces I need to make. I then create low poly proxy versions to use when blocking out the environment, this way I can iterate quickly when changes are needed. I also use a mannequin to help me visualize the scale of my world.
封锁

在阻止场景时，我做的第一件事就是研究参考或概念，并突出显示我需要制作的不同模块化部分。然后，我创建低多边形代理版本以在阻止环境时使用，这样我就可以在需要更改时快速迭代。我还使用人体模型来帮助我想象我的世界的规模。

Modelling

Once I’ve finished my blockout I’ll start modelling. For this project, all my modelling was done in ZBrush. I usually work from large forms to small forms, so I tackled the rocks first, then the architecture, hero props and finally the smaller set dressing pieces.
造型

一旦我完成了我的封锁，我就会开始建模。对于这个项目，我所有的建模都是在ZBrush中完成的。我通常从大形式到小形式工作，所以我首先处理岩石，然后是建筑，英雄道具，最后是较小的布景敷料。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

Technical

Since one of my main goals on this project was to get more familiar with UE5 I decided to utilize Nanite and work with fairly dense geometry throughout. I then optimised this to manage the file size of the project. Every model was retopologized with Zbrush’s Decimation Master. I highly recommend watching Dylan Abernethy’s tutorial series as it provides some great tips for working with Nanite Geometry.
专门的

由于我在这个项目中的主要目标之一是更熟悉UE5，我决定使用Nanite并在整个过程中使用相当密集的几何体。然后，我对其进行了优化以管理项目的文件大小。每个模型都使用Zbrush的Decamation Master进行了重新拓扑。我强烈建议您观看Dylan Abernethy的教程系列，因为它为使用Nanite Geometry提供了一些很好的提示。

更多精彩图片 请登录

更多精彩图片 请登录

Unwrapping

Everything was unwrapped in RizomUV as the point-to-point selection makes creating seams on dense geometry much faster than in other software. I also utilized Rizom’s packing tools to optimize my texel density for consistency in my textures and to manage memory usage at the level.

Once the unwrapping is done, I move on to Substance Painter for baking and texturing.
展开

一切都在RizomUV中展开，因为点对点选择使得在密集的几何形状上创建接缝的速度比其他软件快得多。我还利用Rizom的打包工具来优化我的纹理密度，以确保纹理的一致性，并在级别上管理内存使用。

一旦展开完成，我就会转到Substance Painter进行烘焙和纹理处理。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Rizom_PointToPointSelection.gif

Texturing

I created a few custom smart materials in Substance Painter to help speed up the texturing of my assets. I always make sure to texture in a neutral lighting environment as a good texture should work in all lighting conditions and this helps me to maintain consistency in my textures.
纹理

我在 Substance Painter 中创建了一些自定义智能材质，以帮助加快资源的纹理处理。我总是确保在中性照明环境中进行纹理处理，因为良好的纹理应该在所有照明条件下都有效，这有助于我保持纹理的一致性。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Rock_Material.gif

Materials

My master material has a fairly basic setup using base maps exported from Substance Painter with some extra functions like colour tinting, detail normals and world align moss.
材料

我的主材质使用从Substance Painter导出的基本贴图进行了相当基本的设置，并具有一些额外的功能，例如颜色着色，细节法线和世界对齐苔藓。

更多精彩图片 请登录

Foliage

For the trees, I followed an amazing tutorial from Simon Barle. The leaves were modelled based on photos, then assembled into various branch arrangements for baking into an atlas in Substance Designer. The atlas was then used to populate the final branch variations. Trunks were sculpted in ZBrush and then brought back to Maya for the final assembly.

To save on time I decided to borrow some grasses and weeds from Megascans and perform some minor tweaks to values in the shaders to better fit the mood.
树叶

对于树木，我遵循了西蒙·巴勒（Simon Barle）的一个惊人的教程。叶子是根据照片建模的，然后组装成各种分支排列，以便在Substance Designer中烘焙成地图集。然后使用地图集来填充最终的分支变体。树干在ZBrush中雕刻，然后带回玛雅进行最终组装。

为了节省时间，我决定从Megascans中借用一些草和杂草，并对着色器中的值进行一些小的调整，以更好地适应情绪。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

Clouds

I really wanted to make an epic Cumulonimbus Cloud sell the fantasy mountaintop setting. I had previously watched Tyler Smith’s amazing guide on creating clouds by extracting textures from photos and merging them together to create unique designs. I used this method to create the cards and layered them together to create large cloud forms.
云

我真的很想做一个史诗般的积雨云，卖掉奇幻的山顶设置。我以前看过泰勒·史密斯（Tyler Smith）关于通过从照片中提取纹理并将它们合并在一起以创建独特设计的云的惊人指南。我使用此方法创建卡片，并将它们分层在一起以创建大型云表单。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Clouds_01.gif

更多精彩图片 请登录

Lighting

Lighting this scene was a very iterative process. As you may have noticed in the blockout video the lighting changes quite a lot while I experimented with the sky atmosphere, fog, post-process and camera settings. Technically the setup was all movable and heavily relied on UE5’s new Lumen lighting system.
照明

照亮这个场景是一个非常迭代的过程。您可能已经注意到，在遮挡视频中，当我尝试天空氛围，雾气，后期处理和相机设置时，照明变化很大。从技术上讲，该设置都是可移动的，并且严重依赖于UE5的新Lumen照明系统。
https://gamesartist.co.uk/wp-content/uploads/2022/06/Lighting_01.gif

更多精彩图片 请登录

更多精彩图片 请登录

Conclusion

Thanks a lot for reading and if you want to see more of my work check out my Artstation:https://www.artstation.com/bradleysiegert
结论

非常感谢您的阅读，如果您想查看更多我的作品，请查看我的Artstation：https://www.artstation.com/bradleysiegert

更多精彩图片 请登录