Introduction
Hello everyone! I'm Jon Gómez Aisa (Hota Aisa) a 32 year old 3D Artist from Basque Country. I got a degree in 3D Animation and a Games and Interactive Environments degree at Ceinpro in San Sebastian back in 2013.
介绍
大家好！我是Jon Gómez Aisa（Hota Aisa），一位来自巴斯克地区的32岁3D艺术家。早在2013年，我就在圣塞巴斯蒂安的Ceinpro获得了3D动画学位和游戏与互动环境学位。

From there on, I worked in Dibulitoon Studio from 2013 to 2017 as a 3D Environment and Prop Artist. I worked on various TV shows and movies for kids, such as Elcano & Magellan: The First Voyage Around the World and Yoko and His Friends.
从那时起，我从2013年到2017年在Dibulitoon Studio担任3D环境和道具艺术家。我为孩子们制作了各种电视节目和电影，如Elcano & Magellan： The First Voyage Around the World和Yoko and His Friends。

I moved to Tokyo in 2017. In Japan, I worked on some PS5 projects in a studio called Soleil until last month as an Environment and Prop Artist.
我于2017年搬到东京。在日本，我在一家名为Soleil的工作室里参与了一些PS5项目，直到上个月作为环境和道具艺术家。



The Castle Project
For the Castle project, I used a concept I did back in 2020. I made a folder on my PC and filled it with references and castles I found on Pinterest, and then before I started modeling, I chose the parts I liked the most, being careful not to be too eclectic.
城堡项目
对于城堡项目，我使用了我在2020年做的一个概念。我在我的PC上做了一个文件夹，里面装满了我在Pinterest上找到的参考资料和城堡，然后在我开始建模之前，我选择了我最喜欢的部分，小心不要太不拘一格。

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Workflow
For modeling, I usually choose 3ds Max and then brush the borders in ZBrush to make everything look more organic and less mathematical. Then, I bring the asset to Substance 3D Painter to create the textures.
工作流程
对于建模，我通常选择3ds Max，然后在ZBrush中刷边框，以使所有内容看起来更有机，更少数学化。然后，我将资源带到Substance 3D Painter以创建纹理。

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I prefer to use Maya for UVs since, in my opinion, it is a more powerful program than 3ds Max for this task. 80% of the project was baked in SP because I like the control it gives me. As for the rest of the parts like walls or towers, I used Quixel Mixer to create a cool wall material with a Displacement Map.
我更喜欢将Maya用于UV，因为在我看来，对于此任务，它是一个比3ds Max更强大的程序。该项目的80%都是用SP烘焙的，因为我喜欢它给我的控制。至于墙壁或塔楼等其余部分，我使用Quixel Mixer创建了带有位移图的酷墙材质。

更多精彩图片 请登录

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Since I was trying to find a good balance between realistic and stylized, I decided to make even the castle roof tiles in 3D, so I could make them look a bit more the way I like, and since it's a portfolio piece, I was not so worried about polycount of the roof. The environment's stones, rocks, and mountains were made using a single asset from Megascans. I tried to find some rocks that would match shapes and colors with my own wall texture to be coherent.
由于我试图在现实和风格化之间找到一个很好的平衡，我决定用3D制作城堡屋顶瓦片，这样我就可以让它们看起来更像我喜欢的方式，而且由于它是一个投资组合作品，所以我不那么担心屋顶的多边计数。环境中的石头，岩石和山脉是使用Megascans的单一资产制成的。我试图找到一些岩石，这些岩石将形状和颜色与我自己的墙壁纹理相匹配，以保持连贯性。

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As for the composition, I did different tests, changing the shape of the mountains, making the castle on an island, etc. Also, I tried many different lighting scenarios. Unreal Engine 5 is such a powerful tool, so I didn't need too much work to make the illumination look the way I liked. I also asked my friends and family for feedback about which composition they liked more before choosing one.
至于构图，我做了不同的测试，改变了山脉的形状，在岛上制作了城堡等。此外，我还尝试了许多不同的照明场景。虚幻引擎5是一个非常强大的工具，所以我不需要太多的工作就能让照明看起来像我喜欢的那样。在选择作品之前，我还向我的朋友和家人询问了他们更喜欢哪种作品的反馈。

更多精彩图片 请登录

Normally, I don't use real-time renderers because I always thought the quality of Iray in KeyShot or Substance 3D was higher, but then I discovered a whole new world of potential with UE5, and I'm sure I will use it much more from now on.
通常情况下，我不使用实时渲染器，因为我一直认为KeyShot或Substance 3D中的Iray质量更高，但后来我发现UE5有一个全新的潜力世界，我相信从现在开始我会更多地使用它。

更多精彩图片 请登录

Conclusion
It took me around 70 hours over five days to complete the project. My main challenges were to learn how to set up lighting in Unreal Engine 5 and how to make textures made in Substance 3D Painter and Quixel Mixer look good in UE5. For this, I had to learn how to make shaders and adapt my workflow to go back and forward, tweaking textures here and there.
结论
我花了大约70个小时在五天内完成这个项目。我的主要挑战是学习如何在虚幻引擎5中设置光照，以及如何在UE5中使Substance 3D Painter和Quixel Mixer制作的纹理看起来不错。为此，我必须学习如何制作着色器，并调整我的工作流程以来回切换，在这里和那里调整纹理。

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Finally, my humble recommendation for other artists is to play many video games and find inspiration in them. Make video games your Ikigai. I was playing the remake of Demon's Souls from Bluepoint Games, and while playing, I got so inspired that I couldn't stop working on the castle until I finished.
最后，我对其他艺术家的谦虚建议是玩许多视频游戏并从中找到灵感。让视频游戏成为你的Ikigai。我正在玩Bluepoint Games的Demon's Souls的重制版，在玩的时候，我受到了很大的启发，以至于我无法停止在城堡上工作，直到我完成。

Also, I like to check ArtStation and art pages every day to get inspiration and motivation and sometimes to get super jealous (in a positive way) when looking at other people's art. I think inspiration is the key to being motivated enough to finish big projects like this. More heart and less brain.
另外，我喜欢每天查看ArtStation和艺术页面，以获得灵感和动力，有时在看别人的艺术时会超级嫉妒（以积极的方式）。我认为灵感是有足够的动力来完成像这样的大项目的关键。更多的心脏和更少的大脑。

Introduction
Hello everyone! I'm Jon Gómez Aisa (Hota Aisa) a 32 year old 3D Artist from Basque Country. I got a degree in 3D Animation and a Games and Interactive Environments degree at Ceinpro in San Sebastian back in 2013.
介绍
大家好！我是Jon Gómez Aisa（Hota Aisa），一位来自巴斯克地区的32岁3D艺术家。早在2013年，我就在圣塞巴斯蒂安的Ceinpro获得了3D动画学位和游戏与互动环境学位。

From there on, I worked in Dibulitoon Studio from 2013 to 2017 as a 3D Environment and Prop Artist. I worked on various TV shows and movies for kids, such as Elcano & Magellan: The First Voyage Around the World and Yoko and His Friends.
从那时起，我从2013年到2017年在Dibulitoon Studio担任3D环境和道具艺术家。我为孩子们制作了各种电视节目和电影，如Elcano & Magellan： The First Voyage Around the World和Yoko and His Friends。

I moved to Tokyo in 2017. In Japan, I worked on some PS5 projects in a studio called Soleil until last month as an Environment and Prop Artist.
我于2017年搬到东京。在日本，我在一家名为Soleil的工作室里参与了一些PS5项目，直到上个月作为环境和道具艺术家。



The Castle Project
For the Castle project, I used a concept I did back in 2020. I made a folder on my PC and filled it with references and castles I found on Pinterest, and then before I started modeling, I chose the parts I liked the most, being careful not to be too eclectic.
城堡项目
对于城堡项目，我使用了我在2020年做的一个概念。我在我的PC上做了一个文件夹，里面装满了我在Pinterest上找到的参考资料和城堡，然后在我开始建模之前，我选择了我最喜欢的部分，小心不要太不拘一格。

更多精彩图片 请登录

Workflow
For modeling, I usually choose 3ds Max and then brush the borders in ZBrush to make everything look more organic and less mathematical. Then, I bring the asset to Substance 3D Painter to create the textures.
工作流程
对于建模，我通常选择3ds Max，然后在ZBrush中刷边框，以使所有内容看起来更有机，更少数学化。然后，我将资源带到Substance 3D Painter以创建纹理。

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

更多精彩图片 请登录

I prefer to use Maya for UVs since, in my opinion, it is a more powerful program than 3ds Max for this task. 80% of the project was baked in SP because I like the control it gives me. As for the rest of the parts like walls or towers, I used Quixel Mixer to create a cool wall material with a Displacement Map.
我更喜欢将Maya用于UV，因为在我看来，对于此任务，它是一个比3ds Max更强大的程序。该项目的80%都是用SP烘焙的，因为我喜欢它给我的控制。至于墙壁或塔楼等其余部分，我使用Quixel Mixer创建了带有位移图的酷墙材质。

更多精彩图片 请登录

更多精彩图片 请登录

Since I was trying to find a good balance between realistic and stylized, I decided to make even the castle roof tiles in 3D, so I could make them look a bit more the way I like, and since it's a portfolio piece, I was not so worried about polycount of the roof. The environment's stones, rocks, and mountains were made using a single asset from Megascans. I tried to find some rocks that would match shapes and colors with my own wall texture to be coherent.
由于我试图在现实和风格化之间找到一个很好的平衡，我决定用3D制作城堡屋顶瓦片，这样我就可以让它们看起来更像我喜欢的方式，而且由于它是一个投资组合作品，所以我不那么担心屋顶的多边计数。环境中的石头，岩石和山脉是使用Megascans的单一资产制成的。我试图找到一些岩石，这些岩石将形状和颜色与我自己的墙壁纹理相匹配，以保持连贯性。

更多精彩图片 请登录

As for the composition, I did different tests, changing the shape of the mountains, making the castle on an island, etc. Also, I tried many different lighting scenarios. Unreal Engine 5 is such a powerful tool, so I didn't need too much work to make the illumination look the way I liked. I also asked my friends and family for feedback about which composition they liked more before choosing one.
至于构图，我做了不同的测试，改变了山脉的形状，在岛上制作了城堡等。此外，我还尝试了许多不同的照明场景。虚幻引擎5是一个非常强大的工具，所以我不需要太多的工作就能让照明看起来像我喜欢的那样。在选择作品之前，我还向我的朋友和家人询问了他们更喜欢哪种作品的反馈。

更多精彩图片 请登录

Normally, I don't use real-time renderers because I always thought the quality of Iray in KeyShot or Substance 3D was higher, but then I discovered a whole new world of potential with UE5, and I'm sure I will use it much more from now on.
通常情况下，我不使用实时渲染器，因为我一直认为KeyShot或Substance 3D中的Iray质量更高，但后来我发现UE5有一个全新的潜力世界，我相信从现在开始我会更多地使用它。

更多精彩图片 请登录

Conclusion
It took me around 70 hours over five days to complete the project. My main challenges were to learn how to set up lighting in Unreal Engine 5 and how to make textures made in Substance 3D Painter and Quixel Mixer look good in UE5. For this, I had to learn how to make shaders and adapt my workflow to go back and forward, tweaking textures here and there.
结论
我花了大约70个小时在五天内完成这个项目。我的主要挑战是学习如何在虚幻引擎5中设置光照，以及如何在UE5中使Substance 3D Painter和Quixel Mixer制作的纹理看起来不错。为此，我必须学习如何制作着色器，并调整我的工作流程以来回切换，在这里和那里调整纹理。

更多精彩图片 请登录

Finally, my humble recommendation for other artists is to play many video games and find inspiration in them. Make video games your Ikigai. I was playing the remake of Demon's Souls from Bluepoint Games, and while playing, I got so inspired that I couldn't stop working on the castle until I finished.
最后，我对其他艺术家的谦虚建议是玩许多视频游戏并从中找到灵感。让视频游戏成为你的Ikigai。我正在玩Bluepoint Games的Demon's Souls的重制版，在玩的时候，我受到了很大的启发，以至于我无法停止在城堡上工作，直到我完成。

Also, I like to check ArtStation and art pages every day to get inspiration and motivation and sometimes to get super jealous (in a positive way) when looking at other people's art. I think inspiration is the key to being motivated enough to finish big projects like this. More heart and less brain.
另外，我喜欢每天查看ArtStation和艺术页面，以获得灵感和动力，有时在看别人的艺术时会超级嫉妒（以积极的方式）。我认为灵感是有足够的动力来完成像这样的大项目的关键。更多的心脏和更少的大脑。